[{"data":1,"prerenderedAt":2567},["ShallowReactive",2],{"subject-lin-mu":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},240,"lin-mu","林木","林木画高清赏析","精选中国历代林木题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19cd3e7e67f2166a0c7ee53857daa63e.jpg",0,230,[14,52,77,102,121,139,157,171,188,199,215,232,244,261,283,298,313,323,337,351,362,378,392,403,414,427,435,447,456,468,488,500,509,516,538,553,564,577,592,601,612,626,641,651,662,674,683,693,705,716,727,739,753,766,776,787,805,818,827,838,846,858,871,882,892,901,910,920,940,950,958,966,974,984,995,1005,1014,1023,1032,1041,1056,1064,1074,1083,1093,1101,1111,1119,1129,1141,1152,1161,1172,1185,1197,1207,1216,1227,1238,1250,1258,1265,1277,1287,1297,1308,1320,1328,1346,1357,1366,1377,1386,1396,1406,1415,1426,1436,1447,1454,1465,1477,1487,1500,1509,1520,1529,1539,1549,1558,1567,1577,1587,1597,1607,1616,1632,1642,1652,1663,1675,1686,1696,1705,1714,1725,1735,1745,1753,1765,1775,1784,1793,1804,1814,1822,1831,1838,1848,1858,1868,1878,1887,1897,1907,1916,1926,1938,1951,1958,1965,1973,1988,1998,2009,2018,2028,2038,2047,2057,2066,2076,2085,2094,2105,2114,2126,2142,2152,2161,2171,2180,2189,2199,2208,2217,2228,2238,2247,2257,2266,2280,2289,2300,2312,2320,2330,2342,2351,2370,2376,2384,2395,2404,2412,2421,2430,2441,2452,2463,2477,2487,2496,2506,2515,2524,2531,2540,2550,2559],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":44,"material":45,"size":46,"collection":47,"collections":48,"showCount":49,"zanCount":50,"manualWeight":11,"mainColor":51},232934,"qian-li-jiang-shan-tu-juan-wang-xi-meng-232934","千里江山图卷","宋","王希孟","北京故宫博物院","《千里江山图》卷是北宋画家王希孟传世的唯一作品。此图描绘了祖国的锦绣河山。画面上峰峦起伏绵延，江河烟波浩淼，气象万千，壮丽恢弘。山间高崖飞瀑，曲径通幽，房舍屋宇点缀其间，绿柳红花，长松修竹，景色秀丽。山水间野渡渔村、水榭楼台、茅屋草舍、水磨长桥各依地势、环境而设，与山川湖泊相辉映。此卷以概括精练的手法、绚丽的色彩和工细的笔致表现出祖国山河的雄伟壮观，一向被视为宋代青绿山水中的巨制杰构。\n画家在构图上充分利用传统的长卷形式所具有的多点透视之特点，在十余米的巨幅长卷中将景物大致分为六部分，每部分均以山体为主要表现对象，各部分之间或以长桥相连，或以流水沟通，使各段山水既相对独立，又相互关联，巧妙地连成一体，达到了步移景异的艺术效果。高远、深远、平远多种构图方式的穿插使用更使画面跌宕起伏，富有强烈的韵律感，引人入胜。\n《千里江山图》卷在设色和用笔上继承了传统的“青绿法”，即以石青、石绿等矿物质为主要颜料，敷色夸张，具有一定的装饰性，被称为“青绿山水”。此种表现方法是我国山水画技法中发展较早的一种，在隋唐时期如展子虔、李思训、李昭道等许多画家均擅长青绿山水画。纵观宋代画坛，虽然也有一些画家用此法创作，但从目前存世作品看，尚无一件可以超越《千里江山图》卷。王希孟在继承前法的基础上，表现出更趋细腻的画风，体现了北宋院画工整严谨的时代风格。此图用笔精当，一点一画均无败笔。人物虽细小如豆，却动态鲜明。微波水纹均一笔笔画出，渔舟游船荡曳其间，使画面平添动感。综观全幅，又不失雄阔的境界和恢宏的气势，远观近睹均令人折服。在用色上，画家于单调的蓝绿色中求变化，虽然以青绿为主色调，但在施色时注重手法的变化，色彩或浑厚，或轻盈，间以赭色为衬，使画面层次分明，色如宝石，光彩夺目。元代著名书法家溥光对此卷推崇备至，在卷后题跋中赞道：“在古今丹青小景中，自可独步千载，殆众星之孤月耳。”此论可谓公允之见。\n从此卷所描绘的景物看，系以南方清丽秀润的山水为主体，在部分山峦的表现上加进了一些北方山水的特征，可谓集南北山水于一体的精心之作。从画面表现的建筑形式以及江南水乡的生活场景、生产劳作使用的工具等方面看，画家对江南地区有着较为深刻的了解，其艺术创作当来源于生活，而王希孟于18岁时即创作出如此宏幅巨制，不可能没有深厚的生活积累，由此笔者推测，画家王希孟应是江南人，至于具体籍贯便无从知晓了。",[23,24,25,26,27,28,29,30,31,32,33,7,34,35,36,37,38,39,40,41,42,43],"高清","名画","国画","长卷","青绿山水","设色","工笔","山峦","江河","飞瀑","房舍","渔村","水榭","长桥","渔舟","人物","亭台","烟波","曲径","茅屋","游船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d4787ef8c440e7ab09e9fddb2ac7117.jpg","绢本，设色","纵51.5厘米，横1191.5厘米","",[],1322,12,"795548",{"id":53,"slug":54,"title":55,"dynasty":18,"author":56,"museum":57,"description":58,"tags":59,"thumbUrl":70,"material":71,"size":72,"collection":73,"collections":74,"showCount":75,"zanCount":76,"manualWeight":11,"mainColor":51},219426,"xue-jing-tu-guo-xi-219426","雪景图","郭熙","台北故宫博物院","画中主景偏右半边，雪锋层叠，陡壑悬瀑，作高远景致，其间布列茅舍、溪桥、楼阁、瀑泉、林木等。左半边则绘溪涧蜿蜒，沙渚渔舟，遥山旷渺，作平远景色。本幅无作者款印，旧以画中状似卷云皴蟹爪枝法而传为郭熙所作",[25,60,61,62,63,64,65,7,66,37,67,68,69],"山水画","雪景","茅舍","溪桥","楼阁","瀑泉","溪涧","远山","沙渚","皴法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64544cce922b7a6232231fd541b948a5.jpg","设色,绢本","194.3x111.1","宋画精选",[73],484,2,{"id":78,"slug":79,"title":80,"dynasty":81,"author":82,"museum":83,"description":84,"tags":85,"thumbUrl":93,"material":94,"size":95,"collection":96,"collections":97,"showCount":99,"zanCount":100,"manualWeight":11,"mainColor":101},222114,"zhang-li-yuan-tiao-tu-shen-zhou-222114","杖藜远眺图","明","沈周","美国纳尔逊阿特金斯艺术博物馆","为一幅充满诗意的小景之作。左下方的白云草草勾出，稍加淡墨渲染，便有徐缓飘荡之态。山石皱纹和林木屋宇，点画随意，干湿浓淡，浑然一体。远山则用整块淡墨。这样，近景见笔而实，远山见墨而虚。虚实结合，有空灵深远之感。画中人物登高杖藜眺望，意境引入青山尽头，白云深处。题识：“白云如带束山腰 ，石磴飞空细路遥。独倚杖藜舒眺望，欲因鸣涧答吹箫。",[23,25,86,87,64,88,7,89,38,90,91,69,92],"水墨","山水","山石","白云","杖藜","印章","登高","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4649d1d0c9eba3d025f8a50b75209cec.jpg","纸本","纵38厘米，横59厘米","山水画精选",[96,98],"水墨画精选",383,1,"BDBDBD",{"id":103,"slug":104,"title":105,"dynasty":81,"author":82,"museum":106,"description":107,"tags":108,"thumbUrl":114,"material":115,"size":116,"collection":96,"collections":117,"showCount":119,"zanCount":120,"manualWeight":11,"mainColor":101},222100,"si-song-tu-ce-ye-shen-zhou-222100","四松图册页","美国大都会艺术博物馆","四松图册页》画的是山野小景，虽然画面的中央是四棵形态各异的松树，但仔细观察会发现画的左下角杂树掩映之下，有小径通向人家。也正是这幽径人家，给充塞画面的寂静山野增添了活力。整幅作品分三个层次，前景是松树和人家，中景是以墨笔勾皴的浅绛山石，远景是以没骨法描绘的远山。从山石的画法看，既不属于前期的“细沈”，亦不属于晚年的简约“粗沈”，风格介乎二者之间。皴法以短披麻皴为主，有王蒙牛毛皴的影子。墨笔为主的整体基调，间以淡赭和花青点染，营造出视觉上很舒服的隽雅格调。",[23,24,25,109,110,111,86,69,87,112,88,7,30,113],"书画","册页","文人画","松树","写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8a9aeacd8f3be7883b8b8e7a825467d.jpg","纸本水墨","纵154厘米，横60.39厘米",[96,118],"设色画精选",290,4,{"id":122,"slug":123,"title":124,"dynasty":125,"author":126,"museum":20,"description":127,"tags":128,"thumbUrl":134,"material":135,"size":136,"collection":96,"collections":137,"showCount":138,"zanCount":76,"manualWeight":11,"mainColor":51},220764,"tian-chi-shi-bi-tu-huang-gong-wang-220764","天池石壁图","元","黄公望","此图描绘的是苏州城西吴县境内天池山的景色。天池山与灵岩山、天平山一脉相连，峰巅矗立巨石，远望巧若莲花，人称“华山”。山一侧的半山坳中长年积有一泓碧水，名曰“天池”，故山之这一面亦被称为“天池山”。\n画面兼用高远和深远的构图方法。近景丘陵溪涧，长松茂树。山径迂曲，通向主峰。画面正中层峦叠嶂，天池居于右上，两侧石壁对峙，池中水阁数椽。主峰两侧烟云流润，使画面虚实相生。\n此幅构图繁复，高坡陡崖错落分布，雄秀多姿。画家状物之笔虽较简略，杂树多用横点，山石作披麻皴，但线条却显得自然流畅，起落有序；笔法朴厚苍润，变化多端。设色采用“浅绛法”，多用淡赭，并以墨青、墨绿合染，冷暖互补，极佳地表现出山色的青葱与阳光的和煦。正如清吴修所云：“赭色微黄画里春，墨青墨绿染精神。”\n黄公望擅长的“浅绛法”在中国古代山水画的发展中具有重要地位，此图即其典范作品。另，本幅柳贯长题中称黄公望为“吴兴室内大弟子”，说明黄公望曾就学于赵孟頫，这是画史研究中的重要资料。",[23,69,86,28,87,30,129,7,130,131,132,133],"石壁","溪流","岩石","树","亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1df5e8d7eaf93e6a6599ee59965a71b.jpg","绢本","纵139.4厘米，横57.3厘米",[96,98],237,{"id":140,"slug":141,"title":142,"dynasty":143,"author":144,"museum":145,"description":146,"tags":147,"thumbUrl":151,"material":152,"size":153,"collection":47,"collections":154,"showCount":155,"zanCount":11,"manualWeight":11,"mainColor":156},288512,"shan-xi-dai-du-tu-guan-tong-288512","山溪待渡图","五代十国","关仝","藏地不详","《山溪待渡图》是一幅大山堂堂、气势雄伟的全景画，带有鲜明的北方特色。图中描绘巍峰耸立，瀑布高悬；坂垅、冈阜、峦岭，自近及远盘礴而上；楼阁掩映，远山迷朦；气势阔大，景意幽深。图中强调的是山和溪，山作正面，主峰突兀，两峰环抱之。山势直立，居于构图中轴线，相当稳定。整幅画面既有生活意趣，又有饱满生动之感。 此画用墨饱满，笔法简炼雄劲。",[24,25,87,86,69,148,88,149,150,133,7],"立轴","流水","小桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34439de5b826ade79e2d3efccdbc4630.jpg","未知","Xcm*Xcm",[],211,"37474F",{"id":158,"slug":159,"title":160,"dynasty":81,"author":82,"museum":145,"description":161,"tags":162,"thumbUrl":169,"material":152,"size":153,"collection":47,"collections":170,"showCount":155,"zanCount":100,"manualWeight":11,"mainColor":51},287522,"shu-shan-qin-shu-tu-juan-shen-zhou-287522","蜀山秦树图卷","沈周（1427年11月21日—1509年8月2日），字启南，号石田，晚号白石翁，明代绘画大师，书法家，文学家，医学家，长洲（今江苏苏州）人。\n沈周出身富裕的书香绘画世家，少时师从陈宽学习诗文， 青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格，在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[23,24,25,26,109,60,86,28,69,30,7,163,164,150,149,165,166,167,168,91],"竹林","山居","亭舍","行人","行书","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F092ad35e202a88d58b87a0f168f8fe23.jpg",[],{"id":172,"slug":173,"title":174,"dynasty":143,"author":175,"museum":57,"description":176,"tags":177,"thumbUrl":183,"material":184,"size":185,"collection":47,"collections":186,"showCount":187,"zanCount":76,"manualWeight":11,"mainColor":51},226701,"ceng-yan-cong-shu-tu-ju-ran-226701","层岩丛树图","巨然","此图描绘了江南雨后山林烟岚浮动的自然景象，画中峰峦耸峙，丛林茂密，山路深曲，充满清新潮湿的气息。作者用独特的画法表现出一种秀逸、静寂、朦胧的美，是一幅具有代表性的山水画作。",[23,24,25,109,148,86,69,87,178,179,88,180,30,181,7,182],"层岩","丛树","树木","叠嶂","岩峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce4699ce8ccb516e2fed794a4a198591.jpg","绢","纵144.1厘米，横55.4厘米",[],201,{"id":189,"slug":190,"title":191,"dynasty":18,"author":192,"museum":145,"description":193,"tags":194,"thumbUrl":196,"material":152,"size":153,"collection":47,"collections":197,"showCount":198,"zanCount":76,"manualWeight":11,"mainColor":156},289985,"lin-liu-du-zuo-tu-fan-kuan-289985","临流独坐图","范宽","《临流独坐图》表现层峦叠蟑，山势起伏，溪谷间，云烟弥漫动荡，使深山幽小充盈着活力。",[24,25,109,87,86,69,30,88,7,195,149],"小屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46c82f81787e5b0d6aa5b30a4e34620d.jpg",[],155,{"id":200,"slug":201,"title":202,"dynasty":18,"author":203,"museum":57,"description":204,"tags":205,"thumbUrl":209,"material":210,"size":211,"collection":47,"collections":212,"showCount":213,"zanCount":214,"manualWeight":11,"mainColor":51},290765,"shang-yue-kong-shan-zhou-yi-ming-290765","赏月空山轴","佚名","秋江如练，扁舟缓行。舱内雅士对坐把盏，侍童在侧、舟子摇橹，将闲雅逸兴揉进烟波里。右侧崖壁高耸沉郁，木叶萧疏间月色晕开，江雾漫漶，晕染出朦胧空寂的天地。\n\n画作以边角取景，留白铺陈出清旷意境，苍劲水墨晕染烟水气象，把寄情山水的襟怀藏在冷寂江色中。简淡笔触勾勒江湖散人雅集的意趣，冷雾里晕开知己对晤的温煦暖意，虚实相生间尽显诗意禅心，将秋夜赏月的悠然尽揽卷中。",[25,86,28,87,206,38,207,208,7,88,149],"孤舟","赏月","饮酒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bc70193e460b155d3c81c96521c7014.jpg","绢本,设色","71.7x93.3",[],149,3,{"id":216,"slug":217,"title":218,"dynasty":219,"author":220,"museum":221,"description":222,"tags":223,"thumbUrl":227,"material":228,"size":229,"collection":96,"collections":230,"showCount":231,"zanCount":11,"manualWeight":11,"mainColor":101},217884,"xi-shan-lin-wu-tu-wang-yuan-qi-217884","溪山林屋图","清","王原祁","南京博物院","溪山林屋图是王原祁的代表作之一，它们描绘了中国山林中的小屋、溪流、山峰和树木。这些画作通常都有一种平静而自然的感觉，体现了王原祁对中国传统山水画的热爱和自然美的追求。\n\n王原祁的溪山林屋图通常都是以水墨画的形式呈现的，他善于运用水墨画的特点，比如渗透、流动、清晰度等，使得他的画作充满了韵味和生命力。\n\n总的来说，王原祁的溪山林屋图是中国清朝时期画家中的佼佼者，它们不仅是艺术作品，而且也是中国文化遗产的重要组成部分。",[25,109,87,86,69,180,224,149,131,130,88,7,225,226],"房屋","屋舍","山间植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcebe06c7f8fd41eded98cf111e60e234.jpg","纸本,水墨","82.8x45.3cm",[96],120,{"id":233,"slug":234,"title":235,"dynasty":219,"author":236,"museum":145,"description":237,"tags":238,"thumbUrl":241,"material":152,"size":153,"collection":47,"collections":242,"showCount":243,"zanCount":100,"manualWeight":11,"mainColor":101},288091,"shan-shui-tu-juan-shi-tao-288091","山水图卷","石涛","石涛（1642年－1708年）明末清初著名画家，原姓朱，名若极，广西桂林人，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等，明靖江王朱亨嘉之子，与弘仁、髡残、朱耷合称“明末四僧”。\n石涛是中国绘画史上一位十分重要的人物，他既是绘画实践的探索者、革新者，又是艺术理论家。\n他幼年遭变后出家为僧，驻锡于安徽宣城敬亭山广教寺，后半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《石涛罗汉百开册页》《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。著有《苦瓜和尚画语录》。名言有“一画论”、“搜尽奇峰打草稿”、“笔墨当随时代”等。",[23,25,26,109,86,69,87,64,88,7,149,225,133,239,167,168,91,240],"篆书","秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f6af245446b0e5843dd2cd8f5b76edc.jpg",[],112,{"id":245,"slug":246,"title":247,"dynasty":125,"author":248,"museum":57,"description":249,"tags":250,"thumbUrl":257,"material":258,"size":47,"collection":96,"collections":259,"showCount":260,"zanCount":214,"manualWeight":11,"mainColor":101},218761,"shan-shui-tu-wu-zhen-218761","山水图","吴镇","墨色晕染如轻烟绕峰，山石以披麻皴层层铺陈，湿墨点苔似苍苔缀石，尽显古拙厚重。林木萧疏错落，枝干虬劲中藏清逸，与淡墨晕开的云雾交织，拓出深远山水空间。留白处似有山风掠过，裹挟幽寂禅意，恰是元人山水的空灵之境。题跋与朱印相映，诗画相融间，藏着文人对自然的敬畏与心向林泉的淡泊。每一笔都晕染时光沉淀的静谧，观者仿佛步入清旷山水，暂忘尘嚣，只余眼前的淡远与安然。",[23,24,25,86,87,251,88,7,252,91,168,253,254,255,256],"披麻皴","云雾","禅意","空灵","淡泊","静谧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f1c86c535085fc058d17972928a0b55.jpg","绢本,水墨",[96],106,{"id":262,"slug":263,"title":264,"dynasty":219,"author":265,"museum":145,"description":266,"tags":267,"thumbUrl":280,"material":47,"size":47,"collection":47,"collections":281,"showCount":282,"zanCount":11,"manualWeight":11,"mainColor":101},224449,"tang-yin-shi-yi-tu-li-zhou-wang-hui-224449","唐寅诗意图立轴","王翚","此作取景虚实相映，笔意苍秀兼具。右侧危崖层叠，斧劈皴勾勒出山岩厚重质感，苔点晕染让山石愈发生动，崖顶山居藏在深林之中，清寂出尘。左侧烟水浩淼，汀渚林木错落，远处楼阁隐在薄雾间，晕染出空濛烟雨之态。浅滩孤舟随波，渔翁独钓，漾出幽淡闲远的林下意趣。浅绛设色柔和雅致，将宋画的精工与元人山水的萧散相融，把林泉隐逸之思，铺陈为可游可居的湖山胜境，尽显文人山水画里悠远澹泊的雅韵。",[23,25,24,109,148,268,28,269,270,271,164,272,64,206,273,7,274,275,276,277,278,279],"文人山水画","浅绛","斧劈皴","危崖","烟水","渔翁","湖山","隐逸","澹泊","苍秀","萧散","精工","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48ebebd62a991bc27c793316c7c0ff81.jpg",[],104,{"id":284,"slug":285,"title":286,"dynasty":18,"author":287,"museum":288,"description":289,"tags":290,"thumbUrl":293,"material":294,"size":295,"collection":47,"collections":296,"showCount":297,"zanCount":11,"manualWeight":11,"mainColor":51},221411,"xiao-han-lin-tu-juan-li-cheng-221411","小寒林图卷","李成","辽宁省博物馆","绘远处山恋起伏，云雾空蒙；近处松树数株，松干挺直，枝杈虬曲多姿，林木笼罩于烟霭雾气之中，四周坡面山石间杂树丛生，郁郁葱葱。李成，五代画家，画山石以“卷云皴”；画寒林创“蟹爪”法，其学生郭熙亦秉承其画风。",[23,25,109,26,86,87,69,7,291,292],"枯树","孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c461e36f2a0526a7f631fdaa0a30b03.jpg","绢本浅设色","39.4x71.4\u002F39.4x233厘米",[],96,{"id":299,"slug":300,"title":301,"dynasty":125,"author":302,"museum":57,"description":303,"tags":304,"thumbUrl":308,"material":309,"size":310,"collection":96,"collections":311,"showCount":312,"zanCount":100,"manualWeight":11,"mainColor":101},220806,"dong-shan-cao-tang-tu-wang-meng-220806","东山草堂图","王蒙","《东山草堂图》是元四家之一的王蒙创作的一幅隐居题材的山水画。描绘了东山之中隔水相望的草堂，\n这幅画描绘了隔水草堂，画中巨石重叠，秋林疏爽，高士闲居。松树、柏树以及山石都刻画得极其密实、精细。 《东山草堂图》画于元顺帝至正三年，即王蒙四十岁以后所作。\n此时，王蒙已初具自家风貌，用笔切实稳厚、灵活松快，笔墨已有一种稳重苍郁的意象。画面上松树、柏树以及山石都刻画得极其密实、精细。全图以淡赭色罩染，“水晕墨章”的绘画方法丰富了中国绘画的表现技法。",[23,25,86,28,69,87,180,112,88,305,130,30,224,306,7,307],"建筑","崖壁","小径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18bd6ec16eba615a58d99aa211fdc5e2.jpg","纸本,设色","纵111.4cm，横86.1cm",[96,98],94,{"id":314,"slug":315,"title":316,"dynasty":125,"author":317,"museum":145,"description":318,"tags":319,"thumbUrl":320,"material":152,"size":153,"collection":47,"collections":321,"showCount":322,"zanCount":11,"manualWeight":11,"mainColor":51},290099,"fu-yu-shan-ju-tu-qian-xuan-290099","浮玉山居图","钱选","《浮玉山居图》是钱选为山居霅川浮玉山的写景。图中山峦分三组，山势峻峭。湖上烟雾蒙蒙，山坳白云缭绕，更有用简笔点缀的茅舍、渡舟、小桥、老翁，一派江南水乡清润秀妍景色。全卷笔意冲淡，画意静穆，用笔工整而不板。",[23,24,25,109,26,28,87,88,7,164,149,168,91,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c05f9c52d56eb6131b8f94b511ff173.jpg",[],84,{"id":324,"slug":325,"title":326,"dynasty":219,"author":327,"museum":145,"description":328,"tags":329,"thumbUrl":334,"material":47,"size":47,"collection":47,"collections":335,"showCount":336,"zanCount":11,"manualWeight":11,"mainColor":101},233908,"hua-hui-shan-shui-ce-yun-shou-ping-233908","花卉山水册","恽寿平","恽寿平（1633-1690年），初名格，后以字行，又字正叔，别号南田，一号白云外史、云溪外史、东园客、巢枫客、草衣生、横山樵者。江苏武进人。清代著名画家。与“四王”、吴历并称“清初六大家”。其父恽日初诗文杰出，为“复社”中人。叔父恽向（道生）为著名山水画家，自创一派。恽寿平是清朝初期最享盛名的花鸟画家。其画作多写生，人称“写生正派”；更以徐崇嗣为宗，兼取各家之长，极大的发展了没骨画。所画花卉，很少勾勒，以水墨着色渲染，用笔含蓄，画法工整，明丽简洁，天趣盎然。恽寿平不仅画作出众，风格独具，而且兼工诗书，题句清丽流畅，诗格脱俗超逸，为“昆陵六逸”之冠。恽南田《山水花卉册》八帧，其中包括山水，花鸟及情景兼容的人物，攘括了恽南田所有的画种。画中有退耕堂藏印。退耕堂为徐世昌的室名。\n恽寿平一生坎坷，饱经困苦，他幼年聪颖玲利，遭遇战乱，与兄皆被俘，与父亲失散，后遇灵隐寺方丈相救，才得以与家人团聚，归家后，发奋读书学画。经刻苦钻研，于古文、诗词、书画无不精擅。他崇尚气节，誓不应科举，少时的忧患，留下深深的创痛，一生未尝忘情。却在绘画上取得了很高的成就；恽南田曾致书王（翚）说：“格于山水，终难打破一字关，曰‘窘’，良由为古人规矩法度所束缚耳。”又说：“君独步矣！吾不为第二手也”。于是恽寿平转攻花鸟，以后山水不过偶而为之。可见其艺术抱负。《山水花卉册》中的山水，取黄公望笔法，于荒率中见秀润，尖毫勾皴，浓墨点树、高旷清淡，浸润宋元诸家，吸取王蒙、二米等人之长，渐脱刻极。40岁左右作品最为精采，如43岁的《山水花鸟册》，技法灵活多变，表达各家风貌准确，艺术已臻成熟。他的花鸟画成就最为突出，取法徐崇嗣的没骨法，他的没骨花卉，揉合了黄（筌）、徐（熙）两派技法，既重视写生，力求形似，“每画一花，必折是花插之瓶中，极力描摹，得其生香活色而后已。”又强调“与花传神”。力去华靡，追求“ 澹雅”。此册中的花鸟更是形神兼备，清新淡雅，具有新的风貌。",[25,330,109,86,87,331,332,150,7,206,91,168,69,333],"册","柳树","民居","清幽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdc695aa86b4de6eec57f11a4c771330.jpg",[],71,{"id":338,"slug":339,"title":340,"dynasty":81,"author":341,"museum":20,"description":342,"tags":343,"thumbUrl":345,"material":346,"size":347,"collection":348,"collections":349,"showCount":350,"zanCount":11,"manualWeight":11,"mainColor":101},221971,"lan-ting-xiu-qi-tu-quan-juan-wen-zheng-ming-221971","兰亭修契图全卷","文徴明","此图表现的是广为流传的文坛佳话“兰亭修褉”。文徵明的这幅画反映了东晋王羲之《兰亭序》中的景象。图绘崇山峻岭，溪流蜿蜒，溪畔众多文士或坐或卧，观赏着山光水色间淙淙溪水送来的酒觞，潜心构思。水榭上相对而坐的王羲之等3人正在评点已写毕的诗文。林木荫翳，丛竹泛翠，春色浓得醉人。\n《兰亭修褉图》为文徵明73岁时用青绿山水技法所绘。画面中山石树木先勾后染，工致严谨，笔笔精到。人物之衣纹、眉目简略，数根线条便勾勒出文人雅士潇洒的身形。全图设色明丽丰富，画面以青绿为主，淡施赭色渲染山脚坡石，浓而不失典雅，艳而别具秀润。\n卷尾下钤“徵明父印”、“徵仲父印”，右下有“雪坪心赏”、“杜氏藏画”印，左下有“与古维新”印。尾纸首段是文徵明临写王羲之所书的《兰亭序》，其后又有文氏行书自题一段：“曾君曰潜，自号兰亭，余为其写《流觞图》，既临褉帖，兰之复赋，此诗发其命名之意，壬寅五月。”“猗兰亭子袭清芬，珍重山阴迹未陈。高音漫传幽谷操，清真重见永和人。香生环珮光风远，秀茁庭阶玉树新。何必流觞须上巳，一簾（芳？）意四时春。文徵明”。钤“徵明印”、“悟言室印”。由此可知，因曾潜的号与“兰亭修褉”发生的地点相同，文氏便将这一题材入画，并为之题诗，贻赠友朋。尾纸另有王穀祥、陆师道、许初、文彭、文嘉、周复后的题跋。壬寅年为明嘉靖二十一年（1542年）。",[23,25,109,26,28,29,167,87,38,133,149,7,344],"竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bb0d378f8205d4f6be244afbdc9303a.jpg","金笺地，设色","纵24.2厘米，横60.1厘米","山水精选",[348],68,{"id":352,"slug":353,"title":354,"dynasty":18,"author":355,"museum":145,"description":356,"tags":357,"thumbUrl":359,"material":152,"size":153,"collection":47,"collections":360,"showCount":361,"zanCount":100,"manualWeight":11,"mainColor":101},289837,"shan-shui-shi-er-jing-tu-xia-gui-289837","山水十二景图","夏圭","为夏氏山水十二景中残存四景中的一部分。图展现平溪汀渚、湖水荡漾，渔舟出没，巨石峭壁，绿树成荫。通过山林，有港湾一泓，数艘渔舟停泊其间。此画山石用斧劈皴，先用水笔皴擦，然后落墨，具有水墨交融，淋漓酣畅的效果。",[23,24,25,26,109,86,87,206,149,30,7,37,358,168,167,69,91],"江景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b2cda136703b84ead22be2bcf7e2b48.jpg",[],67,{"id":363,"slug":364,"title":365,"dynasty":18,"author":203,"museum":145,"description":366,"tags":367,"thumbUrl":375,"material":152,"size":153,"collection":47,"collections":376,"showCount":377,"zanCount":11,"manualWeight":11,"mainColor":51},288302,"mo-gu-kai-zhi-luo-shen-fu-tu-yi-ming-288302","摹顾恺之洛神赋图","以长卷铺展这段缥缈情缘，起于河畔惊鸿初见，洛神凌波凭风，衣袂翩跹若流云回风。仙姝侍立，神兽随行，云车仪仗迤逦于川泽林莽间。\n画师以高古游丝描勾勒人物，线条匀细灵动，淡彩敷染晕出古朴雅致的气韵，将辞赋里的缱绻爱慕、依依怅别缓缓铺陈。山川林木错落点缀，水波微漾间，把人神相恋的怅惘诗意凝于绢素，让千年的浪漫情思在卷中流转不散。",[23,24,25,26,109,28,29,368,38,369,370,371,64,7,87,372,373,374],"临摹","美人","神仙","舟船","马匹","神话","洛神赋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c57e460baa6a03b77a4fd2f15d23fbb.jpg",[],65,{"id":379,"slug":380,"title":381,"dynasty":219,"author":382,"museum":20,"description":383,"tags":384,"thumbUrl":387,"material":388,"size":389,"collection":96,"collections":390,"showCount":391,"zanCount":11,"manualWeight":11,"mainColor":101},237575,"shan-shui-zhou-wang-shi-min-237575","山水轴","王时敏","本幅款署：“己酉初夏为公超词兄画。王时敏。” 钤“王时敏印”、“西庐老人”、“真寄”朱文印。\n“己酉”为清康熙八年（1669年），王时敏时年78岁。\n此幅构图为王时敏所作之常见格局，峰峦叠嶂，林木丛生，溪流小桥，屋舍隐现，一派江南的山水景象。用笔古秀，布局深远，以披麻皴写山石，浓墨点苔，意境近黄公望，为王氏代表作。",[24,25,109,148,86,87,385,7,130,150,225,251,386],"峰峦","点苔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62a92818843ca4d2b1ca7bd64f115128.jpg","纸本，墨笔","纵135厘米，横63厘米",[96,98],62,{"id":393,"slug":394,"title":395,"dynasty":18,"author":396,"museum":145,"description":397,"tags":398,"thumbUrl":400,"material":152,"size":153,"collection":47,"collections":401,"showCount":402,"zanCount":11,"manualWeight":11,"mainColor":51},288259,"jiang-shan-xiao-jing-tu-li-tang-288259","江山小景图","李唐","《江山小景图》描绘的是沿江的山水景观，可以分成上下两部分，画面上部，江水粼粼，空阔旷远，风帆出没其间。画面下部，横列一排山峰，高低参次，连绵不断。山峰上丛林密布，宫观楼阁，半隐半现。此图采用了上留天，下不留地的构图方式，风格既继承北宋传统，又暗示南宋特色。",[23,24,25,109,26,86,28,69,87,206,133,7,399,31,131,64],"瀑布","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ed7674380b1a209bd4836ce4ffa81e0.jpg",[],55,{"id":404,"slug":405,"title":406,"dynasty":143,"author":407,"museum":145,"description":408,"tags":409,"thumbUrl":411,"material":152,"size":153,"collection":47,"collections":412,"showCount":413,"zanCount":11,"manualWeight":11,"mainColor":51},287703,"hua-xia-shan-yu-yu-dong-yuan-287703","画夏山欲雨","董源","该幅画重峦叠嶂，曲涧迤逦。作者以长披麻皴画山，表现南方松软的土质，又以重墨渍染林木与点苔，以彰显夏日草木蓊郁，万物滋长的生气。本幅无款印，根据张雨的题识，定为董北苑之作，然而其笔墨板滞，与董氏不类，当为后代画家的仿作。",[23,24,25,148,86,69,87,30,7,225,410],"阴雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3115f2a48367716514ea86733373e74e.jpg",[],52,{"id":415,"slug":416,"title":417,"dynasty":18,"author":418,"museum":145,"description":419,"tags":420,"thumbUrl":425,"material":47,"size":47,"collection":47,"collections":426,"showCount":413,"zanCount":11,"manualWeight":11,"mainColor":51},227519,"yan-jiang-die-zhang-wang-shen-227519","烟江叠嶂","王诜","《烟江叠嶂图》是宋代画家王诜创作的一幅设色画，现藏于上海博物馆。