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车辆有串车、太平车、平头车等诸种，再现了汴京城街市的繁荣景象。高大的城门楼名东角子门，位于汴京内城东南。\n全卷画面内容丰富生动，集中概括地再现了12世纪北宋全盛时期都城汴京的生活面貌。\n此画用笔兼工带写，设色淡雅，不同一般的界画，即所谓“别成家数”。构图采用鸟瞰式全景法，真实而又集中概括地描绘了当时汴京东南城角这一典型的区域。作者用传统的手卷形式，采取“散点透视法”组织画面。画面长而不冗，繁而不乱，严密紧凑，如一气呵成。画中所摄取的景物，大至寂静的原野，浩瀚的河流，高耸的城郭；小到舟车里的人物，摊贩上的陈设货物，市招上的文字，丝毫不失。在多达500余人物的画面中，穿插着各种情节，组织得有条不紊，同时又具有情趣。",[23,24,64,25,28,26,27,30,31,32,7,65,66,67,33,36,68,69,70,71,72,73,74,40,75,76,43,77],"书画","船","马","牛","店铺","桥梁","城墙","车","河流","码头","货船","商贩","房屋","城门","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee4ecd57523f904bcb1af9f65a29b2cb.jpg","绢本，淡设色","纵24.8厘米，横528厘米","宋画精选",[81,83],"水墨画精选",8462,106,{"id":87,"slug":88,"title":89,"dynasty":18,"author":90,"museum":91,"description":92,"tags":93,"thumbUrl":102,"material":103,"size":104,"collection":105,"collections":106,"showCount":107,"zanCount":108,"manualWeight":54,"mainColor":109},214638,"wu-zhong-shan-shui-juan-shen-zhou-214638","吴中山水卷","沈周","上海博物馆","画家画的是他家乡苏州的山水景象，山水构图平远，波光粼粼，山峦郁郁葱葱，被行人的小船打断了。图像没有任何标记，背面纸上有沈周写的长诗。",[23,24,64,25,94,27,95,32,7,96,97,33,98,76,99,100,101],"水墨","山水","孤舟","亭","山石","皴法","书法","行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1fc32edd6049d9d044095077d4fe271.jpg","纸本,设色","31.6x348","山水画精选",[105],7463,45,"BDBDBD",{"id":111,"slug":112,"title":113,"dynasty":18,"author":19,"museum":114,"description":115,"tags":116,"thumbUrl":123,"material":124,"size":125,"collection":105,"collections":126,"showCount":127,"zanCount":128,"manualWeight":54,"mainColor":55},222209,"tao-hua-yuan-tu-quan-juan-chou-ying-222209","桃花源图全卷","美国波士顿博物馆","此大青绿山水《桃花源图》卷是明代画家仇英的作品。画作题材取自东晋诗人陶渊明所作《桃花源记》，描绘了文人理想中的隐居之乐，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。此卷现藏于美国波士顿美术馆。\n桃源文化悠久绵长，不仅唐宋元时期都有相关诗文创作，而且李昭道、荆浩、关仝、郭熙、李唐、马和之、赵伯驹、伯骕、刘松年、赵孟頫、钱选、王蒙等人也都有桃源图流传，内容形式不尽相同，而且大部分已经遗失。至明代，桃源图再次流行兴盛，究其原因除了政治动荡引起的避世心理，主要是源于明人对自我觉醒和精神超越的思考与追问。\n存世的约三十六幅桃源图中有十余幅出自仇英之手，文征明之子文嘉的《钤山堂书画记》也证实了明代桃源题材绘画风潮确实肇始于仇英。这幅画卷以武陵渔夫的行踪为主线，贯穿全篇，画中绘有四十多个人物，他们形态各异、表情丰富，惟妙惟肖。其中有划船的渔夫、打柴的樵夫、扛锄的农夫、聊天的村民，每个人都快乐地做着自己的事情，怡然自得，展现出田园生活的无限乐趣。画中山水和人物完美结合，浑然一体，营造出景致优美、悠闲自得的人间仙境。\n第一段：由卷首至山洞口。起首处双松乔立，河流两岸，桃花落英缤纷，崇山连绵起伏，白云冉冉升起，河流尽头处，为岸边的一处洞穴，洞前停一舟，洞中见一人，即为武陵渔夫。\n第二段：山洞口之后到山顶凉亭。过此洞仍见一水流，水上有一艘捕鱼的小舟，画面到这里突然变得开阔敞亮了，这里土地平坦开阔，河岸上，稻田、人物往来其间，远山白云横锁缭绕。\n第三段：山顶凉亭之后到双层大宅院之前。在山林密荫处，可以看到这位外来的武陵渔夫与村中人会面、村人闻讯前来的情景。\n第四段：一双层大宅院到宴客所。其间可见乡人愉悦地往来于路途，男女的穿戴完全像桃花源以外的世人。老人和小孩都悠闲愉快，自得其乐的样子。\n第五段：宴客所之后到卷尾。画山石密林，崇山溪涧，武陵渔夫独自眺望。\n己未岁题赵伯驹桃源图，有云山春霭钞锣溪之句。越四十年，己亥题仇英桃源图，复用钞锣溪字，因失记数典以询内廷翰臣，自于敏中以下竟无知此事者。检之十余年，迄莫能得。每往来胸次，顷几暇偶阅旧刻元人所编陶靖节集《桃花源记》汤汉注中，始知本于桃源经，恍如重入仙源，顿逢旧迹，亦一快事。且知学问之道无穷尽也。仇英此卷即蓝本伯驹，笔意超秀，颇能神似，洵为合作，即书卷短，以识赏遇。（戊申小春御笔）\n锣溪接武陵源，峡口通人宛见村。望去陌阡鸡犬富，迎来老幼笑言温，传神别致超凡品。避世高情足静论，粉本问从谁所得，伯驹真迹石渠存。（已亥暮春御題）",[23,117,24,64,25,118,27,26,99,119,95,120,30,31,32,7,96,97,33,121,122],"名画","青绿","印章","桃花","田园","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda1313fc94acb487839607902fcd9974.jpg","纸本重彩","33.0cm 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形”山势引导，将视线从后方的主峰、山岚，中景的楼阁、流泉、行旅等，顺势牵引至近景，空间铺陈手法，是为“深远”。\n干长挺拔的大松伫立岩盘上，佐以蟹爪为树枝、梢末，而浑厚的“鬼面皴”大石雄踞中轴下方，有助于画面重心的稳固。而时值日暮，右方的渔樵收拾起渔网、泊舟登岸，左岸手抱婴孩的妇女及随侧稚童，也笑迎肩挑两担鱼篓的渔夫归来，邻近搭建的房舍，则是一家人准备共进晚餐，享天伦乐的居所。\n综观全幅，赋予观赏者北方大山大水的真实感受，从而能引发可行、可望、可游、可居共鸣的乐趣。",[23,24,64,94,99,167,95,98,33,7,168,169,170,171,172,173,174],"三远法","瀑布","云雾","山峦","岩石","苔点","溪流","峰峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b56c53237741c6f94685ae05f95e012.jpg","绢","纵158.3公分，横108.1公分",[81,105,83],2376,17,{"id":182,"slug":183,"title":184,"dynasty":150,"author":151,"museum":152,"description":185,"tags":186,"thumbUrl":187,"material":188,"size":189,"collection":105,"collections":190,"showCount":191,"zanCount":192,"manualWeight":54,"mainColor":109},220766,"fu-chun-shan-ju-tu-huang-gong-wang-220766","富春山居图","《富春山居图》是元朝画家黄公望于1350年创作完成的纸本水墨画，被誉为“画中之兰亭”，是中国十大传世名画之一。\n该作品是黄公望为师弟郑樗（无用师）所绘，以浙江富春江为背景，全图用墨淡雅，山和水的布置疏密得当，墨色浓淡干湿并用，极富于变化。\n《富春山居图》，始画于至正七年(1347)，于至正十年完成。虽黄公望晚年定居今富阳市境内,但画卷内容对比宽敞平坦的富阳江和山峰峻奇峡谷雄伟的桐庐江,就可得知,富春山居图所画内容约80%在桐庐境内富春江的景色,20%为富阳的景色.，画面表现出秀润淡雅的风貌，气度不凡，以浙江富春江为背景，是黄公望的代表作。明朝末年富春山居图传到收藏家吴洪裕手中，吴洪裕极为喜爱此画，每天不思茶饭的观赏临摹。甚至在临死前下令将此画焚烧殉葬，幸被吴洪裕的侄子及时从火中抢救出，但此时画已被烧成一大一小两段，前段较小，称“剩山图”；后段画幅较长，称“无用师卷”。\n前半卷名称：《富春山居图·剩山图》黄公望《富春山居图·无用师卷》\n馆藏：浙江省博物馆尺幅：纵31.8厘米，横51.4厘米浙江博物馆《富春山居图》（《剩山图》）\n后半卷名称：《富春山居图·无用师卷》馆藏：台北故宫博物院尺幅：纵33厘米，横636.9厘米仿本名称：《富春山居图·子明卷》馆藏：台北故宫博物院名称：《富春山居图·沈周临摹本》馆藏：北京故宫博物院",[23,24,25,64,94,99,95,7,96,33,98,100,101,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa873bf9c7d320f1bd285caf802d29cd8.jpg","绢本","画卷已经被火烧成一大一小两段，原卷首小段经过修补后称为“剩山图”，横51.4公分，高31.8公分，占原画1\u002F14，后段画幅较长，称为“无用师卷”，横636.9公分，高33公分，占原画12\u002F14",[105,83],2315,28,{"id":194,"slug":195,"title":196,"dynasty":18,"author":90,"museum":61,"description":197,"tags":198,"thumbUrl":200,"material":103,"size":201,"collection":105,"collections":202,"showCount":203,"zanCount":204,"manualWeight":54,"mainColor":109},219219,"fang-huang-gong-wang-fu-chun-shan-ju-tu-juan-shen-zhou-219219","仿黄公望富春山居图卷","此图为沈周背临黄公望《富春山居图》之作。图中坡岗起伏，景物幽美，布局开合有度，用笔方圆兼备，刚柔并济，结合了披麻皴法与矾头皴法，对原作的临摹达到了形神兼似的境界，而笔力间又体现出沈周自己个人的特色。黄公望《富春山居图》后被焚毁作两段，分别辗转流传，今前一段藏于浙江省博物馆，后一段藏于台北故宫博物院。沈周此幅临作基本上保留了原作被毁以前的面貌，故这幅作品除具备本身的艺术价值之外，还带有重现黄氏原作的重要意义。尾纸有姚绶、董其昌、吴宽、文彭、周天球、谢凇洲诸家题跋。",[23,24,64,25,94,99,29,100,101,119,95,199,33,7,170,169,96],"孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1efe58b722df64f77e022a8a8fc2de6.jpg","纵36.8厘米，横855厘米",[105],1987,11,{"id":206,"slug":207,"title":208,"dynasty":59,"author":209,"museum":152,"description":210,"tags":211,"thumbUrl":212,"material":213,"size":214,"collection":81,"collections":215,"showCount":216,"zanCount":217,"manualWeight":54,"mainColor":109},221509,"xi-shan-qing-yuan-tu-xia-gui-221509","溪山清远图","夏圭","《溪山清远图》描绘了江南晴日的湖山景色，图中有群峰、山石、茂林、楼阁、长桥、村舍、茅亭、渔舟、远帆，勾笔虽简，但形象真实。且景物变化甚多，时而山峰突起，时而江流蜿蜒，不一而足，但各景物设置疏密得当，空灵毓秀，富有节奏感和韵律感，达到了所谓的“疏可驰马，密不通风”的境地",[23,117,24,64,25,94,99,95,98,33,32,7,96,122,97,169,173,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ca0db5d5e4bc1b3d562f46fcf75cc07.jpg","白纸本","纵46.5厘米，横889.1厘米",[81,105,83],1772,19,{"id":219,"slug":220,"title":221,"dynasty":59,"author":222,"museum":152,"description":223,"tags":224,"thumbUrl":228,"material":229,"size":230,"collection":142,"collections":231,"showCount":232,"zanCount":233,"manualWeight":54,"mainColor":55},287579,"xi-shan-xing-lv-tu-fan-kuan-287579","溪山行旅图","范宽","该图主体部分为巍峨高耸的山体，高山仰止，壮气夺人。山顶丛林茂盛，山谷深处一瀑如线，飞流百丈。山峰下巨岩突兀，林木挺直。画面前景溪水奔流，山径上一队运载货物的商旅缘溪行进，为幽静的山林增添了生气。",[117,24,64,225,94,99,95,98,7,168,226,227,66],"立轴","古树","古道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F414e846606ac903e66fdd1eda93147a0.jpg","未知","纵长206.3公分，横宽103.3公分",[],1669,13,{"id":235,"slug":236,"title":237,"dynasty":18,"author":90,"museum":152,"description":238,"tags":239,"thumbUrl":242,"material":213,"size":243,"collection":105,"collections":244,"showCount":245,"zanCount":246,"manualWeight":54,"mainColor":55},222104,"lu-shan-gao-tu-shen-zhou-222104","庐山高图","此图描绘的是庐山的景象，画中有白云、杂树、石阶、小路以及人物等。这幅图在技法上借鉴元代画家王蒙的笔意，笔法稳健，气势雄沉，具有强烈的节奏感和力量感。山峰多用解索皴，皴染厚重灵动；中段山峦则用折带皴，皴笔精细，墨色较淡，表现出崖壁的险峻。左边崖壁先匀后皴，墨色较重，并以焦墨密点，显得苍郁幽深。",[23,24,95,94,99,225,240,168,7,241,199],"山","树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd61796c0c6453be4cd711d8316964db5.jpg","纵193.8 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年齿大沈周十馀岁的刘珏（1410-1472）极爱周之画，每与珏晤面，不问“寒暑风雨日夜冗暇醒醉”，皆强之作画。据沈周於画上自题云，知此幅乃作于酒后，笔墨清朗率略，与细致疏秀的“崇山修竹”有同工之趣，二幅成画时间当甚接近，约于1470（成化庚寅）之际，时沈周四十四岁。 沈周不善饮，自谓平生于酒至痛饮处仅升许，而於六十五岁（弘治辛亥，1491）作〈老杯酒轩诗引〉中尝言之所以不戒酒者，“以其有醉之乡，处之可以佚吾老也。”三两小杯醺醺然为乐，益可增添画趣，周之不欲绝者当非无因。 此画亦为刘珏作，画成于醉后。据沈周自跋，刘珏极爱沈周之画，每一晤面，輙求周作，不间醒醉冗暇寒暑，甚致夜亦张灯，强之作画云。",[24,94,225,95,99,96,306,33,170,7,171,307],"蓑笠","垂柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82bbfa00972ccac2b880ca0da9cc7539.jpg",[105,83],1229,4,{"id":313,"slug":314,"title":315,"dynasty":18,"author":90,"museum":316,"description":317,"tags":318,"thumbUrl":321,"material":47,"size":142,"collection":105,"collections":322,"showCount":323,"zanCount":324,"manualWeight":54,"mainColor":55},219733,"qing-jiang-you-ju-tu-shen-zhou-219733","清江幽居图","大英博物馆","此作用笔苍润秀雅，取景疏密得宜。近岸老松盘曲，浓荫覆着茅堂，幽人居于其中，静听山籁。江岸迂回，板桥跨溪，远山以淡墨晕染，烟岚轻笼，殿宇藏于翠微间。\n\n通幅干湿笔墨相生，墨色层次分明，将夜雨初歇的空濛山色晕染得淋漓尽致，江天寥廓间尽见清寂雅致的山居意趣，尽显寄情林泉、幽栖忘俗的隐逸情怀。",[23,24,94,27,99,225,95,32,7,97,271,98,31,319,320],"幽居","岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdbf8df9dd29c2dd40331e20cfa7ac27.jpg",[105],1176,12,{"id":326,"slug":327,"title":328,"dynasty":18,"author":90,"museum":329,"description":330,"tags":331,"thumbUrl":334,"material":335,"size":336,"collection":105,"collections":337,"showCount":338,"zanCount":339,"manualWeight":54,"mainColor":109},220067,"hu-qiu-shi-er-jing-tu-ce-shen-zhou-220067","虎丘十二景图册","美国克利夫兰美术馆","图册画吴中地区之虎丘山、玄墓山、虎山桥、南峰、横塘、光福山、天池山、贺九岭、上方山、觉海寺、姑苏台、莲花峰等十二处胜景。",[23,24,94,27,28,332,95,31,333,32,7,96,30,33,97],"册","塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84c6ccf4bdda3ae45520cc37a3415a38.jpg","纸本","31.1×40.2cmx12",[105],1160,9,{"id":341,"slug":342,"title":343,"dynasty":344,"author":345,"museum":61,"description":346,"tags":347,"thumbUrl":354,"material":355,"size":142,"collection":142,"collections":356,"showCount":357,"zanCount":358,"manualWeight":54,"mainColor":109},234149,"lin-shen-zhou-shan-shui-juan-cheng-zheng-kui-234149","临沈周山水卷","清","程正揆","此幅画秋景山水，是程正揆的精谨之作，图中层峦叠谳，怪石嶙岣，山路崎岖，烟水微茫，层舍俨然，再缀以溪水树木，其境地则很深邃幽奥。此图笔墨枯劲，画风静秀。",[23,24,64,25,29,94,27,95,99,100,101,98,33,7,32,97,76,348,30,173,349,350,351,352,353],"远山","峭壁","茅屋","小径","秋树","竹林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93fb462b100c634b5e8b6cacc9798383.jpg","纸本，水墨",[],1141,6,{"id":360,"slug":361,"title":362,"dynasty":18,"author":90,"museum":61,"description":363,"tags":364,"thumbUrl":365,"material":258,"size":366,"collection":105,"collections":367,"showCount":369,"zanCount":370,"manualWeight":54,"mainColor":109},233832,"wo-you-tu-ce-qiu-shan-du-shu-shen-zhou-233832","卧游图册－秋山读书","此套图册分别绘仿倪山水、杏花、秋葵、秋柳鸣蝉、平坡散牧、栀子花、秋景山水、芙蓉、枇杷、秋山读书、石榴、雏鸡、秋江钓艇、菜花、江山坐话、仿米山水、雪江渔夫等山水、花鸟小景。\n根据末开画家自题，可知该册页的“卧游”之名源自南朝宋宗炳在居室四壁挂山水以当卧游的典故。然而不同于挂轴的是，该图册还可于卧床时仰面翻阅。 由此可见画家的绘制初衷和生活情趣。\n引首自书“卧游”，钤“沈氏启南”朱文印。鉴藏印：“士元珍藏”朱文印，“朱卧庵收藏印”朱文印，“查映山氏收藏图书”朱文印。\n仿倪山水，自题：“苦忆云林子，风流不可追。时时一把笔，草树各天涯。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印，“士元”朱文印，“昆山王成宪画印”朱文印，“映山珍藏”朱文印。\n杏花。自题：“老眼于今已敛华，风流全与少年差。看书一向糢糊去，岂有心情及杏花。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印、“昆山王成宪画印”朱文印。\n秋葵。自题：“秋色韫仙骨，淡姿风露中。衣裳不胜薄，倚向石阑东。沈周。” 钤“启南”朱文印。鉴藏印：“士元”朱文印，“卧庵所藏”朱文印，“昆山王成宪画印”朱文印。\n秋柳鸣蝉。自题：“秋已及一月，残声绕细枝。因声追尔质，郑重未忘诗。沈周。”钤“石田”白文印。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“䒶机流动”朱文印。“卧庵所藏”朱文印。\n平坡散牧。自题：“春草平坡雨迹深，徐行斜日入桃林。童儿放手无拘束，调牧于今已得心。沈周。”钤“启南”朱文印两方。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“之”“赤”朱文联珠印。\n栀子花。自题：“花尽春归厌日迟。玉葩撩兴有新栀。淡香流韵与风宜。帘触处、人在酒醒时。 生怕隔墙知。白头痴老子，折斜枝。还愁零落不堪持。招魂去、一曲（按：此字点去）阙小山词。右词寄小玉山，沈周。”钤“启南”朱文印，“吴言”朱文印。“石田翁”白文印。鉴藏印：“之”“赤”朱文联珠印，“朱卧庵收藏印”朱文印，“士元”朱文印，“卧庵所藏”朱文印。\n秋景山水。自题：“淡墨疏烟处，微踪仿佛谁。梅花庵里客，端的是吾师。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印、“昆山王成宪画印”朱文印。\n芙蓉。自题：“芙蓉清骨出仙胎，赭玉玲珑轧露开。天亦要妆秋富贵，锦江翻作楚江来。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印、“卧庵所藏”朱文印、“昆山王成宪画印”朱文印、“竹南藏玩”白文印。\n枇杷。自题：“弹质圆充饤，蜜津凉沁唇，黄金作服食，天亦寿吴人。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印,“卧庵所藏”朱文印、“昆山王成宪画印” 朱文印。\n秋山读书。自题：“高木西风落叶时，一襟萧爽坐遥遥。闲披秋水未终卷，心与天游谁得知。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“卧庵所藏”朱文印。\n石榴。自题：“石榴谁擘破，群琲露人看。不是无藏韫，平生想怕瞒。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印，“士元”朱文印，“卧庵所藏”朱文印。\n雏鸡。自题：“茸茸毛色半含黄，何独啾啾去母傍。白日千年万年事，待渠催晓日应长，沈周。”钤“启南”朱文印，“白石翁”白文印。鉴藏印：“士元”朱文印、“昆山王成宪画印”朱文印、“朱卧庵收藏印”朱文印。\n秋江钓艇。自题：“满池纶竿处处缘，百人同业不同船。江风江水无凭准，相并相开总偶然。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印，“卧庵所藏”朱文印。\n菜花。自题：“南畦多雨露，绿甲已抽新。切玉烂蒸去，自然便老人。沈周。”钤“启南”朱文印。鉴藏印：“之”“赤”朱文联珠印，“昆山王成宪画印”朱文印。\n江山坐话。自题：“江山作话柄，相对坐清秋。如此澄怀地，西湖忆旧游。沈周。”钤“启南”朱文印。鉴藏印：“之”“赤”朱文联珠印、“昆山王成宪画印”朱文印。\n仿米山水。自题“云来山失色，云去山依然。野老忘得丧，悠悠柱杖前。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印、“昆山王成宪画印”朱文印。\n雪江渔夫。自题：“千山一白照人头，簑笠生涯此钓舟。不识江湖风雪里，可能干得庙堂忧。沈周。”钤“白石翁”白文印。鉴藏印：“昆山王成宪画印”朱文印、“卧庵所藏”朱文印。\n题跋。自题：“宗少父四壁揭山水图，自谓卧游其间。此册方可尺许，可以仰眠匡床，一手执之，一手徐徐翻阅，殊得少文之趣。倦则掩之，不亦便乎？于揭亦为劳矣。真愚闻其言，大发笑。沈周跋。”钤“石田”白文印。鉴藏印：“昆山王成宪画印”朱文印，“芃园曹氏平生真赏”朱文印，“麓云楼书画记”朱文印，“康饴”朱文印，“只可自怡悦”白文印，“朱卧庵收藏印”朱文印，“依竹居士鉴赏书画印”朱文印。",[24,64,332,94,95,30,140,98,7,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa59290bda967d3ca108bc1fdca4fbebb.jpg","纵27.8厘米，横37.3厘米",[105,368,51],"花鸟画精选",1120,5,{"id":372,"slug":373,"title":374,"dynasty":150,"author":375,"museum":152,"description":376,"tags":377,"thumbUrl":379,"material":103,"size":380,"collection":105,"collections":381,"showCount":382,"zanCount":358,"manualWeight":54,"mainColor":109},221745,"chun-tang-liu-se-zhou-zhu-shu-zhong-221745","春塘柳色轴","朱叔重","主题与关键字：春景、杨柳、江河、湖海、高士（士人、隐士）、寒林．枯树、竹、房舍、茅草屋、溪涧、湍泉、松、桥、篱笆、围墙。\n录入：石渠宝笈续编（宁寿宫），第五册，2765页 ；故宫书画录（卷五），第三册，192页；故宫书画图录，第五册，117-118页 【名称】元朱叔重春塘柳色轴 【规格】该幅 4155.公分；全幅 59.7公分 【收藏】 这幅画描写池畔的村屋景象，一名文人手持柺杖，沿著小径，在青葱的田野间漫步。\n全画的用笔极为柔和，著色也温润清雅，充分表现出春天里大地润泽，嫩绿遍野，万物滋长的盎然生意。\n朱叔重，十四世纪人，籍贯江蘇吴县。\n他虽然是一名书生，但在绘画方面，也有卓越的成就，不过流传下来的作品很少。",[23,24,27,95,99,225,378,32,7,350,98,33,119],"柳树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73387748e6b65cff9714687e9f4798f2.jpg","41x55.3厘米",[105,51],1069,{"id":384,"slug":385,"title":386,"dynasty":18,"author":387,"museum":152,"description":388,"tags":389,"thumbUrl":391,"material":103,"size":392,"collection":105,"collections":393,"showCount":394,"zanCount":233,"manualWeight":54,"mainColor":109},218464,"pin-cha-tu-wen-zheng-ming-218464","品茶图","文徵明","文徵明出身文人世家，一生大多优游山林，追求自然。作品中多为生活写照。一生嗜茶，曾自谓：「吾生不饮酒，亦自得茗醉。」他以茶入诗、入画、入书法，画中所表现的文人品茶，亦颇具代表性。　　此图绘与友人品啜雨前茶的场景。环境幽雅的草堂中，二人对坐品茗清谈，几上置茶壸、茶碗；堂外一人正过桥行来。茶寮内一童煽火煮泉，准备茶事，一场小型的文人茶会即将展开。",[23,24,64,225,27,26,101,95,30,390,32,7,119,98,33],"松树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cdac6d6888fc88e0be28c8cfb98e03d.jpg","88.3x25.2cm",[105],1044,{"id":396,"slug":397,"title":398,"dynasty":59,"author":399,"museum":400,"description":401,"tags":402,"thumbUrl":403,"material":404,"size":405,"collection":49,"collections":406,"showCount":407,"zanCount":339,"manualWeight":54,"mainColor":55},214927,"gui-qu-lai-xi-tu-li-tang-214927","归去来兮图","李唐","美国克利夫兰艺术博物馆","这幅长卷以陶渊明《归去来兮辞》的诗意风格绘制。它的开头是诗人放弃了他的官职，用一头驴子去了他的家，与他的家人团聚，云彩离开了山，抚摸着一棵孤独的松树，飘飘然。这首诗写在一条清澈的小河边，描述了诗人在隐居中的轻松生活。这是现存的几幅描绘陶渊明归隐的画卷之一，署名为 李唐，有北宋官印，说明是李唐在南下之前所做。",[23,117,24,64,25,94,27,99,95,30,31,32,7,33,97,121,76,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93bcea718693308f58c3eb85b4177b61.jpg","绢本,水墨","34.6x566.4",[49],1013,{"id":409,"slug":410,"title":411,"dynasty":150,"author":412,"museum":152,"description":413,"tags":414,"thumbUrl":415,"material":273,"size":416,"collection":105,"collections":417,"showCount":418,"zanCount":311,"manualWeight":54,"mainColor":109},220150,"ni-zan-wang-meng-he-zuo-shan-shui-ni-zan-220150","倪瓒王蒙合作山水","倪瓒","独坐古松下。萧条遗世音（音字点去）心。青山列屏幛。流水奏鸣琴。安得忘机士。与我息烦襟。幽情寄豪楮。跫然闻足音。岁辛丑（西元一三六一年）四月五日东海倪瓒画松石望山图。并赋五言。奉寄文伯友兄。且以督屡约屡失期云。",[23,24,64,94,95,99,168,7,171,390,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb857cc032888c84957bee595df2de89a.jpg","本幅 119.9x56.1公分、全幅 58公分",[105,83],972,{"id":420,"slug":421,"title":422,"dynasty":18,"author":90,"museum":423,"description":424,"tags":425,"thumbUrl":428,"material":335,"size":429,"collection":105,"collections":430,"showCount":431,"zanCount":370,"manualWeight":54,"mainColor":109},220034,"dong-zhuang-tu-ce-zhi-bei-gang-shen-zhou-220034","东庄图册之北港","南京博物院","东庄是沈周的好友吴宽的庄园。原作有24幅，明末后只存21幅。",[23,117,24,64,332,94,99,95,241,426,7,427],"荷","石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15ce1469f2e7f5176c41428873c3177e.jpg","纵28.6厘米，横33厘米",[105,51],904,{"id":433,"slug":434,"title":184,"dynasty":344,"author":435,"museum":61,"description":436,"tags":437,"thumbUrl":438,"material":273,"size":439,"collection":105,"collections":440,"showCount":441,"zanCount":442,"manualWeight":54,"mainColor":109},218485,"fu-chun-shan-ju-tu-wang-yuan-qi-218485","王原祁","这幅画创作于康熙三十二年（1693年），52岁，仿照元代绘画大师黄公望的名作《富春山居图》的笔法。在这次模仿中，他从容不迫地运用了皴法、擦法和点法，特别是在用笔用墨方面，先用笔后用墨，染色由淡到浓逐渐增加，最后以焦墨破之，给人以沉重之感。",[23,24,94,99,100,119,95,7,33,98,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45b9a0c62b860f5eddbc70949a88e933.jpg","98.8x60.1cm",[105],880,8,{"id":444,"slug":445,"title":446,"dynasty":18,"author":90,"museum":61,"description":447,"tags":448,"thumbUrl":449,"material":47,"size":450,"collection":49,"collections":451,"showCount":452,"zanCount":287,"manualWeight":54,"mainColor":109},218406,"cang-zhou-qu-tu-shen-zhou-218406","沧洲趣图","此图所绘沧州为明代属直隶河间府的沧州，地处北方，沈周未曾到过，他只是表现山川之性和趣，故图名“沧洲趣”。画面作平远布局，主要撷取江南水乡的景致，山丘逶迤，水面浩渺，坡岸伸展，杂树成林，一派南方山川秀丽风光。同时又融入了北方山峦雄阔之势，积叠的山石多尖峻的棱角，显得坚硬凝重，坡岸、平台亦转折尖直，棱角分明，其质地多呈北方石山的特征，无疑增添了山川的雄健宏阔气势。画法亦源自董巨，运用善于表现江南山水的披麻皴、点苔、圆润中锋和水墨渲染等技法，然运笔于中锋中时见外笔、侧锋，转折粗重，平台轮廓多整饬线条，细劲有力；披麻皴也变为研拂式的短笔皴，率意凝重；点苔亦墨深笔厚，圆横交错。总体笔墨形式刚柔相济，苍中带秀，既具董巨的秀润之韵，又呈较强的硬度和力感，恰当地表现了沈周心目中的沧州之趣。\n后纸自题是对本图艺术表现的很好的注脚。意即作为文人画家所崇尚的前贤董源、巨然，描绘自然山水犹如名医仓扁用药，是先了解本性，后求其形状，于是无往而不易，必深得山水之真性情。倘一味摹仿董巨的笔墨形式，则仅得董巨之外表形貌，自然山水的真性情却丧失了，所谓“求董巨而遗山水”。沈周创作此画，即从表现自身所熟悉的自然山水出发，并着重揭示其本性和真趣，在此前提下才灵活运用董巨的笔墨，故虽自谓“予此卷又非敢梦董巨者也”，实则却深悟了董巨山水之妙并得其遗意。可见沈周对“师法古人”和“师法自然”两者的认识是相当辩证的，也是他卓然有成的原因之一。",[23,24,64,25,94,99,95,199,32,7,96,140,97,100,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3340e8d4cf315e123b32737734c3c569.jpg","纵30.1厘米，横400.2厘米",[49,105,51],877,{"id":454,"slug":455,"title":456,"dynasty":344,"author":457,"museum":91,"description":458,"tags":459,"thumbUrl":460,"material":103,"size":142,"collection":49,"collections":461,"showCount":462,"zanCount":311,"manualWeight":54,"mainColor":109},214611,"hong-lou-meng-ren-wu-ce-ye-yu-lan-214611","红楼梦人物册页","喻兰","喻兰(1742—1809)，字韵斋，号少兰，桐庐人。清代女画家。嘉庆三年(1798)，朝廷以命题考选画师，喻兰匠心独具，布景设色无不恰合题意，以第二名录取。不久，选入内廷，任画苑供奉职。喻兰擅画人物、仕女，用笔浓重，虽不脱画院派习气，却无纤弱之嫌。画楼台殿阁，往往参照西洋手法，信手画来，无不神韵毕致，惟妙惟肖。\n此册页所画为古典四大名著《红楼梦》第二十七回“埋香冢飞燕泣残红”中黛玉葬花的场景。",[24,64,332,27,30,139,199,7,140,101,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faab150ff0a3409c18b30e7aba25d52c8.jpg",[49],863,{"id":464,"slug":465,"title":17,"dynasty":59,"author":60,"museum":61,"description":62,"tags":466,"thumbUrl":468,"material":469,"size":470,"collection":81,"collections":471,"showCount":472,"zanCount":358,"manualWeight":54,"mainColor":55},221324,"qing-ming-shang-he-tu-zhang-ze-duan-221324",[23,24,25,28,27,467,26,30,31,32,7,35,36,34,33,37,67,66,38,44,43,39,75,40],"风俗画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91a17c67bacba9c0488789090e01e03c.jpg","绢本设色","宽24.8厘米、长528.7厘米",[81,49,51],858,{"id":474,"slug":475,"title":476,"dynasty":59,"author":477,"museum":61,"description":478,"tags":479,"thumbUrl":480,"material":469,"size":481,"collection":81,"collections":482,"showCount":483,"zanCount":324,"manualWeight":54,"mainColor":55},221557,"qing-lv-shan-shui-chang-juan-liu-song-nian-221557","青绿山水长卷","刘松年","刘松年工山水人物，山水皴法受李唐影响， 山水画风格继承董源、巨然， 在技法上刘松年变李唐的“斧劈皴”为小笔触的“刮铁皴”，画风笔精墨妙，变雄健为典雅，水墨青绿兼工，着色妍丽典雅，常画西湖，多写茂林修竹，山明水秀之西湖胜景，因题材多园林小景，人称“小景山水”。",[23,24,25,118,27,26,99,95,32,7,97,33,170,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4cd819a0038f8aa8374cedcb53dd386.jpg","24cmx254cm",[81,105,51],840,{"id":485,"slug":486,"title":487,"dynasty":59,"author":488,"museum":489,"description":490,"tags":491,"thumbUrl":492,"material":188,"size":493,"collection":81,"collections":494,"showCount":495,"zanCount":339,"manualWeight":54,"mainColor":55},221412,"qing-luan-xiao-si-tu-li-cheng-221412","晴峦萧寺图","李成","美国纳尔逊阿特金斯艺术博物馆","《晴峦萧寺图》是北宋画家 创作的一幅绢本淡设色画，现收藏于美国纳尔逊—阿特金斯美术馆。\n此画以直幅形式画冬日山谷景色，画中群峰兀立，瀑布飞泻而下，中景山丘上建有寺塔楼阁，山麓水滨筑以水榭、茅屋、板桥，间有行旅人物活动。\n画中山石雄伟而秀美，皴染用笔多有变化，兼具关仝之雄浑与李成之清润。\n《晴峦萧寺图》绘了一幅山寺同框的景象。\n画中上半部两座高峰重叠，左右山峰低小淡远，当中一座楼阁突出，萧寺下及寺右边三四座小山冈，皆有树生其上，画卷的最下处是从山中流出的泉水形成的溪水，一木桥架其上，山脚下有亭馆数间，人群来往。\n前景突兀巨石，一边平缓，一边峭拔。\n此图画面右上角有北宋末“尚书省印” （6.厘米正方，白文，北宋18~1126年间官印），印下部左右角均见残缺。\n画右下方有“朗庵心赏”、“棠邨审定”（白文），“铁沙沈树镛鉴藏印”、“树镛审定”（均朱文）等鉴赏收藏印六方。\n据史书上说，李成嗜酒，想得到李成画的人，都要为他准备上好的美酒。\n李成酒酣时便开始提笔作画，所画山水往往烟云万状，神妙得意处众多，非是笔墨所能够达到，而完全是美酒的功效所致。\n据说当时开封相国寺东有间药铺，老板姓宋，深知李成的爱好，常以美酒款待他。\n李成一到他那里，往往醉酒数日。\n当酒兴高涨之时就开始作画，他挥笔潇洒，不仅在素纸上挥洒，而且在门板上挥毫泼墨。\n《晴峦萧寺图》便是李成在此情景下创作出来的。\n此画在构图上是高山峻岭，深沟巨壑。\n前景突兀巨石，一边平缓，一边峭拔，陡峭面作细笔皴擦，产生一种体积感和重量感。\n中景山涧瀑布飞流直下前景深潭，与远景处一悬瀑形成互相呼应之势。\n纵观全图，笔法娴熟老健，用墨层次分明，浑厚苍劲。\n构图呈自然开合状，节奏明快，气势雄逸，使观者犹如身临其境。\n《晴峦萧寺图》中，中近景树丛多以曲姿造型，正是李成惯用的手法，特别是分枝姿态变化较多。\n在山水画中，皴法最能显示各家风格特点，树法相对不甚明显，故董其昌讲：“西中山水位置皴法，皆各有门庭，不可相通，惟树木则不然。\n”（《画禅室随笔》）此图树木的布置、造型结构是近曲远直，近处偃仰疏密，多曲而繁复，示蟠根老壮之意，有的“藤蔓依缠古木，窠丛簇扎山头”，有的“枝条疏密交叉，挺干枯茂盘曲”，大都以浓重墨色勾勒，与记载称李成“毫锋颖脱”似相一致。\n树木均以顿挫感很强的尖劲中锋墨线描绘，树身略见“勾斫”一类皴笔，锋芒内敛，树身“作节处不用墨圈，下一大点，以通身淡墨空过”（米芾《画史》）。\n小节疤均用墨点成，小枝条用笔流畅，劲利挺健，基本上都用湿笔，无明显的干湿浓淡变化。\n高居翰形容此图“山峦静穆，枯树兀立在稀岚里，黑树干清晰地矗立在前景，向后退去时，则渐淡成影而消失。\n曾为唐及唐前山水基本特质的温暖颜色和魅人的细节，在此都被牺牲，以便成就一种新的庄严气氛”（《中国绘画史》）。\n这种“渐淡成影而消失”的手法，是指层峦也是指树丛，以形成整体的艺术气氛。\n从此图峰峦、山石画法看，和范宽雨点、豆瓣一类皴笔的画法明显不同。\n范氏写真山骨，雄健坚实，勾轮廓基础上，内廓用繁复的皴笔，墨色也很重， 黯黑沉厚，而“李成惜墨，如梦雾中”（米芾）。\n相对讲，《 晴峦萧寺图》皴笔就显得疏朗而以柔润面貌出现，这就可视为“惜墨”的手法了。\n图中山石画法均以细劲的中锋线条框廓，然后内廓加皴，外廓线条和内廓皴笔较为协调，皴笔密在凹处，有线面交融之感，加深了清润秀逸的境象。\n中国书法家协会会员、江苏省美术家协会会员赵启斌《中国历代绘画鉴赏》：“此件作品描绘出了北方冬日深山之中寺院晴日下的壮丽景色，水石幽幽，树木萧疏，山川雄伟秀美，给人以萧条冷落而又充满生机之感。\n作者非常微妙地把握住了北方山川雄奇壮丽的动人景致，突出深山冬日山寺寂寥深邃的意境。\n” 李成的《晴峦萧寺图》最早见于《宣和画谱》的著录。\n此作至清初才到了收藏家梁清标手中，梁氏似乎并未将其归入李成名下。\n该画没有进过清宫，道光年间为上海收藏家徐渭仁所有，1841 年，他首先为其题签“北宋李成晴峦萧寺图”。\n1855 年。\n徐氏因被怀疑与小刀会“有染”，入狱而死，该画很可能与徐氏的其他收藏一同散佚，后经沈树铺、林熊光等人收藏，最后由居住日本的意大利籍人士所得，并于1947年售给美国纳尔逊—阿特金斯美术馆。\n李成（919~967年），字咸熙，祖先是唐代宗室，因避唐末五代战乱移家山东营丘。\n李成品格清高，富有文学修养，且胸怀抱负，但时逢乱世无从施展，遂纵情于诗酒书画。\n宋初他往陈州（ 今山东淮阳）投奔同乡知州卫融，宋太祖乾德五年（967年）醉死在当地。",[23,24,117,95,94,99,225,31,32,7,168,255,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b577765ceab4bc36d1225e888c903d4.jpg","纵111.4厘米，横56厘米",[81,105,83],792,{"id":497,"slug":498,"title":499,"dynasty":18,"author":500,"museum":135,"description":501,"tags":502,"thumbUrl":508,"material":47,"size":509,"collection":49,"collections":510,"showCount":511,"zanCount":233,"manualWeight":54,"mainColor":55},216367,"ri-ben-chang-hen-ge-tu-juan-xia-juan-shou-ye-shan-xue-216367","日本· 长恨歌图卷(下卷)","狩野山雪","整套作品分为两卷，大约在1646年绘制，描绘了唐明皇和杨贵妃之间凄美的爱情故事。上卷描绘了从汉朝皇帝爱国到杨贵妃死在马嵬坡的爱情故事。第二卷主要讲述明朝皇帝对她的无尽思念。",[23,24,64,25,27,26,28,30,31,95,33,32,7,503,504,98,505,39,506,271,507,72,170,38],"舟船","亭台","宫殿","人群","柏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5351026af241a489e28ccc88099154e8.jpg","31.5x1070",[49,51],775,{"id":513,"slug":514,"title":515,"dynasty":18,"author":267,"museum":152,"description":516,"tags":517,"thumbUrl":519,"material":188,"size":520,"collection":105,"collections":521,"showCount":522,"zanCount":358,"manualWeight":54,"mainColor":55},222031,"chun-you-wan-gui-tu-dai-jin-222031","春游晚归图","这幅画的笔墨多取法自南宋时代的马远、夏圭一派，构图上虽然仍然旧沿袭著南宋院画体系风格，保留了大部分空虚的地方，但是画面比较平板，近景和远山几乎是在同一平面上，比较缺乏景致空间的深度。这也是浙派绘画的共同特色之一。画上并没有作者的落款和印章，但是从画风，再比照其它画作来看，似可推断是戴进在北京时期的作品。\n综合其它传世作品来看，戴进除了兼法宋、元诸家以外，受到南宋马远、夏珪「院体」一派画风的影响比较深。但是他继承古人传统，而不为成法所拘，能够发展变化，自出新意。这件作品为戴进基於马远、夏圭风格，而更近一步，大胆强调丰富笔墨效果的杰作。绘画技法功力深厚，笔墨灵活而变化多端，奔放中不失法度，严谨中又富有潇洒俊逸的格调，是代表戴进风格的典型作品之一。",[23,24,64,225,27,95,30,31,32,7,271,98,241,518,97],"路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f535fa828d9c60097457ceb913a5fff.jpg","167.9x83.1公分",[105,83],752,{"id":524,"slug":525,"title":526,"dynasty":59,"author":527,"museum":152,"description":528,"tags":529,"thumbUrl":534,"material":213,"size":142,"collection":142,"collections":535,"showCount":536,"zanCount":233,"manualWeight":54,"mainColor":109},227507,"chi-bi-fu-su-shi-227507","赤壁赋","苏轼","《赤壁赋》是北宋文学家苏轼创作的一篇赋，作于宋神宗元丰五年（1082）贬谪黄州（今湖北黄冈）时。此赋记叙了作者与朋友们月夜泛舟游赤壁的所见所感，以作者的主观感受为线索，通过主客问答的形式，反映了作者由月夜泛舟的舒畅，到怀古伤今的悲咽，再到精神解脱的达观。全赋在布局与结构安排中映现了其独特的艺术构思，情韵深致、理意透辟，在中国文学上有着很高的文学地位，并对之后的赋、散文、诗产生了重大影响。",[100,101,25,94,119,530,96,7,531,532,240,533],"明月","饮酒","江","清风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac209c020ded2a63af2f57b2b4992897.jpg",[],736,{"id":538,"slug":539,"title":540,"dynasty":18,"author":90,"museum":423,"description":541,"tags":542,"thumbUrl":544,"material":404,"size":545,"collection":105,"collections":546,"showCount":547,"zanCount":311,"manualWeight":54,"mainColor":55},219903,"shan-ju-du-shu-tu-shen-zhou-219903","山居读书图","沈周（1427—1509），字启南，号石田，自称白石翁，江苏苏州人。山水少承家法，凡宋元名手，皆能变化出入，而独于董源、巨然、李成尤得心印。中年以黄公望为宗，晚乃醉心吴镇、倪瓒。四十以前画盈尺小景，四十后始拓为大幅。其画以水墨山水为艺林绝品，浅绛者次之，其大设色者尤妙，但存世稀少。人物、花鸟，无一不入神品。本幅即为仿倪之作，笔法遒劲，风格萧疏。",[24,64,225,94,99,100,119,95,241,543,98,76,7,255],"竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad65f1285b34c33d679d0516bef2374a.jpg","纵116.6厘米 横28.8厘米",[105],708,{"id":549,"slug":550,"title":551,"dynasty":344,"author":552,"museum":553,"description":554,"tags":555,"thumbUrl":561,"material":562,"size":563,"collection":49,"collections":564,"showCount":565,"zanCount":277,"manualWeight":54,"mainColor":55},222820,"gu-su-fan-hua-tu-xu-yang-222820","姑苏繁华图","徐扬","辽宁省博物馆","画面自灵岩山起，由山下的木渎镇东行，过横山，渡石湖，入姑苏城。再自荮门出阊门外，转入山塘街，至虎丘山止。作者自西向东，由乡入城，重点描绘了一村（山前）、一镇（苏州）、一街（山塘）的景物，画笔所至，连锦数十里内的湖光山色、水乡田园、村镇城池、社会风情跃然纸上。明清时期的苏州是江南著名的大都会，但可能是由于城区内的狭小和管理问题，当时苏州最发达的商贸中心并不在城内，而是阊门城外至枫桥镇的那一段地区。\n《姑苏繁华图》将阊门作为重点加以描绘，并将这部分景致安排于图卷接近尾声的高潮位置。粗略计算，全幅画有各色人物1.2万余人，各色房屋建筑约2140余栋，各种桥梁50余座，大小官船、货船、客船、杂货船、画舫以及竹筏等近400多条，各种商号招牌200余块，涵盖了珠宝、鞋帽、凉席、乐器、盆景和丝绸等50多个手工行业。除了经营本地土产，店铺里所经营的更多是来自外地的名产，有些甚至来自国外，真是“山海所产之珍奇，国外所通之货贝，四方往来，千里之商贾，骈肩辐辏”。完整地表现了古城苏州市井风貌。",[23,117,24,64,25,27,26,28,30,31,32,7,35,36,34,556,33,44,38,73,40,74,557,558,559,560],"河道","民居","车船","茶馆","酒肆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc61ae38c127eaa89b842ad3f8d842d7a.jpg","设色 纸本","全长1225厘米，宽35.8厘米",[49,51],696,{"id":567,"slug":568,"title":569,"dynasty":570,"author":571,"museum":61,"description":572,"tags":573,"thumbUrl":574,"material":229,"size":575,"collection":142,"collections":576,"showCount":577,"zanCount":204,"manualWeight":54,"mainColor":55},288294,"you-chun-tu-zhan-zi-qian-288294","游春图","隋","展子虔","《游春图》是隋朝画家展子虔创作的绘画作品，绢本、青绿设色，画上有宋徽宗题写的“展子虔游春图”六个字，现存北京故宫博物院绘画馆。\n图中展现了水天相接的情形，上有青山叠翠，湖水融融，也有士人策马山径或驻足湖边，还有美丽的仕女泛舟水上，熏风和煦，水面上微波粼粼，岸上桃杏绽开，绿草如茵。\n画家用青绿重着山水，用泥金描绘山脚，用赭石填染树干，遥摄全景，人物布局得当，开唐代金碧山水之先河，在早期的山水画中非常具有代表性。 该画是展子虔传世的唯一作品，也是迄今为止存世最古的画卷。",[117,24,64,118,27,95,30,120,7,227,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd7523abe5a9b1378dd5dd5ceda1a3ea.jpg","43×80.5cm",[],691,{"id":579,"slug":580,"title":581,"dynasty":59,"author":582,"museum":135,"description":583,"tags":584,"thumbUrl":585,"material":188,"size":586,"collection":81,"collections":587,"showCount":588,"zanCount":589,"manualWeight":54,"mainColor":55},221435,"qing-lv-shan-shui-ye-jing-hao-221435","青绿山水页","荆浩","荊浩（約850-911年），字浩然，號洪穀子，河內沁水(一説河南濟源人 ，一説山西沁水縣人， ）唐末五代時期著名畫家，北方山水畫派之祖。\n博通經史，博雅好古。乾符元年（874）前後，得到宰相裴休的關照，擔任小官。大中十年（856），罷官回鄉。躲避戰亂，常年隱居太行山 。善於山水畫，師從於張璪，吸取北方山水雄峻氣格，作畫“有筆有墨，水暈墨章”，勾皴之筆堅凝挺峭，表現出一種高深迴環、大山堂堂的氣勢，為北方山水畫派之祖 。\n\n著有《筆法記》山水畫理論的經典之作，提出氣、韻、景、思、筆、墨的繪景“六要”。作品《匡廬圖》《雪景山水圖》等",[23,117,24,64,332,118,27,99,95,32,33,98,7,38,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc5196ec6dccfebf217ece15bc124669.jpg","45x30厘米",[81,105,51],664,3,{"id":591,"slug":592,"title":593,"dynasty":18,"author":292,"museum":594,"description":595,"tags":596,"thumbUrl":599,"material":597,"size":600,"collection":49,"collections":601,"showCount":602,"zanCount":370,"manualWeight":54,"mainColor":55},222148,"san-da-shi-tu-shui-yue-yi-ming-222148","三大士图-水月","法海寺","观音又作观世音、观自在、光世音，这佛教中西方极乐世界教主阿弥陀佛左胁侍。水月观音图在法海寺壁画中最为出色。人物刻画既有传统的形制，又具有与实的基本手法，突破了僵硬的模式和程式，绘制技术精细完美，细微处一丝不苟。\n水月观音是三十三观音之一，面目端庄，大慈大悲。法海寺的水月观音，曲右腿，盘左膝，右肘膝托，左掌下抵，半跏坐于噍岩之上。面如满月，超然脱俗。是佛，却微露慈母的温情，是神，但足显处子般的恬静，给人以清新吸净之美感。穿着装饰，有宝冠、耳环、项圈、璎珞花饰、手钏、，手镯、络腋、宝带等八饰，样样齐全。观音莹莹酥胸坦露，纤纤玉手自然下垂，丰腴温暖富有弹性。轻纱蔽体，轻纱蔽体，脚锣上碎铃环绕“漫腰束饰，赤了一双脚”，使人更感到菩萨的慈悯可亲。\n唐宋以来，历代绘画都喜欢用纱布反映仕女的披肩来表现绘画的技巧，唯独法海寺壁画的薄纱占的面积那么大，线条那么精细、均匀、工整、挺拔，堪称壁画中的一绝。披纱上的图案是六菱花瓣，每一花瓣都由40多根金线组成，沥沥贴金，闪闪发光，细如蛛丝，薄如蝉翼，好象水月观音在轻纱下微微呼吸。\n水月观音一组画面是一个完整的体系。背景是浩淼的云水，缀以紫竹林、红牡丹、清泉流水，衬托出“诸天无实体，水月皆虚空”的佛理。水月观音左下部是五十三参后获得正果、成为观音胁侍的善财童子。善财童子，头略抬起，凝眸欲语，双手合十，虔诚中又带着几分稚气，生活气息浓郁。画工精细，连一根眉毛也不放过，眉根生肉，更显出纯洁无邪的童心。观音图右下角绘有观音菩萨的坐骑金毛犼，又叫狻猊，似犬，凶猛食人，每与龙斗，口中喷火数丈，龙往往不能取胜。左上部绘有一只鹦鹉，传说安息国人不知佛法，阿弥陀佛化为鹦鹉教化国人。右上部绘有韦驮护法神。",[23,24,597,598,27,26,30,530,7,122],"壁画","宗教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49aff56b059e667a9f0d7f368960c4be.jpg","450x450厘米",[49],658,{"id":604,"slug":605,"title":606,"dynasty":18,"author":90,"museum":152,"description":607,"tags":608,"thumbUrl":610,"material":103,"size":611,"collection":105,"collections":612,"showCount":613,"zanCount":589,"manualWeight":54,"mainColor":109},214745,"shan-shui-tu-shen-zhou-214745","山水图","这幅山水画，笔触逐渐圆润成熟，与山竹和醉酒后的风景并无二致。画中，云层破碎，森林苍茫湿润，是雨后的场景。一座小桥上面走着一个拄着拐杖的人，这可能是 雨后振孤策 这首诗的意思。作画时，他已经50岁了。",[24,64,225,94,99,119,100,101,95,140,32,7,609,98],"屋舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb112e375f985a0401a16509e37dd9e82.jpg","56.1x31.7",[105],653,{"id":615,"slug":616,"title":617,"dynasty":18,"author":90,"museum":61,"description":618,"tags":619,"thumbUrl":621,"material":622,"size":623,"collection":49,"collections":624,"showCount":626,"zanCount":370,"manualWeight":54,"mainColor":109},236332,"shen-zhou-liu-yin-zuo-diao-tu-zhou-shen-zhou-236332","沈周柳荫坐钓图轴","本幅自题五绝诗：“树根容我坐，八座未云安。芸屦春泥湿，荷衣晓露干。沈周。”钤“寄傲”印、“启南”印。图中画岩崖危耸，春湖柳溪，湖边老翁垂纶，神态安逸。作品布景自然，用笔苍润，设色以浅绛、花青为主，清淡秀冶，兼得天趣与人意之美。此作表现了沈周晚年的典型面貌，根据本幅所钤“墨林山人”、“项叔子”、“项元汴印”等鉴藏印，可知作品曾经明末收藏家项元汴收藏。",[24,225,94,99,95,378,30,620,98,7],"坐钓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc26e450d5af93a3a1c5b03a1c08feb02.jpg","绫本，设色","纵136.3厘米，横23.6厘米",[49,83,625],"书法精选",649,{"id":628,"slug":629,"title":630,"dynasty":631,"author":632,"museum":135,"description":633,"tags":634,"thumbUrl":636,"material":229,"size":637,"collection":142,"collections":638,"showCount":639,"zanCount":358,"manualWeight":54,"mainColor":640},287715,"guan-shan-xing-lv-tu-guan-tong-287715","关山行旅图","五代十国","关仝","《关山行旅图》是一幅描绘北方深秋景色的山水画，不仅绘制了人物的行旅活动，又带有了一定的叙事性。既表现出了山川的雄奇，又反映了人们生活的艰辛",[117,24,64,225,94,99,95,98,32,7,31,255,227,635],"村落","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff32d97bddf63ebed468f0b1cdb92e70b.jpg","Xcm*Xcm",[],641,"37474F",{"id":642,"slug":643,"title":644,"dynasty":18,"author":645,"museum":152,"description":646,"tags":647,"thumbUrl":648,"material":176,"size":649,"collection":49,"collections":650,"showCount":651,"zanCount":370,"manualWeight":54,"mainColor":55},222348,"xi-shan-yu-yin-tu-quan-juan-tang-yin-222348","溪山渔隐图全卷","唐寅","《溪山渔隐图》中山石耸立，林木茂密，江上小舟数只。图中江干岩岸，杂林疏朗，渔舍水榭坐落于丹枫之中。岸石掩映间，水面舟艇数只，舟上渔人或垂纶放钓，或横笛足，或拍掌击节和歌；屋内则促膝对酌，或凭栏观钓，或策杖闲步。画法苍古，用笔劲利，设色明艳全画清雅幽丽，神采逼人，堪称为唐寅灵腕之妙品，富有艺术价值。",[23,24,64,25,27,95,256,7,96,97,33,98,350,30,100,101,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2505dfe3d9352c8db98b286634abed6e.jpg","纵29.4cm，横351cm",[49,51],633,{"id":653,"slug":654,"title":655,"dynasty":18,"author":90,"museum":152,"description":656,"tags":657,"thumbUrl":658,"material":659,"size":660,"collection":105,"collections":661,"showCount":662,"zanCount":11,"manualWeight":54,"mainColor":55},222101,"shan-shui-ce-shen-zhou-222101","山水册","沈周（1427-1509）明代杰出画家。字启南，号石田，又号白石翁、玉田生、有居竹居主人等。长洲（今江苏苏州）人。性情敦厚、博学多才，长于文学，亦工诗画，善画山水、花卉、鸟兽、虫鱼，皆极神妙。常草草点缀，即得意趣。亦常题诗词于画上，当时人称他为“二绝先生”。画宗黄大疾、吴镇，自成一家笔法。亦工墨笔花鸟，和他的学生文征明并称为“吴派”两大家。又与文征明、唐寅、仇英称“明四家”。他每画一画，落笔点苔，绝不苟且。他能从多方面摹习古人，又加自己的创造，更参以二米的笔趣，善用粗笔，圆润挺劲，厚重凝炼。出入于宋元名家，创作态度极为慎重。",[23,24,117,64,332,94,99,95,140,7,306,256,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ea739b96b4accbcb710a3fa945b91db.jpg","纸本设色","37.4x58.8",[105,83],623,{"id":664,"slug":665,"title":666,"dynasty":18,"author":90,"museum":281,"description":667,"tags":668,"thumbUrl":669,"material":47,"size":670,"collection":105,"collections":671,"showCount":672,"zanCount":311,"manualWeight":54,"mainColor":55},217060,"lin-wu-zhen-xia-shan-yu-yu-tu-shen-zhou-217060","临吴镇夏山欲雨图","这是沈周的一幅山水画，用的是淡淡的紫红色的笔。笔法大胆简练，气势如虹。构图简单自然，气氛轻松悠远。屋前有几棵稀疏的树，中间的笔触很强。后峰叠云，如蟠龙出没，后延一峰，略加皴擦，水墨淋漓，远处的山峰也略加勾勒，水墨轻盈。本卷中的笔墨运用随心所欲，无拘无束，墨色清晰明快。",[117,24,64,225,94,99,29,95,98,33,76,32,7,168,348],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07d620b34209a6fc4cb19849a546e3d9.jpg","182x69.5cm",[105],606,{"id":674,"slug":675,"title":676,"dynasty":59,"author":677,"museum":152,"description":678,"tags":679,"thumbUrl":680,"material":273,"size":681,"collection":49,"collections":682,"showCount":683,"zanCount":589,"manualWeight":54,"mainColor":109},214644,"long-mian-shan-zhuang-tu-li-gong-lin-214644","龙眠山庄图","李公麟","这幅画作于1077年，描绘了作者和他的朋友在他的家乡舒州龙眠山庄欣赏风景和喝茶的情景。风景迷人，画中的方形茶壶、篮子、茶烛和茶盘都是宋代的，可以作为宋代茶器的参考。",[23,24,64,25,138,95,31,32,7,97,33,30,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdffc405cec5883bd1b1559990728979.jpg","28.9x364.6",[49],600,{"id":685,"slug":686,"title":606,"dynasty":150,"author":412,"museum":152,"description":687,"tags":688,"thumbUrl":690,"material":273,"size":691,"collection":105,"collections":692,"showCount":693,"zanCount":370,"manualWeight":54,"mainColor":109},218740,"shan-shui-tu-ni-zan-218740","据王蒙在画上的题记，王蒙曾画过一幅倪瓒的《松石望山图》，倪瓒临摹了原作，交给了他的朋友文博，就是现在的这幅。后来，王蒙在他的朋友温家看到了这幅作品，并对其进行了补充，形成了这幅联合景观。",[23,117,24,64,225,94,99,689,95,98,168,7,33,96,306],"文人画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e6ce25e904b4cba0d3febbec489966b.jpg","119.9x56.1",[105],579,{"id":695,"slug":696,"title":697,"dynasty":698,"author":699,"museum":700,"description":701,"tags":702,"thumbUrl":703,"material":229,"size":637,"collection":142,"collections":704,"showCount":705,"zanCount":358,"manualWeight":54,"mainColor":55},289801,"jiang-fan-lou-ge-tu-li-si-xun-289801","江帆楼阁图","唐","李思训","台北故宫博物馆","该画描绘的是游春情景，是作者以“青绿山水”与“金碧山水”创作的国画山水作品，画中山、树、江水和游人融汇一处，江上泛舟、山中树木茂盛，游人穿梭其中。远处江水荡漾，几叶扁舟漂浮，近处树木葱葱，楼阁庭院若隐若现，坡岸上游人穿行。其意境隽永奇伟、用笔遒劲、风骨峻峭、色泽匀净而典雅，画风精密严整、意境高超、笔力刚劲、色彩繁富，独树一帜。",[23,117,24,225,118,27,26,95,31,96,30,7,390,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7533e67426c0003e89910674d0b6ce8c.jpg",[],556,{"id":707,"slug":708,"title":709,"dynasty":150,"author":710,"museum":61,"description":711,"tags":712,"thumbUrl":713,"material":714,"size":715,"collection":105,"collections":716,"showCount":717,"zanCount":718,"manualWeight":54,"mainColor":109},220820,"wang-meng-xia-ri-shan-ju-tu-zhou-wang-meng-220820","王蒙夏日山居图轴","王蒙","此图绘长松高岭，山坞人家。半敞的房舍中一位怀抱婴儿的妇女似正在来回踱步，哄儿入睡，极富生活情趣。王蒙的作品虽多描写高士隐居生活，但其中往往蕴含俗世的生活情趣，这在某种程度上可以说是画家入世情结的一种流露。\n画中山体施以细密而短促的牛毛皴，凸处和边缘处笔少而墨淡，凹处及深暗处则笔多而墨浓，借以表现出山峦的层次和体积感。松树以淡墨勾形，偶尔施以重墨，树身以干笔圈皴，松针先以淡墨写出，复施以浓重的焦墨，使之层次分明，愈显清峭挺拔之势。山间丛树用焦墨侧锋点染而成，与山体皴染融为一体，相辅相成，更增夏日青山浑厚华滋的质感。",[23,24,64,225,94,99,95,33,98,7,169,76,119,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7df20d546f8bf06fcb8d01422c5ba829.jpg","纸本，墨笔","纵118.1厘米，横36.2厘米",[105,83],552,2,{"id":720,"slug":721,"title":606,"dynasty":18,"author":19,"museum":316,"description":722,"tags":723,"thumbUrl":725,"material":47,"size":726,"collection":105,"collections":727,"showCount":728,"zanCount":11,"manualWeight":54,"mainColor":55},218370,"shan-shui-tu-chou-ying-218370","这幅画描绘了一座山和一个深谷，一个有学问的人看着泉水，正在乘凉，一个有学问的人抱着琵琶走在山路上，而羊群和牛郎在溪流对岸嬉戏。这是大英博物馆收藏的唯一一幅仇英的真迹，因为它在对树木、岩石和人物的描绘方面接近仇英的实际笔触。",[23,24,117,26,27,99,95,33,171,30,7,724],"红叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc24e2d4b1b7e561820f510b15f9bc13.jpg","138.8x72.5",[105,49,51],548,{"id":730,"slug":731,"title":732,"dynasty":631,"author":733,"museum":135,"description":734,"tags":735,"thumbUrl":737,"material":229,"size":637,"collection":142,"collections":738,"showCount":739,"zanCount":358,"manualWeight":54,"mainColor":55},289890,"wan-he-song-feng-tu-ju-ran-289890","万壑松风图","巨然","图中烟岚松涛，山中层岩丛树，山顶矾头重叠，深谷里瀑泉奔涌，溪畔浓荫森森，并架一木桥。沿着曲折的山脊，是一片片浓密的松 林，“丰”字形的松树随风摇曳，百姿千态，栩栩如生。沟壑里聚起团团云雾，缓缓地向上升腾。山脚下的林木中坐落着数间茅屋，其中一榭依石临水，有白衣人坐其中。此乃世外桃源里之人间烟火。从白衣人的房后望去，蜿蜒山路沿谷涧上去。在两山之间、谷涧之上，有一巨大的楼阁，且又有山楼水榭、远寺长桥，掩映在万松山壑间。",[23,117,24,94,95,225,99,390,168,7,32,31,170,736],"溪谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ab2e4354bdfebe101d6dc37437481b2.jpg",[],523,{"id":741,"slug":742,"title":743,"dynasty":150,"author":412,"museum":152,"description":744,"tags":745,"thumbUrl":746,"material":273,"size":747,"collection":105,"collections":748,"showCount":749,"zanCount":589,"manualWeight":54,"mainColor":109},220794,"rong-xi-zhai-tu-zhou-ni-zan-220794","容膝斋图轴","倪瓒少小聪明，早年专意读书，家中清秘阁藏书数千卷，经史子集，佛道经典，他都专心阅读批校，所藏法书名画，亦悉心临学。其书法天然古淡，有魏晋人风格。倪瓒隐居于太湖四周的宜兴、常州、湖州、松江一带，常领略这里秀丽清幽的湖光山色，他的画也多取材于此。\n此幅成于洪武壬子（1372年），七十二岁所作。自署“壬子岁(1372)七月五日云林生写”。二年后再题谓：“赠寄仁仲医师。且锡山予之故乡也，容膝斋则仁仲燕居之所。”“他日将归故乡，登斯斋，持卮酒，展期图，为仁仲寿。”方知此图乃是寄放在医师仁仲之“容膝斋”，以备他日为仁仲祝寿之用。此帧先写赠其友檗轩，檗轩藏之三年，又寄赠医师仲仁，请云林补诗，容膝斋即仲仁居处，是先有画而后有题者也。此图写的是江南春景，平远山水。近处为山石陂陀，林木萧疏，作为近景与远景之间的过渡部分则多为大片空白，不着一墨, 是为湖水。图上侧远岫遥岑，横于波际。\n这种三段式的构图，是倪瓒山水的特征之一。其山水胎息于董源，矶头两点，石上横拖披麻，皴法清逸。其树法参差变，结体有骨力，而树头枝梢，每多生意。喜多作枯树，擦以枯笔，墨色浓淡错综而滋润浑厚。《容膝斋图》便是其晚年的精品，作于去世前两年，笔墨炉火纯青。典型的“三段式”构图：下方土坡上画杂树五棵，二棵点叶，二棵垂叶，一棵为枯槎无叶，树后是平坡茅亭；中间空白，茫茫湖水；上方画远山数叠。比之17年前画的《渔庄秋霁图》，虽章法相似，但用笔更刚劲洒脱，“折带皴”更显得老辣纯熟，风神飘逸。",[23,24,64,225,94,95,99,97,255,199,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a1262bf8374934f412458d8adc28d76.jpg","74.7 x 35.5cm",[105,83],518,{"id":751,"slug":752,"title":753,"dynasty":150,"author":710,"museum":152,"description":754,"tags":755,"thumbUrl":756,"material":103,"size":757,"collection":105,"collections":758,"showCount":759,"zanCount":11,"manualWeight":54,"mainColor":109},214820,"jing-xi-shi-cui-tu-wang-meng-214820","荆溪湿翠图","这幅画描绘了水流湍急的泾河、声音激荡的瀑布、色彩斑斓的山峦和长满松树的松树。面板上有王蒙的长篇后记，据说是后来加的。这幅画的风格与杜琼的风格比较相似，从杜琼在 旌表贞节之门 下的印章可以看出。",[24,64,225,94,27,95,7,33,98,168,30,99,100,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa69a4d460ff4b91c032f0a5094f977d7.jpg","142.6x42.9",[105],512,{"id":761,"slug":762,"title":763,"dynasty":18,"author":387,"museum":152,"description":764,"tags":765,"thumbUrl":766,"material":103,"size":767,"collection":105,"collections":768,"showCount":769,"zanCount":358,"manualWeight":54,"mainColor":109},221977,"pin-cha-tu-zhou-wen-zheng-ming-221977","品茶图轴","此作为文徵明自绘与友人陆子傅於林中茶舍品茗的场景。\n图中草堂环境幽雅，小桥流水，苍松高耸，堂舍轩敞，几榻明净。堂内二人对坐品茗清谈，从跋文可知正是作者和友人陆子傅。几上置书卷、笔砚、茶壶、茗盏等。茶寮内泥炉砂壶，炉火正炽，童子身后几案上摆有茶罐及茗盏。",[23,24,64,225,27,95,30,101,119,26,99,240,390,97,7,32,241,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed1341fed0de54ecd60de1c41932b58e.jpg","142.31X40.89cm",[105,83],498,{"id":771,"slug":772,"title":773,"dynasty":631,"author":774,"museum":114,"description":775,"tags":776,"thumbUrl":779,"material":273,"size":780,"collection":105,"collections":781,"showCount":769,"zanCount":370,"manualWeight":54,"mainColor":55},220441,"ping-lin-ji-se-tu-dong-yuan-220441","平林霁色图","董源","此图绘山峦并峙，古寺深藏，山脚下有茅屋，行旅之人在平林小径间穿行。另一侧是开阔的水面，岸边有人等待泊舟。山石用短线皴，画法尚存北宋遗风，而与南宋画风无涉。董其昌将此图题为董源，实与董源的画法有较大的距离。近年有学者指出图中茅屋里的曲尺形炕是金元时典型的北方屋室特点，为推断此图系金代作品提借了有力的佐证。此图曾经清王时敏、张应甲、完颜景贤收藏。\n董源最擅长山水，其水墨及着色轻淡者，不为奇峭之笔，山石用麻皮皴，作峰峦出没，云雾显晦，溪桥渔浦，洲渚掩映的江南景色，评者以为平淡天真，唐无此品；其着色浓重者，山石皴纹甚少，景物富丽，宛然李思训风格。\n董源的水墨山水画，巨然加以发展，世称“董巨”，为五代北宋间南方山水画的主要流派，对元朝及其后画坛影响甚大，与李成和范宽并为“宋三家”。相传的作品有〈潇湘图〉、〈夏山图〉、〈夏景山口待渡〉、半幅〈溪山行旅〉和〈溪岸图〉等。",[23,117,24,64,25,94,99,95,777,33,170,169,96,7,778,97],"平林","岸渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2add91492c6c896c12d7f559661ce12b.jpg","37.5×150.8cm",[105,83],{"id":783,"slug":784,"title":785,"dynasty":18,"author":19,"museum":400,"description":786,"tags":787,"thumbUrl":789,"material":47,"size":790,"collection":49,"collections":791,"showCount":792,"zanCount":11,"manualWeight":54,"mainColor":109},214881,"du-le-yuan-tu-chou-ying-214881","独乐园图","北宋时期，司马光写了《独乐园记》，其中描述了他自己在洛阳的住所和花园。该卷按从右到左的顺序展示了司马光《独乐园记》中的主要园林场景。然而，司马光在现场反复出现，体现出他的“独乐”之趣。",[23,24,25,64,26,27,28,95,30,31,97,32,7,543,33,98,39,788],"花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabdf15eedcbab4e8bd1fe941d9144d1d.jpg","28x519.8",[49],497,{"id":794,"slug":795,"title":796,"dynasty":18,"author":797,"museum":281,"description":798,"tags":799,"thumbUrl":800,"material":273,"size":801,"collection":105,"collections":802,"showCount":803,"zanCount":311,"manualWeight":54,"mainColor":109},217038,"you-jian-xing-shan-tu-yao-sui-217038","幽涧行山图","姚绥","幽涧行山图 是明朝画家姚绥的一幅杰作。这幅画描绘了一座山的全景，非常细腻地表现了山的各个部分，包括山顶、山谷、溪流、森林、花草、岩石等。画中还有许多人物，每个人物都有自己的故事和生活经历。\n\n姚绥是明朝时期的一位著名画家，他的画风非常独特，以精细、细腻而闻名。他的作品多描绘自然风景，充分展现了他对大自然的敬畏和喜爱。 幽涧行山图 是姚绥代表作之一，被认为是中国画史上的经典之作。",[23,24,64,95,94,99,225,240,241,30,97,7,199,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd99cb6e6d918b6eb7b845ae72dee47aa.jpg","101x53cm",[105],484,{"id":805,"slug":806,"title":807,"dynasty":344,"author":808,"museum":91,"description":809,"tags":810,"thumbUrl":811,"material":273,"size":812,"collection":105,"collections":813,"showCount":814,"zanCount":589,"manualWeight":54,"mainColor":55},220423,"shan-shui-qing-yin-tu-shi-tao-220423","山水清音图","石涛","该画作未明是画何地方，但从画面上来看，描绘的地方明显是黄山景色。虽是黄山景色，但却不知是哪一个黄山景色。图中峭壁大岭，飞泉湍急，新松夭矫，丛篁滴翠。水阁凉亭间，两位高士正对坐桥亭，默参造化的神机。画面上重重叠叠的坡陀峰峦，或直耸、或斜出、或横卧，把境界推向深远，右侧则以峭壁贯通天地，构造新颖。",[23,24,94,99,225,95,168,390,98,76,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F296cf8c8039f22c3cd7610cdf01cbd29.jpg","纵102.6厘米，横42.5厘米",[105,83],469,{"id":816,"slug":817,"title":818,"dynasty":18,"author":90,"museum":61,"description":819,"tags":820,"thumbUrl":822,"material":659,"size":823,"collection":105,"collections":824,"showCount":825,"zanCount":358,"manualWeight":54,"mainColor":109},222112,"chun-yun-die-zhang-li-zhou-shen-zhou-222112","春云叠嶂立轴","此作曾在康熙年间被高士奇收藏，并著录于其《江村消夏录》。该作描绘万物竞发、重峦叠嶂、云蒸霞蔚、春水泛漾的春天景象。画面清新雅致，刻画细腻，具有元人画的风格。\n但此作历来有真伪之辩。《春云叠嶂图》的整体风格，似有些米家元素，虽同样横点干皴，但山峦单一，林木呆板，与沈周其他仿米真迹如《西山雨观图》相去甚远，完全不符沈周任何时期的书风。但究其题识，又非一般人所能书之。",[23,24,94,225,95,821,98,33,7,99,119],"云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F911a706d3e48a8c708d471d8a1448b00.jpg","纵152.2厘米，横43.2厘米",[105,83],463,{"id":827,"slug":828,"title":829,"dynasty":18,"author":90,"museum":830,"description":831,"tags":832,"thumbUrl":834,"material":103,"size":835,"collection":105,"collections":836,"showCount":837,"zanCount":370,"manualWeight":54,"mainColor":109},219871,"zi-sang-zhao-yin-tu-shen-zhou-219871","紫桑招隐图","印第安纳波利斯艺术博物馆","首先这是一幅长卷，长卷的意思就是从右往左，一部分一部分的展开来看，首先我们看到的是山石和树木，一派江南景色扑面而来。\n沈周的画法是吴门画派的重要代表画家，吴门画派的风格传承自元代文人画，也就是元四家、赵孟頫等人，从这幅画里我们可以明显的看到山石、水面和远景的画法有元代文人画的痕迹地面的一些处理方法又让人想到赵孟頫的秋郊饮马图。\n继续往左边展览，有人物、屋舍、舟船，最后视线进入隔岸的平远之中。明代的文人画讲究逸气，就是恬淡自然的审美情趣。整个画面简约而不简单，树木、人物、山石等元素处理妥当，构思完整而成熟，笔墨潇洒，寥寥数笔一切就跃然纸上，富有生气的同时又辽远淡泊。\n这一点和宋代严整的画院风格是不同的，文人画到了沈周这个时期，算是正式成为中国绘画的主流审美。沈周下启文征明、董其昌，董其昌又下启王时敏等明清中国正统文人山水画，无疑对后世整个中国画的面貌和发展有深远的影响。",[23,24,64,25,27,99,95,96,30,350,833,33,7,98,256],"篱笆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0bd9c4c0f112994180bc96e1aa3296d.jpg","17.4x76cm",[105,51],460,{"id":839,"slug":840,"title":841,"dynasty":59,"author":399,"museum":61,"description":842,"tags":843,"thumbUrl":844,"material":47,"size":845,"collection":105,"collections":846,"showCount":847,"zanCount":370,"manualWeight":54,"mainColor":55},218443,"qiu-lin-guan-quan-tu-li-tang-218443","秋林观泉图","这幅画描绘了峡谷口水流湍急，两岸岩石嶙峋，两个高士坐在水边的斜岩上，静静地看着山泉流淌。倾斜的岩石都用强烈的笔触凿出，体现出岩石坚硬的质地；森林茂密，不留缝隙，显示出浓郁的树荫。画家用画笔画出了树叶，强调了色彩。坡上和水中的落叶点缀了秋景。",[23,24,64,25,94,27,95,352,7,98,30,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ccc94015347c81f6c539b56469c6225.jpg","24.7x112.3cm",[105],445,{"id":849,"slug":850,"title":851,"dynasty":344,"author":808,"museum":91,"description":852,"tags":853,"thumbUrl":856,"material":103,"size":857,"collection":49,"collections":858,"showCount":859,"zanCount":370,"manualWeight":54,"mainColor":109},220358,"xi-yuan-ya-ji-tu-juan-shi-tao-220358","西园雅集图卷","此长图景物繁复。庭园中芳草如茵，劲松盘根虬曲，柳树成荫，石桥流水，曲径通幽，清溪深处翠荫茂密，处处雅静怡人。此图布局严密，繁而不乱，密而不塞。通过作者苦心经营，将诸多不同人物、树木、山石、草木、花木及一些陈设，巧妙地统一在这幅长卷中。全卷结构井然有序，运思精妙，布局停匀。通卷虽不留空白，而疏密有致。\n全图共写人物24人，神态不一，衣着各异，人物组合有疏有密，却与空间的景物浑然一体。人物形象均以墨线勾写，几乎全为白描，设色淡雅，衣纹等看似信笔率意而成，实则深具功力，笔笔送到。人物形象逼真生动，有的造形略有夸张。总体来说，此画用笔淋漓纵率之中显得工致缜密，沉着痛快，墨色浓淡得宜。人物俱用细笔，所谓一种“细笔石涛”，精气逼人。山石、松木、芭蕉等，均在工写之间，形象精到，而又意趣动人。故此画不但是石涛的代表作，更是清代人物画发展中的精品。",[23,117,24,64,25,27,99,30,95,32,7,241,854,855],"石","桌子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38f5d3c589f09a558783d6079a9170b7.jpg","纵36.5厘米，横328厘米",[49,51],443,{"id":861,"slug":862,"title":863,"dynasty":150,"author":710,"museum":281,"description":864,"tags":865,"thumbUrl":869,"material":273,"size":870,"collection":105,"collections":871,"showCount":872,"zanCount":311,"manualWeight":54,"mainColor":109},217744,"qiu-lin-mu-ai-tu-wang-meng-217744","秋林暮霭图","远处的山峰高高耸立，山泉从远处汇聚到山脚下，山间的小路崎岖起伏，河滩上人影绰绰。这幅画仍然是王蒙一贯的风格，山水繁复，皴擦繁复，不乱，体现了山林的氤氲，苍茫的景观。",[24,117,64,866,94,99,95,33,867,97,32,7,98,169,518,868],"山水画","秋林","植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06704bae6c4c29291d15f3321cbbf1eb.jpg","85x35cm",[105],438,{"id":874,"slug":875,"title":876,"dynasty":150,"author":877,"museum":61,"description":878,"tags":879,"thumbUrl":880,"material":881,"size":882,"collection":49,"collections":883,"showCount":884,"zanCount":589,"manualWeight":54,"mainColor":109},220778,"yu-fu-tu-wu-zhen-220778","渔父图","吴镇","《渔父图》画远山丛树，流泉曲水，老树平坡。坡旁溪水一泓，小舟闲泊。一渔父头戴草笠，一手扶桨，一手执鱼竿，坐船中垂钓。笔法圆润，意境幽深。\n《渔父图》，皆天空水阔，几只渔舟活动于其间，随意点染，意境或开阔，或幽深颇多变化，既画出了“放歌荡漾芦花风”，又描绘出“一叶随风万里身”的意境，吴镇以此寄托隐逸之意。\n此幅作远山丛树，流泉曲水，平坡老树。坡旁水泽，小舟闲泊。一渔夫头戴草笠，一手扶浆，一手执竿，坐船垂钓。对岸群山远岫，岗峦起伏，树木茂盛，溪流人家。\n远景诸峰峭拔而立，绵延起伏；中景坡石渐缓，相拥而卧，老树从中斜逸而出，枝干虬曲，树叶繁茂，一道幽泉从远山处蜿蜒而来，流水潺谖，汇人江中；近景的江面上，一渔父泛舟其上，他手扶桨一手执鱼竿，怡然自得地坐在船沿上垂钓，渔船两边沙碛点点，木盛草美，随风飘荡。\n图上正中草书“渔父辞”一首：目断烟波青有无，霜凋枫叶锦模糊，千尺浪，四腮鲈，诗筒相对酒葫芦。并款署：“至元二年秋八月，梅花道人戏作《渔父》四幅并题。”",[23,24,64,94,99,95,96,306,241,7,98,256],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46b62bd0e9cbfbeeae4460213b63e1fd.jpg","绢本，墨笔","纵84.7厘米，横29.7厘米",[49,83],434,{"id":886,"slug":887,"title":888,"dynasty":150,"author":710,"museum":152,"description":889,"tags":890,"thumbUrl":891,"material":335,"size":892,"collection":105,"collections":893,"showCount":894,"zanCount":11,"manualWeight":54,"mainColor":55},220815,"shan-shui-zhou-wang-meng-220815","山水轴","全画以高远法构图，崇山峻岭于雄奇中内具空灵之貌，山石与树木间开合有度，于多变的虚实呼应中构筑出丰厚华滋的气象",[23,24,225,94,95,99,98,33,32,7,97,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad77a15bec8b64335a9ac63c01ea4f87.jpg","该幅 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-1648）、许乃普（1787-1866）三人题跋。\n此册迭经明·王一鹏（生卒不详）、明·顾凝远（1580 -1645后）、清·何溥（19世纪）、清·李恩庆（?-1864）、清·许乃普（1787-1866）等人递藏。著录、出版先后见李佐贤《书画鉴影》卷十四， 1936年原田谨次郎编著的《中国名画宝鉴·明》与1985年艺术图书公司出版的《吴门画派》一书。全册格度严谨，精工巧丽之极，设色、山石、林木、人物，“资唐宋名家之长而浑合之”，种种臻妙，既有宋院体画的写实笔墨基础，又有文人画清雅脱俗的情怀气质。所用材质极为讲究，绢丝织造细密匀净，几近宫中“贡绢”，故本册具有极高的历史和艺术价值。书画鉴定大师徐邦达先生评仇英作品：“真笔不论粗细，无不具有文秀之致”。是品鉴本册绘画面貌的真实写照。",[23,24,64,332,26,27,28,118,95,30,31,97,7,96,32,122,140,1001,530,227,139,199],"夕阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37b854ba2273f162517cfa4e4c6012e5.jpg","每开纵24厘米，横27厘米",[49],376,{"id":1007,"slug":1008,"title":1009,"dynasty":18,"author":267,"museum":1010,"description":1011,"tags":1012,"thumbUrl":1014,"material":469,"size":1015,"collection":105,"collections":1016,"showCount":1017,"zanCount":11,"manualWeight":54,"mainColor":55},222032,"chun-geng-tu-zhou-dai-jin-222032","春耕图轴","浙江省博物馆","这幅气度恢宏的作品取法两宋郭熙、李唐诸辈，笔法苍润，风格遒劲。形则春耕，实为寄寓淡淡哀愁与希望。其心志高远，胸怀宽壑，借春耕这一生活化的语言表达对社稷繁荣安定的渴望。画中一旁孤独思忖的老者，面对湍湍逝去的溪水，显出无奈寂寞的神情，俨然作者自身的写照。\n不知桥上玩耍的孩童，能否传承老者衣钵，以慰心志！ 此图由钱镜塘先生捐赠，该画上堂为沪上鉴定大家吴湖帆先生题鉴，下有钱镜塘先生亲笔跋文。",[23,24,64,225,95,30,67,32,7,241,99,27,1013],"春耕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff80401d4a9b5750d8677ebf9efd74019.jpg","144.2×105.1cm",[105,51],371,{"id":1019,"slug":1020,"title":1021,"dynasty":59,"author":60,"museum":135,"description":1022,"tags":1023,"thumbUrl":1025,"material":142,"size":142,"collection":142,"collections":1026,"showCount":1027,"zanCount":589,"manualWeight":54,"mainColor":55},227585,"qing-ming-shang-he-tu-quan-juan-te-zhan-zhang-ze-duan-227585","清明上河图全卷(特展)","丝织长卷《清明上河图》，创下多项“吉尼斯”世界纪录的世界第一丝织长卷《清明上河图》，采用当今世界最先进的工艺技术特制而成，全图由2。\n88亿经纬组织点构成，以真丝纤维织就，气势宏大，制作精良。\n此卷长约1.28米，宽约25厘米，与宋代名画家张择端《清明上河图》原作的比例为1：1，现已被 等多家国家博物馆展藏，创造了多项“吉尼斯”世界纪录，具有独特的艺术魅力和收藏价值。\n创下多项“吉尼斯”世界纪录的世界第一丝织长卷《清明上河图》，采用当今世界最先进的工艺技术特制而成，全图由2。\n88亿经纬组织点构成，以真丝纤维织就，气势宏大，制作精良。\n此卷长约1.28米，宽约25厘米，与宋代名画家张择端《清明上河图》原作的比例为1：1，现已被 等多家国家博物馆展藏，创造了多项“吉尼斯”世界纪录，具有独特的艺术魅力和收藏价值。",[23,24,64,25,28,26,138,30,31,32,7,65,66,67,33,36,34,71,1024,72,76,73,40],"轿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5edb1b2ed4d4bbbdb910d8c0180382a.jpg",[],368,{"id":1029,"slug":1030,"title":1031,"dynasty":150,"author":1032,"museum":61,"description":1033,"tags":1034,"thumbUrl":1035,"material":258,"size":1036,"collection":105,"collections":1037,"showCount":1027,"zanCount":442,"manualWeight":54,"mainColor":55},221710,"shan-ju-tu-qian-xuan-221710","山居图","钱选","卷尾作者自题：“山居惟爱静，日午掩柴门。寡合人多忌，无求道自尊。鷃鹏俱有志，兰艾不同根。安得蒙庄叟，相逢与细论。吴兴钱选舜举画并题。”钤“舜举印章”、“舜举”、“钱选之印”三方。卷后隔水有明人俞贞木、刘敏、周传等题记。\n作者以自己的隐居生活为题材创作此图。细劲柔韧的笔致勾勒出山石林木的轮廓，施青绿重彩，并以金粉点缀，画面绚丽清雅，富装饰意味，于工致精巧中又不失古拙秀逸之气，是钱选继承唐宋“金碧山水”画法并用以体现文人意兴的代表作。\n《庚子销夏记》著录。",[23,117,24,64,25,118,27,26,99,100,119,95,240,901,241,390,32,7,76,96,199,140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb59edde58b928401f4e8dc20a01a633c.jpg","纵26.5厘米，横111.6厘米",[105,51],{"id":1039,"slug":1040,"title":1041,"dynasty":631,"author":774,"museum":20,"description":1042,"tags":1043,"thumbUrl":1046,"material":188,"size":1047,"collection":105,"collections":1048,"showCount":1049,"zanCount":11,"manualWeight":54,"mainColor":55},221159,"xi-an-tu-dong-yuan-221159","溪岸图","《溪岸图》描绘江南溪岸景象，上半部左右相对两座山峰，两峰之中远山隐现，两山夹壑中一条山溪自远而近，至山前汇成大溪。溪岸左有楼台水榭，水榭中有幽人雅士正观望溪景。左面山中亦有泉瀑飞注入大溪，画的最下方溪岸坡冈上杂树耸立。中景、远景山峦上丛林茂密，草木葱茏。\n《溪岸图》构图雄伟，笔法严谨，兼具北方派的气度和南方派的温润，是董源从唐人山水过渡到南方水墨山水阶段的作品。",[23,24,64,95,99,1044,94,27,171,33,7,168,97,348,1045,173,170,868,38],"披麻皴","近树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdee3a8ea2ec5b0766e929d242272f70a.jpg","纵220.3厘米，横109.2厘米",[105,83],366,{"id":1051,"slug":1052,"title":569,"dynasty":570,"author":571,"museum":61,"description":1053,"tags":1054,"thumbUrl":1055,"material":188,"size":1056,"collection":625,"collections":1057,"showCount":1058,"zanCount":311,"manualWeight":54,"mainColor":109},221049,"you-chun-tu-zhan-zi-qian-221049","图中展现了水天相接的情形，上有青山叠翠，湖水融融，也有士人策马山径或驻足湖边，还有美丽的仕女泛舟水上，熏风和煦，水面上微波粼粼，岸上桃杏绽开，绿草如茵。\n画家用青绿重着山水，用泥金描绘山脚，用赭石填染树干，遥摄全景，人物布局得当，开唐代金碧山水之先河，在早期的山水画中非常具有代表性。\n该画是展子虔传世的唯一作品，也是迄今为止存世最古的画卷。\n画卷首段近处露出倚山俯水一条斜径，路随山传，自到妇人立于竹篱门前才显得宽展。\n山此向上，山限岸侧，树木掩映，通过小桥，又是平坡，布篷游艇，容于其中。\n下端一角，便是坡陀花树，围绕山庄。\n描绘出明媚春光和游人在山水中纵情游乐的神态。\n各种花树点满山野，桃红柳绿，相映成趣。\n中国古代山水画的发展，到了隋代出现了较大的变化，它不再作为人物故事画背景的一部分，而是从前者中分离出来，成为一门独立的画科。\n在此之前，依附于人物故事画的山水画在表现方法上有很大的局限性，按照古人的说法就叫做“人大于山”“水不容泛”，说明在表现自然景物与人物或其他物件的关系上，以及远近、层次等方面部存在着明显的不足，画家还没有找到适宜的艺术表现手法，来描绘壮阔秀丽的山川形貌。\n《游春图》即反映了山水画处于变化发展阶段特点。\n历史上对这幅作品是否出于展子虔之手，仍持有争议。\n有唐中叶说、有疑北宋摹本，张伯驹则保留其为展子虔原作的观点。\n对《游春图》的作者及创作年代提出疑问的代表人物是文学家沈从文。\n早在1947年,他就撰写了《读展子虔》的文章，虽然标题中肯认了《游春图》的作者是展子虔,但文章通篇都是在质疑这一作者归属。\n在文中，他称“半年中有机会前后看过这画八次”，认定展子虔作此画缺乏证据。\n他在文中交待，因为前代关于绘画作品的著录,包括《贞观公私画史》《宣和画谱》等都没有提到展子虔作此作品的事情。\n另外，画中男子的衣着、女人的坐式，都与隋代人的习俗不太相符，还有装裱等种种迹象也与当时情形不合。\n历史资料证实，人们是在元、明朝时才开始认定展子虔作《游春图》的。\n所以，沈从文认为，此画可能不是展子虔所作,也不是隋代作品。另外，也有人根据画中人物头上戴的幞头、建筑部件形制等，论证它并非隋代原作，而是北宋摹本。\n该图以全景方式描绘了广阔的山水场景，图中除描绘了山水树石外，还描绘了白云出岫，杂以楼阁、院落、桥梁、舟揖，并点缀着踏春赏玩的人物车马，展示出一幅杏桃绽开、绿草如茵、水波粼粼，春风荡漾的春日融融之景象。",[23,24,64,25,118,27,95,30,31,32,7,122,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96a9f8ced13bacd0b0f77ddd3245cb51.jpg","纵43厘米，横80.5厘米。",[625],350,{"id":1060,"slug":1061,"title":1062,"dynasty":59,"author":1063,"museum":152,"description":1064,"tags":1065,"thumbUrl":1071,"material":47,"size":1072,"collection":368,"collections":1073,"showCount":1058,"zanCount":589,"manualWeight":54,"mainColor":55},219395,"hua-niao-zhou-xiao-rong-219395","花鸟轴","萧瀜","旧传为十一世纪辽画家萧瀜所作，但构图与北京故宫所藏吕纪〈桂菊山禽〉类似。加之在右幅石块上发现一「四明吕廷振印」之残印，推论此幅作品可能实为吕纪作品。图中描绘三只山鹧鸟俯盼于激流旁的岩石。上方舞动的竹叶的竹干，与下方的流水、及石上与空中鹊鸟的动向相互应和，形成一种吕纪花鸟特有的优雅却又互动频繁的构图。其中山鹧俗称拖尾练，常被误认为绶带鸟，而其中「绶」与「寿」谐音，而「竹」与「祝」谐音，用以表现祝寿之吉祥意。",[23,117,24,788,225,27,543,7,171,122,1066,1067,1068,1069,1070],"山鹧","鹊鸟","花卉","祝寿","吉祥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84f2fe32238fe90f0171dc8b50979108.jpg","145x83",[368],{"id":1075,"slug":1076,"title":149,"dynasty":150,"author":151,"museum":152,"description":185,"tags":1077,"thumbUrl":1082,"material":188,"size":156,"collection":105,"collections":1083,"showCount":1084,"zanCount":718,"manualWeight":54,"mainColor":109},220767,"fu-chun-shan-ju-tu-wu-yong-shi-juan-huang-gong-wang-220767",[23,24,64,25,94,99,95,96,7,33,532,170,32,1078,1079,199,350,169,1080,1081],"渔舟","沙洲","岸滩","松竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbec3a49bb34d871d2edb2e4c8e3d2c45.jpg",[105,83],349,{"id":1086,"slug":1087,"title":1088,"dynasty":18,"author":90,"museum":135,"description":1089,"tags":1090,"thumbUrl":1091,"material":659,"size":142,"collection":142,"collections":1092,"showCount":1093,"zanCount":718,"manualWeight":54,"mainColor":109},234135,"ting-quan-tu-juan-shen-zhou-234135","听泉图卷","明代中期，在苏州地区活跃着一批画家，他们在“浙派”风靡一时之后，继承元末江南地区文人画的传统，创立具有时代气息的文人画新潮流，后世称之为“吴门画派”，沈周是这一画派的创始人。\n\n沈周，长洲(今江苏苏州)相城(近阳澄湖)人。出身于文人世家，祖父澄、伯父贞吉、父恒吉，都未应科举，依靠开垦和租赁田地为生。沈周生活的时代，明王朝的政权已得到巩固，社会趋于稳定，经济处于上升阶段，沈周对于汉族统治的朱明王朝是采取拥护态度的。他一生不应科举，隐身乡里，其实是惮于明初治吏的峻刻和畏惧官场争斗的险恶，所采取的一种韬晦保身的处世方式。沈周以儒家道德规范律己，对父母兄弟尽孝悌之道，为人诚挚宽厚，乐于济人之难，善于奖掖后进，他结交的朋友不少是著名的诗人、书画家，又和一些朝廷显宦保持着亲密的友谊。沈周高洁的人品、恬淡温和的性格以及诗文书画的广博才能，深受社会各阶层人士的尊敬，誉重吴中，流播四方，自然地成为吴门艺苑的宗师",[23,117,24,64,25,94,27,95,7,97,30,96,98,99,543,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12fadc37a4d3a1f7171bd687b0589c04.jpg",[],341,{"id":1095,"slug":1096,"title":1097,"dynasty":18,"author":90,"museum":135,"description":1098,"tags":1099,"thumbUrl":1100,"material":229,"size":637,"collection":142,"collections":1101,"showCount":1102,"zanCount":718,"manualWeight":54,"mainColor":55},287403,"qing-lv-shan-shui-tu-zhou-shen-zhou-287403","青绿山水图轴","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。",[23,117,24,225,118,27,95,32,7,140,98,30,227,100,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff872528bc3534a2d31e5560b7703b289.jpg",[],340,{"id":1104,"slug":1105,"title":1106,"dynasty":18,"author":267,"museum":152,"description":1107,"tags":1108,"thumbUrl":1111,"material":188,"size":1112,"collection":105,"collections":1113,"showCount":1102,"zanCount":54,"manualWeight":54,"mainColor":55},222033,"chun-han-tu-dai-jin-222033","春酣图","《春酣图》纵长近三公尺，是传世戴进作品当中，尺幅最大的一件立轴。但是从叙事性、构图或是笔墨特征来判断，此画可能不是戴进的真迹，而应该是活动于正德到嘉靖年间之浙派画家郑文林。图中描绘春日祭祀村民醉酒而归之景。画中主山一分为二高耸入云，在此主山堂堂气势磅礡看似严肃的大山水下，画家以松树和蜿蜒的山径切割成的各个小画面空间中展现一组组人间戏剧，彼此之间眼神与动作，互动频繁多样，有一种充满俚俗的市井趣味。",[23,24,117,95,27,99,30,390,32,7,96,140,1109,98,169,1110,256],"春景","行旅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3790bef21f3bd884f29002f2c7fcfc15.jpg","纵291.3cm，横171.5cm",[105,51],{"id":1115,"slug":1116,"title":163,"dynasty":59,"author":164,"museum":152,"description":165,"tags":1117,"thumbUrl":1118,"material":1119,"size":177,"collection":142,"collections":1120,"showCount":1121,"zanCount":11,"manualWeight":54,"mainColor":55},231408,"zao-chun-tu-guo-xi-231408",[23,24,117,64,225,94,27,99,95,170,171,33,7,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3107c7f430c4249bafcf20275e778fe2.jpg","绢本水墨",[],338,{"id":1123,"slug":1124,"title":1125,"dynasty":59,"author":954,"museum":489,"description":1126,"tags":1127,"thumbUrl":1129,"material":335,"size":1130,"collection":81,"collections":1131,"showCount":1132,"zanCount":589,"manualWeight":54,"mainColor":55},221536,"xi-yuan-ya-ji-tu-ma-yuan-221536","西园雅集图","宋代有很多绘画世家，其中最为出名的恐怕要属山西的马家。自北宋后期的马贲开始，马家先后有五代人在皇家画院供职。马氏家族形成了一个庞大的画室或作坊，在这个作坊内雇佣了助手、管理者或代理人，或许还有绘画材料的生产者及裱画匠。1086年（元佑元年），苏轼兄弟、黄庭坚、李公麟、米芾、蔡肇等十六位名士，于驸马王诜宅邸西园集会。马远据此所绘，长卷共分四段。此为其中一段，写米芾挥毫作书，诸文友或立或坐，凝神围观",[23,24,64,94,27,25,99,95,30,96,543,66,7,1128,171,33,256],"河岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61d61573298da75c39200eaa4a2d4892.jpg","29.5×302.3厘米",[81,105,51],334,{"id":1134,"slug":1135,"title":17,"dynasty":344,"author":1136,"museum":152,"description":1137,"tags":1138,"thumbUrl":1145,"material":188,"size":1146,"collection":49,"collections":1147,"showCount":1148,"zanCount":370,"manualWeight":54,"mainColor":55},222686,"qing-ming-shang-he-tu-sun-hu-222686","孙祜","此卷用色鲜丽明亮，用笔圆熟细致，界画桥梁、屋宇、人物皆细腻严谨，是院画中极精之作。\n“清院本”《清明上河图》开卷是远山、宽阔河面，柳林田畦、童手挑夫，比“明本”娶亲队伍，人数更多，色彩更鲜艳，场面也更热闹。“清院本”戏台上下也比“明本”规模大，用木柱基座搭建的席棚戏台上，演员表演认真，观众在蒙蒙细雨中翘首欣赏，观众身份不同，神态也各异。一片早春田园欢乐景象。离席台稍远处：文人模样男子站在高凳上，拈须而观，仆人高举雨伞为他遮雨；河畔船夫坐在船头船顶观看；女子足不出户却携子爬到屋顶远看；树上、戏台支架杆上及台后都有观众，凝神而视。河面拉船纤夫、赶猪牵牛放羊倌、骑驴抬轿推车赶车者，挑夫贩夫、打铁卖茶，好个热闹。\n在去“虹桥”的河两岸，人流不息。河北侧的禁军演武场，旌旗招展，骑兵飞奔，比“明本”更壮观。“清院本”的“虹桥”是一座石材拱桥，桥上和桥头的地面有明显的石料接缝。河面大船行驶，“虹桥”右侧停泊着正装卸的商船，左侧有高悬龙旗的官船。桥上两边排列着四十多个前后带沿边的店铺，比“明本”数量更多更整齐有序。桥头，吃喝的、说书的、看相的、修脚的、议价的，形象生动。临近城门，还有女子在走索表演。\n接下来是城楼，“清院本”的城楼，和“明本”城楼格局相似，都绘有长长城墙，不似“宋本”只有城楼没有城墙。“清院本”城楼为重檐歇山，加腰檐和擎檐柱，红柱、绿沿、黑瓦，雕梁画栋，城墙也比“明本”更宽。“清院本”“明本”的入城门比较相似，陆门和水门并列，均有瓮城。\n“清院本”的城内，有成片房屋建筑，路北首处房屋和“明本”相同，都是公所衙门。“清院本”和“明本”画面在城内“U”字形处，都有显赫的府邸，“明本”是“学士”“世登两府”，“清院本”则是“圣书”“状元及第”。“清院本”府邸，牌楼后是三进宅院，还有一座观波楼和一座桥亭，长堤横跨湖塘。庭院中楼台、亭桥、水榭环湖而建，园内假山、湖石藤萝架、绿树、桃花融合相配，别具一格。比“明本”更显富贵。\n“明本”和“清院本”与染坊相邻处，都绘有一座富丽堂皇的院落建筑，“明本”是高大粉墙、楼阁长廊、雕梁画栋。“清院本”是“虎皮”石墙、庭院深处有灰砖高楼、顶部塔形装饰物，似乎带有阿拉伯风格；湖水碧波荡漾、卷棚歇山顶楼阁、各色亭阁、游廊环绕、假山耸立、嘉木成林、桃花盛开、仕女荡秋千；院墙东门外有马夫、轿夫等待主顾。如此豪华之建筑，尽显主人地位不凡。\n城内街道上人声鼎沸，多种车辆络绎不绝。各行商贩神态各异。另外，出现“宋本”和“明本”只有药店诊所，“清院本”出现古医科的分支的咒禁科诊所。“清院本”还增添了踏青、表演、戏剧、猴戏、特技、擂台等明清时代的特殊风俗，画面较“宋本”和“明本”更加丰富多彩。\n画作至接近皇家御苑处是一码头，这是“宋本”“明本”所没有的。\n清院本清明上河图是按照各朝的仿本、集各家所长之作品，再加上明清时代特殊风俗，如踏青、表演等等娱乐活动，因此增加了许多丰富的情节，如戏剧、猴戏、特技、擂台等等，画的事物繁多，虽然失去了宋代古制，却是研究明清之际社会风俗不可缺的材料。\n由于西洋画风的影响，街道房舍，均以透视原理作画，并有西式建筑列置其中。此卷用色鲜丽明亮，用笔圆熟细致，界画桥梁、屋宇、人物皆细腻严谨，是院画中极精之作。\n作品以长卷形式，采用散点透视构图法，生动记录了清初中国城市生活的面貌。虽然并不是宋朝原作，但一定程度上也反映了明清时期人们的生活，具有很高的历史价值和艺术价值。\n全画使用了除花鸟画以外的许多画科的技法，如人物马用工笔设色、山水树石系用青绿曲法、建筑舟船用界田法、浮云流水用白描曲法，总的来看，该图属于工笔画。画家们用局部近似焦点透视、整体属于散点透视的取景方法展现了18世纪的以苏州城为主要特色的城市风貌该图的总体布局系陈枚的思路，十分紧凑，全无拖沓之嫌，画中高潮送起，将动态的高潮与静态的高潮巧妙地结合起来，一浪高过一浪，即充满节奏感、又戒除单调重复，富有戏剧性的艺术变化。如最早的动态小高潮是前段的娶亲活动，之后的静态小高湖是看戏活动。画中最热闹的大高潮是中段虹桥上下的人物与车船的活动，最清幽的静态大高潮是最后一段的皇家御苑。各高潮之间的过渡段均起到了视觉衔接、防止审美疲劳的作用。全卷宛如一曲交响乐，从曲调悠扬到渐渐亢奋，最后进入庄重和优雅的境界。\n全卷设色独具风格，色彩在柔和中显得主富而统用色较为简明，用笔颜具特色，润在天水，浓在林木，重在山石，红在木柱，鲜在佳丽，明在人物，艳在春色，稳在建筑。这是清宫院体高头大卷人物画风的基本特性。\n此画卷布局疏密、近远、简繁相间。全图对复杂的生活作了集中、生动的概括、以简练的笔法动静结合，再现了当时的汴京风貌，是艺术性与真实性的高度融合，为建筑、交通、车船制造、商业、饮食、医药、服饰、民俗等学科研究提供了可靠依据。在艺术手法上，画面以俯视角度摄取景物，场面宏伟，而众多人物、建筑等的安排有条不紊，结构严谨，人物形象生动传神。它有界画工整准确的优点，又充分发挥了半工半写人物画生动活泼的长处。此画卷用笔熟练，界画桥梁屋宇以及人物，无不精妙。设色用赭笔微加匀梁，自创新法而有雅澹之韵，为清院画中之佳作。",[23,26,27,28,25,1139,30,31,32,7,35,33,76,41,37,1140,1141,34,40,72,69,39,38,1142,1143,1144],"风俗","城郭","街道","自然景观","交通工具","市集场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba48e0062ff6d8804c1adc57bd629c2b.jpg","纵35．6厘米，横1152．8厘米",[49,51],333,{"id":1150,"slug":1151,"title":1152,"dynasty":150,"author":1153,"museum":61,"description":1154,"tags":1155,"thumbUrl":1156,"material":469,"size":1157,"collection":105,"collections":1158,"showCount":1159,"zanCount":11,"manualWeight":54,"mainColor":55},221858,"chun-shan-fan-zhou-tu-zhou-hu-ting-hui-221858","春山泛舟图轴","胡廷晖","整幅画面构图繁密，洋溢着一派春和景明的气象。图中布局兼具高远、深远、平远之法，描绘崇山峻岭，山势高耸入云，山间飞涧流泉，松木葱郁，屋宇台阁精工富丽，人物往来其间。山脚下，溪桥潭水，波光如鳞，三两人泛舟赏景。\n杨新撰文认为，胡廷晖是一个画工而非书画收藏家。画工的创作往往不署自己的名款，有的仅只钤盖个人印章，这是元至明初的习惯。吴升《大观录》著录的胡廷晖《月洞仕女图》也未署款，仅押“廷晖印”一方。这幅《春山泛舟图》也没有签署名款，所以“廷晖”残印不可能是收藏印，而只能是作者印。此图与台北故宫所藏《明皇幸蜀图》面貌相似，特别是勾勒下笔较重，悬崖的结构、松树的形态以及云彩的画法等均呈现出胡廷晖的个人风格。在色彩上两者都具有相似的绚丽色泽。此图保留唐代青绿山水的古法较多，与赵孟頫追求“古意”的画风不同，对于鉴别早期山水画有重要的价值。\n1998年，美籍华人、收藏家王季迁先生将此图捐赠故宫博物院。",[23,24,64,225,26,27,99,95,96,30,31,33,98,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8db66954c76bddaccd24a02539e4bf8.jpg","纵143厘米，横55.5厘米",[105,83],332,{"id":1161,"slug":1162,"title":1163,"dynasty":18,"author":19,"museum":1164,"description":1165,"tags":1166,"thumbUrl":1167,"material":47,"size":1168,"collection":142,"collections":1169,"showCount":1170,"zanCount":54,"manualWeight":54,"mainColor":55},216363,"xi-xiang-ji-tu-ye-2-chou-ying-216363","西厢记图页-2","美国弗利尔美术馆","清人绘，款仇英",[24,64,332,26,27,30,66,32,7,95,33,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd2f417418f71dda24d7c8dff0d64502.jpg","18.5*38",[],331,{"id":1172,"slug":1173,"title":1174,"dynasty":150,"author":412,"museum":61,"description":1175,"tags":1176,"thumbUrl":1178,"material":335,"size":1179,"collection":105,"collections":1180,"showCount":1181,"zanCount":311,"manualWeight":54,"mainColor":109},220803,"qiu-ting-jia-shu-tu-ni-zan-220803","秋亭嘉树图","图中绘平坡远岫，草亭嘉树，广阔的江面上露出汀渚一角，反映了作者人画俱老，淡泊自守的情怀。画面取三段式构图，用笔尖峭秀逸，树干皆双勾，稍事皴染，树叶点法富于变化。墨色较为干淡，仅以浓墨点苔，提出精神，为沉寂的画面融入了些许生气。\n此画写的是江南山川景致一隅。平远山水，近处溪边、山石和坡岸：在崎岖不平的山石间长有二株树木，二株为点叶树，一株为长叶树，树干挺拔，枝叶直上，树叶萧疏、水边山坡的平地处筑有一草亭，草亭矮小，空无一人。草亭右侧有几株翠竹，枝叶茂密，将草亭右角遮掩。中间一宽水面，湖光波色，一片空旷；远处有浮现于湖面上的一片沙碛，伸向湖面；再远处为崇山，屹立于远处的湖面上，与近处的山石坡陀遥相呼应。\n该卷上诗塘有吴宽、朱果二家题记。\n画中自题“七月六日雨，宿云岫翁幽居，文伯贤良以此纸索画，因写秋亭嘉树图并诗以赠。风雨萧条晚作凉，两株嘉树近当窗。结庐人境无来辙，寓迹醉乡真乐邦。南渚残云宿虚牖，西山青影落秋江。临流染翰摹幽意，忽有冲烟白鹤双。瓒。”",[23,24,933,866,225,99,101,119,100,241,97,1177,98,7],"竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fd8caa50f033dc8d0a2ed6d6f039610.jpg","纵：114cm，横：34.3cm",[105,83],329,{"id":1183,"slug":1184,"title":1185,"dynasty":344,"author":1186,"museum":152,"description":1187,"tags":1188,"thumbUrl":1189,"material":47,"size":142,"collection":51,"collections":1190,"showCount":1181,"zanCount":287,"manualWeight":54,"mainColor":109},218501,"fang-song-yuan-ben-jin-ling-tu-xie-sui-218501","仿宋院本金陵图","谢遂","本卷描绘了金陵城的城市和村庄的商店和街景，以及市场上的人们，细节丰富，气氛热烈。笔触非常准确，人物形象也很生动。根据作者在画板上的标记，这幅画完成于乾隆五十二年（公元1787年）。 在我们的收藏中，还有一卷杨大章模仿宋代画院的《金陵图》。",[23,117,24,64,25,26,27,29,30,31,32,7,33,67,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F228fa1458aedb60538e9a844ef33c75a.jpg",[51],{"id":1192,"slug":1193,"title":1194,"dynasty":59,"author":677,"museum":152,"description":1195,"tags":1196,"thumbUrl":1198,"material":273,"size":681,"collection":105,"collections":1199,"showCount":1200,"zanCount":11,"manualWeight":54,"mainColor":109},214572,"long-mian-shan-zhuang-tu-tu-xin-li-gong-lin-214572","龙眠山庄图-图芯","这是一幅没有标记的水墨山水画。画中有法真口、香茂堂、罗烟岩、曲云室、秘泉庵、烟花洞、玉华岩、灵灵谷、玉龙峡、观音岩、翠云片、古柳其大十围、中建德堂南三百步、宝华岩等名称，涵盖了对泉、石、草、树等景物的逼真描述，与李公麟龙眠别墅长卷的各种景物相似。",[23,24,117,25,138,26,94,95,98,33,168,30,1197,32,7,353,173,171],"洞穴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ef311e449dfdca7422c6c471a74efec.jpg",[105],318,{"id":1202,"slug":1203,"title":1204,"dynasty":150,"author":710,"museum":281,"description":1205,"tags":1206,"thumbUrl":1208,"material":273,"size":142,"collection":142,"collections":1209,"showCount":1210,"zanCount":54,"manualWeight":54,"mainColor":109},214576,"shan-shui-ce-3-wang-meng-214576","山水册-3","王蒙是一位中国元朝时期的著名文人、画家、书法家。他最著名的作品之一是《山水册》。\n\n《山水册》是一本包含王蒙的山水画作品的册子。这本册子包含了王蒙的许多杰出的山水画作品，其中包括他的著名作品《黄山图》。王蒙的山水画作品以其精细的线条、细腻的填充和浓郁的气氛而闻名。他的画作展现出自然界的美丽和神奇，表达了他对自然的敬畏和尊重。\n\n王蒙的《山水册》是中国山水画史上的一个重要里程碑，对后世的山水画家产生了深远的影响。这本册子被誉为“中国山水画的经典之作”，至今仍广为流传。",[117,24,94,99,332,95,33,67,7,1207,119],"坡岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ef6f289b0869c501494295442e78b88.jpg",[],317,{"id":1212,"slug":1213,"title":1214,"dynasty":150,"author":710,"museum":281,"description":1205,"tags":1215,"thumbUrl":1216,"material":273,"size":142,"collection":142,"collections":1217,"showCount":1218,"zanCount":11,"manualWeight":54,"mainColor":109},214569,"shan-shui-ce-8-wang-meng-214569","山水册-8",[24,94,27,99,332,95,390,350,170,427,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa979705b9e03b4cc5259e511244f05ad.jpg",[],316,{"id":1220,"slug":1221,"title":1222,"dynasty":150,"author":710,"museum":281,"description":1205,"tags":1223,"thumbUrl":1224,"material":273,"size":142,"collection":142,"collections":1225,"showCount":1226,"zanCount":11,"manualWeight":54,"mainColor":109},214567,"shan-shui-ce-10-wang-meng-214567","山水册-10",[24,64,332,94,99,95,7,98,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d6f01f557728430d33136d8c56a8203.jpg",[],315,{"id":1228,"slug":1229,"title":1230,"dynasty":344,"author":808,"museum":61,"description":1231,"tags":1232,"thumbUrl":1233,"material":355,"size":142,"collection":142,"collections":1234,"showCount":1235,"zanCount":311,"manualWeight":54,"mainColor":109},234231,"yuan-ji-shan-shui-tu-juan-shi-tao-234231","原济山水图卷","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。",[23,24,94,25,99,95,32,7,98,33,76,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98857fb9227e3d88875c038ee2e558af.jpg",[],312,{"id":1237,"slug":1238,"title":1239,"dynasty":344,"author":292,"museum":135,"description":1240,"tags":1241,"thumbUrl":1247,"material":142,"size":142,"collection":142,"collections":1248,"showCount":1249,"zanCount":718,"manualWeight":54,"mainColor":55},234383,"yin-zhen-shi-er-yue-jing-xing-le-tu-dan-pian-yi-ming-234383","胤禛十二月景行乐图单片","满池荷田田铺展，夏意随水汽漫过错落亭台。凭栏雅士闲赏菡萏，凌波画舫载着清趣缓行，庭院间仆从往来忙活，处处漾着松弛鲜活的意趣。\n设色柔润明丽，界画工细严整，人物情态鲜活入微，将消夏雅集的日常铺陈开来。笔底藏着雅致心思，把盛夏水乡的闲逸日常勾勒得细腻生动，尽显升平安逸的烟火意趣。",[24,28,27,26,30,31,1242,7,1243,39,1244,1245,1246],"荷花","画舫","消夏","闲逸","雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F508d9ece16a44c74182184ecba879fff.jpg",[],311,{"id":1251,"slug":1252,"title":1253,"dynasty":18,"author":1254,"museum":152,"description":1255,"tags":1256,"thumbUrl":1257,"material":213,"size":1258,"collection":105,"collections":1259,"showCount":1249,"zanCount":718,"manualWeight":54,"mainColor":109},220923,"lin-ni-zan-dong-gang-cao-tang-tu-zhou-dong-qi-chang-220923","临倪瓒东冈草堂图轴","董其昌","注意画叶也要讲究笔法，不是胡乱的点画的，要“写”出来，画的叶子要有笔力。在开始画的时候，先浅墨而后蘸取浓墨在笔尖，由内到外，还需要有位置经营概念，去写画出来。",[23,24,94,29,225,95,241,98,7,30,119,99,255,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93a0364821d55f9583be7c7bb15bf0fc.jpg","87.4x65",[105,83],{"id":1261,"slug":1262,"title":1263,"dynasty":631,"author":774,"museum":553,"description":1264,"tags":1265,"thumbUrl":1266,"material":188,"size":1267,"collection":105,"collections":1268,"showCount":1269,"zanCount":54,"manualWeight":54,"mainColor":55},221153,"xia-jing-shan-kou-dai-du-tu-juan-quan-juan-dong-yuan-221153","夏景山口待渡图卷全卷","《夏景山口待渡图》图中山势重叠，缓平绵长，植被丰茂，水汽若蒸，似江南夏日景色。起首处水面浩渺，扁舟隐现，中景山势重叠，林木疏朗挺直，竹丛杂处其间，茅屋隐约可见；卷末渡船未到，官客等待，点出主题。全图构思精细，设色雅淡，冈峦清润，林木秀密。技法上以披麻皴为主，多用苔点，色彩淡雅，为典型的江南山水",[23,24,117,64,25,95,7,96,33,1044,94,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1987f1d1f3d0d2e45e2314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× 60.2 cm",[105,51],{"id":1280,"slug":1281,"title":1282,"dynasty":631,"author":1283,"museum":1164,"description":1284,"tags":1285,"thumbUrl":1290,"material":47,"size":1291,"collection":368,"collections":1292,"showCount":1293,"zanCount":589,"manualWeight":54,"mainColor":109},220047,"bai-niao-chao-feng-tu-xu-xi-220047","百鸟朝凤图","徐熙","构图开阔舒展，右侧古木荫翳，灵凤独立石上，翎羽妍丽夺目。百禽翔游栖止各尽其态，或振翅穿林、或浮波弄影、或凝立枝梢，品类繁富灵动鲜活。汀渚花木错落，烟水澹澹，赤日悬于淼茫之上，晕开融融暖意。\n\n设色古雅温润，勾勒兼具工致与野逸，将百朝灵瑞的吉庆之意，融于苍润悠然的自然之境，既见写生妙趣，亦托太平祥瑞之思，淡远雅致，余韵悠长。",[23,117,24,25,26,27,788,122,1286,1287,33,1288,98,7,1289],"孔雀","鹤","花草","太阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34dbcbe061745c03e7b73b79d4def2e8.jpg","34.3 x 236.9",[368],308,{"id":1295,"slug":1296,"title":1297,"dynasty":59,"author":222,"museum":152,"description":1298,"tags":1299,"thumbUrl":1300,"material":335,"size":1301,"collection":81,"collections":1302,"showCount":1303,"zanCount":11,"manualWeight":54,"mainColor":55},221383,"lin-liu-du-zuo-tu-zhou-fan-kuan-221383","临流独坐图轴","这幅画沿袭北宋雄伟山水的传统：主山位在画幅的中央上端，两侧罗列次要的山峰，以溪谷、河流、桥梁、云烟显示深而远的空间。临流独坐岸边的士人，点出画的主题，与巨大的山石相比，人物如此渺小而且不明显，表现了北宋传统的自然观。\n在范宽的《溪山行旅图》和郭熙的《早春图》中，看到的点景人物，都是市井小民，在写“真山水”的观念下，北宋山水画家很自然的将观察到的寻常百姓的生活描写入画。十一世纪后期，士大夫与文人成为政府与社会的中坚，领导文学艺术的发展，文人或隐士的理想开始在诗歌、书法与绘画中反映出来，陶渊明《归去来辞》的名句：“登东皋以舒啸，临清流而赋诗，聊乘化以归尽，乐夫天命复奚疑。”曾经是十一世纪末北宋画家喜爱的题材，或者也是这幅画的灵感来源。所以岸边简陋的茅草屋和水榭是这位归隐士人的居所，陪伴他的是深林巨嶂，孤舟木桥，一个远离尘嚣的自然世界。画幅上端十则明人的题诗，就是围绕着这个主题，描写这幅画带给他们的感受。",[23,24,64,117,225,95,7,30,33,171,99,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00ed1c3e18f130c28f61bb202a5396d3.jpg","156.1x106.3cm",[81,83],303,{"id":1305,"slug":1306,"title":1307,"dynasty":18,"author":90,"museum":1308,"description":1309,"tags":1310,"thumbUrl":1311,"material":1312,"size":1313,"collection":105,"collections":1314,"showCount":1315,"zanCount":718,"manualWeight":54,"mainColor":109},222133,"qing-yuan-tu-juan-shen-zhou-222133","青园图卷","旅顺博物馆","《明沈周青园图》现藏于旅顺博物馆，此图绘湖山秋色，为沈周传世珍品。该图结构严整均衡，局部富于穿插变化，使画面景物参差有致，一派清幽逸趣。在用笔上，该图多用秃笔中锋，将勾、皴、擦、点有机配合，实中求虚。",[23,24,64,25,94,99,100,119,95,76,1177,33,32,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F923acb9824eda51981b302865ea46a85.jpg","纸本水墨淡着色","画心纵29.1、横188.7厘米",[105,51],293,{"id":1317,"slug":1318,"title":1319,"dynasty":150,"author":710,"museum":281,"description":1205,"tags":1320,"thumbUrl":1321,"material":273,"size":142,"collection":142,"collections":1322,"showCount":1315,"zanCount":54,"manualWeight":54,"mainColor":109},214568,"shan-shui-ce-9-wang-meng-214568","山水册-9",[24,64,94,99,332,95,32,7,33,98,170,72],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F577bb7f080f7a1cc56e6588d150fe042.jpg",[],{"id":1324,"slug":1325,"title":732,"dynasty":59,"author":399,"museum":135,"description":1326,"tags":1327,"thumbUrl":1329,"material":229,"size":637,"collection":142,"collections":1330,"showCount":1331,"zanCount":718,"manualWeight":54,"mainColor":640},287739,"wan-he-song-feng-tu-li-tang-287739","《万壑松风图》画面山峰高峙，山石巉岩，峭壁悬崖间有飞瀑鸣泉，山腰间白云缭绕清岚浮动。深山中幽僻的崖谷间，奔跃的泉水和郁茂的松林，衬托山峰高峙，山石危岩。其在构图上，大胆裁剪、提炼，整体看来空间立体感强，层次分明。双峰交错，堂堂正正，厚重而拙实，给人以浑厚大气之感，表现为“万壑松风”之境。\n《万壑松风图》为简括画的表现开了先河，对南宋初期的山水画具有开派作用。 其与郭熙《早春图》、范宽《溪山行旅图》，合称为“宋画之三大精品”",[117,24,866,94,99,98,390,7,1328,168],"山谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a14a762dc0039a1efab5f1ab4cdccfa.jpg",[],285,{"id":1333,"slug":1334,"title":1335,"dynasty":344,"author":1336,"museum":1308,"description":1337,"tags":1338,"thumbUrl":1339,"material":273,"size":142,"collection":105,"collections":1340,"showCount":1331,"zanCount":11,"manualWeight":54,"mainColor":109},214492,"fang-gu-shan-shui-tu-cheng-ting-lu-214492","仿古山水图","程庭鹭","清代画家程庭鹭的仿古山水图是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了程庭鹭对自然的热爱和对传统文化的尊重。他运用了仿古山水画的特点，使得整件作品显得舒缓而优美。\n\n程庭鹭是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在仿古山水图中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，程庭鹭的仿古山水图是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了程庭鹭对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到程庭鹭的画风魅力，还能了解中国传统的山水风情。",[24,94,99,29,64,119,101,95,199,7,170,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0fa5973203512efafa690cc0c52a465.jpg",[105],{"id":1342,"slug":1343,"title":1344,"dynasty":18,"author":90,"museum":61,"description":1345,"tags":1346,"thumbUrl":1347,"material":335,"size":1348,"collection":105,"collections":1349,"showCount":1350,"zanCount":589,"manualWeight":54,"mainColor":109},234083,"wu-zhong-shan-shui-ce-shen-zhou-234083","吴中山水册","明代中期以来，吴门艺术力追此类典雅的意趣。作为吴门艺术的领袖，沈周的绘画最得其中精神。如今藏于故宫博物院的《吴中山水册》十六开，是沈周的得意之作，记录的是诗人生活中的所见所感，乃沈周极擅长的粗笔水墨之作。\u2028 沈周（1427—1509），字启南，号石田、白石翁、玉田生、有竹居主人，明代绘画大师，吴门画派的创始人，明四家之一，长洲（今江苏苏州）人。生于明宣德二年，卒于明正德四年，享年八十二岁（虚八十三岁）。不应科举，专事诗文、书画，是明代中期文人画“吴派”的开创者，与文徵明、唐寅、仇英并称“明四家”。",[24,64,332,94,95,101,119,99,97,7,98,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91dd6160b5ad1b7617f948483aa1c7c5.jpg","28.5*25.5cm",[105],282,{"id":1352,"slug":1353,"title":1031,"dynasty":59,"author":1354,"museum":152,"description":1355,"tags":1356,"thumbUrl":1358,"material":47,"size":1359,"collection":81,"collections":1360,"showCount":1350,"zanCount":54,"manualWeight":54,"mainColor":109},218931,"shan-ju-tu-yan-su-218931","燕肃","画中有一条小溪，周围是平坦的河岸，沿岸种植着松树、竹子、桃树和李子，竹林深处有三间矮小的房子，有两个人相对而坐的宣。房子左边的石墙从山的左边升起，在小路的尽头有几条远处的树。灌木丛和墨水给人一种平静和放松的感觉，让人欲罢不能。其笔触与李唐有些相似",[23,24,64,27,99,95,1357,98,33,7,351,171,609,868],"山居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8067a53ba755fa9d9ae85c24902de6ec.jpg","23.9x25.3",[81,105],{"id":1362,"slug":1363,"title":1364,"dynasty":59,"author":954,"museum":152,"description":1365,"tags":1366,"thumbUrl":1367,"material":103,"size":1368,"collection":105,"collections":1369,"showCount":1370,"zanCount":589,"manualWeight":54,"mainColor":109},220081,"xi-shan-wu-jin-tu-ma-yuan-220081","溪山无尽图","马远《溪山无尽图》卷以水墨浅绛写江南四季景色，布局多取近景，突出崖岸，山石作大斧劈皴，方硬有棱角。山峰林立，峭壁悬崖间有流泉飞瀑，松柏蓊郁、云雾弥漫、长桥石栏、渔舟帆客、楼观村庄，清幽秀俊的江南景色成为一个整体，有着诗意般的意境。此卷画风当属南宋马远。构图布景与《溪山秋爽图》有异曲同工之妙。此卷绘于宋笺纸上，山石为马远典型的斧劈皴，乔松远树，皆用拖枝法，柳林含风，千笔万笔，笔笔不乱。画幅中间，数株红树，点缀溪山丛莽间，有画龙点睛之妙。而纸寿千年，其完好程度与绢本不可同日而语。此卷创作年代当稍晚于绢本，水法两卷亦有不同，此卷水的画法更接近马远《水图》。",[23,24,117,64,25,94,27,99,95,98,33,7,96,32,97,122,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3068a8c76430171b9de9897301fc6bc0.jpg","纵33.8厘米，横469厘米",[105,51],280,{"id":1372,"slug":1373,"title":1374,"dynasty":18,"author":19,"museum":553,"description":1375,"tags":1376,"thumbUrl":1377,"material":469,"size":1378,"collection":105,"collections":1379,"showCount":1380,"zanCount":287,"manualWeight":54,"mainColor":55},222218,"wang-chuan-shi-jing-tu-chou-ying-222218","辋川十景图","《辋川十景图》是中国明代画家仇英的国画作品。该画为长卷。《仇英辋川十景图卷》名为写唐代王维隐居蓝田别墅的诗意，实际上正是明代的园林生活为粉本。屋舍界画的工整，花木杂树的精微，青绿设色的细丽，真称得上穷工极艳。\n《辋川十景图》十景各自独立成章，但又联贯为统一的大画面，随着画卷的展开，移步易景，引人入胜，山穷水尽，柳暗花明，令人目不暇接。对于中国画的创新，具有不容低估的积极意义。",[23,24,64,117,25,118,27,26,95,32,7,31,97,543,33,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5418cf86d3682d5764ef7dcd67e08986.jpg","纵30.5厘米 横987厘米",[105,51],279,{"id":1382,"slug":1383,"title":1384,"dynasty":344,"author":1385,"museum":252,"description":1386,"tags":1387,"thumbUrl":1389,"material":188,"size":1390,"collection":368,"collections":1391,"showCount":1380,"zanCount":442,"manualWeight":54,"mainColor":109},220989,"hu-shan-chun-nuan-tu-quan-tu-yun-shou-ping-220989","湖山春暖图全图","恽寿平","《湖山春暖图》 恽寿平山水取自黄公望笔法，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，运笔飘逸潇洒，明丽简洁，天趣盎然。以水墨着色渲染，用笔含蓄，画法工整，恽寿平的艺术创作，有自己独创的艺术见解，反映出他成熟后的风格的高超技艺，依此可见，这幅画属于他的后期作品。",[23,24,64,25,27,95,99,33,1388,7,96,32,98,97],"湖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1451fe83f699e29b98945f19f67af72.jpg","618.2cm x 57.6cm",[368,51],{"id":1393,"slug":1394,"title":1395,"dynasty":150,"author":710,"museum":281,"description":1205,"tags":1396,"thumbUrl":1398,"material":273,"size":142,"collection":142,"collections":1399,"showCount":1400,"zanCount":54,"manualWeight":54,"mainColor":109},214570,"shan-shui-ce-7-wang-meng-214570","山水册-7",[24,117,64,332,94,99,95,140,1397,96,98,97,7],"枯藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7721b1ffd15bca0c3f537a750918a292.jpg",[],278,{"id":1402,"slug":1403,"title":1404,"dynasty":150,"author":710,"museum":152,"description":1405,"tags":1406,"thumbUrl":1407,"material":213,"size":1408,"collection":105,"collections":1409,"showCount":1410,"zanCount":11,"manualWeight":54,"mainColor":109},220810,"song-chuang-gao-shi-tu-zhou-wang-meng-220810","松窗高士图轴","元王蒙松窗高士图轴，属于中国古画，于1362年（元顺帝至正二十二年）王蒙制作，长宽107.4x32.6公分、全幅 59.5公分，收藏于台北故宫博物院。",[23,24,64,225,94,95,271,30,7,98,350,99,119,100,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4fd7019bd476433d407aa9e87390ada.jpg","107.4x32.6",[105,51],274,{"id":1412,"slug":1413,"title":1414,"dynasty":344,"author":808,"museum":553,"description":1415,"tags":1416,"thumbUrl":1418,"material":273,"size":1419,"collection":105,"collections":1420,"showCount":1421,"zanCount":589,"manualWeight":54,"mainColor":55},220256,"gu-mu-chui-yin-tu-shi-tao-220256","古木垂阴图","近景层岩嶙峋，树木丰茂，山径曲折，楼阁深藏，远山挺拔峭立，云烟缭绕。用笔皴法多变，赋色雅淡。右上角有作者长题，石涛（公元1640~？），亦署大涤子、苦瓜和尚等，明宗室后裔，俗名朱若极，清亡后削发为僧。