\n《烟江叠嶂图》绘崇峦叠嶂陡起于烟雾迷漫浩渺空旷的大江之上，空灵的江面和雄伟的山峦形成巧妙的虚实对比。奇峰耸秀，溪瀑争流，云气吞吐，草木丰茂，显得蓬勃富有生气。画家以墨笔皴山画树，用青绿重彩渲染， 既有李成之清雅，又兼李思训之富丽。",[23,25,60,421,26,422,69,30,423,252,424,7,417],"设色画","青绿","江水","溪瀑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4632dd73f474257bd583fa36c4a4a423.jpg",[],{"id":428,"slug":429,"title":247,"dynasty":18,"author":192,"museum":145,"description":430,"tags":431,"thumbUrl":432,"material":152,"size":153,"collection":47,"collections":433,"showCount":434,"zanCount":11,"manualWeight":11,"mainColor":156},290235,"shan-shui-tu-fan-kuan-290235","范宽（约950—约1032），又名中正，字中立，陕西华原（今陕西铜川耀州区）人，宋代绘画大师。因为性情宽厚豁达，时人称之为“宽”，遂以范宽自名。范宽、董源、李成，并称“北宋三大家”。艺术成就使得范宽与李成齐名，并称“李范”，又与同为华原人的柳公权合称“柳范”。\n初学李成，后感悟“与其师于人者，未若师诸造化”，遂隐居终南、太华，对景造意，写山真骨，自成一家。其画峰峦浑厚端庄，气势壮阔伟岸，令人有雄奇险峻之感。用笔强健有力，皴多雨点、豆瓣、钉头，山顶好作密林，常于水边置大石巨岩，屋宇笼染黑色。作雪景亦妙。\n存世作品有《谿山行旅图》《雪山萧寺图》《雪景寒林图》等。\n2004年，美国《生活》杂志将范宽评为“上一千年对人类最有影响的百大人物”第59位。",[25,60,86,69,30,252,7,64,148,87],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F960de341b13a3055246c0d71ff699365.jpg",[],50,{"id":436,"slug":437,"title":438,"dynasty":143,"author":203,"museum":145,"description":439,"tags":440,"thumbUrl":444,"material":152,"size":153,"collection":47,"collections":445,"showCount":446,"zanCount":11,"manualWeight":11,"mainColor":51},288515,"dan-feng-you-lu-tu-yi-ming-288515","丹枫呦鹿图","林间丹枫如燃，浅黄、银白林木错落层叠，晕染出晚秋山野的温煦色调。群鹿或伫立凝神，或侧身相顾，姿态悠然舒展，与秋林融为一体，不见丝毫局促。古朴绢色晕开苍润氛围，勾勒细腻写实，将鹿的温驯灵动藏进丹枫暖影里，仿佛能听见呦呦鹿鸣穿林而过。画面把秋麓的幽寂与生机相融，铺陈出静谧古朴的林下意趣，尽显古画雅致沉凝的审美意韵，将秋日山野的恬淡诗意尽数晕染开来。",[23,25,24,148,28,29,441,442,443,7],"兽","鹿","丹枫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c9348f9312be6c4e52b3a99b56e965.jpg",[],49,{"id":448,"slug":449,"title":450,"dynasty":18,"author":396,"museum":145,"description":451,"tags":452,"thumbUrl":454,"material":152,"size":153,"collection":47,"collections":455,"showCount":446,"zanCount":11,"manualWeight":11,"mainColor":51},288471,"jiang-shan-xiao-jing-tu-quan-juan-li-tang-288471","江山小景图全卷","此卷并无李唐签款，有一方祥哥刺吉公主的残印在画卷末缘上端。此卷中描绘一段沿江的山水景观，山中有各式建筑与山径穿绕，江上亦见船帆往来，人物活动丰富多样。画中山体以深浓轮廓线勾勒，藉石青与石绿烘染质面，间以简略皴笔构成凹凸，营造出坚实的山石效果。此一画风特色虽是与两宋之际李唐、萧照相近，但用笔更近阎次平，推测是近于第二代南宋院体画风之作。",[23,24,25,109,26,60,69,28,453,7,31,206,64,168,91],"奇峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8dff97c40d039455fddefa58f3ab617d.jpg",[],{"id":457,"slug":458,"title":459,"dynasty":143,"author":407,"museum":145,"description":460,"tags":461,"thumbUrl":465,"material":152,"size":153,"collection":47,"collections":466,"showCount":467,"zanCount":11,"manualWeight":11,"mainColor":51},287427,"xia-jing-shan-kou-dai-du-tu-juan-hua-xin-dong-yuan-287427","夏景山口待渡图卷画心","用笔气势停匀，疏密浓淡，层层生发，甚为自然，笔笔皆活。其皴笔结体紧密，与冈峦的体势相生，融而为一。且有水晕墨章之妙，水坡之上，林木繁茂，而坡上浓淡，时以淡墨渲染，林间如透出阳光，极为生动。皴笔入骨，透于绢素，用笔一势，具方向感，运笔与气势，节奏相依存，为圆熟之境了。值得注意的还在于在其远山峰顶用笔有虚实、淡浓、隐现，极生动地表现了烟云出没，阳光明灭的空气感和空间感，真切地表现了夏山丽日下的神韵。与沈括所形容的董源《落照图》“远峰之顶，宛有反照之色，此妙处也”或米芾形容董源“峰顶不工”、“率多真意”，可以对看，一样佳妙。",[23,24,25,109,26,60,86,69,462,30,7,206,37,463,464,256],"湖泊","沙洲","水岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32afd29366d0913db08119a85bdb0e2a.jpg",[],48,{"id":469,"slug":470,"title":471,"dynasty":81,"author":472,"museum":473,"description":474,"tags":475,"thumbUrl":483,"material":484,"size":485,"collection":96,"collections":486,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":101},222836,"yan-huan-qiu-se-tu-xiao-yun-cong-222836","烟鬟秋色图","萧云从","天津博物馆","作品以平远式绘山水之景，远处云蒸霞蔚，画卷右侧山峦连绵，山涧中泉水流淌，汇合成溪，松柏苍翠，枫叶红遍山中；左侧地势平缓，河流平静，绿树成荫。",[23,25,26,28,69,87,88,180,64,133,150,149,252,67,476,7,477,478,225,130,385,479,480,481,482],"近景","丘壑","路径","苔点","墨色","线条","意境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b949075d1afc6f7f966f92e1cc53931.jpg","纸本 设色","30cmx590cm",[96,118],46,{"id":489,"slug":490,"title":491,"dynasty":18,"author":492,"museum":145,"description":493,"tags":494,"thumbUrl":497,"material":152,"size":153,"collection":47,"collections":498,"showCount":499,"zanCount":100,"manualWeight":11,"mainColor":51},287701,"lan-ting-xiu-qi-tu-juan-li-gong-lin-287701","兰亭修契图卷","李公麟","李公麟（1049～1106），北宋舒州（今属安徽桐城）人，宋代杰出画家。字伯时，号龙眠居士、龙眠山人，享年五十七岁。熙宁三年（公元1070年）进士。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。长于诗文，行楷书有晋人风。与王安石、苏轼、米芾、黄庭坚为至交，系驸马王诜之座上客。熙宁三年（1070）中进士，为中书门下省删定官，后官至朝奉郎。元符三年（1100）病痹告老，居家乡桐城龙眠山，号龙眠居士。一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。人物、道释深得吴道子旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。",[23,25,26,24,28,38,87,7,88,495,496,239,167,168],"兰亭修禊","文人雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F046924a3ed3772eda7257e744e0eb0d8.jpg",[],45,{"id":501,"slug":502,"title":503,"dynasty":18,"author":355,"museum":57,"description":504,"tags":505,"thumbUrl":506,"material":184,"size":153,"collection":47,"collections":507,"showCount":508,"zanCount":11,"manualWeight":11,"mainColor":51},288370,"chang-jiang-wan-li-tu-qian-juan-xia-gui-288370","长江万里图前卷","《长江万里图》是一幅长超过11公尺的手卷，画卷的前半段，以接近平视的角度近景特写岩块、林木，以及江行的舟船，表现长江三峡险峻和波涛汹涌的景观；后半段则是以俯视和远观的角度描绘江面上的活动，以及沿途所见秀丽的景色。从逼近观者的景物，转换到辽阔空旷的视野，这种构图的方式具有戏剧性的效果。在画卷最后，有元代鉴藏家柯九思的题字，鉴定这幅画作者是南宋夏珪。但是柯九思题字是后人伪造，所以这样的意见值得强烈怀疑。从时代风格来看，这种山水长卷的构图方式流行于明初，而在笔墨技巧方\n宋夏圭长江万里图卷\n宋夏圭长江万里图卷\n面，本幅的“斧劈皴”用同一方向的侧锋表现，而水纹的描绘也刻意强调浪花的造型和装饰效果，这些特征显示〈长江万里图〉的创作时代为十四世纪末至十五世纪初，可能是一张与明代宫廷画院风格密切相关的作品。",[23,24,25,26,86,87,69,30,423,112,64,133,206,252,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03e9a3edd0ece6ad4727600c15137ec4.jpg",[],44,{"id":510,"slug":511,"title":174,"dynasty":143,"author":175,"museum":145,"description":176,"tags":512,"thumbUrl":513,"material":152,"size":153,"collection":47,"collections":514,"showCount":515,"zanCount":11,"manualWeight":11,"mainColor":51},288526,"ceng-yan-cong-shu-tu-ju-ran-288526",[24,25,109,148,86,87,69,88,7,91],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facd3164fd8f949a0856660bec8ea7a0f.jpg",[],42,{"id":517,"slug":518,"title":519,"dynasty":219,"author":520,"museum":521,"description":522,"tags":523,"thumbUrl":535,"material":47,"size":536,"collection":96,"collections":537,"showCount":515,"zanCount":100,"manualWeight":11,"mainColor":101},238590,"ping-ding-liang-jin-chuan-de-sheng-tu-ce-ai-qi-meng-238590","平定两金川得胜图册","艾启蒙","德国国立柏林民俗博物馆","两金川即大小金川，位于今四川省西部，大金川是大渡河上流，小金川则是大渡河上流东面的一条支流，都为藏族聚居地。自元代开始，中央政府先后在两金川分设土司，令其各守疆界，相互牵制，借以捍卫边围。惟土司众多，彼此之间每因承袭土职或边界纠纷日寻干戈，仇杀不已。清初沿明旧制，颁授印信，大小金川接受清廷册封。土司们常以朝廷名号恃强掠夺，蚕食邻邦，不安住牧，声势日盛，边境不安，加之大小金川在地理位置上接近成都，远连卫藏，威胁到内地的安全，为求永靖边围，乾隆皇帝遂兴师进剿，乃有平定大小金川之役。\n《平定两金川得胜图》描绘了清乾隆十二年至四十一年（1747—1776年）清政府两次出兵平定四川大小金川叛乱的战绩。十六幅图分别为：收复小金川、攻克喇穆及日则丫口、攻克罗博瓦山碉、攻克宜喜达尔图山梁、攻克日旁一带、攻克康萨尔山梁、攻克木思工噶克丫口、攻克宜喜甲索等处碉卡、攻克石真噶贼碉、攻克葘则大海昆色尔山梁并拉枯喇嘛寺等处、攻克贼巢、攻克科布曲索隆古山梁等处碉寨、攻克噶喇依报捷、郊台迎劳将军阿桂凯旋、午门受俘、紫光阁凯宴成功诸将士。\n较之《平定准噶尔得胜图》，该组铜版战图在造型、透视、构图等方面受中国传统画法影响更深，整个画面多利用散点透视的方法，去掉了阴影和明暗对比，因而画面呈现出一种平面效果。树木、山石皆用线蚀法刻画，层次感和质感稍差。",[524,525,526,527,528,529,530,531,532,533,534,88,7],"铜版画","得胜图","画册","历史画","平定大小金川","山地","碉楼","士兵","战争场景","线蚀法","散点透视","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1b6be4afc3a400f4ea003bfdf7d4806.jpg","纵51cm，横88.5cm",[96],{"id":539,"slug":540,"title":541,"dynasty":125,"author":542,"museum":20,"description":543,"tags":544,"thumbUrl":550,"material":210,"size":551,"collection":96,"collections":552,"showCount":515,"zanCount":100,"manualWeight":11,"mainColor":51},218494,"xue-gang-du-guan-tu-ma-wan-218494","雪岗度关图","马琬","此图为雪景山水，描绘崇山峻岭均为积雪覆盖，崖头隐约点缀着短小的丛树，山谷间有林木、水榭掩映，雪雾烟岚在崖隙间弥散，山脚下，长松依然清翠昂然，整个画面散发着荒寒萧索之气。这种雪景的画法完全师从黄公望《九峰雪霁图》，画家利用绢索洁白的质地，以淡墨洪染出天空、水面，以墨笔淡淡勾出景物轮廓，显现出雪景的晶莹透明。自识“雪冈度关，文壁为彦明作”。",[23,24,25,109,148,545,86,546,547,179,7,35,548,549],"雪景山水","崇山峻岭","积雪","长松","荒寒萧索","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8bfe95f54c31280a2923ea9e42867e1.jpg","125.4厘米，横：57.2厘米",[96],{"id":554,"slug":555,"title":556,"dynasty":18,"author":557,"museum":57,"description":558,"tags":559,"thumbUrl":560,"material":152,"size":561,"collection":47,"collections":562,"showCount":563,"zanCount":11,"manualWeight":11,"mainColor":51},290283,"xi-shan-lou-guan-tu-yan-wen-gui-290283","溪山楼观图","燕文贵","《溪山楼观图》是一件立轴作品，代表北宋初全景式山水的典型。此图绘高远、深远景色，溪山重叠，自下而上，自近及远，繁复细密。在险峻的峰峦之中，显现出雄伟壮观的楼观殿宇，山崖下水榭回廊与水波浩渺的江面互相映衬，加上陡峭的山势与艰险的山径，使此画的境界雄浑沉秀，繁中见清。笔法尖劲峭丽，山石皴中有染，精细工整，是“燕家景致”的典型范例。",[25,24,60,148,69,88,7,64,149,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84b73be18e2ebf50025d87fd42a56693.jpg","103.9x47.4",[],41,{"id":565,"slug":566,"title":567,"dynasty":219,"author":568,"museum":569,"description":570,"tags":571,"thumbUrl":574,"material":135,"size":575,"collection":96,"collections":576,"showCount":563,"zanCount":11,"manualWeight":11,"mainColor":51},224480,"guan-shan-qiu-ji-tu-wang-jian-224480","关山秋霁图","王鉴","广州艺术博物院","此是王鉴摹吴镇的一幅名画，相同的画董其昌在其《小中见大》册中也临摹有一幅，构图相同，说明两人都是忠实于原作的临摹。此幅水墨淋漓，与吴镇用笔用墨十分相似，可见王圆照摹古功力之深。",[23,25,109,148,28,69,87,572,180,64,150,149,133,88,240,130,225,7,385,573,252],"山脉","栈道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F312f5a5f9f6caa2841fbb84103d97470.jpg","177x95厘米",[96,98],{"id":578,"slug":579,"title":580,"dynasty":81,"author":581,"museum":473,"description":582,"tags":583,"thumbUrl":588,"material":589,"size":590,"collection":96,"collections":591,"showCount":563,"zanCount":11,"manualWeight":11,"mainColor":51},222583,"fang-yi-feng-shan-shui-lan-ying-222583","仿一峰山水","蓝瑛","蓝瑛（1585-1664），一说（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂” ，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻嶒，与文征明、沈周并重。作品有：《秋山红叶图》《江皋话古图》《白云红树图》《松岳高秋图》《苍岩嘉树图》等，其画派在晚明影响甚大，传其画法者甚多。\n蓝瑛 （1585-1664），一作（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂”，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n蓝瑛一生以绘画为职业，曾漫游南北，饱览名胜，眼界开阔，因而不断丰富了创作内容。他的传派，直接继承衣钵的有蓝氏一家子孙，如蓝孟、蓝深、蓝涛等，弟子刘度、王奂等都各有成就。明末同时和稍后的如陈洪绶以及金陵八家等著名画家，也都受他的影响。\n蓝瑛绘画对明末清初影响很大，被后人称为“武林派”。画史上称之为“后浙派”，将其与戴进、吴伟合称“浙派三大家”。 [2] 但实际上他的画风与戴进等不同，不能完全附属于“浙派”之后。蓝瑛字田叔，号蜨叟，晚号石头陀，又号东郭老农，所居榜额曰“城曲茅堂”。\n蓝瑛是我国明末清初的画家，曾有美术史家把他列为“浙派”，对此，有专家学者提出异议认为：蓝瑛与戴进之间既无师承关系，在绘画面貌、艺术风格上也大相径庭，故不应因二人同处浙江杭州而列为同一画派“浙派”。\n清代沈宗骞在《芥舟学画编》中提出“蓝瑛倡为武林派”，蓝瑛和他的追随者们应称为“武林派”。我们知道，画史上有一些画家因种种原因没有留下更多的生平资料，使后人很难从他们一生的行踪、生活背景、个性脾气、思维方式中去了解他们所形成的艺术风格、审美理念，只能从他们留存于世的绘画作品中去洞察其艺术之轨迹，蓝瑛就是这众多画家中的一位。长期以来，学术界对文人画家及其作品比较重视，由于蓝瑛是一位职业画家，又没有诗文和著作留存于世，因此在画史上很少有关于他的记载和涉及。本文试通过对蓝瑛绘画作品的具体分析，来阐述蓝瑛山水绘画的艺术特色和所取得的成就。\n画家的创作理念和他个人所生活的时代、环境、文化素养、审美标准是分不开的。蓝瑛作为明末清初的画家，他的绘画风格同样也脱离不开他所生活的时代。因此，在探讨蓝瑛山水绘画的艺术特色之前，我们首先要对蓝瑛的生平及师承有所了解。\n蓝瑛，生于公元1585年，卒年不详，1664年尚在，字田叔，号蜨叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号西湖外民、西湖外史、东郭老农、吴山农等，所居榜额曰“城曲茅堂”。生长于“浙派”发源地钱塘(今浙江杭州)，二十三岁寓居松江，后来长期活动于杭州、嘉兴、南京、扬州、绍兴等地，卖画授徒，影响深远，追随者主要集中于杭州一带，被称为“武林派”(武林为今杭州别称)，在明末万历到清初康熙年间足以与“松江派”抗衡。其画风融合南北两宗，自成一家，属于一位文人画的职业画家。清代以来不少学者把蓝瑛称为“浙派”的“后劲”或“殿军”。\n他工书善画，长于山水、竹石、梅兰、人物、花鸟等，技法全面，尤以山水画著名，是明末清初颇具影响力的山水画家。他的绘画特点比较明显的是用笔有顿挫，以疏秀苍劲取胜，善写秋景。在其作品的题款中，常署仿某家之作，如“仿张僧繇”、“法荆浩”、“仿李成”等，实则所画均为他自己的面目。他的山水绘画画法有两种：一种作钩勒浅绛法，另一种作没骨法，设色鲜艳夺目，所画青山、红树、白云，运用石青、石绿、朱砂、赭石、铅粉诸色，点染别致，是晚明时期富有变化的山水绘画作品。蓝瑛享年八十有余，一生以绘画为职业，笔耕不辍，传世的绘画作品面貌多样，数量众多。\n从蓝瑛传世的作品看，他的山水画创作大致可分为早、中、晚三个时期。早期为其五十岁以前。从现存蓝瑛早期的绘画作品中可以看出，他在临习古人绘画作品的过程中，打下了扎实的笔墨功底。在艺术成就的取得上，他主要得益于黄公望、王蒙、倪瓒、吴镇的助力。元四家的笔墨虽不尽相同，但蓝瑛在学习他们的绘画技法时却能择良而取，并注意吸取对自己有用的东西，藉以丰富个人的表现能力。博采众长，应该是一个艺术家取得成就的途径之一，这也是我国艺术史上久经证明的成功经验。此时蓝瑛作品呈现出的面貌基本是以中锋运笔，皴法以长披麻皴、解索皴、荷叶皴为主。山石的画法润泽浑圆，没有过多的棱角，苔点圆润。树木的画法则是多种多样，体现了他绘画技法的娴熟。在构图上，近景的树木与远景的山峦之间具有明显的空间感。设色平淡和润，风格秀润清和，疏松简略。\n《溪山秋色图》为癸丑新秋(1613年)，画家29岁时创作的一件传世绘画佳作。画卷右起为辽阔的水域，远山朦胧，云气蒸腾。中部山石突起，溪水潺潺，蜿蜒的水流从山石间缓缓淌过，坡石上零星地分布着杂草树木。整幅画作淡泊宁静，用笔柔和，山石少皴，偶有淡淡的荷叶皴，构图松秀，设色清和，墨色滋润，从中可看出蓝瑛此时的绘画受“松江派”绘画风格影响之痕迹。\n《仿李唐山水图》是蓝瑛早年创作的一件绘画作品。图中景物茂密，近景岩石累累，形成坡坨，处于曲流之畔。坡石上树木茂蔚，造型古朴，刻画细致，疏密枯润，各显生态。树林间有一茅亭临于溪边，亭内二隐士对坐畅聊。隔溪远景是巨石高峰，岩石突兀奇特，下有瀑布，泻入清溪。整个画面山石崚嶒，古树结节，山石的皴法，以小斧劈皴、刮铁皴相济并用，稍以色彩点簇，水墨晕染，刚中见柔。布局稳当，气氛清谧。远山近树，继承了李唐院体画派的风范而自有发挥，作品较多地留有宋代遗风。\n中期为五十至六十五岁之间。这时他不但取法郭熙、李唐及马远、夏圭，而且对二米、云山也精心研究，对黄公望的画更是悉心尤力。时人吴门画派沈周、文徵明的笔法他也热心师效。加之他漫游南北涉猎广泛，眼界宽广，兼融南北，形成了苍劲雄强、骨力刚硬的个人风格，此时的蓝瑛已经达到能“分别宋元家数，某人皴梁法脉，某人蹊径勾点，毫不差谬”的水平。他以自己对各家绘画特色的见解，以中锋、侧锋交替运笔，用各种皴法、点苔法熟练地画出各种形态的山石、树木。以各家的典型构图，或高远或平远，或简或繁，显现出一种笔墨苍劲、气势雄浑的境界，反映出他在三十余年仿古绘画的实践中渐渐脱开单纯的临与仿，开始形成了自己独立的绘画风格。\n《仿古山水册》作于乙亥春仲(1635年)，画家时年51岁。此山水画册的风格以临黄子久为主，笔触粗短，用笔方折，山石少皴，偶用折带、荷叶皴，略加修饰，山石敷以淡青绿和浅绛，加浓墨苔点醒神，用笔简练，设色淡雅。全册共计十二幅，每幅均可见蓝瑛中年绘画之风格。首幅水墨画枯树数株，槎枒矗立，画上题云：“云林之法，妙在简远。瑛法之，未必耳。笑笑。”第二幅浅设色画，一红衣士人立于松下，隔岸观瀑，画上题云：“偶法郭河阳画。西湖外史蓝瑛。”第三幅设色画临水岩上，桃红满树，舟人浮江而行，款“蓝瑛画”。第四幅设色画村舍数间，丛树环绕，小桥流水，画上自题：“赵令穰画法，蓝瑛。”第五幅设色画层峦飞瀑，草阁间士人独坐，画上自题“蓝瑛法大痴画”；第六幅水墨画水畔虚亭，自题：“梅华道人画法，画于富春之吉祥山房。蓝瑛。”第七幅设色画青山红树，画上题云：“元之高彦敬尚书画法米南宫，有白云红树画。蓝瑛仿之。”第八幅设色画层峦蓊郁，群树繁茂，士人独坐水岸，观泉听瀑，自题“王黄鹤听泉图。蓝瑛法。”第九幅设色画苍松红树，孤舟临岸，画上题云：“赵仲穆画似其翁，一段秀古，自成别门。蓝瑛法。”第十幅设色画秋林丹翠，篷舟沿溪，自题：“乙亥春仲法李唐画。西湖外史蓝瑛。”第十一幅设色画秋林丛聚，清雾弥漫，士人独行，自题：“法松雪斋秋林觅句。蓝瑛。”第十二幅设色画，白雪覆树，水岸亭间，士人观景，自题：“乙亥春仲法右丞画。蓝瑛田叔。”\n《乔岳松年图》是蓝瑛55岁时为宁庵祝寿时所绘。画上的景物，笔墨苍劲，山石突兀嶙峋，白云在山间缭绕，远处的楼阁隐现于流动的烟雾之中，时隐时现，增加了画面的动感。画之近处有九株苍干虬枝的古松，繁密的松针，碧绿青翠，使得画面苍浑郁茂，平添了清新的气氛。在松树的掩映下有一茅亭，亭内一老者正在观赏那飞流而下的瀑布。整个画面笔墨精到，用色灵巧，再加上山石间有规律的点以苔藓，使得画中的景物更加雄奇壮观。\n晚年为六十五岁以后，这是蓝瑛一生中最精彩的时期。此时他在融会贯通前人技法的基础上，自立门户，形成了自己的绘画风貌。有人评其晚年画风“绝似仲圭，复似启南”，一语道出蓝瑛画风在渊源上与文人画的关系和晚年苍劲雄浑的画风。从此时期的作品来看，笔法苍劲疏宕，伟峻老练，画风呈多种面貌，有些作品笔墨含蓄隽雅，有些作品青绿重设色，画法工细，色调浓丽，愈老而愈工。这一时期他主要以敏捷快速的粗笔山水为主，山石的轮廓线短小、破碎、躁动，以破笔点苔，以侧锋皴擦；树木的画法更加曲屈苍老和类型化。构图上也基本形成了一种统一的样式：巍峨雄伟的山体以棱角分明的几何体组成并繁复堆积，占据画面的大部分且多偏向一侧，而于另一侧留出一定的空间，山顶突出。山间有飞瀑丛树，山脚以渔樵隐士、老树茅屋点缀。同时出现了山体的立轴画中纵向拉长，在手卷中则横向延伸的变形现象。晚年的作品中没有了早期所保留的一定的空间感，代之以一种逼人的气势，无论是仿荆浩、董源还是仿黄公望，在风格和笔墨上已经没有了差别，它们都已化为蓝瑛的典型山水样式。蓝瑛晚年的作品，笔益精良，构图高嶂巨壁，丘壑深远，重山叠翠，更加苍浑古朴。\n《华岳高秋图》作于1652年，画家时年68岁。画中远景，高山耸立，山顶作平台状，山隈深处，楼阁崔嵬，流泉飞溅，山石勾勒线条硬折，运用荷叶皴、折带皴和牛毛皴，树草稀少，显得崚嶒。中景，群山环绕之中，筑有楼榭，溪流淙淙而下，老树粗壮，用短笔勾成，树叶采用双勾夹叶填色，松针用传统笔法，排列有序，挺拔有力，不失古气。水口用笔转折生硬，受南宋影响，类似浙派。近景，山径迂回，满山红树，二高士漫步小道，观瀑笑语。构图气势雄伟，笔势刚健豪迈。山石用荷叶皴，参以折带皴加水墨渲染，罩花青赭色，树木苍劲，枫叶明丽，描绘出华岳的深秋景色。\n《秋壑飞泉图》为蓝瑛74岁时所作的传世佳作。该画尺幅巨大，气势磅礴，画心高近四米，颇见蓝氏构图设景之能力所在，作品凝聚了画家毕生的技艺与功力。画面层峦耸翠，幽谷深邃，轻岚浮动，红树青山。山谷间的飞瀑和桥上的高士顾盼有情，高远及深远相结合，是典型的蓝氏山水画之模式。画中的高山巨峰，上部的山石重叠峻峋，瀑布悬崖，飞泉溅落。中部巨石杂树间有一茅亭，一人于内赏景，稍下建筑数座，红叶映天，浮桥卧地，小桥上二叟持杖交谈，颇有生活意趣。从这幅绘画的技法上，可以看出他在融汇前人技法方面的成就，也能看出他在创新方面的景物。作者采用“荷叶皴”，在形式与内容方面得到了和谐的结合，取得了较好的效果。那独具特点的置苔，尤显得画面苍润而厚重。有些树叶以赭色画出，突出了节令气氛，使画面秋意盎然。该画构图雄伟，气势阔大，足见蓝瑛博大精深的笔墨造诣。\n纵观蓝瑛早、中、晚三个时期的绘画作品，大体可以得到这样一些认识：早年的作品，是学宋代诸大家的笔法，尤其是学元四家的作品。此时笔法较细润，明显地呈现出某派的笔法痕迹。中年，在学习前人技法的基础上开始变法，也就是向开创独特风格的途程上逐步迈进。晚年则开创了一种雄伟浑穆的独特面貌，画不离苔以及多画秋景，善施赭色，巧用荷叶皴等等，也都是蓝瑛作品的特点。\n蓝瑛的山水画艺术成就，得益于他“性耽山水”。虽然他下苦功夫临习了晋唐宋元诸家，并达到了精妙乱真的程度，但他不以摹仿为能事。他不仅擅于师古人之意进行变革创新，而且还注重生活，注重行万里路，饱游饫看，“游闽粤荆襄，历燕秦晋落，涉猎既多，眼界弘远”。因为他胸中有真丘壑的观察积累，眼界开阔，所以能落笔纵横，水墨淋漓，独创一格一派—武林派。蓝瑛的绘画，影响广泛，师法他的人可分成三类：一类是蓝瑛的嫡传弟子，如早期的刘度、蓝孟等人；第二类是出自蓝瑛的嫡传弟子门下或模仿蓝瑛画风的职业画家，如蓝涛等；第三类是早年曾经出自蓝氏门下，后来自立门户创立了独立画风的陈洪绶、禹之鼎等。千百年来，为祖国锦绣山河传神写貌的画家，能够开宗立派的屈指可数。蓝瑛的绘画崛起于江南，熔铸古今，独开门庭，这是难能可贵的。",[23,25,28,69,87,180,88,133,224,149,305,130,584,385,477,7,164,307,479,585,586,587],"松","淡赭","山石皴染","树木勾勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2731e556314b70131bad67ebbce5091.jpg","纸本，水墨","74.1×161.7cm",[96,98],{"id":593,"slug":594,"title":595,"dynasty":219,"author":327,"museum":20,"description":596,"tags":597,"thumbUrl":598,"material":228,"size":599,"collection":96,"collections":600,"showCount":563,"zanCount":11,"manualWeight":11,"mainColor":101},220105,"mao-lin-shi-bi-zhou-yun-shou-ping-220105","茂林石壁轴","恽寿平（公元1633—1690年），清代书画家。初名格，字寿平，后以字行，改字正叔，号南田、白云外史等，江苏武进人。他一生坎坷，以卖画为生。其山水宗宋、元诸家，尤得益于黄公望。后改习花鸟，其没骨花卉创一代新风，为“清初六大家”之一。 亦工诗、朽，著有《瓯香馆集》、《南田诗抄》。传世作品有《落花游鱼图》轴、《锦石秋花图》轴等。",[23,25,148,86,87,69,88,129,7,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5da1eec41de8c823ec9d4768363849cc.jpg","纵118厘米，横57厘米",[96,98],{"id":602,"slug":603,"title":604,"dynasty":18,"author":203,"museum":605,"description":606,"tags":607,"thumbUrl":609,"material":47,"size":47,"collection":73,"collections":610,"showCount":563,"zanCount":11,"manualWeight":11,"mainColor":611},201746,"xi-shan-tu-juan-yi-ming-201746","溪山图卷","上海博物馆","画面峰峦层叠，皴染结合的山石质感浑厚，如剑戟般刺破云雾。轻烟似纱缠绕峰谷，虚实相生间拓展空间纵深。山间林木葱茏，墨色浓淡交错尽显苍劲生机；溪畔屋舍隐现，与流水、舟楫相映，添了几分人间烟火气。远处水天相接，朦胧远山若隐若现，整体意境悠远静谧，尽显宋代山水画的雅致与深邃。",[25,87,26,86,69,252,88,7,130,225,608,23],"舟楫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e50403cbfddbda8fae18d4254da81a2.jpg",[73],"82786f",{"id":613,"slug":614,"title":615,"dynasty":18,"author":616,"museum":145,"description":617,"tags":618,"thumbUrl":623,"material":152,"size":153,"collection":47,"collections":624,"showCount":625,"zanCount":100,"manualWeight":11,"mainColor":51},288940,"xiao-xiang-ba-jing-yan-si-wan-zhong-wang-hong-288940","潇湘八景-烟寺晚钟","王洪","金碧招提古，高峰最上层。喧风僧入梵，宿雾佛前灯。禅观延空寂，蒲牢忽震凌。黄昏山路险，窘步一枝藤。",[25,24,26,87,86,69,30,149,619,7,252,620,621,622],"古寺","悠远","潇湘八景","烟寺晚钟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3166e7284dc5ff42ff0284cdff74ab71.jpg",[],39,{"id":627,"slug":628,"title":629,"dynasty":81,"author":630,"museum":145,"description":631,"tags":632,"thumbUrl":638,"material":47,"size":47,"collection":96,"collections":639,"showCount":625,"zanCount":11,"manualWeight":11,"mainColor":101},235817,"shan-shui-ce-li-liu-fang-235817","山水册","李流芳","此作以平远视角绘就郊野秋光，浅滩秋水澄澈空蒙，远岸林影澹澹如幻。近岸杂木荣枯相间，掩映村居茅舍，草垛朴拙错落，尽是乡野闲趣。\n\n笔墨简淡苍润，以淡赭晕染出温柔秋意，勾勒皴擦松灵随性，无浓艳铺陈，却将江南秋日的清寂闲适尽数铺展。搭配题诗相映成趣，师法吴门风神，把文人幽居的澹然襟怀融于浅淡笔墨间，萧散天真，尽显晚明文人画雅逸空远的意趣，于平淡间见风神。",[25,109,330,86,28,69,87,180,88,224,633,634,635,7,636,332,637],"河流","平远","淡彩","坡岸","水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9287426ebcc1b5a52c748d89a972a0b.jpg",[96,640],"花鸟画精选",{"id":642,"slug":643,"title":644,"dynasty":143,"author":175,"museum":57,"description":645,"tags":646,"thumbUrl":647,"material":152,"size":648,"collection":47,"collections":649,"showCount":650,"zanCount":11,"manualWeight":11,"mainColor":51},289894,"xi-shan-lin-sou-tu-ju-ran-289894","溪山林薮图","此画以 “近观式”取景,画中景物填满绢布。高耸云表的山峦雄居于画幅上部，山头布有矾头状的卵石，下部冈阜林木葱郁，掩隐楼阁屋宇，前部有坡岸溪水，展示一片宁静清谧的意境。此画前景的土坡芦苇及平远溪谷均与现传董源画作相似,但远景采用高远构图的主山所造成类似北宋初年“雄伟”气势的作风,已是巨然深受华北山水画风影响的结果。因此，巨然的个人画风实为融合南北两地的景观,进而表现出一种秀丽与宏观兼备的视觉美感。",[25,24,86,87,148,69,291,149,30,7,168,91],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92da5c8f669d3b47216419029f0aafd7.jpg","221.3x119.7",[],38,{"id":652,"slug":653,"title":654,"dynasty":18,"author":418,"museum":145,"description":655,"tags":656,"thumbUrl":659,"material":152,"size":153,"collection":47,"collections":660,"showCount":661,"zanCount":11,"manualWeight":11,"mainColor":51},288552,"qing-lv-yan-jiang-die-zhang-tu-wang-shen-288552","青绿烟江叠嶂图","王诜[shēn]（公元约1048年—公元约1104年），字晋卿，太原（今山西太原）人，后迁汴京（今河南开封），北宋画家。\n北宋熙宁二年（1069年）娶英宗女蜀国大长公主，拜左卫将军、驸马都尉。元丰二年，因受苏轼牵连贬官均州。元祐元年（1086年）复登州刺史、驸马都尉。擅画山水，学王维、李成，喜作烟江云山、寒林幽谷，水墨清润明洁，青绿设色高古绝俗。亦能书，善属文。其词语言清丽，情致缠绵，音调谐美。存世作品有《渔村小雪图》《烟江叠嶂图》《溪山秋霁图》等。",[23,25,24,26,60,422,28,30,423,7,657,658],"烟霭","汀岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d18734f1541c79770ce4644147acf82.jpg",[],37,{"id":663,"slug":664,"title":665,"dynasty":143,"author":407,"museum":145,"description":666,"tags":667,"thumbUrl":671,"material":152,"size":153,"collection":47,"collections":672,"showCount":673,"zanCount":11,"manualWeight":11,"mainColor":101},288280,"xiao-xiang-tu-dong-yuan-288280","潇湘图","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），首席军机大臣，上书房总师傅，钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，赠太傅，赐谥号文恭，入祀贤良祠。嘉庆亲写哀诗“只有文章传子侄，绝无货币置田庄”，并亲自拨款建立“董公祠”。",[23,24,25,26,109,86,28,69,87,31,206,668,7,669,168,167,670,91,256],"洲渚","飞鸟","草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c04f28d3f8ad6d8dd07d6e129dad267.jpg",[],36,{"id":675,"slug":676,"title":677,"dynasty":81,"author":678,"museum":145,"description":679,"tags":680,"thumbUrl":681,"material":152,"size":153,"collection":47,"collections":682,"showCount":673,"zanCount":11,"manualWeight":11,"mainColor":101},283734,"zeng-ke-xue-shan-shui-tu-juan-dong-qi-chang-283734","赠珂雪山水图卷","董其昌","董其昌（1555年2月10日—1636年10月26日），字玄宰，号思白、香光居士，松江华亭（今上海市）人。