善画山水，为清初四画僧之一。",[23,24,64,225,94,99,95,1417,98,7,169,97,33,199,119],"古木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd206f53b4e26c9e4a001ab119062d2e.jpg","纵175,横50.7cm",[105],273,{"id":1423,"slug":1424,"title":1425,"dynasty":18,"author":645,"museum":281,"description":1426,"tags":1427,"thumbUrl":1429,"material":103,"size":1430,"collection":105,"collections":1431,"showCount":1432,"zanCount":718,"manualWeight":54,"mainColor":55},217036,"bi-shan-qi-shu-tu-tang-yin-217036","碧山琪树图","唐寅在画画方面有很高的造诣，他的作品涵盖了许多不同的题材，包括自然风景、人物、花鸟、山水、古典寓言故事等。\n\n碧山琪树图是唐寅的一幅著名作品。这幅画描绘了一片美丽的山林，山顶上有一棵琪树，下面是茂盛的松柏林。唐寅用笔轻柔地勾勒出了各种山石、枝叶、花草的线条，使画面看起来栩栩如生。",[24,225,95,27,99,240,241,97,168,7,171,390,1428,351,609],"草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf99aba7e79792d4e1f74ad4b1015736.jpg","123x58cm",[105],268,{"id":1434,"slug":1435,"title":1436,"dynasty":18,"author":90,"museum":61,"description":1437,"tags":1438,"thumbUrl":1439,"material":258,"size":1440,"collection":142,"collections":1441,"showCount":1442,"zanCount":589,"manualWeight":54,"mainColor":109},234233,"lu-mu-tu-shen-zhou-234233","庐墓图","故宫博物院收藏有一卷沈周《庐墓图》，画分四段，从不同角度描绘了山中墓地景色。因墓地题材并非古代山水画的主流，故而学者关注不多。尽管实物遗存有限，然从文献记载来看，描绘先人茔域的山水画，自元末以来直至沈周生活的明代中期应当颇为流行。本文试从沈周《庐墓图》出发，讨论这类茔域山水画的形成与使用及其流行背后的文化观\n构成《庐墓图》的四幅画面，皆纵37.5厘米，横65厘米，推测其原本的形式应为册页。根据卷前题跋，其被合装成手卷的时间约在咸丰初年[1]。第一、二、四开，画面左侧有沈周落款及印鉴；唯第三开未见沈周署款，画面右上方空白处钤有“锦衣徐将军画”朱文印一枚，清末的观者杨棨和李誉据此推测这一幅的作者为徐将军[2]。然而，此幅无论是尺幅、用纸，还是构建画面时选取的元素及其造型特点，都与其他三幅无异。从笔墨及其风格来看，当与其他三幅出自同一作者手笔，故而现代学界认为此幅作者亦是沈周。从印章本身提供的信息来看，如果印章主人确为画家，“锦衣”二字显示了其身份与宫廷的关联。然而，尽管不乏有明代宫廷画家被授予“锦衣指挥”“锦衣千户”等武职[3]，却未见有自称“锦衣将军”的例子。综上，不应将此枚印记理解为作者署款。\n乍一看来，此幅与常见于沈周笔下的山水并无二致：以墨笔写出层峦山脉，山前一湾清泉，坡岸上杂树丛生，山石罩染着一层淡淡的赭色，树木则以淡花青色渲染，营造出幽寂的氛围。这样的环境，不但是文人理想的隐居之所，也是反复出现在以沈周为代表的吴地画家笔下的山居景色。然而，画面中并未出现供文士居住和活动的房舍，取而代之的是一个圆形的土丘，丘前立有一块方碑，其隐现于山脚下茂密的柏林之中。尽管画家并未描绘更多的细节，但这足以说明，画家所要描绘的，乃是山中的墓地。或许因为此幅直接表现了故去之人的坟墓，为表敬重，故而沈周未加署款。其余三开，尽管未出现墓体与墓碑，但皆出现了相对而立的望柱，暗示了画面空间并非是单纯的山景，而是墓园。\n杨棨在题跋中说此图“首尾不完”。从四幅画面来看，每幅独立成景，然彼此之间又有联系，无法确知是否还有其他画幅与之一同被绘制，却在流传过程中如杨棨所言散佚了；亦没有同时代的题跋，提供可信的诸如绘制年代、受画人等信息。因此，若要讨论沈周为何制作这样一套描绘墓园的册页及其背后的文化观念，需将其置入描绘墓地的绘画传统中，才有可能得到比较清晰的答案。",[23,24,64,25,94,27,99,95,170,33,271,7,98,97,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa085321cfa540a2ba8b92e25281a0a0c.jpg","37.5×65cm×4",[],266,{"id":1444,"slug":1445,"title":1446,"dynasty":18,"author":19,"museum":152,"description":1447,"tags":1448,"thumbUrl":1449,"material":103,"size":1450,"collection":105,"collections":1451,"showCount":1452,"zanCount":11,"manualWeight":54,"mainColor":109},218535,"zhu-lou-tu-qing-gao-zong-yu-ti-chou-ying-218535","竹楼图清高宗御题","画中湖光山色，长松亭榭，文人观水赏竹，画风接近文征明，也可能是文、丘在山水画上互相借鉴。",[117,24,64,225,26,27,28,95,31,390,32,7,30,98,33,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d460703bfb3096969313beb6e056693.jpg","115.3x33.3cm",[105],257,{"id":1454,"slug":1455,"title":1456,"dynasty":150,"author":710,"museum":135,"description":1457,"tags":1458,"thumbUrl":1460,"material":229,"size":637,"collection":142,"collections":1461,"showCount":1462,"zanCount":54,"manualWeight":54,"mainColor":55},288847,"zhu-cha-tu-wang-meng-288847","煮茶图","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。",[23,117,24,94,95,225,99,98,33,31,32,7,97,119,100,1459],"煮茶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F117610a3c89ba73f821c1bd6ba1071a4.jpg",[],251,{"id":1464,"slug":1465,"title":1466,"dynasty":18,"author":90,"museum":61,"description":447,"tags":1467,"thumbUrl":449,"material":335,"size":659,"collection":105,"collections":1468,"showCount":1469,"zanCount":11,"manualWeight":54,"mainColor":109},220367,"cang-zhou-qu-tu-shen-zhou-220367","沧州趣图",[23,24,64,25,95,689,94,27,99,101,100,98,33,7,32,96,97],[105],248,{"id":1471,"slug":1472,"title":1473,"dynasty":344,"author":1474,"museum":61,"description":1475,"tags":1476,"thumbUrl":1477,"material":47,"size":1478,"collection":51,"collections":1479,"showCount":1480,"zanCount":718,"manualWeight":54,"mainColor":55},219090,"han-gong-chun-xiao-tu-yuan-yao-219090","汉宫春晓图","袁耀","此图名为汉代宫殿之景，实际上表现的是作者想象中的仙山琼阁，宫阙殿宇富有装饰趣味而不具写实性。图中山石形貌奇异，繁皴与密斫浑然一体，其活泼的蕴藉不仅展现出石质的厚实，同时加强了场景的动势，与工整精巧的殿宇楼阁形成粗放与华美、活泼与整洁的鲜明对比。",[24,117,28,27,26,95,31,32,7,97,33,98,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1aa2766d2513288b462cece660309b69.jpg","纵250厘米，横162厘米",[51],247,{"id":1482,"slug":1483,"title":1484,"dynasty":18,"author":267,"museum":61,"description":1485,"tags":1486,"thumbUrl":1487,"material":47,"size":1488,"collection":105,"collections":1489,"showCount":1490,"zanCount":589,"manualWeight":54,"mainColor":55},216244,"san-gu-mao-lu-tu-dai-jin-216244","三顾茅庐图","这幅画描绘了刘备在 三顾茅庐 拜访诸葛亮的故事。人物的刻画生动而细致，如刘备的恭敬神态、张飞的黝黑面孔和他的武艺高强的姿态，都让人浮想联翩。人物的动态变化掌握得非常准确。岩石采用大斧劈法，松枝高长，明显继承了南宋马远的风格，用笔简洁有力。这幅画的整体色彩清晰而优雅。明代宫廷画中有很多以 招贤纳士 为主题的历史叙事画，反映出皇帝寻找贤人的心情是多么迫切。",[23,24,117,64,225,27,99,95,30,390,98,350,1177,7,97,990,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb04d74abf76131e7ffb35a7870d8a078.jpg","172.2x107",[105],244,{"id":1492,"slug":1493,"title":1494,"dynasty":18,"author":645,"museum":400,"description":1495,"tags":1496,"thumbUrl":1499,"material":355,"size":1500,"collection":105,"collections":1501,"showCount":1502,"zanCount":589,"manualWeight":54,"mainColor":55},222352,"qiu-shan-gao-shi-tu-juan-tang-yin-222352","秋山高士图卷","绘童子拱手侍立，圆凳旁之地面，铺设有席，席上散置纸笔书砚等物。中部三人相对畅谈，背景画树石苔草，运笔条畅有力，浓淡交织，极为精采。幅末设石桌，上置瓶炉，另一卷垂挂在地。",[23,24,25,27,95,99,26,1497,1498,96,7,97,33,98,76],"秋山","高士","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc2acdbaf836a548b0d716e2dd10782a.jpg","23.7＊352cm",[105,51],242,{"id":1504,"slug":1505,"title":1506,"dynasty":344,"author":808,"museum":1164,"description":1507,"tags":1508,"thumbUrl":1509,"material":103,"size":1510,"collection":142,"collections":1511,"showCount":1512,"zanCount":11,"manualWeight":54,"mainColor":109},214533,"yi-jin-ling-ce-shi-tao-214533","忆金陵册","此册计十二开，每开写金陵一景。按照弗利尔美术馆的英文含义，此册名称直译应为《南京记忆》。和李鱓《花果册》一样，弗利尔美术馆对每一页均做了单独的说明，但大同小异，并未对作品的艺术内容进行评价或解说，只不过说明每一页的标题而已。此册用笔恣肆，水墨淋漓，色墨交融，是典型的石涛成熟时期作品。",[24,64,94,27,95,31,32,7,96,98,33,99,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9786c88deb9d34c1413b59771dba7d8.jpg","纵23.8厘米，横19.2厘米",[],241,{"id":1514,"slug":1515,"title":1516,"dynasty":59,"author":399,"museum":152,"description":1517,"tags":1518,"thumbUrl":1519,"material":404,"size":1520,"collection":81,"collections":1521,"showCount":1522,"zanCount":311,"manualWeight":54,"mainColor":55},220387,"qing-xi-yu-yin-tu-li-tang-220387","清溪渔隐图","画面上表现的是夏雨初收后的渔村小景。近景为山坡堤岸，坡石横卧，林木苍郁，几棵大树倚石而立。树干粗壮，根部露出地面，枝叶茂盛，山溪蜿蜒而下，溪水由山间急流而出，水磨坊临溪而立，板桥横架溪上，将两岸连接。绕过山坡，地势平缓，河水清幽，远处沙岸迷茫，汀渚伸至河间，河岸和河边芦苇，草木丛生。有一老人坐于船头，横竿垂钓，显得悠然自得，渔舟在芦苇丛中隐现。画幅右端，浅滩上有数块小石，半露在水面，透过水面可以见秀石全形，显示出溪水的清洌。",[23,24,117,25,94,99,100,119,95,32,7,96,306,140,256,350,98,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4693ec96f6507ba02ebd0808a650e03c.jpg","纵25.2厘米，横144.7厘米",[81],237,{"id":1524,"slug":1525,"title":1526,"dynasty":344,"author":1527,"museum":91,"description":1528,"tags":1529,"thumbUrl":1530,"material":103,"size":1531,"collection":105,"collections":1532,"showCount":1522,"zanCount":11,"manualWeight":54,"mainColor":109},216993,"fang-song-yuan-shan-shui-ce-wang-jian-216993","仿宋元山水册","王鉴","王鉴（1598-1677），字玄照，后改字符照、圆照，号湘碧、染香庵主，江苏太仓人。王世贞曾孙。崇祯六年（1633）以荫授南京左府都事，约十一年（1638）至北京改任比部郎，十二年（1639）任廉州知府，仅两年即罢职归太仓，从此未入仕途。工画山水，得董其昌亲授，追踵董源、巨然，多拟仿宋元诸家。著有《染香庵跋画》。\n是册临宋元各家，淡墨层层积累、细腻丰富，水墨设色兼能、皴染兼长。在“四王”山水画中，王鉴的设色山水与其他三家有所差异。王鉴擅长青绿山水设色，用色只在青、绿、赭少数几种中选择，但色彩鲜明，特别是青绿两色的运用，清润高华。而仿陈惟允（陈汝言）一开可见其见识广博，陈汝言为元末明初人，后人临宋元山水鲜少涉及，这与他的个人收藏及交游圈不无关系。\n据其自跋：“予今岁偶来南翔（今属上海嘉定），谛交文庶社长，见其丰神超迈，雅善丹青，深得古人三昧，余因复临陈（陈廉）本赠之。”谓王时敏曾将所藏宋元各家真迹，嘱华亭陈明卿缩成一册，此册又临陈本。按，王时敏有缩临宋元各家山水册，董其昌为题“小中现大”者，为世所著称，此册除四页外，余俱与之相同，而所题各家名氏亦有异同。至所言王时敏一册出于陈明卿手，未见详细记述，或为另一册。\n陈廉（生卒年不详），字明卿，华亭（今上海松江）人。赵左弟子，年少时从赵左学习绘画，工巨幅山水，其笔墨清标，无烟火气，传世作品较少，上海博物馆藏《云间诸家书画散页》有其山水一开。王时敏《题陈明卿廉雪》卷云：“（陈廉）初以赵文度（赵左）为宗，既从余家纵观宋元真迹，多有悟入，所诣益深。为余摹诸名图，以寻丈巨轴，缩为方册，使能笔墨酷肖，毫发不遗，真画史之绝技。”又《题陈明卿仿黄子久》卷云：“明卿为赵文度高足弟子，初至娄时，尚守其师法，继为余临宋元诸名迹，缩小为本，因此大有悟入，画格遂为一变……”（《王奉常书画题跋》卷上）可与是册王鉴自跋相印证。",[23,24,118,27,95,99,29,332,32,7,97,241,98,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a18fc942c1098dabc52e73dc3535442.jpg","纵55.4厘米，横36.0厘米",[105],{"id":1534,"slug":1535,"title":1536,"dynasty":59,"author":164,"museum":1537,"description":1538,"tags":1539,"thumbUrl":1541,"material":47,"size":1542,"collection":105,"collections":1543,"showCount":1544,"zanCount":11,"manualWeight":54,"mainColor":55},219184,"shan-cun-tu-guo-xi-219184","山村图","南京大学","描绘了巍峨巨峰下的峡谷中人们的隐居生活。整幅作品山势险峻，气势恢宏，细节之处描写入微，村落、人物生动传神。",[23,24,64,95,94,99,225,98,33,76,7,348,1540],"近石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30bef5f72b428fd151f38b62ec7c4b5e.jpg","横54.2cm，纵109.8cm",[105],234,{"id":1546,"slug":1547,"title":606,"dynasty":59,"author":954,"museum":1548,"description":1549,"tags":1550,"thumbUrl":1552,"material":47,"size":1553,"collection":81,"collections":1554,"showCount":1544,"zanCount":54,"manualWeight":54,"mainColor":55},218658,"shan-shui-tu-ma-yuan-218658","维多利亚和阿尔伯特博物馆","虬枝如屈铁，斜出嶙峋崖壁，枯枝疏朗间透着苍劲风骨，垂悬的藤蔓似牵一缕寒烟。山石以斧劈皴斫出棱角分明，刚硬笔触衬得崖岸陡峭。远景以淡墨晕染，山峦隐现于虚渺雾霭，近景石畔或有幽人凭栏，小景点染更显天地空阔。边角构图不逐满幅，留白处藏尽清寂萧瑟，恰是宋人山水的空灵之境。笔底丘壑虽只一角，却以简驭繁、以小见大，藏无尽江山意趣，尽显马远山水的独特韵味——于有限画面中，铺展无限悠远的诗意与哲思，让人于尺幅间窥见宋人的山水情怀与审美境界。",[24,1551,94,99,95,140,98,7,96,306],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb82362b63dc9e0b444518f5ec9c4176a.jpg","25.5x25.7",[81],{"id":1556,"slug":1557,"title":1558,"dynasty":59,"author":399,"museum":152,"description":1559,"tags":1560,"thumbUrl":1563,"material":188,"size":1564,"collection":81,"collections":1565,"showCount":1566,"zanCount":718,"manualWeight":54,"mainColor":55},221577,"jiang-shan-xiao-jing-tu-li-tang-221577","江山小景图","此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。\n此图表现的是江岸边山水小景，画面右起是宽阔的水面，几只帆船鼓帆前行，江岸平缓地向后延伸，渐次高起，山石渐多，林木葱郁，小径幽幽隐现于山间，山坡平缓处有房舍屋宇隐现于林木间；左行山势愈加高峻峭拔，最终停留在画面边缘。高山之间，栈道依山而筑，山庄别墅，僧舍道观隐现于山腰间；山间飞流泉，下聚成潭，小舟泛于水上。画面右上是远山野渡，山水清旷，环境安详静谧，构成了一幅清幽自然的田园风景画卷。\n此幅无名款，有乾隆皇帝御笔题签：“宋李唐江山小景神品”，引首有其书：“神韵天成豪发无憾”，钤“乾隆宸翰”、“古希天子”、“犹日孜孜”钤玺。画上又有乾隆丁丑、庚辰二题，拖尾有董其昌、程正揆跋。\n主题:此图是一幅山水画作，描绘的是雄壮瑰丽又雅秀清逸的山水风貌，表现出作者对祖国壮美山河的由衷赞颂，也表现出作者对祖国山河的深深依恋与怀念\n构图:该图以近景石峰丛林为主体，山峰的起伏变化、岩石的折落有致、楼观屋宇的有机穿插以及墨色的黑白变化使主体有一股雄沉壮拔之气。近处横卧的巨石和稍远石峰的峭立形成对比，延伸了空间。自山脚而起的石径沿山石逶迤而上，将卧石与石峰联系起来。山间小道、屋宇、行人，线索分明， 时隐时现，活跃了山林的气氛。远景的渔村、云山，布置深远，和近景遥相呼应。整个画面意境深辽开阔，气魄宏伟。\n技法:《江山小景图》在技法上延续了李唐在宣和画院时期的青绿山水画风，但略有改变，此卷中山石以浓重劲健的细线勾勒，以小斧劈皴之，但小斧劈皴用的相当随意放松，简练概括，画家没有将山石的体积感与重量感放在表现的首位，而是注重画面的整体性与抒情性；此卷的树以轻松、快速的横笔写出，溪口水的画法也轻松自由得多，根据水势用简练的几笔勾勒而成，江水虽然还是以鱼鳞纹为之，但用笔灵活随意，毫无紧张感与拘谨感。\n此图近景巨石与石峰的用笔方硬坚重，峰顶与岩石的设墨浓重，树木多用横笔点叶，偶有细笔夹叶，色调较浅。运墨大胆，多为浓厚墨色，如树干劲拔，有笔有墨，骨肉匀称，若隐若现于树叶的浓荫之中，增添了幽深之感。船、帆和船夫的用笔十分洗练，坚挺朴实。远景几抹淡墨，用笔超脱豪放，使云山淡隐，更具一种灵妙别致的风韵。",[23,24,117,25,95,99,27,98,33,1561,7,168,42,348,1562,868],"渔船","近岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2428cca3b084dd38d455514e3b16a629.jpg","纵49.7厘米，横186.7厘米",[81,105,83],232,{"id":1568,"slug":1569,"title":1570,"dynasty":18,"author":1571,"museum":135,"description":1572,"tags":1573,"thumbUrl":1574,"material":258,"size":142,"collection":142,"collections":1575,"showCount":1576,"zanCount":54,"manualWeight":54,"mainColor":55},234196,"fang-shen-zhou-qiu-shan-shu-wu-juan-zhang-hong-234196","仿沈周秋山书屋卷","张宏","山水画方面此时吴门画派最为兴盛。他们重视继承古代人的笔墨传统，把对风格的追求作为艺术的重要目的。而且，由于他们具有深厚的文化修养，有各自的美学追求，从而也具有一定的创造性。他们的笔墨技巧和表现手法，对后来画坛有很大影响。涌现出一批师法自然，重视写生的优秀画家，张宏便是其中的佼佼者。张宏师法沈周，又重视写生，作品笔力峭拔，墨色湿润，层峦叠嶂，丘壑深邃。他在继承吴门画派风格和特色的基础上，加以创新，强调回归自然，到大山里去写生，师自然造化。在画中体现出超凡脱俗的精神境界，使山水画活了起来。的画以石面连皴带染为特色。又能画写意人物，形神俱佳，散聚得宜，在文人山水画方面另辟蹊径，创作出了富有生活气息的绘画作品。其代表作品有：《西山爽气图》、《延陵挂剑图》、《杂技游戏图》、《击缶图》、《阊门舟阻图》、《溪亭秋意图》、《浮岚暖翠图》、《兰亭雅集图》，藏首都博物馆《琳宫晴雪图》等十多种，其中《西山爽气图》被国家教委编入高二地理限选新教材，当做古代文人画的范例；收藏于台北故宫博物院的《布袋罗汉图》被台湾邮政设计成了邮票。受吴门派影响的晚期画家还有程嘉燧、李流芳、卞文瑜、邵弥、杨文骢等人。程嘉燧的山水枯简疏放，李流芳爽朗清秀，卞文瑜细秀，邵弥简逸，杨文骢兼具枯笔、秀润两种风貌。",[24,64,25,29,27,94,99,95,33,98,32,7,96,97,30,350,348,1562,349,868,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05ab01647707656c2100c6df41243d83.jpg",[],230,{"id":1578,"slug":1579,"title":1580,"dynasty":631,"author":1581,"museum":135,"description":1582,"tags":1583,"thumbUrl":1584,"material":229,"size":637,"collection":142,"collections":1585,"showCount":1586,"zanCount":54,"manualWeight":54,"mainColor":55},287365,"qing-lv-shan-shui-tu-ye-li-sheng-287365","青绿山水图页","李昇","擅墨竹，喜作窠石平远山水，颇有清趣。至正六年(1346)作有《淀湖送别图》卷(藏上海博物馆)，画面清波荡漾，湖上有小桥、扁舟，远望峰峦高耸，树林参差，山间古寺隐约可见，景色清幽，一派送别离人的气氛。清代词人朱彝尊很推重此画，题跋云：“松林清疏，峰岚渲以焦墨，淡林赢青作遥山，信称逸品。”",[23,24,64,95,118,27,31,32,7,98,33,119,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfdcad8870526ab254f3adb825fe8b72.jpg",[],225,{"id":1588,"slug":1589,"title":1590,"dynasty":150,"author":412,"museum":152,"description":1591,"tags":1592,"thumbUrl":1594,"material":335,"size":1595,"collection":105,"collections":1596,"showCount":1586,"zanCount":718,"manualWeight":54,"mainColor":109},220793,"an-chu-zhai-tu-juan-ni-zan-220793","安处斋图卷","倪瓒以擅长水墨山水为傲，所作多取材于太湖周边的优美景致。画中笔法简洁，山水意境悠远，野岸沙渚，疏林茅茨，柳树萧萧，颇有世外山野高人的遁世脱俗之感。画的右下角有作者的自题诗：“湖上斋居处士家，淡烟疏柳望中赊。安时为善年年乐，处顺谋身事事佳。竹叶夜香缸面酒，菊苗春点磨头茶。幽栖不作红尘客，遮莫寒江卷浪花。”左上角是乾隆御览后的即兴题诗：“是谁肥遁隐君家，家对湖山引兴赊。名取仲舒真可法，图成懒瓒亦云嘉。高眠不入客星梦，消渴常分谷雨茶，致我闲情频展玩，围炉听雪剪灯花。”",[23,24,64,25,94,99,95,140,199,97,7,1593,119,100],"平坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83f5b8544aa4c8572b05c11e13372fd2.jpg","33×89.4cm",[105,83],{"id":1598,"slug":1599,"title":1600,"dynasty":59,"author":488,"museum":152,"description":1601,"tags":1602,"thumbUrl":1604,"material":47,"size":1605,"collection":81,"collections":1606,"showCount":1586,"zanCount":589,"manualWeight":54,"mainColor":55},218132,"han-jiang-diao-ting-tu-li-cheng-218132","寒江钓艇图","李成（西元九一六—九六七年），唐朝皇室后裔，五代山东人。五代北宋初为水墨山水画成熟时期，李成的松石平远，富呎尺千里气象。与北方荆浩、关同、范宽，南方董源、巨然发展成两大山水画系。\n画中高山飞瀑，岩上老松偃盖。前景巨松挺立，渔人寒江独钓。山石皴染如云状，受北宋郭熙山水画皴法影响。然用笔活泼快速，不完全拘泥于物象。由画风及题跋书风来看，应可接受为元人李郭画风作品。",[23,24,64,95,99,94,96,7,98,33,306,256,1397,140,1603],"寒江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70ae768df4f3ab356a244f10d07cd042.jpg","170x101.9cm",[81,105],{"id":1608,"slug":1609,"title":1610,"dynasty":18,"author":19,"museum":152,"description":1611,"tags":1612,"thumbUrl":1615,"material":47,"size":142,"collection":49,"collections":1616,"showCount":1617,"zanCount":718,"manualWeight":54,"mainColor":55},219367,"yi-zhu-tu-chou-ying-219367","移竹图","竹影婆娑间，数人合力抬竹、培土，动作连贯如活；池畔亭榭半掩，莲叶浮波，士人或俯身打理，或凭栏远眺，笔墨细腻处见生活真趣。设色温润古雅，青绿点缀山石，赭黄晕染土地，墨色浓淡层叠出林木深幽。移竹之雅事，既显文人爱竹之癖，亦藏生活劳作之态，以工笔之精融自然与人文于一卷，动静相宜。画面层次分明，上段林泉移竹见生机，下段亭池闲居显雅致，细节中藏匠心，尽显明代文人生活的诗意与烟火气。",[24,26,27,118,28,30,1177,33,1613,1242,98,31,1614,39,7],"荷塘","廊榭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7039905c000f406bb6ce231d79361d8a.jpg",[49,51,105],222,{"id":1619,"slug":1620,"title":1621,"dynasty":150,"author":1622,"museum":61,"description":1623,"tags":1624,"thumbUrl":1625,"material":946,"size":1626,"collection":49,"collections":1627,"showCount":1628,"zanCount":358,"manualWeight":54,"mainColor":55},220891,"qing-xi-long-yue-yu-ma-tu-juan-zhao-meng-fu-220891","青溪龙跃浴马图卷","赵孟頫","图中绘夏日疏林间，奚官在水塘为骏马洗浴纳凉的情景。人物与马各具姿态，生动自然，相互呼应，营造了一个轻松的氛围。人物衣纹流畅，树木坡石勾勒简练，色不掩墨，青绿与浅绛结合，色彩清丽雅致。",[23,117,24,64,25,26,27,66,67,30,33,7,119,100,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7886ceca9be6e9768ee8afb4d0ac6d0.jpg","纵28.5厘米，横154厘米。",[49,51],220,{"id":1630,"slug":1631,"title":1632,"dynasty":18,"author":90,"museum":135,"description":1633,"tags":1634,"thumbUrl":1635,"material":142,"size":142,"collection":142,"collections":1636,"showCount":1637,"zanCount":718,"manualWeight":54,"mainColor":109},228834,"qing-yuan-tu-shen-zhou-228834","清园图","此图绘湖山秋色。\n该图结构严整均衡，局部富于穿插变化，使画面景物参差有致，一派清幽逸趣。\n在用笔上，该图多用秃笔中锋，将勾、皴、擦、点有机配合，实中求虚。\n【名称】《 青园图 》 【年代】明代 【作者】沈周 【简介】长卷，纸本，设色，纵19.1厘米，横188.7厘米。\n旅顺博物馆藏。\n沈周（1427年—159年）明代杰出画家。\n字启南、号石田、白石翁、玉田生、有居竹居主人等，是明中叶画坛上四大艺术家（另三人为文徵明、唐寅、仇英）之一，人称江南“吴门画派”的班首，在画史上影响深远。\n沈家世代隐居吴门，居苏州相城,故里和墓在今相城区阳澄湖镇。\n沈周的曾祖父是王蒙的好友，父亲恒吉，又是杜琼的学生，书画乃家学渊源。\n父亲、伯父都以诗文书画闻名乡里。\n沈周一生家居读书，吟诗作画，优游林泉，追求精神上的自由，蔑视恶浊的政治现实，一生未应科举，始终从事书画创作。\n他学识渊博，富于收藏。\n交游甚广，极受众望，平时平和近人，要书求画者“屦满户外”，“贩夫牧竖”向他求画，从不拒绝。\n甚至有人作他的赝品，求为题款，他也欣然应允。\n有曹太守其人，新屋落成欲图其楹庑，搜罗画家，沈周亦在其中，隶往摄之，沈周曰：“毋惊老母，旦夕往画不敢后”客人颇不平曰：“太守不知先生，何贱先生于此？渴贵游可勿往。\n”沈周答曰：“往役义也，岂有贱哉？谒而求免，乃贱耳。\n”沈周的书画流传很广，真伪混杂，较难分辨。\n文征明因此称他为飘然世外的“神仙中人”。\n沈周在元明以来文人画领域有承前启后的作用。\n他书法师黄庭坚，绘画造诣尤深，兼工山水、花鸟，也能画人物，以山水和花鸟成就突出。\n所作山水画，有的是描写高山大川，表现传统山水画的三远之景。\n而大多数作品则是描写南方山水及园林景物，表现了当时文人生活的幽闲意趣。\n在绘画方法上，沈周早年承受家学，兼师杜琼。\n后来博取众长，出入于宋元各家，主要继承董源、巨然以及元四家黄公望、王蒙，吴镇的水墨浅绛体系。\n又参以南宋李、刘、马、夏劲健的笔墨，融会贯通，刚柔并用，形成粗笔水墨的新风格，自成一家。\n沈周早年多作小幅，4岁以后始拓大幅，中年画法严谨细秀，用笔沉着劲练，以骨力胜，晚岁笔墨粗简豪放，气势雄强。\n沈周的绘画，技艺全面，功力浑朴，在师法宋元的基础上有自己的创造，发展了文人水墨写意山水、花鸟画的表现技法，成为吴门画派的领袖。",[23,24,64,25,94,27,95,97,1177,241,7,119,100,101,76,98,378],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee310328773a26ff40d5f949cac4d0f3.jpg",[],219,{"id":1639,"slug":1640,"title":1641,"dynasty":631,"author":733,"museum":152,"description":1642,"tags":1643,"thumbUrl":1644,"material":47,"size":1645,"collection":105,"collections":1646,"showCount":1637,"zanCount":311,"manualWeight":54,"mainColor":55},218904,"xiao-yi-zhuan-lan-ting-tu-ju-ran-218904","萧翼赚兰亭图","这幅画描绘萧翼赚兰亭图的故事。唐太宗酷爱王羲之、王献之的书法，听说辩才和尚藏有羲之兰亭序真迹，于是派遣御史萧翼设法谋取。翼便以书生的打扮，先与辩才交游，两人常以诗文酬答，情感融洽，渐渐地，辩才对翼不加防备。有一天，趁辩才和尚外出，翼便偷走兰亭真迹",[23,24,225,94,99,95,33,32,7,171,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92f67dfbeda3e115e84b0798018f410e.jpg","144.1x59.6",[105],{"id":1648,"slug":1649,"title":1650,"dynasty":18,"author":90,"museum":135,"description":1651,"tags":1652,"thumbUrl":1653,"material":229,"size":637,"collection":142,"collections":1654,"showCount":1655,"zanCount":11,"manualWeight":54,"mainColor":109},228836,"qiu-jiang-xian-diao-tu-shen-zhou-228836","秋江闲钓图","文征明曾分析沈周画风的演变：“自其少时，作画已脱去家习，上师古人，有所模临，辄乱真迹，然所为率盈尺小景。至四十外始拓为大幅，粗枝大叶，草草而成，虽天真烂发，而规度点染，不若向时精工矣。”论其传统的渊源，主要受老师杜琼、刘珏、赵同鲁和父祖辈的影响，以董源、巨然、元四家为宗，于黄公望、王蒙、吴镇用功尤深，所得也最多。沈周学倪瓒往往用笔过于强劲，落墨亦过于浓重，所追求的并不是倪瓒那种若淡若疏的境界。此作无论从用笔还是构图，都有明显的模仿倪瓒的痕迹。",[23,24,94,99,225,100,119,95,96,255,199,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb61a9be30d5f9b913daebe5f42a2dddf.jpg",[],218,{"id":1657,"slug":1658,"title":1659,"dynasty":18,"author":645,"museum":61,"description":1660,"tags":1661,"thumbUrl":1662,"material":258,"size":1663,"collection":105,"collections":1664,"showCount":1665,"zanCount":718,"manualWeight":54,"mainColor":55},222332,"shi-ming-tu-quan-juan-tang-yin-222332","事茗图全卷","本幅中作者自题：“日長何所事，茗碗自賚持。料得南窗下，清風滿鬢絲。吳趨唐寅。”钤“唐居士”。\n“事茗”姓陈，为王宠友邻，与唐寅交往亦甚密。唐寅以陈氏名号为题作此图，并将“事茗”二字嵌入题诗中。此图布局别出新意，虚实相生，层次分明。近景巨石侧立，巨石墨色浓黑，皴擦细腻，凹凸清晰可辨。屋舍、坡岸淡雅清润，屋中主人临窗品茗，描绘出幽静宜人的理想化的生活环境。透过画面，似可听到潺潺的流水，闻到淡淡的茶香。\n本幅中另有清乾隆御笔题记：“记得惠山精舍里，竹罏沦茗绿杯持。解元文笔闲相仿，消渴何劳玉虎丝。甲戌闰四月雨余，几暇偶展此卷，因摹其意，即用卷中原韵题之，并书于此。御笔。”钤印“古香”白文方、“太缶”朱文方。尾纸陆粲款署：“嘉靖乙未孟秋之吉，平原陆粲著。”钤印“陆氏浚明”白文方、“贞山”朱文方。鉴藏印钤：耿昭忠“丹诚”、“千山耿信公书画之章”、“信公珍赏”、“信公鉴定珍藏”、“琴书堂”、“都尉耿信公书画之章”；耿嘉祚“耿会侯鉴定书画之章”、“耿嘉祚印”、“耿湛恩章”、“湛恩记”、“漱六主人印”；索额图“也园索氏收藏书画”、“长白索氏珍藏图书印”、“九如清玩”、“乐庵”、“乐圣且衔杯”、“御赐忠孝堂长白山索氏珍藏”等诸家印记多方，另有清内府鉴藏诸印。\n清内府《石渠宝笈·初编》卷十五著录。",[23,24,64,25,94,27,95,30,350,33,98,7,100,119,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3579c3ee10391bfe105f8f09fe4d831d.jpg","纵31.1厘米，横105.8厘米",[105,51],217,{"id":1667,"slug":1668,"title":1669,"dynasty":59,"author":477,"museum":281,"description":1670,"tags":1671,"thumbUrl":1672,"material":47,"size":142,"collection":105,"collections":1673,"showCount":1665,"zanCount":11,"manualWeight":54,"mainColor":55},218580,"he-ting-xiao-xia-tu-liu-song-nian-218580","荷亭消夏图","竹影筛风，亭榭浮凉。几竿修竹环绕临水敞亭，亭中素衣人或凭栏观荷，或闲坐展卷，墨香混着竹韵漫开。下方溪流清浅，碎石错落，一士人曳杖徐行，童子负物紧随，身影在树荫与水光间轻晃。山石以细皴晕染，纹理温润如触；竹叶用劲挺笔触勾勒，层次疏密有致。\n\n风过竹梢的沙沙声，溪水叮咚的回响，与亭中人的静默相映，滤去夏日燥热，只留清幽雅致。笔墨细腻却不繁缛，每处细节都藏着宋时文人的闲适——仿佛能隔着千年，触到竹间那缕凉意，窥见他们把暑气酿成诗意的模样。整幅画如同一盏冰茶，入口清润，余味悠长。",[24,117,64,225,26,99,95,30,97,543,7,98,33,173,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f5d87850a086dc74d33f9a716e43966.jpg",[105],{"id":1675,"slug":1676,"title":1677,"dynasty":59,"author":954,"museum":152,"description":1678,"tags":1679,"thumbUrl":1680,"material":47,"size":1681,"collection":105,"collections":1682,"showCount":1683,"zanCount":54,"manualWeight":54,"mainColor":55},219598,"zhu-he-tu-ma-yuan-219598","竹鹤图","若无若有望中迷。独立黄冠仙客携。识赏分明印坤卦。何云为寿赐都提。甲辰（西元一七八四年）仲冬中浣再题。\n不祷自安缘寿骨。人间难得是清名。浅斟仙酒红生颊。永保长生道自成。赐王都提举为寿。\n布景期神弗期格。分明马远署臣名。胎仙近远相鸣和。绘也羲经与注成。甲辰（西元一七八四年）孟冬上浣御题。",[23,24,64,225,94,27,99,543,30,95,119,7,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F905155f3f4ed0840a0e14b1248544c85.jpg","124.3x56.6公分",[105,49],216,{"id":1685,"slug":1686,"title":1687,"dynasty":344,"author":1688,"museum":152,"description":1689,"tags":1690,"thumbUrl":1693,"material":103,"size":1694,"collection":49,"collections":1695,"showCount":1696,"zanCount":589,"manualWeight":54,"mainColor":109},216965,"ba-jiao-mei-ren-tu-xu-liang-biao-216965","芭蕉美人图","许良标","在这幅画中，一位面容姣好的少女坐在湖边的岩石上，手里拿着一把扇子，望着栏杆外的荷花田，陷入沉思。景物清晰，色彩鲜艳，构图上远近透视标准，色彩刻意镂空，可能是受到西方绘画的影响。",[24,117,64,27,26,139,1691,1242,97,32,199,1692,7],"芭蕉","栏杆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe47e4dd41db8abae7aa0d7492be0846b.jpg","171.8x93.9",[49],212,{"id":1698,"slug":1699,"title":1700,"dynasty":18,"author":19,"museum":1164,"description":1165,"tags":1701,"thumbUrl":1703,"material":47,"size":1168,"collection":142,"collections":1704,"showCount":1696,"zanCount":54,"manualWeight":54,"mainColor":55},216357,"xi-xiang-ji-tu-ye-7-chou-ying-216357","西厢记图页-7",[117,24,64,27,26,30,31,7,139,543,39,33,1702],"乐器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c2092ecff88dc4c51551d1cdeaf7c87.jpg",[],{"id":1706,"slug":1707,"title":1708,"dynasty":631,"author":632,"museum":135,"description":1709,"tags":1710,"thumbUrl":1712,"material":229,"size":637,"collection":142,"collections":1713,"showCount":1714,"zanCount":54,"manualWeight":54,"mainColor":640},288512,"shan-xi-dai-du-tu-guan-tong-288512","山溪待渡图","《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。",[117,24,95,94,99,225,98,7,32,97,1711],"林木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34439de5b826ade79e2d3efccdbc4630.jpg",[],211,{"id":1716,"slug":1717,"title":1718,"dynasty":18,"author":90,"museum":135,"description":1098,"tags":1719,"thumbUrl":1721,"material":229,"size":637,"collection":142,"collections":1722,"showCount":1714,"zanCount":11,"manualWeight":54,"mainColor":55},287522,"shu-shan-qin-shu-tu-juan-shen-zhou-287522","蜀山秦树图卷",[23,117,24,25,64,866,94,27,99,170,1711,353,1357,32,7,1720,40,101,100,119],"亭舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F092ad35e202a88d58b87a0f168f8fe23.jpg",[],{"id":1724,"slug":1725,"title":1726,"dynasty":18,"author":19,"museum":1164,"description":1165,"tags":1727,"thumbUrl":1729,"material":47,"size":1168,"collection":142,"collections":1730,"showCount":1714,"zanCount":54,"manualWeight":54,"mainColor":55},216359,"xi-xiang-ji-tu-ye-6-chou-ying-216359","西厢记图页-6",[26,27,332,30,139,31,7,1242,543,97,1692,1728],"池塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F770eb7aaf55cdeaa8253a4ef63c814ab.jpg",[],{"id":1732,"slug":1733,"title":1734,"dynasty":698,"author":1735,"museum":152,"description":1736,"tags":1737,"thumbUrl":1738,"material":47,"size":1739,"collection":105,"collections":1740,"showCount":1741,"zanCount":11,"manualWeight":54,"mainColor":55},214748,"qu-jiang-tu-li-zhao-dao-214748","曲江图","李昭道","李昭道（675年－758年），字希俊，陇西成纪 （今甘肃省秦安县）人。唐朝宗室、画家，唐太祖李虎六世孙，彭国公李思训之子。\n门荫入仕，起家太原府仓曹，迁集贤院直学士，官至太子中舍人。乾元元年，去世，时年八十四岁。\n擅长青绿山水，世称小李将军。兼善鸟兽、楼台、人物，并创海景。画风巧赡精致，虽“豆人寸马”，也画得须眉毕现。由于画面繁复，线条纤细，论者亦有“笔力不及思训”之评。",[117,24,64,25,118,27,26,28,95,31,30,7,35,33,504,69,1288],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F682e2f680d06328c7f09e4666d6122a5.jpg","171.2x111.3",[105],208,{"id":1743,"slug":1744,"title":1745,"dynasty":150,"author":1622,"museum":152,"description":1746,"tags":1747,"thumbUrl":1748,"material":335,"size":1749,"collection":625,"collections":1750,"showCount":1751,"zanCount":718,"manualWeight":54,"mainColor":109},220835,"qian-hou-chi-bi-fu-he-juan-zhao-meng-fu-220835","前后赤壁赋合卷","《前后赤壁赋》又称《赤壁二赋帖》，是元代书法家 于元大德五年创作的行书书法作品。\n此帖是应友人之约而书，为纸本册页，全帖共书八十一行，其中《赤壁赋》四十六行、《后赤壁赋》三十二行，署款三行，并有 像于帖首。\n在此二赋中，原文作者苏轼凭吊古迹，抒发了对江山风物的热爱与旷达的心胸，但是也有对人生虚无的消极思想。\n《前后赤壁赋》中前后二赋为赵孟頫同时所书，风格却略有不同，但该帖总体上分行布白疏朗从容，用笔圆润遒劲，宛转流美，风骨内含，神彩飘逸，尽得魏晋风流遗韵。\n《前后赤壁赋》为广大行书书法爱好者所推崇，是当代热门法帖，被誉为中华十大传世名帖之一。\n《前后赤壁赋》起笔以一拓直下为主，收笔善留。几乎所有笔画起笔都是承接上笔的一拓直下或者露锋入纸，很少藏锋。如《后赤壁赋》第一行的“岁”字，其“山”字头三个竖画起笔都是露锋入纸，下部撤画与横画为一拓直下；“十”字横画起笔也是典型的一拓直下，或者叫做“欲横先竖”。收笔处多意到即止，常用回锋或者短小的出锋。如刚才提到的“十”字，其竖画就是用笔锋轻轻上提收笔；而类似《后赤壁赋》中“少”、“降”字末笔的出锋形态者则比较少见，多数露锋收笔都是如“脱”、“叶”等字那样缩短笔画长度。\n同时，此作品提按丰富，笔锋弹性表现充分。书法笔法不外乎用锋和运笔，这件作品在笔锋的运用上很有特点。首先是用锋。从点画的轻重变化上看，其毛笔锋尖弹性极好，如《赤壁赋》第二行“下”、“清”、“来”、“水”四字笔画轻处如游丝，而于”、“赤”、“风”、“徐”等字则较重，提按对比比较明显。其次为运笔。与张旭、怀素的草书相比，赵孟頫作品运笔速度与节奏的变化显得不是十分突出，但是，如果与颜柳的楷书相比，其变化还是比较明显的。如《赤壁赋》第六行中“水光”、“所如凌”等字运笔速度快，而“接”字以下五字速度较慢，节奏变化小。与此相类似，几乎五六字形成一个段落，往往前两三字运笔速度慢，后两三字运笔速度加快，一段段循环往复，从而形成整幅作品运笔上的变化。\n释文:壬戌之秋，七月既望，苏子与客泛舟游于赤壁之下。清风徐来，水波不兴。举酒属客，诵明月之诗，歌窈窕之章。少焉，月出于东山之上，徘徊于斗牛之间。白露横江，水光接天。纵一苇之所如，凌万顷之茫然。浩浩乎如冯虚御风，而不知其所止；飘飘乎如遗世独立，羽化而登仙。\n于是饮酒乐甚，扣舷而歌之。歌曰：“桂棹兮兰桨，击空明兮溯流光。渺渺兮予怀，望美人兮天一方。”客有吹洞箫者，倚歌而和之。其声呜呜然，如怨如慕，如泣如诉，余音袅袅，不绝如缕。舞幽壑之潜蛟，泣孤舟之嫠妇。\n苏子愀然，正襟危坐而问客曰：“何为其然也？”客曰：“月明星稀，乌鹊南飞，此非曹孟德之诗乎？西望夏口，东望武昌，山川相缪，郁乎苍苍，此非孟德之困于周郎者乎？方其破荆州，下江陵，顺流而东也，舳舻千里，旌旗蔽空，酾酒临江，横槊赋诗，固一世之雄也，而今安在哉？况吾与子渔樵于江渚之上，侣鱼虾而友麋鹿，驾一叶之扁舟，举匏樽以相属。寄蜉蝣于天地，渺沧海之一粟。哀吾生之须臾，羡长江之无穷。挟飞仙以遨游，抱明月而长终。知不可乎骤得，托遗响于悲风。”\n苏子曰：“客亦知夫水与月乎？逝者如斯，而未尝往也；盈虚者如彼，而卒莫消长也。盖将自其变者而观之，则天地曾不能以一瞬；自其不变者而观之，则物与我皆无尽也，而又何羡乎!且夫天地之间，物各有主,苟非吾之所有，虽一毫而莫取。惟江上之清风，与山间之明月，耳得之而为声，目遇之而成色，取之无禁，用之不竭，是造物者之无尽藏也，而吾与子之所共适。”\n客喜而笑，洗盏更酌。肴核既尽，杯盘狼籍。相与枕藉乎舟中，不知东方之既白。\n后赤壁赋:是岁十月之望，步自雪堂，将归于临皋。二客从予过黄泥之坂。霜露既降，木叶尽脱，人影在地，仰见明月，顾而乐之，行歌相答。已而叹曰：“有客无酒，有酒无肴，月白风清，如此良夜何！”客曰：“今者薄暮，举网得鱼，巨口细鳞，状如松江之鲈。顾安所得酒乎？”归而谋诸妇。妇曰：“我有斗酒，藏之久矣，以待子不时之需。”于是携酒与鱼，复游于赤壁之下。江流有声，断岸千尺；山高月小，水落石出。曾日月之几何，而江山不可复识矣。予乃摄衣而上，履谗岩，披蒙茸，踞虎豹，登虬龙，攀栖鹘之危巢，俯冯夷之幽宫。盖二客不能从焉。划然长啸，草木震动，山鸣谷应，风起水涌。予亦悄然而悲，肃然而恐，凛乎其不可留也。反而登舟，放乎中流，听其所止而休焉。时夜将半，四顾寂寥。适有孤鹤，横江东来。翅如车轮，玄裳缟衣，戛然长鸣，掠予舟而西也。\n须臾客去，予亦就睡。梦一道士，羽衣蹁跹，过临皋之下，揖予而言曰：“赤壁之游乐乎？”问其姓名，俯而不答。“呜呼！噫嘻！我知之矣。畴昔之夜，飞鸣而过我者，非子也邪？”道士顾笑，予亦惊寤。开户视之，不见其处。",[23,117,24,64,25,101,138,94,27,30,95,96,7,530,199,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d97a6be3b2a91e08cf6524bf2f30626.jpg","40x196厘米",[625],207,{"id":1753,"slug":1754,"title":1755,"dynasty":150,"author":1622,"museum":61,"description":1756,"tags":1757,"thumbUrl":1760,"material":946,"size":1761,"collection":368,"collections":1762,"showCount":1763,"zanCount":718,"manualWeight":54,"mainColor":55},220867,"qiu-jiao-yin-ma-tu-juan-zhao-meng-fu-220867","秋郊饮马图卷","赵孟頫擅长人马图，总体追求刻意写实，一笔不苟。具体画风有两类：一是宗唐人韩干之法，马尚丰肥，用色华丽，衬以山水树石背景，人、马、景合为一体；一是仿北宋李公麟之作，笔墨清淡，着力于线条，注重描法与形象、质感的统一，不施色彩，以墨代色加以轻染。人马画中的人物均著唐装，风格既具“复古”的唐画之韵，又带浓郁的文人气息，有一定的创新性。\n此图属仿唐人的工笔设色画法。清秋郊野，一唐装圄官在池畔牧马，红色衣袍在大青绿的草坪映衬下显得尤为夺目，有力地突出了主体人物。所率十匹骏马均骨肉停匀，活跃多姿，它们或奔腾追逐，或徐步缓行，或俯首就饮，或引颈长鸣，意态生动。\n此图在布局上富有特色，以中景露地不露天及右开式构图，把平视、仰视、俯视三种造景方式有机地加以揉合，灵活地处理景物，使画面开阔舒展，疏密有致。画法亦将唐人的青绿重彩法与宋以来的文人笔墨法加以融合，别具新意。如人物线描工细劲健，又类似篆籀用笔，古朴中见隽秀；树石、坡陀行笔凝重，勾、皴、破、染并用，工谨中含清逸；青绿、大红重色中又兼施赭石、水墨，于浓丽中显清雅。总体风格行、利相兼，妙、逸并具，精逸技巧与文人雅韵结合，反映了赵孟頫晚年成熟的人马画面貌。",[23,24,64,25,27,26,101,100,66,30,241,1758,1759,7,119],"秋景","草地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F923838da80859608e45f25b27e081087.jpg","纵23.6厘米，横59厘米",[368,51],206,{"id":1765,"slug":1766,"title":1767,"dynasty":344,"author":292,"museum":281,"description":1768,"tags":1769,"thumbUrl":1772,"material":47,"size":1773,"collection":368,"collections":1774,"showCount":1775,"zanCount":11,"manualWeight":54,"mainColor":55},218956,"gui-he-yan-nian-tu-yi-ming-218956","龟鹤延年图","丹顶朱冠，白羽墨翅，仙鹤或昂首引颈似欲唳天，或曲颈垂首若啄苔矶，姿态灵动。修竹挺翠，叶影婆娑，掩映其间；侧畔飞瀑流泉，漱石鸣玉，云雾氤氲如缕，漫笼山隰。笔墨古雅，设色沉朴，仙鹤的灵秀与竹石的清逸相映成趣，流露出祥瑞康宁的意蕴。画面古朴静谧，仿佛将自然生机凝于绢素之上，尽显岁月沉淀下的雅致与吉祥。",[24,26,27,543,1287,1770,7,98,788,1771],"龟","长寿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77cfda5f494d8b62a606671a72d79ae1.jpg","111x54cm",[368],204,{"id":1777,"slug":1778,"title":1779,"dynasty":18,"author":1780,"museum":281,"description":1781,"tags":1782,"thumbUrl":1783,"material":103,"size":1784,"collection":105,"collections":1785,"showCount":1775,"zanCount":311,"manualWeight":54,"mainColor":55},217879,"feng-ye-chun-yu-tu-chen-huan-217879","枫野春雨图","陈焕","枫野春雨图是明朝画家陈焕的著名作品之一。这幅画描绘了一个清新的春天景象，画面中有花开的枫树和悠扬的柳树，还有漫天的淡蓝色的春雨。\n\n陈焕是明朝时期的一位著名画家，他的作品多以山水画见长，枫野春雨图也是其中的杰作。这幅画不仅描绘了自然的美景，还有足够的空间来表达艺术家的情感和思想。枫野春雨图中的春雨表现出了明朝时期人们对自然和谐的向往，而枫树和柳树的生机勃勃则象征着明朝的繁荣和繁茂。\n\n总的来说，枫野春雨图是一幅优美而富有感情的山水画，它不仅展示了陈焕的艺术才华，还反映了明朝时期人们对自然和谐的向往。",[23,24,27,95,26,99,240,901,241,97,96,306,32,7,98,169,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb9b68f66e9d9331884c00f7b78f3e3f.jpg","33.5x65.7cm",[105,51],{"id":1787,"slug":1788,"title":1789,"dynasty":18,"author":292,"museum":135,"description":1790,"tags":1791,"thumbUrl":1792,"material":142,"size":142,"collection":142,"collections":1793,"showCount":1794,"zanCount":589,"manualWeight":54,"mainColor":109},235322,"shen-zhou-xi-shan-wan-zhao-tu-zhou-yi-ming-235322","沈周溪山晚照图轴","此作用高远章法铺陈，上部危崖耸峙，飞泉自谷间垂落，苍劲皴笔勾勒出嶙峋厚重的山石肌理。下部溪岸错落，疏林亭亭，茅舍隐于陂岸之后，淡墨晕染出薄暮空濛之境。\n\n笔墨带着吴门画派的文人情致，枯湿浓淡相宜，简淡中见苍润。诗画合璧，将山居暮色里的幽寂禅意娓娓道来，林泉高致的雅兴融于尺幅，静穆空远，尽显晚照溪山的澹然逸趣。",[24,64,225,94,95,7,168,33,98,1001,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bbddeb071a1e562b0706ec6e36e9088.jp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× 23.8厘米",[105],{"id":1848,"slug":1849,"title":221,"dynasty":150,"author":292,"museum":61,"description":1850,"tags":1851,"thumbUrl":1852,"material":47,"size":1853,"collection":105,"collections":1854,"showCount":1836,"zanCount":11,"manualWeight":54,"mainColor":55},218083,"xi-shan-xing-lv-tu-yi-ming-218083","溪山行旅图是元朝时期的一幅名画，出自佚名画家之手。这幅画描绘了一位旅人在溪山间游玩的情景。\n\n在画面的左侧，可以看到一座小山丘，上面种满了树木。旅人正站在山丘的山顶上，俯视着前方的景色。他手持竹筒，似乎是在欣赏周围的美景。\n\n在画面的右侧，是一条清澈的小溪，溪水潺潺流过。旅人似乎正准备沿着小溪走去，去寻找下一个游玩的地方。\n\n整幅画的画风浑然天成，笔触轻柔，描绘了大自然的美丽景色。这幅画不仅是一幅艺术作品，也是对元朝时期生活的一个精彩纪录。",[24,94,27,99,95,96,98,140,7,170,33,1110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50f2b220aace68ac2f2e8d66ba147f2c.jpg","110.5x176.5cm",[105],{"id":1856,"slug":1857,"title":1858,"dynasty":59,"author":1859,"museum":152,"description":1860,"tags":1861,"thumbUrl":1862,"material":47,"size":1863,"collection":81,"collections":1864,"showCount":1865,"zanCount":718,"manualWeight":54,"mainColor":55},220440,"xian-chou-zeng-qing-tu-li-song-220440","仙筹增庆图","李嵩","这幅画描绘了神山海屋之中列仙相对而坐，童子搬筒筹开算，白鹤翔舞于祥云之上的情景。\n李嵩（1166-1243），宋钱塘（今杭州）人。出身贫寒，年少时曾以木工为业。好绘画，颇远绳墨。被宫廷画家李从训收为养子，承授画技，终成一代名家。宋光宗、宋宁宗、宋理宗三朝（1190―1264）画院待诏，时人尊之为“三朝老画师”。工画人物道释，得从训遗意，尤长于界画。人物画用笔细致，神采奕奕；花鸟画精丽严谨，不觉繁缛呆滞；山水画以意匠经营，情留象外，引人入胜；界画不用界尺，而宫苑楼阁规矩绳墨皆备，不同凡响。绘画题材丰富多彩，从宫廷到民间、从城市到农村、从生产到生活、从吃喝到娱乐、从仙山到龙宫、从历史到现实均在画中有所反映，以反映农村风土和农民生活的居多，所作有精工鲜丽之院体画，作品甚丰，仅著录者就达50多幅。",[23,24,64,225,27,28,26,30,31,32,122,95,33,98,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe070c143a0f3072716b654c698e92135.jpg","175.9×102.7cm",[81,49,51],197,{"id":1867,"slug":1868,"title":1869,"dynasty":150,"author":1153,"museum":152,"description":1870,"tags":1871,"thumbUrl":1872,"material":47,"size":1873,"collection":49,"collections":1874,"showCount":1865,"zanCount":718,"manualWeight":54,"mainColor":55},216989,"peng-lai-xian-hui-tu-hu-ting-hui-216989","蓬莱仙会图","本幅画描绘仙山之中，泉瀑奔泻其间。亭台楼阁沿着山势流泉而筑，有仙人道服持麈，端坐于榻上。石径上、殿阁中，另有仙人游荡徘徊。山石均先用粗笔钩绘轮廓，再以细笔作皴。晕染石青、石绿以外，更佐以泥金，赋彩金碧辉煌，益增仙境之佳妙。旧题订为元代胡廷晖（西元十三世纪后期），画幅右方虽有「胡廷晖制」款，但不真。整体风格，较近于明代中晚期，应系后世能手托名之作。",[117,24,27,28,26,99,95,31,32,30,390,169,97,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02bf4df273b86d68444f76fb893c8d7d.jpg","201.5x121.8",[49,105],{"id":1876,"slug":1877,"title":655,"dynasty":344,"author":808,"museum":135,"description":1878,"tags":1879,"thumbUrl":1880,"material":142,"size":142,"collection":105,"collections":1881,"showCount":1882,"zanCount":11,"manualWeight":54,"mainColor":109},224497,"shan-shui-ce-shi-tao-224497","此作以峡谷江流铺展画卷，春水澹澹载扁舟穿峡而过，舱中旅人静对山光。浅绛轻施晕染山石，清润柔和间见嶙峋风骨，枯笔皴擦点染枯枝，苍劲朴拙，与柔缓水色相映成趣。\n题诗伴画，将羁旅闲愁融进山岚烟波，画随诗添寂廖清旷之致。笔意灵动不拘一格，以淡墨轻岚晕开早春空蒙水雾，把文人隐逸襟怀寄寓在山水间，简淡画面中藏着悠长余韵，尽得山水写意之妙。",[23,24,27,94,99,332,95,96,7,98,140,256],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe13ec00a8f9b85ce3fb668f29eabc877.jpg",[105,51],194,{"id":1884,"slug":1885,"title":1886,"dynasty":18,"author":19,"museum":489,"description":1887,"tags":1888,"thumbUrl":1889,"material":188,"size":1890,"collection":105,"collections":1891,"showCount":1892,"zanCount":718,"manualWeight":54,"mainColor":109},222211,"xun-yang-song-bie-tu-chou-ying-222211","浔阳送别图","该画画面主体部分描绘舟泊江畔的情景，面以青绿山水作为主调，工细的人物穿插其间。山石无皴法，仅以勾着色近用草绿，渐为石绿青，水均作白一鳞纹，虽山勒略为板重，却表现出精装饰之美。\n该画描绘白居易骑着白马到浔阳江边送客，忽闻琵声，主人下马，归舟不发面二舟并列，一舟华丽肃当为白居易送客之行舟一小舟隐约于山石树丛徽露船头，应是商人之妇船。远处是开阔的江面，投射在江心，一片静谧寂画面上群山及远处的村隐没在山岚夜雾间，林木由黄转朱，正是秋天景色。\n卷尾款“实父仇英制”。",[23,24,64,25,118,27,26,101,100,95,96,30,97,7,32,31,33,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F921ac539921535935fc5c4ffdadb5838.jpg","纵33.6厘米，横399.7厘米",[105,51],193,{"id":1894,"slug":1895,"title":1896,"dynasty":150,"author":1897,"museum":152,"description":1898,"tags":1899,"thumbUrl":1900,"material":213,"size":1901,"collection":105,"collections":1902,"showCount":1892,"zanCount":370,"manualWeight":54,"mainColor":55},221737,"lu-yu-peng-cha-tu-zhao-yuan-221737","陆羽烹茶图","赵原","此画远山绵延起伏，近山巍峨，山水清幽，布局重山复水，水势承“之”字形环绕，营造出百转千回的气势。近处广水，有茅草屋临水而筑，四面草木繁盛，曲径通幽处一条小道延伸出画面，仿佛此处隐秘于山林间。阁内一人，扶膝踞坐于榻上，应为陆羽，一童子拥炉烹茶跽于一侧。作者自题“陆羽烹茶图”，并题诗一首：山中茅屋是谁家，兀坐闲吟到日斜。俗客不来山鸟散，呼童汲水煮新茶。",[23,24,64,25,94,99,95,97,32,7,33,30,119,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b14feb1420536bbcb35a3eaba1a7c54.jpg","纵：27厘米，横：78厘米",[105,83],{"id":1904,"slug":1905,"title":1906,"dynasty":18,"author":1907,"museum":20,"description":1908,"tags":1909,"thumbUrl":1910,"material":47,"size":142,"collection":49,"collections":1911,"showCount":1892,"zanCount":11,"manualWeight":54,"mainColor":109},214853,"lan-ting-sheng-jing-tu-qian-gong-214853","兰亭胜景图","钱贡","钱贡（1235年～1314年）是明朝时期的画家，他的作品《兰亭胜景图》被认为是明朝画家中最杰出的作品之一。《兰亭胜景图》是一幅巨幅山水画，画面中描绘了兰亭序中所描述的风景。画中的山水景色优美，山峦起伏，水流潺潺，树木葱茏，景致十分优美。钱贡使用了自然色彩，并运用了很多技巧来表现山水的细节和神韵。此外，他还使用了大量的线条来勾勒出画面中的山峰、岩石和树木，使得画面更加立体。《兰亭胜景图》是钱贡最著名的作品，被认为是明朝画家中最杰出的作品之一。",[23,24,64,25,94,27,26,99,95,30,97,32,7,33,854,100,1246],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9efdffc694b35b2a9fe0995728b86130.jpg",[49],{"id":1913,"slug":1914,"title":1915,"dynasty":344,"author":1916,"museum":91,"description":1917,"tags":1918,"thumbUrl":1919,"material":335,"size":1920,"collection":105,"collections":1921,"showCount":1922,"zanCount":11,"manualWeight":54,"mainColor":109},219857,"ba-jing-shan-shui-tu-gong-xian-219857","八景山水图","龚贤","这一卷山水，全卷共分八段，绘江南湖光潋滟、烟雨朦胧之色。卷内，水墨，设色之景相互穿插，较为全面的展现出龚贤山水画的多种面貌。\n龚贤画山水，用墨以层层积墨见长，虽不用泼墨，效果却极强烈，具有浑厚、苍秀、沉郁的独特风格，成功地表现了江南山水茂密、滋润、幽深的特征。",[24,117,64,94,99,95,32,7,97,390,350,171,168,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F755626b038e7687bb9727373859aa345.jpg","24.4x49.7厘米",[105],191,{"id":1924,"slug":1925,"title":1926,"dynasty":150,"author":1622,"museum":61,"description":1927,"tags":1928,"thumbUrl":1929,"material":273,"size":1930,"collection":105,"collections":1931,"showCount":1932,"zanCount":718,"manualWeight":54,"mainColor":55},214659,"shui-cun-tu-zhao-meng-fu-214659","水村图","这幅卷轴是大德六年（1302年）画的，当时赵孟頫49岁，这是他最后一件有可靠年代的作品。赵孟頫用水墨写江南水乡的平坦开阔，从笔墨到构图都受到董源的影响，但董源的画风已经完全融入了赵孟頫的个人风格，表现得毫不突兀。山是用披麻皴画的，风景以平远的形式展开。渴笔较多，笔触松散、细微，写 的感觉强烈，体现了书法的审美情趣。艺术家通过风景来表达他的感情，表达了一种平静的心境和对 平凡的纯真 的追求。这幅画的意义在于它对元代绘画独特风格的形成产生了较大的影响，表明赵孟頫在确立元、明、清三代文人画的潮流中发挥了重要作用。",[23,24,25,94,95,99,100,32,7,96,140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fe155c8611d2660be5cb2e30167916f.jpg","24.9x120.5",[105],188,{"id":1934,"slug":1935,"title":1936,"dynasty":59,"author":164,"museum":152,"description":1937,"tags":1938,"thumbUrl":1940,"material":47,"size":1941,"collection":81,"collections":1942,"showCount":1943,"zanCount":718,"manualWeight":54,"mainColor":55},219430,"shan-zhuang-gao-yi-zhou-guo-xi-219430","山庄高逸轴","此图绘重峦峻岭，林木枯树，交错布列，楼阁村肆，环山抱水，景致宜人。构图以中央主峰为中心，画山石以宗北宋郭熙之云头皴为主，辅以董巨之短披麻，林木则呈蟹爪树法，画法可谓纯熟老练。貌虽似郭熙，然景物过于繁复琐碎，缺乏宋人撷取自然景物之写实精神与画法。",[24,117,225,95,94,99,98,255,31,32,7,96,168,1939,333],"村舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bde623440bfbc5ce33c5d2934788c7b.jpg","188.8x109.1",[81],187,{"id":1945,"slug":1946,"title":1947,"dynasty":18,"author":1948,"museum":135,"description":1949,"tags":1950,"thumbUrl":1951,"material":142,"size":142,"collection":142,"collections":1952,"showCount":1953,"zanCount":358,"manualWeight":54,"mainColor":55},228905,"lan-ting-xu-juan-quan-juan-wen-zheng-ming-228905","兰亭序卷全卷","文徴明","此作书画合璧，意韵悠然。设色山水清丽秀雅，层岩叠壑间松荫浓郁，曲溪萦回，茅亭内雅客清谈，将兰亭修禊的幽雅致趣融于林泉之间，尽显古雅文心。\n书法兼具行楷题跋与集字奇构：题跋笔致秀润端劲，尽显温润秀逸的吴门风神；集字兰亭排布巧思独具，别出新意。鉴藏朱印错落铺陈，为整卷更添古雅厚重之感，将晋人雅集的文思与明代文人的审美意趣相融无间。",[23,24,64,25,27,95,101,99,26,97,32,7,33,30,119,271],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7122d5b6c8e477bd2e66f1602a2f182d.jpg",[],184,{"id":1955,"slug":1956,"title":1957,"dynasty":631,"author":632,"museum":152,"description":1958,"tags":1959,"thumbUrl":1961,"material":103,"size":1962,"collection":105,"collections":1963,"showCount":1964,"zanCount":311,"manualWeight":54,"mainColor":55},219079,"shu-shan-zhan-dao-tu-guan-tong-219079","蜀山栈道图","峭壁摩天，层岩叠嶂间，栈道蜿蜒如丝，隐现于苍松古木与飞瀑流泉之中。山石以劲挺线条勾勒，皴法厚重，尽显蜀道之险；树木枝干虬曲，若蟹爪伸展，苍劲中透出野趣。云雾轻笼山腰，虚实相生，拓展了山川的深远之境。行人于栈道上渺小如蚁，步履蹒跚，更衬出自然的雄奇与旅途的艰辛。整幅画作笔墨沉雄，意境苍茫，既展现了蜀山的磅礴气势，又暗含着对行路者坚韧精神的咏叹，尽显北方山水画派的沉郁风骨与自然之趣。山石的坚凝质感与树木的丰茂生机相映，飞瀑的动态与栈道的静穆相衬，于险峻中藏幽致，于苍茫里见精微，是一幅兼具视觉冲击力与情感共鸣的山水佳作。",[23,24,117,95,225,99,27,171,33,72,96,1960,97,140,7],"栈道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0408dd0331dcb9e6afcfd9169a592184.jpg","140.4x66.6",[105],183,{"id":1966,"slug":1967,"title":1968,"dynasty":59,"author":60,"museum":61,"description":62,"tags":1969,"thumbUrl":1970,"material":79,"size":80,"collection":142,"collections":1971,"showCount":1972,"zanCount":54,"manualWeight":54,"mainColor":55},232940,"qing-ming-shang-he-tu-juan-zhang-ze-duan-232940","清明上河图卷",[23,117,24,64,25,26,28,27,30,31,32,7,65,66,67,241,36,34,76,72,69,42,40,37,38,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f05d58052a2ead98a4c56702572a1ed.jpg",[],181,{"id":1974,"slug":1975,"title":1976,"dynasty":18,"author":90,"museum":135,"description":1977,"tags":1978,"thumbUrl":1979,"material":142,"size":142,"collection":142,"collections":1980,"showCount":1981,"zanCount":11,"manualWeight":54,"mainColor":109},228913,"zhu-lin-tu-shen-zhou-228913","竹林图","此作以清和笔调铺展水村居境，汀洲之上屋舍错落，竹树环合，幽人静居于内，远山叠石皴法苍润，林木点染清逸。水墨晕染间，江南水滨的空寂雅趣漫溢而出。\n\n左侧题诗与画境相生相契，诗书画印浑融一体，将林下忘机的隐逸襟怀寄于湖山烟霭中。笔致温厚平宁，无一丝奇峭锋芒，恰如诗文所书的清修之态，把文人优游泉石、守拙安闲的意趣缓缓铺陈，淡朴的底色里藏着沉静自足的文人心境，尽显文人画以画载情、诗画共生的意韵。",[23,18,24,64,25,27,94,99,95,543,76,33,98,32,7,100,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadb9ece674ed91c675c84612a3765b50.jpg",[],180,{"id":1983,"slug":1984,"title":1985,"dynasty":18,"author":19,"museum":152,"description":1986,"tags":1987,"thumbUrl":1989,"material":213,"size":1990,"collection":142,"collections":1991,"showCount":1981,"zanCount":54,"manualWeight":54,"mainColor":55},228437,"shang-lin-fu-tu-juan-chou-ying-228437","上林赋图卷","此幅图写司马相如上林赋意，卷末并附有署文徵明款之隶书全文。相如此赋乃为献汉武帝而作，以华美靡丽之词句，铺陈颂扬皇家园囿上林苑之堂皇富丽，与天子射猎场面之壮阔伟盛。画中极力描绘各种水陆神兽、奇花异卉，宫殿巍耸，人马迤逶，以见天子声威之浩大。人马树石造型精谨，用笔工细，设色浓豔亮丽，与赡丽之赋文相辉映。此类工笔重设色青绿山水常被标为仇英作品，但应为后人所伪托",[23,24,117,64,25,118,27,26,95,30,31,390,122,98,33,348,1988,39,7],"近山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c9816e974a23c3473ddacef5f4392ab.jpg","44.8x1208",[],{"id":1993,"slug":1994,"title":1995,"dynasty":150,"author":710,"museum":152,"description":1996,"tags":1997,"thumbUrl":1999,"material":103,"size":2000,"collection":105,"collections":2001,"showCount":1981,"zanCount":11,"manualWeight":54,"mainColor":109},220808,"ju-qu-lin-wu-zhou-wang-meng-220808","具区林屋轴","此幅林画面的此署署名是王蒙以隶书题的「具具」四字，底下明为章画，具区的古时太湖的旧称，故图所表现的是太湖一代的景色。\n全图除了溪石之外，几乎被山石、树木、林间茅舍补充的没有轮廓，这种风格的构图方式在中国流淌的绘画作品中极为重要，开拓出国画构图之奇境。\n王大湖山中截面积，提炼加工，组织这幅极富生活情趣的画面：右富一坡角，数株大并列蒙其间，林下有高士临水而坐，犹如正摄着着橱窗的广告。\n水波荡漾，一人悠闲的划着小船；对岸山脚下，草亭临水而建，一人坐其间看书；山间小路迂回，曲径通幽，数栋屋宇内参差落于山谷，有妇女活动其间。\n内山石用「牛毛皴」与解索皴」干笔皴擦，多曲折旋转之笔，以突显出太湖中央山石的颜色；染则用墨与色直接染，丹崖碧树，一派秋日山水景象。",[23,24,64,225,27,95,99,98,7,33,31,724,173,1998],"木屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc40016c952c57aef101aaa6107539940.jpg","该幅68.7x42.5公分，诗塘25.2x42.2公分，全幅74.3公分",[105,51],{"id":2003,"slug":2004,"title":2005,"dynasty":59,"author":209,"museum":152,"description":2006,"tags":2007,"thumbUrl":2009,"material":47,"size":2010,"collection":81,"collections":2011,"showCount":1981,"zanCount":718,"manualWeight":54,"mainColor":55},218917,"guan-pu-tu-xia-gui-218917","观瀑图","画中的笔触平静而简练，水墨淋漓。近景突出，构图层次分明，实与虚、疏与密、远与近、开与合的对应关系明显，人物、树木、岩石的指向都是一步步画出来的，自然景物的细节更多是叠加的。这可能与夏圭的典型风格略有不同。",[23,24,94,27,1551,99,95,390,168,2008,98,97,7],"小船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda09cc87c5f596f8d71593807efe86cf.jpg","24.7x25.7",[81],{"id":2013,"slug":2014,"title":2015,"dynasty":344,"author":457,"museum":91,"description":458,"tags":2016,"thumbUrl":2017,"material":47,"size":142,"collection":142,"collections":2018,"showCount":1981,"zanCount":54,"manualWeight":54,"mainColor":109},214610,"hong-lou-meng-ren-wu-ce-ye-2-yu-lan-214610","红楼梦人物册页-2",[24,27,26,332,101,100,28,97,543,30,139,7,98,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17f5029b6dd2fd7aaf133fd9faf6ce40.jpg",[],{"id":2020,"slug":2021,"title":2022,"dynasty":2023,"author":2024,"museum":135,"description":2025,"tags":2026,"thumbUrl":2031,"material":229,"size":637,"collection":142,"collections":2032,"showCount":2033,"zanCount":11,"manualWeight":54,"mainColor":55},230600,"the-spring-an-ge-er-230600","The Spring","不详","安格尔","让·奥古斯特·多米尼克·安格尔（法语：Jean Auguste Dominique Ingres，1780年8月29日－1867年1月14日）是法国画家，新古典主义画派的最后一位代表人物，他和浪漫主义画派的杰出代表欧仁·德拉克罗瓦之间的著名争论震动了整个法国画坛。",[2027,2028,2029,139,7,2030],"油画","新古典主义","人物画","陶罐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafcaa348cd98c36cbc83e05f518f7544.jpg",[],179,{"id":2035,"slug":2036,"title":2037,"dynasty":631,"author":2038,"museum":152,"description":2039,"tags":2040,"thumbUrl":2046,"material":142,"size":142,"collection":142,"collections":2047,"showCount":2033,"zanCount":718,"manualWeight":54,"mainColor":55},226697,"jiang-xing-chu-xue-tu-quan-juan-zhao-gan-226697","江行初雪图全卷","赵干","《江行初雪图》是五代时期画家赵干创作的一幅绢本水墨设色画作，现收藏于台北故宫博物院。\n《江行初雪图》全卷描写长江沿岸渔村初雪情景。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。",[23,117,24,64,25,27,26,2041,255,2042,96,306,7,30,2043,1079,2044,256,2008,2045],"江岸","芦苇","寒林","初雪","水草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffea9bf6aaac2d8f3ea6e83d5b869ee5c.jpg",[],{"id":2049,"slug":2050,"title":2051,"dynasty":59,"author":921,"museum":152,"description":2052,"tags":2053,"thumbUrl":2054,"material":213,"size":2055,"collection":81,"collections":2056,"showCount":2033,"zanCount":54,"manualWeight":54,"mainColor":55},221295,"lin-wang-wei-wang-chuan-tu-guo-zhong-shu-221295","临王维辋川图","郭忠恕(？-977)五代末期至宋代初期的画家，〔北宋〕字恕先，又字国宝，洛阳(今属河南)人 。\n兼精文字学、文学，善写篆、隶书和“八分体”，以楷书最为著名。 尤其“界画”为世人推重。“界画”是随着山水画发展而派生的一科，主要是画与山水画中有关的亭台楼阁、舟船车舆。《圣朝名画评》中评他的界画，为“一时之绝”，列为“神品” 。\n工书，诸体皆能。曾有人得鸟迹篆，忠恕一见辄诵如宿习。清刘熙载《艺概.书概》称：“忠恕以篆古之笔溢为分隶，独成高致。”传有《三体阴符经》、《汗简》、《佩觽》等书。其画风画技在当时和后世有较大影响。",[23,117,24,64,25,29,28,26,27,95,31,32,7,96,97,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9412112e9f8005e3d515619ffe65d029.jpg","幅30.5x368.5公分，隔水一8.5公分，引首30.5x84公分，隔水二8公分，隔水三1.5公分，拖尾 30.5x279公分，隔水四1.7公分，隔水五8.9公分",[81,105,83],{"id":2058,"slug":2059,"title":2060,"dynasty":18,"author":387,"museum":152,"description":2061,"tags":2062,"thumbUrl":2063,"material":273,"size":2064,"collection":105,"collections":2065,"showCount":2066,"zanCount":311,"manualWeight":54,"mainColor":109},219517,"lan-ting-xiu-xie-tu-wen-zheng-ming-219517","兰亭修褉图","以淡墨白描晕染兰亭雅集，层峦叠嶂纵立画面，古松虬枝苍劲，环护着溪畔兰亭。曲水蜿蜒流淌，士人列坐其侧，或把盏沉吟，或挥毫题咏，将永和雅事鲜活铺展。\n\n笔墨清隽秀雅，山石勾勒细劲简洁，淡皴轻染晕出山林幽寂，尽显内敛雅致的吴门意趣。绢素之上凝住魏晋林下风流，以极简水墨铺陈出旷远清幽的雅集氛围，藏着对古贤风雅的追慕，笔端浸满书卷清韵，将千载前的林下雅兴，晕染成隽永的丹青意趣。",[24,64,225,94,27,95,30,97,7,33,98,119,100,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37ad5f5c5fbcf8cbdb86cdfd03b879c3.jpg","140.3x73.2",[105],176,{"id":2068,"slug":2069,"title":2070,"dynasty":344,"author":2071,"museum":20,"description":2072,"tags":2073,"thumbUrl":2076,"material":47,"size":2077,"collection":49,"collections":2078,"showCount":2079,"zanCount":311,"manualWeight":54,"mainColor":55},219728,"kang-xi-nan-xun-tu-juan-san-zhi-ji-nan-zhi-tai-shan-wang-hui-219728","康熙南巡图卷三之济南至泰山","王翚","《康熙南巡图》第三卷描绘康熙南巡至山东境内的情景。画面开始为丘陵地带，一座城池出现在众山环抱之中，此即济南府，康熙在城墙上视阅，随从若干，城门大开，南巡的先行骑兵正从城里出发，行进于绵延的山丘之间，山势雄伟，草木葱茏。队伍翻山过、河，穿过村落，群山逐渐高耸、险峻，画面出现了泰安州和泰山，康熙率扈从诸臣到泰山致礼。过泰山后，山势略趋平缓，画面至蒙阴县止。",[23,24,25,26,27,99,95,30,31,32,7,97,33,2074,2075,43,66,72,170,169],"山脉","村庄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dc011338cc729f142df0823217c6b83.jpg","纵67.8厘米，横1393厘米",[49,105],175,{"id":2081,"slug":2082,"title":2083,"dynasty":150,"author":2084,"museum":91,"description":2085,"tags":2086,"thumbUrl":2087,"material":47,"size":2088,"collection":105,"collections":2089,"showCount":2079,"zanCount":589,"manualWeight":54,"mainColor":55},218240,"qiu-jiang-chui-diao-tu-sheng-mao-218240","秋江垂钓图","盛懋","秋江如练，薄雾轻笼远岫，山峦以赭石与青绿晕染，层次叠嶂间透着古雅。苍树虬枝斜倚江畔，枝干间点点残叶暗合秋意，笔墨工致中见清逸，线条勾勒树石之态兼具刚柔。江畔隐者抱膝而坐，垂纶于澄江之上，身影与秋水长天相融，似已忘尘。右侧茅舍旁，一樵者负薪而过，添得江野生趣。整幅画静谧悠远，将元代文人的林泉之志凝于尺幅，笔墨间流淌着清寂与悠然，引人沉醉于这秋江垂钓的闲逸之境。",[24,64,95,27,118,99,30,7,96,306,256,140,1397,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60dc44d3fbd45554e56a94f4390b8090.jpg","21.6x22.6cm",[105],{"id":2091,"slug":2092,"title":2093,"dynasty":698,"author":2094,"museum":152,"description":2095,"tags":2096,"thumbUrl":2098,"material":188,"size":2099,"collection":105,"collections":2100,"showCount":2101,"zanCount":718,"manualWeight":54,"mainColor":55},219042,"jiang-gan-xue-yi-tu-juan-wang-wei-219042","江干雪意图卷","王维","这幅画描绘了冬天的河边村庄，雪覆盖了大地，树叶枯萎了，大雁飞过天空，给寂静的村庄带来了活力。卷轴上有四个题字，包括沈周、王鏊（1450-1524）、董其昌和顾从德的题字。王鏊是明代著名的大臣和文学家，他在朝廷任职三十年，为人正直，头脑清晰。后来他回到了苏州，成为一个博学多才的作家，写出了《震泽集》。沈周比王鏊大二十三岁，两人是难忘的朋友，在弘治九年（1496年）文林（文征明的父亲）的宴会上第一次见面，此后诗画成缘，歌声不断。沈周去世后，王鏊写了《石田先生墓志铭》。",[23,24,64,25,94,99,100,101,2097,95,255,32,7,96,306,97,122],"雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ac7c35d3e1ee2820f169b402774623c.jpg","24.8x162.8",[105],172,{"id":2103,"slug":2104,"title":2105,"dynasty":59,"author":954,"museum":152,"description":2106,"tags":2107,"thumbUrl":2108,"material":2109,"size":2110,"collection":81,"collections":2111,"showCount":2112,"zanCount":54,"manualWeight":54,"mainColor":109},218868,"he-gan-xu-ge-tu-ma-yuan-218868","河干虚阁图","这幅画描绘了一个站在河岸桂花树下的亭子，远处的柳树岸上有一个雕花的栅栏和一个月亮。这幅画在笔法和形式上都是马远的典型风格。",[23,24,1551,95,28,31,33,98,99,94,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78455ff7832d3c26e3468c39f388dd57.jpg","设色,绢本","22.1x24.3",[81],171,{"id":2114,"slug":2115,"title":2116,"dynasty":150,"author":1622,"museum":2117,"description":2118,"tags":2119,"thumbUrl":2122,"material":47,"size":2123,"collection":105,"collections":2124,"showCount":2125,"zanCount":589,"manualWeight":54,"mainColor":55},218439,"song-shui-ou-meng-tu-zhao-meng-fu-218439","松水鸥盟图","沃雪斋","远处山峰高耸，云雾缭绕，近处河面宽阔，岸边三个高大粗壮的白衣古松文士坐在树荫下，悠闲地望着两只白鸥在芦苇和水面之间相互呼应。人物面容古雅，衣冠楚楚，笔墨沉雄。",[23,24,64,2120,27,118,95,390,7,2121,30,98,1428],"元代","鸥鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54c8c63b2cb7b75579753f1fc9c80340.jpg","150x95cm",[105],170,{"id":2127,"slug":2128,"title":2129,"dynasty":18,"author":90,"museum":61,"description":363,"tags":2130,"thumbUrl":2131,"material":258,"size":366,"collection":142,"collections":2132,"showCount":2133,"zanCount":718,"manualWeight":54,"mainColor":109},233840,"wo-you-tu-ce-qiu-jing-shan-shui-shen-zhou-233840","卧游图册－秋景山水",[117,24,64,332,94,99,95,241,98,32,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F904338a5938de41cde644a080fbf2525.jpg",[],165,{"id":2135,"slug":2136,"title":2137,"dynasty":344,"author":808,"museum":135,"description":1231,"tags":2138,"thumbUrl":2139,"material":142,"size":142,"collection":105,"collections":2140,"showCount":2141,"zanCount":311,"manualWeight":54,"mainColor":109},237928,"yuan-ji-shan-shui-tu-zhou-shi-tao-237928","原济山水图轴",[24,94,99,225,64,100,101,119,95,32,7,33,76,30,98,168,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfa72c6c88f5d950dcb00da4e61fa4c0.jpg",[105,83],162,{"id":2143,"slug":2144,"title":2145,"dynasty":18,"author":19,"museum":135,"description":2146,"tags":2147,"thumbUrl":2148,"material"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现存世作品《清明上河图》有多本传为仇英所作，除此卷外，另有青州市博物馆藏本 ，台北故宫博物院藏本 ，以及多本流落私人之手。而辽宁省博物馆藏的此卷《清明上河图》，流传有绪，现学术界一般认为其为仇英真迹。\n此卷《清明上河图》参照了张择端《清明上河图》的构图形式，采用青绿重设色方式，描绘明代苏州城的社会生活情景，画中人物超过两千，且都神态各异，栩栩如生。整个画面工整细腻，色彩鲜艳，典雅清丽，工而不板，细而不繁，妍而不媚。\n此卷《清明上河图》代表了后世《清明上河图》题材创作的典型风格和最高水平。既是中国古代绘画史上承前启后的风俗巨作，也是研究明代中后期社会生活和文化史的有力图证。",[117,24,25,27,26,30,31,32,7,503,66,44],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8286e97dc6c0f4fdbe8f31d7811db1c6.jpg",[],159,{"id":2152,"slug":2153,"title":2154,"dynasty":18,"author":251,"museum":152,"description":2155,"tags":2156,"thumbUrl":2158,"material":188,"size":2159,"collection":105,"collections":2160,"showCount":2150,"zanCount":311,"manualWeight":54,"mainColor":55},222599,"bai-yun-hong-shu-tu-zhou-lan-ying-222599","白云红树图轴","此幅用没骨法以石青、石绿色画山石，用朱砂画小草，树叶也用浓艳的红、黄、青、绿没骨点出，云用白粉渲染。画面色彩浓重丰富，却又典雅清新。自识“张僧繇没骨法”，实为画家自己独创的画风，此幅为蓝瑛青绿重彩画的代表作。",[23,24,225,118,27,99,95,2157,1813,98,7,32,30,390,169],"白云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56139497977653ee9c9be5bfb32552a0.jpg","纵189.4厘米，横48厘米",[105,51],{"id":2162,"slug":2163,"title":2164,"dynasty":344,"author":808,"museum":316,"description":2165,"tags":2166,"thumbUrl":2167,"material":103,"size":2168,"collection":142,"collections":2169,"showCount":2150,"zanCount":54,"manualWeight":54,"mainColor":109},214891,"shan-shui-tu-ce-2-shi-tao-214891","山水图册-2","大英博物馆在1965年7月购进的这套八开本《山水图》册是一件相当出色的石涛真迹精品。\n该图分别画夜泊采石太白楼下、游浦汀溪、登灵隐飞来峰、登雨花台、登岳阳楼、登幕山大观亭、登天印山、访东山等八景，涉及苏、浙、皖三地的名胜，亦可谓是“搜尽奇峰汇成册”，这个时期，他已从新安画派集中表现黄山险境的格局中脱离了出来，更加注重广取博揽天下有特性的景物。其画渐渐趋于老，行笔凝重沉静，用花青、赭石轻轻淡染，顿显生机；其构图巧用“Z”形和“S”形，十分灵活且紧凑，变化自然，动感鲜明，景象开阔深邃，令人遐想无限。",[23,24,94,99,332,95,7,96,609,33,98,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd319f48bef574dd573647e67866a3b95.jpg","20.3x27.5cm",[],{"id":2171,"slug":2172,"title":2173,"dynasty":18,"author":90,"museum":329,"description":330,"tags":2174,"thumbUrl":2175,"material":335,"size":336,"collection":142,"collections":2176,"showCount":2177,"zanCount":54,"manualWeight":54,"mainColor":262},220054,"hu-qiu-shi-er-jing-tu-ce-12-shen-zhou-220054","虎丘十二景图册-12",[23,24,64,332,94,99,95,30,97,140,171,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa383fa869df823cb3cac0c8fd9a89814.jpg",[],157,{"id":2179,"slug":2180,"title":2181,"dynasty":344,"author":292,"museum":61,"description":2182,"tags":2183,"thumbUrl":2185,"material":946,"size":2186,"collection":142,"collections":2187,"showCount":2188,"zanCount":54,"manualWeight":54,"mainColor":109},236167,"yong-zheng-shi-er-yue-xing-le-tu-yi-ming-236167","雍正十二月行乐图","这是一组表现雍正皇帝日常生活的作品，按春、夏、秋、冬四季十二个月的顺序排列，分别为“正月观灯”、“二月踏青”、“三月赏桃”、“四月流觞”、“五月竞舟”、“六月纳凉”、“七月乞巧”、“八月赏月”、“九月赏菊”、“十月画像”、“十一月参禅”和“腊月赏雪”。每幅图轴纵188.2厘米，横102.2厘米。从描绘的景物判断，表现的对象应为圆明园。\n画面以山水楼阁为主，建筑描绘细腻，其中既有中式园林建筑，又有西式亭台楼阁，更有中西合璧者，画面的景观可能是画家以圆明园的建筑结合自己的想象而创作的。圆明园是雍正作皇子时的封赐，他解释说“圆明园”的赐名大有深意：“圆而入神，君子之时中；明而普照，达人之睿智也。” 雍正三年（1725年）八月圆明园兴修一新之后，雍正皇帝经常在园中居住并在此办理公务，他明谕百官“每日办理政事与宫中无异”。这十二幅行乐图展现了其在圆明园生活的各个场景，也表现了十二个月的不同节令风俗。",[24,64,118,27,26,95,31,32,7,97,30,33,1242,98,378,1728,1692,2184,39],"回廊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17f46d3839b07177a70d7da8fa87ed26.jpg","纵188.2厘米，横102.2厘米",[],156,{"id":2190,"slug":2191,"title":2192,"dynasty":18,"author":19,"museum":61,"description":2193,"tags":2194,"thumbUrl":2197,"material":946,"size":2198,"collection":105,"collections":2199,"showCount":2188,"zanCount":718,"manualWeight":54,"mainColor":109},222215,"lian-xi-yu-yin-tu-zhou-chou-ying-222215","莲溪鱼隐图轴","此图写江南水乡景色，平远山水。画清溪水田，绿树成荫，岸边一院落，院外有高士携书童远眺，悠然自得，远处云山起伏，真实地再现了江南渔村恬静安乐的生活情景。布景清远疏旷，笔法工整而有潇洒之趣。图未署年款，从作品款识和绘画风格分析，应为画家晚年精品之作。曾为清代梁清标、安仪周、吴舜昇等人鉴藏。\n仇英的绘画以“秀雅纤丽”的院体风格著称，而在华贵富丽中又带有一种飘逸优雅的气息。仇英的这种画风是受沈周、文徵明等文人画家的影响再加上他自己深厚的临古功力而形成的，蕴含着浓重的文人情趣，与文人画家的书斋山水在情调上有相合之处。",[23,24,64,117,225,27,26,95,33,76,2195,7,96,119,2196],"田野","渔隐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bde991eb8229865f5a2907eae42422a.jpg","纵126.5cm，横66.cm。",[105,51],{"id":2201,"slug":2202,"title":2203,"dynasty":59,"author":222,"museum":135,"description":2204,"tags":2205,"thumbUrl":2207,"material":229,"size":637,"collection":142,"collections":2208,"showCount":2209,"zanCount":718,"manualWeight":54,"mainColor":640},289985,"lin-liu-du-zuo-tu-fan-kuan-289985","临流独坐图","《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。",[117,24,64,95,94,99,170,98,1711,2206,7],"小屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46c82f81787e5b0d6aa5b30a4e34620d.jpg",[],155,{"id":2211,"slug":2212,"title":2213,"dynasty":18,"author":90,"museum":152,"description":2214,"tags":2215,"thumbUrl":2216,"material":103,"size":2217,"collection":142,"collections":2218,"showCount":2219,"zanCount":11,"manualWeight":54,"mainColor":55},231379,"chun-hua-zhou-jin-tu-shen-zhou-231379","春华昼锦图","春日山林中，两位文士饮罢酒宴，骑马而归，侍童挑著书担尾随於後。全作的人物、山石、林木和屋舍，用笔疏放。在山巅处且以浓密的苔点增缀，表现春天草木滋发的意象。该作虽有沈周的款题，然笔法略显板滞柔弱，疑为后人伪托之作。",[24,64,225,94,27,95,99,30,66,32,7,97,33,98,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F032de34690657eb2bd83434bdd68f1a0.jpg","纵91.8厘米，横35厘米",[],153,{"id":2221,"slug":2222,"title":2223,"dynasty":2224,"author":2225,"museum":2226,"description":2227,"tags":2228,"thumbUrl":2229,"material":659,"size":142,"collection":142,"collections":2230,"showCount":2219,"zanCount":54,"manualWeight":54,"mainColor":109},220454,"ling-yan-jian-yi-jiao-tu-pan-tian-shou-220454","灵岩涧一角图","民国","潘天寿","中国现当代美术文献研究中心","此作截取山涧一隅造势，以险绝构图盘活画面，虚实相生见巧思。枯笔浓墨勾勒皴擦山石，苍劲老辣，尽显崖壁嶙峋之态。蓝红山花浓艳跳脱，于幽寂墨色中撞出鲜亮野趣，打破山林沉郁。屋舍隐于深林，留白代作溪涧，以虚写实，将浙东山川清奇苍劲敛于尺幅之间。既得传统山水的雅致意境，又以边角小景抒发山河磅礴生机，笔墨间尽显独出机杼的构图胆识与沉雄朴厚的艺术风骨，把乡野山水的清逸生机藏于方寸。",[23,24,64,225,27,94,99,95,171,7,1288,33,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a236d64f04b03b64b29b72f54995505.jpg",[],{"id":2232,"slug":2233,"title":2234,"dynasty":18,"author":645,"museum":20,"description":2235,"tags":2236,"thumbUrl":2237,"material":47,"size":2238,"collection":105,"collections":2239,"showCount":2219,"zanCount":718,"manualWeight":54,"mainColor":55},220417,"xun-yang-ba-jing-tu-tang-yin-220417","浔阳八景图","画中的浔阳江为实景写生，浔阳江是九江的古称，位于现在的江西省九江市的北边。至今还可以通过这卷作品，找到与之相关的实景地。唐寅落魄之后曾经四处游走，一方面为了寻找人生方向，一方面为了增长见闻提升画技。古代画家都在书斋之中创作，但他们眼中的美景已经牢牢记忆在心中，哪怕没有对照摹写，也能出神入化。\n在唐寅的画卷中，浪井、琵琶亭、浔阳楼、天花宫等都有体现。其中知名度最高的就是浔阳楼，名著《水浒传》中有宋江在浔阳楼题写反诗的情节，才引出李逵闹江州。看着画卷中的浔阳楼，过往沧桑已成历史，只有文人赏景饮酒，这才是古今多少事都付笑谈中。",[23,24,64,25,94,27,95,26,99,101,119,32,7,97,31,96,122,30,140,256,227,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb4e7b7befcd16a579dde7285f16c9de.jpg","32.4×413.7厘米",[105,51],{"id":2241,"slug":2242,"title":606,"dynasty":18,"author":2243,"museum":152,"description":2244,"tags":2245,"thumbUrl":2246,"material":103,"size":2247,"collection":105,"collections":2248,"showCount":2219,"zanCount":11,"manualWeight":54,"mainColor":109},214737,"shan-shui-tu-zhao-zuo-214737","赵左","这幅画描绘了一座远山，远处有长长的松树，还有一条安静、荒芜的山路。此幅笔墨有王蒙遗法，用笔转为清雅",[24,64,225,94,99,119,95,171,33,7,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ffc14a94445ec38d2e703a1156fa299.jpg","122.5x34.7",[105],{"id":2250,"slug":2251,"title":2252,"dynasty":344,"author":2253,"museum":316,"description":2254,"tags":2255,"thumbUrl":2257,"material":273,"size":2258,"collection":105,"collections":2259,"showCount":2260,"zanCount":11,"manualWeight":54,"mainColor":109},220080,"fang-huang-zi-jiu-shan-shui-tu-wang-shi-min-220080","仿黄子久山水图","王时敏","王时敏（1592—1680），字逊之，号烟客、西庐老人。太仓（今属江苏）人。王时敏的祖父王锡爵、父亲王衡都是高官，他也荫仕太常寺少卿，故人称“王奉常”。王时敏家富收藏，每遇名迹，即不惜重金搜求，曾遍摩家藏的宋、元真迹。王翚、吴历及其孙王原祁均经他传授画艺。与王鉴并称“二王”、加上王翚、王原祁被称为“四王”。山水笔墨苍润秀疏，为四王之首。 作品介绍: 王时敏家藏历代名画甚丰，得以充分观摩研习，其绘画以山水见长，为正统山水画派的领袖人物。他的作品多摩古之作，颇具先人遗风。此画册摩写了宋元大家巨然、米友仁、黄公望、王蒙、倪瓒、吴镇等人的山水画作，画幅小而精致，清新悦目，各家风格迥异，绘制精微细腻，显示出王时敏深厚的功底和纯熟技法。",[23,24,94,225,29,99,95,32,7,33,98,168,76,2256],"山峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F327760a064cea89ccaf8862ca234e649.jpg","177.5x56.9",[105],152,{"id":2262,"slug":2263,"title":2264,"dynasty":344,"author":2265,"museum":2266,"description":2267,"tags":2268,"thumbUrl":2271,"material":47,"size":2272,"collection":368,"collections":2273,"showCount":2260,"zanCount":718,"manualWeight":54,"mainColor":55},219539,"pan-tao-tu-zou-yi-gui-219539","蟠桃图","邹一桂","承德避暑山庄博物馆","画面两只丹顶鹤立于青石之上姿态悠闲，石隙间画桃树一株硕果累累富有质感，峰峦之间瀑布鞋飞流而下。",[23,24,64,225,26,27,1287,2269,98,7,2270,33],"桃","灵芝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb6b446064c15c3f90edacbf7bbc946c.jpg","166cm×87cm",[368],{"id":2275,"slug":2276,"title":2277,"dynasty":59,"author":954,"museum":61,"description":2278,"tags":2279,"thumbUrl":2282,"material":946,"size":2283,"collection":142,"collections":2284,"showCount":2285,"zanCount":54,"manualWeight":54,"mainColor":55},233880,"ta-ge-tu-zhou-ma-yuan-233880","踏歌图轴","“踏歌”是中国南方乡间一个非常古老的习俗，村民们辛苦耕耘一年，终于迎来了丰收，于是全村的男女老幼，踏着节拍，边歌边舞，欢庆收获并感谢大自然的恩赐，就好像过年过节一样快乐热闹。\n从表面上看，《踏歌图》像是一幅表现自然山川风貌的山水画，而实际是一幅描绘人间生活的风俗画。作者马远在图中安排了不多的几个点景人物，使画中的主题得到了充分的展示。画家并没有去描绘乡间踏歌盛况的全貌，而是选取了几个非常有代表性的乡民形象：一个中年村民，因为高兴多喝了几碗酒，步履蹒跚，摇摇晃晃，醉意十足，但是那个盛酒的葫芦却没有忘记，仍然好好地背在肩上；一个白胡子老汉，同样也喝了不少酒，一只手拄着拐杖，另一只手高高抬起，双脚离地，手舞足蹈，兴奋异常。他们的举止行为已与他们的年龄不相符合，所以显得特别滑稽可笑。作者马远描绘了这几个成年人之后，觉得还不足以表达欢快纵情的气氛，特地在画幅的左下角安排了男女两名幼童，他们回过身来，瞪着惊异的眼睛，看着自己的长辈，平时家长的恃重和威严怎么都没有了？年龄稍大的女孩，还用手捂住了嘴巴，偷偷在发笑。这两组点景人物相互呼应、相互衬托，把“踏歌”欢愉快乐的情绪推向了极致。可是细看图中，作者只不过画了六个人，却能将气氛渲染得如此充分。从这六个村民身上，完全可以感受到整个村庄中传出来的歌声、踏地的节拍声和欢快的笑声。画家马远“以一当十”、“以小见大”的艺术表现手法，实在是太高妙了。\n几个人物在图中所占的位置很小，但却最为引人注目。人物线条挺拔刚劲，人物动态活泼有趣，都显示了马远不凡的技艺。\n马远画山石的方法也极有特点。他运用毛笔的侧锋平扫，以表现陡峭的山势和坚硬石头的质感，山石犹如巨斧劈出一般，这种用笔的方法被人称之为“斧劈皴”，从《踏歌图》轴中亦可见一斑。在画幅的构图方面，马远也有创新。他喜欢将图中的山石集中于某一边角，形成虚实的对比，故此他有了“马一角”的称呼，当然在这件作品中这一特点不是十分明显。马远画树也有自己的习惯，他经常把树的枝条画得向下斜拖，所以有人将它归纳为四个字“拖枝马远”。\n在马远的这幅《踏歌图》的上方，题有五言绝句一首，这是南宋皇帝宁宗赵扩抄录北宋王安石的诗句。诗为：“宿雨清畿甸，朝陽麗帝城，豐年人樂業，壟上踏歌行。”这是南宋皇帝对太平盛世的企盼，供奉宫廷的画院画家马远即以此诗为题作画。",[24,117,225,94,27,95,98,33,255,2280,30,31,169,7,99,2281],"小路","斧劈皴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef222b397a3288ca11990ad05068a142.jpg","纵192.5厘米，横111厘米",[],151,{"id":2287,"slug":2288,"title":2289,"dynasty":344,"author":2253,"museum":252,"description":2290,"tags":2291,"thumbUrl":2292,"material":103,"size":2293,"collection":105,"collections":2294,"showCount":2285,"zanCount":11,"manualWeight":54,"mainColor":55},220004,"shan-shui-hua-fang-huang-zi-jiu-wang-shi-min-220004","山水画-仿黄子久","王时敏出身于仕宦之家，祖父王锡爵是万历内阁首辅大臣。由于父亲王衡早逝，而他又是独子，自小就是和祖父生活在一起。《国朝画征录》记载，王锡爵极为喜爱这个孙子，专心培养他的“好古之心”。王时敏在董其昌和陈继儒等的辅导下，绘技大进。董其昌把他视为南宗画派的不二继承人，“可备传灯一宗，真源嫡派”。王时敏受祖荫出仕后担任尚宝丞和太常寺少卿等官，降清后作为明朝的遗民，退隐山野，专心绘事。他继承和扩大了南宗画派影响，发展了清代绘画的笔墨，创建了著名的娄东画派，成为当时艺术界不可撼动的泰斗，被视为清代正统画派的开山鼻祖。",[23,24,27,118,95,29,99,32,7,33,170,76,98,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb68a290c2795698c616b7dc02b7d5c03.jpg","22.5x27.5",[105],{"id":2296,"slug":2297,"title":2298,"dynasty":344,"author":1385,"museum":135,"description":2299,"tags":2300,"thumbUrl":2302,"material":229,"size":637,"collection":142,"collections":2303,"showCount":2304,"zanCount":11,"manualWeight":54,"mainColor":109},290531,"wan-heng-xiang-xue-zhou-yun-shou-ping-290531","万横香雪轴","恽南田（1633年—1690年），即恽寿平，原名格，字寿平，后以字行，改字正叔，号南田，别号云溪外史，晚居城东，号东园草衣，后迁居白云渡，号白云外史，明末清初著名书画家，常州画派的开山祖师，后来成为清六家之一。",[24,225,117,95,2301,31,32,7,96,140,100,119,27,99],"梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F908e37e2018eaa4c032769f68c2bc093.jpg",[],150,{"id":2306,"slug":2307,"title":2308,"dynasty":344,"author":2309,"museum":135,"description":2310,"tags":2311,"thumbUrl":2312,"material":229,"size":637,"collection":142,"collections":2313,"showCount":2304,"zanCount":11,"manualWeight":54,"mainColor":109},289979,"fang-ni-zan-shan-shui-tu-zhou-hong-ren-289979","仿倪瓒山水图轴","弘仁","弘仁（1610—1663年），俗姓江，名韬，字六奇，出家后释名弘仁，号渐江学人，又号无智、梅花古衲，安徽歙县人。明亡后入武夷山为僧，云游各地后回歙县，住西郊太平兴国寺和五明寺，常往来于黄山、白岳之间。善画山水，早年从学于孙无修，中年师萧云从。其画取法元代倪瓒、黄公望，构图洗练简逸，笔墨苍劲整洁，善用折带皴和干笔渴墨。他重视师法自然，善画黄山、武夷山诸景，传达山川之美，意境伟峻秀逸，“得黄山之真性情”，与石涛、梅清同成为“黄山画派”的代表人物。在安徽与查士标、孙逸、汪之瑞并称“海阳四家”，形成“新安派”。同时，与石涛、八大、髡残合称“清初四僧”。",[117,24,225,94,95,255,97,7,98,348,29,119,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a89c37611eded2ace9e54e3a4ca8817.jpg",[],{"id":2315,"slug":2316,"title":1125,"dynasty":59,"author":954,"museum":135,"description":2317,"tags":2318,"thumbUrl":2323,"material":229,"size":637,"collection":142,"collections":2324,"showCount":2304,"zanCount":11,"manualWeight":54,"mainColor":55},288321,"xi-yuan-ya-ji-tu-ma-yuan-288321","马远（1140年－1225年），字遥父，号钦山，祖籍河中（今山西永济），生长于临安（今浙江杭州），南宋绘画大师。\n出身绘画世家，南宋宋光宗、宋宁宗两朝画院待诏。擅画山水、人物、花鸟，山水取法李唐，笔力劲利阔略，皴法硬朗，树叶常用夹叶，树干浓重，多横斜之态。楼阁界画精工，且加衬染。喜作边角小景，世称“马一角”。人物勾描自然，花鸟常以山水为景，情意相交，生趣盎然。与李唐、刘松年、夏圭并称“南宋四家”。存世作品有《踏歌图》《水图》《梅石溪凫图》《西园雅集图》等。",[23,117,24,25,94,30,95,390,255,168,98,31,32,7,2319,503,2320,2321,2322],"竹丛","马匹","文人雅集","宴饮","https:\u002F\u002Foss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122公分",[105,83],148,{"id":2365,"slug":2366,"title":2367,"dynasty":18,"author":292,"museum":152,"description":2368,"tags":2369,"thumbUrl":2370,"material":176,"size":142,"collection":142,"collections":2371,"showCount":2372,"zanCount":11,"manualWeight":54,"mainColor":109},222165,"fu-chun-shan-ju-tu-zi-ming-juan-yi-ming-222165","富春山居图子明卷","乾隆皇帝在1745年读到大臣沈德潜的文集，文中对“富春山居图”大为称赞，同年得到“子明卷”，“子明卷”名称是因为题跋指是画给“子明隐君”，但尚未考证出实际人员。直到国民政府点收北京故宫文物，故宫博物院发现黄公望曾在曹知白的画作《群峰雪霁》上题字，借由该落款进行比对之后辗转证实“无用师卷”才是真迹，但由于子明卷是富春山居图被烧前所仿摹",[23,24,64,25,94,95,99,100,119,29,240,901,33,96,32,7,97,122,256],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8451bdc7d183bc6951030aaa3cf6f433.jpg",[],147,{"id":2374,"slug":2375,"title":2376,"dynasty":18,"author":90,"museum":152,"description":2377,"tags":2378,"thumbUrl":2379,"material":2380,"size":2381,"collection":105,"collections":2382,"showCount":2372,"zanCount":718,"manualWeight":54,"mainColor":55},222102,"chun-yun-die-zhang-tu-shen-zhou-222102","春云叠嶂图","春云叠嶂图，绢本墨笔，故宫博物院藏。其款题：十日消闲障子成，看君堂上白云生。 有人若问谁持赠，万叠千重是我情。文美赵君，知余老，报拙静远，以汉鼎为赠，用助萧斋日长，焚沉悦性，其惠多矣，文美读书好古，于书画尤萃意焉。因作春云叠嶂报之，愧莫敌施也。弘治新元七夕日，沈周。 此作在康熙年间，被高士奇收藏，并著录于其《江村消夏录》。其题画诗见于《四库全书*列朝诗集》明代五十六丙集第八。",[23,24,64,866,94,99,240,821,241,7,98,97,1397,140,173,868],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb54811e543fce13bf211196f60045fc.jpg","绢本墨笔","152 2x43 2cm",[105,83],{"id":2384,"slug":2385,"title":2386,"dynasty":59,"author":209,"museum":135,"description":2387,"tags":2388,"thumbUrl":2390,"material":47,"size":2391,"collection":105,"collections":2392,"showCount":2372,"zanCount":54,"manualWeight":54,"mainColor":55},220045,"ting-qin-kan-pu-tu-xia-gui-220045","听琴看瀑图","危崖飞瀑垂落千仞，斧劈皴勾勒山石棱骨，墨色苍劲凝练，将峭壁雄浑之势尽显。虬松盘曲展枝，松下平坡之上，抚琴者席地拨弦，知音侧耳凝听，童子垂手侍立，寥寥数笔便将人物悠然意态勾勒传神。\n\n画面以局部取景，大片留白晕染出空濛悠远，将林泉雅集的闲逸与山川清旷相融，虚实之间，把静赏飞瀑、闲听雅琴的幽趣铺陈开来，藏着寄情丘壑、静悟天机的风雅，笔简而意无穷，尽得空灵禅寂之美。",[117,24,64,225,94,99,95,168,390,30,2389,171,7],"琴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23b1f6772d48a16ed101d54e26afa835.jpg","142.2 × 70 cm",[105],{"id":2394,"slug":2395,"title":2396,"dynasty":59,"author":954,"museum":135,"description":2397,"tags":2398,"thumbUrl":2399,"material":103,"size":2400,"collection":49,"collections":2401,"showCount":2402,"zanCount":718,"manualWeight":54,"mainColor":109},218648,"song-quan-gao-shi-tu-ma-yuan-218648","松泉高士图","在画的左边，一个高大的学者坐在松树山上，他的斗篷半开半合，看着远方，身后是一个手持法杖的仆人男孩，周围是松树和流水；画的右边是空白的，引起了无限的想象。",[23,117,24,64,25,94,27,30,95,271,122,199,7,119,100,101,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8906739d60ca52938ca25e5397b522eb.jpg","27x57",[49],146,{"id":2404,"slug":2405,"title":2406,"dynasty":344,"author":2407,"museum":135,"description":2408,"tags":2409,"thumbUrl":2414,"material":142,"size":142,"collection":142,"collections":2415,"showCount":2416,"zanCount":54,"manualWeight":54,"mainColor":262},230268,"lin-lan-ting-ji-xu-zhu-da-230268","临兰亭集序","朱耷","这幅临作跳脱原作的飘逸妍美，以极简淡的行笔，将永和雅集的放达意趣揉入枯寂清冷的笔意间。线条清瘦内敛，牵丝映带简省却意韵悠长，墨色枯润交叠，淡晕似寒山孤月，藏着沉郁孤傲的心境。\n\n章法排布疏朗错落，字距宽绰留白如空山积雪，不见羲之流媚，只剩孤绝文人风骨。将曲水流觞的群贤盛景，幻化为一人独对的清冷，以己意重塑经典，让旧文生出新的寂寥魂魄，是借古抒怀的绝妙手笔。",[23,24,64,100,29,101,94,119,240,2410,543,7,2411,2412,2413],"林","天","风","鹅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe962dda24755f0275826a71c100f9871.jpg",[],145,{"id":2418,"slug":2419,"title":2420,"dynasty":150,"author":412,"museum":135,"description":2421,"tags":2422,"thumbUrl":2423,"material":229,"size":637,"collection":142,"collections":2424,"showCount":2425,"zanCount":311,"manualWeight":54,"mainColor":109},288916,"yu-shan-lin-he-tu-ni-zan-288916","虞山林壑图","取一河两岸式的构图，但水中有五道洲渚及一组杂树，远山近坡的淡墨皴染较多。画风较其典型作品繁密。与其盛年所作《渔庄秋霁图》、《枫落吴江图》等用线勾括坡石的画法相比，此图坡石皴擦善用乾笔，风格浑穆。应是倪氏晚期山水画的特点。",[23,117,24,225,94,95,255,199,7,100,119,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa611a8ec871c68063dbbc71fbe7e38c1.jpg",[],144,{"id":2427,"slug":2428,"title":2429,"dynasty":59,"author":164,"museum":20,"description":2430,"tags":2431,"thumbUrl":2433,"material":2380,"size":2434,"collection":81,"collections":2435,"showCount":2425,"zanCount":718,"manualWeight":54,"mainColor":55},221291,"shu-se-ping-yuan-tu-guo-xi-221291","树色平远图","《树色平远图》是由北宋时期画家 所作的一副绢本墨笔画，现收藏于美国大都会美术馆。\n《树色平远图》描绘了河流两岸树色平远的景色。\n画中点缀有拄杖的老人，携琴捧盒的仆夫，水面的小舟和飞翔的野凫，都渲染了浓郁的诗意。\n描绘的是一河流两岸树色平远的景色。\n画中之景以河为界可分作前后两部分。\n前景画河流近岸，平地坡石，其上生古树数丛，枝干盘曲伸张，树上枯藤缠绕，垂蔓点水。\n开卷处为远山野水，次而出现坡陀老树，冈阜上筑有凉亭，正是文人雅士诗酒嘉会的理想佳处。\n此图无款，卷后有元明诸家诗文题跋。\n《树色平远图》以独特的时空意识在众多以高远构图的大山水画中独树一帜，郭熙主要通过“蟹爪树”点明画作的创作季节，又以流水、小舟、渔翁、行人赋予画作时间的变化性；接着通过平远的布局,群山的后退，加之“S”形的构图的动态性，使得整个画面空间流动起来。\n整幅画以其独特的时空意识召唤观者去畅游山水，体味林泉山水的生命精神。\n《树色平远图》描绘的画面以平远布局，构景简洁，开阔而均衡，墨色浓淡变化丰富而微妙，所造之境具体真实。\n郭熙（约1—约18），北宋画家、绘画理论家。\n字淳夫，河阳温县人。\n因传李成之法而与之并称为“李郭”。\n其画风早年工巧，晚年雄壮，常于巨幛高壁作长松乔木，曲溪断崖，峰峦秀拔，境界雄阔而又灵动飘渺。\n存世作品有《 》、《 》、《 》、《 》、《古木遥山图》、《 》、《树石平远图》等。",[23,24,64,25,94,99,2432,95,97,1397,140,199,7,96,119],"平远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a17b78710e3a953f6c2076e25d8f7b1.jpg","纵32.4厘米，横104.8厘米",[81,105,83],{"id":2437,"slug":2438,"title":2439,"dynasty":150,"author":877,"museum":61,"description":2440,"tags":2441,"thumbUrl":2443,"material":188,"size":2444,"collection":105,"collections":2445,"showCount":2425,"zanCount":11,"manualWeight":54,"mainColor":55},220779,"xi-shan-gao-yin-tu-wu-zhen-220779","溪山高隐图","《溪山高隐图》是元代画家吴镇创作的绢本墨笔画，现藏于北京故宫博物院。\n图绘高山巨石层峦重叠，远山云雾朦胧栈道顺山崖伸延，迂回盘绕，树林后溪水一湾，水榭半露，充满夏日中葱郁气氛，山石以水墨渲染，淡施披麻皴，圆点浓墨点苔。笔法稳健，墨气湿润。全画构图呈长方形，上不留天，下不留地，构图虽饱满，但密而不塞，疏密相间，故布局十分得宜。\n该图以深远式构图，远处高山叠嶂，群峰突起，高高耸起，山巅处云蒸霞蔚，山色柔和绵连。山坡和山坳处荆棘和杂木丛生。中间山腰处山石嶙峋突兀，山石或纵立，或横卧于山腰间，山径顺山脚伸延，蜿蜒迂回盘旋，成为上下山的一栈道、近景茂密的丛林后有溪水一湾，在山脚下临溪边有一间水榭，在山石和丛树的掩映下半露半隐，环境十分清静幽雅，充满夏日丰饶葱茏的气氛。\n吴镇的绘画题材大多为渔父、古木、竹石之类，均表现江南名山景色。《溪山高隐图》是他山水画中的代表作之一。《溪山高隐图》是其取法”巨然的一张典型作品。因为和巨然的作品《秋山问道图》比较，《溪山高隐图》似乎是临摹《秋山问道图》而比较萧散的作品。\n作者纯用水墨，利用其深浅浓淡，创造出一个静谧安详的环境，画幅较为孤寂、冷清的情凋也是画家处世态度的生动写照。山石以水墨渲染，淡披麻皴。这种皴法从巨然披麻皴出，把笔拉得垂直。他后来创造的“刮铁皴”，仿佛又硬又直，却硬中有婉，直中有收，笔头不枯硬，灵气从笔端间轻轻逸出，以圆点浓墨点苔，笔法稳健，墨气湿润，画法源于董源、巨然一路。近处坡石的用墨，以及秃笔随意点写树叶苔草的画法，是他的典型风格。\n《溪山高隐图》皴笔沉厚，坡角山边用笔大胆，横扫而出，用笔意味更似写意。主要山石皴笔提按变化明显，用笔奔放，是“写”出而非“皴”出。此图主峰最上部有一组巨石，用横侧笔势刷出，显然出自李唐马夏一系的斧劈皴。\n宋画研究学者寿勤泽：这幅画气势不凡，层峦叠岭，雄伟高峻，下方丛树溪水，临溪筑有草房两间，屋旁有小径通向山间。仅一片房屋处略施淡赭，通篇皆水墨。此图和常见的吴镇画有所区别，皴法以长披麻皴为主，法巨然画派画格，但线条较长，细长而且疏朗，似有不胜其力之感。",[23,24,64,2442,225,94,99,95,170,98,33,390,7],"古画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b125a83a0553db70e8f576523b37fb5.jpg","纵160.5厘米，横73.4厘米",[105,83],{"id":2447,"slug":2448,"title":2449,"dynasty":344,"author":2071,"museum":152,"description":2450,"tags":2451,"thumbUrl":2452,"material":103,"size":2453,"collection":105,"collections":2454,"showCount":2425,"zanCount":11,"manualWeight":54,"mainColor":55},220374,"xi-shan-hong-shu-tu-wang-hui-220374","溪山红树图","此图为王翚仿黄鹤山樵王蒙的一件极具特色的代表作，描绘的是遍生红树的一片秋日山林景色。画中以圆转重叠、突兀高耸的山峰为主体，山溪逶迤前行，涟漪阵起，秋波荡漾，两岸林木，红翠相间，整个画中意境深幽，秋气袭人。画家拟王蒙笔意与布局，构景繁密，山势云动，境界深奇。山石画法以墨笔牛毛皴和解索皴为主，干笔皴擦，浓墨点苔， 既显浓密厚重，又鲜艳夺目，光彩熠熠。 现收藏于台北故宫博物院的《溪山红树图》是其传世精品，他学元代王蒙的笔法，以类似牛毛皴松秀而流动的线条，构成活泼的画面，加上颜色较艳丽的红色和绿色，使整个画面有一种轻快愉悦的调子。",[23,24,64,225,27,95,1813,98,168,7,31,33,119,100,101,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F166e49671e5b9c54baee4cd182d5e0ab.jpg","纵112.4厘米，横39.5厘米",[105,51],{"id":2456,"slug":2457,"title":2458,"dynasty":344,"author":2459,"museum":61,"description":2460,"tags":2461,"thumbUrl":2462,"material":47,"size":2463,"collection":105,"collections":2464,"showCount":2425,"zanCount":718,"manualWeight":54,"mainColor":640},219222,"qing-lv-shan-shui-tu-xie-sun-219222","青绿山水图","谢荪","图绘近景溪水岸边房舍错落；远处高山耸立，林木繁茂。构图深远、高远兼备，富有空间层次变化。用笔工整细密，山石树木以石青石绿点染，画风清丽淡雅。此图与传统的青绿山水相比较，更多一分清新明快，是谢荪山水画的代表作",[23,24,64,118,27,95,33,98,7,31,76,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89fcff4bf8950f827d1dc39bf1bc74fe.jpg","纵157.2厘米，横52.6厘米",[105],{"id":2466,"slug":2467,"title":2468,"dynasty":59,"author":1799,"museum":135,"description":2469,"tags":2470,"thumbUrl":2471,"material":142,"size":142,"collection":142,"collections":2472,"showCount":2473,"zanCount":11,"manualWeight":54,"mainColor":55},227516,"wang-wei-shi-yi-tu-li-zhou-mi-fei-227516","王维诗意图立轴","米芾，字元章，号鹿门居士、襄阳漫士、海岳外史，北宋著名大书画家，鉴藏家。祖籍太原，后迁居襄阳，人称“米襄阳”。宣和年间为徽宗赵佶召为书画学博士。\n\n米芾能诗擅文，书画尤具功力。篆、隶、行、草、楷各体皆能，行草造诣尤高。芾自云学过各家各派，但从其作品观之，得王献之、释智永二家最多。其书淋漓痛快，隽雅奇变，晚年书艺更达至炉火纯青之境。与苏轼、黄庭坚、蔡襄合称“宋四家”。",[23,24,225,94,95,99,33,7,98,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54ca00f8b933044d132ee6e26db3b619.jpg",[],143,{"id":2475,"slug":2476,"title":2477,"dynasty":59,"author":488,"museum":2478,"description":2479,"tags":2480,"thumbUrl":2481,"material":188,"size":2482,"collection":81,"collections":2483,"showCount":2484,"zanCount":54,"manualWeight":54,"mainColor":55},221440,"han-lin-gao-shi-tu-zhou-li-cheng-221440","寒林高士图轴","美国弗瑞尔美术馆","李成（公元 919年 -967年），字咸熙，北宋初年营丘（今山东淄博临淄）人，世称李营丘。擅画山水，师承荆浩、关仝，后师造化，自成一家。多画郊野平远旷阔之景。平远寒林，画法简练，气象萧疏，好用淡墨，有“惜墨如金”之称；画山石如卷动的云，后人称为“卷云皴”；画寒林创“蟹爪”法。为山水画大家,被誉为中国山水画之父。他不但开创了齐鲁画派，在宋初画坛独树一帜；而且由其独创的营丘山水画法成为后世山水画家的楷模。《圣朝名画评》把李成的画列为“神品”，并称其“思清格老，古无其人”。《宣和画谱》谓“凡称山水者，必以成为古今第一。”",[23,24,94,225,95,2043,1498,33,98,7,348,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F425bbd40a0bd5977059e42cdf3fd2910.jpg","174 x 89.2 厘米",[81,105,83],142,{"id":2486,"slug":2487,"title":2488,"dynasty":344,"author":2489,"museum":61,"description":2490,"tags":2491,"thumbUrl":2492,"material":2493,"size":2494,"collection":105,"collections":2495,"showCount":2496,"zanCount":54,"manualWeight":54,"mainColor":262},236271,"chui-gan-tu-zhou-kun-can-236271","垂竿图轴","髡残","髡残（1612—约1672年），俗姓刘，武陵（今湖南常德）人。幼年失怙（音hù，指父亲），青年出家为僧，法名髡残，字介丘，号石豀、白秃、石道人、残道者等。明亡后寓居南京，修禅弘佛之暇潜心于山水画的创作。他承袭元人王蒙，明人沈周、文徵明诸家笔法，结合自身的感悟，形成独特的山水画风。善用秃笔渴墨，以线造型，在深浅、断续、粗细线条的相互交叉、转换、顿挫中表现幽僻的景致，意境苍莽，画格高逸古拙。他与同时代的程青豀合称“二豀”，与原济（石涛）合称“二石”，与八大、弘仁、石涛并称“清初四僧”。",[24,64,225,94,99,95,96,7,33,98,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb8841336c541c74149b055689d57ca9.jpg","纸本 ，淡设色","纵290cm，横131.5cm",[105],141,{"id":2498,"slug":2499,"title":2500,"dynasty":344,"author":2501,"museum":91,"description":2502,"tags":2503,"thumbUrl":2504,"material":103,"size":2505,"collection":105,"collections":2506,"showCount":2507,"zanCount":718,"manualWeight":54,"mainColor":109},219922,"hu-tian-chun-se-tu-wu-li-219922","湖天春色图","吴历","此图描绘江南湖畔堤边的初春风光。画面上，远山清淡，湖水平静，渺无人烟，春色宜人。湖岸处柳色新绿，带雨含烟，丰姿绝妙，燕雀跃于湖面柳枝之间，又有土堤斜引，其上绿草如茵。溪水潺潺，鸟声婉转音色清新，绿柳迎风，全画面春意盎然，和谐舒畅。其构图与表现风格在当时亦十分新颖和独特。此幅是画家山水画中的代表作品，体现了典型的吴历个人风格。画家早年曾师法古人，又曾吸取西画的表现手法，风格与清初“四王”相似又有所不同，他注重实景取材，构图严谨，所以具有独特的面貌。",[24,64,117,225,27,99,95,140,7,122,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8370438109745994edfcc2de0eb2f4f9.jpg","纵123.5 厘米，横62.5 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x 28.1 CM",[81,105,83],137,{"id":2540,"slug":2541,"title":2542,"dynasty":59,"author":954,"museum":61,"description":2543,"tags":2544,"thumbUrl":2546,"material":946,"size":2547,"collection":81,"collections":2548,"showCount":2549,"zanCount":718,"manualWeight":54,"mainColor":55},221529,"mei-shi-xi-fu-tu-ma-yuan-221529","梅石溪凫图","本幅款署“馬遠”。钤藏印：“ 潞王之寶”、“茅林心賞”、“阿蒙”、“于騰私印”。\n图中画山崖侧立，腊梅倒垂，薄雾蒙蒙的涧水中，一群野鸭正在游戏。山石以斧劈皴法画之，方硬峭拔，与用笔轻快、毛羽松蓬的野鸭形成鲜明的对比。倒垂曲折的枝条是马远特有的画法，故有“拖枝马远”之称。画面呈典型的对角线式构图，岩石、梅树都偏居画面的左上部分，梅树枝条的走势更强调了此种布局的形式感，右下方的野鸭既起到了平衡画面的作用，又是全图的点睛之笔，一幅“春江水暖鸭先知”的景象，无限生趣，跃然绢素。",[23,24,64,332,94,27,99,2301,199,7,2545,122,788,119],"水鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae794f0f7f856fe10e8845520e5badc4.jpg","纵26.7厘米，横28.6厘米",[81,368,51],136,{"id":2551,"slug":2552,"title":2553,"dynasty":698,"author":699,"museum":61,"description":2554,"tags":2555,"thumbUrl":2558,"material":188,"size":2559,"collection":49,"collections":2560,"showCount":2549,"zanCount":718,"manualWeight":54,"mainColor":55},221136,"yu-yuan-cai-lian-tu-li-si-xun-221136","御苑采莲图","此卷描绘古代宫苑中夏日景致，宫殿楼观、屋宇舟车纤若毫发，山石均以细笔勾出，略有皴斫，重青绿敷色，同时大量使用金线勾勒建筑物轮廓和网格水纹，辉煌明丽，富有装饰性。此卷为吴景洲先生于1947年倾囊得之，1955年捐献故宫博物院，卷后有其长题，考定此卷为张丑《清河书画舫》中著录的“唐大李将军御苑采莲图”。后经有关学者考证，此卷为南宋人作，虽非出自李思训父子之手，但仍反映出早期青绿楼阁绘画的一些特点。",[23,24,118,27,26,28,95,31,30,32,7,1242,33,98,505,2556,2557],"莲","采莲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f0bbca3f486b9ed26103a6d871d1d0e.jpg","23.90x77.20cm",[49,51],{"id":2562,"slug":2563,"title":2564,"dynasty":344,"author":2071,"museum":135,"description":2565,"tags":2566,"thumbUrl":2568,"material":2569,"size":2570,"collection":105,"collections":2571,"showCount":2549,"zanCount":54,"manualWeight":54,"mainColor":109},220135,"mo-gu-shan-shui-hua-ce-wang-hui-220135","摹古山水画册","王翚，清初山水画巨匠“四王”之一，他研习山水画走的也是一条摹古之路，造就了深厚、扎实、宽泛的传统功力，他深入学习宋元一众大家，逐渐形成自己画面清新、笔墨纯正的山水画风格。",[23,24,64,332,94,27,95,255,96,32,7,2567,98,350,119,29],"雪景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95e685d005e44893fa629e2b66443b9d.jpg","设色,纸本","30.5×21.5",[105],{"id":2573,"slug":2574,"title":2575,"dynasty":344,"author":292,"museum":135,"description":2576,"tags":2577,"thumbUrl":2580,"material":229,"size":637,"collection":142,"collections":2581,"showCount":2582,"zanCount":54,"manualWeight":54,"mainColor":109},263687,"ke-si-chou-ying-hou-chi-bi-fu-tu-juan-yi-ming-263687","缂丝仇英后赤壁赋图卷","缂（kè，同：刻）丝（英文：K’o-ssu 、Kesi 或 Chinese silk tapestry），又称“刻丝”，是中国传统丝绸艺术品中的精华。是中国丝织业中最传统的一种挑经显纬，极具欣赏装饰性丝织品。\n宋元以来一直是皇家御用织物之一，常用以织造帝后服饰、御真（御容像）和摹缂名人书画。因织造过程极其细致，摹缂常胜于原作，而存世精品又极为稀少，是当今织绣收藏、拍卖的亮点。常有“一寸缂丝一寸金”和“织中之圣”的盛名。\n苏州缂丝画也与杭州丝织画、永春纸织画、四川竹帘画并称为中国的“四大家织”。",[23,25,2578,24,64,118,27,95,30,31,96,122,7,2579,255,98,39,2321,119,100],"缂丝","亭榭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d1d0a4ab2c0a1cc69f15a9e1c4bcfe0.jpg",[],135,{"id":2584,"slug":2585,"title":2586,"dynasty":344,"author":2489,"museum":135,"description":2587,"tags":2588,"thumbUrl":2589,"material":659,"size":2590,"collection":105,"collections":2591,"showCount":2582,"zanCount":54,"manualWeight":54,"mainColor":109},222665,"xi-shan-qiu-yu-tu-kun-can-222665","溪山秋雨图","描绘的是古木流泉，高人独坐，体现出一派野逸之趣。髡残之画卷苍老雄浑，深沉豪迈，以老辣见胜，但相对而言，此图当属相对文雅、宁静一路画风。\n通观全画，不禁让人想起王蒙的代表作《葛稚川移居图》，但髡残在构图和技法上均做了简化处理。整幅画采用是全景式繁密构图，前景处山石耸立，几株树木立于 其上，呈现出不同的生长态势。画面左下角一座小桥向后延伸，一位樵夫缓缓行走，引出画面的中景。远景一座大山巍峨挺立，一座茅屋筑于半山腰，为这幅画增添 了不少人气。\n髡残将王蒙画中那股山体蜿蜒向上的强烈夸张的扭势处理成了文雅、宁静的气象，笔法上对王蒙有所借鉴，山石多用披麻皴、解索皴，用赭石染山石，色泽浓厚，并且在山石轮廓上用焦墨钩提。\n髡残师古人乃食古而化，不过是以古人酒杯浇自家胸中块垒，所以体现出来的仍是自己的精神面貌，其画构图奇特、境界幽深，是其广师造化的结果。