明朝后期大臣、书画家。正如李志敏所说：“主张学古变古，但在书法神韵问题上的迷信观念，却比古人尤有过之”。\n万历十七年，考中进士，授翰林院编修。一度担任皇长子朱常洛的讲官。历任湖广提学副使、福建提学副使、河南参政，因病辞职。泰昌元年（1620年），明光宗朱常洛继位，授太常少卿、国子司业，参修《明神宗实录》。天启五年（1625年），出任南京礼部尚书，因事辞官。崇祯五年（1632年），出任太子詹事。崇祯七年（1634年），回归乡里。崇祯九年，去世，谥号“文敏”。\n董其昌擅于山水画，师法于董源、巨然、黄公望、倪瓒，笔致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡；青绿设色，古朴典雅。以佛家禅宗喻画，倡“南北宗”论，为“华亭画派”杰出代表，兼有“颜骨赵姿”之美。存世作品有《岩居图》《明董其昌秋兴八景图册》《昼锦堂图》《白居易琵琶行》《草书诗册》《烟江叠嶂图跋》等。画作及画论对明末清初的画坛影响甚大。书法出入晋唐，自成一格。作品《戏鸿堂帖》（刻帖）。颇能诗文，著有《画禅室随笔》《容台文集》等。",[23,25,26,109,86,87,168,167,69,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10c500429c2c8c477ba68a84e27e3ef7.jpg",[],{"id":684,"slug":685,"title":686,"dynasty":219,"author":687,"museum":145,"description":688,"tags":689,"thumbUrl":691,"material":47,"size":47,"collection":96,"collections":692,"showCount":673,"zanCount":100,"manualWeight":11,"mainColor":51},238234,"wu-zhong-shan-shui-tu-juan-zhang-zong-cang-238234","吴中山水图卷","张宗苍","公元1751年，乾隆皇帝南巡，张宗苍进献了画册《吴中十六景》，深得乾隆皇帝的欣赏，后来进入清宫廷画院供奉，为宫廷作画，是乾隆时期一位重要的宫廷画家。清代宫廷绘画在清代绘画史上有着重要的地位，特别是乾隆时期，设立了如意馆广收人才，创作了很多纪实、历史故事、宗教及装饰题材的作品，具有特殊的历史与艺术价值，在乾隆一朝的宫廷画家中，张宗苍是很重要的一位。张宗苍的山水画，画风苍劲，用笔沉着。山石皴法多以干笔积累，林木之间使用淡墨，干笔和皴擦的手法相结合，表现出了深远的意境和深厚的气韵，一洗宫廷画院惯有的甜熟柔媚的习气，特别被乾隆皇帝所喜爱。",[25,26,60,86,69,690,87,64,150,133,88,7,149,224,252],"干笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7deab10c68df88dc06873ce369f679d.jpg",[96,118],{"id":694,"slug":695,"title":696,"dynasty":125,"author":697,"museum":57,"description":698,"tags":699,"thumbUrl":702,"material":28,"size":703,"collection":96,"collections":704,"showCount":673,"zanCount":76,"manualWeight":11,"mainColor":51},221860,"jiang-shan-fang-ting-tu-zhou-zhao-yong-221860","江山放艇图轴","赵雍","村屋几家，散置在坡旁石侧，远处烟岚横隔了高峻的山岭。在飘渺的山脚，一道溪泉缓流而来。溪面上，有人乘舟悠游，一种清逸之气，浮动在朴实而宁静的画面里。明董其昌认为这幅画是赵雍的真迹。",[23,25,60,24,148,69,28,87,206,180,88,149,224,112,700,30,701,7],"小船","岸石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd740c6e19802a334b71ce2b65171c6ec.jpg","该幅 160.6x104.9公分；诗塘 17.3x104.6公分；全幅 107公分",[96,98],{"id":706,"slug":707,"title":708,"dynasty":18,"author":203,"museum":145,"description":709,"tags":710,"thumbUrl":712,"material":45,"size":713,"collection":73,"collections":714,"showCount":715,"zanCount":11,"manualWeight":11,"mainColor":51},223503,"song-yan-xian-guan-yi-ming-223503","松严仙馆","图绘崇山中的多处建筑群，自上而下分部。画面顶端在绿树的围绕中，多座房顶露出，房屋建造宏伟，青瓦飞檐，四方端正，应为图名“仙馆”了；画中部所绘山石断面很有特色，细线勾勒整齐而光滑；近处流水涓涓，两边绿树苍翠，实为世外桃源之美景。",[23,25,109,60,28,29,69,584,64,88,180,149,67,252,305,711,7],"峭壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc06f5b71e8e16df60afd252093360347.jpg","60x89.15cm",[73,96,98],34,{"id":717,"slug":718,"title":719,"dynasty":720,"author":203,"museum":57,"description":721,"tags":722,"thumbUrl":724,"material":135,"size":725,"collection":96,"collections":726,"showCount":715,"zanCount":11,"manualWeight":11,"mainColor":51},219369,"wu-kuan-shan-shui-zhou-yi-ming-219369","无款山水轴","不详","这幅山水轴以细腻笔触勾勒出静谧悠远的自然之境。前景林木扶疏，枝干交错间掩映着几椽茅舍，似有幽人闲坐，静听溪涧潺潺。中景溪流蜿蜒，石矶错落，墨色层次分明，尽显生机。远山层叠，云雾轻笼，墨色由浓转淡，渐次隐入天际，拓展出深远的空间感。山石皴染结合，苍劲中见温婉；树木点染有致，姿态自然生动。整体色调古雅沉静，笔墨意趣盎然，将自然之美与文人隐逸情怀融于一体，引人沉浸其中，体味那份远离尘嚣的恬淡与自在。",[24,25,60,148,86,69,28,7,62,130,88,252,275,723],"恬淡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7339aa747e902c48320949a28e177acb.jpg","84.5x65.6",[96],{"id":728,"slug":729,"title":730,"dynasty":143,"author":407,"museum":57,"description":731,"tags":732,"thumbUrl":736,"material":152,"size":153,"collection":47,"collections":737,"showCount":738,"zanCount":11,"manualWeight":11,"mainColor":51},289893,"xia-shan-yu-yu-tu-dong-yuan-289893","夏山欲雨图","作者以长披麻皴画山，表现南方松软的土质，又以重墨渍染林木与点苔，以彰显夏日草木蓊郁，万物滋长的生气。本幅无款印，根据张雨的题识，定为董北苑之作，然而其笔墨板滞，与董氏不类，当为后代画家的仿作。",[23,24,25,87,86,69,30,7,733,734,735,148,109],"村居","田野","雨意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F554d2a856f62dacda937b5e2a3cce51a.jpg",[],33,{"id":740,"slug":741,"title":742,"dynasty":18,"author":203,"museum":605,"description":743,"tags":744,"thumbUrl":750,"material":47,"size":47,"collection":47,"collections":751,"showCount":738,"zanCount":11,"manualWeight":11,"mainColor":752},202651,"qiu-shan-xiao-si-tu-juan-yi-ming-202651","秋山萧寺图卷","秋意浸染的山水长卷中，层峦叠嶂次第铺展。近山嶙峋，以细密皴法勾勒山石肌理，草木葱茏间隐现萧寺屋宇；远山含烟，墨色渐淡融入天际，与开阔河面相映成趣。河面如镜，几叶扁舟轻泛，岸边林木疏朗，秋意萧疏却不失生机。笔墨细腻处见严谨，雄浑间藏气韵，将秋日山水的清寂悠远与自然野趣完美融合，尽显宋画山水的雅致风骨与意境之美。",[25,87,69,26,745,746,747,7,748,749,23],"秋山","萧寺","扁舟","层峦","笔墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58eda14d30dd31cd65ccc33e29b11079.jpg",[],"000000",{"id":754,"slug":755,"title":756,"dynasty":219,"author":757,"museum":145,"description":758,"tags":759,"thumbUrl":763,"material":47,"size":47,"collection":47,"collections":764,"showCount":765,"zanCount":100,"manualWeight":11,"mainColor":51},235561,"wan-shan-cang-cui-tu-zhou-gao-cen-235561","万山苍翠图轴","高岑","《万山苍翠图》是中国清代画家高岑的国画作品，又称《清高岑万山苍翠图》，是一幅描绘山水景色的水墨画，作品收藏于 。\n《万山苍翠图》是皇家手绘精品，万山苍翠逼寒空，细路迂回古木中，澹澹夕阳堪倚杖，霜枫几点上衣红。\n此款产品是一幅手绘山水图。\n山体层层叠叠，伸向远方，悬崖上的苍松巍然屹立，代表了高洁的志向和昂扬的斗志。\n寓意：意境高远，勇攀高峰。\n《万山苍翠图》笔墨严谨劲秀，披麻皴画山石，淡墨渲染。\n老树挺拔，树木繁多，密而不乱，树叶以夹叶、点叶并用。\n树石罩以淡花青赭石色。\n山川林木茂密，万山苍翠。\n古寺、楼阁、村舍、山泉、船艇，设景似是江南秀丽富饶之乡。\n老者策杖过桥，农者田间劳动，富有生活气息。\n笔墨秀峭，气势雄伟。\n自题：“万山苍翠逼寒空，细路纡回古木中，澹澹夕阳堪倚杖，霜枫几点上衣红。\n画并题呈学迂先生教正。\n石城高岑。\n” ，生卒年不详，清初画家。\n字善长，又字蔚生，浙江 人，居 （今江苏南京）。\n阜（宇康生）弟。\n好学中、晚唐诗，并学画。\n初师僧七处，后自出机杼。\n山水迹近蓝瑛，用笔精到，无粗犷气；写意花卉，清秀入神。\n与龚贤、樊圻、邹桔、吴宏、叶欣、胡糙、谢荪为金陵八家。\n传世作品有《秋山万木图》、《林荫评古图》、《凤台秋月图》、《 》。",[24,25,109,148,28,69,87,760,761,132,584,224,206,291,252,762,88,7,637],"山","水","村落","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a51013b654eb01b06e59743d39cf6f0.jpg",[],32,{"id":767,"slug":768,"title":769,"dynasty":18,"author":192,"museum":145,"description":770,"tags":771,"thumbUrl":773,"material":152,"size":153,"collection":47,"collections":774,"showCount":775,"zanCount":100,"manualWeight":11,"mainColor":156},289335,"xue-shan-lou-ge-tu-fan-kuan-289335","雪山楼阁图","此画结构严谨，气势雄伟。画面左下角有渔夫正卖鱼于顾客，山间小路上的行人冒匆匆赶路，形态生动，比例自然，形象与《溪山行旅图》中的商旅有异曲同工之妙。",[23,24,25,87,148,86,69,772,64,149,88,7,61],"雪山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F704b93ef24a7e30310fee13f95f51e5b.jpg",[],31,{"id":777,"slug":778,"title":779,"dynasty":125,"author":302,"museum":57,"description":780,"tags":781,"thumbUrl":783,"material":228,"size":784,"collection":47,"collections":785,"showCount":786,"zanCount":11,"manualWeight":11,"mainColor":51},290416,"hua-xi-yu-yin-zhou-wang-meng-290416","花溪渔隐轴","王蒙（1308－1385年），字叔明，号黄鹤山樵、香光居士，吴兴（今浙江湖州）人。元朝画家。赵孟頫外孙。\n元末弃官，隐居杭州黄鹤山（今浙江杭州临平），自号“黄鹤山樵”，直至晚年才下山出仕，于明初任山东泰安知州。洪武十八年（1385年），因“胡惟庸案”牵累，死于狱中。\n王蒙的山水画受到赵孟頫的直接影响，后来进而师法王维、董源、巨然等人，综合出新风格。王蒙与黄公望、吴镇、倪瓒合称“元四家”。兼攻人物、墨竹，并擅行楷。存世作品有《青卞隐居图》《葛稚川移居图》《夏山高隐图》《丹山瀛海图》《太白山图》等。",[24,25,109,148,86,87,69,149,206,7,164,782,168,91,66],"渔乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5204529040d8f0ef17bf6db6a77301ce.jpg","129x58.3cm",[],29,{"id":788,"slug":789,"title":790,"dynasty":81,"author":791,"museum":57,"description":792,"tags":793,"thumbUrl":802,"material":309,"size":803,"collection":640,"collections":804,"showCount":786,"zanCount":11,"manualWeight":11,"mainColor":101},218794,"bai-lu-tu-zhang-hong-218794","百禄图","张宏","张宏，字君度，号鹤涧，江苏吴县人。生于明神宗万历七年（西元一五七七年），至清圣祖康熙八年（西元一六六八年）尚健在。工山水，笔意古拙，墨法清润。人物写意，天然入格。\n本幅画乔松古柏，岩鹿群游。款：「辛巳秋八月，吴门张宏写。」鹿向被认为是长寿之仙兽，且「鹿」「禄」「柏」「百」谐音，故题名「百禄」，以取富贵爵禄之意。",[25,86,28,69,87,441,442,112,88,149,180,635,794,7,130,131,795,796,797,798,799,800,801,113,29],"兼工带写","鹿群","古松","山景","自然景观","传统绘画","明代风格","笔墨技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89428a5fc63b071b5b27d40c46585043.jpg","170.4x77.2cm",[640],{"id":806,"slug":807,"title":808,"dynasty":81,"author":809,"museum":145,"description":810,"tags":811,"thumbUrl":815,"material":152,"size":153,"collection":47,"collections":816,"showCount":817,"zanCount":11,"manualWeight":11,"mainColor":51},288006,"yuan-xi-tu-juan-chou-ying-288006","猿戏图卷","仇英","仇英（约1498年—约1552年）， 字实父，号十洲，原籍江苏太仓，后移居吴县（今苏州），明代绘画大师。\n仇英出身寒门，幼年失学，曾习漆工，后拜师周臣，成为画家。\n仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。",[23,25,26,29,28,422,87,812,112,669,813,7,441,814],"猴","奇石","猿戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F173b1647909b1d0665386cc866230520.jpg",[],28,{"id":819,"slug":820,"title":381,"dynasty":219,"author":821,"museum":605,"description":822,"tags":823,"thumbUrl":824,"material":47,"size":47,"collection":96,"collections":825,"showCount":817,"zanCount":11,"manualWeight":11,"mainColor":826},201859,"shan-shui-zhou-lu-zun-shu-201859","陆遵书","笔墨淡逸清润，以皴法写山峦肌理，线条勾勒林木屋舍，意境空灵悠远。近处溪流潺湲，岸边林木错落，茅舍隐于树荫下，似闻烟火气；远处峰岫层叠，云雾轻绕，尽显丘壑深幽。布局疏密得宜，虚实相映，于简淡中见生机，传递出文人寄情山水的闲适心境，观之如入林泉，尘烦尽涤。",[25,87,86,69,7,130,62,30,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4038281679da690fabf70b4d852a753b.jpg",[96],"b69d81",{"id":828,"slug":829,"title":830,"dynasty":125,"author":831,"museum":145,"description":832,"tags":833,"thumbUrl":835,"material":152,"size":153,"collection":47,"collections":836,"showCount":837,"zanCount":100,"manualWeight":11,"mainColor":101},290227,"yun-lin-zhong-xiu-tu-fang-cong-yi-290227","云林钟秀图","方从义","画苍茫之云山雾海，山峰高耸，山腰飘着一带浓云，朦胧一片，山下坡岸杂树茂密，还有一片暗淡树影，在一股白云飘带中时隐时现，更突出了苍茫云气之动感。画一高一低的山峰挺出于白云之上，山尖用墨色点染，山下深谷幽涧。画之右端，画有几棵苍天古松，用浓墨点出茂密的松枝和树干，生趣盎然。画面之末端，茂密的树丛中所出现之屋宇，俨然为一道观集中之地，有山门、有围墙、有宫观，这应是龙虎山上清宫之主观所在，其它宫观则分散各处。此画从表面上看系水墨云山烟树，实际为方从义绘道教第三十二福地龙虎山及上清宫等宫观。他所题《云林钟秀》即已说明所绘为“天地间灵秀之气所聚，亦省称‘灵秀’、‘毓灵’”。这灵秀之气所聚，及道教之福地。",[23,25,109,26,86,87,252,30,7,834,91],"题跋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F643ccd723e1550afdc83087f48a35f73.jpg",[],27,{"id":839,"slug":840,"title":841,"dynasty":81,"author":678,"museum":145,"description":679,"tags":842,"thumbUrl":844,"material":152,"size":153,"collection":47,"collections":845,"showCount":837,"zanCount":11,"manualWeight":11,"mainColor":51},287610,"fang-wen-zheng-ming-xi-shan-qiu-ji-tu-dong-qi-chang-287610","仿文徵明溪山秋霁图",[23,25,26,60,368,28,240,30,843,7,225,69],"湖水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70f2bf98b6ce2773a2ec1467d076c57e.jpg",[],{"id":847,"slug":848,"title":849,"dynasty":219,"author":850,"museum":57,"description":851,"tags":852,"thumbUrl":855,"material":28,"size":856,"collection":96,"collections":857,"showCount":837,"zanCount":11,"manualWeight":11,"mainColor":101},223116,"hua-du-fu-shi-yi-gao-zong-yu-ti-zhou-dong-bang-da-223116","画杜甫诗意高宗御题轴","董邦达","董邦达（1699－1769或1774）清代官员、书画家。字孚闻、非闻，号东山，浙江富阳人。雍正十一年进士，乾隆二年授编修，官礼部尚书，谥文恪。好书、画，篆、隶得古法，山水取法元人，善用枯笔。其风格在娄东、虔山派之间。与董源、董其昌并列。",[23,25,109,148,86,69,87,760,853,854,133,180,130,168,91,385,7,252,834],"石","云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde04473deae771195c36214c7564a0f8.jpg","18.5x148.5cm",[96,98],{"id":859,"slug":860,"title":861,"dynasty":219,"author":265,"museum":221,"description":862,"tags":863,"thumbUrl":868,"material":228,"size":869,"collection":96,"collections":870,"showCount":837,"zanCount":11,"manualWeight":11,"mainColor":101},219913,"su-yu-xiao-yan-tu-wang-hui-219913","宿雨晓烟图","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王” ，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。",[25,109,86,87,69,132,252,88,657,864,865,866,30,7,867],"传统山水画技法","水墨写意","自然景物","雾气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff62056f5499481d2ef5d82d187387f38.jpg","48.8x33.5cm",[96],{"id":872,"slug":873,"title":874,"dynasty":125,"author":126,"museum":145,"description":875,"tags":876,"thumbUrl":879,"material":152,"size":153,"collection":47,"collections":880,"showCount":881,"zanCount":11,"manualWeight":11,"mainColor":51},290828,"yan-he-you-ju-tu-zhou-huang-gong-wang-290828","岩壑幽居图轴","此作构图与《层岩曲涧》雷同，然更显狭长，并简省许多细节。其画风受正统派影响似不强烈，反有以类沈周风格重组原作之感，推测亦为明末清初时的临仿之作。",[25,148,60,86,69,88,7,877,878],"幽居","山谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ad0c66dcfa047dafcfc3525eaeea6bf.jpg",[],26,{"id":883,"slug":884,"title":885,"dynasty":18,"author":886,"museum":145,"description":887,"tags":888,"thumbUrl":890,"material":47,"size":47,"collection":47,"collections":891,"showCount":881,"zanCount":11,"manualWeight":11,"mainColor":101},228326,"qiu-shan-qing-ai-tu-juan-xu-dao-ning-228326","秋山晴霭图卷","许道宁","《题吴少宰题许道宁秋山晴霭图》是明代诗人沈周创作的一首诗。\n匏公题句真成画，说到江山妙有声。\n一个道宁消不得，老夫只作辋川平。\n沈周（1427-159年），字启南，号石田、白石翁，长洲（今苏州）人。\n隐居乡里，奉母耕读，终身不仕。\n其画闻名当代，与唐寅、文徵明、仇英并称“明四家”。\n且善诗，任情随事，不主一家。\n有《石田先生集》行世。",[23,24,25,109,26,87,28,240,889,30,31,7,167],"晴霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b2f872b00a877fa253bba1f9c3c8f1d.jpg",[],{"id":893,"slug":894,"title":895,"dynasty":18,"author":203,"museum":605,"description":896,"tags":897,"thumbUrl":898,"material":47,"size":47,"collection":47,"collections":899,"showCount":881,"zanCount":11,"manualWeight":11,"mainColor":900},203027,"shan-lu-you-ting-tu-ye-deng-ce-yi-ming-203027","山麓幽亭图页等册","淡墨晕染的山峦如黛，云雾似轻纱漫过层峰，晕开悠远的空濛。近岸幽亭藏于疏林，孤舟静泊水湄，似载着未散的闲愁。笔触简淡却意韵绵长，将江南山麓的静谧与清寂凝于册页，尽显宋人山水的空灵之境。风过林梢，波泛轻纹，皆在墨色深浅间流转，引人步入那远离尘嚣的悠然天地。",[25,24,86,28,69,87,133,206,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73877aab2d2b61fb80cc416c3160f93c.jpg",[],"83644e",{"id":902,"slug":903,"title":904,"dynasty":18,"author":492,"museum":145,"description":905,"tags":906,"thumbUrl":907,"material":152,"size":153,"collection":47,"collections":908,"showCount":909,"zanCount":100,"manualWeight":11,"mainColor":101},288277,"xiao-xiang-wo-you-tu-li-gong-lin-288277","潇湘卧游图","《潇湘卧游图》该画中主要描绘了当时的潇湘奇景。作者以轻灵、淡雅的水墨风格在纸上作画，使用了将画面大片留白的画法。",[23,24,25,26,109,86,87,7,669,252,167,670,91,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66cd68985dcb3dc40da32929dd1bf1f4.jpg",[],25,{"id":911,"slug":912,"title":629,"dynasty":81,"author":913,"museum":20,"description":914,"tags":915,"thumbUrl":916,"material":917,"size":918,"collection":47,"collections":919,"showCount":909,"zanCount":11,"manualWeight":11,"mainColor":101},236325,"shan-shui-ce-song-xu-236325","宋旭","宋旭（1525—1606年），字初阳，号石门山人，浙江湖洲人，后徙居上海松江。宋旭一生喜云游，多居于寺庙精舍，日就禅灯孤榻，时人即用“发僧”来称呼他，即带发的僧人之意。后来他真的出家当了和尚，法名祖玄，自号天池发僧、景西居士等，具体卒年不详，从他尚有1606年作品存世，知他此年还在世。\n宋旭的画法继承明代吴门绘画传统，主要师法明四家之一的沈周，最擅长画山水，兼善人物。山水画在沈周的基础上融其他名家画法于一炉，并加入自己的理解，形成了颇具特色的雄劲古拙的画风。宋旭精研古人之法，尤其对宋代李成、关仝、范宽三家推崇备至，曾说：“画山水惟李成、关仝、范宽智妙入神，才高出类，三家鼎峙，百代标程，前古莫能方驾，近代难继后尘。”（见《无声诗史》卷三）由于他能远师古人，近取成法，创出了有别于吴派绘画的风格而自成一格，并对明末松江地区的画家产生了长足的影响，世人遂称其为“苏松派”的开山之祖，明末赵左、沈士充等皆出其门下。",[25,86,87,330,399,206,225,7,633,88,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6942f9cce57790f797b1cb0ff08a6128.jpg","纸本 ，设色","纵31cm，横42cm",[],{"id":921,"slug":922,"title":923,"dynasty":125,"author":924,"museum":925,"description":926,"tags":927,"thumbUrl":937,"material":94,"size":938,"collection":47,"collections":939,"showCount":909,"zanCount":11,"manualWeight":11,"mainColor":101},232639,"shui-zhu-ju-tu-ni-zan-232639","水竹居图","倪瓒","中国国家博物馆","此图以青绿设色绘江南初秋景色。山势低平，山前溪水渚坡坡上杂树五株，树后茅屋丛篁。画中笔墨沉实，赋形具体，山色苍翠，画法谨严运笔圆滑苍劲，略有董、巨遗法。\n此图写一仙居景致，其中静水潺潺，间以坡石、水渚、小桥相错；近岸处坡石层累，其上疏木参差偃仰，虬枝繁叶；近岸平地，一茅舍院落掩映树间，若隐若现；栅外修竹环绕，浴风飒飒；远处群峦竞秀，青翠欲滴；山下岸处坡石簇簇，林木深深。\n按图上作者题款：“至正三年，癸未岁八月望日，进道过余林下，为言僦居苏州城东有水竹之胜。因想像图此……” 知，此《水竹居图》作于元至正三年（1343年），倪瓒43岁时作品。此图系倪瓒依友人所述而浮想创作而成。\n倪瓒生长在太湖之滨的一个地主家庭里。有一所庞大的庄园，其中的清閟阁藏书画达数千卷，为倪瓒提供了成长为一个封建文人画家的物质条件。倪瓒的画，大多描绘幽居山林或漫游太湖的景色，但更多的是画了主观的感受，有着强烈的感情色彩。静谧、荒寒、孤独、空虚，可以说是倪瓒作为画家的状态写照，使内心无告的忧烦，在这样的意境中寻求排遣与解脱。《水竹居图》即是体现了这一点。\n另外，此《水竹居图》有拆割、拼配题跋、加钤伪印等迹象，故也被部分学者认为是伪作。特别是《水竹居图》上的文、董二题，分别题于诗塘和裱边，非常容易被割移、拼配，且很多书画鉴定家认为，此作品本幅上的作者印鉴本身就是被加钤的伪印鉴，但这些都并不能必然地说明《水竹居图》本身为伪作。现多数鉴家仍评定，此为《水竹居图》为真迹勿疑。\n《水竹居图》是倪瓒内心寻求排遣与解脱的写照，画中自题的诗句更是道出了画家的隐居思想，是倪瓒的“自娱”与“适兴”之作。该图是画家根据友人叙述，景州城东有水竹胜景，依靠想象图绘坡石、树木、茅屋等景象。在题诗中画家想象了在此隐居，与琴诗为伴的理想生活。诗都反映出元代中晚期的隐逸思想。元代中后期的隐逸是一种任情适性，是将个人的精神价值与日常生活行为相融合的生活方式。文人不再热衷于在政治上有所作为，而是在自然中寻求自我身境与心境的安适。\n此《水竹居图》中“一水两岸”，即由近坡、中水、远丘组成的“三段式”构图，画面中的竹树茅屋，隔溪远岫平林但由于前后景排得较近，所以显得紧凑坚实，所写物象、图上晋韵小楷长题及荒寒幽冷之意境则与之一脉相承，整个画面弥散着幽静、清凉的气氛。\n《水竹居图》用笔浑厚圆润，与后来的轻笔渴墨显然不同，但内在笔性还是一致的。图中树叶用松针点、介字点、仰叶点等数种，用笔浓淡相间，树干多渲染皴擦，极近形似。远处的树，树干只用淡墨画出外轮廓，没有皴染，树叶用排点点出，显得郁郁葱葱，似不经意而韵味内存。唐志契在所著《绘事微言》中提到树木画法时说：“写枯树最难苍古，然画中最不可少名家枯树各各不同，如荆关则于秋冬二景最多，其枯枝古而浑，乱而整，简而有趣，到郭河阳则用鹰爪，加以细密，如范宽则其上如扫帚样，亦有古趣，李成则繁而琐碎，笔笔清劲，董源则一味古雅，简当而已。倪元镇则数君可以兼之，要皆难及者也。”《水竹居图》里的树木，有董源的简当古雅之质，特别是后面的排树，在后面的山体的衬托下，很容易让人看到董源《潇湘图》的影子。\n明代宗泐：“山人水行居，画图看更好，十年不归来，茅屋秋风老。”（《题〈水竹居图〉》）\n明代张丑：“余初蓄户南仙山楼阁卷，人多致焉，赖久之未几自定……乃今赏鉴元镇僦居城东矮幅，虽家喻尸晓，弗信也，鲜有不非笑之者，然不笑不足以为道。鸣呼.安能起三公于九原与之面相印可耶？”（《清河书画舫》）\n近代书画鉴赏家马宝山：《水竹居图》是倪早年作品，与其晚年作品本有所不同。（《书画碑帖见闻录》）",[23,25,60,111,928,42,929,930,931,150,7,30,932,933,256,934,935,936,168,91,69],"青绿设色","修竹","坡石","溪水","水渚","仙居","荒寒","幽冷","楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40b691851048c31237d37c2b1b88f286.jpg","纵48厘米，横28厘米",[],{"id":941,"slug":942,"title":943,"dynasty":18,"author":944,"museum":57,"description":945,"tags":946,"thumbUrl":947,"material":210,"size":948,"collection":96,"collections":949,"showCount":909,"zanCount":11,"manualWeight":11,"mainColor":101},218869,"xi-shan-ping-yuan-tu-song-di-218869","溪山平远图","宋迪","这是一幅山水画，草木茂盛，一派湖光山色的景象。",[23,24,25,109,87,28,7,149,168,167,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42addfe814270b42354058fea9c7ac91.jpg","25x26.4",[96],{"id":951,"slug":952,"title":953,"dynasty":125,"author":126,"museum":145,"description":875,"tags":954,"thumbUrl":955,"material":152,"size":153,"collection":47,"collections":956,"showCount":957,"zanCount":11,"manualWeight":11,"mainColor":51},290434,"yan-he-you-ju-tu-huang-gong-wang-290434","岩壑幽居图",[24,25,109,148,87,86,69,88,7,877,150,149,333],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02ab7be7ec04e051dc29fbf91e546aa7.jpg",[],24,{"id":959,"slug":960,"title":381,"dynasty":219,"author":382,"museum":20,"description":961,"tags":962,"thumbUrl":963,"material":388,"size":389,"collection":47,"collections":964,"showCount":965,"zanCount":11,"manualWeight":11,"mainColor":101},234845,"shan-shui-zhou-wang-shi-min-234845","此幅构图为王时敏所作之常见格局，峰峦叠嶂，林木丛生，溪流小桥，屋舍隐现，一派江南的山水景象。用笔古秀，布局深远，以披麻皴写山石，浓墨点苔，意境近黄公望，为王氏代表作。",[24,25,86,148,87,69,760,132,112,224,130,131,399,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50d58442ca928e49e5aad06b4764cbc2.jpg",[],23,{"id":967,"slug":968,"title":969,"dynasty":81,"author":678,"museum":605,"description":970,"tags":971,"thumbUrl":10,"material":47,"size":47,"collection":96,"collections":972,"showCount":965,"zanCount":11,"manualWeight":11,"mainColor":973},203014,"shu-hua-ce-dong-qi-chang-203014","书画册","笔墨疏朗清逸，以书入画的笔意贯穿其间。山石用淡墨皴擦，林木以简笔勾勒，屋舍隐于丘壑间，尽显文人画的雅致禅意。右侧山水云雾氤氲，层峦叠嶂间透着空濛之趣；左侧丘林静谧，草木扶疏中藏着幽居之思。题跋行书流畅，与画作相映成趣，融诗书画于一册，尽显晚明文人的审美意趣。",[109,330,86,87,69,88,7,252,167,225,477,23],[96],"d7ccc2",{"id":975,"slug":976,"title":977,"dynasty":219,"author":978,"museum":605,"description":979,"tags":980,"thumbUrl":981,"material":47,"size":47,"collection":96,"collections":982,"showCount":965,"zanCount":100,"manualWeight":11,"mainColor":983},201789,"xie-qin-fang-you-tu-zhou-zhou-hao-201789","携琴访友图轴","周颢","这幅画作以细腻皴笔勾勒山峦肌理，石纹苍劲分明，云雾轻笼间瀑布飞泻，添得几分空濛灵动。山麓处林木葱郁，小径蜿蜒过石桥，几处屋舍隐于绿荫，似有雅士携琴来访，清幽氛围中蕴藉文人雅兴。笔墨苍润，构图疏密有致，山水之秀与人文之趣相映，尽显传统山水画的意境悠远。",[87,69,150,149,64,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F799b088374a09b1f5621d68a71992870.jpg",[96],"ae9d88",{"id":985,"slug":986,"title":987,"dynasty":18,"author":56,"museum":145,"description":988,"tags":989,"thumbUrl":992,"material":152,"size":153,"collection":47,"collections":993,"showCount":994,"zanCount":11,"manualWeight":11,"mainColor":156},288506,"qiu-shan-xing-lv-tu-guo-xi-288506","秋山行旅图","峰峦高耸，山间构楼阁，山脚下丛树掩映着村居。溪桥上、山径间有往来的行旅。是图采取北宋大山堂堂、位于中央的全景式构图，具高远、平远的效果。题材、构图、笔墨气韵都十分接近郭熙的画风。元代山水画家多有承袭郭熙风格者，若论笔墨最为接近者应属唐棣。画幅左上自识“吴兴唐棣子华作”，未署年款。此图摹仿的痕迹较浓，或为画家稍早时的作品。