髡残之画在当时画坛独树一帜，后人把他和石涛并称“二石”，是明清两代中最有生气的画家。",[23,24,94,27,99,225,95,98,33,76,32,7,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4c669070e4f6774a5897c1f4946ba35.jpg","纵113CM 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设色","26cmx111cm",[105,51],{"id":2669,"slug":2670,"title":2671,"dynasty":150,"author":1622,"museum":152,"description":2672,"tags":2673,"thumbUrl":2674,"material":27,"size":2675,"collection":105,"collections":2676,"showCount":2640,"zanCount":11,"manualWeight":54,"mainColor":109},220862,"hua-shan-shui-zhou-zhao-meng-fu-220862","画山水轴","赵孟頫（1254—1322），字子昂，号松雪，松雪道人，又号水精宫道人、鸥波，中年曾作孟俯，汉族，吴兴（今浙江湖州）人。元代著名画家，楷书四大家（欧阳询、颜真卿、柳公权、赵孟頫）之一。赵孟頫博学多才，能诗善文，懂经济，工书法，精绘艺，擅金石，通律吕，解鉴赏。特别是书法和绘画成就最高，开创元代新画风，被称为“元人冠冕”。他也善篆、隶、真、行、草书，尤以楷、行书著称于世。",[23,117,24,64,225,27,99,95,390,98,7,97,30,169,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11161ca0c1ec964671f7c7a6ecbebf4e.jpg","该幅 57x30.9公分、全幅 56公分",[105,51],{"id":2678,"slug":2679,"title":2680,"dynasty":344,"author":2501,"museum":20,"description":2681,"tags":2682,"thumbUrl":2684,"material":273,"size":2685,"collection":105,"collections":2686,"showCount":2640,"zanCount":54,"manualWeight":54,"mainColor":109},218297,"fang-wang-meng-xi-shan-xing-lv-tu-wu-li-218297","仿王蒙溪山行旅图","这幅画是对王蒙溪山行旅的临摹。",[24,94,95,225,29,99,32,7,2683,33,98,96],"人家","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33014df16be3309cc002f849849cc715.jpg","59.1x27cm",[105],{"id":2688,"slug":2689,"title":2690,"dynasty":344,"author":292,"museum":61,"description":2182,"tags":2691,"thumbUrl":2692,"material":946,"size":2186,"collection":142,"collections":2693,"showCount":2694,"zanCount":54,"manualWeight":54,"mainColor":55},236171,"yong-zheng-shi-er-yue-xing-le-tu-zhou-yi-ming-236171","雍正十二月行乐图轴",[24,27,26,28,95,30,31,39,120,98,97,7,33,2184,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aa7b59ca91897a30691a9a29a57869a.jpg",[],133,{"id":2696,"slug":2697,"title":184,"dynasty":344,"author":1527,"museum":252,"description":2698,"tags":2699,"thumbUrl":2703,"material":335,"size":2704,"collection":105,"collections":2705,"showCount":2694,"zanCount":54,"manualWeight":54,"mainColor":262},224481,"fu-chun-shan-ju-tu-wang-jian-224481","《富春山居图》轴仿作即深得黄公望用笔之妙，虚实、粗细、轻重、缓急富有变化，恰当地表现了前后景致的空间距离和起承转合；细润中锋含蓄流畅，山川景象清旷深秀。作品以笔墨形式为主体，创造出了优美动人的境界。该轴作于1658年，王鉴时年61岁，正是其绘画技法鼎盛时期。\n此幅富春山居图，而作立轴，并染以浅绛色。笔墨交融，敷色清雅，表达了王鉴对前辈大师经典的敬佩之情。",[23,117,24,64,225,94,27,2700,95,7,31,98,33,99,29,2701,2702],"浅绛","清旷深秀","敷色清雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbc6fe68c1be28db40b2fd2f41520f3d.jpg","117.5x50.5厘米",[105],{"id":2707,"slug":2708,"title":2709,"dynasty":344,"author":2710,"museum":1164,"description":2711,"tags":2712,"thumbUrl":2713,"material":335,"size":2714,"collection":142,"collections":2715,"showCount":2694,"zanCount":718,"manualWeight":54,"mainColor":55},214360,"san-jue-shan-shui-ce-6-hua-yan-214360","三绝山水册-6","华嵒","华岩的十六页中描绘了一幅清晰、优雅和空灵的风景。新罗山人擅长花鸟和人物，但山水也可以纳入收藏。",[23,24,64,332,94,27,95,199,33,30,7,348,100,119,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7608d5a899512f1784976f15ec1988c3.jpg","23.4x15.8",[],{"id":2717,"slug":2718,"title":2719,"dynasty":18,"author":1254,"museum":135,"description":2720,"tags":2721,"thumbUrl":2722,"material":229,"size":637,"collection":142,"collections":2723,"showCount":53,"zanCount":589,"manualWeight":54,"mainColor":109},283732,"qing-bian-tu-zhou-dong-qi-chang-283732","青卞图轴","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。",[24,117,64,225,94,95,99,98,33,7,170,100,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34d6a3abb2d15fedf1da6bba94a512ac.jpg",[],{"id":2725,"slug":2726,"title":2727,"dynasty":18,"author":1948,"museum":2728,"description":2729,"tags":2730,"thumbUrl":2731,"material":659,"size":2732,"collection":105,"collections":2733,"showCount":53,"zanCount":311,"manualWeight":54,"mainColor":109},221947,"wan-he-zheng-liu-tu-zhou-wen-zheng-ming-221947","万壑争流图轴","南京博物馆","图绘峡峨山势，山泉争流而下，山下溪水淙淙，坡上林木葱郁。画山用湿润的披麻破，行笔细节秀润，满纸青绿，场面壮观。\n满纸青绿设色，其法是先将浅赭色普染山石，然后留下石根之赭色，再将石绿、石青，而至墨青(花青和墨)色，薄薄地按序自下而上，分层积染。但文徵明匠心独运：其一，青绿中调和淡墨，清润幽雅，已不似以往大青绿之奇艳夺目；其二，石色薄敷，不掩墨骨，故仍是元初赵孟頫青绿设色方法的演变，无愧为文徵明晚年细笔青绿山水中的精品。",[23,24,64,225,27,95,99,7,33,98,30,168,390,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23ec8b65dd08d53416021b6376bc9a1c.jpg","纵132.4cm，横35.2cm",[105,51],{"id":2735,"slug":2736,"title":2737,"dynasty":344,"author":1916,"museum":281,"description":2738,"tags":2739,"thumbUrl":2741,"material":94,"size":2742,"collection":105,"collections":2743,"showCount":53,"zanCount":54,"manualWeight":54,"mainColor":55},220421,"qun-feng-shi-tan-tu-gong-xian-220421","群峰石潭图","《群峰石潭图》，立轴 绫本 水墨 48X171厘米，是保利5周年春拍藏。此作是龚贤画于1686年的一件“黑龚”精品，龚贤时年68岁，其“黑龚”已超出传统山水画的笔墨形式和意境藩篱。",[23,24,64,225,94,99,95,2740,98,33,76,169,7],"群峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9487e8a4d8fa6b005da87bf28588f31.jpg","横：48厘米 纵：171厘米",[105,83],{"id":2745,"slug":2746,"title":2747,"dynasty":18,"author":1254,"museum":20,"description":2748,"tags":2749,"thumbUrl":2751,"material":335,"size":2752,"collection":105,"collections":2753,"showCount":53,"zanCount":11,"manualWeight":54,"mainColor":109},220347,"fang-mi-fei-shan-shui-tu-tu-juan-dong-qi-chang-220347","仿米芾山水图-图卷","此帧《仿米家云山图》是难得一见的较大尺幅的山水作品，堪称是启功山水画的代表作之一。",[24,64,25,94,99,29,95,32,7,97,33,348,2750,169],"近水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b251912199235f04fa6b092ccdf07c0.jpg","25.9 x 219.1厘米",[105],{"id":2755,"slug":2756,"title":2757,"dynasty":344,"author":2309,"museum":61,"description":2758,"tags":2759,"thumbUrl":2760,"material":142,"size":142,"collection":105,"collections":2761,"showCount":2762,"zanCount":11,"manualWeight":54,"mainColor":109},236894,"hong-ren-shan-shui-zhou-hong-ren-236894","弘仁山水轴","弘仁俗姓江，名韬，字六奇，出家后名后人，号渐江学人，又号无智、梅花古衲，安徽歙县人。作品多师法自然，清新，能传达山川之美。此图意境伟峻秀逸，构图洗炼简逸，笔墨苍劲整洁。",[117,24,64,225,94,99,95,271,97,98,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f501a6cdbd204a645da4011e2ce7088.jpg",[105,83],131,{"id":2764,"slug":2765,"title":655,"dynasty":18,"author":1254,"museum":61,"description":2766,"tags":2767,"thumbUrl":2768,"material":2769,"size":2770,"collection":105,"collections":2771,"showCount":2762,"zanCount":54,"manualWeight":54,"mainColor":109},234054,"shan-shui-ce-dong-qi-chang-234054","第一开，右上角题：“仿唐杨昇。”钤“董其昌印”。鉴藏印钤“王掞”、“烟客真赏”、“虚斋精上品”、“壶中墨缘”。\n对开董其昌题：“唐杨昇峒关蒲雪图，见之明州朱定国少府，以张僧繇为师，只为没骨山，都不落墨。曾见日本画有无笔者，意亦唐法也。米元章谓王晋卿山水似补陀岩，以丹青染成。王洽正泼墨渖。多种法门皆李成、董源以前独善者。”钤印“董玄宰”。收藏印钤“庞来臣珍赏印”、“壶公”、“子清所见”、“王时敏印”、“颛庵”。\n设色青绿山水，画峰峦秋树。\n第二开，左上角题：“仿梅花道人。”钤“董其昌印”。收藏印钤“虚斋鉴赏”、“壶中墨缘”、“王时敏印”、“颛庵”。\n对开董其昌题：“今日遇武塘题吴仲圭故居，称梅花巷者。自号梅花和尚，实居士也。画学巨然，字学怀素，皆受和尚法，故云。仲圭与盛懋同巷对宇。人每指金帛诣盛求画，仲圭之家闻如也。家人以为谪，仲圭曰：‘待二十年后自有定论’。已而盛之身价果逊。至今三百年犹尔。辛酉三月廿三日识。”钤“董玄宰”印。收藏印钤“庞来臣珍藏印”、“壶公”、“王时敏印”。\n设色画水阁、青山、瀑布。\n第三开，左上题：“仿惠崇。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞之印”、“壶中墨缘”、“虚斋鉴赏”。\n对开董其昌题：“惠崇宋诗僧，建阳人也。在巨然之前，画学王维，精工妍丽如诗家。温、李辈《香辽集》生于情者。东坡、山谷为题其小景。余所见有京口陈氏江南惠卷及鄞朱定国所赠巨轴《早春图》。”钤印“董玄宰”。收藏印钤“王时敏印”、“藻儒”、“壶公”、“庞来臣珍赏印”。\n设色画青溪两岸云树房屋。\n第四开，右上题：“仿卢鸿草堂笔。”钤印“其昌”。收藏印钤“壶中墨缘”、“子清所见”、“王时敏印”。\n对开董其昌题：“鸿乙草堂明皇尝令人就图之，鸿乙画入神品，与右丞伯仲。嵩山十志各有楚词。至宋时李伯时作图令诸名公书其诗，人各一景。秦少游、僧参寥、米元章皆与焉。余见之项氏者亦十体，不显名姓。谢时臣亦临一本，第得其位置耳。唐人用墨高简，意到而笔不到，所以妙绝。”钤印“董玄宰”。收藏印钤“逊之”、“王掞之印”、“庞来臣珍赏印”、“壶公”。\n墨笔画疏林坡石，高崖瀑布。\n第五开，左上方题：“仿倪元镇。”钤“其昌”。收藏印钤“烟客真赏”、“王掞之印”、“壶中墨缘”、“虚斋精上品”。\n对开董其昌题：“倪迂画学冯觐。觐，《宣和画谱》所载宋宦官也。觐画世无传本。倪迂自题谓得荆关遗意，岂讳言觐耶？张伯雨题云：‘能与米颠相伯仲，风流还只数倪迂。应将尔雅虫鱼笔，为写乔林恠石图。’最为迂叟吐气。大都倪高士之画学冯觐，如朱晦翁之书学曹孟德，皆不问其师承也。倪迂书学《黄庭内景经》，《内景经》倪氏之物也。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞之印”、“庞来臣珍藏印”、“壶公”。\n设色画平远秋景山水。\n第六开，左上方题：“仿米元晖。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞”、“壶中墨缘”。\n对开董其昌题：“米元晖潇湘图余得之项玄度，有宋人题跋甚夥。朱晦翁亦一再见。后有王宗常叙诸跋卷人出处之概，书品亦佳，沈石田自题七十五岁方得一观，以快生平，为米卷第一。图不作点，只用墨破凹凸之形，树木屋宇皆精工，都画勾云亦变体也。元晖凡再题数百字。”钤印“其昌”。收藏印钤“逊之”、“王掞”、“庞来臣珍藏印”、“壶公”。\n墨笔画潇湘烟雨景。\n第七开，左上方题：“仿黄鹤山樵。”钤“董其昌印”。收藏印有“王时敏印”、“王掞之印”、“壶中墨缘”。\n对开董其昌题：“元季四大家惟王叔明仕于国初，为泰安州倅。何元郎记有雪图作于齐郡者是也。倪云林题有笔精墨妙语，又云澄怀观道是宗少文也。又临池学书出王右军、王虞，笔力能扛鼎，五百年来无此君，推挹至矣。于北宋诸家无所不摹，尤善右丞法。”钤印“董玄宰”。收藏印有“藻儒”、“逊之”、“壶公”、“庞来臣珍藏印”。\n墨笔画关山松涧。\n第八开，左上题：“仿李伯时山庄图。”钤“董其昌印”。收藏印有“王时敏印”、“颛庵”、“壶中墨缘”、“虚斋鉴藏”。\n对开董其昌题：“潇洒营丘水墨仙，浮空出没有无间。尔来一变风流尽，谁见将军设色山。\n无数青山落照边，遥知风雨不同川。此中有句无人认，道与襄阳孟浩然。\n二绝句皆东坡题画之什，深得画家三昧方能为，是语米老不如也。”钤印“董玄宰”。\n又题记：“辛酉三月游武林，归途闲暇作此八景。时画史杨彦冲同观。玄宰识。钤“虚斋审定”。\n此图册是董其昌于明天启元年（1621年）游武林（今杭州）时创作的，董氏时年67岁。图册分别仿杨升、卢鸿、惠崇、米友仁、李公麟、吴镇、倪瓒、王蒙等唐宋元诸家山水。画面集取古人不同的山水画景观，同时融入画家自己对于天地、山川的感受，“以意取之”，“各出意造”。在构图上虽与古人相似，但在审美情趣上董其昌追求的是一种平淡古雅的意境和逸趣。如仿唐杨昇山水，在画法上使用没骨设方法，摒弃了原作者金碧山水的华丽浓艳，继承了其中的古拙和典雅，寓丰富而鲜艳的色彩于平稳和谐的色调之中，笔法精妙秀雅，笔致轻松生动，从而使画面传达出一种平静而不淡泊、明媚而不躁动的美感，具有董氏自己的特点。又如米友仁芾画潇湘烟雨之景，以董、巨笔法皴染山石，用笔沉着稳重，通过墨色干湿浓淡的变化烘染出远山近水的空间感以及烟云雾气的变化。树木及房屋用笔多变化，墨色酣畅淋漓，层次丰富。这种董其昌笔下的米家山水，平淡之中更见秀雅。其他几开山水画同样反映了董其昌所追崇的文人画情趣，均以董源、巨然为归依。在仿古山水画中，他尝试运用各种不同的绘画形式诠释古法，同时表现出对于古法的继承和发展，从而阐述了自己的审美观，这是他创作众多仿古山水画最为重要的意义。此外，此件作品对开中董其昌的题记对于人们认识董其昌的艺术同样具有重要的史料价值。",[24,94,99,332,95,98,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f794274dd866033cbee27bee1c45115.jpg","纸本，水墨和设色","纵26.3厘米，横25.5厘米",[105],{"id":2773,"slug":2774,"title":2775,"dynasty":344,"author":2489,"museum":152,"description":2776,"tags":2777,"thumbUrl":2778,"material":258,"size":2779,"collection":105,"collections":2780,"showCount":2762,"zanCount":11,"manualWeight":54,"mainColor":109},222663,"shan-shui-tu-juan-kun-can-222663","山水图卷","髡[kūn]残（1612～1692）明末清初画家。清初四僧之一。俗姓刘，武陵（今湖南省常德市）人，居南京。幼年丧母，遂出家为僧。法名髡残，字石溪，一字介丘，号白秃，一号残道者、电住道人、石道人。他削发后云游各地，43岁时定居南京大报恩寺，后迁居牛首山幽栖寺，度过后半生。性寡默，身染痼疾，潜心艺事，与程正揆（程正揆，号青溪道人）交善，时称二溪，艺术上与石涛并称二石,善画山水，亦工人物、花卉。山水画主要继承元四家传统，尤其得力于王蒙、黄公望。构图繁复重叠，境界幽深壮阔，笔墨沉酣苍劲，以及山石的披麻皴、解索皴等表现技法，多从王蒙变化而来；而荒率苍浑的山石结构，清淡沉着的浅绛设色，又近黄公望之法。他还远宗五代董源、巨然，近习明代董其昌、文徵明等，兼收并蓄，博采众长。在学习传统基础上，重视师法自然，自谓“论画精髓者，必多览书史。登山寡源，方能造意”。一生中大部分时间都在山水中度过，经常驻足于名山大川，流连往返。他“僻性耽丘壑”、“泉石在膏肓”，主观的情感、性灵与客观的景物、意境相感应、交融，使其山水画景真情切，状物与抒情成为一体。所作山水，在平淡中求奇险，重山复水，开合有序，繁密而不迫塞，结构严密，稳妥又富于变化，创造出一种奇辟幽深，引人入胜之境，生动地传达出江南山川空□茂密、浑厚华滋的情调。他喜用渴笔、秃毫，苍劲凝重，干而不枯，并以浓淡墨色渲染，使得笔墨交融，形成郁茂苍浑、酣畅淋漓的情趣，使画面产生雄浑壮阔、纵横蓬勃的气势。存世代表作有《报恩寺图》，绘南京聚宝门外报恩寺，通过概括提炼，表现了金陵名胜的磅礴、奇异气象。《云洞流泉图》、《层岩叠壑图》和《雨洗山根图》（均藏故宫博物院），以繁密的布局、苍劲的用笔、郁茂的景致、幽深的境界，显现出石溪鲜明的艺术特色。\n髡残扇面擅画人物、花卉，尤精山水。师法黄公望、王蒙，尤近于王蒙。其画章法严密，笔法苍劲，喜用秃笔渴墨，层层皴擦勾染，厚重而不板滞，郁茂而个迫塞，善写平凡景致，平淡中见幽深。与石涛、弘仁、朱耷并称“清四僧”。 工诗文、书画，擅山水、花卉。山水师法王蒙、黄公望，并汲取董源、巨然、董其昌、文徵明等人画法。博采众长，加以发展变化，又能师法自然，于游历中观赏体验名山大川的万千景象。所画山水，构图饱满，重山复水，繁密中见疏灵，善用秃锋渴笔画山石树木，以浓淡墨渲染，苍劲凝重中透出丰润秀逸之致，意境奇僻幽深，得江南山水空濛茂密、浑厚华滋之质。其绘画在当时名重一时，对后世亦有很大影响，后人将其与石涛并称二石，又与渐江、朱耷、石涛合称清初四僧。有《报恩寺图》、《云洞流泉图》、《层岩叠壑图》、《雨洗山根图》等传世。在绘画论画云：“董华亭(其昌)谓：‘画和禅理共旨，不然禅须悟，非工力使然，故元人论品格，宋人论气韵，品格可力学而至，气韵非妙悟则未能也。”在提倡勤学的同时，也主张作画须有“妙悟”，并非下死力就可得画之神韵。\n髡残性直硬，脾气倔强，寡交游，难于与人相合。这种强烈的个性表现在他的禅学上是“自证自悟，如狮子独行，不求伴侣”；表现在绘画上则为“一空依傍，独张赵帜，可谓六法中豪杰”。他自己也说：“拙画虽不及古人，亦不必古人可也。”他长期生活在山林泽薮之间，侣烟霞而友泉石，踯躅峰巅，留连崖畔，以自然净化无垢之美，对比人生坎坷、市俗机巧，从中感悟禅机画趣。髡残作品中的题跋诗歌多作佛家语，这不仅因其身为和尚，而且在他看来，禅机画趣同是一理，无处不通。如《禅机画趣图》轴、《三冬入华村图》轴，《物外田园图》册的诸多题跋，大都是借画谈禅，因禅说画。融禅机与画理于一炉，是髡残画作的主要特点之一。\n髡残在明末遗民中享有很高的声望，他的画也为世人所瞩目。当时著名的文人兼大鉴赏家周亮工就十分景仰、看重髡残的人品和画学，在《读画录》中为他写小传，谓：“人品笔墨俱高人一头地……绘事高明，然轻不为人作。”张怡在髡残的《仿米山水册》中是这样评价这位心灵相契的老友的：“举天下言诗，几人发自性灵?举天下言画，几人师诸天地?……此幅自云效颦米家父子，正恐米家父子有未到处，所谓不恨我不见 髡残古人，恨古人不见我耳。”他认为髡残的诗，是写出了自己的性灵；髡残的画是直师造化，甚至比宋代米芾父子还好；髡残的佛学是直指本心，而没有出家人开堂说法的那种俗套。张庚《国朝画征录·髡残传》云：“石□工山水，奥境奇辟，缅邈幽深，引人入胜。笔墨高古，设色精湛，诚元人之胜概也。此种笔法不见于世久矣!”这段话说明髡残的画深得元季四大家的精髓。总之，三百多年来，髡残一直以其人品与画品并重的高华之气，影响着画坛，成为画家心目中的丰碑。",[23,24,25,94,27,99,95,168,271,97,32,7,348,169,33,98,100,119,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefdd6fed5c43711601b4533de6596a1c.jpg","23x309cm",[105,51],{"id":2782,"slug":2783,"title":2784,"dynasty":59,"author":209,"museum":91,"description":2785,"tags":2786,"thumbUrl":2787,"material":404,"size":2788,"collection":49,"collections":2789,"showCount":2762,"zanCount":11,"manualWeight":54,"mainColor":55},219960,"yu-cun-gui-diao-tu-xia-gui-219960","渔村归钓图","这幅画作以边角截景取景，空灵留白间晕开幽寂江村暮色。古松虬曲倒挂，浓淡墨色区分枯荣枝叶，苍劲中带着柔姿，斜斜探向崖下茅舍，隐见烟火野趣。下方板桥横于浅渚，孤渔垂竿徐行，晚归的闲散诗意随晚风漫开。山石以斧劈皴利落皴擦，硬朗线条衬出水畔崖岸的清峭冷寂。整幅落笔极简，以少胜多，将江南渔村的宁谧晚景藏在简淡笔墨中，寥寥数笔便勾勒出悠远清寂的意境，把山水雅趣融在边角留白里，清淡悠远，余韵悠长。",[23,24,117,64,1551,94,99,95,256,32,7,96,306,30,140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5aa21f05a4516126b98b351e062b2bf0.jpg","23×22.3cm",[49],{"id":2791,"slug":2792,"title":2793,"dynasty":18,"author":19,"museum":316,"description":2794,"tags":2795,"thumbUrl":2797,"material":47,"size":2798,"collection":49,"collections":2799,"showCount":2762,"zanCount":11,"manualWeight":54,"mainColor":55},219528,"yu-yin-tu-chou-ying-219528","渔隐图","画作以沉郁古绢为底，青绿晕染烟峦，远景山影空濛朦胧，墨色揉合石青，消弭了峰岩棱角，只剩淡宕的山野烟岚。近岸古木虬枝偃蹇，攒簇的枝叶以青绿点染，带着苍润生机。浅滩石矶错落，一脉细流澹澹而过，茅舍静立渚边，素墙茅顶融在水木之间，不见渔者身影，却满是幽寂萧散的渔居意趣。\n全画笔简意足，将寄情丘壑、归卧林泉的隐逸之思，藏进这烟峦水木之中，古旧绢色衬得青绿愈见沉静，尽显山野幽居的澹泊自在。",[23,24,64,117,26,27,118,95,33,2796,7,199,256,225],"渔舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F977cfda0f3539f45458255d68c97e3b4.jpg","纵137.5横67.8厘米",[49,51],{"id":2801,"slug":2802,"title":2803,"dynasty":344,"author":2804,"museum":152,"description":2805,"tags":2806,"thumbUrl":2809,"material":469,"size":2810,"collection":105,"collections":2811,"showCount":2812,"zanCount":54,"manualWeight":54,"mainColor":55},222758,"shi-er-yue-ling-tu-10-yue-lang-shi-ning-222758","十二月令图（10月）","郎世宁","清院本版的“赏花”图是清佚名版《行乐图》中没有的，显然是新增的时令图，替换清佚名版的《三月赏桃图》。笔者将其命名为“赏花”，是根据其主景（近景）确定的。其文字介绍也说：“画中描绘了树木渐茂，百花竞放，人们在连绵的细雨中执伞顶笠，赏花、消遣的景象。”如果将其命名为“赏桃”，显然名不符实。其余时令图与《雍正十二月行乐图》的十一种图基本相同。说“基本相同”是因为也有不同之处，下面分别说明。\n1、在《行乐图》之《正月观灯图》中，雍正站在廊式围墙的大门间。在《月令图》之《正月观灯图》中，雍正站在围墙大门右边的廊下。\n2、在《月令图》之《二月踏青图》中，雍正前后的栏杆、围墙与《行乐图》之《二月踏青图》的不同。\n3、在《月令图》之《三月流觞图》中，其溪流右边的楼阁与《行乐图》之《四月流觞图》的不同。\n4、在《月令图》之《五月竞舟图》中，主要是雍正位于的高台凉亭与《行乐图》之《五月竞舟图》的不同。\n5、在《月令图》之《六月纳凉图》中，主要是雍正位于的高台楼阁与《行乐图》之《六月纳凉图》的不同。\n6、在《月令图》之《七月乞巧图》中，主要是雍正所处的房屋后面的树木、雾霭与《行乐图》之《七月乞巧图》的不同。\n7、在《月令图》之《八月赏月图》中，主要是雍正位于的高台楼阁的四周树木、山石与《行乐图》之《八月赏月图》的不同。\n8、在《行乐图》之《九月赏菊图》中，雍正所处房屋的月亮门前是石墙填土的高台院子。在《月令图》的《九月赏菊图》中，雍正所处房屋的月亮门前不是高台，而是山石低岸。\n9、在《行乐图》之《十月画像图》中，雍正所处房屋与对面房屋的通道没有栏杆。在《月令图》的《十月画像图》中，则有红色栏杆。\n10、在《行乐图》之《十一月参禅图》中，雍正所处房屋中有一排字画，靠墙的花几上有一件插了花的青铜觚，门口有一只雌孔雀。这些内容在《月令图》的《十一月参禅图》中都没有。\n11、在《行乐图》之《腊月赏雪图》中，鹿场左侧有九曲桥与对面相通。在《月令图》的《腊月赏雪图》中则没有",[23,24,26,27,95,31,7,98,33,353,30,39,2807,2808],"行乐","聚会","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9ed4b72d321f7343f422af6480b67f2.jpg","188.2*102.2cm",[105,51],130,{"id":2814,"slug":2815,"title":2816,"dynasty":631,"author":2817,"museum":152,"description":2818,"tags":2819,"thumbUrl":2821,"material":47,"size":2822,"collection":49,"collections":2823,"showCount":2824,"zanCount":718,"manualWeight":54,"mainColor":109},218751,"shui-xie-kan-fu-tu-zhou-wen-ju-218751","水榭看凫图","周文矩","亭子的窗户敞开，帘子高高卷起，内部装饰着水波纹的座屏，座屏的边缘是红色的悬卷金花，这是宋代的一种时尚。两张方凳并排放置，凳子是用棕色藤条编织的，脚是如意形状。另一边是一张单剖面和双剖面的方桌，上面覆盖着白色披肩，摆放着金铜香炉和书籍。湖中有鸭子和海凫相互嬉戏，自然景观丰富。水榭旁有桃花、竹子和柳树等植物，还有一个覆盖着河边花草树木的私人大厅和亭子。露台的边上是水边的栏杆，女士从那里惊讶地看着这一幕。",[23,24,64,27,26,28,30,139,2820,97,33,2545,7,1692],"水榭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6128558cce10db8152fce876cb20fb95.jpg","24.5x26.7厘米",[49],129,{"id":2826,"slug":2827,"title":2828,"dynasty":18,"author":645,"museum":316,"description":2829,"tags":2830,"thumbUrl":2835,"material":47,"size":2836,"collection":105,"collections":2837,"showCount":2838,"zanCount":11,"manualWeight":54,"mainColor":55},219753,"he-shu-fu-long-tu-tang-yin-219753","鹤书赴陇图","画作以苍虬古松开篇，虬枝斜曳如龙，山间飞瀑直落深谷，涤荡山野清寂。板桥跨于寒溪之上，两位文士驻足松下，似正眺望远山，暂歇行旅劳顿。右侧山道车马随行，将赴陇的行旅意涵隐于画中。\n\n笔墨兼具吴门雅致与浙派刚劲，山石以斧劈皴利落勾勒，设色沉郁古雅，把山野的辽远壮阔与文人驻留的悠然意趣相融，将行旅途中的片刻闲静，晕染进苍莽山水间，尽显此作山水人物交融的隽永意境。",[23,24,95,30,2831,2832,32,7,98,2833,37,27,2281,1110,2834],"古松","飞瀑","山道","悠然","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63d65752ecf21627fe7c9bec5d68f3a0.jpg","纵132.3cm横80.2cm",[105],128,{"id":2840,"slug":2841,"title":2842,"dynasty":18,"author":1254,"museum":152,"description":2843,"tags":2844,"thumbUrl":2845,"material":47,"size":2846,"collection":105,"collections":2847,"showCount":2838,"zanCount":54,"manualWeight":54,"mainColor":109},219393,"shuang-lin-qiu-si-tu-dong-qi-chang-219393","霜林秋思图","此画近景崎岖不平的山石，其中有的山石较陡与中景的山石相粘接，近景的山石间有几棵树木，有的树干粗壮挺拔，有的枝干弯扭，但其枝叶茂密，大树下和山腰间有两间茅屋座落其间。中景的山石与远景的山石一样浓重；那片决定中、远景的距离感的白色炯云，上连霄汉，下通江湖，犹如“一炬之光，通体皆灵”。",[24,64,94,27,99,95,140,1397,97,7,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59ddfad59a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（1632─1717），字石谷，號耕煙散人、劍門樵客、烏目山人、清暉老人等。江蘇常熟人。清代著名畫家。被稱為清初畫聖。王翬作畫喜好干筆、濕筆並用，而且多以細筆皴擦，畫面效果比較繁密。此圖是王翬《仿古四季山水圖》屏風組畫中的一幅，描繪的是江南春景。圖中山巒層疊，樹青草綠，村舍屋宇錯落，小橋流水人家，漁船泛波湖上，一派雨後春光明媚的江南山村景致。在構圖布局上，小徑、樹木、庭院，皆隨河流之勢分布，疏密得當，既不擁擠，也不顯孤單零落。近處、遠處的小橋流水，將整幅畫面巧妙地連結在一起；遠處山巒環繞於霧靄之中，若隱若現，山巒以墨點點染，藉以烘托初春萬物復甦之景。臨湖的道路兩旁，樹木繁茂，枝葉稀疏清朗，同樹幹的高大粗壯之勢相呼應。全圖中樹幹的畫法不盡相同，體現了作者深厚的功底：近處多為粗壯老乾，先勾勒其輪廓，再以墨色和赭石加以暈染，刻畫詳細；遠處則多以濃墨一氣呵成，枝葉多以濕墨排點式描繪，各種技法交相呼應，使得整幅畫面變化多端。",[23,24,64,2880,27,99,95,32,7,96,140,1397,76,170,2881,2882,518,67],"仿古","杏花","春雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff876fdc542da2e5824bd38aedc647cc2.jpg","82.5x51.2",[],{"id":2887,"slug":2888,"title":2889,"dynasty":18,"author":19,"museum":152,"description":2890,"tags":2891,"thumbUrl":2892,"material":47,"size":2893,"collection":49,"collections":2894,"showCount":2873,"zanCount":589,"manualWeight":54,"mainColor":55},220438,"qun-xian-hui-zhu-tu-chou-ying-220438","群仙会祝图","本幅左下方有「实父仇英堇制」款，虽为托名之作，然精雕细造，为罕见的「苏州片」佳作。此作描绘主题应是群仙共赴蟠桃大会，为王母娘娘祝寿。陆、海、空诸景穿插层叠，构图工丽复杂；诸路神仙、瑞兽以此为舞台，现示各样神通。画面右下角小坡上骑着张果老驴子乱奔的李铁拐，元神已由葫芦中化成一道光束，回环飞至天际谒见太上老君。相对仙人简单的装束，画中楼阁器用装饰华美、结构繁缛。以金线细腻描绘的云龙纹样，在每根红色立柱上皆费心经营不同图案。人物与动物虽略有小疵，但不减其整体精彩，应为当时祝寿用的高档献礼。",[23,24,117,64,26,27,28,30,31,95,33,122,821,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e1fc9c8db033a209857210a716124ba.jpg","99x 148.4",[49,51],{"id":2896,"slug":2897,"title":2898,"dynasty":59,"author":2899,"museum":2900,"description":2901,"tags":2902,"thumbUrl":2903,"material":47,"size":2904,"collection":81,"collections":2905,"showCount":2873,"zanCount":11,"manualWeight":54,"mainColor":109},219887,"yue-xia-yu-she-tu-zhao-ling-rang-219887","月下渔舍图","赵令穰","耶鲁大学艺术博物馆","赵令穰（生卒年不详），字大年，北宋汴京（今河南开封）人，画家。宋太祖赵匡胤五世孙。官至光州防御使﹑崇信军观察留后，卒赠“开府仪同三司”，追封“荣国公”。其子赵伯驹宋代著名画家，官至浙东兵马钤辖。工画山水、花果、翎毛，笔致秀丽，尤长金碧山水。远师李思训父子。",[24,27,95,99,255,122,32,7,530,256],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd64745e0ff99130ce0f92eb82148afe6.jpg","26.7x26.7",[81],{"id":2907,"slug":2908,"title":2909,"dynasty":344,"author":2489,"museum":316,"description":2910,"tags":2911,"thumbUrl":2912,"material":103,"size":2913,"collection":105,"collections":2914,"showCount":2873,"zanCount":54,"manualWeight":54,"mainColor":109},219759,"shan-shui-si-jing-zhi-qiu-kun-can-219759","山水四景之秋","髡[kūn]残（1612年-1692年），清画家。本姓刘，出家为僧后名髡残，字介丘，号石溪、白秃、石道人、石溪道人，残道者、电住道人。湖广武陵（今湖南常德）人。与石涛合称“二石”，又与八大山人，弘仁，石涛合称为“清初四画僧”。好游名山大川，后寓南京牛首山幽栖寺，与程正揆交往密切。擅画山水，师法王蒙，喜用干笔皴擦，淡墨渲染，间以淡赭作底，布置繁复，苍浑茂密，意境幽深。善书法，能诗。存世作品有《层岩叠壑图》《卧游图》《苍翠凌天图》《清髠残江上垂钓图》等。",[23,24,64,95,94,99,255,96,7,170,350,169,33,35,72,98,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e29d3f4bec003b725d9d06422d2ffca.jpg","纵31.8cm 横65cm",[105],{"id":2916,"slug":2917,"title":2918,"dynasty":2023,"author":292,"museum":20,"description":2919,"tags":2920,"thumbUrl":2922,"material":47,"size":2923,"collection":49,"collections":2924,"showCount":2873,"zanCount":11,"manualWeight":54,"mainColor":55},218314,"fang-yuan-zui-yue-tu-yi-ming-218314","芳园醉月图","月夜清辉漫洒芳园，嶙峋山石旁花木扶疏，枝桠间繁花如雪，月下更显幽逸。园内人影错杂，或围坐醉谈，或信步寻幽，或凭栏浅笑，动静交织成一派闲适图景。小桥卧波，流水潺潺，石径蜿蜒穿林，远处奇峰隐现于月色朦胧中，添了几分旷远之致。人物衣袂轻扬，神态鲜活，生动勾勒出园居宴乐的融融暖意。笔墨细腻温婉，设色淡雅清和，山石皴染见古意，花木点描显灵秀，构图疏密得宜，将园林的清幽之境与人间的欢悦之情相融相契，尽展古典雅韵与生活意趣。",[117,24,64,225,27,26,30,32,7,98,33,530,2301,2921],"园林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a5dcf17369c07d5993485e20a0c645b.jpg","155.5x102.3",[49],{"id":2926,"slug":2927,"title":2458,"dynasty":18,"author":2928,"museum":2929,"description":2930,"tags":2931,"thumbUrl":2932,"material":103,"size":142,"collection":105,"collections":2933,"showCount":2934,"zanCount":718,"manualWeight":54,"mainColor":55},219921,"qing-lv-shan-shui-tu-wen-jia-219921","文嘉","香港艺术馆","文嘉（1501年～1583），字休承，号文水，南直隶苏州府长洲（今江苏苏州）人。大书画家文徵明次子。\n吴门派代表画家。初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。精于鉴别古书画，工石刻，为明一代之冠。画得徵明一体，善画山水，笔法清脆，颇近倪瓒，着色山水具幽澹之致，间仿王蒙皴染，亦颇秀润，兼作花卉。明人王世贞评：“其书不能如兄，而画得待诏（文徵明）一体。”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。”",[23,24,64,225,118,27,95,99,168,33,30,98,7,2206],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1820ac5ad6de7a128ff8fac67e031d3c.jpg",[105],125,{"id":2936,"slug":2937,"title":2938,"dynasty":59,"author":292,"museum":152,"description":2939,"tags":2940,"thumbUrl":2941,"material":47,"size":2942,"collection":81,"collections":2943,"showCount":2934,"zanCount":11,"manualWeight":54,"mainColor":55},218800,"liu-tang-diao-yin-tu-yi-ming-218800","柳塘钓隐图","宋人非常重视在他们的绘画中创造情绪和气氛。这幅画以一座山和一个池塘为骨架，中间有房屋、柳树和各种森林。池塘里的荷花盛开，给人一种和平和宁静的感觉，但鸭子、海凫、泥鳅和苍鹭则增加了商业的感觉。芦苇丛中有老鹰归来，天花板上挂着文曲星，有学者靠着它，这就是莲花池。高居翰在他的中国古代绘画索引中认为这是南宋的一件非常好的作品。它高瞻远瞩，视野开阔，设计合理，景物逼真。笔法细腻逼真，如画中的箭，绿意盎然，笔墨严谨，造型非常逼真。赵令郎（1070-1100年）的《平林》和《亭子》中的水禽图案可能与赵士来（11世纪）的《西塘亭子》风格相似。这样的作品在北宋时期很流行，这幅作品虽然不是他们的作品，但也是对他们风格的良好临摹。",[23,24,64,95,27,94,99,934,1728,32,7,96,306,256,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F206b6e83b326af49ba200e9953d38b66.jpg","23.6x24",[81,105],{"id":2945,"slug":2946,"title":2947,"dynasty":18,"author":90,"museum":135,"description":2948,"tags":2949,"thumbUrl":2950,"material":229,"size":637,"collection":142,"collections":2951,"showCount":2952,"zanCount":718,"manualWeight":54,"mainColor":109},228835,"xi-shan-qiu-se-tu-juan-shen-zhou-228835","溪山秋色图卷","此图右起大片水域，远山蒙蒙，云气蒸腾。中部山石突起，溪水潺潺蜿蜒从山间流过，坡石上零星分布着树木。整幅画水墨饱满，用淡墨淡彩渲染出一派澄明清润的南国初秋景象，气韵生动。笔法简清爽利，色彩浓淡相宜，具透明感。",[23,117,24,933,25,95,689,99,100,101,119,98,33,76,7,96,97,348,2750,1758,122,32,1397,140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13a660bbee2437d662bcad8b1a397e57.jpg",[],124,{"id":2954,"slug":2955,"title":2956,"dynasty":59,"author":2532,"museum":61,"description":2957,"tags":2958,"thumbUrl":2962,"material":946,"size":2963,"collection":142,"collections":2964,"showCount":2952,"zanCount":11,"manualWeight":54,"mainColor":109},221374,"yu-cun-xiao-xue-tu-juan-quan-juan-wang-shen-221374","渔村小雪图卷全卷","描写冬季小雪初霁的渔村山林景色。图中雪山奇松，溪岸渔艇，峰迴路转，步移景易，整个画面意境萧索，笼罩在一片空灵、静寂的氛围之中，虽有渔夫艰苦劳作，但反映的却是文人逸士向往山林隐逸生活的雅致情怀。此图是王诜师法李成而自成一家的作品。图中山石勾皴纯用侧锋短笔，边缘轮廓采用“破墨法”，在勾勒之后用清水向内化开，墨色轻淡。寒林长松则用中锋浓墨，从而突出表现了其凌寒不凋的高贵品格。为了表现积雪，除山峦留白外，作者还在峰顶、树杈、沙脚施以白粉。为了表现雪后阳光，作者又于树头、苇尖略染金粉，在通幅水墨之中吸收了唐以来金碧山水的画法，是一种创造性的实践。这幅作品充分体现了北宋时文人画强调“诗中有画，画中有诗”的创作主旨，以娴熟的技法写“词人墨卿难状之景”，正是“诗画一律”的典范作品。",[23,24,64,25,94,27,99,26,95,2959,2960,98,33,7,96,306,2961,32,122,169,100,101,119],"渔村","小雪","渔翁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5c673d066b16599b24a80fdfbc217e0.jpg","纵44.5厘米，横219.5厘米",[],{"id":2966,"slug":2967,"title":2968,"dynasty":59,"author":209,"museum":152,"description":2969,"tags":2970,"thumbUrl":2973,"material":176,"size":2974,"collection":81,"collections":2975,"showCount":2976,"zanCount":54,"manualWeight":54,"mainColor":55},221572,"xi-hu-liu-ting-tu-zhou-xia-gui-221572","西湖柳艇图轴","西湖柳艇图画西湖中的柳树、长堤、水榭、湖舍、画舫和游客，风轻云淡，水墨氤氲，画面丰满，笔墨精谨，远处人物也不用其它山水画中点景人物那样简率的笔法，即所谓的“人物面目，点凿为之，衣褶柳梢，间有断缺”，而是刻画通真，极为精妙，笔调也是沉着含蓄，明媚秀润。",[23,117,24,94,225,95,378,2971,2820,2972,1243,30,32,7,96,26],"长堤","湖舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f8d0b03ccc5a62ec9034caad9749d55.jpg","纵107.2厘米，横59.3厘米",[81,105,83],123,{"id":2978,"slug":2979,"title":2980,"dynasty":59,"author":488,"museum":152,"description":2981,"tags":2982,"thumbUrl":2985,"material":188,"size":2986,"collection":81,"collections":2987,"showCount":2976,"zanCount":54,"manualWeight":54,"mainColor":55},221413,"song-quan-pan-shi-zhou-li-cheng-221413","松泉磐石轴","本幅之题材与风格，属松石格之作品，描绘双松挺立于磐石上，两侧有枯木为伴，兼具寒林之景象。寒林之后隐约可见清涧折曲而来，至磐石处急泻而下，激起漩涡与浪花。 松石格是兴起于八世纪的绘画，或画松石、树石，含松柏及其他树木。它是山水画范围的一部分。\n飞泉激漱于涧石之间，下潴成窟，浪花腾溅。两松劲挺立於涧右，树身扭曲，多瘤杈枒。松针作圆形，先用浓墨画，再用淡墨罩一次，又用墨水烘渍，最后用小弹弓弹墨花于其上，如宋人弹雪法。涧左枯树两株，较两松更甚，画小枝用李郭蟹爪。树后层滩叠渚，愈远愈淡，上接烟霾天宇，一门浑囵。松身结体，颇似武元直赤壁图卷；烘染厚润，颇似李山风雪杉松图卷。",[24,64,225,94,99,95,390,2983,2984,32,7,98,33],"泉水","磐石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab46279c4e10e9f75620f23fefae0de6.jpg","160.3x96.8cm",[81,105,83],{"id":2989,"slug":2990,"title":2991,"dynasty":150,"author":1622,"museum":2992,"description":2993,"tags":2994,"thumbUrl":2997,"material":335,"size":2998,"collection":625,"collections":2999,"showCount":2976,"zanCount":311,"manualWeight":54,"mainColor":109},220843,"gui-qu-lai-ci-juan-zhao-meng-fu-220843","归去来辞卷","湖州博物馆","大德元年，赵孟頫时年四十四岁，当时未赴太原路汾州知州之新职，正居家闲赋。此书运笔沉稳畅朗，骨肉停匀，结体紧敛虚和，堪称其中年行书风格的典范。有关本卷赵氏的署名，启功在1954年的题跋中说：“至于此卷署名‘俯’字，观者多疑之。然自用笔结字，以至纸墨印章、签题跋尾，无一不足义证其真实不虚者。故吾今将大书以补松雪传记曰：名孟頫，亦书作孟俯也。”\n释文：“归去来辞并序。余家贫，耕植不足以自给。幼稚盈室，瓶无储粟，生生所资，未见其术。亲故多劝余为长吏，脱然有怀，求之靡途。会有四方之事，诸侯以惠爱为德。家叔以余贫苦，遂见用为小邑。于时风波未息，心惮远伇。彭泽去家百里，公田之利，可以为酒，故便求之。及少日，眷然有归与之情。何则？质性自然，非矫励所得。饥冻虽切，违己交病。尝从人事，皆口腹自伇。于是怅然慷慨，深愧平生之志。犹望一稔，当敛裳宵逝。寻程氏妹丧于武昌，情在骏奔，自免去职。仲秋至冬，在官八十馀日。因事顺心，命篇曰《归去来兮》。乙巳岁十一月也。\n归去来兮！田园将芜胡不归？既自以心为形伇，奚惆怅而独悲？悟已往之不谏，知来者之可追；寔迷途其未远，觉今是而昨非。舟摇摇以轻飏，风飘飘而吹衣。问征夫以前路，恨晨光之熹微。乃瞻衡宇，载欣载奔。僮仆欢迎，稚子候门。三径就荒，松菊就（此字点去）犹存。携幼入室，有酒盈尊。引壶觞以自怡（此字点去）酌，眄庭柯以怡颜。倚南窗以寄傲，审容膝之易安。园日涉以成趣，门虽设而常关。策扶老以流憩，时矫首而遐观。云无心以出岫，鸟倦飞而知还。景翳翳以将入，抚孤松而盘桓。归去来兮！请息交以绝游。世与我而相违，复驾言兮焉求？悦亲戚之情话，乐琴书以消忧。农人告余以春及，将有事于西畴。或命巾车，或棹孤舟。既窈窕以寻壑，亦崎岖而经丘。木欣欣以向荣，泉涓涓而始流。善万物之得时，感吾生之行休。 已乎矣！寓形宇内复几时，曷不委心任去留。胡为遑遑欲何之？富贵非吾愿，帝乡不可期。怀良辰以孤往，或植杖而秐秄。登东皋以舒啸，临清流而赋诗。聊乘化以归尽，乐夫天命复何疑。",[23,100,101,25,64,94,119,96,122,7,2995,2996,821],"孤松","菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c01f7704017ae933116236829fd1108.jpg","纵26厘米，横239厘米",[625],{"id":3001,"slug":3002,"title":3003,"dynasty":18,"author":267,"museum":1841,"description":3004,"tags":3005,"thumbUrl":3006,"material":2109,"size":3007,"collection":142,"collections":3008,"showCount":2976,"zanCount":54,"manualWeight":54,"mainColor":142},220728,"fang-ma-yuan-ta-ge-tu-dai-jin-220728","仿马远踏歌图","戴进（1388—1462），字文进，号静庵、玉泉山人。钱塘（今浙江杭州）人，明代画家。早年为金银首饰工匠，后改工书画。宣德间（1426—1435）以画供奉内廷，官直仁殿待诏。后因遭谗言被放归，浪迹江湖。\n他擅画山水、人物、花鸟、虫草。山水师法马远、夏圭，中年犹守陈法，晚年纵逸出蹊径，卓然一家。所作雄俊高爽，苍郁浑厚，用笔劲挺方硬，画人物笔法娴熟，顿挫间风度益著；所作花鸟、虫草亦饶有生意。为“浙派绘画”开山鼻祖。作品有《春山积翠图》《风雨归舟图》 《三顾茅庐图》《达摩至惠能六代像》等。\n戴进作为明代著名的画家，绘画临摹精博，得唐宋诸家之妙，道释、神像、人物、山水、花果、翎毛、走兽等，无所不工。\n他的山水画画作品，注重选题。画法源出宋元，继承南宋水墨苍劲一派，主要吸收南宋时期的马远、夏圭（夏圭）风格，但也吸取北宋时期的李成和范宽，并取法郭熙、李唐、董源，用笔劲挺方硬，水墨淋漓酣畅，技巧纵横，画风雄健挺拔，俱遒劲苍润，一变南宋浑厚沉郁的风格，发展了马远、夏圭传统，善于用浓淡水墨的巧妙变化，来表现“铺叙远近，宏深雅淡”的品格，既有南宋院体遗风，又有元人水墨画意，被推为“浙派山水首席画师”",[23,24,64,117,95,99,27,98,33,169,30,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b3256df255a4ff5cd730b5277dbb9e7.jpg","装裱：270.5×122.3厘米画心：182.4×107.4厘米",[],{"id":3010,"slug":3011,"title":3012,"dynasty":2224,"author":3013,"museum":281,"description":3014,"tags":3015,"thumbUrl":3019,"material":103,"size":3020,"collection":105,"collections":3021,"showCount":2976,"zanCount":54,"manualWeight":54,"mainColor":109},220411,"ji-liu-xing-zhou-tu-zhang-da-qian-220411","急流行舟图","张大千","此《急流行舟图》为1948年4月作，张大千50岁。其以古法入画已臻纯熟老辣之境，博采各家之长，具宋元风范又自出新意。此时其作品古人面貌最多，变化最多。《急流行舟图》的中远景，尽显淡墨轻岚一派风气。其笔法细秀温润，明润郁葱，画中经营的幽溪细路、山涧飞瀑、竹篱茅舍、断桥危栈，皆使人感悟“真若山间景趣也”。其画面设色清秀爽气，略施浅绛，主体以山石、树木、枝叶墨色浓淡的交错运用来表现层次关系，突出新安江一带特有的清润明秀、不装巧趣的韵致。然此画精彩之处不尽于此。但见飞瀑直下，形势急转，顿生高潮：激流暗涌、险滩巨礁、双舟争渡；江边草木、迎风而动、生意盎然。此处张大千一改中远景中平淡天真之法，石涛笔意曜然纸上。其山水画本效石涛起家，谓可乱真。自是笔法流畅，用墨相宜，或笔简墨淡、或浓重滋润，恣肆郁勃、淋漓洒脱。平淡中见奇绝，乃新安江山水之天然风貌。张大千这一静一动，构思新奇，更显急流行舟之灵动野趣。画中题款诗文中似流露出张大千对于隐居山野的倾慕，然其并未在“人在荒山顶上居”上多费笔墨，成为该画点睛之笔的正是“舟从乱石堆中过”。只见两叶轻舟似于浅滩中遇到险阻，船公们或奋力撑篙，或涉水排阻，人人齐心，共闯险滩。人物船只皆以白描意笔勾勒，浅绛施与船身与肤色，虽小至寸余，但形神毕肖，呼之欲出，在水墨淡色的山水中尤为醒目，点题立意。《急流行舟图》是张大千于国内面对真山实水所作的最后一批山水画之一，亦是其于盛期“师自然”的典型范例。",[23,117,24,64,94,27,3016,99,95,7,96,32,168,33,98,169,76,227,3017,3018],"写意","急流","行舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F090de17151e7cc3bb155db86e8b0dcaa.jpg","133x53cm",[105,51],{"id":3023,"slug":3024,"title":3025,"dynasty":344,"author":2071,"museum":316,"description":3026,"tags":3027,"thumbUrl":3028,"material":103,"size":3029,"collection":105,"collections":3030,"showCount":2976,"zanCount":54,"manualWeight":54,"mainColor":109},217217,"fang-gu-shan-shui-shi-er-kai-wang-hui-217217","仿古山水十二开","此册王翚仿古十二开",[24,64,332,94,99,2880,95,33,98,7,348,350,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5d8cb08718af9c20fbb39bcf2df2b19.jpg","25x35.4cm",[105],{"id":3032,"slug":3033,"title":3034,"dynasty":150,"author":710,"museum":152,"description":3035,"tags":3036,"thumbUrl":3039,"material":103,"size":3040,"collection":105,"collections":3041,"showCount":3042,"zanCount":11,"manualWeight":54,"mainColor":55},220812,"shen-lin-die-zhang-zhou-wang-meng-220812","深林叠嶂轴","本幅在《御制诗二集》题名作王蒙〈山水〉。为乾隆皇帝第一次南巡回程时于淮安一带所题。画上有王蒙（1308 —1385）名款，山石亦以蜷曲「牛毛皴」与黝黑苔点交错，组合出「王蒙式」云雾升腾般的动感山势，然此作效果较趋平面性，疑为明代画家追仿其风格的佳作。乾隆皇帝将深林叠嶂中的水榭、人物，比附为长寿仙人偓佺与王子乔修链的隐居处，或许他联想到的是南巡中短暂相见的沈德潜等老臣，期盼他们致仕乡居期间得保长寿康健。",[23,24,64,225,94,95,99,3037,3038,32,7,33,98,30,76],"深林","叠嶂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04af7491da242fe3e6e5e4e5e92f4e9e.jpg","68.7x42.5",[105,83],122,{"id":3044,"slug":3045,"title":3046,"dynasty":344,"author":3047,"museum":3048,"description":3049,"tags":3050,"thumbUrl":3051,"material":27,"size":3052,"collection":105,"collections":3053,"showCount":3042,"zanCount":11,"manualWeight":54,"mainColor":3054},214176,"xie-qin-you-ju-tu-tu-xiang-zeng-qiang-cha-shi-biao-214176","携琴幽居图(图像增强)","查士标","安徽省博物馆","查士标（1691年-1765年），字叔标，号槃湖，清代著名山水画家。他是清代著名的四王之一，与石涛、郎世宁、唐伯虎合称“四王”。查士标擅长山水画，尤其以山水风景和人物画闻名。",[24,27,99,25,95,97,32,7,33,98,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d6e5f238a3606b6d1cab864e69f3c2f.jpg","135.8*25.5",[105],"aaa79f",{"id":3056,"slug":3057,"title":3058,"dynasty":59,"author":209,"museum":61,"description":3059,"tags":3060,"thumbUrl":3061,"material":335,"size":3062,"collection":142,"collections":3063,"showCount":3064,"zanCount":11,"manualWeight":54,"mainColor":55},233211,"lin-liu-fu-qin-tu-ye-xia-gui-233211","临流抚琴图页","宋代郭熙《林泉高致》云：“山以水为血脉”、“山得水一活”，水是山的眼睛，关乎画面的神采，最难画活。宋代的山水画中多以密致的线条勾出水纹，如现存李唐的《江山小景图》、马远的《水图》等都是以工致的笔法画出水纹。在这幅画中，溪水则以简练的线条勾勒，部分留白，盘曲掩映，时隐时现，难觅其踪，表现出流水的清澈和流动感。夏圭是善于在绘画中“用虚”的大师，在这幅画中，他利用了留自来表现江山湖泊的辽阔深远，虽未着一笔，却能“无画处皆成妙境”，给人无限遐想的空间。画中的人物也很有特点，没有过多地描绘细节，而是注重表现身体的动势，笔简而神全。抚琴者似在弹奏，让人不禁联想到琴声的悠扬。\n作为一个欣赏者，我们可能更多地关注的是画面的内容和技法的运用，往往忽视了绘画材料本身。古人云：“皮之不存，毛将焉附?”画面的效果和气氛的营造，一方面取决于画家的精神境界和绘画技巧，另一方面取决于绘画的材料即媒材。唐、宋时期绘画尚用绢，至明末，画家皆用熟纸。夏圭此画作于熟绢之上，绢本细腻的质地适于表现笔墨的流利劲健，他充分利用了绢的特性，笔势纵横生动。\n元代庄肃的《画继补遗》中评价夏圭：“画山水人物极俗恶。宋末世道凋丧，人心迁革，圭遂滥得时名，其实无可取，仅可知时代姓名而已。”此论可谓偏颇至极。夏圭的山水画，用笔外露，非是缺点，而是其特点。夏文彦《图绘宝鉴》称赞夏圭说：“院人中画山水，自李唐以下，无出其右者也。”宋代绘画是中国传统绘画的精华，它来源于画家“外师造化，中得心源”，并非是抛弃自然的笔墨游戏。如宋代郭熙的《林泉高致》中提到画家对待绘画用“敬”的态度“凡一景之画，不以大小多少，必须注精以一之”、“必神与俱成之”、“必严重以肃之”、“必恪勤以周之”，不可“以轻心挑之”、“以慢心忽之”。夏圭正是以这种敬业的精神以及“心源”颖悟，在方寸之内，写出如此之大气象、大境界。\n宋、元以后文人画开始居于画坛的主流地位，夏圭的山水画不断遭到文人画家不公正的指责和排挤，虽偶有师法者，但已是落日余晖，失去了往日的辉煌。然而被文人画家“嗤之以鼻”的夏圭的山水画却跨越了国界，深深地影响了日本的绘画，出现了周文、雪舟等一批绘画大家，纷纷模仿夏圭的山水画。\n《临流抚琴图》是画家夏圭创作的一幅作品，该图是国家一级文物，图中绘一高士临流而坐，气象萧疏，意境深远。\n墨笔急扫之后，迅速以水笔接染，笔墨衔接自然，一气呵成。由于墨与水的使用恰到好处，使得整幅画面颜色透亮，一股清新之气扑面而来。画树木，得其形而又取其势，意笔写出枝干，偃仰屈曲，苍健老硬，有蛟龙惊虬之势；树叶点染而成，疏密有致，虚实相生，浓淡相宜，看似不经意，实则惨淡经营。茅屋隐现于树后，以墨笔勾出轮廓，再施以规则的点皴，极具装饰意味。画水有独特之处。",[24,117,64,1551,94,99,95,30,7,241,98,1702],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10b6e2189c33e42f16457ba45586676b.jpg","25.5X26厘米",[],121,{"id":3066,"slug":3067,"title":3068,"dynasty":344,"author":2253,"museum":252,"description":2290,"tags":3069,"thumbUrl":3070,"material":103,"size":2293,"collection":105,"collections":3071,"showCount":3064,"zanCount":11,"manualWeight":54,"mainColor":109},220005,"shan-shui-hua-fang-mei-dao-ren-wang-shi-min-220005","山水画-仿梅道人",[23,24,94,95,29,99,33,7,97,98,2008],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6b0369175196e03b3707498e97829e3.jpg",[105],{"id":3073,"slug":3074,"title":3075,"dynasty":18,"author":2243,"museum":152,"description":3076,"tags":3077,"thumbUrl":3078,"material":47,"size":3079,"collection":105,"collections":3080,"showCount":3064,"zanCount":11,"manualWeight":54,"mainColor":55},214739,"han-jiang-cao-ge-tu-zhao-zuo-214739","寒江草阁图","画江坞村居，从楼里可以看到远处的风景。长桥上锁，云雾缭绕，山峦起伏。森林湿润，层次分明。与烟雾和雾气混合在一起，感觉就像晴天开始时的一场突如其来的雨。烟雾在河边不时地出现和消失。这幅山水画非常特别，先用淡墨裂开，然后用焦墨破开，这样就可以看出笔墨的光彩，墨色也很浓。",[24,64,225,94,99,95,97,33,32,7,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde2932a52531fae657b3d89f6fb99b15.jpg","160x51.8",[105],{"id":3082,"slug":3083,"title":3084,"dynasty":18,"author":267,"museum":152,"description":3085,"tags":3086,"thumbUrl":3090,"material":404,"size":3091,"collection":105,"collections":3092,"showCount":3064,"zanCount":370,"manualWeight":54,"mainColor":55},214534,"feng-yu-gui-zhou-zhou-dai-jin-214534","风雨归舟轴","这幅画是笔墨兼工带写，奔放豪纵而苍劲淋漓。这幅画很好地运用了「水晕墨章」的技法，用大笔和淡墨快速而斜地扫过风和雨的自然景观，竹子、树木、芦苇和稻草的雨衣，都迎着风和雨弯下腰。　虽然戴进的画风与南宋宫廷画家的体系相同，但他在画中加入了新的内容，如这幅画，并确立了浙派山水画的基本风格，成为后世效仿的典范。",[24,64,225,117,94,99,3087,3088,96,306,32,7,33,170,169,42,3089,98],"风雨","归舟","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07168b75e7b49cbee77b8e01e67a53fa.jpg","143x81.8",[105],{"id":3094,"slug":3095,"title":3096,"dynasty":18,"author":90,"museum":135,"description":3097,"tags":3098,"thumbUrl":3099,"material":142,"size":142,"collection":142,"collections":3100,"showCount":3101,"zanCount":589,"manualWeight":54,"mainColor":109},228833,"jiang-cun-yu-le-tu-shen-zhou-228833","江村渔乐图","此作用平远之景铺展江南水乡，水墨晕染出烟波澹荡的汀渚沙洲，村舍依山临溪错落排布，渔舟泛于江面，往来悠然。林木苍润华滋，点染出清秋深秀的意态，笔墨朴厚雅致，带着吴门画派典型的文人意趣。\n卷后长题与画作相映成趣，行书笔力苍劲朴拙，诗画合璧，将江村渔隐的日常闲趣，化作寄情林泉的诗意栖居图景，淡远悠长的意境里，尽是文人心底向往的幽隐闲适。",[23,117,24,25,94,27,95,256,32,7,96,306,2075,33,100,101,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea1163c6c32f2922961a6b7c01e40462.jpg",[],120,{"id":3103,"slug":3104,"title":3105,"dynasty":344,"author":2804,"museum":61,"description":3106,"tags":3107,"thumbUrl":3117,"material":258,"size":3118,"collection":49,"collections":3119,"showCount":3101,"zanCount":589,"manualWeight":54,"mainColor":109},222773,"hong-li-guan-hua-tu-lang-shi-ning-222773","弘历观画图","此幅利用画中画的构图方式，表现乾隆皇帝弘历在清风中欣赏《洗象图》的情景。《洗象图》描绘的是扮作普贤菩萨的乾隆皇帝正在观看众人为普贤的坐骑白象洗刷的场景。\n乾隆皇帝在其统治期间建立了一套完整的佛教文化体系，同时他还自诩是佛教中 “文殊”、“普贤”的化身，给自己罩上了一层神秘的宗教光环，意味着他不仅是人间的帝王，也是佛界的要神。因此该画在创作意图上是幅宣扬乾隆皇帝宗教信仰的作品。\n此图无作者名款，从创作手法上分析应该是中西画家的合璧之作。图中乾隆皇帝的肖像是由擅长写实画的郎世宁绘制。作者运用解剖学，以西洋绘画技法表现人物面部，五官的刻画细腻、清晰，富有层次、立体感。乾隆皇帝的服饰则由中国画家以传统的人物画“战笔描”表现，衣纹线条抖动弯曲，极具动感。图中的小童、房舍、树木等亦是由中国画家联手完成的。东、西方绘画艺术风格呈现在同一幅作品中无疑丰富了宫廷绘画创作的表现形式，这也是乾隆朝宫廷绘画的一大特色。",[23,24,27,26,2029,3108,3109,3110,3111,390,1177,32,7,98,3112,3113,3114,3115,3116],"画中画","佛教","普贤菩萨","文殊菩萨","帝王","侍从","白象","西洋写实技法","战笔描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc096af4b80506a97a712105edd6edc41.jpg","纵136.4厘米，横62厘米",[49,51],{"id":3121,"slug":3122,"title":3123,"dynasty":18,"author":90,"museum":91,"description":3124,"tags":3125,"thumbUrl":3128,"material":273,"size":3129,"collection":105,"collections":3130,"showCount":3101,"zanCount":11,"manualWeight":54,"mainColor":109},220053,"shui-cun-shan-wu-tu-shen-zhou-220053","水村山坞图","在其所绘《水村山坞图》的题跋中也曾言到：右画一卷水村山坞人家，竹木溪彴，林蹊萦纡映带，若桃源然，观之便有移家之想。似此，世未必无，岂在笔楮间所为幻迹，以娱人之目耶？尝读子厚柳先生愚溪之文，可见也。文与画无二致，得此卷者毋直以画视之。\n《水村山坞图》卷绘崇山峻岭，江天无际，渔父横舟，正所谓「竹木溪彴，林蹊萦纡映带」。",[23,24,64,25,94,99,95,3126,3127,98,33,97,7,96,76,255,32],"山坞","水村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb656df01da6d53e1cb274f4b3d4c4eca.jpg","30.5 ×770.8 厘米",[105],{"id":3132,"slug":3133,"title":3134,"dynasty":59,"author":3135,"museum":3136,"description":3137,"tags":3138,"thumbUrl":3140,"material":47,"size":3141,"collection":105,"collections":3142,"showCount":3101,"zanCount":718,"manualWeight":54,"mainColor":55},219898,"shui-ge-ya-ji-tu-jiang-can-219898","水阁雅集图","江参","圣路易斯艺术博物馆","江参,（公元12世纪）〔南宋〕字贯道，南徐（今江苏省镇江市辖丹徒）人，江大方之子。居霅川（今浙江湖州市南），形貌清癯，平生特嗜香茶，和当时叶梦得(1077-1148)等众多文人学者关系甚密。终身飘泊，\n(公元12世纪)〔南宋〕字贯道，南徐(今江苏省镇江市辖丹徒)人，居霅川(今浙江湖州市南)，形貌清癯，平生特嗜香茶，和当时叶梦得(1077-1148)等众多文人学者关系甚密。终身飘泊，曾居三衢(今浙江常山县)，治园筑馆，园馆取《楚辞》之言名曰“崇兰”，平日与陈与义(1090-1138)、程俱(1078-1144)等交往甚多，生卒年不详。长于山水，师董源、巨然、赵叔问，参以“范郭”画法，创“泥里拔钉皴”，自成一家。高宗赵构召见，委临安府治，不意竟得暴病而卒，人惋惜其“未尽其才”。",[23,3139,117,24,64,25,95,94,99,27,31,32,7,98,33,30,100,101],"宋画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F598872c82e751688193dc1fe0421b50f.jpg","30.5x120厘米",[105],{"id":3144,"slug":3145,"title":3146,"dynasty":18,"author":19,"museum":91,"description":3147,"tags":3148,"thumbUrl":3149,"material":47,"size":3150,"collection":105,"collections":3151,"showCount":3101,"zanCount":54,"manualWeight":54,"mainColor":55},219780,"lin-song-ren-hua-ce-chou-ying-219780","临宋人画册","《临宋人画册》凡十五开，题材涉及了山水画、花鸟画、仕女图、文人画、界画、鞍马等，乃为仇英临摹宋人的集成之作，画风皆为典型的南宋院体风格，而其中数开现在尚可找到宋画原作，两相对照，确实可见仇英落笔乱真的妙技；又如其中《滕王阁》之类的扎实界画工夫，在文人画逸笔草草的时代，早已难得一见。",[24,117,64,332,29,26,27,95,122,199,7,140,390,171,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbed6bd597703f54b095befe2d3e1dd07.jpg","27.2x25.5厘米",[105,49],{"id":3153,"slug":3154,"title":3155,"dynasty":18,"author":2928,"museum":3156,"description":3157,"tags":3158,"thumbUrl":3159,"material":103,"size":3160,"collection":105,"collections":3161,"showCount":3101,"zanCount":54,"manualWeight":54,"mainColor":109},218090,"fang-dong-yuan-shan-shui-tu-wen-jia-218090","仿董源山水图","金贝尔艺术博物馆","明朝是中国历史上的一个朝代，它的统治时间是从1368年到1644年。在这期间，文嘉是一位著名的画家，他的作品中有一幅仿董源山水图。\n\n董源是中国历史上著名的画家，他的作品中有一幅著名的山水图，这幅图被称为“董源山水图”。文嘉的作品中的这幅仿董源山水图是文嘉对董源山水图的模仿，他在这幅图中运用了董源的画风，但也加入了自己的风格。\n\n山水画是中国传统画的一种，它的主题是山水风景。山水画中常常会描绘大自然的景象，如山峰、河流、湖泊、树木、花草等。这幅仿董源山水图中也展示了美丽的山水风景，画面上的山峰、树木、河流都描绘得栩栩如生，充满了生机与活力。\n\n文嘉的这幅仿董源山水图不仅展示了文嘉对董源画风的尊敬，同时也展示了文嘉自己的画风。