图中钤有明司马“司马兰亭家藏”印，清初耿昭忠“都尉耿信公书画之章”及清内府“宣统御览之宝”等鉴藏印。",[23,25,24,60,86,69,990,88,7,149,206,164,991],"秋意","行旅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F288e7ca9f20e1578206e7ed6d99bcb96.jpg",[],22,{"id":996,"slug":997,"title":998,"dynasty":81,"author":999,"museum":145,"description":1000,"tags":1001,"thumbUrl":1003,"material":152,"size":153,"collection":98,"collections":1004,"showCount":994,"zanCount":11,"manualWeight":11,"mainColor":101},287794,"min-zhong-shan-shui-tu-juan-xiang-sheng-mo-287794","闽中山水图卷","项圣谟","项圣谟，初字逸，后字孔彰，号易庵，别号有胥山樵、存存居士、醉风人、大酉山人、莲塘居士、烟波钓徒、松涛散仙、逸叟、狂吟客、鸳湖钓叟、不夜楼中士等等，浙江嘉兴人。",[23,25,26,60,28,69,88,633,206,225,64,150,7,1002,30],"渔船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff07fc17451bf883c857c7b540878e84e.jpg",[98],{"id":1006,"slug":1007,"title":629,"dynasty":219,"author":1008,"museum":20,"description":1009,"tags":1010,"thumbUrl":1011,"material":1012,"size":47,"collection":47,"collections":1013,"showCount":994,"zanCount":11,"manualWeight":11,"mainColor":101},237196,"shan-shui-ce-sun-yi-237196","孙逸","孙逸(1604—约1658) ，字无逸，号疎林，亦号石禅，明朝末清朝初海阳（今安徽休宁）人，与萧云从齐名，合称孙萧，与弘仁、汪之瑞、查士标为新安派四大家；字仲举。",[25,28,422,87,330,69,150,149,180,88,224,30,62,658,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c563356a453abf55ae34af8444b9d61.jpg","纸本，设色",[],{"id":1015,"slug":1016,"title":1017,"dynasty":18,"author":557,"museum":145,"description":1018,"tags":1019,"thumbUrl":1020,"material":152,"size":153,"collection":47,"collections":1021,"showCount":1022,"zanCount":11,"manualWeight":11,"mainColor":51},288505,"jiang-shan-lou-guan-tu-yan-wen-gui-288505","江山楼观图","此图绘长江两岸初冬始雪时景色，是将山水、人物相结合的一件画作。画卷上，寒风凄厉，初雪纷飞，江岸小桥，渔人行旅，浩瀚江水，涟漪层层，枯树黄芦迎风摇曳。苦于生计的渔民们，或驾着小舟穿梭江面，或架设网罟捕鱼，或卷起裤脚在冰冷的浅水处布网，衣单裳薄的纤夫逆风拖船，骑驴奔波的商旅在寒风中瑟缩着身子艰难前行，寒冷之景，宛然在目。全卷人物神态生动，刻画准确，鱼鳞般的水纹用尖细流利的线条绘成，一丝不苟。绘坡石及树木大多用笔简劲老硬，皴法与墨染浑融，表现出一种清刚利畅的情趣，天空则用洒粉法弹出轻盈飘舞的飞雪，技法颇为别致。",[23,24,25,26,86,87,69,64,88,7,633,252],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55247d7d229304874dd28046e365247f.jpg",[],21,{"id":1024,"slug":1025,"title":1026,"dynasty":81,"author":809,"museum":145,"description":1027,"tags":1028,"thumbUrl":1030,"material":152,"size":153,"collection":47,"collections":1031,"showCount":1022,"zanCount":11,"manualWeight":11,"mainColor":51},287866,"tao-yuan-tu-juan-chou-ying-287866","桃源图卷","东晋陶渊明所作的《桃花源记》已成了文人墨客眼中的理想隐居之所，他们或通过诗歌形式，或通过笔墨方式，把理想中的桃花源呈现出来，这样的作品不胜枚举，今天给各位读者带来的就是明代画家仇英创作的一幅青绿山水作品《桃源图卷》。画卷大致可分为五个场景：发现桃源、桃源见闻、源中闲聊、桃源畅饮、离开桃源，卷前有清乾隆两处御题。",[23,24,25,109,26,28,29,87,1029,30,149,39,225,7,168,936,275],"桃源","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F885f62ba6d376f4e1e9e6dbf9f5787a2.jpg",[],{"id":1033,"slug":1034,"title":1035,"dynasty":125,"author":542,"museum":145,"description":1036,"tags":1037,"thumbUrl":1038,"material":152,"size":153,"collection":47,"collections":1039,"showCount":1040,"zanCount":11,"manualWeight":11,"mainColor":101},290346,"hua-qiu-jiang-diao-ting-zhou-ma-wan-290346","画秋江钓艇轴","远山近树，溪流房舍，是典型文人画的构图与笔墨。山石皴法师承董源，笔墨灵动，韵味颇佳。左上方题款特以章草书体写之，乃当时之风气使然耳。",[24,25,148,86,87,206,149,150,225,7,88,240,782,69,91],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa007f3a85201b20695f499dd7330ac06.jpg",[],20,{"id":1042,"slug":1043,"title":1044,"dynasty":81,"author":1045,"museum":145,"description":1046,"tags":1047,"thumbUrl":1053,"material":152,"size":153,"collection":47,"collections":1054,"showCount":1055,"zanCount":11,"manualWeight":11,"mainColor":51},290981,"liu-tang-qin-ji-tu-zhou-lv-ji-290981","柳塘禽集图轴","吕纪","吕纪，1477年生，鄞州（今浙江宁波）人。字廷振，号乐愚，弘治间（1488-1505）供事仁智殿，弘治间征入宫廷，为宫廷作画，供奉仁智殿，官锦衣卫指挥。擅画临古花鸟，初学边景昭，后研习唐宋诸家名作，继承两宋“院体”，以工笔重彩，又在水墨写意方面受林良影响。",[25,148,1048,60,29,28,1049,88,1050,669,1051,1052,7,67],"花鸟画","垂柳","池塘","白鹅","禽鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefe936e3fc90e57a92a37ae1980b1caf.jpg",[],19,{"id":1057,"slug":1058,"title":1059,"dynasty":18,"author":203,"museum":145,"description":1060,"tags":1061,"thumbUrl":1062,"material":152,"size":153,"collection":47,"collections":1063,"showCount":1055,"zanCount":11,"manualWeight":11,"mainColor":51},290270,"wang-chuan-tu-yi-ming-290270","辋川图","北宋时期，山水画大兴。这其中，李成和范宽是北宋初期山水画家的代表，他们上承荆浩以水墨为主的传统，以表现北方雄浑壮阔的自然山水为主，与五代的关仝一起，被认为是“三家鼎峙，百代标程”的大师，他们的创作具有划时代的意义。其后继者有王士元、王端、燕文贵、许道宁、高克明、郭熙、李宗成、丘纳、王诜等。除北方山水系统的山水画外，也有长于界画的郭忠恕，善于表现湖山小景的惠崇、赵令穰，继承唐代以来的青绿山水画法的王希孟、南派山水画的代表巨然，以及开创“米氏云山”的米芾等，都在中国山水画的发展过程中，有着各自的独特贡献。\n北宋山水画倾于自然，侧重“真”和“实”，提倡山水画的写实风格。多使用绢，不仅勾勒细致、刻画严谨，而且用墨对画面进行层层渲染，展现出一份凝重恬静之美。它展现的是前所未有的细腻、丰富、写实的画风。",[23,24,25,26,86,60,30,7,225,149,252,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F268f7660d5dcf46ee6dead61cb365ff5.jpg",[],{"id":1065,"slug":1066,"title":1067,"dynasty":18,"author":1068,"museum":145,"description":1069,"tags":1070,"thumbUrl":1072,"material":152,"size":153,"collection":47,"collections":1073,"showCount":1055,"zanCount":11,"manualWeight":11,"mainColor":156},288977,"xia-shan-tu-qu-ding-288977","夏山图","屈鼎","京师（今河南开封）人。仁宗朝（一o二三）为图画院只候。工画山水，得燕文贵之髦髴。画四时风物之变态，与夫烟霞惨舒，泉石凌砾之状，善分布，涧谷间见屈曲之状。然有笔而无思致，林木皆崦霭而已，虽为许道宁之师，道宁气格似过之，学不及也。",[24,25,26,86,69,87,30,7,633,371,252,1071],"夏景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f5ed240c08185678837f9810e468620.jpg",[],{"id":1075,"slug":1076,"title":1077,"dynasty":219,"author":757,"museum":145,"description":1078,"tags":1079,"thumbUrl":1081,"material":152,"size":153,"collection":47,"collections":1082,"showCount":1055,"zanCount":11,"manualWeight":11,"mainColor":51},288448,"fang-you-tu-gao-cen-288448","访友图","高岑（1621-1691），字善长，又字蔚生，杭州人，居金陵（今南京）。高阜弟，为“金陵八家”之一 。\n为人清高，相貌俊美，淡于功名，性好佛门始从法门道昕卧伏腊寺，居茹蔬淡……。 早年学朱翰，后学蓝瑛，所画平实，晚乃以己意行之 。 善山水及水墨花卉，写意入神。",[23,25,24,60,69,28,112,30,88,164,1080,7,86],"访友","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c57893b576a57047bbcea7bcd2995a8.jpg",[],{"id":1084,"slug":1085,"title":1086,"dynasty":125,"author":203,"museum":57,"description":1087,"tags":1088,"thumbUrl":1089,"material":1090,"size":1091,"collection":47,"collections":1092,"showCount":1055,"zanCount":11,"manualWeight":11,"mainColor":51},231399,"qiu-shan-tu-yi-ming-231399","秋山图","在这幅画中，峰峦叠嶂，溪流嶙峋，飞瀑流泉在薄雾之中。 是文人墨客睡觉的理想场所。 构图十分多样，笔墨精美，色彩点缀恰到好处。",[25,109,87,69,86,28,760,132,149,88,240,131,7,130,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95db5f648889bd0b3227e7193ab2e761.jpg","绢本 水墨","46.3x57.1厘米",[],{"id":1094,"slug":1095,"title":1096,"dynasty":125,"author":302,"museum":145,"description":780,"tags":1097,"thumbUrl":1098,"material":152,"size":153,"collection":47,"collections":1099,"showCount":1100,"zanCount":11,"manualWeight":11,"mainColor":51},290448,"shan-shui-tu-zhou-ke-luo-ban-wang-meng-290448","山水图轴（珂罗版）",[23,24,25,86,87,148,69,30,7,133,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52b0240ac5439bff960e9a16637c156e.jpg",[],18,{"id":1102,"slug":1103,"title":1104,"dynasty":81,"author":203,"museum":145,"description":1105,"tags":1106,"thumbUrl":1108,"material":152,"size":153,"collection":47,"collections":1109,"showCount":1110,"zanCount":11,"manualWeight":11,"mainColor":51},289943,"fang-dong-yuan-xia-shan-tu-yi-ming-289943","仿董源夏山图","此作用笔追摹董源风骨，以披麻皴绘平缓山峦，苍润朴拙，晕染出江南夏山的氤氲空蒙。浩渺平湖横亘画面，洲渚间林木蓊郁，渔村山居错落隐现，三两渔舟泛于烟波间，野趣悠然满溢。\n\n全图以平远章法铺展丘壑，苔点繁密缀于山体，尽显草木华滋之态，复刻出南宗山水平淡天真的意趣，将夏日山林的温润葱郁与水滨幽寂融为一体，把江南夏景的淡远生机尽显于绢素之上，是得董源神韵的仿古佳制。",[23,24,25,26,60,28,69,30,1107,7,225,371,368],"水域","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ba79ab403ce26b026d8e1580f30d144.jpg",[],17,{"id":1112,"slug":1113,"title":1114,"dynasty":219,"author":203,"museum":145,"description":1115,"tags":1116,"thumbUrl":1117,"material":152,"size":153,"collection":47,"collections":1118,"showCount":1110,"zanCount":11,"manualWeight":11,"mainColor":101},287698,"fang-huang-gong-wang-fu-shan-chun-ju-tu-yi-ming-287698","仿黄公望富山春居图","此作用笔苍秀松灵，以披麻皴写山峦丘壑，复刻出原作浑厚华滋的山水意趣。远山淡晕如黛，近渚萦回清浅，林麓村居错落萧疏，尽显富春山野逸空濛之态。\n卷尾题跋笔墨雅致，与画境浑融一体，暗合元人山水“以画为寄”的隐逸风神，虽摹古却自见韵致，将江南富春山的空灵秀润尽藏尺幅间，是颇具功力的仿古佳制。",[23,25,26,86,60,368,69,30,423,7,168,91,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4982c0319d064f8f446d442b55159a94.jpg",[],{"id":1120,"slug":1121,"title":1122,"dynasty":81,"author":1123,"museum":145,"description":1124,"tags":1125,"thumbUrl":1127,"material":152,"size":153,"collection":47,"collections":1128,"showCount":1110,"zanCount":11,"manualWeight":11,"mainColor":101},287358,"lin-wang-meng-tai-bai-shan-tu-du-qiong-287358","临王蒙太白山图","杜琼","杜琼（1396~1474年），字用嘉，号东原，五坞山人,延绿亭主人,私谥渊孝先生.人称东原先生，南直隶苏州府吴县（今江苏苏州市）人。明朝文学家，书画家、藏书家，史学家。\n杜琼出身于富贵之家，自幼勤学聪颖，以孝闻名乡里，后师从陈继，并承其业，教书授徒。之后被举荐参与过《太宗（朱棣）实录》《宣宗实录》《舆地志》的修撰，并参与《苏郡志》的校定，备受朝廷礼遇和乡里尊宠，享誉遐迩。1474年，杜琼逝世，享年79岁。\n杜琼虽受朝廷礼遇和乡宠，但是他淡泊功名而醉于谈诗论画的隐居生活。其精于翰墨书画，尤以画山水为著，集众家之长而直追董巨，画风秀逸，是吴门派早期代表画家。\n其传世画作有《南村别墅图》《为吴宽作山水图》《友松图卷》等，此外还著有《东原集》《耕馀杂录》《纪善录》等诗文作品。",[23,25,26,60,368,86,28,69,30,7,762,224,1126,130,669,167,168,91],"亭阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0297dd5ace6aed29811f36a49e164bc.jpg",[],{"id":1130,"slug":1131,"title":1132,"dynasty":219,"author":265,"museum":145,"description":1133,"tags":1134,"thumbUrl":1139,"material":47,"size":47,"collection":47,"collections":1140,"showCount":1110,"zanCount":100,"manualWeight":11,"mainColor":101},224471,"liang-chang-shan-guan-tu-wang-hui-224471","良常山馆图","此画以高远构法铺展丘壑，主峰巍峨矗立，以细密披麻皴勾勒山石苍厚肌理，崖壁挺拔如削，尽显山川雄浑气魄。山间林木错落枯荣交织，深谷幽坳里茅庐隐现，清溪绕石穿林，携着潺潺野趣蜿蜒而出。\n笔墨兼工带写，秀润中透着苍劲，浅淡晕染柔和雅致，将山野沉郁的厚重与山居的清寂相融，把幽居丘园的隐逸雅兴，尽数藏进咫尺山水间，尽显静穆淡远的林下雅韵。",[23,24,25,60,148,251,794,28,88,7,1135,1136,878,275,1137,1138],"茅庐","清溪","清寂","静穆淡远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20794c152eb9e022b762b85b450fba70.jpg",[],{"id":1142,"slug":1143,"title":1144,"dynasty":219,"author":1145,"museum":605,"description":1146,"tags":1147,"thumbUrl":1149,"material":47,"size":47,"collection":96,"collections":1150,"showCount":1110,"zanCount":11,"manualWeight":11,"mainColor":1151},201857,"fang-yi-feng-shan-shui-tu-zhou-wang-chen-201857","仿一峰山水图轴","王宸","这幅山水取意萧散简远，山峦层叠起伏，以干笔皴擦勾勒山石肌理，墨色浓淡相间，显浑厚苍劲之致。山间林木扶疏，枝干虬曲，或挺拔或横斜，姿态各异；溪畔流水潺潺，茅舍隐现于林麓间，似闻山涧清音，意境清幽淡远，得黄公望山水之神韵。整体构图疏密有致，笔墨老辣沉雄，于简淡中见深致，尽显文人山水的雅致与从容。",[25,87,69,86,149,1148,7,690,23],"老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6692b32a426957e430c6f482b60f3feb.jpg",[96],"bbab8e",{"id":1153,"slug":1154,"title":1155,"dynasty":81,"author":678,"museum":145,"description":1156,"tags":1157,"thumbUrl":1158,"material":152,"size":153,"collection":47,"collections":1159,"showCount":1160,"zanCount":11,"manualWeight":11,"mainColor":101},283770,"guan-shan-xue-ji-tu-juan-dong-qi-chang-283770","关山雪霁图卷","该画主要对平远山景进行详细描绘，笔墨仍作平远景，山峦起伏层叠，林壑幽深，布局严谨而气势雄健，墨色浑厚用笔苍劲老辣，兼有生拙秀润的韵致。",[23,24,25,26,109,86,87,61,30,7,69,168,167,91],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7b4e279e00538389e26971602b2698b.jpg",[],16,{"id":1162,"slug":1163,"title":1164,"dynasty":219,"author":1165,"museum":145,"description":1166,"tags":1167,"thumbUrl":1169,"material":152,"size":153,"collection":47,"collections":1170,"showCount":1171,"zanCount":11,"manualWeight":11,"mainColor":101},290386,"jiang-shan-wo-you-tu-di-yi-bai-wu-shi-juan-cheng-zheng-kui-290386","江山卧游图(第一百五十卷)","程正揆","程正揆（1604年－1676年），初名正葵，字端伯，号鞠陵，别号清谿道人、青谿老人、青谿旧史，湖廣孝感（今湖北省）人，明末清初画家、书法家，政治人物。",[23,25,26,86,87,88,7,150,149,1168,69,168,91],"亭榭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefd991e50ebb9912ad98f0e5bd43f85a.jpg",[],15,{"id":1173,"slug":1174,"title":1175,"dynasty":81,"author":791,"museum":57,"description":1176,"tags":1177,"thumbUrl":1181,"material":1182,"size":1183,"collection":96,"collections":1184,"showCount":1171,"zanCount":11,"manualWeight":11,"mainColor":101},222409,"shi-xie-shan-tu-zhou-zhang-hong-222409","石屑山图轴","冈峦挺立，层层起伏；溪涧湍急，林阴茂密。山径蜿蜒而上，将峻峰林木连成一气。点画竹林，笔墨浓淡乾湿相间，产生光影浮动的效果，表现出炎炎夏日的气氛。全图用笔工细，构景繁复。竹林的笔墨浓淡乾湿相间，产生光影浮动的效果，将炎炎夏日的气氛尽表无遗。画成于1613年（万历四十一年），时作者三十七岁。青壮之年，笔墨即甚为纯熟，其成就为时人所推崇。\n此图是画位在浙江省长兴县境的石屑山，出于实景观照，画家心领意会，取山川精华，以灵动的笔墨描绘图成。该幅画赠君俞先生，君俞姓唐，晋陵人（江苏武进），与董其昌也有交往，在1623年（天启三年）时，将自己珍藏的王蒙《谷口春耕》图（此图现藏本院），赠与董其昌。",[23,25,148,87,29,28,1178,66,163,1179,150,149,64,7,1180],"冈峦","山径","夏日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2366fe87404a34b33bfe3b976ed33aeb.jpg","白纸本","201.3x55.2公分；全幅 79.8公",[96,118],{"id":1186,"slug":1187,"title":1188,"dynasty":18,"author":1189,"museum":57,"description":1190,"tags":1191,"thumbUrl":1194,"material":210,"size":1195,"collection":96,"collections":1196,"showCount":1171,"zanCount":11,"manualWeight":11,"mainColor":101},218966,"qiu-shan-yan-ai-tu-lian-fu-218966","秋山烟霭图","廉孚","连福在宋朝时出生于山阴（今浙江绍兴）或山阳（今江苏淮安）。他的父亲连布是一位武术医生，住在绍兴，擅长绘画。莲的画风与他父亲的一样。这幅有框画描绘了山区的秋色，有树木和岩石，还有烟雨蒙蒙的景色。一名男子在一条山路上平静地走着，他的同伴背着一个登山背包跟在后面。这幅画具有马沙尔风格的简单构图，笔触的诗意韵律传达了一个物是人非、天人合一的世界。",[23,25,24,109,69,86,87,745,657,1148,88,180,67,1192,7,636,252,307,1193],"淡设色","旅人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45a043a6d31731e9d74857f9921bcf1c.jpg","21.4x24.7",[96],{"id":1198,"slug":1199,"title":1200,"dynasty":219,"author":382,"museum":605,"description":1201,"tags":1202,"thumbUrl":1204,"material":47,"size":47,"collection":96,"collections":1205,"showCount":1171,"zanCount":11,"manualWeight":11,"mainColor":1206},203342,"fang-gu-shan-shui-ce-wang-shi-min-203342","仿古山水册","层峦叠嶂间林木苍郁，墨色晕染出宋元山水的古雅风骨。披麻皴法勾勒山石肌理，线条含蓄温润，虚实相生中藏着幽深林泉之趣。山间亭榭隐现，溪流绕石，一派静谧悠远的文人丘壑，尽显淡泊雅致的笔墨情韵。",[25,109,330,86,87,69,30,7,1168,130,1203,23],"仿古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b9cc291f63cc7b45b4fd61e771e90fe.jpg",[96],"d1c8b3",{"id":1208,"slug":1209,"title":1210,"dynasty":81,"author":678,"museum":605,"description":1211,"tags":1212,"thumbUrl":1213,"material":47,"size":47,"collection":96,"collections":1214,"showCount":1171,"zanCount":11,"manualWeight":11,"mainColor":1215},201726,"wang-wei-shi-yi-tu-zhou-dong-qi-chang-201726","王维诗意图轴","此作以水墨写意出山川之姿，峰峦层叠间云雾缭绕，林木疏密有致，屋舍隐于溪畔林间，尽显“诗中有画”的空灵意境。笔墨清润淡雅，皴擦点染间见文人雅致，线条灵动却不失沉稳，山石纹理与树木姿态皆透出自然生机，将王维诗中的悠远静谧转化为可视的山水图景，传递出淡远的文人情怀。",[87,86,69,148,7,225,252,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe84e35dfc76ab32d31c71c0b823ac82f.jpg",[96],"c5b9a6",{"id":1217,"slug":1218,"title":1219,"dynasty":219,"author":220,"museum":605,"description":1220,"tags":1221,"thumbUrl":1223,"material":47,"size":47,"collection":96,"collections":1224,"showCount":1225,"zanCount":11,"manualWeight":11,"mainColor":1226},203144,"fang-gu-shan-shui-tu-ce-wang-yuan-qi-203144","仿古山水图册","笔墨苍劲浑厚，山峦层叠间蕴古法之韵。山石以干笔积墨皴擦，纹理厚重朴拙；草木葱茏处见生机流动。构图疏密有致，远近景层次分明，追摹传统山水之余，亦融个人笔墨意趣，尽显“熟不甜、生不涩”的格调。山间林木错落，小径隐现，似藏隐逸之趣，整体气息古雅沉静，耐人寻味。",[87,1203,69,1222,88,7,330,28,91,749,23],"积墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffaabb898bcdc12c3897121b31434473.jpg",[96],14,"c7c0b5",{"id":1228,"slug":1229,"title":1230,"dynasty":219,"author":1231,"museum":145,"description":1232,"tags":1233,"thumbUrl":1235,"material":152,"size":153,"collection":47,"collections":1236,"showCount":1237,"zanCount":11,"manualWeight":11,"mainColor":101},288216,"fang-song-ren-shan-shui-shan-mian-huang-yi-288216","仿宋人山水扇面","黄易","黄易（1744 年11月22日—1802年3月26日），字大易，号小松、秋盦，又号秋影庵主、散花滩人。浙江钱塘人，钱塘黄氏八世。兼擅篆刻，与丁敬并称丁黄，为“西泠八家”之一。",[1234,25,109,86,87,368,91,168,88,7,733],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77f7d52323cf8c88c5daffeb8ccd391e.jpg",[],13,{"id":1239,"slug":1240,"title":1241,"dynasty":219,"author":220,"museum":605,"description":1242,"tags":1243,"thumbUrl":1247,"material":47,"size":47,"collection":96,"collections":1248,"showCount":1237,"zanCount":11,"manualWeight":11,"mainColor":1249},203438,"du-fu-shi-yi-tu-zhou-wang-yuan-qi-203438","杜甫诗意图轴","笔墨苍劲浑厚，层层皴染间尽显丘壑深度。峰峦叠嶂如聚，云雾缭绕似带，将远山推向幽深；近处松石挺秀，溪流蜿蜒穿涧，山间屋舍隐于林麓，动静相宜。既承北宗山水的雄健骨力，又融南宗笔墨的温润韵致，把杜诗中的沉郁意境凝于尺幅，在严谨构图中藏生机流动，足见画家对传统山水的精研与创新。",[23,148,28,69,87,760,112,88,252,149,180,478,1244,385,1245,479,7,66,1246,477],"植被","沟壑","山路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07d2bf256a8bbab7a17077134edcdbbc.jpg",[96],"96724d",{"id":1251,"slug":1252,"title":381,"dynasty":81,"author":1253,"museum":145,"description":1254,"tags":1255,"thumbUrl":1256,"material":152,"size":153,"collection":47,"collections":1257,"showCount":50,"zanCount":11,"manualWeight":11,"mainColor":101},290942,"shan-shui-zhou-qian-gu-290942","钱毂","钱毂，吴（今苏州）人。字叔宝，号磬室。明代画家。少孤贫，失学，成年开始读书。从文征明学诗文、书画，学习刻苦，传说曾抄古籍几万卷. 画名重于时，为吴门画派中高手。善绘山水、兰竹，意趣古淡，疏朗清新，风格近其师。工书法，笔力见功夫，挥洒自如，有屋漏之痕、折钗之势。传世作品有《虎丘前山图》轴、《求志图》，均藏北京故宫博物院；《苍山茅舍图》轴，藏上海博物馆。",[25,148,86,87,88,7,164,150,149,38,69,168,91],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8400b37a40e904224c5ba0f310bde0b0.jpg",[],{"id":1259,"slug":1260,"title":1261,"dynasty":125,"author":302,"museum":145,"description":780,"tags":1262,"thumbUrl":1263,"material":152,"size":153,"collection":47,"collections":1264,"showCount":50,"zanCount":11,"manualWeight":11,"mainColor":51},290061,"yun-lin-xiao-yin-tu-ke-luo-ban-wang-meng-290061","云林小隐图（珂罗版）",[23,24,25,109,26,86,168,167,60,87,7,88,164,275,111,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3caeca2af59eae88432c0aeed7ad6dfe.jpg",[],{"id":1266,"slug":1267,"title":1268,"dynasty":18,"author":396,"museum":145,"description":1269,"tags":1270,"thumbUrl":1275,"material":152,"size":153,"collection":47,"collections":1276,"showCount":50,"zanCount":11,"manualWeight":11,"mainColor":51},288369,"jin-wen-gong-fu-guo-tu-li-tang-288369","晋文公复国图","此《晋文公复国图》卷为宋代画家李唐绘。全图分为六段，描绘了晋文公（重耳）被他父亲放逐在外十九年，最后回国即位的故事，每段左题据传为宋高宗赵构手书的《左传》中相关章节，卷末有乔篑成、石岩、吴宽等人的跋。此卷现藏于大都会艺术博物馆。",[23,24,25,109,26,1271,527,1272,28,1273,305,7,1274],"人物画","白描","车马","晋文公复国事件","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd91db8876f688881b3c4cf82766bb82.jpg",[],{"id":1278,"slug":1279,"title":1280,"dynasty":219,"author":265,"museum":221,"description":1281,"tags":1282,"thumbUrl":1284,"material":94,"size":1285,"collection":47,"collections":1286,"showCount":50,"zanCount":11,"manualWeight":11,"mainColor":101},231512,"yi-jing-zhi-qiao-qu-tu-wang-hui-231512","一径至桥去图","王翚（1632—1717年），字石谷，号耕烟散人，又号剑门樵客、乌目山人、清晖老人，江苏常熟人，清初画家。祖上五世均善画，曾祖王伯臣，善画花鸟，祖父王载仕，擅长山水、人物、花卉；父亲王云客也善画山水，画风秀雅。\n王翚自幼受家庭影响，喜爱绘画，先拜同里张珂为师，专摹元代黄公望的山水画。后得到王鉴、王时敏的提携和悉心栽培，王翚的画艺骤进，声名鹊起。在游学于王时敏时，王翚摹仿李成、董源、巨然、赵令祉、米友仁、黄公望、吴镇、倪瓒、王蒙、曹知白、陈汝言等宋元名家的典范图式，笔墨纯正，色彩清新，熠熠生辉，号称“集宋元之大成”。\n王翚的山水画既师法古人，又师法自然，融会南北诸家之长，创立了所谓南宗笔墨、北宗丘壑的新面貌，故王时敏称“画有南北宗，至石谷而合为一”。在王翚35岁到60岁之间，其作品最为精彩，技法精巧，清丽工秀，有“合南北为一手” 的独特风格。时与王时敏、王鉴、王原祁、吴历、恽格齐名，被称为“四王吴恽”，又称“清六家”。\n康熙三十年（1691年），60岁的王翚由其画学弟子、时任兵部左侍郞的宋骏业推荐，以布衣应诏供奉内廷，绘制《康熙南巡图》，三年完成，得到康熙帝的褒奖，被视为画之正宗。其追随者甚众，因他为常熟人，常熟有虞山，故后人将其称为“虞山派”，且与王原祁二人有“画圣”之称。60岁以后，由于求画者甚多，王翚的作品多为应酬之作，难免粗制滥造，还出现了不少代笔画。又由于其技法纯熟，形成了一定的格式，下笔往往带有习气， 不及以前的作品生动清新。",[23,25,24,60,86,28,69,30,7,307,762,224,206,39,633,1283],"石桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04a3af540c2cbca82873377916100e60.jpg","43x95厘米",[],{"id":1288,"slug":1289,"title":1290,"dynasty":219,"author":1291,"museum":605,"description":1292,"tags":1293,"thumbUrl":1294,"material":47,"size":47,"collection":96,"collections":1295,"showCount":50,"zanCount":11,"manualWeight":11,"mainColor":1296},202003,"shan-shui-tu-zhou-chen-lv-zu-202003","山水图轴","陈率祖","这幅画作笔墨清润雅致，山峦层叠起伏，以皴法皴擦出山石肌理，墨色浓淡交错间晕染出远近景深。林木疏密有致，或点染或勾勒，枝叶鲜活，掩映着几处村落屋舍，质朴恬淡，流露田园生趣。溪流蜿蜒穿绕画面，水面留白与墨色相映，添得空灵之韵。整体构图虚实相生，意境宁静悠远，于简淡笔墨中见深致，尽显文人山水画的闲适意趣，仿佛让人置身于清幽静谧的山水田园间。",[86,87,69,30,7,762,130,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ae96bcacb38c031370748f51cfd3b01.jpg",[96],"b5a491",{"id":1298,"slug":1299,"title":1300,"dynasty":219,"author":1301,"museum":605,"description":1302,"tags":1303,"thumbUrl":1305,"material":47,"size":47,"collection":96,"collections":1306,"showCount":50,"zanCount":11,"manualWeight":11,"mainColor":1307},201528,"wu-xia-qiu-tao-tu-zhou-yuan-jiang-201528","巫峡秋涛图轴","袁江","巫峡险峻之势凝于画卷，山峦叠嶂间，界画勾勒的楼阁倚崖而立，线条精巧工致。山石以皴法表现肌理，墨色浓淡交织出林木葱茏之态。江中秋涛奔涌，波涛起伏间，一叶扁舟破浪前行，船身细节入微。远山云雾缥缈，近麓茅屋隐现，添了几分幽居意趣。整幅画融山水雄奇与建筑精巧，动静相济，尽显巫峡秋日壮景与文人山水情怀。",[1304,69,87,64,206,423,30,7,42,23],"界画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7cfe5b5cdcd135532c2bcae734a5f67.jpg",[96],"896f60",{"id":1309,"slug":1310,"title":1311,"dynasty":219,"author":1312,"museum":145,"description":1313,"tags":1314,"thumbUrl":1317,"material":152,"size":153,"collection":47,"collections":1318,"showCount":1319,"zanCount":11,"manualWeight":11,"mainColor":101},283626,"huang-shan-san-shi-liu-feng-tu-juan-mei-qing-283626","黄山三十六峰图卷","梅清","梅清（1623---1697），字渊公，号瞿山，安徽宣城人。生于明熹宗天启三年（1623年），卒于清圣祖康熙三十六年（1697年）。",[23,25,109,26,24,60,86,28,69,167,670,168,91,1315,1316,88,7],"黄山","山峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd8bad92c70028501261096bc6d435b4.jpg",[],11,{"id":1321,"slug":1322,"title":1323,"dynasty":81,"author":999,"museum":145,"description":1000,"tags":1324,"thumbUrl":1326,"material":152,"size":153,"collection":47,"collections":1327,"showCount":1319,"zanCount":11,"manualWeight":11,"mainColor":101},237839,"lin-mu-feng-yan-shan-xiang-sheng-mo-237839","林木风烟扇",[1234,25,86,69,7,180,88,1325,91],"烟雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefd98f5039969981c6fc02ae5d47c211.jpg",[],{"id":1329,"slug":1330,"title":1331,"dynasty":81,"author":1332,"museum":145,"description":1333,"tags":1334,"thumbUrl":1344,"material":47,"size":47,"collection":47,"collections":1345,"showCount":1319,"zanCount":11,"manualWeight":11,"mainColor":51},228389,"xu-jing-yang-yi-ju-cui-zi-zhong-228389","许旌阳移居","崔子忠","此作用高远章法铺陈，上层危崖嵯峨，飞瀑垂落，秋木虬曲点缀其间，清寂高古。中层为画面核心，仙众环侍主角，衣纹细劲如游丝，设色雅静沉凝，人物神态安然超脱，尽显道骨仙风。下层童仆往来搬运，身形灵动，为幽寂山水添上几分鲜活意趣。\n\n全图工写相济，山石勾勒皴染兼具，林木敷色雅致淡和，将仙隐迁居的出尘意境晕染透彻，笔意内敛醇厚，把叙事感与山水清逸融为一体，尽显晚明人物画的高雅典致。",[23,25,24,148,1271,60,1331,1335,1336,29,1337,1338,1339,28,271,32,1340,88,7,1341,1342,1343],"仙隐迁居","道释题材","工写相济","皴染","游丝描","秋木","道骨仙风","清寂高古","出尘意境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a52147b095678beb4349cffd858869e.jpg",[],{"id":1347,"slug":1348,"title":1349,"dynasty":81,"author":1350,"museum":605,"description":1351,"tags":1352,"thumbUrl":1354,"material":47,"size":47,"collection":96,"collections":1355,"showCount":1319,"zanCount":11,"manualWeight":11,"mainColor":1356},203412,"mo-gu-shan-shui-ce-shen-hao-203412","摹古山水册","沈颢","笔墨摹古而意趣自出，山石勾勒皴擦见苍劲，松枝虬曲含逸气。左帧水岸相接，孤舟泛波，小桥隐现，一派江南清旷；右帧峰峦叠嶂，飞瀑流泉，林木葱茏间有人物凭栏，尽显林泉雅致。设色淡雅，构图疏密得宜，于摹仿中见个人情韵，是文人山水的典型风貌。",[25,87,1353,69,86,28,150,149,206,584,88,385,7,38,330,23],"摹仿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f367a4b1eb7d65a438518901e2838d3.jpg",[96],"988065",{"id":1358,"slug":1359,"title":1360,"dynasty":219,"author":220,"museum":605,"description":1361,"tags":1362,"thumbUrl":1363,"material":47,"size":47,"collection":96,"collections":1364,"showCount":1319,"zanCount":11,"manualWeight":11,"mainColor":1365},202166,"fang-ni-huang-shan-shui-tu-zhou-wang-yuan-qi-202166","仿倪黄山水图轴","这幅山水融倪瓒简远之致与黄公望苍劲之姿，笔墨以干笔淡墨层层皴染，尽显浑厚华滋。远处峰峦峭立，石质纹理借细腻皴法勾勒，松杉错落点染其间，山林苍劲之态毕现；近处松石交映，几间茅亭隐于林下，水面空濛如镜，衬出天地清旷意境。布局疏密得宜，意境静谧悠远，既承袭古贤笔意，又注入自身笔墨韵致，摹古中见新意。山石皴擦与点苔交织，林木萧疏与山峦厚重相映，传递出文人画沉潜淡远之味，似可闻松风轻拂，可观云气流转，尽展传统山水笔墨精髓与意境之美。",[87,69,86,690,88,7,133,368,111,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f08f1abe6aefea1a572ba56db200ce1.jpg",[96],"bcb8ae",{"id":1367,"slug":1368,"title":1369,"dynasty":219,"author":1370,"museum":605,"description":1371,"tags":1372,"thumbUrl":1374,"material":47,"size":47,"collection":96,"collections":1375,"showCount":1319,"zanCount":11,"manualWeight":11,"mainColor":1376},201892,"bing-pei-gao-yin-tu-zhou-weng-song-nian-201892","并轡高吟图轴","翁嵩年","画面层叠的山崖以苍劲皴笔写就，嶙峋石骨间林木掩映，楼阁隐现于山坳，添了几分幽致。近景溪流边，数骑并辔缓行，人物衣袂带风似正高吟，旁侧枯树怪石错落，笔墨疏朗却见意趣。整作以水墨设色为主，山石皴擦与人物勾勒相衬，既显山川雄浑，又含文人雅游之闲适，意境清旷悠远。",[25,87,38,1373,69,28,133,7,88,23],"马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F813f33f726dba9b4c085269d34c88cfe.jpg",[96],"93816e",{"id":1378,"slug":1379,"title":1380,"dynasty":81,"author":791,"museum":145,"description":1381,"tags":1382,"thumbUrl":1383,"material":152,"size":153,"collection":47,"collections":1384,"showCount":1385,"zanCount":11,"manualWeight":11,"mainColor":101},290931,"bao-shan-shi-jing-ce-zhang-hong-290931","包山十景册","张宏（1577年－1652年后），字君度，号鹤涧，江苏苏州长洲县人，明代画家、篆刻家。善画山水、人物、翎毛。擅长山水，颇有意趣，亦能画兰，笔墨有元人古意，是明末吴门画坛的中坚人物。吴中学者尊崇之。另外近代学者指出他擅长“地图式绘画”，描绘旅游所见景色，是与其他吴派画家不同之处。",[25,330,87,61,7,164,86,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e629974fe896b8b1acd8fb8c21f64ae.jpg",[],10,{"id":1387,"slug":1388,"title":1389,"dynasty":219,"author":203,"museum":145,"description":1390,"tags":1391,"thumbUrl":1394,"material":152,"size":153,"collection":47,"collections":1395,"showCount":1385,"zanCount":11,"manualWeight":11,"mainColor":101},290177,"shao-shu-min-zu-sheng-huo-xi-su-hua-ce-1-yi-ming-290177","少数民族生活习俗画册-1","这幅画作分景铺陈意趣，左侧溪畔松林间，两对男女携幼匆匆赶路，男子持械护在眷属身侧，神色紧绷藏着惶急。右侧山径上，一众少年持笙笛踏歌而行，衣饰鲜亮，神情洋溢着快活生机。\n\n设色淡雅清和，山石林木以淡赭轻皴晕染，铺展出山野静穆悠然的底色。人物造型朴拙写实，少数民族特色衣装细节饱满，动静两相对照，将赶路的仓促惶然与嬉游的自在松弛交织，鲜活还原边地族群日常百态，淡墨浅彩晕开独有的山野烟火气，藏着质朴温润的人文温度。",[23,25,330,28,38,87,1392,7,1393,991],"民俗","山野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd69b83ec28cfac023b67e06a6403eddc.jpg",[],{"id":1397,"slug":1398,"title":1399,"dynasty":81,"author":203,"museum":145,"description":1400,"tags":1401,"thumbUrl":1404,"material":152,"size":153,"collection":47,"collections":1405,"showCount":1385,"zanCount":11,"manualWeight":11,"mainColor":51},287339,"fang-dai-song-mu-niu-tu-yi-ming-287339","仿戴嵩牧牛图","此作为平远长卷，水岸逶迤铺展，枯木寒林错落点缀其间。群牛或卧憩坡岸、或垂首饮水、或结伴闲行，姿态灵动各异，尽得山野牧群的悠然天真，复刻出戴嵩画牛的朴拙野趣。\n设色温润古雅，以淡赭晕染汀洲秋岸，墨色点簇林木、皴擦牛身，浅淡青绿缀出残叶新枝，晕开秋日郊野的清寂萧散。拖尾题跋与画意呼应，书画合璧，尽显追摹唐风画牧的古雅意趣，将田家放牧的日常景致，晕作一卷闲散清和的秋日郊居牧歌。",[23,25,26,28,109,1402,87,7,368,1403],"牛","牧牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b948a588da2c82dd8401abd9e571ff6.jpg",[],{"id":1407,"slug":1408,"title":629,"dynasty":81,"author":678,"museum":20,"description":1409,"tags":1410,"thumbUrl":1412,"material":1012,"size":1413,"collection":47,"collections":1414,"showCount":1385,"zanCount":11,"manualWeight":11,"mainColor":101},233803,"shan-shui-ce-dong-qi-chang-233803","明代画坛流派叠现，异彩纷呈。晚期更有华亭派、武林派等异军突起，影响远泽有清一代。其中，华亭派领袖人物董其昌推崇倡导的摹古风气对后世画坛的影响尤为深刻。对于学习绘画，董其昌认为应先以古人为师，对古人画迹悉心摹写，将其笔墨技法、布局构图于心中融汇贯通，从而得古人笔墨意趣，然后再师法自然，汲取创作灵感。他对自己的主张是身体力行的。\n这套《仿古山水》册共８开，皆为仿唐及宋元诸家如杨昇、惠崇、李公麟、倪瓒等的小幅册页，是董其昌仿古一类绘画中不可多得的妙品。董氏水墨山水名重于世，设色山水也别具一格。此册中“仿唐杨昇”一开青绿山水，以没骨法为之，丛树峰峦等都用石青、石绿、朱砂、赭石等色染出，鲜有勾皴，与李思训一派线条硬劲的青绿山水情趣各异。董其昌曾遍临名家画作，而用功最勤的则是元四家。册中有“仿倪元镇”一开山水，构图布局和树、石、山、亭的画法无不毕肖于倪瓒之作，可谓得其三昧，登堂入室。此套册页虽每开均以“仿”字冠名，其实画面却不尽然，因为每幅都有自出新意之处。再以“仿倪元镇”一开为例，与倪瓒之画呈现的寂寥疏淡的面目相比，此图使人感受到的是勃勃生机，这是董氏取诸家笔墨之长，再运用自身的学养识见加以变化而直抒胸臆、独树风标的不凡魅力，后世众多摹古画家始终无法企及。",[25,86,69,330,91,87,180,88,633,307,131,130,7,67,1411,636,386],"近树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75710c5e147415e81d5f1e9b06ef7dca.jpg","纵26.3厘米，横25.5厘米",[],{"id":1416,"slug":1417,"title":1418,"dynasty":219,"author":382,"museum":145,"description":1419,"tags":1420,"thumbUrl":1424,"material":47,"size":47,"collection":47,"collections":1425,"showCount":1385,"zanCount":11,"manualWeight":11,"mainColor":51},230175,"shu-hua-shi-liu-kai-wang-shi-min-230175","书画十六开","此作用笔追法黄公望，山峦以披麻皴层层写就，浑厚苍润，尽显元人山水的沉古意趣。画面铺陈开阔，层峦叠嶂间飞泉直下，板桥连缀幽境，水畔村舍错落排布，山居人家隐于林木蓊郁的山坳里。\n\n淡施青绿晕染山石，糅合秀润与苍劲，整体意境静谧悠然。笔墨松秀温润，于摹古之中自出风神，将林泉雅逸的林下之趣藏于错落景致间，铺展出一派安闲淡远的世外山居图景。",[25,24,330,60,422,28,251,30,1421,150,149,1422,7,164,1423,368],"飞泉","村舍","静谧悠然","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e4b15bc29a9bde98e7a633ac4b782f6.jpg",[],{"id":1427,"slug":1428,"title":1429,"dynasty":125,"author":203,"museum":145,"description":1430,"tags":1431,"thumbUrl":1433,"material":152,"size":153,"collection":47,"collections":1434,"showCount":1435,"zanCount":11,"manualWeight":11,"mainColor":51},290153,"xia-shan-gan-yu-tu-yi-ming-290153","夏山甘雨图","元代绘画中，文人画占据画坛主流。因元代未设画院，除少数专业画家直接服务于宫廷外，大都是身居高位的士大夫画家和在野的文人画家。他们的创作比较自由，多表现自身的生活环境、情趣和理想。山水、枯木、竹石、梅兰等题材大量出现，直接反映社会生活的人物画减少。作品强调文学性和笔墨韵味，重视以书法用笔入画和诗、书、画的三结合。",[25,87,86,148,149,206,1402,1432,7,88,782,69],"雨景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d181d3e90b756e1e1d386df91fa2fa8.jpg",[],9,{"id":1437,"slug":1438,"title":1439,"dynasty":18,"author":203,"museum":145,"description":1440,"tags":1441,"thumbUrl":1445,"material":152,"size":153,"collection":47,"collections":1446,"showCount":1435,"zanCount":11,"manualWeight":11,"mainColor":101},289452,"cheng-jiang-bi-xiu-tu-yi-ming-289452","澄江碧岫图","此作为边角取景的山水小品，左实右虚，将江南烟水意蕴纳于尺幅间。峭拔山石以青绿晕染，石色清润雅致，与赭色底色相融，古松苍劲虬曲，栖于岩岸，茅庐隐于林下，野趣悠然。空阔江面之上，数艘扁舟缓行，破开一江澄澈。远景远山以淡墨晕散，隐没于烟霭之中，虚实相映间，江天浩渺的静穆清旷扑面而来。画作简淡清远，以小见大，尽得清隽温润之韵，将寄情山水的幽远意趣藏在每一处晕染勾勒中，尽显江南水色的空灵闲雅。",[1234,25,24,422,28,60,1442,423,1443,7,62,67,669,1444],"青山","行舟","宁静","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7decbafa7e5bee3ec097a1a143c123e2.jpg",[],{"id":1448,"slug":1449,"title":1450,"dynasty":81,"author":678,"museum":145,"description":679,"tags":1451,"thumbUrl":1452,"material":152,"size":153,"collection":47,"collections":1453,"showCount":1435,"zanCount":11,"manualWeight":11,"mainColor":101},283745,"shu-hua-he-bi-juan-dong-qi-chang-283745","书画合壁卷",[23,24,25,109,26,86,168,167,87,30,7,1422,252,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb9730d590d7dfec6d881d41f1b0e097.jpg",[],{"id":1455,"slug":1456,"title":1457,"dynasty":1458,"author":1459,"museum":605,"description":1460,"tags":1461,"thumbUrl":1462,"material":47,"size":47,"collection":96,"collections":1463,"showCount":1435,"zanCount":11,"manualWeight":11,"mainColor":1464},203368,"xi-shan-tu-heng-pi-wu-zheng-203368","溪山图横披","近代","吴徴","这幅水墨山水以灵动笔墨铺展层叠山峦，皴擦点染间，山石肌理与林木丰茂之态毕现。山间云雾轻笼，林木扶疏，几处屋舍隐于浓荫或山坳，似藏尘世静谧。线条粗细交错，墨色浓淡相宜，既显山川雄浑，又含林泉清逸，意境悠远引人入胜，仿佛可闻林间风声与山涧流水，尽显传统山水雅致韵味。",[86,87,69,7,225,88,252,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa87712ad494c34fec658814e8e47cb77.jpg",[96],"b4a998",{"id":1466,"slug":1467,"title":235,"dynasty":125,"author":1468,"museum":605,"description":1469,"tags":1470,"thumbUrl":1474,"material":47,"size":47,"collection":96,"collections":1475,"showCount":1435,"zanCount":11,"manualWeight":11,"mainColor":1476},201770,"shan-shui-tu-juan-lu-guang-201770","陆广","淡墨轻皴，烟峦隐现。卷中山石以披麻皴写就，肌理温润；林木葱郁，枝干劲挺，点叶错落有致。溪流蜿蜒穿岩过谷，近处茅舍依岸筑立，竹树环绕，尽显幽居之趣。画面虚实相生，留白处似有云气流动，意境清旷淡远，得元人山水萧散之致。笔墨取法黄公望的秀逸与王蒙的细密，皴染结合，层次丰富，于简淡中见深致。整体气息雅致，将文人对自然的眷恋融于尺幅，是元代文人山水画的典型风貌。",[87,86,69,251,111,130,62,7,1471,1472,1473,23],"烟峦","淡墨","元画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb16106c1eb300fe48c746a498f9cb72.jpg",[96],"c6b28d",{"id":1478,"slug":1479,"title":629,"dynasty":219,"author":1480,"museum":145,"description":1481,"tags":1482,"thumbUrl":1484,"material":152,"size":153,"collection":47,"collections":1485,"showCount":1486,"zanCount":11,"manualWeight":11,"mainColor":51},236727,"shan-shui-ce-hua-yan-236727","华嵒","华岩（1682～1756），一作华嵒，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、离垢居士等，老年自喻“飘篷者”，福建上杭蛟洋华佳（家）人（原白砂里人），后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称“三绝”，为清代杰出绘画大家，扬州画派的代表人物之一。\n自幼酷爱绘画，后因家贫失学，备受世俗冷落，康熙四十二年（1703）华氏家族重建祠堂，曾因替正厅画壁画，乡绅看不起他，群起反对，最后偷自进祠堂，画上“高山云鹤”、“水国浮牛”、“青松悬崖”和“倚马题诗”四幅画，愤而离乡飘泊，流寓于杭州，结交了很多文人学士，眼界大开。36岁时曾北上入都，“得交当路巨公，名闻于上”，但并不得意，据戴熙《习苦斋画絮》载：“华秋岳自奇其画，游京师无问者。一日有售赝画者，其裹华笔也，华见而太息出都。”他的中晚年一直频繁往来于杭州、扬州，以卖画为生。在扬州他结识了金农、高翔、李鱓、郑板桥及盐商巨子马曰琯、马曰璐兄弟，彼此交流切磋，诗画酬答，使其绘画修养得到多方面的拓展，成为扬州画派的代表人物之一。",[24,25,109,330,113,86,28,87,180,88,130,7,385,1483],"涧水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ae85168545d98380ed02d659de03898.jpg",[],8,{"id":1488,"slug":1489,"title":1490,"dynasty":219,"author":220,"museum":145,"description":1491,"tags":1492,"thumbUrl":1498,"material":47,"size":47,"collection":47,"collections":1499,"showCount":1486,"zanCount":11,"manualWeight":11,"mainColor":101},224398,"xia-shan-xin-ji-tu-juan-wang-yuan-qi-224398","夏山新霁图卷","此作用笔苍浑老辣，以高远之势立主峰于画面中央，层岩皴擦间兼具披麻皴的松灵与解索皴的遒劲，将夏山的浑厚肌理尽数铺展。留白处晕染汀洲水泽，虚实相映里，尽显新霁后的空润明净。\n\n林木穿插错落，点叶苍劲灵动，或浓或淡的墨色晕染出晴日照彻后的鲜润翠色，林麓间的村居隐于茂树之下，添了几分悠然野趣。整体气息秀润沉雄，既有元人山水的萧散松灵，又自具醇厚静穆的意蕴，将初晴夏山的空明雅致融于笔墨开合之间。",[25,26,60,86,69,251,1493,88,7,733,1494,1495,1496,1497],"解索皴","汀洲","水泽","雨后初晴","野趣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F601a1fd4574bcc15ec15daea92f0dd66.jpg",[],{"id":1501,"slug":1502,"title":381,"dynasty":1458,"author":1503,"museum":605,"description":1504,"tags":1505,"thumbUrl":1506,"material":47,"size":47,"collection":96,"collections":1507,"showCount":1486,"zanCount":11,"manualWeight":11,"mainColor":1508},203407,"shan-shui-zhou-xiao-jun-xian-203407","萧俊贤","此作水墨淋漓，皴染相济。层岩叠嶂间，飞瀑穿林而下，苍松虬枝旁逸，屋宇隐于溪畔山坳，得山林幽寂之致。笔墨兼具沉雄与清逸，山石以皴法写其肌理，树木枝干古拙有生趣，留白处衬出空濛意境，尽显文人山水的雅致清旷，引人入山林栖居之思。",[25,86,87,69,399,225,7,148,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f32c1ed2995018b3739085e0ac13e95.jpg",[96],"cbc6bb",{"id":1510,"slug":1511,"title":1512,"dynasty":81,"author":1513,"museum":605,"description":1514,"tags":1515,"thumbUrl":1517,"material":47,"size":47,"collection":96,"collections":1518,"showCount":1486,"zanCount":11,"manualWeight":11,"mainColor":1519},203375,"jin-ling-shi-ba-jing-tu-ce-wen-bo-ren-203375","金陵十八景图册","文伯仁","笔墨清润秀雅，山峦以披麻皴皴染结合，勾勒金陵丘壑灵秀。近景林木葱茏，中景村落隐现烟霭间，远景江天浩渺，孤舟轻泛。构图疏密有致，意境悠远，既得自然野趣，又含文人书卷气，将金陵胜景的温婉与壮阔融于咫尺册页，尽显江南山水的诗意静谧。",[25,330,86,28,69,87,206,7,762,1516,23],"江天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7eac81cc328c61fbe1a2960154c70f5.jpg",[96],"d5cabd",{"id":1521,"slug":1522,"title":629,"dynasty":219,"author":1523,"museum":605,"description":1524,"tags":1525,"thumbUrl":1526,"material":47,"size":47,"collection":96,"collections":1527,"showCount":1486,"zanCount":11,"manualWeight":11,"mainColor":1528},203307,"shan-shui-ce-fan-qi-203307","樊圻","画面分两帧，一帧峰峦陡起，皴笔皴擦出嶙峋肌理，青绿设色晕染出苍润质感，山脚茅屋疏树，牧群悠然，野趣横生；另一帧江波平展，岸石错落，孤舟轻漾，林木萧疏，笔墨清逸雅致。两帧皆融宋元山水之沉郁与文人画之逸韵，景物鲜活，意境淡远，尽显自然意趣与笔墨情致。",[28,69,330,87,206,42,291,1403,88,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17320e032e43b0139c0e9d4c61b4632f.jpg",[96],"a68c6c",{"id":1530,"slug":1531,"title":1532,"dynasty":1458,"author":1533,"museum":605,"description":1534,"tags":1535,"thumbUrl":1536,"material":47,"size":47,"collection":96,"collections":1537,"showCount":1486,"zanCount":11,"manualWeight":11,"mainColor":1538},203162,"yang-zai-shi-yi-tu-zhou-wu-dai-qiu-203162","杨载诗意图轴","吴待秋","画面层峦起伏，林木葱茏，溪流蜿蜒穿绕谷涧，几间屋舍隐于林麓间，尽显静谧悠远的山居意趣。笔墨运用娴熟，山石以皴法勾勒纹理，线条刚柔相济；林木枝叶繁密，墨色浓淡交错，层次分明。设色清雅温润，不事浓艳，却将自然生机融入山水间。整体意境恬淡悠然，似将诗意中的野旷悠然具象化，传递出文人山水的雅致韵致与对自然的深切体悟。",[87,69,28,7,130,225,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a59a6b9b7a54698405518c95a0b19f8.jpg",[96],"b1a895",{"id":1540,"slug":1541,"title":1542,"dynasty":219,"author":265,"museum":605,"description":1543,"tags":1544,"thumbUrl":1546,"material":47,"size":47,"collection":96,"collections":1547,"showCount":1486,"zanCount":11,"manualWeight":11,"mainColor":1548},202198,"fang-da-chi-shan-shui-zhou-wang-hui-202198","仿大痴山水轴","这幅山水师法黄公望笔意，笔墨清润雅致。峰峦以淡墨皴擦，线条疏宕有致；林木枯荣相间，点染间见生机；山间屋舍错落隐现，溪流穿谷而下，意境悠远宁静。布局开合有度，既承大痴山水的萧散简远之韵，又融入自身灵动的笔意，尽显文人画的悠然雅致与深远情致。",[25,87,69,7,225,130,749,111,1545,23],"仿大痴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F897ea7defaffd18358c2eb96f7f5a4bb.jpg",[96],"cebeb1",{"id":1550,"slug":1551,"title":1552,"dynasty":219,"author":265,"museum":605,"description":1553,"tags":1554,"thumbUrl":1555,"material":47,"size":47,"collection":96,"collections":1556,"showCount":1486,"zanCount":11,"manualWeight":11,"mainColor":1557},201688,"fu-wang-meng-jiang-shan-qian-li-tu-juan-wang-hui-201688","抚王蒙江山千里图卷","这幅长卷以细腻笔触铺展千里江山，山峦叠嶂间林木葱郁，江河烟波浩渺，舟楫点点穿梭水面，村落隐于山麓林麓间，尽显江南山水的灵秀与旷远。画家承袭王蒙笔意，以繁复而不失条理的皴法勾勒山石肌理，线条灵动且富有层次，墨色浓淡相宜，既再现原作苍莽气象，又融入自身对山水的体悟，营造出深远静谧的意境，堪称仿古山水的典范之作。",[87,26,69,368,7,31,608,762,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dc68c2eba467ae572cd264bda564355.jpg",[96],"ad9168",{"id":1559,"slug":1560,"title":1561,"dynasty":219,"author":1562,"museum":605,"description":1563,"tags":1564,"thumbUrl":1565,"material":47,"size":47,"collection":96,"collections":1566,"showCount":1486,"zanCount":11,"manualWeight":11,"mainColor":752},201595,"wang-yun-si-qin-tu-juan-zhu-ang-zhi-201595","望云思亲图卷","朱昂之","云雾如纱轻笼层叠山峦，林木葱郁间，屋舍隐现于溪畔岩边。水墨晕染出朦胧意境，山石以皴法显其肌理，树木笔法疏密有致，层次分明。画面静谧悠远，借山水云雾传递“望云思亲”的缱绻深情，于自然景致中藏人文意韵，尽显传统山水画的笔墨韵味与情感张力。",[25,26,86,87,69,252,7,225,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcb2869e556232030267a9825a5f5a5d.jpg",[96],{"id":1568,"slug":1569,"title":1570,"dynasty":219,"author":1571,"museum":145,"description":1572,"tags":1573,"thumbUrl":1574,"material":152,"size":153,"collection":47,"collections":1575,"showCount":1576,"zanCount":11,"manualWeight":11,"mainColor":101},290583,"fang-fan-kuan-shan-shui-zhang-yu-sen-290583","倣范宽山水","张雨森","张雨森，清朝画家。初名雨，字作霖，一字紫琅，号苍野，经子，工山水，得文家风韵。善泼墨，惜用墨皆渗以胶。亦善画花鸟。",[25,87,368,28,69,225,150,149,399,7,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c982027a7845bc86ee5ad75f2bd249.jpg",[],7,{"id":1578,"slug":1579,"title":1580,"dynasty":81,"author":1581,"museum":145,"description":1582,"tags":1583,"thumbUrl":1584,"material":47,"size":47,"collection":47,"collections":1585,"showCount":1576,"zanCount":11,"manualWeight":11,"mainColor":1586},234542,"shan-shui-shan-wei-zhi-huang-234542","山水扇","魏之璜","魏之璜（1568－1647）明代画家。字叔考，上元（今南京）人\n魏之璜。字叔考，上元（今南京）人。出身孤贫，天性孝友，养老亲，抚诸弟，胥取给於十指，不以干人。能书善画，以卖画为生。书师法《黄庭经》，结构严密，神采流丽。山水宗宋人，不袭粉本，岩壑树石多变化，别具风貌。生平画幅，绝无雷同。晚年用浓墨秃笔，苍老厚实，颇见功底。亦擅花卉及佛像，花卉淡墨写生，画佛施诸寺院。",[25,109,1234,86,69,87,206,180,88,700,38,131,7,67,476],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14c8d9009f51d706882f0458f6f08902.jpg",[],"F48FB1",{"id":1588,"slug":1589,"title":1590,"dynasty":219,"author":1591,"museum":605,"description":1592,"tags":1593,"thumbUrl":1594,"material":47,"size":47,"collection":96,"collections":1595,"showCount":1576,"zanCount":11,"manualWeight":11,"mainColor":1596},203104,"su-tai-gao-yu-tu-ce-wen-dian-203104","苏台膏雨图册","文点","此作以淡墨晕染营造膏雨初歇的空濛氛围，山峦以简练线条勾勒轮廓，辅以皴擦表现石质肌理，林木疏朗挺劲，枝叶间似带湿润气息。近景坡石错落，细草点缀，远景烟波轻笼，隐现孤舟，意境悠远恬淡。笔墨清雅秀逸，尽显文人山水的空灵之趣，将江南雨景的温润雅致凝于册页之中，观之如临其境，心生清宁。",[25,87,86,330,69,7,30,206,1472,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a859ccf7d9e69dbfa797a6ff9113a58.jpg",[96],"dad4cd",{"id":1598,"slug":1599,"title":1600,"dynasty":219,"author":757,"museum":605,"description":1601,"tags":1602,"thumbUrl":1605,"material":47,"size":47,"collection":47,"collections":1606,"showCount":1576,"zanCount":11,"manualWeight":11,"mainColor":752},202726,"jiang-shan-wu-jin-tu-juan-gao-cen-202726","江山无尽图卷","长卷铺展，峰峦错落间林木扶疏，枯藤老树傍崖而立，苍松挺劲。山间屋舍隐现，溪流蜿蜒穿石而过；江面烟波浩渺，孤舟泛波，远景水天相接，尽显江山悠远之致。笔墨技法上，皴法勾勒山石肌理，层次分明；水墨晕染与淡设色相融，清雅自然，将山水的雄浑与灵秀交织，传递出无尽的静谧与壮阔。",[87,26,69,86,28,206,1603,1148,225,130,1604,7,23],"枯藤","江面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc33449f505b5ad793bf9504529863861.jpg",[],{"id":1608,"slug":1609,"title":1290,"dynasty":219,"author":1610,"museum":605,"description":1611,"tags":1612,"thumbUrl":1613,"material":47,"size":47,"collection":96,"collections":1614,"showCount":1576,"zanCount":11,"manualWeight":11,"mainColor":1615},201883,"shan-shui-tu-zhou-zhou-tan-201883","周坦","此图绘层岩叠嶂，高崖耸峙，山间林木疏朗，隐现屋宇。下方溪流蜿蜒，岸畔茅舍错落，杂树生姿，远岫含烟，一派清寂悠远的山居景致。笔墨上，山石以皴法勾勒，线条劲挺灵动，墨色浓淡相宜，层次分明；树木枝干虬劲，叶态各异，尽显自然生趣。构图疏密有致，虚实相生，简淡中见深远，传递出文人画特有的闲适旷达，仿佛可闻山涧风声，可观林泉之乐。",[87,86,69,148,130,7,30,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa86b7f851698938350453efc5fa980f.jpg",[96],"ae8a52",{"id":1617,"slug":1618,"title":1619,"dynasty":219,"author":265,"museum":145,"description":1620,"tags":1621,"thumbUrl":1629,"material":47,"size":47,"collection":47,"collections":1630,"showCount":1631,"zanCount":11,"manualWeight":11,"mainColor":101},224472,"liang-chang-shan-guan-tu-zhou-wang-hui-224472","良常山馆图轴","此作用笔精谨秀润，以巍峨主峰撑起画面骨架，山石以披麻皴层层皴染，尽显苍劲浑厚，崖壁高耸险峻，尽显自然雄奇之态。山谷间林木蓊郁，屋舍幽藏于林麓之间，溪涧蜿蜒穿流于乱石浅滩，烘托出世外幽居的静谧闲雅。