这幅图融合了传统山水画的特点，同时也具有文嘉自己的个性。",[23,24,64,225,94,99,29,95,32,7,98,33,168,2683,518],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdf2830085ebd93c1fe744e5ba0196bd.jpg","167x52cm",[105],{"id":3163,"slug":3164,"title":3165,"dynasty":344,"author":435,"museum":423,"description":3166,"tags":3167,"thumbUrl":3169,"material":273,"size":3170,"collection":105,"collections":3171,"showCount":3101,"zanCount":54,"manualWeight":54,"mainColor":109},217884,"xi-shan-lin-wu-tu-wang-yuan-qi-217884","溪山林屋图","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。",[24,64,95,94,99,33,76,7,171,173,98,1711,609,3168],"山间植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcebe06c7f8fd41eded98cf111e60e234.jpg","82.8x45.3cm",[105],{"id":3173,"slug":3174,"title":2690,"dynasty":344,"author":292,"museum":61,"description":2182,"tags":3175,"thumbUrl":3178,"material":946,"size":2186,"collection":142,"collections":3179,"showCount":3180,"zanCount":54,"manualWeight":54,"mainColor":55},236170,"yong-zheng-shi-er-yue-xing-le-tu-zhou-yi-ming-236170",[117,24,64,225,26,27,28,95,31,97,3176,7,3177,120,33,30,39,348,2750],"廊","湖石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F704e226b49976041020eba48c7e2be86.jpg",[],119,{"id":3182,"slug":3183,"title":3184,"dynasty":344,"author":2309,"museum":61,"description":3185,"tags":3186,"thumbUrl":3187,"material":258,"size":3188,"collection":142,"collections":3189,"showCount":3180,"zanCount":54,"manualWeight":54,"mainColor":109},232890,"xie-yi-shan-shui-tu-zhou-hong-ren-232890","写意山水图轴","据作者款题而知，此图是作者应“雄右”（王炜）之嘱托，为“旦先居士”（吕应昉）所绘。该图在设陈布势上取法倪瓒“一河两岸式”构图，中景画一片不着笔墨晕染的水域，水域的两岸分别绘起伏的山峦和空亭、秋木。整幅画面于简约疏旷的格调中表达出作者孤傲清高的情怀，堪称作者艺术成熟期的代表之作。",[23,24,94,225,3016,99,64,95,2256,33,32,7,168,97,427],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b8ebd02e1d7203160c9e5da77aedc77.jpg","纵133.1厘米，横62.7厘米",[],{"id":3191,"slug":3192,"title":3193,"dynasty":18,"author":90,"museum":135,"description":3194,"tags":3195,"thumbUrl":3196,"material":142,"size":142,"collection":142,"collections":3197,"showCount":3180,"zanCount":54,"manualWeight":54,"mainColor":109},228825,"dong-zhuang-tu-ce-shen-zhou-228825","东庄图册","《东庄图册》是212年出版的图书，作者是沈周。\n《范本传真·中国高等艺术院校教学范本:东庄图册》描绘其师吴宽家的庭园景色。\n吴宽官至礼部尚书，是沈周的老师和挚友，多有诗文唱和。\n东庄是吴宽的庄园，也是江南士大夫经常聚会、吟诗、品茗的地方。\n后人盛赞沈周的《东庄图册》，“观其出入宋元，如意自在，位置既奇绝，笔法复纵宕，虽李龙眠山庄图、鸿乙草堂图不多让也。\n” 这里所选的一幅是“北港”，图中画一荷塘，波光如镜，荷叶亭亭玉立，疏密有致，摇曳多姿，岸上树木点写自然，情态各具；坡岸皴染结合，浓重得宜。\n本书作者沈周（1427～159）明代杰出书画家。\n传世作品有《庐山高图》、《秋林话旧图》、《沧州趣图》。",[24,94,27,332,99,95,33,98,7,518],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff908fba6b302417e7c10f3ab17a103ba.jpg",[],{"id":3199,"slug":3200,"title":3201,"dynasty":344,"author":3202,"museum":152,"description":3203,"tags":3204,"thumbUrl":3205,"material":103,"size":3206,"collection":105,"collections":3207,"showCount":3180,"zanCount":718,"manualWeight":54,"mainColor":109},214728,"fang-huang-gong-wang-qiu-shan-tu-qian-wei-cheng-214728","仿黄公望秋山图","钱维城","这幅浅绛色的溪山图是清代对黄公望笔法的典型再创作。",[117,24,64,27,99,29,119,95,33,7,97,98,169,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48650c798602818f548f4a9796a6aefe.jpg","92.3x43.5",[105],{"id":3209,"slug":3210,"title":655,"dynasty":344,"author":3211,"museum":61,"description":3212,"tags":3213,"thumbUrl":3214,"material":258,"size":142,"collection":105,"collections":3215,"showCount":3216,"zanCount":54,"manualWeight":54,"mainColor":109},237184,"shan-shui-ce-sun-yi-237184","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。",[24,27,118,99,332,95,32,7,98,33,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff34d67da6623fc74c8d4a14b73f0be1b.jpg",[105,51],118,{"id":3218,"slug":3219,"title":3220,"dynasty":344,"author":3221,"museum":281,"description":3222,"tags":3223,"thumbUrl":3233,"material":469,"size":3234,"collection":368,"collections":3235,"showCount":3216,"zanCount":11,"manualWeight":54,"mainColor":109},223163,"bai-niao-chao-feng-qian-bu-fen-shen-quan-223163","百鸟朝凤（前部分）","沈铨","长卷以四季景色变化，绘禽鸟约近三百只，树木百余棵，四季花卉绽放；天空百鸟聚集，地上百花开放，寓意天下一片详和。长卷色彩艳丽，气势恢弘，堪称国之瑰宝。沈铨，字衡之，号南苹，清代画家，其画远师黄筌画派，近承明代吕纪。",[23,24,25,26,27,788,3224,3225,3226,1286,122,33,3227,3228,3229,378,98,7,3230,3231,3232],"百鸟","凤凰","仙鹤","梅花","牡丹","翠竹","繁花","祥和","四季景色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6000dd4bebda5da888f414ac55bd6c91.jpg","纵40厘米，横1600厘米",[368,51],{"id":3237,"slug":3238,"title":3239,"dynasty":18,"author":645,"museum":61,"description":3240,"tags":3241,"thumbUrl":3242,"material":188,"size":3243,"collection":105,"collections":3244,"showCount":3216,"zanCount":54,"manualWeight":54,"mainColor":55},222346,"bu-xi-tu-tang-yin-222346","步溪图","一人徐步缓行，一人与之相对而立，神态怡然。衣纹洗练流畅，衣袖随风飘舞，生动刻画了悠闲自在的隐士形象。用笔苍秀，构图高远，画格既有南宋[院体]画遗风，又具有元代文人画秀雅的特色。右上自题诗云：[卜宅临溪上，开门近步头。渔樵通互市，耕钓是贻谋。山晓青排闼，波晴绿漾舟。主君朝学海，枕石漱清流。姑苏侍生唐寅作《步溪图》并题奉呈黎老大人先生。]下钤二印。",[23,24,94,99,95,225,33,98,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff633694d671ff94560b7fe877887ca21.jpg","纵159厘米，横84.3l厘米",[105,83],{"id":3246,"slug":3247,"title":3248,"dynasty":59,"author":292,"museum":152,"description":3249,"tags":3250,"thumbUrl":3251,"material":47,"size":3252,"collection":105,"collections":3253,"showCount":3216,"zanCount":718,"manualWeight":54,"mainColor":640},218651,"chi-bi-tu-yi-ming-218651","赤壁图","此图边角式的构景，已演化为南宋画之面目，但笔墨的习惯与格式化，则透露出本幅的创作时间已晚至明朝了。本幅乃一叶扁舟为主景的局部山水。用锯齿描精绘漩流急浪，以回身仰望的苏东坡，来暗示出赤壁在画外的高耸。",[23,117,24,64,95,96,30,99,94,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ee7fef708e8753e343d91346a2e744b.jpg","24x23.2cm",[105],{"id":3255,"slug":3256,"title":3257,"dynasty":344,"author":1916,"museum":252,"description":3258,"tags":3259,"thumbUrl":3261,"material":335,"size":3262,"collection":105,"collections":3263,"showCount":3264,"zanCount":718,"manualWeight":54,"mainColor":55},222626,"gua-bi-fei-quan-tu-zhou-gong-xian-222626","挂壁飞泉图轴","此图描绘大山峻岭，云雾缥缈。山腰松林密布，草木葱茏，又有白瀑流涧，可闻水声。溪涧之上架廊桥一座，虽陂陀斜立，却有房合数间。近处古木并立，树荫浓郁，其间山庄院落隐于树林之中，山径通幽处，但闻鸟语声。作者用积墨法层层渲染山石，笔墨厚重，又“留白”以示云烟白瀑，黑白对比强烈。",[23,24,94,99,225,95,98,33,168,3260,97,7,32],"飞泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff27b66fa0f3b8cdccbe70dc2ab8e964d.jpg","纵273厘米，横99厘米",[105,83],117,{"id":3266,"slug":3267,"title":3268,"dynasty":344,"author":2489,"museum":2900,"description":3269,"tags":3270,"thumbUrl":3271,"material":103,"size":3272,"collection":105,"collections":3273,"showCount":3264,"zanCount":54,"manualWeight":54,"mainColor":55},220430,"you-gu-tu-kun-can-220430","幽谷图","髡（kūn）残(1612-1692)，清画家。本姓刘，出家为僧后名髡残，字介丘，号石溪、白秃、石道人、残道者、电住道人。湖广武陵(今湖南常德)人。与石涛合称“二石”。髡残一生中大部分时间都在山水中度过，经常驻足于名山大川，在山林泽薮之间，侣烟霞而友泉石，踯躅峰巅，留连崖畔，以自然净化无垢之美，对比人生坎坷、市俗机巧，从中感悟禅机画趣。\n髡残在明末遗民中享有很高的声望，他的画也为世人所瞩目。当时著名的文人兼大鉴赏家周亮工就十分景仰、看重髡残的人品和画学，在《读画录》中为他写小传，谓：“人品笔墨俱高人一头地……绘事高明，然轻不为人作。”张怡在髡残的《仿米山水册》中是这样评价这位心灵相契的老友的：“举天下言诗，几人发自性灵?举天下言画，几人师诸天地?……此幅自云效颦米家父子，正恐米家父子有未到处，所谓不恨我不见 髡残古人，恨古人不见我耳。”他认为髡残的诗，是写出了自己的性灵；髡残的画是直师造化，甚至比宋代米芾父子还好；髡残的佛学是直指本心，而没有出家人开堂说法的那种俗套。张庚《国朝画征录·髡残传》云：“奥境奇辟，缅邈幽深，引人入胜。笔墨高古，设色精湛，诚元人之胜概也。此种笔法不见于世久矣!” [4] 这段话说明髡残的画深得元季四大家的精髓。总之，三百多年来，髡残一直以其人品与画品并重的高华之气，影响着画坛，成为画家心目中的丰碑",[23,24,64,225,95,27,99,31,7,98,33,169,30,1328,390,349],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F784ed53c41b7939b3a557817b650a269.jpg","143.19 × 59.21",[105,51],{"id":3275,"slug":3276,"title":3277,"dynasty":59,"author":3278,"museum":135,"description":3279,"tags":3280,"thumbUrl":3281,"material":142,"size":142,"collection":142,"collections":3282,"showCount":3283,"zanCount":11,"manualWeight":54,"mainColor":109},227540,"hou-chi-bi-fu-shi-yi-tu-juan-qiao-zhong-chang-227540","后赤壁赋诗意图卷","乔仲常","纳尔逊·阿特金斯艺术博物馆藏旧传北宋·乔仲常《后赤壁赋图》卷，纸本水墨，无款，北宋赵令畤题跋，赵氏与苏轼友好，有诗文唱和，情谊甚笃。北宋人武圣可也有题跋在后纸。画中还有北宋人梁师成的钤印，记“梁师成美斋印”等八方藏印。\n\n清代藏印众多，著名的梁清标藏印，嘉庆内府藏印，及末代皇帝溥仪的藏印。很明显这是一件《石渠宝笈》著录的古代书画，著录在《石渠宝笈》初编，参照《石渠宝笈》的记载，清高宗所书引首“云山得意”被裁剪，乾隆的《石渠宝笈》诸玺不见，后面题跋十一则仅剩两位北宋人跋文。据纳尔逊博物馆研究结论，用现代科学仪器测试，画面与题跋部分用纸相同，用墨却不同。这就符合当时的时代特点，绘画完成以后的拖尾部分，不断有人题跋，因此纸地相同而墨不同。\n\n当代鉴定大师们访美曾观看此幅作品，曾认为：纸本水墨。无款，后赵德麟跋，但言为赤壁赋图，亦未言其为乔作。画是北宋末文人画无疑，画远山，加点，富春山居颇似之。用笔极活，淡墨之色亦佳。何惠鉴先生云，馆方近以70万美元购之(时年1973年)，为近年中国古画最高价。",[23,117,24,64,25,138,94,99,95,30,96,97,122,33,171,31,7,119,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd982e48fd0260fead82c340c7279bba6.jpg",[],115,{"id":3285,"slug":3286,"title":3287,"dynasty":18,"author":387,"museum":316,"description":3288,"tags":3289,"thumbUrl":3290,"material":103,"size":142,"collection":105,"collections":3291,"showCount":3283,"zanCount":11,"manualWeight":54,"mainColor":55},220428,"you-jian-zhuo-zu-tu-wen-zheng-ming-220428","幽涧濯足图","图绘深山幽涧，高士濯足涤俗。山石皴法不作奇峭之笔，徐徐擦出，崖上之树叶全用细笔点染，全幅清气出尘，观之使人爽然。",[23,117,24,64,225,27,95,30,33,171,1197,7,390,99,172,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad6ce959c12441f921b6cc387711c038.jpg",[105,49,51],{"id":3293,"slug":3294,"title":3295,"dynasty":18,"author":645,"museum":400,"description":3296,"tags":3297,"thumbUrl":3299,"material":3300,"size":3301,"collection":142,"collections":3302,"showCount":3303,"zanCount":718,"manualWeight":54,"mainColor":109},232644,"hua-shan-tu-tang-yin-232644","华山图","唐伯虎才气横溢，但并不风流，他的诗、书、画被称为三绝，在绘画上，唐寅擅长山水，又工画人物，尤其是精于仕女，画风既工整秀丽，又潇洒飘逸，被称为“唐画”，为后人所推崇。书法源自赵孟頫一体，俊逸秀挺，颇见功夫。此外，他还能作曲，多采民歌形式。如此多才，明代文人中是少见的。\n唐寅早期绘画，“远攻李唐”、“近交沈周”。早期拜吴门画派创始人沈周为师。沈周和周臣都是当时苏州名画家，沈以元人画为宗，周则以南宋院画为师，这是明代两大画派，唐寅虽师周臣，却有胜蓝之誉。唐寅兼其所长，在南宋风格中融元人笔法，一时突飞猛进，以至超越老师周臣，名声大振。",[24,94,99,27,95,98,168,33,7,169,199,351,3298],"山间建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe916074f76617bd5a06b97eccc3110f2.jpg","纸本浅设色","116.4x41.4厘米",[],114,{"id":3305,"slug":3306,"title":606,"dynasty":18,"author":3307,"museum":61,"description":3308,"tags":3309,"thumbUrl":3310,"material":47,"size":3311,"collection":105,"collections":3312,"showCount":3313,"zanCount":11,"manualWeight":54,"mainColor":109},218515,"shan-shui-tu-du-qiong-218515","杜琼","画幅右上画家自题：“余尝写此境为有趣，适陈孟贤、郑德辉二公相访见之。孟贤曰，此幅可，郑公盍求诸？德辉略无健羡之色。孟贤强之，乃启言，予不敢靳也。德辉廉静寡欲，于物无所嗜好，使王维、吴道玄复生亦无所爱，此其所以能养其德也。夫以心之玩好，乃学者之病，观于德辉，则有以警于人人哉！景泰五年甲戌岁上元日，杜琼书。”题跋前钤白文“古心”、朱文“旌节名门”印，题跋后钤朱文“杜氏用嘉”、白文“东原耕者”、朱文“持敬观理”印。画面右下方有白文“陶情写意”印。\n此画作于明景泰五年（1454年），杜琼时年59岁。图中山峰耸峙，层峦迭嶂，弯曲的河流将画面中下部的山峰隔为两段，画面右下山谷林木间有山庄草亭，一文士正在草亭中读书；桥上有一拄杖文士携童子向山庄走来。该幅构图饱满，山石用圆润细密的披麻皴，浓墨点苔，系画家仿元王蒙风格而出新意的代表作之一。杜琼学王蒙颇有心得，他在52岁时作的《萝萱堂水墨山水》中就自题云：“余学黄鹤（王蒙号）最精。”顾复评价他于正统年间所作的《对泉图》时也称他“学叔明（王蒙字）能脱塞实之习，自然高雅”。",[23,117,24,64,225,94,27,99,95,32,7,33,98,30,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15565c9a8c4a1de8ad94b72defc1db1d.jpg","纵122.4厘米，横38.9厘米",[105],113,{"id":3315,"slug":3316,"title":2775,"dynasty":344,"author":808,"museum":135,"description":1231,"tags":3317,"thumbUrl":3318,"material":229,"size":637,"collection":142,"collections":3319,"showCount":3320,"zanCount":11,"manualWeight":54,"mainColor":109},288091,"shan-shui-tu-juan-shi-tao-288091",[23,24,25,64,94,99,95,31,98,1711,7,609,97,295,101,100,119,1758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f6af245446b0e5843dd2cd8f5b76edc.jpg",[],112,{"id":3322,"slug":3323,"title":3324,"dynasty":344,"author":292,"museum":3325,"description":3326,"tags":3327,"thumbUrl":3328,"material":47,"size":3329,"collection":105,"collections":3330,"showCount":3331,"zanCount":54,"manualWeight":54,"mainColor":55},219918,"fang-jing-hao-kuang-lu-tu-yi-ming-219918","仿荆浩匡庐图","费城艺术博物馆","此作以全景铺陈层峦雄峰，取法北派山水沉郁雄浑的体格，硬朗苍劲的皴笔勾勒出山岩嶙峋质感，峰崖崔嵬直入云间，尽显巍峨磅礴之气。\n\n幽谷间虬木古拙苍劲，山居隐于林麓，飞瀑流泉循着山涧蜿蜒而下，为沉凝的山石注入灵动生机，高远与深远兼具，铺展出辽邈静谧的山林天地。古雅褐调晕染出幽寂的山野氛围，将大山大水的厚重气象，与林下幽居的隐逸意趣相融，摹古之间自有意趣生发，尽显传统山水的庙堂气度与林下风神。",[24,95,94,99,29,98,33,168,32,7,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0eb56e540505fbe81a87741e447dcf3e.jpg","180.3x67厘米",[105],110,{"id":3333,"slug":3334,"title":3335,"dynasty":59,"author":399,"museum":281,"description":3336,"tags":3337,"thumbUrl":3338,"material":47,"size":142,"collection":105,"collections":3339,"showCount":3331,"zanCount":11,"manualWeight":54,"mainColor":55},219476,"lin-quan-gao-yi-tu-li-tang-219476","林泉高逸图","此作以苍古之笔写林泉幽居，虬松蟠曲如铁，山石以斧劈皴挥就，棱角硬朗，带着雄浑峭拔的山野之气。林间水雾暗生，衬出空山清寂。静坐松下的高士，衣纹简括悠然，侍立童子低眉敛目，一动一静，将林下雅逸的襟怀铺陈开来。\n笔墨老辣洗练，以浓淡墨色晕染出山林层次，把文人寄情丘壑、放意林泉的隐逸高致，融在萧寒清旷的景致之中，尽显静谧淡远的林下风流。",[24,64,117,95,30,140,1397,7,199,99,94,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7964575762451efa5aa4d3c00822997d.jpg",[105],{"id":3341,"slug":3342,"title":1708,"dynasty":631,"author":632,"museum":135,"description":3343,"tags":3344,"thumbUrl":3345,"material":229,"size":637,"collection":142,"collections":3346,"showCount":3347,"zanCount":11,"manualWeight":54,"mainColor":55},283694,"shan-xi-dai-du-tu-guan-tong-283694","《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。 [1] 此画用墨饱满，笔法简炼雄劲",[23,117,24,64,225,94,99,95,98,7,168,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c7d65425f3d01c20799553de0d51c58.jpg",[],109,{"id":3349,"slug":3350,"title":3351,"dynasty":150,"author":2084,"museum":489,"description":3352,"tags":3353,"thumbUrl":3354,"material":469,"size":3355,"collection":105,"collections":3356,"showCount":3347,"zanCount":589,"manualWeight":54,"mainColor":55},221754,"shan-ju-na-liang-tu-zhou-sheng-mao-221754","山居纳凉图轴","《山居纳凉图》用笔工细严谨，如果没有印鉴放入一堆宋画中很难识别。盛懋的父亲就是职业画家，自小盛懋就受到严格的技法训练，尤其是董源和巨然二人的作品更是熟烂于胸。从这一点看，盛懋并不排斥文人画的风格。\n《山居纳凉图》采用传统的三段式构图，中景处添加了大量烟云，在肃穆中增添了活泼的感觉。作为一名职业画家，很重视作品中的通俗性，在创作中喜欢加入故事性元素拉近与欣赏者的距离。画中有一座水阁临泉而建，四面通风，浓荫遮日。尤其是水阁中的雅士身着薄纱，袒胸露腹，画出了世人对雅士的共同印象——洒脱不羁。在用色上，盛懋为了突出青绿山水的装饰性美感，山中密林也精细勾染一丝不苟，让整幅作品在雅致中带有一种富贵气息。这样的作品从技法层面实在挑不出一点毛病。\n欣赏盛懋的作品就可以感受到他是一个认真的人，如此大的一幅山水不露败笔，没有数十年的苦练是无法做到的。不过按照文人画的审美标准来看，这就是盛懋最大的问题。他的画缺少了写的成分，缺少了意趣流露，仅仅是忠于技法，不敢打破严谨的章法。有的时候太认真也成了毛病，这就是绘画最微妙的地方，多了溢出，少了不足，不多不少的时候还要来点儿天然意蕴。",[23,24,64,225,27,99,95,97,96,33,98,30,7,351,868,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57ea5388f9614fe1ee0b4705a3c3810e.jpg","31.27×261.62厘米",[105,51],{"id":3358,"slug":3359,"title":3360,"dynasty":59,"author":164,"museum":152,"description":3361,"tags":3362,"thumbUrl":3363,"material":404,"size":3364,"collection":81,"collections":3365,"showCount":3366,"zanCount":54,"manualWeight":54,"mainColor":55},288542,"xue-jing-shan-shui-tu-guo-xi-288542","雪景山水图","郭熙（约1000～约1090年），北宋杰出画家、绘画理论家。字淳夫，河阳府温县（今属河南）人。他出身平民，早年信奉道教，游于方外，以画闻名。熙宁元年召入画院，后任翰林待诏直长。",[23,117,24,95,94,2567,32,7,96,31,255,98,1357,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0f20379281940bfa667cffd341b05cc.jpg","87.7x150.9",[81],108,{"id":3368,"slug":3369,"title":655,"dynasty":18,"author":1254,"museum":61,"description":3370,"tags":3371,"thumbUrl":3372,"material":335,"size":3373,"collection":105,"collections":3374,"showCount":3366,"zanCount":11,"manualWeight":54,"mainColor":109},220918,"shan-shui-ce-dong-qi-chang-220918","《仿古山水图》册，明，董其昌绘，8开，纸本，墨笔6开，设色2开，每开纵42cm，横29.6cm，北京故宫博物院藏。\n\n此册画于“戊午”（明万历四十六年，1618年），董其昌时年64岁。墨笔六开，构图缜密，笔笔精到；设色二开，格调高远，艳而不俗，皆极经意之品。从鉴藏印可知，此册为董氏传与其子董祖源珍藏，又经王时敏赏鉴，故应是真笔无疑，可作鉴定之样本。",[23,24,94,99,332,100,101,119,95,240,901,241,854,199,76,821,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3477349258756401379299bbf5a6cf8a.jpg","纵26.4cm，横16cm",[105,83],{"id":3376,"slug":3377,"title":3378,"dynasty":344,"author":3379,"museum":3380,"description":3381,"tags":3382,"thumbUrl":3383,"material":103,"size":3384,"collection":105,"collections":3385,"showCount":3366,"zanCount":54,"manualWeight":54,"mainColor":109},219932,"fang-wen-zheng-ming-shan-shui-tu-gu-yun-219932","仿文徵明山水图","顾澐","辛辛那提艺术博物馆","顾澐（1835-1896），字若波，号云壶、壶翁，以字行。吴县（今属江苏苏州）人。工山水，泽古功深，汇四王、吴、恽诸家之长。清丽疏古，气韵秀出，间作花卉、人物，近于新罗。光绪十四年（1888）游日本，遍览东京诸胜，所画一树一石皆备受赞赏。长期鬻画沪上。出版有《顾若波山水集册》。",[23,24,64,117,225,27,118,99,95,390,32,30,76,98,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6067fbcb05b4099e0dad02acc22a97e5.jpg","123.2x37.3厘米",[105],{"id":3387,"slug":3388,"title":2898,"dynasty":59,"author":3389,"museum":2900,"description":3390,"tags":3391,"thumbUrl":3392,"material":47,"size":3393,"collection":81,"collections":3394,"showCount":3366,"zanCount":54,"manualWeight":54,"mainColor":109},218643,"yue-xia-yu-she-tu-gu-liang-218643","顾亮","皎洁的月光下，三艘渔船停泊在湖岸的左右两边，右边船上的渔民坐在船中央仰望天空，岸边的树木郁郁葱葱，一间小屋躺在树下，四周有围栏，这里安静祥和。",[23,24,117,64,95,27,530,256,96,140,98,7,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21bd989e6eda292aac4a6ea806d7f79a.jpg","25.7x25.4",[81],{"id":3396,"slug":3397,"title":3398,"dynasty":344,"author":808,"museum":316,"description":2165,"tags":3399,"thumbUrl":3400,"material":103,"size":2168,"collection":142,"collections":3401,"showCount":3366,"zanCount":54,"manualWeight":54,"mainColor":109},214889,"shan-shui-tu-ce-4-shi-tao-214889","山水图册-4",[23,24,94,99,332,100,119,95,7,96,98,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d80b1de337411d72d248e61d4a115b1.jpg",[],{"id":3403,"slug":3404,"title":3405,"dynasty":344,"author":3406,"museum":152,"description":3407,"tags":3408,"thumbUrl":3409,"material":103,"size":3410,"collection":105,"collections":3411,"showCount":3366,"zanCount":54,"manualWeight":54,"mainColor":109},214537,"wu-she-jie-han-tu-yu-sheng-214537","无射戒寒图","余省","这幅画描绘的是九月初九在福海北岸的高阁上游乐的场景，其实高阁只有三四米高，远没有画面上的那么陡峭，所谓的 升天 只是象征性的。",[24,27,26,99,95,31,97,32,7,30,33,98,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b971ceb4fd2fd33ceb99ce9b77277c4.jpg","180x106.3",[105],{"id":3413,"slug":3414,"title":606,"dynasty":59,"author":488,"museum":135,"description":2479,"tags":3415,"thumbUrl":3416,"material":27,"size":142,"collection":81,"collections":3417,"showCount":3418,"zanCount":54,"manualWeight":54,"mainColor":55},221441,"shan-shui-tu-li-cheng-221441",[23,24,64,117,94,99,27,95,2256,32,7,96,33,171,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff23e2e7aedc6bcb6c6eb704e9474b131.jpg",[81,105,83],107,{"id":3420,"slug":3421,"title":3422,"dynasty":59,"author":164,"museum":152,"description":3423,"tags":3424,"thumbUrl":3425,"material":188,"size":3426,"collection":81,"collections":3427,"showCount":3418,"zanCount":11,"manualWeight":54,"mainColor":55},221285,"xing-lv-tu-quan-juan-guo-xi-221285","行旅图全卷","轴峰峦高耸，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。",[23,24,64,25,95,99,94,170,33,255,32,7,96,1110,43,348,1540,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6faff8738a460b1db8a8cacb906b08c5.jpg","48.3x290厘米",[81,105,83],{"id":3429,"slug":3430,"title":3431,"dynasty":18,"author":1254,"museum":3432,"description":3433,"tags":3434,"thumbUrl":3435,"material":273,"size":3436,"collection":105,"collections":3437,"showCount":3418,"zanCount":54,"manualWeight":54,"mainColor":109},220119,"xi-shan-xian-guan-tu-dong-qi-chang-220119","溪山仙馆图","日本东京国立博物馆","松江出身的董其昌以取代文徴明成为江南画坛主导者为自身抱负。状似舞蹈般的松树形态、如同金属的山石质感都是其画风特色。",[24,117,94,99,95,240,7,33,98,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F530a93410dd73894a96859af7573f0a2.jpg","79.40×105.83cm",[105],{"id":3439,"slug":3440,"title":3441,"dynasty":59,"author":477,"museum":3442,"description":3443,"tags":3444,"thumbUrl":3446,"material":469,"size":3447,"collection":81,"collections":3448,"showCount":85,"zanCount":54,"manualWeight":54,"mainColor":55},223667,"xue-shan-xing-lv-tu-liu-song-nian-223667","雪山行旅图","四川省博物馆","《雪山行旅图》山势苍莽，白雪皑皑，映衬秋霜红叶丛树，分外妖娆。林中房舍隐现，桥横岸渚，山重水回，一舟泊于岸边。行旅者踏雪而行。全画用笔工细，人物面貌高古，神态刻画入微。房舍以界画笔法，工整严谨。作者巧妙地将山水和人物有机地融为一体。画面左侧下端右上署有“刘松年画”四字款。原为张大千收藏。刘松年传世作品极少，从该画可以窥见其善画山水人物的风貌。",[23,24,117,64,225,94,27,95,3445,98,255,32,7,227,99,26,30],"雪山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F513fc8700efc5270d65c3050a193f2d5.jpg","纵160厘米，横99.5厘米",[81,105],{"id":3450,"slug":3451,"title":2005,"dynasty":59,"author":292,"museum":20,"description":3452,"tags":3453,"thumbUrl":3455,"material":3456,"size":3457,"collection":81,"collections":3458,"showCount":85,"zanCount":11,"manualWeight":54,"mainColor":55},223647,"guan-pu-tu-yi-ming-223647","图中危崖耸立，瀑布垂挂直落谷底，水雾弥漫。雅士于园林一角。凭栏观飞泉，神态怡然陶醉，超然清逸之趣溢于画外。 山石全以斧劈皴出之，描绘树木勾点并用。整幅图有峻峭秀逸之气。",[23,24,64,866,27,99,98,168,97,390,7,3454,140,32],"悬崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2237080d6dc050c086dee19035000720.jpg","水墨，淡设色","纵178厘米，横104厘米",[81,105],{"id":3460,"slug":3461,"title":3462,"dynasty":18,"author":19,"museum":61,"description":3463,"tags":3464,"thumbUrl":3465,"material":946,"size":3466,"collection":105,"collections":3467,"showCount":85,"zanCount":589,"manualWeight":54,"mainColor":55},222185,"lin-xi-shui-ge-tu-chou-ying-222185","临溪水阁图","仇英“初为漆工，兼为人彩绘栋宇，后徙而业画，工人物楼阁。”或许是出身的关系，其笔下的楼阁多用界笔，刻画精工，但与纯界画不同的是，仇英的绘画技艺同时受到职业画师和文人画家的双重影响。此幅亦是将文人山水与界笔水阁巧妙结合的作品，追求含蓄蕴藉的格调，着意塑造文人高士所欣赏的艺术形象。",[23,24,27,26,95,29,902,7,390,98,168,30,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d90792ff94d1f0e49ced0c4da982ca0.jpg","纵41.1厘米，横33.8厘米",[105,51],{"id":3469,"slug":3470,"title":3471,"dynasty":59,"author":954,"museum":2659,"description":3472,"tags":3473,"thumbUrl":3475,"material":3476,"size":3477,"collection":81,"collections":3478,"showCount":85,"zanCount":54,"manualWeight":54,"mainColor":55},221667,"dong-shan-du-shui-tu-ma-yuan-221667","洞山渡水图","为宋代画家马远绘制。描绘的是曹洞宗祖师洞山良价在云游途中，涉水之时见到自己水中之影而恍然大悟的一刹那，是为数不多的马远的真迹之一。原藏于圆明园，1860年火烧圆明园后被掠夺并流失海外，现收藏于日本东京国立博物馆。图上有南宋皇帝宋理宗的皇后杨妹子之题字。款识：携藤拔草胆风，未免登山涉水，不知触处皆渠，一见低头自喜。本与天龙寺所藏的云门大师图、清凉法眼禅师图同为描绘禅宗法师的画作之一。",[23,117,24,64,225,94,27,30,95,7,199,3474,99,101,119],"藤杖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e95161b48bfccbab4bee9ff42ba247b.jpg","绢本墨画淡彩","纵77.6厘米，横33厘米",[81,105],{"id":3480,"slug":3481,"title":3482,"dynasty":150,"author":710,"museum":20,"description":3483,"tags":3484,"thumbUrl":3485,"material":103,"size":3486,"collection":105,"collections":3487,"showCount":85,"zanCount":11,"manualWeight":54,"mainColor":55},220427,"su-an-tu-wang-meng-220427","素庵图","作品布局层峦耸峙，岭头山体突兀而拙实，不为奇巧。近坡老松相映，林间草堂呈“四合院”状。全图气象峥嵘，突现山脚下的草堂。此图为精致优雅的浅绛山水画，明净苍秀，在王蒙轴幅作品中较少见。其妙处在两崖逼而为瀑，瀑泉由上而下，长短相间，气贯全幅。\n此图石法用云头皴，不同于《春山读书图》用单纯的解索皴法，也不同于《青卞隐居图》之融数家皴法于一体。黄宾虹评其“笔力劲利而无怒张之态，墨气酣厚而无痴肥之病”，幽深高淡之趣流露于画面之外。观此秋景，又使人联想到吴渔山所说的王蒙浅绛山水“霜红林密，笔笔生动”的特色。王蒙秋景画法较大痴浅绛用色偏重，其近景树干用朱砂点苔，为其他着色山水所未见，另有一番典雅清新别致的审美效果。图中人物及小鹿、仙鹤，造型虽小，皆笔简形具，耐人寻味。图上以小篆题“素庵图”三字，后两行署“黄鹤山樵王蒙为素庵高士画”，笔致雅拙，趣味高古，与画面形成相得益彰的艺术效果。",[23,24,64,117,225,94,27,95,31,7,33,98,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a2c770848d5adacc5affe77c66ce6a4.jpg","纵136cm，横45cm",[105,51],{"id":3489,"slug":3490,"title":3491,"dynasty":59,"author":292,"museum":281,"description":3492,"tags":3493,"thumbUrl":3494,"material":47,"size":3495,"collection":105,"collections":3496,"showCount":85,"zanCount":589,"manualWeight":54,"mainColor":55},217066,"chun-shan-xing-lv-tu-yi-ming-217066","春山行旅图","春山行旅图是宋朝（960-1279年）佚名的一幅山水画作品。这幅画描绘了一位旅人在春天游览山水的景象。画面中的景色十分优美，充满了生机和活力。画中的山峰高耸，水流清澈，树木茂密，空气清新。整幅画浓烈的山水意境，清新自然的画风，使得这幅画在当时颇受欢迎，被认为是一幅杰出的艺术作品。",[24,64,866,99,27,240,33,32,31,98,30,7,140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24ab87eb107c3ff0a2caa7861e5582bd.jpg","104x51cm",[105],{"id":3498,"slug":3499,"title":3500,"dynasty":59,"author":209,"museum":135,"description":3501,"tags":3502,"thumbUrl":3503,"material":142,"size":142,"collection":142,"collections":3504,"showCount":3505,"zanCount":54,"manualWeight":54,"mainColor":262},227724,"zuo-kan-yun-qi-xia-gui-227724","坐看云起","《坐看云起图》为南宋画家夏圭所绘。左侧山石处款署“夏圭”。\n图绘江流滚滚，一人坐于临江高台上，旁放一高杖。身后峭壁有一古松，盘虬曲折。\n\n夏圭，临安人（杭州），生卒年不详，字禹玉，中国著名山水画大家，南宋四家之一，与马远、刘松年、李唐齐名。在南宋画坛，他与著名画家马远合称“马夏”。他没有入官，但进入过南宋画院担任待诏工作。\n\n据文献记载，夏圭在绘画上入手学习的是人物画，但不久以后他转入了山水并作为主攻方向。夏圭学习过李唐、范宽、米芾、米友仁的山水画技术，并主要以李、范为根基。夏圭在笔墨构建上，倾向于苍劲、开张、有力的特色，所以他的山水画有滋润淋漓之美。山水画技术中，有一种皴法泥里拔钉皴，就是夏圭首先运用的。这种皴法先用淡墨铺底染，然后根据其湿度状况，加以浓墨勾皴，使得浓淡墨达到理想的交融状态，视觉上有层次丰富之效果。\n\n夏圭更为人称道的是他的构图法。他经常只取景施绘在画面的一部分，而空出另一部分。这种处理法的好处是将重点突出，让欣赏者有更佳的代入感。因此人们将夏圭这种方式称作“夏半边”，它与马远的“马一角”并称南宋画坛。\n\n夏圭的作品传世至今尚有不少珍品，其中冠名为他的绘画有长卷画《江山清远图》、《长江万里图》等。有其他立轴、方幅画《溪山无尽图》、《溪山奇观图》、《山川钟秀图》、《雪山图》、《松崖客话图》、《溪山清远图》等。这些作品大多收藏在北京故宫博物院、台北故宫博物院等著名机构中。",[23,117,24,94,95,1551,99,30,390,7,199,821],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a8e1bea9257f9b429a7874901d3a2ca.jpg",[],105,{"id":3507,"slug":3508,"title":3509,"dynasty":2224,"author":3510,"museum":3511,"description":3512,"tags":3513,"thumbUrl":3514,"material":3515,"size":142,"collection":142,"collections":3516,"showCount":3505,"zanCount":54,"manualWeight":54,"mainColor":109},220579,"fu-chun-jiang-feng-guang-huang-bin-hong-220579","富春江风光","黄宾虹","Smithsonian's National Museum of Asian Art","此作以渴笔焦墨写层叠峰峦，苍劲朴拙，云烟留白虚实相生，铺展出山居的清幽深远。近景村居错落隐于林木间，扁舟泛江，野趣盎然。题画诗与笔墨浑然一体，浑厚华滋中带着疏朗灵秀，将山水静穆与生机相融，尽显山川浑厚、草木华滋的典型风貌。黑密厚重的积墨之法，勾勒江峰奇崛挺拔，留白处氤氲水汽，整幅画刚柔并济，于朴茂中见秀逸，藏万千丘壑于尺幅间，将山水的幽隽诗意娓娓道来，笔底晕染出静谧悠然的山居意趣。",[24,94,99,95,96,97,33,98,7,64,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a79877bcd55fa426bfd1b6ba2533842.jpg","Ink and color on paper",[],{"id":3518,"slug":3519,"title":3520,"dynasty":59,"author":954,"museum":281,"description":3521,"tags":3522,"thumbUrl":3523,"material":47,"size":142,"collection":105,"collections":3524,"showCount":3505,"zanCount":11,"manualWeight":54,"mainColor":640},218584,"tao-hua-chun-shui-tu-ma-yuan-218584","桃花春水图","春波漾开绢本的暖褐底色，山影如黛晕染天边。几树桃枝轻绽，粉蕊隐在苍松与杂树间，似有若无的艳色，恰衬出春水的清寂。近坡散卧的石群、浅滩上的细浪，与远景淡墨勾勒的峰峦虚实相映，留白处尽是烟波浩渺的余韵。笔墨简劲，山石斧劈皴显刚健，松枝如屈铁见骨力，却在水纹轻描中柔化棱角，刚柔相济。整幅画如清绝小令，不肆铺张，却将春日温润与山水悠远藏进每一处笔墨转折，读来心尖漫过淡淡春愁与旷远，余味绵长。",[24,117,64,95,27,99,225,240,901,241,120,7,67,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3487685dfafca30f80a992cf8814f4dd.jpg",[105],{"id":3526,"slug":3527,"title":3528,"dynasty":150,"author":151,"museum":135,"description":3529,"tags":3530,"thumbUrl":3531,"material":229,"size":637,"collection":142,"collections":3532,"showCount":3533,"zanCount":54,"manualWeight":54,"mainColor":109},290097,"xi-shan-cao-ge-tu-huang-gong-wang-290097","溪山草阁图","近景左侧横出小坡，岸边立一小亭伫於溪面。中景水道曲折蜿蜒，两旁碎石、平台、坡坨层层相叠，於远景处垒为巨大高耸之山体，一侧可见峭壁陡立，山石间点缀丛密林木，颇显生趣。 此作款署“大痴道人”，然其平台坡石，显受沈周（1427-1509）影响，可能原为16世纪后期蘇州画家的作品。根据印记，此作可能曾为朱之赤（活跃于17世纪）收藏。入清后，为毕泷收藏，嘉庆年间籍没入宫。",[117,24,64,225,94,99,95,97,32,7,140,98,100,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca990138a4223e81ac3c0c9c1ee55fd7.jpg",[],104,{"id":3535,"slug":3536,"title":3537,"dynasty":18,"author":1254,"museum":61,"description":3538,"tags":3539,"thumbUrl":3540,"material":188,"size":3541,"collection":105,"collections":3542,"showCount":3533,"zanCount":718,"manualWeight":54,"mainColor":109},220952,"lin-he-jing-shi-yi-tu-dong-qi-chang-220952","林和靖诗意图","《林和靖诗意图》轴，明，董其昌绘，纸本，墨笔，纵88.7 厘米，横38.7厘米。\n\n本幅署题二 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常先用水笔淡墨扫染，然后趁湿用浓墨皴，造成水墨浑融的特殊效果，被称作拖泥带水皴。传世作品有《溪山清远图》《西湖柳艇图》《雪堂客话图》等。",[23,24,64,94,95,7,96,306,256,140,199,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc204bad563233447cbe98cbbea3432e3.jpg","23.2x23.8厘米",[81,105,51],{"id":3703,"slug":3704,"title":2005,"dynasty":59,"author":954,"museum":20,"description":3705,"tags":3706,"thumbUrl":3707,"material":469,"size":3708,"collection":81,"collections":3709,"showCount":3692,"zanCount":11,"manualWeight":54,"mainColor":109},221537,"guan-pu-tu-ma-yuan-221537","在中国历代传统绘画作品中，有相当数量的佳作，在画面风格和审美意趣上都具有某种明确的思想倾向，而这种倾向又多集中体现在对儒、道、释文化的承载上，比如宋代山水画的绘画形式和意境传达，除了受宋代理学的影响外，又常和老庄思想及佛教文化中的出世情怀相关联，但与一般意义的宗教绘画教化功用又有所不同，该绘画作品往往会透露出作者内心的情感思绪，特别是对出世情怀的向往，从而使画面呈现出独特的风格特点和意境营造，这类作品在以后的历史阶段着实影响了不少画家，南宋的马远就是这样一个例子。",[23,24,64,1551,95,94,99,168,241,98,30,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fef887806591c0a160593aa1c4c9e00.jpg","30×30cm",[81,105,51],{"id":3711,"slug":3712,"title":3713,"dynasty":59,"author":1859,"museum":152,"description":3714,"tags":3715,"thumbUrl":3717,"material":47,"size":3718,"collection":81,"collections":3719,"showCount":3692,"zanCount":54,"manualWeight":54,"mainColor":55},218974,"shui-dian-zhao-liang-tu-li-song-218974","水殿招凉图","画中有一道门，将湖水引入运河，流向宫廷花园。有顶的廊桥建在池塘和沼泽上，下面是底，上面是一排叉柱，柱子上有锅炉，锅炉之间有梁，这对研究宋代的桥梁和水闸是很有价值的资料。碑文上写着 李部长 几个字，从画风上看，应该是李松的作品。",[23,117,24,1551,28,27,30,31,3716,7,378,39],"廊桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F666a148dad7f30d97877d2b6a766c63a.jpg","24.5x25.4",[81],{"id":3721,"slug":3722,"title":3723,"dynasty":150,"author":292,"museum":252,"description":3724,"tags":3725,"thumbUrl":3726,"material":273,"size":3727,"collection":105,"collections":3728,"showCount":3692,"zanCount":718,"manualWeight":54,"mainColor":55},218185,"qian-yan-wan-he-tu-yi-ming-218185","千岩万壑图","此图绘山岩丘壑连绵不断，繁复无尽，其间茂林嘉村云气烟，飞泉高，孤村落，江流小舟，景致表现得真实生动、完美自然，秀丽、壮伟兼具，引人入胜。",[24,866,94,99,225,98,170,169,168,33,31,32,7,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3efb5c974ab0404cb1856cfe625eb62.jpg","129.3x67.6cm",[105],{"id":3730,"slug":3731,"title":3732,"dynasty":59,"author":164,"museum":135,"description":3733,"tags":3734,"thumbUrl":3735,"material":229,"size":637,"collection":142,"collections":3736,"showCount":3737,"zanCount":54,"manualWeight":54,"mainColor":55},289008,"qiu-shan-xing-lv-tu-guo-xi-289008","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。",[23,117,24,225,866,94,99,95,31,32,7,96,122,1397,140,98,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed5d5cac4d9e5299c3b085ebe490c758.jpg",[],99,{"id":3739,"slug":3740,"title":3741,"dynasty":150,"author":877,"museum":152,"description":3742,"tags":3743,"thumbUrl":3744,"material":273,"size":3745,"collection":142,"collections":3746,"showCount":3737,"zanCount":589,"manualWeight":54,"mainColor":55},287604,"dong-ting-yu-yin-tu-wu-zhen-287604","洞庭渔隐图","该画作采用“一河两岸”式的构图。近景画双松挺立，枯树横斜，隔岸则是迤逦的山坡，与水边荡桨的渔舟，十分忠实地呈现出江南水乡泽国的景象。虽然布局简略，但添加边角的签名，以及上方的题词之後，别具一番宁静典雅的情调。",[117,24,64,225,94,95,7,96,140,119,100,99,256],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7237860d8699cbcf4faf880b8386aa52.jpg","146.4x58.6",[],{"id":3748,"slug":3749,"title":3750,"dynasty":18,"author":3751,"museum":281,"description":3752,"tags":3753,"thumbUrl":3757,"material":47,"size":3758,"collection":368,"collections":3759,"showCount":3737,"zanCount":11,"manualWeight":54,"mainColor":55},219125,"han-liu-yuan-yang-tu-wang-feng-219125","寒柳鸳鸯图","王酆","图为两只鸳鸯在河边游泳的场景，其中一只已经在水中游动，另一只正在奔跑等待下水。 鸳鸯造型精巧，色墨交融，栩栩如生。 岸边画一枝老柳，笔墨老辣。 右下角，渚石上诞生了几朵野花，色彩淡雅，分外妖娆。",[23,24,64,26,27,788,3754,3755,7,427,3756],"寒柳","鸳鸯","杂草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F164801a49616e2eaf0f52e7357700d20.jpg","纵60cm,横85cm",[368,51],{"id":3761,"slug":3762,"title":606,"dynasty":150,"author":3763,"museum":3764,"description":3765,"tags":3766,"thumbUrl":3767,"material":47,"size":3768,"collection":105,"collections":3769,"showCount":3737,"zanCount":718,"manualWeight":54,"mainColor":55},218252,"shan-shui-tu-zhang-yu-218252","张雨","中央美术学院","层岩叠嶂如篆，皴笔勾出嶙峋骨，墨色晕染间丘壑自生。松风盘桓，虬枝探向云霭，林间小径隐现，似留隐者屐痕。涧水漱石，苔痕漫漶，草木葱茏处藏着清寂。笔墨苍润相济，干笔见劲，湿墨生烟，将林泉之趣凝于尺幅。意境悠远如太古，尘嚣尽散，只余一片澄明，引人沉潜于山水间，体悟那份超脱世俗的淡然与自在。",[24,27,99,95,98,33,170,169,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45777cf65d0ff7deccb539b3c7b08765.jpg","168x97cm",[105],{"id":3771,"slug":3772,"title":3773,"dynasty":344,"author":2710,"museum":135,"description":3774,"tags":3775,"thumbUrl":3776,"material":103,"size":3777,"collection":49,"collections":3778,"showCount":3737,"zanCount":54,"manualWeight":54,"mainColor":55},216779,"zhu-xi-liu-yi-tu-hua-yan-216779","竹溪六逸图","这幅画描绘了李白、孔巢父、韩愈、裴矩、张叔明和陶沔六位大学者在山东泰安聚会，喝茶唱歌，在竹林中隐居。\n这部杰作不仅基于黄大年的遥远山景，还基于逼真的竹子梦、陈老莲的笔触和更微妙的人物形态。景观和人物的布局和风格一致，场景既真实又优美，充分再现了故事的场景，气势恢宏，引人入胜。",[24,64,117,27,26,95,543,30,7,1246],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a44828b298078d33d88230dc1a1aca6.jpg","183x100",[49],{"id":3780,"slug":3781,"title":888,"dynasty":18,"author":645,"museum":135,"description":3782,"tags":3783,"thumbUrl":3785,"material":229,"size":637,"collection":142,"collections":3786,"showCount":3787,"zanCount":11,"manualWeight":54,"mainColor":262},290851,"shan-shui-zhou-tang-yin-290851","唐寅（1470年3月6日－1524年1月7日），字伯虎，小字子畏，号六如居士，南直隶苏州府吴县（今江苏省苏州市）人，祖籍凉州晋昌郡，明朝著名画家、书法家、诗人。\n成化二十一年（1485年），考中苏州府试第一名，进入府学读书。弘治十一年，考中应天府乡试第一（解元），入京参加会试。弘治十二年，卷入徐经科场舞弊案，坐罪入狱，贬为浙藩小吏。从此，丧失科场进取心，游荡江湖，埋没于诗画之间，终成一代名画家 。唐寅晚年生活穷困，依靠朋友接济。嘉靖二年十二月二日，病逝，时年五十四岁。\n山水画宗法李唐、刘松年，融会南北画派，笔墨细秀，布局疏朗，风格秀逸清俊。人物画师承唐代传统，色彩艳丽清雅，体态优美，造型准确；亦工写意人物，笔简意赅，饶有意趣。其花鸟画长于水墨写意，洒脱秀逸。书法奇峭俊秀，取法赵孟頫。\n绘画上与沈周、文徵明、仇英并称“吴门四家”，又称“明四家”。诗文上，与祝允明、文徵明、徐祯卿并称“吴中四才子”。",[117,24,225,94,95,390,350,30,98,7,100,119,99,3784],"闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F107880d5a5ec31ccbe0869de6e5ceedf.jpg",[],98,{"id":3789,"slug":3790,"title":3791,"dynasty":18,"author":19,"museum":61,"description":3792,"tags":3793,"thumbUrl":3795,"material":946,"size":3796,"collection":142,"collections":3797,"showCount":3787,"zanCount":589,"manualWeight":54,"mainColor":55},233748,"yu-dong-xian-yuan-tu-zhou-chou-ying-233748","玉洞仙源图轴","画面奇峰峻岭，苍松翠柏，琼楼水阁，溶洞流溪，云烟缥缈其间，山壑或隐或现。溪水潺湲的溶洞前，一隐士临流盘膝，停琴静坐，侍童们忙着煮茶、端盘、陈设古玩，俨然人间仙境。这类隐逸题材作品十分多见，而仇英在幽美宁静的意境中表现了一种明快的情调，健康的意趣，在同类作品中颇具特色。\n作品取景宏阔，结构严整，层次清晰，布局有序，景物繁杂而不拥塞，人物虽小但刻画精细，位置突出，反映出画家在驾驭复杂场景、安排主从次序方面精深的造诣。此图用大青绿设色，细劲的线条勾勒轮廓，浓艳的石青石绿渲染山石，同时融以细密的皴法，追求色调的和谐，在宗法南宋青绿山水大家赵伯驹的基础上有所变化，代表了仇英青绿山水的典型画风。",[24,64,225,27,26,118,95,30,31,32,7,390,3794,169,98,97,38,821,33,854,241],"山洞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F705c7a9ce596ceca751a614dbc006b66.jpg","纵169厘米，横65.5厘米",[],{"id":3799,"slug":3800,"title":3801,"dynasty":59,"author":164,"museum":135,"description":3802,"tags":3803,"thumbUrl":3804,"material":142,"size":142,"collection":142,"collections":3805,"showCount":3787,"zanCount":11,"manualWeight":54,"mainColor":55},228262,"shu-shan-xing-lv-tu-guo-xi-228262","蜀山行旅图","此作铺展千里秋江蜀景，峰峦盘曲连绵，矾头苍润皴擦间尽显丘壑雄秀。林木染秋，红黄错落，点染出清寂萧疏的暮秋意韵。江畔村舍错落板桥通幽，山径旅人徐行，水面渔舟泛波，将山野居旅之趣融于烟水间。\n\n水墨设色晕染山峦，淡墨轻笼烟岚，晕开空蒙悠远的江上暮色，尽显山水可观可游可居的幽趣。题咏诗文与画面呼应，将秋日迟暮的怅然与林泉野趣相融，把蜀中山川的浑厚灵秀与文人幽怀合而为一，是山水诗意交织的秋日山居长卷。",[23,24,117,64,25,27,99,95,30,32,7,98,33,96,97,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76cd4d9080725c78fd57d390dac3500b.jpg",[],{"id":3807,"slug":3808,"title":3809,"dynasty":18,"author":645,"museum":152,"description":3810,"tags":3811,"thumbUrl":3813,"material":188,"size":3814,"collection":105,"collections":3815,"showCount":3787,"zanCount":54,"manualWeight":54,"mainColor":55},219972,"hua-xi-yu-yin-tu-tang-yin-219972","花溪渔隐图","此作用淡墨晕染远空平林，湖山杳渺清旷，尽显江南水色的空濛柔婉。近景苍松虬曲倚立怪石，流泉绕石萦回，草木华滋鲜润。扁舟渔父悠然独坐于花溪之上，随波信游，静览周遭春景。\n\n画作将诗意与画境相融，以秀润灵逸的笔墨写尽渔隐江湖的自在。既有院体山水的精整工致，又带文人画的萧散简淡，把幽居林泉、超脱尘俗的文人理想寄寓在清寂山水之间，尽显江南隐逸的淡远雅趣，藏着一份避世忘机的闲适安然。",[23,24,64,94,27,99,95,390,171,7,96,30,33,3812,119],"藤蔓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac1791960d880f80ab89155121d9e3fe.jpg","74.7x35.8",[105],{"id":3817,"slug":3818,"title":3819,"dynasty":59,"author":3135,"museum":281,"description":3820,"tags":3821,"thumbUrl":3824,"material":47,"size":3825,"collection":105,"collections":3826,"showCount":3787,"zanCount":718,"manualWeight":54,"mainColor":55},217869,"qiu-lin-die-zhang-tu-jiang-can-217869","秋林叠嶂图","秋林叠嶂图描绘的是一片秋天的山林，这片山林位于海拔较高的地方，因此能看到远处的秋天的山林。这幅画的画面非常宁静，令人感到非常舒适。画中有许多树木，其中有许多松树，还有一些枫树。这些树木都长得非常茂盛，充满了生机。画中还有许多山峰，山峰之间相互倚靠，形成了一道道叠嶂。画中还有几只鸟儿，它们在枫树的枝头上唱着歌。\n\n总的来说，这幅秋林叠嶂图是一幅非常优秀的山水画作品，江参的画风独特，山水画作品非常出名。这幅画的描绘的秋天的山林非常真实，令人感觉非常自然，是一幅非常美丽的画作。",[24,866,867,3038,390,3822,122,7,31,3823],"枫树","宁静","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1988e2d8ba1187067f488aa5793dcca.jpg","168.7x96.3cm",[105],{"id":3828,"slug":3829,"title":3830,"dynasty":698,"author":3831,"museum":152,"description":3832,"tags":3833,"thumbUrl":3835,"material":103,"size":3836,"collection":368,"collections":3837,"showCount":3787,"zanCount":54,"manualWeight":54,"mainColor":109},214586,"xie-sheng-hua-hui-ce-ku-shu-wu-yang-pan-tuo-liu-shui-diao-guang-yin-214586","写生花卉册-枯树五羊磐陀流水","刁光胤","刁光胤的写生花卉册是一件著名的绘画作品，其中的枯树五羊磐陀流水图是一件精美的山水画作品。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了刁光胤对自然的热爱和对传统文化的尊重。他运用了山水画的特点，使得整件作品显得舒缓而优美。\n\n在这幅画中，刁光胤运用了清新的色彩和精细的线条来描绘山水风景。他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。画中的枯树五羊磐陀流水是一幅清新而美丽的山水画，它体现了刁光胤对自然的热爱和对传统文化的尊重。\n\n总的来说，刁光胤的写生花卉册是一件精美的绘画作品，其中的枯树五羊磐陀流水图是一件优美的山水画作品，它描绘了中国传统的山水风景，也体现了刁光胤对自然的热爱和对传统文化的尊重。",[24,64,332,27,95,255,3834,7,199,119],"兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab32d24499975cca0c619bebd3c0cd32.jpg","33.9x36.4cm",[368],{"id":3839,"slug":3840,"title":3841,"dynasty":18,"author":1254,"museum":152,"description":3842,"tags":3843,"thumbUrl":3844,"material":335,"size":3845,"collection":142,"collections":3846,"showCount":3847,"zanCount":54,"manualWeight":54,"mainColor":109},231955,"lin-ni-zan-dong-gang-cao-tang-tu-dong-qi-chang-231955","临倪瓒东岗草堂图","可知题识，董其昌于崇祯二年（1629）夏天临写倪瓒〈东冈草堂〉图，同时抄录画上倪瓒与张雨的原题。研究倪瓒早期画迹时，亦有引用此辅作为 证者不过此作用笔用墨与董其昌一般有异，疑因下因作品写角作品。画幅右图存文从简574-168）之印。",[24,64,94,29,99,95,140,1397,97,7,199,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F112f046e4c5e977c915d92b5b64d49d5.jpg","87.4×65厘米",[],97,{"id":3849,"slug":3850,"title":3851,"dynasty":59,"author":3852,"museum":553,"description":3853,"tags":3854,"thumbUrl":3856,"material":3857,"size":3858,"collection":142,"collections":3859,"showCount":3847,"zanCount":718,"manualWeight":54,"mainColor":109},221396,"bai-lian-she-tu-quan-juan-zhang-ji-221396","白莲社图全卷","张激","该画运用连环画的形式，描绘了东晋元兴年间，高僧惠远在庐山东林寺同18位贤士建白莲社专修净土法门，并与陆修静、陶渊明、谢灵运相善故事。\n全卷主要描绘了经筵会讲、金像赞佛、笺经校义三个情节，全图共分八段，绘高僧名士19人，僮仆12，采用的是李公麟开创的白描手法，树和山石的线条极富质感，枝叶多用尖笔鹰爪法，苍劲挺秀。人物淡墨须眉，浓墨点睛，神采毕现。图中还画了虎、豹、驯鹿等动物，并表现了驯服怡悦的神态，突出了高僧文士们的神秘生活状态，画作整体表现出清淡、高洁、幽雅的风格。",[23,24,25,138,94,598,30,95,241,854,7,97,3855,119],"桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedeaf58a1fb7e1565730651e19bdb961.jpg","纸本水墨","纵34.9厘米，横848.8厘米",[],{"id":3861,"slug":3862,"title":3863,"dynasty":18,"author":267,"museum":1164,"description":3864,"tags":3865,"thumbUrl":3867,"material":103,"size":3868,"collection":105,"collections":3869,"showCount":3847,"zanCount":54,"manualWeight":54,"mainColor":109},220413,"qiu-jiang-yu-ting-tu-dai-jin-220413","秋江渔艇图","《秋江渔艇》图卷是现存戴进面迹中最长的手卷，有名款及静庵”一印，论者大多将这幅画和吴镇 (1280一1354年）的《渔父图》及吴伟 （1459—1508年）的《渔乐图》相提并论。有关戴进的生平资料中，没有记载他管经接触那些过去的作品，但是在北京时，应该有机会见到宋元人作品，后来在浙江享有盛名，也使他有机会结识收藏家，接触到前人的名作，其中可能包括了出生于浙江的吴镇。\n《秋江渔艇》的简笔人物、人物的姿态，斜向的小舟，凸笔中锋的树石，和吴镇《渔父图》有许多相近之处，可以说明两者的关系。不过基本出发点并不相同，吴镇是以张志和《渔父词》为依据，面隐居的文人雅士，戴进关心的是在河川中以捕鱼为业的乡土人物，用笔也较为放纵．转折顿挫十分明显，即使径寸的人物，也表现出强劲有力的线条，和吴镇内敛含蓄的笔法有很大的差别。戴进在这面里发展出的笔墨形态，到了中叶的浙派画家吴伟的《渔乐图》时，运用得过度，尤其是水墨的渲染，已经纯然是笔墨的表演了。",[23,24,64,25,94,27,95,99,256,96,122,140,7,98,3866,306,97,33],"江面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09db0f94b0f1be9504aad5e181144fe8.jpg","46 x 741.7",[105,51],{"id":3871,"slug":3872,"title":3873,"dynasty":18,"author":90,"museum":329,"description":330,"tags":3874,"thumbUrl":3875,"material":335,"size":336,"collection":142,"collections":3876,"showCount":3847,"zanCount":54,"manualWeight":54,"mainColor":55},220061,"hu-qiu-shi-er-jing-tu-ce-6-shen-zhou-220061","虎丘十二景图册-6",[23,24,94,99,332,95,31,7,65,241,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72248fc90bb40e68bc86e816e76412c9.jpg",[],{"id":3878,"slug":3879,"title":3880,"dynasty":344,"author":3881,"museum":91,"description":3882,"tags":3883,"thumbUrl":3884,"material":47,"size":3885,"collection":105,"collections":3886,"showCount":3847,"zanCount":11,"manualWeight":54,"mainColor":55},218727,"shui-dian-chun-shen-tu-yuan-jiang-218727","水殿春深图","袁江","袁江字文涛，号岫泉。清代宫廷画家，专工山水楼阁界画。\u2028 袁的画法继承宋代宫廷画的风格，结实、工细，体积感强。并能把雄伟壮阔的山色与富丽堂皇的楼阁很好地融为一体，既精细入微，又气势磅礴，有力地提高了“界画”的表现能力，被推为清代“界画”第一。",[24,64,225,28,27,26,31,505,33,98,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F541a38c45bc135a29e893993570190f9.jpg","纵104厘米，横49.5厘米",[105,51],{"id":3888,"slug":3889,"title":3890,"dynasty":18,"author":797,"museum":281,"description":3891,"tags":3892,"thumbUrl":3893,"material":273,"size":142,"collection":105,"collections":3894,"showCount":3847,"zanCount":11,"manualWeight":54,"mainColor":55},217058,"chun-shan-pian-zhou-tu-yao-sui-217058","春山扁舟图","姚绥是明朝的一位著名画家，他的作品《春山扁舟图》是一幅典型的山水画，描绘了一段美好的春天，山峦翠绿，水面波光粼粼，扁舟悠然自得地漂流在江中。图中的山水景色清新宜人，构图简洁大方，笔墨流畅自然，是姚绥非常优秀的代表作。",[24,94,99,95,96,7,168,33,98,30,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4d7c3ea94eed15c56d67aa937bbc39c.jpg",[105],{"id":3896,"slug":3897,"title":3898,"dynasty":150,"author":1622,"museum":152,"description":3899,"tags":3900,"thumbUrl":3902,"material":404,"size":3903,"collection":625,"collections":3904,"showCount":3847,"zanCount":11,"manualWeight":54,"mainColor":109},214382,"ti-hua-shi-zhou-zhao-meng-fu-214382","题画诗轴","笔墨流转间，晋唐风骨与元人逸韵交融。行书线条圆活遒媚，如春风拂柳般柔婉却藏筋骨——起收转折温润流畅，结构端稳中透着灵动。墨色浓淡相宜，行列疏密有致，气韵连贯如行云流水。题画诗的清雅与书法的雅致相映成趣，仿佛将山水画卷的意境凝于笔端：诗中咏叹的林泉之趣，随笔墨的起伏漫溢开来，尽显文人书画的韵致。字里行间藏着对自然的眷慕，也流露着书家的从容心境，读来如沐清风，余味悠长。每一笔都似与山水对话，将诗、书、画的意趣绾合成一段清雅的文脉，在时光里静静流淌。",[117,24,64,100,225,101,94,95,120,140,3901,7],"孤村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc2c9a317264f8c2bdc121f3791db8dd.jpg","154.2x84.7",[625],{"id":3906,"slug":3907,"title":3908,"dynasty":631,"author":774,"museum":135,"description":3909,"tags":3910,"thumbUrl":3911,"material":142,"size":142,"collection":142,"collections":3912,"showCount":3913,"zanCount":54,"manualWeight":54,"mainColor":55},227263,"dong-bei-yuan-xi-shan-xing-lv-tu-li-zhou-dong-yuan-227263","董北苑溪山行旅图立轴","董源（生卒年不详），字叔达，洪州钟陵（今江西省进贤县钟陵乡）人。五代绘画大师，南派山水画开山鼻祖，与李成、范宽，并称“北宋三大家”。\n南唐时期，曾任北苑副使，人称“董北苑”。南唐灭亡后，进入北宋。擅于山水画，兼工人物、禽兽。其山水初师荆浩，笔力沉雄，后以江南真山实景入画，不为奇峭之笔。疏林远树，平远幽深，皴法状如麻皮，后人称为“披麻皴”。山头苔点细密，水色江天，云雾显晦，峰峦出没，汀渚溪桥，率多真意。“平淡天真，唐无此品”（米芾）。\n存世作品有《夏景山口待渡图》《潇湘图》《夏山图》《溪岸图》《寒林重汀图》《龙宿郊民图》《平林霁色图卷》等。",[23,24,64,117,225,94,99,95,33,32,7,76,30,98,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ce14da05caf0e1610bf356168685eed.jpg",[],96,{"id":3915,"slug":3916,"title":3917,"dynasty":150,"author":877,"museum":20,"description":3918,"tags":3919,"thumbUrl":3922,"material":335,"size":3923,"collection":105,"collections":3924,"showCount":3913,"zanCount":589,"manualWeight":54,"mainColor":109},220782,"lu-tan-diao-ting-tu-wu-zhen-220782","芦滩钓艇图","《芦滩钓艇图卷》（现藏大都会）使吴镇享有萌画家的地位，此一点无论是国内抑或海外的艺术评论意见均颇统一。纠其原因，则是画中原本仅作为点缀的人物在画家的笔下呈现“卡通式”的形象，这一夺景的表现，并未使画作的立意失衡，而是呈现出别样的意趣来，无论是大都会所藏，还是弗利尔所藏的其他数幅吴镇所绘的“渔父图”皆是充满趣味性的形象。然我们知道其部分渔父形象的作品为仿荆浩，虽然很难再找见荆浩创作的渔父形象（可确证的）。但从台北故宫博物院所藏的北宋画家范宽之《溪山行旅图》进行观察（范早期习荆浩、李成，而该画作恰恰是习荆浩的），不难发现——吴镇画中之“渔父”形象与范宽画中的“渔父”形象，两者间颇有关联性（虽范宽的作品已较模糊，然从船体与人物构造观，尚可发现有其相通之处），故此种“卡通式”的“渔父”形象，许于唐未的荆浩画中，已形成其旨趣，只是后人不觉，皆将吴镇视为萌家。\n吴镇画山水喜用湿墨，其实吴镇未尝不善用干墨，在吴镇传世几十余幅墨竹中，几乎全是用干墨画的，均取得了良好的效果。之所以吴镇在山水画中多用湿墨，这与吴镇欲借山水画表达的境界有极大的关系。北宋山水画追求一种可游、可居之景，用笔用墨都服从于山水真实体感的表达；而元人则以山水为媒，追求一种有我之景，笔墨除用表现形体外，更是充作了情感流露的媒介。在元四家中吴、倪均以画水著称，倪喜用干墨，吴则喜用湿墨。倪用干墨草草点染，创造一种荒芜、澹泊之境；吴则用湿墨，渲染出一种凄清、静穆之境。细观吴镇每一幅山水画，都给人以“水墨淋漓幛犹湿”的感觉。无论是山、树、水，还是船、渔父、房屋，无论是近景，还是远景，均如淋浴在水中，从而更使远方景物有千里之遥，营造了一种凄清、幽旷、寂寥的艺术氛围。\n吴镇画中的水墨效果是与他多种笔法、墨法的灵活运用密切相关的，湿墨决不是简单化的水量的增加。吴历云：“江山无尽、万里长江两卷，……浑然天成，五墨齐备，盖仲圭擅长，非后学者所能措手。”“五墨齐备”是吴镇用墨的高超之处，为更好地发挥墨效，吴镇在选择作画材料上很有讲究，画梅竹喜用纸，画山水则喜用绢。画山水何以选绢，因为绢有厚度，纤维富韧性，多次渲染而不皱折。吴镇非常熟悉笔、墨、绢的特点，作画中的五墨并施而不腻，反复皴擦而不胀，产生了浓而润、湿而厚、涩而不干、枯而不燥的艺术效果。吴镇清淡似水，出现了浓而透的效果。今天看吴镇作品，仍能透过作品清楚的辨别它们的组织关系。清王原祁曰：“梅道人泼墨，学者甚多，皆粗服乱头，挥洒以自鸣得意，于节节肯綮处，全无梦见。无怪乎有墨猪之诮也。”王原祁的这一评论反映了吴镇的用墨技术是非常人所能学到的。吴氏的墨法，倾倒了元以后的历代大家，沈周、文徵明、恽南田、四王、吴历、八大山人等均对吴镇墨法大加推崇。",[23,24,64,94,99,3016,95,96,7,33,2042,2961,306,3920,3921],"滩涂","水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa87a6f1b399c367170da229c11d740f5.jpg","39x65",[105,83],{"id":3926,"slug":3927,"title":3928,"dynasty":18,"author":3929,"museum":152,"description":3930,"tags":3931,"thumbUrl":3932,"material":47,"size":3933,"collection":105,"collections":3934,"showCount":3935,"zanCount":589,"manualWeight":54,"mainColor":55},217059,"xun-mei-tu-zhu-duan-217059","寻梅图","朱端","朱端，字克正，海盐人，出身渔樵，弘治末入宫，正德时期（1506－1521）直仁智殿，官「锦衣指挥」，曾获赐「钦赐一樵图书」，遂更号「一樵」。\n\n朱端的山水画取法郭熙（约1020-约1100）、马远。全幅采取半边的构图型式，以左方占据画面约二分之一高的双松为骨干，框出策杖撑伞的老翁和两位童子，他们正准备渡江至对岸的赏梅。冬天踏雪寻梅，一直被视为文人雅趣，从弘治时期（1488－1505）开始，这一类诗意图像逐渐增加，题材的转变似乎也反映了宫廷皇帝品味的变化。",[24,64,95,225,99,94,27,30,32,7,199,122,271,2301,97,240,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F674c65022384eae968e9c438b4fd0ecb.jpg","145x66cm",[105],95,{"id":3937,"slug":3938,"title":3939,"dynasty":59,"author":677,"museum":135,"description":3940,"tags":3941,"thumbUrl":3942,"material":273,"size":3943,"collection":49,"collections":3944,"showCount":3935,"zanCount":718,"manualWeight":54,"mainColor":109},214915,"xiao-jing-tu-juan-li-gong-lin-214915","孝经图卷","孝经图卷是宋朝时期李公麟所绘的一幅图画，作品名为《孝经图》。该图画记录了中国传统文化中关于孝道的理论。孝道是中国传统文化中的一个重要概念，指的是尊敬父母、敬老尊贤的道德行为。《孝经图》是一幅巨大的图画，长约10米，宽约1.5米，由李公麟于宋朝初年绘制。该图画分为上下两部分，上部是一幅描绘中国传统孝道理论的巨幅图画，下部是记录了关于孝道的文字记录。《孝经图》是一件重要的文化遗产，对于了解中国传统文化中孝道的概念和内涵有着重要的意义。",[23,117,24,64,25,138,94,30,31,32,7,119,66,97,98,33,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cdceb66d0489c2d2fba02cb93a6f500.jpg","21.9x475.6",[49],{"id":3946,"slug":3947,"title":3948,"dynasty":344,"author":808,"museum":61,"description":3949,"tags":3950,"thumbUrl":3952,"material":335,"size":3953,"collection":142,"collections":3954,"showCount":3955,"zanCount":11,"manualWeight":54,"mainColor":109},233956,"yuan-ji-shan-shui-heng-zhou-shi-tao-233956","原济山水横轴","本册10开，或墨笔或设色，末开自款“时甲子新夏呈阆翁火词宗夫子，清湘秃发济”，钤“冰雪悟前身”，（白文方印）每开上“忍庵图书”一印。\n原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[24,64,3951,94,99,95,171,33,7,96,30,168,390,98],"横轴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff862291aff18cd6d44ac688b5b35c856.jpg","纵46.5cm，横30.7cm",[],94,{"id":3957,"slug":3958,"title":3959,"dynasty":344,"author":2071,"museum":553,"description":3960,"tags":3961,"thumbUrl":3962,"material":2665,"size":2884,"collection":142,"collections":3963,"showCount":3955,"zanCount":11,"manualWeight":54,"mainColor":55},222813,"fang-gu-si-ji-shan-shui-tu-fang-ju-ran-xia-shan-shui-bi-fa-wang-hui-222813","仿古四季山水图-仿巨然夏山水笔法","王翚 （1632─1717），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。王翚的山水画宗旨：唐人的气韵、宋人的丘壑、元人的笔墨，也是王时敏、王鉴的绘画审美理想。所以，王鉴一见王翚便如获至宝的情形，就不难理解了。这种审美理想是建立在崇古、知古、学古的基础上的运用和化解古意、古法。王时敏认为：“廉州(王鉴)刻意摹古，所作卷轴一树一石必与宋元诸名家血战，力厚功深，久而与之俱化，不但笔墨位置咄咄逼真，而取神去粗，秀逸高华，骎骎殆将过之。”青林红树荫渔庄, 樯集江边艇子忙. 稍等风吹烟雾散, 千帆竞发沐秋阳. 他的仿古功力更深厚，渐次从“血战”中进入“过之”的目的。王翚的挚友恽寿平说王翚临黄公望的《富春山居图卷》，“前十年曾为半园唐氏摹长卷，时犹为古人法度所束，未得游行自在。最后为笪江上借唐氏本再摹，遂为弹丸脱手之势。",[23,24,64,95,2880,99,27,225,170,33,32,7,169,504,518,30,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3613234851021f90e99e4b46a734550f.jpg",[],{"id":3965,"slug":3966,"title":3967,"dynasty":344,"author":1527,"museum":20,"description":3968,"tags":3969,"thumbUrl":3970,"material":273,"size":142,"collection":105,"collections":3971,"showCount":3955,"zanCount":11,"manualWeight":54,"mainColor":109},219711,"fang-ju-ran-xi-shan-gao-shi-tu-wang-jian-219711","仿巨然溪山高士图","《仿巨然溪山高士图轴》是王鉴的一副临摹宋朝著名画僧巨然和尚的古山水画。王鉴擅长临摹古人之画，功底深厚，巨然是他非常推崇的北宋大家，他一生中摹仿巨然的作品非常多，巨然的画风淡墨轻岚，风韵秀润。此图上款识：“巨然《溪山高士图》来自内府，为大司空刘敬仲先生所藏。余在长安时曾见过，今不知流落谁手。雨窗闲坐，思其意为之，不求其形似也。王鑑。",[23,24,94,99,29,225,95,31,199,7,140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F885430959c37cabba225c27dbb27cb24.jpg",[105],{"id":3973,"slug":3974,"title":3975,"dynasty":150,"author":1032,"museum":20,"description":3976,"tags":3977,"thumbUrl":3978,"material":47,"size":3979,"collection":49,"collections":3980,"showCount":3955,"zanCount":11,"manualWeight":54,"mainColor":109},219546,"gui-qu-lai-ci-tu-qian-xuan-219546","归去来辞图","在改朝换代的无奈中，钱选效法陶渊明隐居不仕，因此在他聊以自娱的绘画中自然会表现出对陶渊明的追崇，进而描绘出他的形象。这大概也是钱选隐居生活中心境的映照。在《归去来辞图》画面里，左一半为坡岸，有人家院落；右一半烟水浩淼，远处依稀可见淡淡山脉。靠近坡岸的水中有一只木船，陶渊明身着大袖宽袍立于船头，一童子在船尾摇橹。看召魄伏的波纹，木船正破水向岸边驶来。这或许正是《归去来辞》中“舟摇摇以轻飚，风飘飘而吹衣”的真实写照。另—边浅渚绿岸上有六棵柳树，枝叶茂密；一道隆起的院墙间有一柴门开着，几竿竹子探出墙来，这大概是陶渊明的居所。门前有俩孩童和一妇人似在迎接陶渊明回家。正是《归去来辞》中“乃瞻衡宇，载欣载奔，童仆欢迎，稚子候门”的写照。\n在技巧上，钱选利用虚实对比的手段，表现了陶渊明乘船渡水、脱离尘网、走向田园的生活寓意。画中所设的无边淡水和田园家境是两种境界的载体，也是画家精神的载体。画中的人物描绘细腻、传神，用线精致；坡岸、院墙的皴染均匀，树的枝叶自然、流畅。整个画面赋色清淡，洋溢着田园的清幽之气，同时，也体现出作者一种闲适淡泊的襟怀。",[23,117,24,64,25,27,26,101,119,95,30,96,33,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4c885d7fc36e4d1430327a83eb955a8.jpg","纵26厘米，横106.6厘米",[49,51,625],{"id":3982,"slug":3983,"title":3984,"dynasty":59,"author":292,"museum":135,"description":3985,"tags":3986,"thumbUrl":3987,"material":273,"size":3988,"collection":105,"collections":3989,"showCount":3955,"zanCount":718,"manualWeight":54,"mainColor":640},218618,"chun-xi-ming-qin-tu-yi-ming-218618","春溪鸣禽图","画面上有古老的柏树，靠外的竹子，溪流中盛开的梅花，以及唱歌的鸟儿和仙女。浓烈的笔墨是宋代的风格，这也是自然小景的典范之作。\n这幅画采用了南宋的写实手法，画出了春日溪边宁静幽远而又生动的景象，造型准确，极为生动。",[24,64,1551,26,94,27,7,122,33,199,788,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff10a47e4d9461a9b24ee60330ea5a6c1.jpg","31x31",[105,81],{"id":3991,"slug":3992,"title":3993,"dynasty":59,"author":292,"museum":1164,"description":3994,"tags":3995,"thumbUrl":4001,"material":47,"size":4002,"collection":49,"collections":4003,"showCount":3955,"zanCount":718,"manualWeight":54,"mainColor":109},218235,"luo-shen-fu-tu-yi-ming-218235","洛神赋图","这幅长卷以绢为本，设色古朴淡雅，依《洛神赋》诗意铺展浪漫图景。卷中景物疏密有致，人物神态生动：洛神衣袂飘飘，似乘云气而来，曹植立于舟中，怅惘凝望；水波轻漾，树木扶疏，云气缭绕间仙禽异兽点缀，尽显缥缈奇幻。画家以细腻如春蚕吐丝的线条勾勒身形，衣纹流转自然，色彩晕染柔和，将赋中“翩若惊鸿，婉若游龙”的意境具象化。画面分段叙事，从初见惊艳到离别的惆怅，情感脉络隐于山水人物间，让文学的浪漫在绢素上流转千年，是古典绘画中诗画交融的典范之作。",[23,117,24,64,25,27,26,30,139,3996,96,7,33,3997,3998,122,3999,4000],"洛神","云气","仙禽异兽","怅惘","神话场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f923b996db22e3749b224b0bec4b967.jpg","24.2x310.9",[49],{"id":4005,"slug":4006,"title":4007,"dynasty":344,"author":3881,"museum":135,"description":4008,"tags":4009,"thumbUrl":4010,"material":229,"size":637,"collection":105,"collections":4011,"showCount":4012,"zanCount":54,"manualWeight":54,"mainColor":109},235658,"shan-shui-ping-yuan-jiang-235658","山水屏","袁江（1662年—1735年），字文涛，号岫泉，江都（今江苏扬州）人，清代画家。",[24,64,225,28,27,26,99,95,31,76,33,98,122,7,724,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74d1025c7cc3b3c23c5404aad98a7d7f.jpg",[105],93,{"id":4014,"slug":4015,"title":4016,"dynasty":344,"author":4017,"museum":61,"description":4018,"tags":4019,"thumbUrl":4021,"material":946,"size":4022,"collection":49,"collections":4023,"showCount":4012,"zanCount":11,"manualWeight":54,"mainColor":55},223168,"nan-xun-su-zhou-hu-qiu-xing-gong-tu-jiao-bing-zhen-223168","南巡苏州虎丘行宫图","焦秉贞","焦秉贞（生卒年不详），字尔正，山东济宁人，康熙时官钦天监五官正，供奉内廷。清代宫廷画家。擅画人物，吸收西洋画法，重明暗，楼台界画，刻划精工，绘有《仕女图》，《耕织图》等。\n焦秉贞是天主教传教士汤若望的门徒，通天文，擅长画肖像。康熙时官钦天监五官正，画“御容”。明末清初，西洋教士布道中国，每以宗教画为宣传工具，清朝画院供奉众多西洋教士，而钦天监中主其事者众，故焦氏日相濡染，遂习其法，亦一时之风尚使然。焦秉贞所画花卉精妙绝伦，其山水、人物、楼观之位置，自近而远，自大而小，不爽毫发，系采西洋画法。尝奉诏绘《耕织图》四十六幅，村落风景，田家耕作，曲尽其致。称旨，旋镂版印赐臣工。康熙二十八年（1689）尝写池上篇画意，雍正四年（1726）曾为张照写像，蒋廷锡补景。\n焦秉贞作为一个宫廷画家同时又是一个科学官吏，在钦天监供职，对算理和科学的了解自然要比其他担任文官的宫廷画家要多一些，对于建立在数学、物理研究基础之上的西方绘画也较容易了解和接受。这仅仅是一个客观的因素，当时康熙皇帝对于参用西法的绘画的喜爱和赞赏是焦秉贞学习西法的主观因素和重要动力。流传至今较多的他的绘画中多带有“臣”字款，这些作品从整体上看多用色浓重艳丽，布局紧凑，细致工整，“参用西法”的特征主要表现在人物大小的安排，透视和明暗的运用及空间处理上，人物大多按近大远小的原则来安排，不同于传统中国画按人物身份高低安排人物大小的习惯，在空间处理上，也把人物放在一个真实的空间中，以人物为中心营造空间，建筑大小也考虑到人的尺度，甚至不惜牺牲建筑空间的完整性。\n焦秉贞的绘画始终有一种中国化了的真实，似乎总无法摆脱绘画中“写意”思想，在他私人的习作《归去来兮图》中我们更是看到了中国传统文人画家的情怀，除了茅屋结构有上有些许透视外，无论从题材选取还是画面中大片留白手法的运用，都表达了文人惯有的山林隐逸的思想，意境深远，给人以无限遐想。\n明代有一位画家名叫曾鲸（1568—1650，字波臣，福建莆田人，流寓金陵），一改我国传统人物肖像的画法，不用粉彩进行渲染，而是采用淡墨渲染出阴影、凹凸，甚至每画一张像，烘染达数十层，直到满意为止。当时，追随他用这种方法画肖像的人很多，被称为“波臣派”。焦秉贞是继曾鲸之后、开创“西学派”的著名画家，和禹之鼎的“白描派”并称肖像画三大派。",[23,24,64,25,27,26,28,95,30,31,7,35,33,97,32,2195,4020],"城镇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0260b27a75b9facab7ea0473d120afe.jpg","58.5×544cm",[49,51],{"id":4025,"slug":4026,"title":4027,"dynasty":59,"author":399,"museum":252,"description":4028,"tags":4029,"thumbUrl":4030,"material":188,"size":4031,"collection":81,"collections":4032,"showCount":4012,"zanCount":11,"manualWeight":54,"mainColor":55},221578,"hao-liang-qiu-shui-tu-li-tang-221578","濠梁秋水图","《濠梁秋水图》是宋代画家李唐创作的一幅中国画，描绘的是安徽凤阳县濠水、濮水一带的风光。数株茂密的大树占据了主要画面。树用夹叶法，淡赭设色，透露出浓浓秋意。大石用斧劈皴，勾勒劲健，结构谨严，苍劲凌厉，颇见质感，以青绿罩染。画面左侧飞泉直泻，落叶点点。李唐对秋水的刻画尤见功力，并使山石的刚硬和水波的柔和形成鲜明对比。整个画面显示出一副浓郁的深秋景象。在这样一个环境里面，庄子和惠子坐于岸边。二人衣着古朴，衣纹简练，却颇见精神。一人面对观者，一人侧面作交谈状，与《采薇图》中伯夷和叔齐的表现方式有异曲同工之妙。\n《濠梁秋水图》的创作，似乎正处于其风格转变过程中的后期，是南宋新风格的开始，构图局部取景的方式已有所体现；而《采薇图》只不过是把要表现的物象更加拉近了而已。皴法上，此图出现了大量的侧锋用笔，洗练、刚劲，但笔触略小，石质坚实，这是大斧劈皴的雏形。到了《采薇图》，则变为阔笔挥洒，更加简略，充满速度和力感，转变体现得更加明显了。还有《采薇图》的远景部分，仿佛弥漫着一层雾气，树石的画法也是水气淋漓，这可能与李唐已久居江南有关。《濠梁秋水图》则显得稍有不同，透露出一种浑厚深沉的山水景象。\n从用笔、风格、水准等方面来看，《濠梁秋水图》当属李唐从《万壑松风图》到《采薇图》之间的过渡作品，仿佛是他在为北宋风格向南宋风格的转变做精巧的注释一般，因而显示出此作珍贵的历史价值和学术价值。",[23,24,64,25,95,94,99,30,33,171,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5606bd8755e55a8ff1f77d67242cb344.jpg","纵24厘米，横114.5厘米",[81,105,51],{"id":4034,"slug":4035,"title":4036,"dynasty":150,"author":710,"museum":61,"description":4037,"tags":4038,"thumbUrl":4039,"material":469,"size":4040,"collection":105,"collections":4041,"showCount":4012,"zanCount":54,"manualWeight":54,"mainColor":55},220818,"guan-shan-xiao-si-tu-zhou-wang-meng-220818","关山箫寺图轴","王蒙创造的“水晕墨章”，丰富了民族绘画的表现技法。\n他的独特风格，表现在“元气磅礴”、用笔熟练、“纵横离奇，莫辨端倪”。\n《画史绘要》中说：“王蒙山水师巨然，甚得用墨法”。",[23,24,64,225,95,27,99,28,170,31,7,33,724,122,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1601b0cd43037b968c1bf32d6a8e7830.jpg","纵161.7cm，横56cm",[105,51],{"id":4043,"slug":4044,"title":1185,"dynasty":344,"author":4045,"museum":152,"description":4046,"tags":4047,"thumbUrl":4048,"material":47,"size":4049,"collection":49,"collections":4050,"showCount":4012,"zanCount":11,"manualWeight":54,"mainColor":640},220408,"fang-song-yuan-ben-jin-ling-tu-yang-da-zhang-220408","杨大章","杨大章，乾隆时供奉内廷，工人物、花鸟画。本卷记录古代城市生活的形形色色，自右开始映入眼帘是恬静的郊区农村，过护城河后进入金陵城，城里人车杂沓，各类店铺林立，贩夫走卒、男女老少穿梭于热闹喧嚣的市井中，全卷用色鲜明清亮，人物表情姿态生动，细节讲究，根据幅上作者款识，画成于乾隆五十六年（西元一七九一年）。与院藏〈清院本清明上河图〉皆为长卷式写实风俗画的代表。",[23,24,64,25,27,26,29,28,30,31,32,7,33,66,67,76,1141,41,35,504,70,40,68,72,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc51112ceba73713c1fa168c8c09ad47c.jpg","34.1x1088.3",[49,51],{"id":4052,"slug":4053,"title":4054,"dynasty":18,"author":2243,"museum":152,"description":4055,"tags":4056,"thumbUrl":4058,"material":47,"size":4059,"collection":105,"collections":4060,"showCount":4012,"zanCount":11,"manualWeight":54,"mainColor":55},214741,"qiu-lin-shu-wu-tu-zhao-zuo-214741","秋林书屋图","这幅画表现的是一个男人独自坐在森林下的书房里，云雾笼罩着远处的山。构图很简单，将河流和天空留白，加上一些水墨，这幅画的特点是柔和和优雅。",[24,866,94,99,225,119,867,4057,33,98,7,348,122],"书屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83c65d9c974db8e736b5c1f04d0b6cde.jpg","103.1x51.4",[105],{"id":4062,"slug":4063,"title":4064,"dynasty":18,"author":1948,"museum":252,"description":4065,"tags":4066,"thumbUrl":4067,"material":335,"size":4068,"collection":142,"collections":4069,"showCount":4070,"zanCount":54,"manualWeight":54,"mainColor":262},231835,"lin-xie-jian-cha-tu-wen-zheng-ming-231835","林榭煎茶图","该图所绘山丘起伏，而湖水澄澈，临湖平缓的坡岸上有茅屋数间，竹篱围而成院，杂树环绕。主人于房内凭窗远眺，一童正在室外烹茶，另一人拄杖沿湖边小径而行，似来访友，毫无城市的杂沓、喧嚣，表现了文人悠闲、恬淡的生活情趣。此图笔墨遒劲秀雅，线条流畅工致。\n此图描绘林榭处煎茶情景。此画右起青山林立，山顶山腰山坡间树木丛生，远见似一片片青绿林带，呈烟消碧落的景致。山下为江水一泓，河面宽阔，水平如镜，一派风和日丽的景色。画的中部座落着几间屋宇房舍，四周林木丛生，数间房舍掩映在树木之下，且被竹篱环抱，房舍内，一位长者坐室内凝思，室外一人煮茶，身着便服，这是此画核心部分。画卷的左边为不高不矮土坡山石，在坡岸上长满了杂木和丛草，葱葱郁郁，一派春光明媚，正是煎茶的最好时节。画中有作者自题“徵明为禄之作。”卷末有文徵明白题七言诗一首，赞美君山风光。\n煮茶历来为古贤名士选取的题材之一，远的不说，如元代有赵原的《陆羽烹茶图》，表现唐代茶人陆羽的故事，陆羽不但嗜茶著名，而且对茶很有研究，撰有《茶经》，世称其为“茶神”。又有明代丁云鹏绘有《煮茶图》，画面亦描绘唐代陆羽煮茶的典故。该图是文徵明中年时期所作。\n《林榭煎茶图》以更广阔的湖景描绘，在茶会所蕴含的雅俗之辨意味以外，更叠加以隐逸的超越意涵。悠游闲适、山湖相映，共同映射着苏州文人复杂的内心世界。\n此图笔墨遒劲秀雅，线条流畅工致。山石用牛毛皴，浅淡的青绿设色，近树精勾细琢，远树概括取景。人物的衣纹用高古游丝描。人物形象各俱神态，通过人物眼神、姿态、衣着等具体描绘来突出此画的主题。此画的技法，全画用笔秀润，勾点结合秀逸天成。设色清新秀丽，调色清淡有浓丽绚烂之致，虽浓丽又隽雅不艳俗，为时辈所难以企及。",[23,24,64,25,94,99,95,97,33,98,7,101,119,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d9697288498df44d150ee73c094c572.jpg","纵25.7厘米，横114.9厘米",[],92,{"id":4072,"slug":4073,"title":4074,"dynasty":18,"author":4075,"museum":553,"description":4076,"tags":4077,"thumbUrl":4078,"material":659,"size":4079,"collection":105,"collections":4080,"showCount":4070,"zanCount":54,"manualWeight":54,"mainColor":55},222466,"lan-ting-xu-quan-juan-zhu-yun-ming-222466","兰亭序全卷","祝允明","本卷为祝允明行书《兰亭序》全文与文徵明为之补图的书画合璧作品。祝氏书法宽博雄放，尤具自家风神。文氏补图画王羲之等人兰亭修契之事，设色雅丽，笔墨娴熟\n此本《兰亭序》即是二人追求隐逸自由的代表画作，也是二人友谊的见证。",[23,117,24,64,25,101,94,27,119,100,95,33,97,32,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa495121fe18a1376a9191624843f67a1.jpg","26.7x146厘米",[105,51],{"id":4082,"slug":4083,"title":4084,"dynasty":59,"author":222,"museum":135,"description":4085,"tags":4086,"thumbUrl":4087,"material":27,"size":4088,"collection":81,"collections":4089,"showCount":4070,"zanCount":11,"manualWeight":54,"mainColor":55},221431,"qiu-yi-tu-li-shan-fan-kuan-221431","秋意图立軕","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。",[23,24,64,225,27,95,99,98,33,7,1758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3263c8c2537dc9bc31283a3c58aea08c.jpg","50.8x36.5",[81,105,51],{"id":4091,"slug":4092,"title":4093,"dynasty":18,"author":90,"museum":423,"description":424,"tags":4094,"thumbUrl":4097,"material":335,"size":429,"collection":142,"collections":4098,"showCount":4070,"zanCount":11,"manualWeight":54,"mainColor":109},220025,"dong-zhuang-tu-ce-zhi-he-dong-shen-zhou-220025","东庄图册之鹤洞",[23,24,64,332,94,99,95,1287,4095,7,33,98,833,4096],"洞","草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ae2436dfdae7b3a2935aef740291ff1.jpg",[],{"id":4100,"slug":4101,"title":4102,"dynasty":344,"author":2253,"museum":252,"description":2290,"tags":4103,"thumbUrl":4104,"material":103,"size":2293,"collection":105,"collections":4105,"showCount":4070,"zanCount":54,"manualWeight":54,"mainColor":109},219992,"shan-shui-hua-fang-ni-gao-shi-wang-shi-min-219992","山水画-仿倪高士",[24,64,94,95,255,98,7,99,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1db0745ab15a7923cd8f438c16122b9.jpg",[105],{"id":4107,"slug":4108,"title":4109,"dynasty":59,"author":4110,"museum":91,"description":4111,"tags":4112,"thumbUrl":4113,"material":404,"size":4114,"collection":105,"collections":4115,"showCount":4070,"zanCount":311,"manualWeight":54,"mainColor":55},218400,"du-fu-shi-yi-tu-zhao-kui-218400","杜甫诗意图","赵葵","此图为唐代诗人杜甫“竹深留客处，荷净纳凉时”佳句为题，描绘的是一片竹林景色。图中丛草茂密，绿竹幽深，连绵万顷，层层叠翠，尤以竹林深处，一条蜿蜒小路上，有二人策驴缓行，显然是欲溯溪而上，至一塘绿水处，荷叶飘香，临流水阁数间，令人畅想，不免有流连忘返之意，若能高卧闲居，听竹闻香，自然就可以荣辱皆忘，陶然忘机。所谓一心，就是这个状态，无关乎身家性命，但求此心真诚无二，为将者保家卫国，为画者怡情自乐，君子无为而无不为，皆能不出其位，用现在的话说，就是干一行，爱一行，少些杂念，自然可以有所成就。岳飞曾说，文官不爱钱，武官不惜命。其实也是这个道理。故人若能一心不乱，大可以报效国家于危难之际，小可以洁身自好于巷陌之间。",[23,24,25,94,99,543,32,7,97,98,33,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96951e7904dac4cc20ea034fe6300033.jpg","纵74.7厘米，横 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【类别】中国 【年代】明代 【作者】 【规格】该幅44.8128厘米，隔水一14.1厘米，隔水二14厘米，拖尾44.826.厘米 【收藏】 主题与关键字： 房舍、宫殿、马、后妃、渔夫、船夫、军士、瀑布、藤萝、江河、湖海、侍从（侍女、童仆）、兽力车、石磴、栈道、官员（臣）、栏杆、鹤、兵器、高士（士人、隐士）、桃花、溪涧、湍泉、帝王、狐狸、亭、乐器、台阁、杉、篷舟、鹿、仪仗（佛教宝盖）、桥、百姓、云、牛、篱笆、围墙、羊、帐篷、鸾凤、虎、鸡、茅草屋、田畴、松、狗。\n故宫书画录（卷八），第四册，页42 故宫书画图录，第十八册，页5-6 此幅图写 上林赋意，卷末并附有署文徵明款之隶书全文。\n相如此赋乃为献汉武帝而作，以华美靡丽之词句，铺陈颂扬皇家园囿上林苑之堂皇富丽，与天子射猎场面之壮阔伟盛。\n画中极力描绘各种水陆神兽、奇花异卉，宫殿巍耸，人马迤逶，以见天子声威之浩大。\n人马树石造型精谨，用笔工细，设色浓豔亮丽，与赡丽之赋文相辉映。\n此类工笔重设色青绿山水常被标为仇英作品，但应为后人所伪托。\n仇英，明朝，太仓（今江苏太仓）人。\n移家吴县（今江苏苏州）。\n画师 ，工山水、人物、士女，而格力不逮。\n特工临摹，粉图黄纸，落笔乱真。\n至于发翠豪金，丝丹缕素，精丽艳逸，无愧古人。\n尝作上林图，人物、鸟兽、山林、台观、旗辇、军容，皆臆写古贤名笔，斟酌而成，可谓绘事之绝境，艺林之胜事也。\n题其仙弈图谓：“仇实父是 后身，即文、沈亦未尽其法。\n”洵非过誉。\n尤工士女，神采生动，为明代工笔之杰。\n152年（正德十五年）与 合仿 莲社图，藏故宫博物院。",[23,26,118,27,25,95,31,30,33,98,7,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d654d1e6148064ec1640922c1921901.jpg",[],{"id":4143,"slug":4144,"title":4145,"dynasty":18,"author":4146,"museum":400,"description":4147,"tags":4148,"thumbUrl":4149,"material":47,"size":4150,"collection":49,"collections":4151,"showCount":4125,"zanCount":311,"manualWeight":54,"mainColor":55},220412,"feng-yu-gui-cun-tu-xie-shi-chen-220412","风雨归村图","谢时臣","《风雨归村图》是谢时臣比较有代表性的一幅画，描绘的是渔村风雨之景，图中风紧浪急，渔人纷纷结束劳作回家。各种景物由于受到风雨的影响，产生出了不同的应激反应。",[23,24,64,25,95,27,99,30,32,7,96,306,31,33,98,1561,350,169,3087,635],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45cff486492d2e306434488295267ef7.jpg","40.3×425.4",[49,51],{"id":4153,"slug":4154,"title":4155,"dynasty":18,"author":4156,"museum":61,"description":4157,"tags":4158,"thumbUrl":4159,"material":273,"size":4160,"collection":105,"collections":4161,"showCount":4125,"zanCount":718,"manualWeight":54,"mainColor":109},220110,"mo-bi-shan-shui-tu-chen-chun-220110","墨笔山水图","陈淳","陈氏以写意花卉享誉画坛，与徐谓并称“青藤白阳”，传世山水作品并不多见，此作显示出他在山水画方面别有一番造诣。图中近景绘平坡古树，树下一人翘首远眺，远景高岩耸立，秀木成林，烟云缭绕，掩映着溪流的尽头。画家用笔写意韵味很浓，笔迹放纵老到，淋漓疏爽，细看似乎笔笔皆不经意，纵览全幅却是结构严密，墨色轻重有别，虚实得当。画面中清雅空幽、萧散闲逸的意境流露出来自文氏门下的师承传统。",[23,24,64,225,94,99,95,241,390,32,7,30,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae7c7f71b3d4294315661e3a9f670632.jpg","纵107.8厘米，横67.8厘米",[105,83],{"id":4163,"slug":4164,"title":4165,"dynasty":59,"author":4166,"museum":152,"description":4167,"tags":4168,"thumbUrl":4169,"material":47,"size":4170,"collection":105,"collections":4171,"showCount":4125,"zanCount":589,"manualWeight":54,"mainColor":55},218533,"yan-shan-xu-bie-tu-zhao-zong-han-218533","雁山叙别图","赵宗汉","画楼台亭榭，二人设几拥书对坐，一人携杖，童子抱琴随行。此图嘉祐二年五月廿九日，宗汉奉使出镇广南，过浙中，其乡人旧友汪子卿少游浙中，登庆历进士，归从雁山，作此图为别。",[24,64,225,27,99,101,100,95,31,33,98,7,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ceca5bf5d4e52df96f93e938393a90e.jpg","纵156公分，横160公分",[105,81],{"id":4173,"slug":4174,"title":4175,"dynasty":344,"author":552,"museum":553,"description":554,"tags":4176,"thumbUrl":4181,"material":562,"size":563,"collection":142,"collections":4182,"showCount":4183,"zanCount":11,"manualWeight":54,"mainColor":55},222817,"gu-su-fan-hua-tu-di-yi-duan-xu-yang-222817","姑苏繁华图第一段",[23,117,24,25,27,26,95,121,4177,4178,4179,31,32,7,4180,34,30,44,33,98,41],"村镇","城池","古建","船舶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a01f4224a44f2fb29505d1c3e5f9e1a.jpg",[],90,{"id":4185,"slug":4186,"title":4187,"dynasty":344,"author":1385,"museum":61,"description":4188,"tags":4189,"thumbUrl":4190,"material":258,"size":4191,"collection":105,"collections":4192,"showCount":4183,"zanCount":54,"manualWeight":54,"mainColor":109},220976,"shan-shui-hua-niao-tu-ce-ye-yu-chu-ji-yun-shou-ping-220976","山水花鸟图册-夜雨初霁","每图各有恽寿平题识，分别钤“寿平”白朱文印、“正叔”朱文印、“寿平”白文印、“恽正叔”白文印、“寿平印”白文印等。每图各有乾隆皇帝题诗一首。鉴藏印有：“乾隆御赏之宝”、“淳化轩”、“石渠宝笈”、“臣庞元济恭藏”、“虚斋至精之品”等二十余方。\n本图册第三开、第十开分别署年款“乙卯秋”、“乙卯十月”。“乙卯”为清康熙十四年（1675年），此作应为恽寿平43岁时作品。\n此山水花卉图册分别描绘鹅群、荷花、山水、古木寒鸦、牡丹、乔柯急涧、夜雨初霁、菊花、兰花蝴蝶花、溪山行旅等。全册为作者临仿宋、元、明诸家。山水以宗董源、巨然、米芾、赵孟頫诸家为主，秀骨清幽，富有文人书卷之气。花鸟以宗徐崇嗣、赵昌、沈周诸家为主，重视写生，力求形似，如第五开的牡丹，技法灵活，宗法徐崇嗣的没骨法，同时又强调“与花传神”，力去华靡，追求“澹雅”，不刻意求工，唯求自然天趣，揭示出恽寿平一向所追求的平淡超逸的审美意趣。",[23,24,64,332,94,27,95,31,32,96,122,33,98,169,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4caaee7acd02f00b671f99fe717cb6e3.jpg","纵27.5cm，横35.2cm",[105,83],{"id":4194,"slug":4195,"title":4196,"dynasty":344,"author":2071,"museum":61,"description":4197,"tags":4198,"thumbUrl":4199,"material":273,"size":4200,"collection":105,"collections":4201,"showCount":4183,"zanCount":11,"manualWeight":54,"mainColor":109},218520,"yan-qi-gao-shi-tu-wang-hui-218520","岩栖高士图","此图是王翚盛年山水画代表作。该图以高远式构图，画高岩幽壑，长松平湖，岩崖间古木盘虬，杂草丛生，山径盘陀，叠叠山泉涌出峡谷，流入湖中。峡谷间山馆水榭或半隐于崖畔，或横架于流泉之上。近岸平坡松荫下一人仰坐，似在欣赏幽雅的湖光山色。此画结构严谨，意境清幽。据记载明代唐寅曾有之，画家虽未言仿唐寅画法，然所画山石用元人干笔皴擦，参用宋人斧劈皴法，苍劲秀润，用墨干湿相济，变化多端，极富逸趣与韵味，似应是画家早期精研唐寅画法后的变化所得，体现了画家这一时期山水画的典型风貌。\n图中王翚自识虽未署年款，但笪重光题跋书于壬子年，即清康熙十一年（1672年），王石谷时年41岁，此图应作于当时或稍前。本幅上方王翚自题七言诗：“高士岩栖趣自幽，白云天半读书楼。银河落向千峰裹，长和松涛万壑秋。”又笪重光、恽寿平题和。从三人题诗中得知，此图作于毗陵（今江苏武进）舟次，时三人聚会于此，研讨绘画达40余日，以诗书画互赠，堪称“艺林盛事”。此图乃王翚画赠笪氏之作。",[23,24,64,225,94,99,95,30,390,168,98,38,7,140,3812],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e2e386c670104c6002b4b8f716d6d0a.jpg","纵122.7厘米，横31.5厘米",[105],{"id":4203,"slug":4204,"title":4205,"dynasty":59,"author":4206,"museum":152,"description":4207,"tags":4208,"thumbUrl":4209,"material":229,"size":4210,"collection":142,"collections":4211,"showCount":4212,"zanCount":54,"manualWeight":54,"mainColor":55},288949,"xi-shan-lou-guan-tu-yan-wen-gui-288949","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。",[23,117,24,64,94,95,31,98,33,7,99,225,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e79de6733f981b2ebaba4b9f3bceaa7.jpg","103.9x47.4",[],89,{"id":4214,"slug":4215,"title":4216,"dynasty":18,"author":90,"museum":61,"description":4217,"tags":4218,"thumbUrl":4219,"material":258,"size":4220,"collection":105,"collections":4221,"showCount":4212,"zanCount":718,"manualWeight":54,"mainColor":109},222116,"tao-hua-shu-wu-shen-zhou-222116","桃花书屋","这幅《桃花书屋图》的用笔与晚年粗率的用笔截然不同，是为沈周中年“细文”之作。早年的沈周绘画深受元代云林和同时代有人刘珏的影响，故而在早期的作品中可以看到非常浓厚的两家影子。而山石的绘法则取法五代董源、居然和元代的大痴，这写在沈周的《策杖图》中皆有体现。而在这幅作品中，面貌已经不同于早期的风格。《桃花书屋图》的画面形式已经有所松动，不再是《策杖图》中所表现的那般的紧迫。但是有些基本的沈周的程式已经存在，这便是仿古的山石。",[23,24,94,99,27,95,33,1177,120,2206,7,171,30,100,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45ec07e216d6f6ba02a5d0deaeaae9e6.jpg","纵74cm，横31cm",[105,83],{"id":4223,"slug":4224,"title":4225,"dynasty":150,"author":1622,"museum":20,"description":4226,"tags":4227,"thumbUrl":4228,"material":335,"size":4229,"collection":49,"collections":4230,"showCount":4212,"zanCount":11,"manualWeight":54,"mainColor":55},220834,"lan-ting-xiu-xi-zhao-meng-fu-220834","蘭亭修禊","兰亭修禊：修禊（xiūxì），源于周代的一种古老习俗，即农历三月上旬“巳日”这一天，（魏以后始固定为三月三日），到水边嬉游，以消除不祥，叫做“修褉”。人们相约到水边沐浴、洗濯，借以除灾去邪，古俗称之为：“祓禊”。后文人饮酒赋诗的集会，也称为修禊。春日踏青有“春禊”，秋日秋高气爽，文人怎能辜负这大好时光，自然会有“秋禊”，时间一般是在农历七月十四。历史上最为有名的修禊当数兰亭修禊和红桥修禊。王羲之《兰亭集序》：“暮春之初，会于会稽山阴之兰亭，修褉事也。”",[23,24,64,25,27,26,100,101,30,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9d11be852e9ee5dd0f93e513e3b855e.jpg","纵:32.2cm 横:375.3cm",[49,83],{"id":4232,"slug":4233,"title":4234,"dynasty":344,"author":4235,"museum":152,"description":4236,"tags":4237,"thumbUrl":4239,"material":103,"size":4240,"collection":368,"collections":4241,"showCount":4212,"zanCount":718,"manualWeight":54,"mainColor":109},218805,"hua-niao-quan-shi-tu-dai-hong-218805","花鸟泉石图","戴洪","作者戴洪，生死时年藉贯均不详。高宗乾隆时，任职内廷画院供奉。擅长山水、花鸟画。他的画，以笔路纤细，着色秾丽见长，曾和程志道、金昆、孙佑等人，合画清明上河图，精美绝伦，深蒙乾隆赞赏。偶尔也画水墨山水，用笔虽较开放，但仍不脱细谨作风。",[24,27,26,225,788,4238,3631,427,1177,7],"鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc83a526f4a08022e9761839fce88641.jpg","185x66.3cm",[368],{"id":4243,"slug":4244,"title":4245,"dynasty":59,"author":921,"museum":152,"description":4246,"tags":4247,"thumbUrl":4248,"material":47,"size":4249,"collection":49,"collections":4250,"showCount":4212,"zanCount":589,"manualWeight":54,"mainColor":109},218795,"lan-ting-xi-yin-tu-guo-zhong-shu-218795","兰亭禊饮图","这幅画描绘的是永和九年的兰亭大典，小板上有三十多个学者在场，山峦起伏，茂林修竹，画工精细，原题为郭忠恕，但实际上更接近元代胡廷辉的风格。",[23,24,117,27,28,26,30,97,32,95,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F767a47a8ddc517fcfb474984ffbf175b.jpg","22.1x23.2",[49],{"id":4252,"slug":4253,"title":4254,"dynasty":344,"author":4017,"museum":61,"description":4255,"tags":4256,"thumbUrl":4260,"material":142,"size":4261,"collection":105,"collections":4262,"showCount":4263,"zanCount":311,"manualWeight":54,"mainColor":109},223170,"geng-zhi-tu-ce-jiao-bing-zhen-223170","耕织图册","《胤禛耕织图册·收刈》是清代佚名创作的绢本设色画。\n此为耕织图册之一开。\n本幅描绘麦田中农夫装扮的胤禛（雍亲王）正带领众人收割。\n此图用笔精到，设色典雅，人物形象生动传神，将劳动者辛勤耕作的场景描绘得十分生动。\n耕织图起源于南宋时期，是我国古代为劝课农桑而详实地记录耕作与蚕织的系列图谱。\n由于其“图绘以尽其状，诗文以尽其情”，形象生动、细腻传神地描绘了劳动者耕作与蚕织的场景和详细的生产过程，从而起到了普及农业生产知识、推广耕作技术、促进社会生产力发展的巨大作用，而其本身也成为极其珍贵的艺术瑰宝。\n宋代的《耕织图》册由耕图21幅、织图24幅组成。\n清康熙二十八年（1689年），康熙皇帝南巡时观览到此图，感慨万端，遂命内廷供奉焦秉贞根据其原意重新绘制《耕织图》册，作耕图2幅，织图2幅。\n《雍正耕织图》册是雍正帝登基以前以康熙年间刻版印制的《耕织图》为蓝本，内容和规格仿照焦氏本，由清宫廷画师精心绘制而成。\n所不同的是胤禛耕织图中的主要人物如农夫、蚕妇等均为胤禛及其福晋等人的肖像，这在历代的耕织图中是仅见的。\n该图现存52页，其中6页为未定稿的衍页，其余46页中耕图、织图各2页，每幅画上都有胤禛的亲笔题诗，并钤有“雍亲王宝”和“破尘居士”两方印章。\n根据画法特点，此画册可能出自当时宫廷画家陈枚之手。\n（1678—175) 即爱新觉罗， 。\n清朝皇帝。\n满族。\n圣祖第四子。\n年号雍正。\n1722—175年在位。\n康熙三十五年（1696年），从帝征喝尔丹。\n三十七年，封贝勒。\n四十八年，进封雍亲王。\n康熙末参与部分政务。\n得隆科多、年羹尧之助夺得帝位后,即用高压手段对付参与争位的诸弟；胤德被长期幽禁；胤视、胤塘被削籍，不得其死。\n康察的亲信多遭贬斥。\n隆科多、年羹尧亦被借故禁铜并杀。\n对汉族知识分子，改变康照时以笼络为主的策略，屡兴文字狱。\n曾用藩邸亲信鄂尔泰、田文镜、李卫等为重要省区的总督。\n雍正七年（1729年），建立军机房（后改军机处），取代内阁和大臣会议，成为承旨经办军政事务的国家中枢机构；又取消诸王为下五旗（正红、镶红、镶白、正蓝、镶蓝）管主的制度，以加强君主集权。\n实行摊丁人亩，以保证赋税收人。\n在西南少数民族地区推行“改土归流”，废除土司制度，设立府、州、县。\n始设置驻藏大臣,加强对西藏的管辖。\n曾出兵平定 贵族的叛乱，并镇压准噶尔部贵族的骚扰。\n对外曾与沙俄订立《 》和《中俄恰克图界约》，划定中俄中段边界。\n精通满、汉文，娴熟书法，熟悉儒家经典。\n有《世宗完皇帝有制文集》等。",[117,24,64,332,27,26,4257,30,67,3560,33,7,4258,121,4259],"清代","农耕","传统绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6ed5980469ac69b2e0f1c93414f87c1.jpg","34.7cm×27.7cm",[105,49,51],88,{"id":4265,"slug":4266,"title":4267,"dynasty":344,"author":552,"museum":553,"description":554,"tags":4268,"thumbUrl":4270,"material":562,"size":563,"collection":142,"collections":4271,"showCount":4263,"zanCount":718,"manualWeight":54,"mainColor":55},222819,"gu-su-fan-hua-tu-di-san-duan-xu-yang-222819","姑苏繁华图第三段",[23,117,24,25,26,27,30,31,32,7,35,34,4178,121,95,44,557,4269,73,41],"古街","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb17ce7b45c379e1c3d731de80836559d.jpg",[],{"id":4273,"slug":4274,"title":4275,"dynasty":18,"author":645,"museum":152,"description":4276,"tags":4277,"thumbUrl":4278,"material":213,"size":4279,"collection":142,"collections":4280,"showCount":4263,"zanCount":718,"manualWeight":54,"mainColor":55},222338,"shan-lu-song-sheng-tu-tang-yin-222338","山路松声图","此图绘层岩邃壑，飞瀑流泉。山腰苍松葱郁，虬枝老干，掩映画面。山下平湖一湾，清澈见底。一条崎岖不平的野路，蜿蜒通向山间，以增加画面的幽深感。一隐者凭眺倚栏，静听松风，侍者囊琴随后。该图用笔清润、缜密而有韵味。",[23,24,866,27,99,240,901,390,168,7,32,171,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd48db7aab0e53558f48e3527907dacf3.jpg","纵194.5厘米，横102.8厘米",[],{"id":4282,"slug":4283,"title":4284,"dynasty":18,"author":387,"museum":61,"description":4285,"tags":4286,"thumbUrl":4287,"material":47,"size":4288,"collection":105,"collections":4289,"showCount":4263,"zanCount":11,"manualWeight":54,"mainColor":109},219201,"lan-ting-xiu-xi-tu-juan-wen-zheng-ming-219201","兰亭修禊图卷","《兰亭修禊图》为文徵明73岁时用青绿山水画法所绘。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，数根线条便展现出文人雅士潇洒的身姿。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，浓而不失优雅，艳而别具秀润。",[23,24,64,25,27,26,95,101,30,97,7,33,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a71fb8eb9d0e6a362f166a6ec72e88d.jpg","纵24.2厘米，横60.1厘米",[105],{"id":4291,"slug":4292,"title":4293,"dynasty":698,"author":4294,"museum":152,"description":4295,"tags":4296,"thumbUrl":4297,"material":273,"size":4298,"collection":83,"collections":4299,"showCount":4263,"zanCount":54,"manualWeight":54,"mainColor":109},219038,"cao-tang-shi-zhi-tu-juan-lu-hong-219038","草堂十志图卷","卢鸿","卢鸿（生活在七世纪和八世纪之间）出生于幽州范阳（今河北大兴）。他隐居在嵩山，是一位博学的学者，也是一位优秀的书画家。玄宗时，他多次被召见，但仍不服气，只是得到了衣服和隐居的茅屋。整卷水墨画共由十幅画面组成，每幅画面由一节组成，每节前有褚、颜、柳等各种书法体书写的十条志令，中间有十幅画面。画的都是自然的园林景物，其配置是注重与周围自然环境的结合，画中的树木山石造型，显得古色古香，用笔方硬，笔墨渲染颇为工整。关于这幅画的科学观点各不相同，并不明确，但可以肯定的是，它并非源自唐代。",[23,24,64,25,94,99,100,101,119,95,913,33,98,7,97,199,32,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9dc166ed8a2c0a38afe4f307248b55e.jpg","29.4x600",[83],{"id":4301,"slug":4302,"title":4303,"dynasty":150,"author":4304,"museum":281,"description":4305,"tags":4306,"thumbUrl":4307,"material":103,"size":142,"collection":105,"collections":4308,"showCount":4263,"zanCount":589,"manualWeight":54,"mainColor":55},216997,"zhu-chuang-qing-yin-tu-lu-guang-216997","竹窗清隐图","陆广","陆广的《竹窗清隐图》是一幅山水画作品，出现在元朝时期（1271-1368年）。这幅画作以竹窗为主题，描绘了一个人坐在竹窗前欣赏山水的场景。竹窗是中国传统建筑中常用的装饰元素，象征着隐逸和闲适的生活方式。在这幅画作中，陆广展现了他对自然和人文之美的敏锐观察力和深刻理解。这幅画作被认为是元朝山水画的杰作之一，具有很高的艺术价值。",[24,94,99,100,119,101,95,543,240,168,2206,7,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33e4531cd7fb8bc86a40100d4d0d3034.jpg",[105],{"id":4310,"slug":4311,"title":4312,"dynasty":133,"author":4313,"museum":135,"description":4314,"tags":4315,"thumbUrl":4318,"material":229,"size":637,"collection":142,"collections":4319,"showCount":4320,"zanCount":11,"manualWeight":54,"mainColor":55},288119,"lan-ting-ji-shang-juan-wang-xi-zhi-288119","兰亭记上卷","王羲之","王羲之（303年—361年），字逸少，琅琊临沂（今山东省临沂市）人。东晋大臣、书法家，丹阳尹王旷的儿子，太尉郗鉴的女婿，有“书圣”之称。\n凭借门荫入仕，历任秘书郎、江州刺史、会稽太守，累迁右军将军，人称“王右军”。永和九年（353年），组织兰亭雅集。撰写的《兰亭序》，成为“天下第一行书”。永和十一年（355年），称病弃官，迁居于绍兴金庭。升平五年（361年）去世，安葬于瀑布山。\n善于书法，兼善隶、草、楷、行各体，精研体势，心摹手追，广采众长，备精诸体，冶于一炉，摆脱汉魏笔风，自成一家，影响深远。风格平和自然，笔势委婉含蓄，遒美健秀。在书法史上，与钟繇并称钟王，与其子王献之合称“二王”。李志敏评价：“王羲之的书法既表现以老庄哲学为基础的简淡玄远，又表现以儒家的中庸之道为基础的冲和。”",[23,25,2648,100,101,30,1246,531,353,7,4316,4317],"亭阁","字帖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1fd561b9dece26b1983d27bca1e7e14.jpg",[],87,{"id":4322,"slug":4323,"title":4324,"dynasty":570,"author":571,"museum":61,"description":4325,"tags":4326,"thumbUrl":4327,"material":4328,"size":4329,"collection":142,"collections":4330,"showCount":4320,"zanCount":54,"manualWeight":54,"mainColor":109},232939,"you-chun-tu-juan-zhan-zi-qian-232939","游春图卷","《游春图》是隋朝画家展子虔创作的绘画作品，绢本、青绿设色，画上有宋徽宗题写的“展子虔游春图”六个字，现存北京故宫博物院绘画馆。\n图中展现了水天相接的情形，上有青山叠翠，湖水融融，也有士人策马山径或驻足湖边，还有美丽的仕女泛舟水上，熏风和煦，水面上微波粼粼，岸上桃杏绽开，绿草如茵。\n画家用青绿重着山水，用泥金描绘山脚，用赭石填染树干，遥摄全景，人物布局得当，开唐代金碧山水之先河，在早期的山水画中非常具有代表性。 该画是展子虔传世的唯一作品，也是迄今为止存世最古的画卷。\n画卷首段近处露出倚山俯水一条斜径，路随山传，自到妇人立于竹篱门前才显得宽展。山此向上，山限岸侧，树木掩映，通过小桥，又是平坡，布篷游艇，容于其中。下端一角，便是坡陀花树，围绕山庄。描绘出明媚春光和游人在山水中纵情游乐的神态。各种花树点满山野，桃红柳绿，相映成趣。\n中国古代山水画的发展，到了隋代出现了较大的变化，它不再作为人物故事画背景的一部分，而是从前者中分离出来，成为一门独立的画科。在此之前，依附于人物故事画的山水画在表现方法上有很大的局限性，按照古人的说法就叫做“人大于山”“水不容泛”，说明在表现自然景物与人物或其他物件的关系上，以及远近、层次等方面部存在着明显的不足，画家还没有找到适宜的艺术表现手法，来描绘壮阔秀丽的山川形貌。《游春图》即反映了山水画处于变化发展阶段特点。\n历史上对这幅作品是否出于展子虔之手，仍持有争议。有唐中叶说、有疑北宋摹本，张伯驹则保留其为展子虔原作的观点。\n对《游春图》的作者及创作年代提出疑问的代表人物是文学家沈从文。早在1947年,他就撰写了《读展子虔》的文章，虽然标题中肯认了《游春图》的作者是展子虔,但文章通篇都是在质疑这一作者归属。在文中，他称“半年中有机会前后看过这画八次”，认定展子虔作此画缺乏证据。他在文中交待，因为前代关于绘画作品的著录,包括《贞观公私画史》《宣和画谱》等都没有提到展子虔作此作品的事情。另外，画中男子的衣着、女人的坐式，都与隋代人的习俗不太相符，还有装裱等种种迹象也与当时情形不合。历史资料证实，人们是在元、明朝时才开始认定展子虔作《游春图》的。所以，沈从文认为，此画可能不是展子虔所作,也不是隋代作品。另外，也有人根据画中人物头上戴的幞头、建筑部件形制等，论证它并非隋代原作，而是北宋摹本。\n该图以全景方式描绘了广阔的山水场景，图中除描绘了山水树石外，还描绘了白云出岫，杂以楼阁、院落、桥梁、舟揖，并点缀着踏春赏玩的人物车马，展示出一幅杏桃绽开、绿草如茵、水波粼粼，春风荡漾的春日融融之景象。\n早期的山水画通常会呈现出“人大于山和水不容泛、树木若伸臂布指”的状态，这说明了早期山水画的不成熟，在构图方面体现了较为幼稚的特点。《游春图》的章法布置则突破了以往的画风束缚，形成了十分有特色的构图方式，结构层次颇有特点。它的画面的右上部主要是山峦的表现，绘有大量的崇山峻岭，展现了一副山峦起伏、峰回百转的形态。若在之前，这个画面可能就算是完成了整个景观背景的塑造。但是展子虔并没有到此为止，在画面的右下方，他在画面中画上了山间小径，小径则是由低矮的树木、草丛组成，曲径通幽，旖旎风光、透逛山路，成为了右上方巍峨高山的延伸部分。这样，高山便成为了山路的背景，山路又成为了高山的细节铺垫和展现。这就使得整个画面比前期山水画更显全面、沉稳、丰富。而在画面的左侧，观者可以看到展子虔在此绘有一处低矮的小山丘。这一小山丘能够与右侧上方的崇山峻岭遥遥相对，形成鲜明的对比。在画面的中问，则有大片江河，形成一道波光粼粼的天堑，并与湖水、天空融会在一起，使得整个画面形成湖天一色、山河并举的形象。值得一提的是，画面并未只以山川与河流为主，而是在细节之处加以点缀：江河之中有小船点缀其中，船中有三四位神态各异、姿态不同的人物，将人声、山河画面融合在一起，并通过山川、河流、船舶、人物等形象构造出整个画面的图片比例。\n深究整个《游春图》，可以发现该画以山川、水系为主体，将人物、古刹、船舶、阁楼等融于山水，成为画面中的重要景观。这些景观相互配合，运用其形象的客观物象来表达画面事物之间的大小、高低、远近等的关系。合理地处理画面关系，使得展子虔对画面的比例、深度等都能有十分准确的把握，并根据其特点，进行处理和变化。也正是由于这种十分合理的处理和变化，才能够使得山水画的构造变得更加符合现实，使得该画变化成了“超然物外”的穿插构图，形成隋代山水画的新格局，使得中国山水人物画的表现形式和审美取向变得更加成熟。\n运笔成熟，表现独特。展子虔在绘画创作上十分敢于并善于创新，尤其善于在细节处用笔。在观者欣赏《游春图》的时候，不难发现它无处不是点缀着代表盎然生气的绿色。例如，画面就有很多还没有完全长满枝芽的树木，这些枝芽就是展子虔运用独特的勾画技巧形成的，即青绿勾填技法。这种技法不仅仅使得他的创作变得“细密精致而臻丽”，更让他的这种创作方法成为了中国山水画的重要技法之一。\n在绘画山川石木的时候，展子虔善于运用细节，运用细笔勾勒它们的轮廓。以青绿色以及其他明丽的色彩来展现画面。例如，他在刻画《游春图》的山石树木之时，善于将山石树木的线条不用刻意有粗细、明暗的变化，它们不用刻意地添加皱祈，也照样能体现出古朴苍劲、俊朗豪迈的形象。而在描绘人物的时候，展子虔也习惯运用细节来展现人物的形态、神态等，虽然画面中的人物形象没有过大改变，但是人物神情却可以是各有特色，每个人的衣着外观都十分飘逸流畅，也使得观者有“观人于微，，的感受。另外，他还善于运用“点花”的方法，勾勒细节，例如对枝芽的处理，他也会运用粉点点上，形成芽苞初放的形象。而在绘画人物上，作者也是用了这种点染的方法，让细小如豆的人马等都形态毕现。\n青绿重彩，工细巧整。在隋代之前，魏晋时期的山水画不仅仅在构图、形状、用笔等方面都比较单一，而且在整个画面的用色方面也都十分单一。而在隋代展子虔的《游春图》中，其形状不仅仅充满变化，而且在用色上也更加丰富和大胆。展子虔为了改变以往单调而简单的填色方式，将自己大胆的想象和细致的技法运用到画面中。《游春图》以青绿色为主色调，并在此基础上，形成细工精琢的用色方法。例如，在画面右上部分，作者开始运用青绿着色，展现了初春山林间盎然的生机。而在右下部分，表现山间小路时，作者却用泥金来表现，展现了山林中春寒未退的山色。这样两类用色，使整个画面的表现力更加丰富。同时，在绘画树木之时，展子虔更加注重细节的刻画。在对树叶设色时，它不仅仅运用色填或者色染，而且还运用点彩的形式，来展现含苞初放的春日娇态。\n《游春图》除了对画面中的不同物象进行了十分具有特点的用色之外，在敷色上增加各种晕染等方法，使不同对象在色彩表达上显得更加统一而完善。在描绘松树时，画家并没有以松针来展现，而是用深绿色运笔，在表现其他花木时，画家则运用桃红色、白粉色等来展现，形成单纯而丰富、古朴而艳丽的形象特点。因而，纵观整个《游春图》，其画面展现的是新绿成荫、繁花盛开、水天一色、深浅莫辨的特点。而在对人物的描绘过程中，展子虔运用山后白云来展现人物所处的背景，并能够以此来衬托人物游春时的心境。而对于人物本身的形象来说，展子虔则也善于用粉色和白色进行点染，使得整个画面更显风格细腻、轻松生动。\n唐代僧彦悰《后画录》：“触物为情，备皆妙绝”，“远近山川，咫尺千里。”\n唐代张彦远：“动笔形似，画外有情。”\n宋代《宣和画谱》：“写江山远近之势尤工，故咫尺有千里之势。”\n明代董其昌：（《游春图》）是“世所罕见”的墨宝。\n当代作家沈从文：“这画卷的重要,实在是对于中国山水画史的桥梁意义……没有它，历史即少了一个重要环节。”\n现存于故宫博物院的《游春图》是展子虔唯一传世的代表作，也是世界上存在最早的画卷，它的存在，对中国乃至世界的绘画史、艺术史都具有极为重要的作用。\n在《游春图》出现之前，中国早期的山水画通常是“人大于山、水不容泛”。也就是说，绘画中人物形象的塑造比山还要大，而对于水的绘画，却永远不会有波光粼粼的形态，而是犹如一潭死水般地停留在画布上。可见，在展子虔之前的，尤其是南北朝时期的山水画仍然存在很多不足，这些画家们通常无法把握好山水、人物的比例关系，也不能完美、生动地展现山水的飘逸之感。而《游春图》出现之后则打破了这种限制，全图无处不展现着一种空间之美，人物、山水疏密安排十分得宜，展现着自然界的交替、交换与重叠。\n游春图之所以能够成为中国山水画承上启下的代表作品，不仅仅在于画面呈现的内容，更在于它异于前人的创作手法和审美取向，展现出了于方寸之地尽显千里之姿的艺术特点。\n《游春图》构图壮阔沉静，设色古艳，富有典丽的装饰意味，体现出承上启下的风格，也标志着山水画即将进入成熟期，他在山水画上所达到的成就及其绘画方法，直接开启了唐代画家李思训、李昭道父子金碧山水的先河。