\n\n画作兼得北宋山水的雄浑格局与元人笔墨的秀逸温润，将山野林泉的朴茂生机与文人幽居的雅趣相融，于规整中见灵动，笔墨间尽抒山水清旷之美，尽显正统山水画的雅致意韵。",[23,25,24,148,60,86,251,88,306,878,7,225,66,1622,1623,256,1624,1625,1626,1627,1628],"乱石","浅滩","闲雅","雄浑","秀逸","清旷","雅致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4681dcfa06a3c8190e72183fd3cb7d83.jpg",[],6,{"id":1633,"slug":1634,"title":1635,"dynasty":18,"author":557,"museum":57,"description":1636,"tags":1637,"thumbUrl":1638,"material":1639,"size":1640,"collection":47,"collections":1641,"showCount":1631,"zanCount":11,"manualWeight":11,"mainColor":101},221422,"qi-feng-wan-mu-yan-wen-gui-221422","奇峰万木","这幅作品中除了峭拔的奇峰外，并未见有燕文贵画风的特点。而由山石的造型、皴法、树法、点苔、设色等，也都比较接近南、北宋之交院画家李唐的「江山小景」卷来看，应当是一幅南宋习自李唐风格的作品。\n登临高山之顶，一幕奇峰汇聚、林木茂盛、云雾蒸腾的景致，正置于观者眼前。大自然的神奇与灵秀，使得这一座座高耸峭拔的奇峰与挺劲丛生的松杉，看来犹如刺天入云的绿色天柱，由近至远，幽缈地在天地之间起落、绵延。",[23,25,24,1234,86,28,69,87,453,7,252,167,91],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d6ff8fa0d000df2a0092b1241184c30.jpg","绢本设色","24.5 x 26公分",[],{"id":1643,"slug":1644,"title":1645,"dynasty":219,"author":1646,"museum":605,"description":1647,"tags":1648,"thumbUrl":1649,"material":47,"size":47,"collection":47,"collections":1650,"showCount":1631,"zanCount":11,"manualWeight":11,"mainColor":1651},201531,"yu-chun-xian-mo-tu-zhou-zou-zhi-lin-201531","雨春闲墨图轴","邹之麟","笔墨苍劲洒脱，山峦以皴法勾勒，线条灵动兼具厚重感。层叠峰峦间云雾轻笼，似遮似露；山间屋舍错落，松石相映成趣，林木疏密有致，透着清寂闲雅的文人气息。构图疏密得当，水墨晕染间尽显山水逸韵，仿佛春日雨后山林的静谧生机扑面而来，引人流连于这悠然的自然之境。",[25,87,86,69,148,30,225,7,584],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d08269ef746e6b12995a7a11cdb6097.jpg",[],"beb3a2",{"id":1653,"slug":1654,"title":1655,"dynasty":219,"author":1656,"museum":605,"description":1657,"tags":1658,"thumbUrl":1660,"material":47,"size":47,"collection":96,"collections":1661,"showCount":1631,"zanCount":11,"manualWeight":11,"mainColor":1662},201510,"jiang-shan-fan-zhou-tu-juan-sun-lang-201510","江山泛舟图卷","孙浪","长卷徐徐展开，江河如练，浩渺无垠。水面孤舟点点，或远或近，载着几分悠然。近岸林木葱茏与枯疏相间，山石以皴法勾勒，肌理分明；远山层叠，淡墨晕染，渐次隐入天际。笔墨简练却意蕴悠长，将江山之壮阔与泛舟之闲适相融，尽显传统水墨山水的空灵雅致，引人入胜。",[25,26,86,87,206,69,31,7,30,1659,23],"传统山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f9c8e75bf4e2009c324efbed66082e3.jpg",[96],"b8a88d",{"id":1664,"slug":1665,"title":1666,"dynasty":81,"author":1667,"museum":145,"description":1668,"tags":1669,"thumbUrl":1672,"material":152,"size":153,"collection":47,"collections":1673,"showCount":1674,"zanCount":11,"manualWeight":11,"mainColor":101},287638,"luo-han-tu-wang-duo-287638","罗汉图","王铎","王铎（1592—1652年），字觉斯（之），号十樵、嵩樵、痴庵、痴仙道人、烟潭渔叟，平阳府洪洞县（今山西省洪洞县）人。明末清初大臣、书画家，王本仁的儿子。",[23,25,26,109,86,38,1670,1671,670,91,7,88],"罗汉","佛教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dcd780c5979c6e8348cfda76f12e4d9.jpg",[],5,{"id":1676,"slug":1677,"title":1678,"dynasty":219,"author":203,"museum":20,"description":1679,"tags":1680,"thumbUrl":1683,"material":94,"size":1684,"collection":47,"collections":1685,"showCount":1674,"zanCount":11,"manualWeight":11,"mainColor":101},233094,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-233094","平定苗疆战图册","《平定苗疆得胜图》亦称《湖南战役图》，十六幅图依次为：兴师图、剿捕秀山苗匪、攻克木山、攻解松桃之围、大剿土空寨苗匪解永绥城围、攻克兰草坪滚牛坡、攻克黄瓜寨剿贼、攻克苏麻寨、攻得茶它柳夯等处贼巢、攻克高多寨生擒逆首吴半生、攻克廖家冲生擒首逆石三保、收复乾州、攻克强虎哨、攻克平陇贼巢、捷来图、攻克石隆苗寨。\n清乾隆五十九年（1794年），湖南、贵州的苗民在石三堡、石柳邓、吴半生等人的率领下起义。清政府先后派云贵总督福康安、四川总督和琳等出兵镇压。《平定苗疆得胜图》是以这一历史事件中的几次重大战役为题材创作而成。\n作者采用了中国传统绘画中的皴法刻画山石麻皮状的纹理和峭立的山势，并以细腻的刻画手法及娴熟的线条运用较好地勾勒出物象的质感。战争场面气势恢宏，人物造型受中国传统木版画的影响，呈头大身小的特点，古朴稚拙。",[25,330,28,69,527,532,38,88,7,1681,1682],"村寨","苗疆平叛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5730dde14976d866db2f6913425aa251.jpg","纵55.4cm，横90.8cm",[],{"id":1687,"slug":1688,"title":1689,"dynasty":219,"author":1690,"museum":605,"description":1691,"tags":1692,"thumbUrl":1693,"material":47,"size":47,"collection":96,"collections":1694,"showCount":1674,"zanCount":11,"manualWeight":11,"mainColor":1695},203345,"shu-hua-ji-ce-gao-xiang-203345","书画集册","高翔","墨色与淡彩晕染山水，皴笔勾勒山峦肌理，林木葱茏间溪流隐现，野趣盎然。右侧行书笔意流畅，与山水意境相契，书画合璧尽显文人雅韵，逸气扑人，藏着清逸悠远的心境与笔墨情致。",[25,109,330,28,87,167,69,7,130,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8da1a9958658a2e096ecb365252aa602.jpg",[96],"81664c",{"id":1697,"slug":1698,"title":1699,"dynasty":219,"author":1523,"museum":605,"description":1700,"tags":1701,"thumbUrl":1702,"material":47,"size":47,"collection":96,"collections":1703,"showCount":1674,"zanCount":11,"manualWeight":11,"mainColor":1704},203186,"shan-shui-tu-ce-fan-qi-203186","山水图册","此山水册页笔墨清润雅致，皴染结合尽显山石肌理。或见孤舟泛于远岫间，水色空濛；或有青绿晕染的丘壑旁，村舍隐现，溪流蜿蜒；又或峡谷中林木点缀，流水潺潺。设色淡雅，青绿与水墨交融，构图疏密有致，意境清幽悠远，文人画的闲适韵味流淌其间，给人以宁静脱俗的视觉享受。",[25,87,330,69,28,206,149,422,86,88,7,1422,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe30ebe6408594a9cf653469c79f14f43.jpg",[96],"bcad96",{"id":1706,"slug":1707,"title":1699,"dynasty":219,"author":1708,"museum":605,"description":1709,"tags":1710,"thumbUrl":1711,"material":47,"size":47,"collection":96,"collections":1712,"showCount":1674,"zanCount":11,"manualWeight":11,"mainColor":1713},203176,"shan-shui-tu-ce-kun-can-203176","髡残","笔墨苍劲浑厚，皴擦点染间铺展山水丘壑。山石以干笔皴法勾勒，纹理朴拙厚重；草木葱茏处墨色浓淡交错，层次分明。左帧岩崖间茅亭藏于松荫，石阶蜿蜒；中帧江波浩渺，孤舟一叶泛于水面，意境空远；右帧林木掩映屋舍，小径通幽。画面与题跋、朱印相映成趣，文心与画境交融，尽显清寂悠远的禅意，是清初山水沉郁深秀之典范。",[25,87,330,86,69,206,133,7,91,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72bb5f3751bf1662a6faaa76d97588d2.jpg",[96],"c8c2b9",{"id":1715,"slug":1716,"title":1717,"dynasty":219,"author":265,"museum":605,"description":1718,"tags":1719,"thumbUrl":1722,"material":47,"size":47,"collection":47,"collections":1723,"showCount":1674,"zanCount":11,"manualWeight":11,"mainColor":1724},202376,"qun-feng-chun-ai-tu-juan-wang-hui-202376","群峰春霭图卷","春霭氤氲，漫过山峦叠嶂，晕染出朦胧诗意。群峰错落，或浓墨勾勒，或淡彩晕染，皴法细腻处见山石肌理，设色清雅间显草木生机。林木扶疏，枝干虬劲，新芽初绽；溪流蜿蜒，小桥横跨，亭台隐现于林麓间，一派春日山乡的静谧悠远。笔墨兼具南北宗之长，融古意于自然，既得山川雄浑之态，又含江南秀润之韵，尽显春日山水的灵动与生机。",[25,60,26,28,69,1720,1721,7,130,39,760],"群峰","春霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7573718e4085c673aa362d42b452111.jpg",[],"967f51",{"id":1726,"slug":1727,"title":1728,"dynasty":81,"author":1729,"museum":605,"description":1730,"tags":1731,"thumbUrl":1732,"material":47,"size":47,"collection":96,"collections":1733,"showCount":1674,"zanCount":11,"manualWeight":11,"mainColor":1734},202151,"shu-hua-ping-hu-yong-shun-202151","书画屏","胡永顺","书画相携，意趣相生。行书笔墨灵动，线条流转间透着清雅气韵；山水以水墨皴擦点染，山峦层叠，林木错落，近石苍劲，远岫含烟，水色空濛。笔墨的浓淡干湿，勾勒出静谧悠远的意境，书画互衬，尽显文人笔下的自然之趣与内心的恬淡，仿佛置身于那片清幽山水间，聆听笔墨与自然的对话。",[25,87,167,86,69,168,88,7,67,252,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88d3fd06647a30be231ac2cc1d47593f.jpg",[96],"c2a077",{"id":1736,"slug":1737,"title":1290,"dynasty":219,"author":1738,"museum":605,"description":1739,"tags":1740,"thumbUrl":1742,"material":47,"size":47,"collection":47,"collections":1743,"showCount":1674,"zanCount":11,"manualWeight":11,"mainColor":1744},201653,"shan-shui-tu-zhou-di-da-kun-201653","翟大坤","这幅山水图轴笔墨清润雅致，构图层次深远。峰峦以淡墨皴染，间施赭石设色，苍劲中透着秀逸；林木疏密有致，或浓墨点簇或细笔勾描，生机勃发。山间溪流蜿蜒穿村，屋舍错落隐于烟霞林木间，茅顶素墙与自然相融，尽显宁静山居之趣。幽谷瀑布飞泻，添灵动之韵；整体意境悠远，似可闻鸟语溪声，引人沉醉于文人画的雅致自然之境。",[25,87,28,69,148,7,130,225,749,1741],"意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79d88fbf4016cb9e56c0d30b10ba9134.jpg",[],"d3c5b1",{"id":1746,"slug":1747,"title":1748,"dynasty":125,"author":203,"museum":145,"description":1430,"tags":1749,"thumbUrl":1751,"material":152,"size":153,"collection":47,"collections":1752,"showCount":120,"zanCount":11,"manualWeight":11,"mainColor":51},287599,"cheng-gong-jie-bao-tu-yi-ming-287599","成功捷报图",[25,28,422,38,87,7,1750,527],"捷报","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6fe327570e9ef18159927c0d36ee239.jpg",[],{"id":1754,"slug":1755,"title":1678,"dynasty":219,"author":203,"museum":20,"description":1679,"tags":1756,"thumbUrl":1763,"material":94,"size":1684,"collection":47,"collections":1764,"showCount":120,"zanCount":11,"manualWeight":11,"mainColor":101},233090,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-233090",[25,110,527,1757,69,28,29,87,88,7,332,531,1758,1759,1760,1761,1762],"战争题材","将领","骑兵","战旗","硝烟","平定苗疆战役","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25b351eee676a3fc28ea7abe7e5fa57e.jpg",[],{"id":1766,"slug":1767,"title":1768,"dynasty":1458,"author":1769,"museum":605,"description":1770,"tags":1771,"thumbUrl":1772,"material":47,"size":47,"collection":96,"collections":1773,"showCount":120,"zanCount":11,"manualWeight":11,"mainColor":1774},203396,"fang-dong-yuan-shan-shui-tu-zhou-wu-qin-mu-203396","仿董源山水图轴","吴琴木","这幅山水取法前贤，笔墨清润雅致。层叠山峦以披麻皴写就，线条舒缓，皴染相济间尽显苍润质感；山间林木疏密有致，浓淡墨色交织，枝桠伸展自然。谷底瀑布垂落，小径蜿蜒穿林，几椽茅舍隐于岩畔，添得人间烟火气；远处山巅亭台隐约，似邀人登临远眺。整体构图开合有度，意境悠远恬淡，既承江南山水的秀逸神韵，又融个人笔墨意趣，尽显传统山水画可居可游的雅致之境。",[25,87,251,86,148,69,133,62,399,7,368,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5b4542a91b64d87b680c50fed884daf.jpg",[96],"aa937f",{"id":1776,"slug":1777,"title":1219,"dynasty":219,"author":1778,"museum":605,"description":1779,"tags":1780,"thumbUrl":1781,"material":47,"size":47,"collection":96,"collections":1782,"showCount":120,"zanCount":11,"manualWeight":11,"mainColor":1783},203063,"fang-gu-shan-shui-tu-ce-cha-shi-biao-203063","查士标","云雾轻笼山峦，古雅楼阁依山而建，飞檐翘角尽显精巧。笔墨清润雅致，山石以皴法勾勒纹理，苍劲中透着灵动；楼阁界画技法细致，梁柱分明，与写意山水的疏朗形成巧妙呼应。近景林木扶疏，枝干盘曲，树下人影依稀，似有闲趣。整体意境清幽，古意盎然，既承传统山水的雄浑气象，又含文人画的空灵之韵，引人步入静谧古雅之境。",[25,87,64,1304,69,1203,28,330,88,7,38,669,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94de63067bab6a9998745f155e5bfec8.jpg",[96],"7f644e",{"id":1785,"slug":1786,"title":1787,"dynasty":81,"author":581,"museum":605,"description":1788,"tags":1789,"thumbUrl":1790,"material":47,"size":47,"collection":47,"collections":1791,"showCount":120,"zanCount":100,"manualWeight":11,"mainColor":1792},202642,"ni-wu-meng-fa-shan-shui-shan-ye-lan-ying-202642","拟五蒙法山水扇页","画面山峦层叠，皴擦勾勒间尽显苍劲笔力，林木虬曲，墨色浓淡相宜，溪涧蜿蜒穿石而过，古雅茅舍隐于林麓，意境清幽而气势浑朴。扇面构图疏密有致，于有限空间内铺展深远山水，线条硬挺如铁，皴染结合显山石厚重；松枝盘曲，墨韵沉郁，尽显自然野趣与文人逸致。笔墨干湿互用，层次丰富，既得山川之灵秀，又含绘者匠心，是一幅颇具功底的山水佳作。",[87,1234,69,86,292,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4661e2050d62667210102e5ab783b97b.jpg",[],"ac916e",{"id":1794,"slug":1795,"title":1796,"dynasty":219,"author":1797,"museum":605,"description":1798,"tags":1799,"thumbUrl":1801,"material":47,"size":47,"collection":47,"collections":1802,"showCount":120,"zanCount":11,"manualWeight":11,"mainColor":1803},202445,"qiu-shan-xian-zuo-tu-zhou-li-jian-202445","秋山闲坐图轴","黎简","淡墨晕染的山峦间云雾流转，显层叠深远之境；近处林木错落，红叶点染秋意，枝干以写意笔法勾勒，苍劲中见灵动。茅屋隐于树侧，一人闲坐，悠然望山，尽得林泉之趣。画面以皴擦结合晕染，墨色浓淡相宜，构图疏密有致，将文人雅士寄情山水的恬淡心境融于笔墨间，尽显清逸雅致之韵。",[87,69,28,148,86,7,252,42,1800,990,23],"闲坐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31099f941bab2304eff7ca16a2943ac3.jpg",[],"9d8769",{"id":1805,"slug":1806,"title":1807,"dynasty":81,"author":791,"museum":605,"description":1808,"tags":1809,"thumbUrl":1811,"material":47,"size":47,"collection":47,"collections":1812,"showCount":120,"zanCount":11,"manualWeight":11,"mainColor":1813},201611,"shan-ju-qing-hua-tu-zhou-zhang-hong-201611","山居清话图轴","画面层峦叠嶂间云雾氤氲，飞瀑自崖壁倾泻而下，山腰屋宇半隐于林麓，山麓溪流潺潺绕茅舍而过，林木葱郁枝柯交错。笔墨苍润兼具细腻，山石以皴法勾勒纹理，皴染结合尽显肌理质感；树木点染有致，疏密相宜生机盎然。设色淡雅温润，整体意境清幽悠远，似有隐士于舍中促膝清谈，尽显山林栖居之趣，将自然之美与人文意趣相融。",[25,87,69,28,399,130,225,7,1810],"立","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34ecf69ef387903be1d1a66053cf545e.jpg",[],"c1b4a4",{"id":1815,"slug":1816,"title":1817,"dynasty":219,"author":850,"museum":20,"description":1818,"tags":1819,"thumbUrl":1820,"material":47,"size":47,"collection":96,"collections":1821,"showCount":214,"zanCount":11,"manualWeight":11,"mainColor":156},236193,"hua-shan-shui-qian-ru-cheng-shu-yong-long-quan-pan-zi-shi-cheng-shan-dong-bang-da-236193","画山水钱汝诚书咏龙泉盘子诗成扇","董邦达（1696－1769），清代官员、书画家。字孚存、争存，号东山、非闻，浙江富阳人。雍正十一年进士，乾隆二年授编修，官终礼部尚书，谥文恪。好书、画，篆、隶得古法，山水取法元人，善用枯笔。其风格在娄东、虞山派之间。与董源、董其昌并称“三董”。",[25,109,1234,87,86,69,168,167,88,180,252,130,385,7,749,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34acdc9056c7fd7283ac060b7ce77fd1.jpg",[96,118],{"id":1823,"slug":1824,"title":1825,"dynasty":219,"author":850,"museum":57,"description":1826,"tags":1827,"thumbUrl":1828,"material":94,"size":1829,"collection":47,"collections":1830,"showCount":214,"zanCount":11,"manualWeight":11,"mainColor":101},223111,"duan-qiao-can-xue-yu-ti-zhou-dong-bang-da-223111","断桥残雪御题轴","《断桥残雪图》画的是杭州西湖十景之一“断桥残雪”景。白堤第一桥曰断桥，界于前后两湖之间。春雪未消，悉琼林瑶树，晶莹朗澈。\n断桥残雪是西湖上著名的景色，以冬雪时远观桥面若隐若现于湖面而称著。属于西湖十景之一。每当瑞雪初霁，站在宝石山上向南眺望，西湖银装素裹，白堤横亘雪柳霜桃。断桥的石桥拱面无遮无拦，在阳光下冰雪消融，露出了斑驳的桥栏，而桥的两端还在皑皑白雪的覆盖下。依稀可辩的石桥身似隐似现，而涵洞中的白雪奕奕生光，桥面灰褐形成反差，远望去似断非断，故称断桥。明代画家李流芳《西湖卧游图题跋——断桥春望》称：“往时至湖上，从断桥一望，魂销欲死。还谓所知，湖之潋滟熹微，大约如晨光之着树，明月之入庐。盖山水映发，他处即有澄波巨浸，不及也。”",[23,25,109,148,86,87,69,67,252,180,224,150,149,88,478,165,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6591715b6da5650f2c0cb662f335d50c.jpg","68.6x38.2厘米",[],{"id":1832,"slug":1833,"title":1200,"dynasty":219,"author":382,"museum":605,"description":1834,"tags":1835,"thumbUrl":1836,"material":47,"size":47,"collection":96,"collections":1837,"showCount":214,"zanCount":11,"manualWeight":11,"mainColor":1206},203095,"fang-gu-shan-shui-ce-wang-shi-min-203095","山峦层叠起伏，林木疏密有致，墨色的浓淡干湿交织出悠远的山水意境。山石以披麻皴勾勒，笔触温润苍劲，尽显古雅醇厚之态。溪流蜿蜒穿林，亭舍隐于幽径旁，似藏文人逸趣，氛围清幽淡远。画作承宋元山水遗风，仿古而不泥古，笔墨凝练，气韵生动，尽显文人山水的雅致情韵。",[87,69,86,330,368,88,7,130,165,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22262f8bcec7312455b25f9b76327492.jpg",[96],{"id":1839,"slug":1840,"title":1841,"dynasty":1458,"author":1842,"museum":605,"description":1843,"tags":1844,"thumbUrl":1845,"material":47,"size":47,"collection":47,"collections":1846,"showCount":214,"zanCount":11,"manualWeight":11,"mainColor":1847},202744,"huang-shan-tu-zhou-huang-bin-hong-202744","黄山图轴","黄宾虹","峰峦层叠间云雾氤氲，黄山的奇秀与雄浑尽纳于尺幅。笔墨苍劲老辣，皴擦点染交错，山石肌理如斧劈般硬朗，墨色浓淡干湿相济，显浑厚华滋之韵。山间林木葱茏，几处屋舍隐于岩岫下，静谧悠远似藏幽趣。整体气象沉雄灵动，融自然神韵与文人胸臆，尽显传统山水画的深邃意境。",[25,87,69,86,28,88,252,7,225,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48ffabc015ea4f3e4a60af72eb464af7.jpg",[],"cecbc2",{"id":1849,"slug":1850,"title":1851,"dynasty":219,"author":1852,"museum":605,"description":1853,"tags":1854,"thumbUrl":1855,"material":47,"size":47,"collection":47,"collections":1856,"showCount":214,"zanCount":11,"manualWeight":11,"mainColor":1857},202572,"wei-kong-cheng-fu-hua-shan-shui-zhou-dai-xi-202572","为孔诚甫画山水轴","戴熙","此作以水墨为基调，笔墨清润雅致。前景林木枝干挺秀，墨色浓淡相宜，尽显苍劲之态；中景亭榭依岸而筑，隐于草木间，添得几分幽寂；远景山峦层叠，皴染结合，水波浩渺空濛，意境悠远。整体画风承文人画遗韵，于简淡中藏深致，观之如入林泉，心凝神释。",[25,109,148,86,69,87,133,7,30,1107,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fd8b17c66b56fe87bb4059ead8e3539.jpg",[],"bfab8c",{"id":1859,"slug":1860,"title":1861,"dynasty":219,"author":327,"museum":605,"description":1862,"tags":1863,"thumbUrl":1865,"material":47,"size":47,"collection":47,"collections":1866,"showCount":214,"zanCount":11,"manualWeight":11,"mainColor":1867},202432,"shan-yin-yun-xue-tu-zhou-yun-shou-ping-202432","山阴云雪图轴","水墨晕染间，山峦披雪含云，意境空濛悠远。主峰挺秀，笔墨简劲却见苍劲，皴擦间显山石肌理；山间林木疏朗，溪流隐现于云霭，尽显清寂雅致。笔法灵动，墨色层次丰富，将山阴雪后云起的淡然之态传递，流露文人画特有的诗意与韵致。",[25,86,87,69,1316,7,1864],"溪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed511b1ebb2db0241aa3945dff62e03a.jpg",[],"bfaf96",{"id":1869,"slug":1870,"title":1871,"dynasty":219,"author":687,"museum":605,"description":1872,"tags":1873,"thumbUrl":1875,"material":47,"size":47,"collection":96,"collections":1876,"showCount":214,"zanCount":11,"manualWeight":11,"mainColor":1877},201540,"wan-he-qian-ya-tu-zhou-zhang-zong-cang-201540","万壑千崖图轴","这幅山水立轴，山峦层叠起伏，千崖峥嵘，万壑深幽。笔墨间以皴法写山石肌理，淡墨晕染出峰峦层次，苍劲中见秀逸。山间村落隐于林麓，溪流蜿蜒穿谷，小桥横跨水面，林木疏密错落，几处红叶点缀，添秋意盎然。整体意境清旷悠远，雅致中含生机，尽显自然之趣与文人雅怀。",[25,87,148,69,28,150,149,762,1874,7,30,23],"红叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c37fcf89b90e11f6db2f55df0475178.jpg",[96],"b7b2aa",{"id":1879,"slug":1880,"title":1881,"dynasty":219,"author":265,"museum":605,"description":1882,"tags":1883,"thumbUrl":1884,"material":47,"size":47,"collection":96,"collections":1885,"showCount":214,"zanCount":11,"manualWeight":11,"mainColor":1886},201493,"cang-yan-bai-die-tu-zhou-wang-hui-201493","苍岩百叠图轴","笔墨苍润沉厚，山峦层叠错落，如积玉堆云般绵延展开。画家以多变皴法写山石肌理，披麻与斧劈交融，勾勒间见骨力，点染处显韵致；林木或繁密或疏朗，枝桠虬劲，叶簇葱茏，尽显自然生机。近处溪涧蜿蜒，小桥横卧，隐现人家屋舍；远处云雾轻笼，峰峦渐淡，天地间透着清幽旷远之致。整幅画布局开合有度，远近层次分明，既承传统山水精髓，又融个人体悟，于静谧中藏灵动，厚重里见秀逸，尽显山水神韵与笔墨之妙。",[87,69,86,148,150,149,30,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a1e3f1bd4e2c4dad913509f40452e55.jpg",[96],"a59581",{"id":1888,"slug":1889,"title":1890,"dynasty":219,"author":1891,"museum":605,"description":1892,"tags":1893,"thumbUrl":1894,"material":47,"size":47,"collection":96,"collections":1895,"showCount":214,"zanCount":11,"manualWeight":11,"mainColor":1896},201480,"fan-gang-gui-zhao-tu-zhou-wu-hong-201480","梵岗归棹图轴","吴宏","画面中山石以皴法勾勒，笔墨苍劲浑厚，层叠峰峦间云雾轻笼，古寺隐于林木深处，添几分静谧禅意。远处江面归棹缓缓，似载晚归渔者，意境悠远恬淡。设色淡雅却见层次，构图错落有致，将自然山川的雄浑与人文景致的清幽相融，传递出深远山水情韵，引人沉醉。",[28,69,87,64,206,149,252,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F420ee42ac131ea15f0a314ee5497891a.jpg",[96],"8a704f",{"id":1898,"slug":1899,"title":1900,"dynasty":219,"author":1901,"museum":605,"description":1902,"tags":1903,"thumbUrl":1905,"material":47,"size":47,"collection":96,"collections":1906,"showCount":214,"zanCount":11,"manualWeight":11,"mainColor":752},201478,"wang-chuan-tu-juan-qian-du-201478","辋川图卷","钱杜","这幅图卷绘辋川胜境，山峦起伏有致，皴法细腻勾勒石骨，林木葱茏间亭台屋舍错落，溪流澄澈绕岸而过。笔墨兼具工致与写意，设色淡雅温润，于细节处见匠心——如枝叶的点染、屋宇的勾勒，皆透着清幽雅致。画面营造出悠然静谧的氛围，仿佛王维笔下诗意重现，尽显辋川别业的人文意趣与自然之美，是清代摹古山水的佳作。",[24,25,26,87,29,28,69,133,149,64,7,1904,23],"摹古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe84f03b18863cf189006738d29c1848e.jpg",[96],{"id":1908,"slug":1909,"title":1580,"dynasty":81,"author":1910,"museum":605,"description":1911,"tags":1912,"thumbUrl":1913,"material":47,"size":47,"collection":96,"collections":1914,"showCount":214,"zanCount":11,"manualWeight":11,"mainColor":1915},201368,"shan-shui-shan-qian-gu-201368","钱穀","笔墨清润雅致，山峦以披麻皴层层铺展，淡墨晕染间显丘壑幽深；林木葱郁，枝干用浓墨勾勒，点叶繁密却错落有致。山间隐约可见小径蜿蜒，似引观者入幽境，整体意境静谧悠远，饱含文人画的空灵之趣。画面构图紧凑却透气，扇面形制更衬得景致精巧，尽显吴门画派的细腻风骨。",[25,1234,87,69,86,28,7,30,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81507594306560fc010911fb8ccc91cf.jpg",[96],"c0bdb3",{"id":1917,"slug":1918,"title":1919,"dynasty":720,"author":203,"museum":145,"description":1920,"tags":1921,"thumbUrl":1924,"material":152,"size":153,"collection":47,"collections":1925,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":51},290032,"xiong-ye-gong-man-tuo-luo-tu-yi-ming-290032","熊野宫曼陀罗图","采用层叠式全景构图，以青绿晕染出山岳水泽的幽谧底色，铺陈开神域胜景。朱红屋瓦配深褐廊墙，几处院落规整排布，尽显神社建筑的庄重雅致。画面点缀的圣像宝珠暗合宗教属性，细碎的人物身影穿梭其间，为静穆的景致添上鲜活意趣。作品兼具纪实性与神圣感，将山林神域的清寂庄严和烟火日常融于一体，晕开平和悠远的古雅氛围，尽显日式宗教绘卷特有的沉静禅意。",[23,25,109,148,1922,1304,28,64,87,1923,7,633],"宗教","庙宇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a0a09d043adff6c9eb4dd0330739463.jpg",[],{"id":1927,"slug":1928,"title":1929,"dynasty":720,"author":203,"museum":145,"description":1930,"tags":1931,"thumbUrl":1936,"material":152,"size":153,"collection":47,"collections":1937,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":51},289019,"lucas-van-uden-wooded-landscape-with-a-house-by-a-river-yi-ming-289019","Lucas van Uden--Wooded Landscape with a House by a River","前景古木虬曲苍劲，枝桠肆意舒展，细密排线勾勒出斑驳树皮与蓬松叶簇，尽显岁月镌刻的厚重质感。缓坡顺着笔触延绵铺展，错落林木向着远景渐次淡去，朦胧间晕开郊野村落的浅淡轮廓。\n\n蓝底衬出素描线条的柔和层次，明暗交织晕染出清寂的郊野晨氛。留白与疏密笔触交织，铺就出悠远的空气感，仿佛能触到林间湿润的晚风，听见枝桠轻晃的细碎声响。笔触克制却藏着对乡野的细腻体察，将郊野的松弛生机揉入画面，静望便坠入松弛安闲的乡野意趣之中。",[1932,1933,1934,1935,7,195],"素描","风景画","古树","郊野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf07d38cfad3ea9f4f00675d497fc595.jpg",[],{"id":1939,"slug":1940,"title":1941,"dynasty":81,"author":203,"museum":145,"description":1942,"tags":1943,"thumbUrl":1949,"material":47,"size":47,"collection":47,"collections":1950,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":101},235845,"qian-gu-shi-hu-tu-ye-yi-ming-235845","钱榖石湖图页","此作用色淡雅清和，取景疏密得宜。右侧绘就浩渺湖面，渔舟轻泛波心，峰峦叠翠间山寺雄踞山巅，洲渚林木葱郁，田舍错落排布，将江南水乡的清旷温婉尽数铺展。左侧行书题跋笔意疏朗俊逸，书画合璧，将石湖形胜与人文意蕴相融。整体笔触细腻雅致，既写实还原吴中水乡的灵秀风貌，又饱含文人的清雅意趣，晕染出江南山水的温婉诗意，尽得湖山雅韵。",[25,24,109,28,167,87,1944,37,385,1945,7,1946,1947,782,1948],"湖面","山寺","田舍","水乡","清雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3de8a2d3af78c9212a3751b69ad8b3b0.jpg",[],{"id":1952,"slug":1953,"title":629,"dynasty":219,"author":220,"museum":145,"description":1954,"tags":1955,"thumbUrl":1956,"material":47,"size":47,"collection":47,"collections":1957,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":101},235105,"shan-shui-ce-wang-yuan-qi-235105","此作以开合之景铺陈丘壑，近岸林木错落，山居藏于深篁，行人策蹇徐行，野趣自生；中崖崔嵬蓊郁，水湾汀渚勾连景深；远景烟波澹澹，以淡墨晕染远山，留白拓出空蒙悠远之境。\n笔墨承袭娄东一派，干笔积墨皴擦苍润浑厚，墨色层叠通透，浅赭敷色清隽雅致，揉合江南山水秀逸与山川厚重温润，于细密笔触间藏着林泉悠游的文人意趣，尽显正统山水的沉静古韵，将幽居林壑的雅兴融于尺幅之中。",[25,109,330,69,86,87,760,761,180,133,88,633,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fb96223967675c054e83d8e58173349.jpg",[],{"id":1959,"slug":1960,"title":629,"dynasty":219,"author":850,"museum":20,"description":1961,"tags":1962,"thumbUrl":1963,"material":47,"size":47,"collection":47,"collections":1964,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":101},234796,"shan-shui-ce-dong-bang-da-234796","董邦达生于康熙三十八年(1699年)，字孚存，号东山，又号非闻，浙江富阳人。他幼年家贫，致力于学，于雍正元年(1723年)被选拔为贡生。后赴京应试，屡试不第，落魄在京，期间得刑部尚书励廷仪赏识。几经周折，他终于雍正十一年中进士，被授庶吉士。“文臣画家”是董邦达的重要身份。\n乾隆二年(1737年)，董邦达被授编修一职，先后参与编修《石渠宝笈》《秘殿珠林》二书初编以及《西清古鉴》《明史纲目》《皇清文颖》《盘山新志》《热河志》诸书。乾隆三年，任陕西乡试考官，上疏官卷量少，建议用民卷补充，以便朝廷招贤纳才。不久，升任右中允，再迁侍读学士。乾隆十二年，受命入直南书房，擢升为内阁学士。乾隆十五年，迁任侍郎，历任职于户、工、吏诸部，官至礼部尚书。乾隆三十四年(1769年)卒，谥文恪。\n董邦达长于诗，且书画俱精，尤善山水。其画用笔深得古人之法，山水上窥五代董源、巨然及元黄公望，近学明人董其昌，论者称之“古今三董相承”。邱雯对三董相承有过深入阐述：董源山水写南京一带的浑厚华滋，董其昌山水写松江一带的清润宁和，董邦达山水写富春、杭州一带的秀远疏放。董邦达继承董其昌的高雅审美意识，追求山水的自然、自由、可观、可赏、可游、可居，以寄托文人的自由理想，在作品中体现为书卷气以及“和平中正”的审美取向，儒家一贯追求的清、真、雅成为其绘画的重要特征。\n董邦达广习历代名家技艺，除吸收董巨皴法及黄公望浅绛画法，还受“清初四王”影响颇深。但与“四王”不同的是，他更加重视绘画的生气，作品既能迎合皇帝喜爱的盛世升平气象，又有文人画家所追求的幽远意境。其画作中年秀润，晚年苍浑，用笔在不生不熟之间，绝无狂废之态。尤其晚年之作沉雄朴茂，极具生拙野逸之趣，所呈现的文人意趣，继承南宗笔墨的野逸疏放，与董源、董其昌异曲同工。他将文人逸气带入宫廷，与清代宫廷职业画家的工丽装饰明显不同，成为当时宫廷中雅文化的代表。\n董邦达为官35年，深得乾隆皇帝厚爱。他70岁时得乾隆钦赐“紫禁城骑马”。他以年老多病请辞引归，乾隆说：“礼部事不繁，给假安心调治，不必解任。”他不久病逝，乾隆赐其祭葬，并亲自撰写碑文，在文中悲叹：“呜呼！眷文学侍从之劳，松楸影；著老成典型之望，琬琰流辉。裕及后昆，承兹休命。”\n乾隆帝对董邦达的山水画推崇有加。董邦达作品大幅寻丈、小幅寸许，不下数百，许多都“上邀宸眷”，蒙赐御题。乾隆曾赞扬其山水画激发了自己的诗兴，感叹道：“为他山水幽佳处，往往寻题趣有余。”乾隆在评价画坛时弊以及董氏艺术时称：“吾于达也无间然，丰不觉繁俭不欠。前称北苑后香光，艺林都被卿家占。”将董邦达看作画理上的无间知己，谓其山水繁简皆佳、运转自如，认为其笔墨独到，可与画史上最具权威的“南宗”大师北苑(董源)、香光(董其昌)齐驱，可见其山水画在宫廷中地位之高。",[25,109,330,86,69,87,760,132,133,88,7,67,476,131,252],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48d6dda4967c6f5cf4ee430a529366c3.jpg",[],{"id":1966,"slug":1967,"title":1580,"dynasty":219,"author":1145,"museum":145,"description":1968,"tags":1969,"thumbUrl":1971,"material":47,"size":47,"collection":47,"collections":1972,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":101},234687,"shan-shui-shan-wang-chen-234687","王宸（1720—1797）字子凝，一字紫凝，一作子冰，号蓬心，一作蓬薪，又号蓬樵，晚署老蓬仙、蓬樵老、潇湘翁、柳东居士、莲柳居士，自称蒙叟、玉虎山樵、退官衲子，江苏太仓人。",[25,109,1234,87,86,69,88,180,39,7,67,1970],"近水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedbb9677c3cc7a97a9bb9eb5329586f6.jpg",[],{"id":1974,"slug":1975,"title":1976,"dynasty":219,"author":1977,"museum":605,"description":1978,"tags":1979,"thumbUrl":1985,"material":47,"size":47,"collection":96,"collections":1986,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":1987},203369,"hua-shan-shi-er-jing-tu-ce-dai-ben-xiao-203369","华山十二景图册","戴本孝","峰峦奇崛，山石以简洁皴法勾勒肌理，淡墨晕染出空灵之境。笔墨苍劲中见秀逸，线条刚健却含蕴藉，将华山的险峻与清寂融为一体。山间亭台隐现，林木疏朗，题跋书法与画作相映成趣，尽显文人画诗画合一的韵味。每帧皆为独立景致，却气脉连贯，于咫尺间展现华山十二景的雄奇幽深，传递自然与人文交织的静谧之美。",[25,86,69,87,292,133,168,91,330,167,834,88,385,7,111,1472,1980,1981,1137,1982,1983,256,1984,23],"勾勒","晕染","雄奇","幽深","诗画合一","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63cfa9e421d3d6cddafd3f1c8dd688c4.jpg",[96],"e3d8cf",{"id":1989,"slug":1990,"title":1699,"dynasty":219,"author":1991,"museum":605,"description":1992,"tags":1993,"thumbUrl":1995,"material":47,"size":47,"collection":47,"collections":1996,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":1997},203303,"shan-shui-tu-ce-gu-qiao-203303","顾樵","淡墨晕染的远山如黛，皴笔勾勒的近石苍劲，林木葱茏间隐现村落屋舍，烟波轻笼处衔接平畴远岫。行书题跋与山水笔墨交融，文气氤氲，尽显文人画的清幽雅致与闲适意趣，简淡中藏丘壑，空灵里见深情。",[25,87,330,86,69,167,762,7,67,1994],"近","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63a90ad54b5932371e9c827702dea677.jpg",[],"a88663",{"id":1999,"slug":2000,"title":2001,"dynasty":219,"author":2002,"museum":605,"description":2003,"tags":2004,"thumbUrl":2006,"material":47,"size":47,"collection":47,"collections":2007,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":2008},203064,"chu-qian-xie-sheng-shan-shui-tu-ce-zou-yi-gui-203064","楚黔写生山水图册","邹一桂","笔墨清润间，楚黔山水之姿跃然纸上。崖壁陡峭如削，皴擦勾勒见苍劲骨力；林木葱茏含翠，点染晕染显自然生机。小桥卧波连村舍，亭台隐于云霭间，既有写生的写实生动，又具文人画的雅致意境。线条细腻处藏匠心，意境深远中蕴野趣，将地域山水的奇秀与灵韵融为一体，读之如临其境，感自然之美与画者对山水的深情体悟。",[25,87,2005,69,133,150,149,7,306,28],"写生","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F483ee0416902cd8d12b8bb1b17e24f36.jpg",[],"9d8365",{"id":2010,"slug":2011,"title":2012,"dynasty":219,"author":757,"museum":605,"description":2013,"tags":2014,"thumbUrl":2015,"material":47,"size":47,"collection":47,"collections":2016,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":2017},202511,"fang-huang-gong-wang-shan-shui-zhou-gao-cen-202511","仿黄公望山水轴","这幅山水轴层峦叠嶂，气势浑朴。笔墨间可见仿黄公望的苍劲笔意，山石以细腻皴法勾勒纹理，尽显嶙峋质感；瀑布从崖壁间蜿蜒倾泻，增添灵动之气。山间屋舍错落，隐于林木葱茏处，似有文人雅士居停其间；小桥跨溪，流水潺潺，与挺拔树木相映成趣，整体意境清幽雅致，尽显自然与人文相融之妙，传递出超脱尘俗的隐逸情怀。",[25,87,69,88,399,225,150,7,368,1810],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92dc6ad303376b17e7d9d5c5b12252a1.jpg",[],"b1a18f",{"id":2019,"slug":2020,"title":2021,"dynasty":81,"author":2022,"museum":605,"description":2023,"tags":2024,"thumbUrl":2025,"material":47,"size":47,"collection":47,"collections":2026,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":2027},202355,"hua-yang-dong-tian-tu-juan-gu-zheng-yi-202355","华阳洞天图卷","顾正谊","这幅长卷铺展华阳洞天的幽邃景致，峰峦叠嶂间皴法交错，勾勒山石苍劲纹理；林木葱茏，浓淡相宜，层次分明。山间溪流蜿蜒穿谷，与错落亭台、隐现路径相映，透着隐逸清旷之气。构图疏密有致，虚实相生，将洞天灵秀与静谧融于一卷，尽显文人山水雅致韵致，仿佛可闻松风溪声，可观云气往来，引人入胜。",[87,26,86,69,133,149,7,28,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F560435f5609dfe3292dd815394b3504e.jpg",[],"b2a391",{"id":2029,"slug":2030,"title":2031,"dynasty":219,"author":1778,"museum":605,"description":2032,"tags":2033,"thumbUrl":2035,"material":47,"size":47,"collection":47,"collections":2036,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":2037},202277,"cang-shan-xing-yin-tu-zhou-cha-shi-biao-202277","苍山行吟图轴","画面以淡墨勾勒苍山轮廓，皴染结合的山峦间，林木疏朗错落，亭榭隐于幽径旁。山麓处溪流缓绕，一士人骑驴行于林间，似在吟哦，尽显文人雅士的闲适意趣。笔墨简淡空灵，线条清劲，意境萧散悠远，将山林的清幽与行旅的悠然融于一体，传递出文人画特有的疏淡雅致之韵。",[25,87,69,991,133,7,1472,2034],"文人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd02b9746fed8f1bba5fc28126ca8f286.jpg",[],"7b5928",{"id":2039,"slug":2040,"title":2041,"dynasty":219,"author":1231,"museum":605,"description":2042,"tags":2043,"thumbUrl":2044,"material":47,"size":47,"collection":47,"collections":2045,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":2046},202268,"gong-de-ding-fang-bei-tu-juan-huang-yi-202268","功德顶访碑图卷","水墨晕染的峰峦间，皴笔勾勒出山石苍劲肌理，蜿蜒小径隐于深林，高处茅亭孑立，似待访碑人驻足。笔墨简淡却意境悠远，将金石考据雅趣藏于山水丘壑，尽显文人寄情自然与学术的双重襟怀，画面清寂中透着朴拙之美。",[25,86,87,69,133,88,7,26,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90ef5e3e3e1a14292c06dc18062351d1.jpg",[],"c7baa8",{"id":2048,"slug":2049,"title":2050,"dynasty":219,"author":2051,"museum":605,"description":2052,"tags":2053,"thumbUrl":2054,"material":47,"size":47,"collection":96,"collections":2055,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":2056},201725,"fang-jiang-guan-dao-shan-shui-zhou-wang-jian-201725","仿江贯道山水轴","王鑑","此作笔墨苍润，皴染相济，山峦层叠间林木丰茂，疏密错落有致。幽居隐于林麓，小径蜿蜒通幽，溪流潺潺绕石而过，意境静谧悠远。笔法追摹前贤，墨色层次丰富，既得江贯道山水之清逸，又显自身笔墨之韵致，尽显传统山水的文人意趣与笔墨功力。",[25,87,86,69,148,30,7,877,130,1203,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99023959852bffdebc53911726ac12b7.jpg",[96],"9b8e86",{"id":2058,"slug":2059,"title":2060,"dynasty":219,"author":265,"museum":605,"description":2061,"tags":2062,"thumbUrl":2063,"material":47,"size":47,"collection":96,"collections":2064,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":2065},201517,"fang-wang-meng-shan-shui-zhou-wang-hui-201517","仿王蒙山水轴","此作笔墨苍润沉厚，层峦叠嶂间林木葱茏，溪流蜿蜒穿绕，屋舍隐于深翠，尽显山居之幽寂清宁。山石以繁复皴法勾勒纹理，墨色浓淡相宜，层次丰富；树木枝干虬劲，叶簇繁密，生机盎然。远近景致错落有致：近景松竹挺秀，溪流潺潺；中景屋宇静谧，隐于林麓；远景峰峦隐现，云雾轻笼，空间纵深之感油然而生。画风既承王蒙之沉郁深邃，又融自身笔墨之灵动，尽显传统山水画的神韵与雅致。",[87,69,86,148,368,149,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa31c0c71496e081145f738730f21ea14.jpg",[96],"ad9d8d",{"id":2067,"slug":2068,"title":2069,"dynasty":219,"author":1778,"museum":605,"description":2070,"tags":2071,"thumbUrl":2074,"material":47,"size":47,"collection":96,"collections":2075,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":752},201486,"huang-he-yi-gui-tu-juan-cha-shi-biao-201486","黄鹤遗规图卷","这幅长卷以清逸淡远之笔铺展山水胜境，山峦起伏间林木萧疏有致，溪流蜿蜒穿绕丘壑，亭舍隐现于林麓，尽显空灵悠远之致。笔墨疏简却意韵丰厚，水墨晕染与皴法交织，线条灵动中见古雅，既承续传统山水章法，又透出文人画特有的疏放情致，仿佛引观者步入静谧绝尘的丘园之境。",[25,26,87,86,69,111,165,130,7,2072,2073,23],"清逸","疏简","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0f435a7c7bbd1af8d1453c9e8f0a945.jpg",[96],{"id":2077,"slug":2078,"title":1290,"dynasty":81,"author":2079,"museum":605,"description":2080,"tags":2081,"thumbUrl":2082,"material":47,"size":47,"collection":96,"collections":2083,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":2084},201436,"shan-shui-tu-zhou-cheng-jia-sui-201436","程嘉燧","画面以淡墨皴擦出层叠奇峰，山石轮廓简练却嶙峋毕现，山间隐现小筑，添幽居之趣。下方林木墨色浓淡交错，枝叶苍劲舒展，生机盎然。林间雅士策杖凝眸，衣袂轻扬，尽显隐逸情怀。笔墨清润，意境淡远，简淡中藏深致，悠然出尘的文人气息扑面而来。",[25,109,86,69,148,87,7,38,453,88,133,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eb057abc6537aad9d8963390091dbbd.jpg",[96],"cabfb0",{"id":2086,"slug":2087,"title":2088,"dynasty":219,"author":999,"museum":605,"description":2089,"tags":2090,"thumbUrl":2091,"material":47,"size":47,"collection":96,"collections":2092,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":2093},201341,"shan-shui-hua-shan-ji-xiang-sheng-mo-201341","山水画扇集","笔墨皴染山峦，石骨肌理分明，林木疏密交织，掩映着几椽屋舍，溪流蜿蜒穿绕其间。扇面弧势中景物随形铺展，构图精巧，气韵连贯，淡墨浅彩晕出清幽意境，尽显文人山水的淡泊雅致，于方寸间藏万千丘壑之趣。",[87,1234,69,28,7,30,130,225,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b3f3211802c2370f2e836d9bc8646c9.jpg",[96],"cfbfa4",{"id":2095,"slug":2096,"title":2097,"dynasty":81,"author":2098,"museum":605,"description":2099,"tags":2100,"thumbUrl":2103,"material":47,"size":47,"collection":96,"collections":2104,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":752},201326,"chun-you-xian-tiao-tu-juan-zhou-chen-201326","春游闲眺图卷","周臣","春日郊野，山峦叠翠间林木扶疏，小径蜿蜒引向幽深处。士人策杖徐行，或驻足远眺，或林间对谈，尽显闲逸之趣。笔墨精细，山石皴擦见苍劲，树木勾勒显灵动，构图疏密有致，层次分明。长卷徐徐展开，春日生机与文人雅兴交融，一派清和景致跃然纸上，尽显山水工致与意趣。",[25,26,87,38,69,29,2101,133,7,2102,23],"古道","文人雅兴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3483d41371b5a52924148f4efc1e46de.jpg",[96],{"id":2106,"slug":2107,"title":2108,"dynasty":219,"author":2109,"museum":145,"description":666,"tags":2110,"thumbUrl":2112,"material":152,"size":153,"collection":47,"collections":2113,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":51},290212,"jin-fen-shui-cun-tu-cheng-dong-gao-290212","金粉水村图成","董诰",[23,1234,25,87,28,2111,168,936,762,7,30],"金粉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55825679e5d552e5fedfeb3363063b3a.jpg",[],{"id":2115,"slug":2116,"title":2117,"dynasty":720,"author":203,"museum":145,"description":2118,"tags":2119,"thumbUrl":2124,"material":152,"size":153,"collection":47,"collections":2125,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":51},288611,"john-robert-cozens-view-of-the-villa-lante-on-the-janiculum-in-rome-yi-ming-288611","John Robert Cozens--View of the Villa Lante on the Janiculum in Rome","灰蓝薄晕铺展天穹，流云轻揉出松弛朦胧的底色。前景的林木以深浅不一的墨色层叠交织，将山野的幽深蓬勃铺陈开来，把视线缓缓引向高地之上的宅邸。\n\n宅邸规整沉稳，连廊顺着山脊舒展，让人工形制与野趣柔化相融。高地边缘的石松笔挺高挑，为画面晕开疏朗的韵律感。整幅画作以水彩的朦胧晕染，柔化了天地边界，色调克制沉静，将郊野庄园的闲逸娓娓道来，仿若能窥见旧日郊野的悠然日常，在明暗晕染之间，藏着古典风景独有的安宁诗意。",[1933,2120,2121,2122,7,2123],"水彩画","山坡","别墅","天空","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f34578c937859209e28f64ed8436441.jpg",[],{"id":2127,"slug":2128,"title":519,"dynasty":219,"author":203,"museum":145,"description":2129,"tags":2130,"thumbUrl":2140,"material":152,"size":153,"collection":47,"collections":2141,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":101},238615,"ping-ding-liang-jin-chuan-de-sheng-tu-ce-yi-ming-238615","以全景铺展战地全貌，左方营寨错落相连，似能窥见帐中余温；右处奔骑突进、短兵相接，将战场的喧嚣撕开。前景人马扭缠厮杀，将官振臂呼喝，兵卒刀锋相向，衣褶崩紧、战马嘶鸣的张力凝于刻痕之间。远景山峦层叠、林木苍郁，以静穆底色衬出战事的肃杀喧嚣。线条洗练精准，既还原出征伐战事的磅礴规模，也定格下兵燹里的悍勇与惨烈，将铁血气脉藏在疏密有致的刀痕之中，兼具纪实的冷峻质感与艺术表现力。",[24,330,2131,2132,38,1373,2133,2134,87,7,2135,2136,2137,2138,2139],"版画","木刻","战场","营寨","战争","纪实","肃杀","惨烈","平定两金川","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1114831c739de908f1cd6d657604420c.jpg",[],{"id":2143,"slug":2144,"title":2145,"dynasty":219,"author":2146,"museum":145,"description":2147,"tags":2148,"thumbUrl":2150,"material":152,"size":153,"collection":47,"collections":2151,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":51},237847,"xu-yong-jia-shan-shui-shan-ye-xu-yong-jia-237847","须用嘉山水扇页","须用嘉","须用嘉，明末清初，字嘉客，毗陵（今江苏常州）人。主要活动于崇祯年间，擅山水、枯木，竹石等，其作品以水墨为主。其山 水师法倪瓒，加以发展，画法疏简，格调幽淡 ，笔法精细流畅，用笔工细绵密，稍带生涩，于精熟中见稚拙，多作疏林坡岸，浅水遥岑。折带皴画山石，枯笔干墨，淡雅松秀，意境荒寒空寂，风格萧散超逸，简中寓繁，外落寞而内蕴激情。浓墨苔点，风格突出，画面常有“山木半落叶，西风方满林”的意境。画作流传极为少见。",[25,1234,86,69,87,132,88,149,150,39,478,7,30,130,42,479,1980,2149,113],"点染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e70765a086f8a8eef626ef92038b382.jpg",[],{"id":2153,"slug":2154,"title":629,"dynasty":219,"author":2155,"museum":605,"description":2156,"tags":2157,"thumbUrl":2158,"material":47,"size":47,"collection":47,"collections":2159,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":2160},203291,"shan-shui-ce-shi-zhuang-203291","石庄","此作笔墨简淡却意韵丰厚，山石以皴法出肌理，线条苍劲中见秀逸。上帧林木掩映间似有幽径蜿蜒，下帧奇峰崛立伴松枝横斜，留白处引思绪延展。整体以水墨为骨，借山水之形抒逸致，尽显传统山水画的含蓄与生机。",[25,86,69,87,112,88,453,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8719a99181741611ab2a6557109c561.jpg",[],"a68d79",{"id":2162,"slug":2163,"title":2164,"dynasty":1458,"author":2165,"museum":605,"description":2166,"tags":2167,"thumbUrl":2168,"material":47,"size":47,"collection":47,"collections":2169,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":2170},203123,"fang-liu-jue-lan-rong-chuan-se-tu-zhe-shan-wu-hu-fan-203123","仿刘珏岚容川色图折扇","吴湖帆","此扇面山水取意刘珏笔意，山峦层叠起伏，林木苍劲错落，云雾轻笼如纱，晕染出岚容川色的朦胧意蕴。笔墨运用娴熟，皴法温润有致，线条清逸中见骨力，墨色浓淡干湿交错，层次丰富而和谐。构图于咫尺间铺展山川气象，疏密得宜，动静相生，既葆有古法的雅正韵致，又流露吴氏特有的秀逸气度，将山水之美凝于扇面方寸，尽显近代文人画的雅致情味。",[25,1234,87,86,69,368,252,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e064e6be4cd8bbb255dcd23ac57809a.jpg",[],"b3aca5",{"id":2172,"slug":2173,"title":381,"dynasty":219,"author":2174,"museum":605,"description":2175,"tags":2176,"thumbUrl":2177,"material":47,"size":47,"collection":47,"collections":2178,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":2179},202413,"shan-shui-zhou-qian-song-202413","钱松","这幅山水以苍劲笔触勾勒峰峦，皴擦交织尽显山石纹理；飞瀑倾泻涧谷，似闻水声潺潺，为静穆山景注入灵动。山间屋舍错落，林木疏密相生，墨色浓淡间层次渐远，清幽意境扑面而来。笔墨兼具骨力与韵致，承传统山水画精髓，尽显自然之趣与文人情怀。",[25,86,69,87,399,225,7,1810],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F405e12cda1767f0fe296a2cd472e1c4c.jpg",[],"b4a797",{"id":2181,"slug":2182,"title":2183,"dynasty":219,"author":220,"museum":605,"description":2184,"tags":2185,"thumbUrl":2186,"material":47,"size":47,"collection":47,"collections":2187,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":2188},202386,"fang-cao-zhi-bai-shan-shui-tu-juan-wang-yuan-qi-202386","仿曹知白山水图卷","笔墨苍劲古拙，干笔皴擦间承袭元人遗韵。山峦层叠起伏，林木萧疏有致，溪流蜿蜒穿谷而过，孤舟隐现于烟波之中，意境清幽淡远。师法曹知白却自出机杼，山石勾勒简劲，苔点错落，墨色干湿浓淡相间，营造出深远空间与静谧山林气息。整体格调高雅，既守古法严谨，又含灵动之趣，尽显清初山水画笔墨精华。",[25,109,26,87,69,86,368,206,7,30,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fead0bc1ab1d5bc808be238d52f9ab737.jpg",[],"c6bda9",{"id":2190,"slug":2191,"title":2192,"dynasty":219,"author":2193,"museum":605,"description":2194,"tags":2195,"thumbUrl":2196,"material":47,"size":47,"collection":47,"collections":2197,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":2198},202311,"xi-shan-qiu-yi-tu-zhou-fang-shi-shu-202311","溪山秋意图轴","方士庶","层岩叠壑间，溪涧蜿蜒穿流，山石以细腻皴法勾勒肌理，质感厚重。岸边林木疏朗，秋意萧疏中见苍劲，近岸茅亭隐于树影，似藏幽居之趣。笔墨清润雅致，水墨交融间，将溪山秋景的淡远空灵尽现，尽显文人山水的逸韵，观之如置身清寂秋谷，闻溪声松涛，心魂俱静。",[87,86,69,133,149,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b7ac42125a1a920f72feed7f57c6000.jpg",[],"c0ab93",{"id":2200,"slug":2201,"title":2202,"dynasty":219,"author":2051,"museum":605,"description":2203,"tags":2204,"thumbUrl":2205,"material":47,"size":47,"collection":47,"collections":2206,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":2207},202301,"wei-huai-weng-zuo-shan-shui-tu-zhou-wang-jian-202301","为怀翁作山水图轴","画面层峦叠嶂，山势雄浑而不失秀逸。山石以细密皴法勾勒纹理，兼施淡染，显苍润质感；山间林木葱茏，姿态各异，或挺拔或虬曲，疏密有致。溪流蜿蜒穿谷而过，两岸村落隐约，屋舍错落，添生活气息。整体构图深远，虚实相生，笔墨醇厚，尽显传统山水画的雅致意境，传递出静谧悠远的山居之趣。",[25,87,69,130,762,7,148,86,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc19ac581e758c8d39d1aaf5b86c48e10.jpg",[],"866143",{"id":2209,"slug":2210,"title":2060,"dynasty":219,"author":2211,"museum":605,"description":2212,"tags":2213,"thumbUrl":2214,"material":47,"size":47,"collection":47,"collections":2215,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":2216},202072,"fang-wang-meng-shan-shui-zhou-wang-xue-hao-202072","王学浩","这幅山水轴笔墨苍劲秀逸，以繁密皴法勾勒山峦肌理，峰峦层叠间林木葱茏，溪流蜿蜒穿谷而过，山间屋舍隐现于松石之下，得幽居之趣。画面布局疏密有致，苍莽中见清逸，繁密而不拥塞，既承王蒙笔意之深秀，又融自家清旷之气，尽显山林丘壑的静谧与生机，宛如一方可居可游的世外之境。",[25,87,69,86,148,368,225,130,7,760],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6b82e830c929b9cb0ad7ff5d3dd9e8b.jpg",[],"b9a687",{"id":2218,"slug":2219,"title":2220,"dynasty":219,"author":2221,"museum":605,"description":2222,"tags":2223,"thumbUrl":2225,"material":47,"size":47,"collection":96,"collections":2226,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":2227},201564,"yan-wai-fu-rong-tu-zhou-zhang-peng-chong-201564","烟外芙蓉图轴","张鹏翀","画面以水墨绘就，山峦层叠如芙蓉绽姿，皴笔细密摹写山石肌理，烟岚轻笼峰腰，添几分空濛之韵。近景林木扶疏，茅舍隐于枝柯下，溪流曲径穿林而过，清幽自现。中景山麓错落，草木点缀有致，远岫含烟渐隐，意境淡远。笔墨简括却韵致盎然，树石勾勒灵动，尽显文人山水的雅致情趣，似可揽山间清趣，寻得一份悠然心境。",[25,87,86,69,2224,130,252,62,7,23],"芙蓉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa55e0a33bce9d37ab4cd0e56a1cb9b2.jpg",[96],"c7b7a3",{"id":2229,"slug":2230,"title":2231,"dynasty":219,"author":2232,"museum":605,"description":2233,"tags":2234,"thumbUrl":2235,"material":47,"size":47,"collection":96,"collections":2236,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":2237},201455,"ting-quan-tu-zhou-wu-li-201455","听泉图轴","吴历","画面山峦层叠，皴笔勾勒山石纹理，水墨晕染林木葱茏。溪流蜿蜒穿林而下，潺潺泉声隐于笔墨间。士人静坐石畔，凝神听泉，神情悠然，尽显文人与自然相融的雅趣。笔墨苍劲秀润，意境静谧清幽，传递出尘外闲适心境，是清初山水的典型佳作。",[87,86,69,7,130,88,38,64,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8ef5c9a7a8d56321b8f8ee985461bd0.jpg",[96],"aa9f89",{"id":2239,"slug":2240,"title":2241,"dynasty":219,"author":382,"museum":605,"description":2242,"tags":2243,"thumbUrl":2244,"material":47,"size":47,"collection":96,"collections":2245,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":2246},201454,"wei-zhi-weng-zuo-shan-shui-zhou-wang-shi-min-201454","为至翁作山水轴","这幅山水轴笔墨苍润醇厚，承元人山水遗风，峰峦以披麻皴层层皴染，墨色浓淡相间，显山石纹理与厚重质感。山峦叠嶂间云雾轻笼，留白处虚实相生，拓展深远意境。山间屋舍隐于林木，溪流蜿蜒穿石而过，小桥横跨溪上，林木萧疏有致，尽显文人笔下山水的静谧雅致。画家以娴熟笔法勾勒景物，既见复古之韵，又含自然生机，整体画面清寂悠远，耐人寻味。",[25,86,87,69,148,150,7,252,225,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48838923769ab9cd6ed4c4323b10cb9c.jpg",[96],"d3b69f",{"id":2248,"slug":2249,"title":2250,"dynasty":219,"author":2251,"museum":605,"description":2252,"tags":2253,"thumbUrl":2254,"material":47,"size":47,"collection":96,"collections":2255,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":2256},201441,"dan-qing-bao-fa-tu-zhou-wu-wei-ye-201441","丹青宝筏图轴","吴伟业","这幅画作以水墨为基调，皴染结合勾勒山水神韵。层岩叠嶂间，飞瀑如练倾泻而下，溪流蜿蜒于林间石畔。近景老树盘根错节，枝叶扶疏，掩映着几间茅舍，尽显幽居之致；中景山峦起伏，林木错落，墨色浓淡相宜；远景云雾缥缈，峰峦隐现，营造出深远意境。笔墨苍秀相济，皴法多变，山石肌理毕现。整体清旷淡远，似文人寄情自然的写照，藏着一份闲适与超脱。",[86,87,69,1148,149,225,399,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe104a84a1442a913fd99c71246bf239.jpg",[96],"bdb4a6",{"id":2258,"slug":2259,"title":2260,"dynasty":219,"author":1708,"museum":605,"description":2261,"tags":2262,"thumbUrl":2263,"material":47,"size":47,"collection":96,"collections":2264,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":2265},201376,"shu-hua-tu-juan-kun-can-201376","书画图卷","此卷书画相生，墨韵流转间见丘壑深心。书法以狂草写就，笔势奔腾如泉泻石罅，墨色浓淡枯润交织，尽显笔底豪情；绘卷则层峦叠嶂，皴擦点染间山石肌理分明，林木葱茏带烟霞之气，亭舍隐于溪畔，孤舟泛于碧波，一派林泉隐逸之致。山与水的呼应，书与画的交融，凝成苍浑气象，藏着文人寄情丘壑的幽怀。",[25,109,26,87,670,69,149,206,133,7,749,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9870b39d6ed9db60718d6d229daa3eb.jpg",[96],"ccc8c0",{"id":2267,"slug":2268,"title":2269,"dynasty":81,"author":2270,"museum":605,"description":2271,"tags":2272,"thumbUrl":2277,"material":47,"size":47,"collection":640,"collections":2278,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":2279},201354,"hua-niao-shan-zhou-zhi-mian-201354","花鸟扇","周之冕","扇面构图疏密得宜，右侧芭蕉展叶，山石皴染有致，禽鸟或栖于枝巅、或啄食坡地，神态鲜活；左侧林木扶疏，花草点缀其间，动静相生。画家以独创的钩花点叶法绘之，花瓣用细劲线条勾勒，叶片以墨色点染，浓淡交错，设色清雅而生机盎然。笔墨兼具工致与写意之趣，禽鸟的灵动、花叶的鲜活跃然纸上，尽显自然野趣与精湛功底，为明代花鸟扇面的典范之作。",[1234,2273,2274,2275,88,2276,7,1052,23],"花鸟","钩花点叶","工写结合","芭蕉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe61b6b447c872ecf309f7e311f38f5b7.jpg",[640],"d6dcd6",{"id":2281,"slug":2282,"title":2283,"dynasty":219,"author":2051,"museum":605,"description":2284,"tags":2285,"thumbUrl":2286,"material":47,"size":47,"collection":96,"collections":2287,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":2288},201342,"fu-yan-yuan-xiu-tu-deng-shan-ye-wang-jian-201342","浮烟远岫图等扇页","近坡苍木虬劲，山石皴擦有致，肌理分明；中景溪流萦回，林木疏密相间，生机暗藏；远景峰岫连绵，烟霭轻笼如纱，渐次淡远。笔墨取法元人，干笔皴擦见古拙，湿墨晕染显空灵，墨色层次丰富，设色淡雅温润。构图于扇面有限空间内铺展开合，景致精巧却意境悠远，尽显清旷闲逸之趣，是师古而能化的山水佳构。",[1234,87,28,69,25,109,88,7,149,292,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfb1a5198e5852418cd4fb934ee9c012.jpg",[96],"c8bcab",{"id":2290,"slug":2291,"title":2292,"dynasty":219,"author":203,"museum":145,"description":2293,"tags":2294,"thumbUrl":2298,"material":152,"size":153,"collection":47,"collections":2299,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},273634,"zi-tan-mu-bian-zuo-qian-fa-lang-shan-shui-ren-wu-tu-cha-ping-yi-ming-273634","紫檀木边座嵌珐琅山水人物图插屏","这件作品以掐丝珐琅绘就林泉雅境，澄澈湖蓝铺展天幕，晕出清寂高远的氛围感。各色釉料晕染林木，丹红、苍绿与赭褐交织错落，深浅层叠间尽显山野林木葳蕤之态。\n\n林间五人各有生趣，或持具斫木、或行立晤谈、或席地闲憩，鲜妍衣袂点染于苍林之间，动静相映，将野逸悠然的林下日常铺陈开来。金地勾边勾勒物象轮廓，让画面兼具工致装饰感与山水诗意，融珐琅材质的明丽质感于中式隐逸意境，尽显雅致意趣，藏着古人寄情林泉的幽怀。",[2295,2296,87,38,28,7,2297],"琺瑯器","插屏","风景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74743814804a3eb15f7221d4fb9ed22b.jpg",[],{"id":2301,"slug":2302,"title":2303,"dynasty":219,"author":203,"museum":145,"description":2304,"tags":2305,"thumbUrl":2310,"material":152,"size":153,"collection":47,"collections":2311,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},269916,"chen-xiang-mu-diao-bai-lu-tu-bei-yi-ming-269916","沉香木雕百鹿图杯","木雕是雕塑的一种，在我们国家常常被称为“民间工艺”。木雕可以分为立体圆雕、根雕、浮雕三大类。木雕是从木工中分离出来的一个工种，在我们国家的工种分类中为“精细木工”。\n以雕刻材料分类的民间美术品种。一般选用质地细密坚韧，不易变形的树种如楠木、紫檀、樟木、柏木、银杏、沉香、红木、龙眼等。\n木雕是以各种木材及树根为材料进行雕刻，是以传统雕刻工艺中的重要门类。木雕的历史非常悠久，在浙江余姚河姆渡文化遗址就有木雕鱼出土，这是我国木雕史上最早的实物。河南信阳战国大墓出土的木雕镇木兽，湖北云梦汉墓出土的彩雕木佣均为我国早期木雕作品。由于保存的困难，现今很难看到超过千年的木雕作品。\n两宋时期木雕作品较为多见，这时的木雕已采用组织细密的木材为载体进行制作，这就有利于木雕作品的传世。我国的一些庙宇里还保存有宋代的木雕作品。\n元明时由于海外贸易的急速发展，木材种类有所增加，许多由海外进口的硬质木材，是木雕工艺得到长足发展。\n明清期间是木雕艺术的一个辉煌时期，涌现出大量有史可考的名家、艺人及其作品，是古代木雕艺术的一个高峰。\n清末至民国年间由于政府的腐败，国力的衰退，外强的侵略，民不潦生，木雕艺术从此衰落，艺人名家也只能沦为匠人糊口度日。新中国成立后在党和国家的关怀下，民间工艺得到了保护及挖掘，木雕也重新涣发出生命，涌现出一批国家级大师。他们的作品，工艺精湛，秉承传统，立意深远，讴歌时代，体现了大师们立足传统，锐意创新，直抒重获新生的胸怀和报效国家，知遇之恩的深情。\n国家改革开放，经济腾飞，国富民强，党和国家对民间工艺的大力扶持，唤起了民众对传统工艺美术的热爱与追求。逢此盛世，民间工艺美术有了新的飞跃，木雕艺术也不例外。面对实际情况，在全国工艺品展出中，优秀作品的作者年龄偏大，年轻作者寥寥无几。",[2306,2132,2307,2308,2309,442,441,87,7],"雕刻","木质","饮酒器","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ee754fd7b35750bff20fab8f6c64ccb.jpg",[],{"id":2313,"slug":2314,"title":2315,"dynasty":219,"author":203,"museum":145,"description":2304,"tags":2316,"thumbUrl":2318,"material":152,"size":153,"collection":47,"collections":2319,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":101},269501,"huang-yang-mu-diao-lin-mu-ren-wu-tu-bi-tong-yi-ming-269501","黄杨木雕林木人物图笔筒",[2306,2307,2317,38,7,225],"笔筒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f8cd8d1632245eeefe38a9f56def8e1.jpg",[],{"id":2321,"slug":2322,"title":2323,"dynasty":219,"author":203,"museum":145,"description":2324,"tags":2325,"thumbUrl":2328,"material":152,"size":153,"collection":47,"collections":2329,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},260901,"qing-hua-shan-shui-tu-da-guan-yi-ming-260901","青花山水图大罐","青花瓷（blue and white porcelain），又称白地青花瓷，常简称青花，是中国瓷器的主流品种之一，属釉下彩瓷。青花瓷是用含氧化钴的钴矿为原料，在陶瓷坯体上描绘纹饰，再罩上一层透明釉，经高温还原焰一次烧成。钴料烧成后呈蓝色，具有着色力强、发色鲜艳、烧成率高、呈色稳定的特点。原始青花瓷于唐宋已见端倪，成熟的青花瓷则出现在元代景德镇的湖田窑。明代青花成为瓷器的主流。明宣德时发展到了顶峰。明清时期，还创烧了青花五彩、孔雀绿釉青花、豆青釉青花、青花红彩、黄地青花、哥釉青花等衍生品种。",[2326,2327,87,30,7,149],"陶瓷","青花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2268bf7e9d7a9d912494b087d9aaa1e7.jpg",[],{"id":2331,"slug":2332,"title":2333,"dynasty":219,"author":203,"museum":145,"description":2334,"tags":2335,"thumbUrl":2340,"material":152,"size":153,"collection":47,"collections":2341,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":101},238628,"ping-ding-tai-wan-zhan-tu-ce-yi-ming-238628","平定台湾战图册","全景式构图铺展激烈战事，层叠山峦与苍郁林木间，兵勇鏖战正酣。旌旗猎猎翻卷，人马奔突厮杀，短兵相接的紧张感跃然纸面，细节处将兵卒格斗、奔逃溃退的动态刻画入微，题诗呼应战局，点明智取克敌的战事脉络。\n\n画作以精细线描勾勒山野形貌与人姿马态，写实还原征战场面，兼具纪实性与艺术性。笔墨沉凝肃杀刚劲，将工笔绘法与纪实特质相融，让观者仿若踏入烽烟烈烈的平叛现场，触摸那段金戈铁马的过往。",[24,25,330,29,86,2336,527,2136,87,7,38,1373,2337,2338,2135,2137,168,2339],"线描","兵器","旌旗","平叛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fbbd2bcfc8379931c4747e16a3b09a1.jpg",[],{"id":2343,"slug":2344,"title":2345,"dynasty":219,"author":203,"museum":145,"description":2346,"tags":2347,"thumbUrl":2349,"material":152,"size":153,"collection":47,"collections":2350,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},236246,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236246","避暑山庄图励宗万书诗成扇","以泥金笺为底，青绿晕染山峦叠翠，墨笔点簇林木苍茂，山居幽隐于林麓间，似可窥见山窗纳凉的清宁意趣。笔墨秀润温婉，将夏日山居的闲适静谧凝于盈尺扇面之上，青绿与泥金相映，更添雅致华贵。搭配包浆莹润的素骨，书画合璧，把消暑寄情的林下之思融于掌中清玩，尽显小品山水的温婉意韵，是案头清赏的佳妙之作。",[1234,25,109,422,28,87,7,164,2348,1628],"闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e894079a0761742f2aaafae5773e9f7.jpg",[],{"id":2352,"slug":2353,"title":2354,"dynasty":219,"author":2355,"museum":145,"description":2356,"tags":2357,"thumbUrl":2368,"material":152,"size":153,"collection":47,"collections":2369,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},236228,"bi-shu-shan-zhuang-san-shi-liu-jing-tu-shu-shi-cheng-shan-wang-ji-hua-236228","避暑山庄三十六景图书诗成扇","王际华","王际华（1717—1776），字秋瑞，一字秋水，号白斋，浙江钱塘人，清朝官吏。\n字秋瑞，一字秋水，号白斋，浙江钱塘人，清朝官吏。乾隆十年一甲三名进士，授编修。十三年，大考翰詹，擢侍读学士、上书房行走。广东旧设两学政，十五年，以侍读程岩督广韶学政，际华督肇高学政，旋用岩议裁并，以忧归。服除，起原官。三迁至侍郎，历工、刑、兵、户、吏诸部。在兵部，疏言：“武乡会试旧例，外场挑双好、单好、合式三类入内场，双、单好列东号，合式列西号。不肖者见列西号，知不能幸中，纷纷求出。即有归号，终日喧哗。请嗣后武乡会试，但挑双、单好，毋更挑合式。”在吏部，疏请在京文武官吏议处，及各部会议外省文武官吏议处，当分别定限，皆如所议。三十四年，迁礼部尚书。三十八年，加太子少傅，调户部尚书。四十一年，卒，赠太子太保，谥文庄。赐其子朝梧内阁中书，官至山东兖沂曹道。",[25,109,1234,28,69,87,180,305,39,88,7,2358,1659,2359,798,2360,2361,2362,2363,2364,2365,2366,2367],"水墨设色","风景名胜","人文建筑","清代风格","山水小品","扇面书画","诗画结合","写意山水","山水皴染","设色山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfbd7054811584b6ba19a28888a8ba4b.jpg",[],{"id":2371,"slug":2372,"title":2354,"dynasty":219,"author":2355,"museum":145,"description":2356,"tags":2373,"thumbUrl":2374,"material":152,"size":153,"collection":47,"collections":2375,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},236208,"bi-shu-shan-zhuang-san-shi-liu-jing-tu-shu-shi-cheng-shan-wang-ji-hua-236208",[25,109,1234,28,69,87,133,180,224,67,88,1244,305,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe70dd77a9a5ef11c2c25960e9e480486.jpg",[],{"id":2377,"slug":2378,"title":2354,"dynasty":219,"author":2355,"museum":145,"description":2356,"tags":2379,"thumbUrl":2382,"material":152,"size":153,"collection":47,"collections":2383,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},236205,"bi-shu-shan-zhuang-san-shi-liu-jing-tu-shu-shi-cheng-shan-wang-ji-hua-236205",[25,109,1234,28,87,69,180,64,88,1244,305,2380,130,30,7,39,2381,29,113,2358],"庭院","人物活动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4f10a8164c6e7dd20d82c0cfd297c12.jpg",[],{"id":2385,"slug":2386,"title":2387,"dynasty":219,"author":2388,"museum":605,"description":2389,"tags":2390,"thumbUrl":2392,"material":47,"size":47,"collection":47,"collections":2393,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":2394},203217,"shui-hui-yuan-jiu-zhi-shu-hua-ce-shen-fu-203217","水绘园旧址书画册","沈复","笔墨绘就的江南园林景致，林木葱茏间屋舍错落隐现，溪流潺潺绕岸而过，小桥横跨其上，尽显清幽雅致。淡墨皴法晕染山石草木，线条灵动勾勒枝叶屋宇，左侧行书笔意流畅自然，与右侧山水相映成趣。书画一体，将文人的闲适心境融入尺幅之中，于册页间传递出恬淡的生活意趣与细腻的艺术韵味。",[87,167,86,28,150,149,225,7,330,69,749,111,1472,2391],"工","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0e684a9beb368d88d6741958653abba.jpg",[],"c4bcab",{"id":2396,"slug":2397,"title":2398,"dynasty":1458,"author":2165,"museum":605,"description":2399,"tags":2400,"thumbUrl":2401,"material":47,"size":47,"collection":47,"collections":2402,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":2403},203207,"shu-hua-cheng-shan-wu-hu-fan-203207","书画成扇","扇面之上，山水意境悠然铺展。皴笔勾勒山峦轮廓，墨色浓淡交织间显丘壑层次，浅绛设色晕染出雅致温润的氛围；林木错落，或浓墨点染或淡笔轻描，生机暗藏于方寸之间。一侧书法笔力沉稳流转，与画面相映成趣，书画合璧，将文人雅趣凝于咫尺扇骨间。笔墨流转见匠心，咫尺纳万象，尽显传统艺术的精妙韵味。",[1234,87,28,69,168,30,7,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e48dcd80a50556b5c5eeec5127996fe.jpg",[],"bab0a3",{"id":2405,"slug":2406,"title":1699,"dynasty":219,"author":327,"museum":605,"description":2407,"tags":2408,"thumbUrl":2409,"material":47,"size":47,"collection":96,"collections":2410,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":2411},203059,"shan-shui-tu-ce-yun-shou-ping-203059","这幅山水图册页笔墨清润秀逸，山峦叠嶂间以浅淡皴染勾勒，林木扶疏，茅舍错落溪边，溪流潺潺绕石而过，意境空灵悠远。题跋行书笔势流畅，与画面浑然一体，文气盎然。观者仿佛步入幽林深处，听泉观山，心随境宁，尽显文人山水的雅致与淡然。",[87,330,86,69,7,42,130,168,167,28,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff491261e35c367030ff47d3d9e690073.jpg",[96],"d9bc99",{"id":2413,"slug":2414,"title":381,"dynasty":219,"author":2415,"museum":605,"description":2416,"tags":2417,"thumbUrl":2418,"material":47,"size":47,"collection":47,"collections":2419,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":2420},202475,"shan-shui-zhou-gu-kan-202475","顾侃","淡墨皴染的山石纹理层叠，线条勾勒出奇峰巍峨之姿，崖壁苍劲尽显山川雄浑。山间林木错落，点染秋意；小径蜿蜒隐于岩隙，引向幽深处。远处亭台与朦胧远山相映，添静谧悠远。笔墨简淡却意韵深厚，构图疏密有致，融自然之趣与文人雅意于一体。",[87,69,86,453,7,39,307,67,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad94c7404d1c7026c0543787e19d44a8.jpg",[],"b09b7c",{"id":2422,"slug":2423,"title":2424,"dynasty":219,"author":2051,"museum":605,"description":2425,"tags":2426,"thumbUrl":2427,"material":47,"size":47,"collection":47,"collections":2428,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":2429},202262,"qiu-shan-tu-zhou-wang-jian-202262","秋山图轴","这幅秋山图轴笔墨醇厚雅致，山峦层叠间尽显宋元遗韵。主峰以浑厚皴法勾勒纹理，墨色浓淡交错，既见山石苍劲质感，又含秋林清疏之态。山间溪涧蜿蜒，小桥横架其上，旁侧亭榭隐于林木，似有幽人倚栏观秋，静谧中透着文人旷达意趣。林木以细劲笔触写之，枝叶疏密有致，秋意悄然融入每一处笔墨。整体虚实相生，远近层次分明，承袭董巨披麻皴温润，兼具自家笔墨灵动，营造出清寂悠远的秋山胜境，尽显传统山水画意境之美。",[25,87,69,86,150,149,133,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5871985f45909cc5f98dc624c0a4550e.jpg",[],"887b65",{"id":2431,"slug":2432,"title":2433,"dynasty":219,"author":2051,"museum":605,"description":2434,"tags":2435,"thumbUrl":2438,"material":47,"size":47,"collection":47,"collections":2439,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":2440},202259,"yun-shan-tu-juan-wang-jian-202259","云山图卷","此卷以水墨写云山景致，山峦层叠间云雾氤氲，虚实相生，尽显空濛之趣。林木疏密交错，枯荣相杂，笔墨干湿浓淡互用，皴染结合，山石肌理与树木姿态皆得自然之妙。山间茅舍掩映，水面孤舟泛波，添几分幽居之静。整体意境清寂悠远，承元人山水韵致，又显个人笔墨精妙，于平淡中见深远，为仿古出新之作。",[86,87,69,2436,7,62,206,252,2437],"云山","仿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35400336de31e30eb00e4308ff69d475.jpg",[],"beaa9a",{"id":2442,"slug":2443,"title":1290,"dynasty":219,"author":2444,"museum":605,"description":2445,"tags":2446,"thumbUrl":2449,"material":47,"size":47,"collection":47,"collections":2450,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":2451},202073,"shan-shui-tu-zhou-zhang-ci-ning-202073","张赐宁","画面以水墨写意绘就，上部山峦叠嶂，墨色浓淡交错，皴擦间显山石肌理；中部江面开阔，波纹轻漾，一蓑笠翁独驾孤舟，悠然于烟波之上，尽显渔隐之趣；下部林木葱茏，掩映着几间茅舍，笔墨疏朗却生机盎然。整幅作品虚实相生，意境清旷淡远，于简淡中见深致，传递出文人画特有的闲适与超脱。",[25,109,148,86,113,69,87,206,2447,62,7,2448],"蓑笠","江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d4f89cc3b2c515e1089f3ed06611eed.jpg",[],"af9c85",{"id":2453,"slug":2454,"title":2455,"dynasty":219,"author":2456,"museum":605,"description":2457,"tags":2458,"thumbUrl":2460,"material":47,"size":47,"collection":47,"collections":2461,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":2462},201919,"wan-he-ben-liu-tu-zhou-wang-san-xi-201919","万壑奔流图轴","王三锡","层岩叠壑间，飞瀑如练倾泻，溪流蜿蜒穿谷，水声若隐若现。山峦以皴法写就，笔墨苍劲中见秀润，林木疏密错落，屋舍隐于溪畔林间，添几分烟火气。布局虚实相生，远近层次分明，灵动水势与沉稳山岩相融，尽显自然之趣与文人画的雅致意境。",[87,69,399,225,7,28,148,2459],"国","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc2754ed9acdbc1a69a349652bae2768.jpg",[],"a59174",{"id":2464,"slug":2465,"title":2466,"dynasty":219,"author":2467,"museum":605,"description":2468,"tags":2469,"thumbUrl":2474,"material":47,"size":47,"collection":47,"collections":2475,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":2476},201643,"qun-feng-tu-zhou-cheng-sui-201643","群峰图轴","程邃","这幅山水以焦墨为骨，峰峦层叠而上，山石用干笔皴擦，线条刚劲如铁，纹理苍古。山间林木错落，小径蜿蜒隐于岩隙，溪流穿谷而过，似有清音流淌。构图深远，意境清幽，笔墨简括却力道十足，干淡中藏雄浑之气，尽显山野的静谧与古拙之美。观者仿佛置身其间，可感林泉之趣，体悟自然与笔墨交融的妙境。",[2470,87,69,690,385,7,130,307,2471,2472,256,2473],"焦墨","苍劲","古拙","雄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5e16f7b41b69ee3c5fec9527964f4a5.jpg",[],"a39c90",{"id":2478,"slug":2479,"title":2480,"dynasty":219,"author":2481,"museum":605,"description":2482,"tags":2483,"thumbUrl":2484,"material":47,"size":47,"collection":96,"collections":2485,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":2486},201515,"shan-shui-tu-shan-ji-yuan-pei-201515","山水图扇集","袁沛","扇面铺展，丘壑起伏间林木葱郁，小径蜿蜒穿林而过，丘顶亭榭隐约可见。墨色浓淡交织出深远层次，淡青浅绿点染草木山石，皴擦有致，笔触细腻中见灵动。整体画风清润雅致，尽显文人山水的静谧逸趣，仿佛能闻林间清风，观丘上云气，引人入胜。",[1234,87,28,133,7,69,86,25,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ba5fd8687ba166ad1efa92f12d29264.jpg",[96],"cfc3b0",{"id":2488,"slug":2489,"title":2490,"dynasty":219,"author":265,"museum":605,"description":2491,"tags":2492,"thumbUrl":2493,"material":47,"size":47,"collection":96,"collections":2494,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":2495},201397,"fang-jiang-guan-dao-shan-shui-tu-zhou-wang-hui-201397","仿江贯道山水图轴","峰峦层叠间，皴笔细密勾勒山石肌理，墨色浓淡晕染出云雾缭绕之态，山脚林木扶疏，枝干虬劲多姿。近景处小桥横卧溪上，行人缓步其间，添几分野趣。笔墨苍秀相济，既循江贯道山水清逸遗风，又融自身对传统的深刻体悟，构图开合有度，气韵流转，尽显古典山水的雅致意境与文人情怀。",[87,69,86,25,150,7,252,30,1203,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea279b2d1ea3e78b3015c416176e4ca2.jpg",[96],"ad9b82",{"id":2497,"slug":2498,"title":2499,"dynasty":219,"author":2500,"museum":605,"description":2501,"tags":2502,"thumbUrl":2503,"material":47,"size":47,"collection":96,"collections":2504,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":2505},201383,"chun-jiang-die-zhang-tu-juan-cai-jia-201383","春江叠嶂图卷","蔡嘉","江流缓缓铺展，叠嶂层峦错落有致，云雾似轻纱萦绕峰谷，晕染出悠远的空间感。近岸林木葱郁，枝桠间透着春日鲜嫩，几处村舍隐于绿荫，更添生趣。江上孤舟点点，桨声仿佛随波荡漾，尽显江南水乡的清和雅致。笔墨细腻处，山石皴法灵动，设色淡雅温润，将自然之美与文人意趣融于一卷，读来如沐春风，心境旷达。",[25,26,28,87,69,206,7,252,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b5decdcbc882ecdeecb45ac9506bac4.jpg",[96],"b0a896",{"id":2507,"slug":2508,"title":1580,"dynasty":81,"author":2509,"museum":605,"description":2510,"tags":2511,"thumbUrl":2512,"material":47,"size":47,"collection":96,"collections":2513,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":2514},201357,"shan-shui-shan-wen-jia-201357","文嘉","画面山峦错落，林木葱郁，云雾以淡墨晕染，流溢于峰谷间，添空濛之趣。山石勾勒简洁，皴擦细腻，显清润质感；树木枝干挺秀，叶态丰茂，笔墨雅致。构图疏密相宜，意境清幽淡远，尽显文人山水的闲逸之致，于扇面方寸间铺展自然生机与诗意。",[1234,87,69,86,7,252,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf1063ed96c5bcfdf1983a5b3779d313.jpg",[96],"dce5e0",{"id":2516,"slug":2517,"title":2518,"dynasty":219,"author":2232,"museum":605,"description":2519,"tags":2520,"thumbUrl":2521,"material":47,"size":47,"collection":96,"collections":2522,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":2523},201332,"shan-zhong-ku-yu-tu-juan-wu-li-201332","山中苦雨图卷","画面中山峦起伏，云雾氤氲，林木错落间溪水流淌，孤舟静泊岸畔。笔墨苍秀相济，皴法细腻，设色淡雅，于雨意朦胧中传递出文人的闲适与哲思，虽名“苦雨”，却在烟岚与草木间藏着一份从容之趣，尽显传统山水的诗意与笔墨功力。",[25,26,87,86,28,69,206,252,7,167,91,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfe0282f31ed75ae8648fca641525c44.jpg",[96],"bcb6ab",{"id":2525,"slug":2526,"title":235,"dynasty":219,"author":1646,"museum":605,"description":2527,"tags":2528,"thumbUrl":2529,"material":47,"size":47,"collection":96,"collections":2530,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":752},201295,"shan-shui-tu-juan-zou-zhi-lin-201295","画面层峦逶迤，以水墨皴染出山石肌理，线条灵动中见苍劲。山间林木错落，或挺拔虬曲，村舍隐于林麓间，流水绕岸而过，一派清幽旷远之致。远山淡墨晕染，与近景浓淡相衬，拓展空间纵深。整体笔墨简括却意韵丰厚，尽显文人山水的雅致与野趣。",[25,87,86,69,26,109,149,7,1422,67,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31a7db4bb9b1c602b6bade4eb854a0c3.jpg",[96],{"id":2532,"slug":2533,"title":2534,"dynasty":81,"author":581,"museum":605,"description":2535,"tags":2536,"thumbUrl":2537,"material":47,"size":47,"collection":96,"collections":2538,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":2539},201291,"fang-da-chi-shan-shui-juan-lan-ying-201291","仿大痴山水卷","画卷铺展，山峦层叠如黛，云雾轻笼似纱，晕染出悠远空灵的意境。近处林木苍劲，几椽村舍隐于岩麓，溪水蜿蜒穿林过野，连缀起远近景致的呼应。笔意追摹大痴道人，披麻皴的细腻纹理中融入蓝瑛特有的沉雄笔力，山石既见元人山水的萧散，又含浙派的刚健气韵。林间飞鸟点活静景，村落炊烟暗合人间温情，将自然旷远与生活意趣交织。墨色层次丰富，淡彩晕染清润，在临摹中尽显个人风貌，传递出文人山水的雅致与生机。",[87,26,69,86,368,762,7,252,931,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86a36db6f899146689951814afd9563d.jpg",[96],"9c805b",{"id":2541,"slug":2542,"title":2543,"dynasty":81,"author":2544,"museum":605,"description":2545,"tags":2546,"thumbUrl":2547,"material":47,"size":47,"collection":47,"collections":2548,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":2549},201290,"you-ge-ting-quan-tu-juan-zhang-yan-201290","幽阁听泉图卷","张彦","此卷铺展山峦叠嶂之景，峰岩峻秀，林木森然，幽阁依岩筑立，隐于苍翠间。溪流蜿蜒穿林，似闻泉声泠泠，引观者入清寂之境。笔墨运用娴熟，皴擦勾勒尽显山石肌理，树木枝干虬劲，松针繁密有致。构图疏密得当，远近层次分明，咫尺间见深远。整体意境清幽淡远，传递出文人雅士寄情山水、静听泉声的闲适心境，尽显明代山水画的雅致韵致。",[24,25,109,26,87,86,69,64,149,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea012e0db724fe1aab4c7cfca46e3d6f.jpg",[],"82826c",{"id":2551,"slug":2552,"title":2553,"dynasty":219,"author":382,"museum":605,"description":2554,"tags":2555,"thumbUrl":2556,"material":47,"size":47,"collection":96,"collections":2557,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":2558},201280,"fang-wu-zhen-shan-shui-tu-zhou-wang-shi-min-201280","仿吴镇山水图轴","画面山峦起伏，云气氤氲其间，层叠峰岭在虚实间晕染出深远意境。林木以浓淡墨色勾勒，枝干苍劲挺拔，叶片繁密处见笔力沉厚。山间溪流蜿蜒，小桥横跨其上，隐现的屋舍与自然景致相融，尽显清幽雅致。笔墨师法吴镇，以披麻皴写山石肌理，线条浑厚朴拙，水墨晕染层次丰富，既得元人山水的静谧深远，又蕴含自身对传统的深刻体悟，是摹古而能化的典范之作。",[25,87,86,69,368,148,30,7,130,150,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffecb5d5b55797f3ae097516b36b04006.jpg",[96],"bfb8a5",{"id":2560,"slug":2561,"title":2012,"dynasty":219,"author":265,"museum":605,"description":2562,"tags":2563,"thumbUrl":2564,"material":47,"size":47,"collection":96,"collections":2565,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":2566},201239,"fang-huang-gong-wang-shan-shui-zhou-wang-hui-201239","笔墨苍润秀逸，承黄公望浅绛山水遗韵，山峦以披麻皴皴染结合，肌理浑厚。云雾轻笼峰谷，虚实相生间拓展深远空间。山间林木葱郁，松枝挺劲，杂树错落；小径蜿蜒而下，小桥横跨溪流，屋舍隐于林麓，尽显清幽淡远之致。整体章法疏密得宜，气韵连贯，既守古法又蕴新意，是仿古而能化的佳构。",[87,69,28,150,149,7,148,269,225,252,307,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd10de6524d2fa0cde2f4b7310046b4ea.jpg",[96],"b4a692",1777535700914]