\n1980年5月27日华国锋到日本进行正式访问时，赠给日本天皇的礼品中，就有一幅中国现代女画家临摹的隋朝画家展子虔的《游春图》。",[117,24,64,25,118,27,95,30,31,32,7,120,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bd3613327ff7d09b2f5cbe51fadde61.jpg","绢本绘画","高43厘米，宽80.5厘米",[],{"id":4332,"slug":4333,"title":4334,"dynasty":18,"author":19,"museum":135,"description":4335,"tags":4336,"thumbUrl":4337,"material":142,"size":142,"collection":142,"collections":4338,"showCount":4320,"zanCount":54,"manualWeight":54,"mainColor":55},228443,"ting-qin-tu-ye-chou-ying-228443","听琴图页","青绿晕染的崖谷间，飞瀑漱石，古松虬曲横斜。松下石台之上，抚琴人信手拨弦，对面听者垂眸凝神，将身心都浸在松风声与琴音里。侧旁童子正俯身溪畔汲水，浑然不觉周遭雅韵。\n画面以静取景，以动点染，明丽的设色衬出林涧清寂，人物神态宛然生动，将山林雅集、知音相和的悠然意趣，尽藏于尺幅之间，把文人寄情丘壑的雅致心境铺陈得淋漓尽致。",[23,24,64,332,26,27,118,95,30,1702,7,33,98,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa31aa149186a2d0e6c5d0c2565807183.jpg",[],{"id":4340,"slug":4341,"title":4342,"dynasty":18,"author":19,"museum":1164,"description":4343,"tags":4344,"thumbUrl":4345,"material":47,"size":142,"collection":105,"collections":4346,"showCount":4320,"zanCount":11,"manualWeight":54,"mainColor":55},219714,"qian-tang-sheng-jing-tu-chou-ying-219714","钱塘胜景图","青绿晕染出崖岫苍润松荫，界画精工勾勒楼阁错落，文人凭栏闲坐，静览浩渺江天。江上帆影轻移，舟楫往来错落，晕开江畔的烟火生机。坡岸处牵马候人，暗合旅途意趣。\n\n整幅设色明丽妍雅，工细间晕开写意悠然，将江南山水的秀润与人文雅趣相融，繁简相宜，把钱塘清旷盛景凝于绢素。观之如临春日江岸，漫赏山光水色里藏着的悠然意韵，尽显雅致隽永的江南情致。",[24,64,225,26,27,95,28,30,31,66,97,33,98,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c7b60edc4be7aa1336ee69855f36ec5.jpg",[105],{"id":4348,"slug":4349,"title":4350,"dynasty":59,"author":4351,"museum":152,"description":4352,"tags":4353,"thumbUrl":4355,"material":404,"size":142,"collection":83,"collections":4356,"showCount":4320,"zanCount":11,"manualWeight":54,"mainColor":109},218687,"qing-quan-ming-he-tu-ma-he-zhi-218687","清泉鸣鹤图","马和之","淡墨晕染的山峦在云雾中若隐若现，似远似近间透出空濛之趣。岸侧虬枝盘曲，老干新枝交织，墨色浓淡相衬，尽显草木生机。清泉自石间潺潺而下，漱玉之声仿佛可闻。几只仙鹤或立汀洲，或振翅轻翔，羽翅线条流畅如兰叶，姿态灵动逸脱。鹤鸣与泉声相和，在幽寂的山水间漾开清旷之韵。整幅画笔墨简淡却意韵深浓，山石皴法疏朗，构图疏密有致，将自然的静谧与生命的灵动融于一纸，尽显宋人对林泉之乐的诗意追寻，读之令人心向澄明。",[23,24,94,95,122,1287,4354,7,33,98,169,99,3139,64,25],"清泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F666423ffde0f0389cb0fa868b5cac17a.jpg",[83],{"id":4358,"slug":4359,"title":4360,"dynasty":150,"author":2084,"museum":152,"description":4361,"tags":4362,"thumbUrl":4366,"material":47,"size":4367,"collection":105,"collections":4368,"showCount":4320,"zanCount":589,"manualWeight":54,"mainColor":109},218654,"qiu-xi-chui-diao-tu-sheng-mao-218654","秋溪垂钓图","层岩叠嶂间，秋水如练，映着远岫淡影。近岸木叶疏落，老树枝桠横斜，似凝霜天清寂。溪畔茅舍隐于丛树，一人独倚矶石，丝纶轻垂，任流水悠悠。笔墨工细却灵动，山峦以秀润皴法写出，草木点染有致，秋意漫溢绢素。无喧嚣，唯溪声山风，垂钓者背影透着遗世悠然，将元代文人向往的隐逸之趣，凝作圆扇中静美天地。每一处笔触皆藏丘壑，淡墨晕染出空濛，浓墨点染显生机，于方寸间铺展山水之幽，尽显文人画的清逸风骨。",[23,24,94,95,99,7,96,306,97,140,32,1758,4363,348,4364,4365],"岸树","溪面","垂钓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7b40c0295b55457d6444dccd16084d5.jpg","28.7x30cm",[105],{"id":4370,"slug":4371,"title":3993,"dynasty":59,"author":677,"museum":3325,"description":4372,"tags":4373,"thumbUrl":4374,"material":47,"size":4375,"collection":142,"collections":4376,"showCount":4320,"zanCount":54,"manualWeight":54,"mainColor":109},218436,"luo-shen-fu-tu-li-gong-lin-218436","素绢铺展，墨线如缕，织就人神邂逅的幽渺篇章。洛神凌波微步，衣袂飘举若流云绕岫，眉目间凝着怅然的婉约；曹植凭栏遥望，神情中藏着难掩的眷恋，侍从们或立或顾，衬出场景的静谧与心绪的波澜。林木扶疏，水波澹澹，云气萦绕间，似有辞采漫溢：“翩若惊鸿，婉若游龙”的风姿，“凌波微步，罗袜生尘”的韵致，皆由简练传神的白描线条铺陈。不着浓彩却神采飞动，景物与人物交融成空灵意境，将虚幻炽热的情愫凝于绢素，让千年后的目光，仍能触碰到那份跨越人神之隔的怅惘与温柔。",[23,24,64,25,138,27,30,139,95,7,33,199,100,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc28979b39f4e81a38082bfb84c091ac0.jpg","26.9x225.2",[],{"id":4378,"slug":4379,"title":4380,"dynasty":344,"author":3202,"museum":20,"description":4381,"tags":4382,"thumbUrl":4383,"material":103,"size":4384,"collection":142,"collections":4385,"showCount":4320,"zanCount":11,"manualWeight":54,"mainColor":109},216255,"jing-fu-si-qi-dong-jing-tu-5-qian-wei-cheng-216255","景敷四气冬景图-5","此套《景敷四气》冬景图，是清乾隆时期画家钱维城的作品。此套画册共含十二帧，纯以水墨为之或薄施淡色擦染，构图简练，自出机杼。运笔较为多样，笔法松秀，墨色疏淡，用色恬然，具有很显著的文人绘画的样式。最后一幅有：甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆。\n山意惟余枯树攅，云容欲雪涧收湍。溪轩坐者宜青目，但是高人定耐寒。钤印：澂观",[24,94,95,99,332,255,98,7,97,348,76,199,2043],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb149e2e9f85b3297a5f5fc35e75adb1c.jpg","21.9 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任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。\n王鉴的祖父王世贞（1526年— 1590年）是晚明著名文人、鉴藏家和显宦，官至南京刑部尚书，精古诗文，与李攀龙等并称“后七子”，为文坛盟主；富收藏，尔雅楼中藏书万卷，书画文物无数；著有《弇州山人四部稿》、《艺苑后言》等。父王士骥，万历十七年（1589年）进士，官吏部员外郎。王鉴出身于这样一个文学世家和官宦门第，自幼即受到良好的文化教养和艺术熏陶，“缔岁即好点染”，他亦自述：“自幼习董熟耳。”表明他最早学画是从董源入手的。以后又追踪巨然和元四家，万历四十五年（1617年）时的《仿云林山水轴》和天启元年（1621年）拟巨然的《山水图》，可证其最早的画学渊薮。",[117,24,64,225,94,99,29,95,170,33,390,171,76,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadf306104ba0c6a8ac6ec5a3d3c69cc3.jpg",[105,83],{"id":4404,"slug":4405,"title":4406,"dynasty":344,"author":808,"museum":61,"description":4407,"tags":4408,"thumbUrl":4409,"material":335,"size":4410,"collection":142,"collections":4411,"showCount":4394,"zanCount":718,"manualWeight":54,"mainColor":109},233793,"heng-tang-ye-lv-tu-zhou-shi-tao-233793","横塘曳履图轴","图绘疏林湖畔高士拽杖独行的情景。设景布势以“S”形湖堤为主线，通过对近景树石的具象描绘，烘托出远山平湖的虚空迷蒙，画面空间在景致的虚实互映中得“咫尺千里”之趣。画中的山石杂木以饱含水分的润墨表现，点染生动，显现出作者较强的笔墨驾驭能力。此图并非对实景写生，而是作者“搜尽奇峰打草稿”后的胸中丘壑的写照，面目独具，妙得自然。",[24,94,225,99,95,32,7,33,76,98,122,199,307,271,348,635,518,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec35a9c7d7a205ee549cc4e63ce41cbd.jpg","纵131.4厘米，横44.2厘米",[],{"id":4413,"slug":4414,"title":630,"dynasty":18,"author":267,"museum":61,"description":4415,"tags":4416,"thumbUrl":4417,"material":258,"size":4418,"collection":105,"collections":4419,"showCount":4394,"zanCount":718,"manualWeight":54,"mainColor":4420},222028,"guan-shan-xing-lv-tu-dai-jin-222028","作品所取题材和布局均源自北宋李成、郭熙派系。图绘高远、深远的全景山水，主山居中，巍然屹立，高峻雄伟，左右诸景相衬，呈金字塔形的稳定构图，气势宏阔。诸景系连紧密自然，高远和深远感主要依仗景色之间的内在联系加以体现，如中景布置村落，有坡堤、土路与前景的垒石、松树、河面、板桥相连，丛林、山道又与远景的峻岭、城阙相接，由此可由近及远，从下至上。布景已克服了画家中年时期欠成熟的痕迹，即藉不自然的树石堆砌或人为的烟云安插来制造高和远，表明戴进晚年已较好地领悟了北宋山水的优长，重视天然布势，力求真实自然。\n画面展现的生活场景真实生动，富有生机。近处板桥上三驴踯躅而行，两位行旅者挑担、背筐后随，显出长途跋涉后即将歇息的放松状态。中景村落中几间简陋茅屋，诸多人物活动其间，有卸担询问的行旅人，有招待客人的店家，有闲坐嬉玩的稚童，还有小狗守立村头，这些情节真实地传达出僻远山村简朴、平和的生活气氛。远景山道上又有拉驴上山者，躬腰挑担下山者，另显一番艰辛情状。环境可居可游，观者如身临其境，如北宋郭熙在《林泉高致》中所倡导的：“可行可望，不如可居可游之为得。”\n此图画法呈集大成面貌。山川体势取诸家之长，高峻主山近李唐，近处垒石如郭熙，劲直松干仿刘松年，繁密苔点和树丛又取自盛懋，而且结合得妥帖自然，少中年时的拼凑、失真痕迹，整体气势既雄伟又浑厚，既郁茂又清朗，体现出画家力图融南北山水特色于一体，集阳刚阴柔于一身的追求。笔墨方面亦不拘一格，根据物象灵活运用。勾皴点染结合，干湿浓淡交融，中锋侧笔并用，圆润劲健交替，皴法多样，有斧劈、披麻、点子诸皴，点叶丰富，有夹叶、点叶、攒针诸法，显示出富有变化又十分纯熟的技艺。此图堪称戴进晚年精品。",[23,24,94,99,95,32,7,241,98,76,67,66,97,1110,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4453bdb6ba4bd1601619ad7aac4456a4.jpg","纵61.8厘米，横29.7厘米",[105,83],"FFFFFF",{"id":4422,"slug":4423,"title":4424,"dynasty":59,"author":4425,"museum":61,"description":4426,"tags":4427,"thumbUrl":4428,"material":27,"size":4429,"collection":81,"collections":4430,"showCount":4394,"zanCount":54,"manualWeight":54,"mainColor":55},221439,"han-shan-fei-pu-yang-shi-xian-221439","寒山飞瀑","杨士贤","山水林木，劲挺可取。惟峰石水口，雄伟之笔则远不逮熙。",[23,24,64,117,95,99,94,27,98,168,33,76,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26b0e832e12e265a435eb981c78c1e42.jpg","50X56",[81,105,83],{"id":4432,"slug":4433,"title":4434,"dynasty":59,"author":2084,"museum":152,"description":4435,"tags":4436,"thumbUrl":4437,"material":27,"size":142,"collection":81,"collections":4438,"showCount":4394,"zanCount":54,"manualWeight":54,"mainColor":109},220337,"song-ren-yuan-hua-ce-2-sheng-mao-220337","宋人院画册-2","此作绘秋江渔隐之境，近岸林木枯柔相生，苍枝虬曲间柔柳垂拂，刚柔相衬愈见山野意趣。滩头渔舟静泊，舟中二人对坐晤谈，将江湖闲散的逸致娓娓铺展。平湖澹澹，水鸟掠波惊起细碎涟漪，远山如黛晕染天际，留白晕出水天寥廓空濛。\n\n笔墨工秀兼带写意松灵，设色浅淡清润，将江南水畔的清寂淡远揉入尺幅之中，把渔樵寄情山水的隐逸诗意藏进边角细节，尽显宋人平淡天真的美学意趣，是宋式山水小品里野逸闲情的绝佳写照。",[23,24,64,332,27,95,96,306,122,33,7,256,348,1045,2008],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58769b723ca1095e59ebae7b52a1713d.jpg",[81],{"id":4440,"slug":4441,"title":4442,"dynasty":344,"author":4443,"museum":1164,"description":4444,"tags":4445,"thumbUrl":4450,"material":103,"size":4451,"collection":51,"collections":4452,"showCount":4394,"zanCount":54,"manualWeight":54,"mainColor":109},219272,"fang-gong-kai-zhong-nan-gui-qu-tu-fei-dan-xu-219272","仿龚开终南鬼趣图","费丹旭","费丹旭以画仕女闻名，与改琦并称“改费”。他笔下的仕女形象秀美，用线松秀，设色轻淡，别有一种风貌。代表作为藏于故宫博物院的《十二金钗图》册，亦长于肖像画，画《红楼梦》十二金钗肖像。后期所作《果园感旧图》卷，藏于浙江省博物馆，技巧更趋成熟。也能山水，取法王翚和恽寿平。他的画风对近代仕女画和民间年画都产生了很大的影响。",[23,24,27,26,29,30,7,378,4446,1068,427,4447,4448,531,4449],"花瓶","童子","老者","植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3f08da92920c2ef320d48087d820c1a.jpg","124.7x56.5厘米",[51],{"id":4454,"slug":4455,"title":4456,"dynasty":59,"author":209,"museum":135,"description":4457,"tags":4458,"thumbUrl":4460,"material":229,"size":637,"collection":142,"collections":4461,"showCount":4462,"zanCount":718,"manualWeight":54,"mainColor":55},289131,"hu-pan-you-ju-tu-xia-gui-289131","湖畔幽居图","夏圭（生卒年不详），字禹玉，临安（今浙江杭州）人，南宋绘画大师。“南宋四家”之一，早年画人物，后来以山水著称。他与马远同时，号称“马夏”。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他的山水画师法李唐，又吸取范宽、米芾、米友仁的长处而形成自己的个人风格。虽然与马远同属水墨苍劲一派，但却喜用秃笔，下笔较重，因而更加老苍雄放。用墨善于调节水分，而取得更为淋漓滋润的效果。在山石的皴法上， 常先用水笔淡墨扫染，然后趁湿用浓墨皴，造成水墨浑融的特殊效果，被称作泥里拔钉皴。传世作品有《溪山清远图》《西湖柳艇图》《雪堂客话图》等。",[1551,24,117,95,94,99,32,7,97,33,353,348,4459,319,30,3665,3823],"湖畔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49c2afeea3f577fe63a183d96a3c4ef6.jpg",[],85,{"id":4464,"slug":4465,"title":4466,"dynasty":344,"author":292,"museum":135,"description":4467,"tags":4468,"thumbUrl":4469,"material":229,"size":637,"collection":142,"collections":4470,"showCount":4462,"zanCount":11,"manualWeight":54,"mainColor":55},230303,"fang-chou-ying-wang-chuan-tu-yi-ming-230303","仿仇英辋川图","此作为青绿山水，取法仇英笔意，设色妍丽清润。峰峦层叠以石青石绿晕染，间以赭石提点，秀雅而不失苍劲。云气在山间水畔缓缓舒卷，将错落村居、葱郁林木掩映其中，烟波浩渺的湖水铺陈远阔，衬出群山灵秀。\n\n勾勒皴擦兼具工细与写意，既保有青绿山水的华美质感，又晕染出辋川别业的幽寂禅意，仿若将王维笔下的林下雅趣，化作眼前清旷空灵的桃源胜境，尽显山居林泉的静穆悠远之美。",[23,24,64,25,118,27,95,29,26,99,170,33,169,72,76,504,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1eda3b72ba96b87a804972ade459581.jpg",[],{"id":4472,"slug":4473,"title":4474,"dynasty":59,"author":1799,"museum":135,"description":4475,"tags":4476,"thumbUrl":4477,"material":142,"size":142,"collection":142,"collections":4478,"showCount":4462,"zanCount":718,"manualWeight":54,"mainColor":55},227515,"xi-qiao-xian-shui-tu-zhou-mi-fei-227515","溪桥闲睡图轴","米芾平生书法用功最深，成就以行书为最大。南宋以来的著名汇帖中，多数刻其法书，流播之广泛，影响之深远，在北宋四大书家中，实可首屈一指。康有为曾说:唐言结构，宋尚意趣。意为宋代书法家讲求意趣和个性，而米芾在这方面尤其突出。\n米芾习书，自称集古字，虽有人以为笑柄，也有赞美说天姿辕轹未须夸，集古终能自立家(王文治)。这从一定程度上说明了米氏书法成功的来由。根据米芾自述，在听从苏东坡学习晋书以前，大致可以看出他受五位唐人的影响最深:颜真卿、欧阳询、褚遂良、沈传师、段季展。\n米芾作为北宋著名的画家，处在一个文人画的成熟时代，其绘画题材十分广泛，人物、山水、松石、梅、兰、竹、菊无所不画;米芾在山水画上成就最大，但他不喜欢危峰高耸、层峦叠嶂的北方山水，更欣赏的是江南水乡瞬息万变的烟云雾景，天真平淡，不装巧趣的风貌;所以米芾在艺术风格里追求的是自然。他所创造的米氏云山都是信笔作来，烟云掩映。",[23,24,117,225,94,95,99,32,7,30,33,168,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93fc0c226ae1c64375a959be6d59f6a7.jpg",[],{"id":4480,"slug":4481,"title":1273,"dynasty":18,"author":4146,"museum":423,"description":4482,"tags":4483,"thumbUrl":4484,"material":659,"size":4485,"collection":105,"collections":4486,"showCount":4462,"zanCount":54,"manualWeight":54,"mainColor":109},222076,"fang-wang-meng-shan-shui-tu-xie-shi-chen-222076","此图为谢时臣的细笔山水佳作。写溪山胜境，山岚层叠，丘壑玲珑，栈道盘旋延伸，楼阁亭轩错落，士人童仆其中，还有雾气升腾，飞瀑直泻，湖光粼粼。画山石用解索皴，点苔用渴墨，皆为黄叔明笔法。此图布局稠密，笔势纵横，墨色淡雅，清丽潇洒。",[23,24,866,29,99,94,98,33,31,32,7,1960,97,30,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7bcb0d43ecbe7f8e987e7ae1d117aaa.jpg","58.5X31.2cm",[105,83],{"id":4488,"slug":4489,"title":4490,"dynasty":59,"author":954,"museum":1164,"description":4491,"tags":4492,"thumbUrl":4493,"material":273,"size":4494,"collection":105,"collections":4495,"showCount":4462,"zanCount":11,"manualWeight":54,"mainColor":55},220355,"ge-jiang-yu-di-tu-ma-yuan-220355","隔江渔笛图","虬曲古松斜探向江心，水榭之上，对坐雅士凝神侧耳。江渚渔舟隐约，悠悠笛声似随烟波漫过江心，牵住了右下角策杖白衣人的脚步，他正循声缓行。\n\n空濛烟霭晕染开远近山水，以虚实相生之笔，将无形笛音化为可见的诗意。取景删繁就简，把咫尺画幅铺展出阔远意境，淡墨轻岚间，揉合山水闲趣与知音灵犀，静里含声，淡中藏情，尽揽清雅韵致。",[24,64,95,225,27,99,96,97,30,7,140,256,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8d364841d70827b047f24fae7b80225.jpg","156.1 x 86.3 cm",[105],{"id":4497,"slug":4498,"title":4499,"dynasty":18,"author":4500,"museum":152,"description":4501,"tags":4502,"thumbUrl":4503,"material":273,"size":4504,"collection":105,"collections":4505,"showCount":4462,"zanCount":54,"manualWeight":54,"mainColor":109},214587,"mo-gu-shan-shui-ce-fang-mei-hua-an-zhu-bi-yi-bian-wen-yu-214587","摹古山水册-仿梅花庵主笔意","卞文瑜","明代画家卞文瑜的摹古山水册是一件著名的绘画作品，其中的仿梅花庵主笔意图是一件精美的山水画作品。\n\n卞文瑜是明代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在摹古山水册中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n仿梅花庵主笔意图是卞文瑜摹古山水册中的一幅精美的山水画作品。画中的山水风景清新自然，体现了卞文瑜对自然的热爱和对传统文化的尊重。他运用了山水画的特点，使得整件作品显得舒缓而优美。\n\n总的来说，卞文瑜的摹古山水册是一件精美的绘画作品，其中的仿梅花庵主笔意图是一件优美的山水画作品，它描绘了中国传统的山水风景，也体现了卞文瑜对自然的热爱和对传统文化的尊重。",[117,24,64,332,94,29,99,95,32,7,33,98,76,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcdefabc9be72fadfaa55a3b8a6b54b6.jpg","30.7x21.8cm",[105],{"id":4507,"slug":4508,"title":4509,"dynasty":344,"author":2710,"museum":1164,"description":2711,"tags":4510,"thumbUrl":4511,"material":335,"size":2714,"collection":142,"collections":4512,"showCount":4462,"zanCount":11,"manualWeight":54,"mainColor":55},214356,"san-jue-shan-shui-ce-4-hua-yan-214356","三绝山水册-4",[23,24,64,332,27,94,99,95,98,33,7,609,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F472b6ddb8c19b4a43c8b7bba13cd7d00.jpg",[],{"id":4514,"slug":4515,"title":4516,"dynasty":150,"author":1032,"museum":135,"description":4517,"tags":4518,"thumbUrl":4519,"material":229,"size":637,"collection":142,"collections":4520,"showCount":4521,"zanCount":54,"manualWeight":54,"mainColor":55},290099,"fu-yu-shan-ju-tu-qian-xuan-290099","浮玉山居图","《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。",[23,117,24,64,25,27,95,98,1711,1357,7,100,119,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c05f9c52d56eb6131b8f94b511ff173.jpg",[],84,{"id":4523,"slug":4524,"title":4525,"dynasty":59,"author":292,"museum":91,"description":4526,"tags":4527,"thumbUrl":4529,"material":469,"size":4530,"collection":81,"collections":4531,"showCount":4521,"zanCount":11,"manualWeight":54,"mainColor":55},223660,"zha-kou-pan-che-tu-yi-ming-223660","闸口盘车图","是宋代界画精品之一，为典型的“宣和装”，留有“宣和七玺”中的四枚。该卷屋宇楼榭，向背分明，斗拱铺作，不失绳墨。虽然台门有制、界画有度，但画家却用高超的技法突破题材的限制，生动呈现了一幅官营水磨作坊的日常情景。清代成亲王跋云：“雏凤楼中宝绘，须以此为第一，与汉瓦唐琴辉映千古。”",[23,117,24,64,25,28,26,27,30,31,7,71,65,33,69,4528],"劳作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F550c385948591bb6e2aac1ff29f0ea9f.jpg","纵55.4厘米横124.1厘米",[81,51],{"id":4533,"slug":4534,"title":4535,"dynasty":344,"author":2071,"museum":553,"description":3960,"tags":4536,"thumbUrl":4538,"material":2665,"size":2884,"collection":142,"collections":4539,"showCount":4521,"zanCount":54,"manualWeight":54,"mainColor":55},222814,"fang-gu-si-ji-shan-shui-tu-fang-li-ying-qiu-ping-lin-san-mu-wang-hui-222814","仿古四季山水图-仿李营丘平林散牧",[23,24,2880,27,99,95,255,777,4537,67,96,76,348,7,351],"牧人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28673520e3afdb6b01f941c6478c7144.jpg",[],{"id":4541,"slug":4542,"title":4543,"dynasty":18,"author":2340,"museum":152,"description":4544,"tags":4545,"thumbUrl":4546,"material":659,"size":4547,"collection":105,"collections":4548,"showCount":4521,"zanCount":718,"manualWeight":54,"mainColor":55},222525,"shan-ting-wen-hui-tu-wang-fu-222525","山亭文会图","此图是王绂的代表作，写文人雅士于山亭聚会的情景。该图立意古逸，构图严谨。图中笔墨浑厚华滋，在继承元代文人画的基础上融合进了自己的笔意。山石先以枯淡墨皴写，按结构层层叠加，最后以浓重墨勾勒点苔，使整幅画面有苍润之感。\n此画立意古逸，构图严谨，山上小溪、泉水流淌有声，山下河中可泛舟，山林间亭台楼阁隐现，这是一处可游可居的幽雅胜境。近景古朴山亭中已有几个文人在那里论诗作画，山下还有文人或乘舟、或步行赶来应约赴会。此图山水胜境为文人雅集提供了优美环境，文人雅集又为山水胜境增添了诗情画意。\n此画笔墨深厚滋润，结构繁密，但密而不塞。画法上颇富于变化，是在王蒙的章法上加以变化而来。山石皴法点苔，似从王蒙法度中来，然后用笔粗犷，又有新意。有的山石以枯笔作解索皴，兼用乱柴皴、小斧劈皴，笔线富于动感。然后层层迭染，最后以浓墨勾皴打点，积墨层层，显得凝重厚实。树木和茅亭的画法在王蒙、倪瓒之间，笔力雄劲，墨气沉厚。即使山顶的小树，也一一画出树干，各具形态，而不是元画中常见的以点为树的处理。整个画面具有既苍茫湿润又清灵爽利的特殊效果。",[24,64,225,94,99,95,97,30,33,98,7,169,351,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe15b31f796803782232999124a14bbe4.jpg","纵219厘米，横87.6厘米",[105,83],{"id":4550,"slug":4551,"title":606,"dynasty":59,"author":4552,"museum":2478,"description":4553,"tags":4554,"thumbUrl":4555,"material":94,"size":4556,"collection":81,"collections":4557,"showCount":4521,"zanCount":54,"manualWeight":54,"mainColor":55},221505,"shan-shui-tu-yan-ci-yu-221505","阎次于","阎次平，南宋画家。隆兴初（约1163年）任画院祗候，授将仕郎。父仲，曾任宣和及绍兴画院待诏。继承家学，而画艺超过其父。擅绘山水，法荆浩、关仝，风格接近王诜、李唐；亦善人物，尤工画牛。存世作品有《牧牛图》等。\n弟次于，南宋孝宗隆兴初被补为承务郎，后亦为画院祗候。次于亦传家学，画山水人物，工于画牛。然水平尚逊于次平。",[23,24,117,64,27,99,95,98,33,169,171,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F184450a2d438fd377bdc81ab7f969dee.jpg","24.6×26.0",[81,105,83],{"id":4559,"slug":4560,"title":4561,"dynasty":150,"author":710,"museum":1164,"description":4562,"tags":4563,"thumbUrl":4564,"material":335,"size":4565,"collection":105,"collections":4566,"showCount":4521,"zanCount":54,"manualWeight":54,"mainColor":109},219230,"yi-qin-tang-tu-wang-meng-219230","怡亲堂图","山林葱郁间，堂舍隐现，溪流绕阶而过，一派清幽雅致的园林景致跃然纸上。王蒙以繁密灵动的笔墨，用解索皴层层皴染山石，线条如行云流水，墨色浓淡相宜，尽显草木山川的生机与质感。堂前人物悠然自得，或坐或行，与自然景致相融，传递出文人雅士超然物外的心境。整幅画作技法精湛，意境深远，将江南园林的雅致与文人的精神追求完美契合，尽显元代山水画的独特韵味与艺术高度，是兼具观赏性与思想性的佳作。",[23,24,64,25,94,27,95,97,31,32,7,33,140,99,101,295,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc55e64ae5c00bb62b83a6c00152b33f4.jpg","24.5x97.2厘米",[105],{"id":4568,"slug":4569,"title":4570,"dynasty":150,"author":1897,"museum":152,"description":4571,"tags":4572,"thumbUrl":4573,"material":273,"size":4574,"collection":105,"collections":4575,"showCount":4521,"zanCount":11,"manualWeight":54,"mainColor":109},218168,"xi-ting-qiu-se-tu-zhao-yuan-218168","溪亭秋色图","《溪亭秋色图》，以墨笔画苍崖古木，溪边水阁。图的左下有作者自署“赵原画”，右上方题有 “有山可樵有水可渔歌彼考槃吾将归欤”，似是点题，但无落款。\n此图笔墨圆润苍秀，变化多端，画风纯熟，应为画家晚年之作。山石勾皴简率，颇有写意之趣；笔锋略带侧锋，类似王蒙的解索皴，但偏于疏朗松秀。通幅墨色清润 恬淡，不重渲染，只在山体的结构折转处加苔点或勾以丛树、垂草，画面极为平淡宁静。这种境界，在方从义的《武夷放棹图》、陆广的《丹台春晓图》中也可感觉 到，这可以说是一种元代文人画的理想境界。但元代画家过于将绘画视作个人“自娱”的笔墨游戏，难以适应明代建国初期的政治文化环境，赵原也就难免悲剧的命运。",[23,24,94,225,99,100,119,95,97,33,98,7,350],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f3876b8debab1f36f397d0417acb9bd.jpg","纵61.4厘米，横26厘米",[105],{"id":4577,"slug":4578,"title":4579,"dynasty":631,"author":582,"museum":135,"description":4580,"tags":4581,"thumbUrl":4582,"material":229,"size":637,"collection":142,"collections":4583,"showCount":4584,"zanCount":54,"manualWeight":54,"mainColor":55},288460,"yu-le-tu-jing-hao-288460","渔乐图","荆浩（约850-911年），字浩然，号洪谷子，河内沁水(一说河南济源人，一说山西沁水县人，）唐末五代时期著名画家，北方山水画派之祖。\n博通经史，博雅好古。乾符元年（874）前后，得到宰相裴休的关照，担任小官。大中十年（856），罢官回乡。躲避战乱，常年隐居太行山。善于山水画，师从于张璪，吸取北方山水雄峻气格，作画“有笔有墨，水晕墨章”，勾皴之笔坚凝挺峭，表现出一种高深回环、大山堂堂的气势，为北方山水画派之祖。\n著有《笔法记》山水画理论的经典之作，提出气、韵、景、思、笔、墨的绘景“六要”。作品《匡庐图》《雪景山水图》等",[117,24,64,25,94,866,32,7,1417,98,31,30,256,4365],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fe6d632a1b6babf419082b8f11a8e7b.jpg",[],83,{"id":4586,"slug":4587,"title":4588,"dynasty":344,"author":4589,"museum":61,"description":4590,"tags":4591,"thumbUrl":4593,"material":4594,"size":4595,"collection":105,"collections":4596,"showCount":4584,"zanCount":11,"manualWeight":54,"mainColor":109},233390,"shan-shui-ren-wu-ce-jin-nong-233390","山水人物册","金农","册共十二开，分别绘佛像、山水、人物故事等。\u2028　　第一开：墨笔白描佛像、菩提树，画左自题两行，款“己卯八月”。钤“金吉金印”。\n第二开：画礼佛图，右方自题六行，款“心出家盫僧画记”。钤“金吉金印”。\n第三开：画秋林共话，左方自题八行，款“稽留山民记”。钤“莲峰居士”等二印。\n第四开：画湖山采菱，右下自题七言诗一首，下题记六行，款“冬心先生笔记”。钤“冬心先生印”。\n第五开：画青山薄汀，上方自题词一首，款“乾隆二十四年八月十一日七十三翁金农画记”。钤“金氏寿门”印。\n第六开：水墨画鬼趣图，左上自题七行，款“龙梭仙客记”。钤“金农”、“莲峰居士”二印。\n第七开：画玉川煮茶图，自题两行，款“昔耶居士”。钤“寿”一印。\n第八开：画板桥流水，桃林策杖。左方自题七绝一首，款“金二十六郎画诗书”。\n第九开：画柳塘间舟，右上自题七言诗一首，款“曲江外史画诗书”。钤“冬心先生”印。\n第十开：画花塘长亭，上方自书词曲，款“金牛湖山诗老小笔并自度一曲”。钤“寿”、“朋”二印。\n第十一开：画抱膝长思，右上自题“昔年曾见，金老丁晚年自号也”。钤“金老丁”印。\n第十二开：画山僧叩门图，左下自题七言诗，款“昔耶居士并题”。钤“国泉”一印。裱边、附页有健庵、吴湖帆题记。\n此图用笔灵活古拙，山石用意笔写之，淡墨轻染，岸柳、杂树、芭蕉用勾点夹叶法，钱荷用臥笔横点，佛像、人物、山鬼用笔滞涩朴拙，富有韵味。全画笔法生拙奇奥，设色清秀淡雅，意境幽深，为金农山水人物画代表作品。\u2028　　鉴藏印：“曾藏潘健盦处”、“铭心绝品”、“贞甫审定”等六十二方。\u2028　　庞莱臣《虚斋名画录》著录。",[24,64,332,27,138,94,30,1691,7,1692,4592,119],"器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F196382a9fa13f1fdd21f5ad09cb12d1a.jpg","纸本，墨笔或设色","纵24.3厘米，横31.2厘米",[105,49,51],{"id":4598,"slug":4599,"title":4600,"dynasty":18,"author":4601,"museum":135,"description":4602,"tags":4603,"thumbUrl":4604,"material":142,"size":142,"collection":83,"collections":4605,"showCount":4584,"zanCount":11,"manualWeight":54,"mainColor":109},228852,"fang-zhao-meng-fu-shui-cun-tu-wen-bo-ren-228852","仿赵孟頫水村图","文伯仁","此作用淡墨晕染平畴远汀，枯木疏林错落浅渚坡岸，村舍板桥隐现其间。远山以没骨轻绘，烟岚柔笼峰峦，将江南水村的清寂淡远缓缓铺展。全卷追摹元人简逸意趣，笔墨松秀温和，不作繁复皴擦，留白烘托出空濛水汽，尽显萧散闲雅。整幅画作幽淡闲远，将文人寄情丘山的隐逸意韵融于尺幅之间，把水乡静穆悠然之境尽数呈现，是师法前人的山水佳构。",[23,117,24,64,25,94,99,29,95,255,32,7,96,119,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d27638c4d92badd2d746d97e78c8638.jpg",[83],{"id":4607,"slug":4608,"title":4609,"dynasty":59,"author":292,"museum":152,"description":4610,"tags":4611,"thumbUrl":4613,"material":188,"size":4614,"collection":81,"collections":4615,"showCount":4584,"zanCount":54,"manualWeight":54,"mainColor":55},223565,"xi-shan-mu-xue-tu-zhou-yi-ming-223565","溪山暮雪图轴","从构景来看，此幅仍具“主山立于画面中央”的遗风，但已脱去山石充实的北宋风格，全幅虚空处几占有二分之一，显露出南宋山水的风味。在表现树石上，继承李唐之影响，但画树与斧劈皴的技法趋于精巧细致，与马远、夏圭 （活动于十二、三世纪之间 ）派倾向粗犷简逸相异其趣。此幅描绘景物，细致生动而且写实，若将之分割数个方块来看，正如南宋之山水册页。可惜无画家名款，目前尚难断定是那位画院名家之作。临溪两岸，竹树茏，於平坦处江村置焉。对岸林麓中烘染云烟如带，群鸦飞噪于其间，弥增雪意，其上则白山皑皑，冰壑峨峨。于林蒨密处，更著一区精舍。本幅造意之精，构景之妙，可称独至。而笔墨细腻，烘染妥帖，尤足以称其意云。",[23,24,64,225,27,95,99,240,2097,4612,122,33,97,76,171,7],"溪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00042d59364ebed0c21eb560489aef52.jpg","56x102",[81,105,83],{"id":4617,"slug":4618,"title":4619,"dynasty":18,"author":90,"museum":423,"description":424,"tags":4620,"thumbUrl":4621,"material":335,"size":429,"collection":142,"collections":4622,"showCount":4584,"zanCount":54,"manualWeight":54,"mainColor":109},220031,"dong-zhuang-tu-ce-zhi-zhen-yi-gang-shen-zhou-220031","东庄图册之振衣冈",[23,117,24,64,332,94,95,30,98,33,255,7,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde339e30cbcb09c324052c43eb49532f.jpg",[],{"id":4624,"slug":4625,"title":3732,"dynasty":344,"author":2071,"museum":2900,"description":4626,"tags":4627,"thumbUrl":4628,"material":47,"size":4629,"collection":105,"collections":4630,"showCount":4584,"zanCount":11,"manualWeight":54,"mainColor":55},219911,"qiu-shan-xing-lv-tu-wang-hui-219911","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。\n王翚在绘画理论方面也有较高造诣。其论画主张“以元人笔墨，运宋人丘壑，而泽以唐人气韵。”",[24,64,225,118,27,95,30,66,31,241,98,99,227,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccd3324ba8d0e045e5d6ab0a5260113f.jpg","152.4x78.7",[105],{"id":4632,"slug":4633,"title":4634,"dynasty":18,"author":500,"museum":135,"description":501,"tags":4635,"thumbUrl":4640,"material":47,"size":4641,"collection":49,"collections":4642,"showCount":4584,"zanCount":589,"manualWeight":54,"mainColor":55},216372,"ri-ben-chang-hen-ge-tu-juan-shang-juan-shou-ye-shan-xue-216372","日本· 长恨歌图卷(上卷)",[23,24,25,27,26,28,30,31,32,7,95,33,505,98,1068,35,4636,39,1692,4637,4638,4639,97],"火焰","台阶","旗帜","建筑群","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48e3d4c1126d36ec141e6a2311af7404.jpg","31.5x1048.4",[49],{"id":4644,"slug":4645,"title":4646,"dynasty":150,"author":151,"museum":135,"description":4647,"tags":4648,"thumbUrl":4649,"material":229,"size":637,"collection":142,"collections":4650,"showCount":4651,"zanCount":54,"manualWeight":54,"mainColor":109},290827,"dong-ting-qi-feng-zhou-huang-gong-wang-290827","洞庭奇峰轴","此作前景画小舟浮於湖面，其后山岩繁密多姿，高耸杂木散立，山巅处瀑布流泻，左方曲径没入云雾中，其上瑰丽峰峦斜出天表。画中可见黄公望作品中常见母题，然全作结构、山石、树法等，更接近文徵明风格。依题跋可知此画成于1354（元至正十四年）为梅剑庵所作；1410（永乐八年），梅氏后人请沈度（1357-1434）题跋；1510年（正德五年），文征明（1470-1559）亦获观此画，并留下题语。文征明题款“壁”字书为“璧”，与常见不同。此画笔墨、结构堪称佳构，然可能出自明代後期善仿文征明风格者之手。",[117,24,64,225,94,95,99,98,33,7,100,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc83587d8c69519255b6c7d65b856a64.jpg",[],82,{"id":4653,"slug":4654,"title":4655,"dynasty":344,"author":2071,"museum":135,"description":4656,"tags":4657,"thumbUrl":4665,"material":142,"size":142,"collection":142,"collections":4666,"showCount":4651,"zanCount":11,"manualWeight":54,"mainColor":109},237592,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237592","王翚仿古山水册","王翚（1632-1717），字石谷，臞樵，号乌目山人，耕烟散人，又号耕烟外史，剑门樵客，清晖老人，室名清晖阁，江苏常熟人。王翚祖上几代均染指丹青。四世祖王伯臣擅长花鸟，师崔白画风，祖父王载仕山水花鸟皆擅，父亲王云客专攻山水，画风秀雅。王翚幼喜丹青，十六岁时拜同乡张珂为师，后入王鉴、王时敏之门，遍临他们所藏宋、元名迹，在承袭传统的基础上，又外师造化，逐渐形成了华滋清逸的画风，当时的名公巨卿、文人学士争相交之。六十岁时以布衣征召供奉内廷，主持绘制康熙《南巡图》，被赐“山水清晖”，为清初“虞山派”领袖。著有《清晖画跋》，辑有《清晖赠言》、《清晖赠贻尺牍》，与恽寿平合著《画筌评》。",[24,94,2880,99,95,98,33,504,7,168,76,3658,4658,933,4659,4660,4661,4662,4663,4664],"传统山水","点染","山石皴擦","树木勾勒","山水意境","古典山水","水墨山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89f3e122c7aae29ed9eacddd5644f01b.jpg",[],{"id":4668,"slug":4669,"title":4670,"dynasty":18,"author":1254,"museum":152,"description":4671,"tags":4672,"thumbUrl":4673,"material":3857,"size":4674,"collection":105,"collections":4675,"showCount":4651,"zanCount":11,"manualWeight":54,"mainColor":109},220945,"feng-jing-fang-gu-tu-zhou-dong-qi-chang-220945","葑泾访古图轴","署款“壬寅首春，董玄宰寫。”幅上有陳繼儒題識。此畫構圖，可分遠景、中景、近景二部分，遠景為重山峻嶺，山頂光禿，山頂煙霧繚繞，山腳下為亂石橫卧，亂石間有幾株雜樹，樹下坐落一間茅屋。右側兩岸間有一板橋高架。中景為一片闊廣的河水，江水如鏡。近景為此畫的主要部分。下邊山石疊砌，山石間長有一棵幹粗葉茂的大樹，大樹下有數間屋宇茅亭。\n從此畫的構圖來看，作者有意識地運用了“層疊”、“重複”、“照應”等手段，使遠近高下統一在浮雕似的筆墨構成的平面意味中。畫法，由於董氏墨法的精微就在於種種墨色的累積，以樹石為例，對此畫大樹下邊那堆山石，是以淡墨連勾帶皺地寫其相依互抱，大小攢聚，就這樣把石的輪廓確定下來：至於此圖的用墨處和空白或無墨處，董氏着意於此，亦即以白當黑。有的山石不作着筆，大石上部則沿邊皆空白，於是每個石塊以其黑、白、陰、陽，表現立體感，而且它們之間左右較實，中間較虛，使畫面虛實互用而十分靈活。此畫中可看出董氏把黑白對襯，虛實相須，運用得十分自然，有着落筆時心手相應的那番快感。\n在此畫面中，董其昌追求一種“禪”的意境，即一種寂寞空虛的境界。畫面的疏密、濃淡、虛實、開合，富有清潤温雅、平和怡然的趣味，拙稚、簡淡中帶有寧靜自然的文人之思。",[23,24,64,225,94,95,99,32,7,33,98,38,119,100,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1f7db1e78a7c60c962c6091b474fc3a.jpg","纵80厘米,横29.8厘米",[105,83],{"id":4677,"slug":4678,"title":4679,"dynasty":150,"author":1622,"museum":91,"description":4680,"tags":4681,"thumbUrl":4683,"material":188,"size":4684,"collection":105,"collections":4685,"showCount":4651,"zanCount":11,"manualWeight":54,"mainColor":109},220846,"yan-jiang-die-zhang-tu-shi-juan-zhao-meng-fu-220846","烟江叠嶂图诗卷","《元赵孟頫题烟江叠嶂图》是元代时期赵孟頫创作的书法作品。\n赵孟頫实际书写的是北宋苏东坡题咏王诜《烟江叠嶂图》诗一首：江上愁心千叠峰，浮空积翠如云烟。\n山耶云耶远莫知，烟空云散山依然。\n赵孟頫墨迹传世虽多，惟大字却少见。\n从中不难看出其大字功夫之深。\n后文征明在赵孟頫书苏轼题王诜《烟江叠嶂图》诗后补水墨米家山水。",[23,24,64,25,94,101,100,95,99,4682,3038,2256,7,3997,33,96,122,72,35],"烟江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc09865d188801b8adc163e953c06a614.jpg","49·8x413.9cm",[105,83],{"id":4687,"slug":4688,"title":4689,"dynasty":18,"author":387,"museum":3136,"description":4690,"tags":4691,"thumbUrl":4692,"material":273,"size":4693,"collection":105,"collections":4694,"showCount":4651,"zanCount":11,"manualWeight":54,"mainColor":109},219866,"kong-shan-ye-yu-tu-wen-zheng-ming-219866","空山夜雨图","古画中描绘山、水、雨、云乃至兰竹松梅时，若能兼具“画面写实”和“气韵灵动”两方特色，则该作可称佳品。如能在写实中抓住细节，落笔精致，则该作可成精品。若作者还能在此基础上别出心裁，融入巧妙出众的构思设计，则该作可为妙品。\n文徵明此作写景真实、韵致盎然，诚可谓“虚实相生”；在勾皴山石、铺排密林时用笔极细，落墨深浅错落，层次分明，林间篱笆、耕地农人的设计为画面增添生趣，亦反衬出山之“空”，与画作主题暗合；画面上方山峦滞重，山间雨雾轻灵，山下密林幽森，林间水溪温柔，排列有序，刚柔兼济。而此画最值称道者乃作者关于“雨意”的设计。画面中间部分以大块留白作山间云雾，将上方山峦与下部密林分割开来，山石、树林与云雾的衔接处以清淡水墨轻绘，呈现出类似“渐变”的神奇效果。濛雨淡云缭绕山间，尽书实景而灵韵生动，同时也使整幅画面不致因过满而有失轻盈。",[23,24,64,225,94,99,95,33,1397,140,7,98,169,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f5d4eb5740ddc8e075045e01785fe8f.jpg","纵71.6厘米，横32.4厘米",[105],{"id":4696,"slug":4697,"title":655,"dynasty":18,"author":387,"museum":61,"description":4698,"tags":4699,"thumbUrl":4700,"material":273,"size":4701,"collection":105,"collections":4702,"showCount":4651,"zanCount":54,"manualWeight":54,"mainColor":109},218341,"shan-shui-ce-wen-zheng-ming-218341","此图左开为作者图，右开有其弟子周天球、陆师道、王穉登的应景题诗。\n根据图册末页张风翼等人的跋得知，此图册是文徴明为教授徒弟朱朗而绘制的山水画作，其中有他摹学五代董源、巨然的笔法，亦有他师法元四家黄公望、王蒙、倪瓒等人的笔墨。",[23,24,117,332,94,95,33,76,171,7,100,101,119,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe78e6d4341e71339b18dae6e2a968838.jpg","28.5×15.8cm",[105],{"id":4704,"slug":4705,"title":4706,"dynasty":344,"author":4707,"museum":152,"description":4708,"tags":4709,"thumbUrl":4710,"material":103,"size":4711,"collection":49,"collections":4712,"showCount":4651,"zanCount":718,"manualWeight":54,"mainColor":109},216978,"yi-tao-tu-jin-ting-biao-216978","移桃图","金廷标","这幅画展示了一个有绿色树木的村庄。一个男人和一个瘸子站在窗外，教一个孩子种桃花。惟不免作家气重些。",[24,64,26,27,95,30,33,98,7,120,76,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7567eb36e902b6cd0d71a3b920a0b4d.jpg","187.3x63.2",[49,105],{"id":4714,"slug":4715,"title":4716,"dynasty":150,"author":877,"museum":152,"description":4717,"tags":4718,"thumbUrl":4719,"material":404,"size":4720,"collection":142,"collections":4721,"showCount":4722,"zanCount":54,"manualWeight":54,"mainColor":55},290134,"qiu-jiang-yu-yin-tu-wu-zhen-290134","秋江渔隐图","此图起手处画清石水草于水中，后有一渔父坐船垂钓，当中一洲．上植二树，对岸是连绵山丘，远处高峰 图中用略浓而有变化的墨勾山石轮廓，略淡的线条作披麻状皴之，复加湿墨衬染，湿墨略分浓淡，罩在线条上面．使线半隐半显，使面透明而光亮。最后再以焦墨浓墨点苔：远山用淡墨没骨抹出。两棵树，以浓淡来区分，所以数百年之后，仍有“幛犹湿”之感。",[117,24,94,95,225,96,256,7,199,390,100,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c51f1c201cfa513a49117cc20e56993.jpg","189.1x88.5",[],81,{"id":4724,"slug":4725,"title":487,"dynasty":59,"author":488,"museum":135,"description":4726,"tags":4727,"thumbUrl":4729,"material":229,"size":637,"collection":142,"collections":4730,"showCount":4722,"zanCount":54,"manualWeight":54,"mainColor":55},288508,"qing-luan-xiao-si-tu-li-cheng-288508","此画以直幅形式画冬日山谷景色，画中群峰兀立，瀑布飞泻而下，中景山丘上建有寺塔楼阁，山麓水滨筑以水榭、茅屋、板桥，间有行旅人物活动。画中山石雄伟而秀美，皴染用笔多有变化，兼具关仝之雄浑与李成之清润。",[23,117,24,64,95,225,94,99,170,31,4728,32,7,168,255],"寺庙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65a09d1fd685c91acbb434f10c0b0b2b.jpg",[],{"id":4732,"slug":4733,"title":4734,"dynasty":18,"author":19,"museum":135,"description":4735,"tags":4736,"thumbUrl":4737,"material":229,"size":637,"collection":142,"collections":4738,"showCount":4722,"zanCount":11,"manualWeight":54,"mainColor":55},287561,"fang-li-tang-shan-shui-tu-chou-ying-287561","仿李唐山水图","此图卷画法山石分面后用大斧劈皴法，是李唐家数，极明暗变化之能事。浙派学南宋，都和墨皴染，石面无‘钉头’，乏老硬笔意，仇实父实得李唐画石之三味。",[23,117,24,64,25,95,27,99,29,170,33,76,503,32,7,101,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0bece0ca5a5d1ae85f5b79d72f19d2f.jpg",[],{"id":4740,"slug":4741,"title":4742,"dynasty":344,"author":292,"museum":135,"description":4743,"tags":4744,"thumbUrl":4747,"material":142,"size":142,"collection":142,"collections":4748,"showCount":4722,"zanCount":718,"manualWeight":54,"mainColor":55},224248,"qing-hua-yuan-hua-shi-er-yue-yue-ling-tu-si-yue-zhou-yi-ming-224248","清画院画十二月月令图四月轴","水乡四月晴柔漫溢，临水屋舍凭木桥勾连，酒肆里宾客围坐闲话，檐下有人往来劳作，仕女撑伞缓行廊桥，鲜活市井烟火扑面而来。岸畔花树缀满嫩白繁花，阶下牡丹灼灼盛放，晕开融融暖意。水湾烟波澹澹，远景沙洲逶迤，田埂上农人俯身忙碌，动静交织间，将江南初夏的清丽生机尽数铺展。\n\n整幅工笔设色雅致柔和，以细腻笔触定格日常闲趣，将时节风物与俗世温情相融，晕开一卷温婉的江南闲居图景，藏着旧时水乡的太平意趣。",[23,117,24,64,225,26,27,28,30,31,32,7,95,33,1068,97,4745,1692,1109,38,39,4746],"石阶","活动场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e134da517cb38720810301008a61a01.jpg",[],{"id":4750,"slug":4751,"title":4752,"dynasty":344,"author":3881,"museum":316,"description":4753,"tags":4754,"thumbUrl":4755,"material":47,"size":4756,"collection":105,"collections":4757,"showCount":4722,"zanCount":54,"manualWeight":54,"mainColor":55},220076,"peng-lai-xian-jing-tu-yuan-jiang-220076","篷莱仙境图","图中所作楼阁大都建于高山之上，隐于丛林之中，古木、苍松、梅、杏等，或生于岩石之间、或生于夹缝之中，蓬勃繁茂，掩映成趣、生机盎然，洋溢着顽强的生命力。屈曲的枝干应当是受宋人影响，点叶之法比起其前期更为轻松自然、繁而不乱。图中人物，三五成群，神态自若，气质高雅，或论道、或茗茶、或泛舟湖上，本为点景之用，却起到了点睛之妙。衣冠、须发用笔劲细流畅。“雪压青松松更青，霜打红梅梅更红。”松柏、梅花在古代有寓意高洁之意，象征了文人士大夫的傲岸情操。",[23,24,64,117,28,27,26,31,95,32,33,98,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03f3523312862b3ddc21d4b421d43aaa.jpg","186.8x102.6",[105],{"id":4759,"slug":4760,"title":4761,"dynasty":18,"author":90,"museum":423,"description":424,"tags":4762,"thumbUrl":4763,"material":103,"size":429,"collection":142,"collections":4764,"showCount":4722,"zanCount":11,"manualWeight":54,"mainColor":109},220016,"dong-zhuang-tu-ce-zhi-zhi-lao-ting-shen-zhou-220016","东庄图册之知乐亭",[23,24,64,332,94,27,95,97,140,1397,7,30,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31227e877f62e0718e4ec5caba521bf3.jpg",[],{"id":4766,"slug":4767,"title":4768,"dynasty":344,"author":2253,"museum":61,"description":4769,"tags":4770,"thumbUrl":4771,"material":273,"size":4772,"collection":105,"collections":4773,"showCount":4722,"zanCount":54,"manualWeight":54,"mainColor":109},219106,"yu-shan-xi-bie-tu-wang-shi-min-219106","虞山惜别图","此图取常熟城郊虞山之景，用笔苍劲老辣，颇具元代黄公望笔意，山石作披麻皴，苔点细密, 皴染细腻，一派山清水秀的江南景色。 此画位置的经营，采用了常见的高远法，由下到上，层次清晰，结构有序。从上到下，若将着笔造形处联成整体，避免了构图上板滞，而步入活泼变化的天地。",[23,117,24,64,225,94,99,689,95,240,33,76,169,7,351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F613cc5452ca791917bd2ed2cadab7add.jpg","纵134cm，横60cm",[105],{"id":4775,"slug":4776,"title":4777,"dynasty":18,"author":1948,"museum":61,"description":4778,"tags":4779,"thumbUrl":4780,"material":142,"size":142,"collection":142,"collections":4781,"showCount":4782,"zanCount":54,"manualWeight":54,"mainColor":109},234327,"wen-zheng-ming-shu-qian-chi-bi-fu-wen-cong-jian-bu-tu-juan-wen-zheng-ming-234327","文徵明书前赤壁赋文从简补图卷","文征明极为喜爱《赤壁赋》，一生之中曾以不同笔法多次书写，据戴立强《明文徵明行书前赤壁赋册记》中统计，仅传世之作就有16件，而周道振先生《文徵明年谱》中记载，更不止此数。“赤壁赋”题材作品无论是存世作品还是《年谱》中提及的作品，创作年代都在文徵明六十岁之后，即为其短暂的赴京任职之后的作品。文徵明在八十九岁高龄之时，更以苏轼笔意，为其《前赤壁赋》卷(台北故宫博物院藏)补写所缺36字，结字欹侧，肉盛于骨，形神兼备，直可乱真。\n文征明原名壁，字征明。后来改以征明为名，更字为征仲。成化六年（1470年）生于长洲（今苏州市），逝于嘉靖三十八年（1559年）享年90岁。祖籍湖南衡山，因号衡山。他不事权贵，尤不肯为藩王、中官作画，任官不久便辞官归乡，留有《甫田集》。\n文征明的书画造诣极为全面，诗、文、书、画无一不精，人称是“四绝”的全才，诗宗白居易、苏轼，文受业于吴宽，学书于李应祯，学画于沈周。其与沈周共创“吴派”。在画史上与沈周、唐伯虎、仇英合称“明四家”（“吴门四家”）。在诗文上，与祝允明、唐寅、徐祯卿 并称“吴中四才子”。\n明代中叶以后，文征明以诗文驰名江南，而书法和绘画的声誉更高。后来一直被认为是明代少数几个有代表性的书画家之一。就书法来说，大字端劲蕴藉，小楷精工温纯，于真、行、草、隶各体，都有一定的造诣。他早年从苏轼入手，后来参合了米芾、黄庭坚和王羲之书法的笔意，淳和圆熟而不失清劲。\n这一本文征明所写的苏轼《赤壁赋》，末尾连署名残失十九字。幸在清代陈焯《湘管斋寓赏编》卷三有这样一段记录：“顷于姚江杨君绪思家见待诏行书此赋，跋云：‘嘉靖戊午冬十一月廿日，夜寒不寐，篝灯漫书。纸墨欠佳，笔尤不精，殊不成字。聊遣一时之兴耳，观者其毋哂焉。征明年八十九。’为最晚年书，而绝无衰飒之状，可宝也。壬寅秋九月附记。”壬寅是乾隆47年（公元1782），那时“聊遣一时之兴耳”等末十九字还未缺。光绪23年（公元1897）陈豪为恽氏题跋时，已经恽氏改装为册。这十九字怎样失去，已无从查考。\n据题记年月，是文征明八十九岁时所书，距他逝世只有四个月。虽然他自己以为“笔尤不精，殊不成字”其实比之现在所见其他各种印本的《赤壁赋》，（一本，嘉靖二十一年壬寅七月十日作，点石斋印；一本，嘉靖二十九年庚戌七月作，有正书局印；一本，嘉靖三十七年戊午二月既望作，原故宫印本，艺苑真赏社复印；一本，嘉靖三十年辛亥四月十六作，日本博文堂印本）都为精到。“潇洒流落，翰逸神飞”可谓已至“人书俱老”的境地。",[23,117,24,64,25,101,94,27,99,95,96,30,98,33,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc97afb95360b41d612a230c70e6c22d0.jpg",[],80,{"id":4784,"slug":4785,"title":655,"dynasty":18,"author":4786,"museum":61,"description":4787,"tags":4788,"thumbUrl":4789,"material":4790,"size":4791,"collection":105,"collections":4792,"showCount":4782,"zanCount":54,"manualWeight":54,"mainColor":55},234318,"shan-shui-ce-song-xu-234318","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。",[24,94,99,332,95,7,32,255,98,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29f139067519e7c0c0636a193cc49cf5.jpg","纸本 ，设色","纵31cm，横42cm",[105,51],{"id":4794,"slug":4795,"title":4796,"dynasty":18,"author":19,"museum":91,"description":4797,"tags":4798,"thumbUrl":4800,"material":335,"size":4801,"collection":105,"collections":4802,"showCount":4782,"zanCount":11,"manualWeight":54,"mainColor":109},222210,"wu-zhu-shu-tang-tu-chou-ying-222210","梧竹书堂图","该图画一精舍，宽敞的书桌置于窗前，上置文具书籍，一士人半作半卧于躺椅上，神态安详。房舍四周修竹、梧桐摇曳生姿。坡石勾皴用拖泥带水法间乾笔皴擦，再以水墨淡淡晕染，颇见浑厚。上缀以萱花、丛菊，显示出隐居的悠雅情调。",[23,117,24,64,225,27,26,4799,543,97,30,95,7,98,33,122,96],"梧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77d7f6ee52d40f0e62de09e6cdce8cbc.jpg","纵148.8厘米，横57.2厘米",[105,51],{"id":4804,"slug":4805,"title":4806,"dynasty":18,"author":4807,"museum":91,"description":4808,"tags":4809,"thumbUrl":4811,"material":47,"size":4812,"collection":49,"collections":4813,"showCount":4782,"zanCount":54,"manualWeight":54,"mainColor":55},219748,"qiu-jiang-gui-yu-tu-zhou-wu-wei-219748","秋江归渔图轴","吴伟","吴伟(1459—1508年)，字士英，号次翁、小仙，江夏(今湖北武昌)人。成化朝(1465-1487)人宫廷任仁智殿待诏，弘治(1488-1505)中授以锦衣卫百户职。擅画山水、人物。为“江夏派”的创始人。",[24,117,64,225,94,3016,27,95,30,96,122,7,1397,140,2961,306,199,2042,3812,171,4810],"秋江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F614f91aeebc5220d0825408f30e0a128.jpg","164x106.2厘米",[49],{"id":4815,"slug":4816,"title":4817,"dynasty":18,"author":267,"museum":152,"description":4818,"tags":4819,"thumbUrl":4820,"material":94,"size":142,"collection":83,"collections":4821,"showCount":4782,"zanCount":11,"manualWeight":54,"mainColor":55},219339,"fu-song-guan-pu-tu-dai-jin-219339","抚松观瀑图","虬松横斜如探身老者，枝桠间松针攒簇，墨色浓淡相济，尽显苍劲古拙之姿。飞瀑自崖壁垂落，线条如练，与朦胧山雾相融，添几分空濛悠远。松下二人或立或俯，似低语，又或凝听瀑声，神态悠然，将文人雅士闲适心境藏于山水间。左侧亭台半隐松荫，木质结构线条简洁，与自然景致浑然一体。山石皴擦刚健，草木点染灵动，笔墨兼具挺劲与秀逸。整幅画山水相映，人物点睛，传递出远离尘嚣、寄情林泉的淡泊之韵，仿佛能闻松涛与瀑声交织，引人沉醉于这份林泉雅趣中。",[24,64,225,95,99,27,390,168,97,30,98,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff224b7dc4b4561098e04194164c63257.jpg",[83],{"id":4823,"slug":4824,"title":4825,"dynasty":150,"author":292,"museum":281,"description":4826,"tags":4827,"thumbUrl":4828,"material":47,"size":4829,"collection":105,"collections":4830,"showCount":4782,"zanCount":11,"manualWeight":54,"mainColor":55},214828,"jiang-zhong-chui-diao-tu-yi-ming-214828","江中垂钓图","江中垂钓图是一幅元代的山水画作品，作者是佚名。这幅画中描绘了一个人在江边垂钓的场景。画中展现了绚丽多彩的山水风光，以及人物自然舒展的姿态。整幅画的画风细腻，笔墨流畅，色彩鲜艳，构图巧妙，充分展示了元代山水画的魅力。\n\n元代是中国历史上一个重要的朝代，也是中国绘画史上的一个重要时期。元代绘画追求自然、真实，注重写意，在画面上展现自然界的种种变化。山水画是元代绘画中的一大特色，江中垂钓图就是其中的一例。这幅画描绘了一幅宁静而又热闹的山水风光，充分展现了元代绘画的自然精神。",[24,94,27,95,7,96,306,140,199,256,119,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f084d61f9b4775b72a81ef13a90b677.jpg","22.5x25cm",[105],{"id":4832,"slug":4833,"title":4834,"dynasty":18,"author":4835,"museum":135,"description":4836,"tags":4837,"thumbUrl":4838,"material":142,"size":142,"collection":142,"collections":4839,"showCount":4840,"zanCount":718,"manualWeight":54,"mainColor":109},228362,"chun-shan-you-qi-tu-zhou-zhou-chen-228362","春山游骑图轴","周臣","此作用笔苍劲老辣，斧劈皴利落勾勒出峭拔山石，层叠崖壁铺展高远之境，山脚溪泉蜿蜒，板桥跨水。虬曲古松扎根危岩，新木抽芽晕染春和之意。\n桥上骑驴缓行，山坞村舍中人物往来鲜活，山野清旷间晕开烟火暖意。干湿墨色交织出林麓的阴晴层次，将雄阔山水与悠游雅兴相融，兼具北派山水刚健气势，暗藏春日踏青的松弛闲情，把寻幽访春意趣藏于丘壑，是兼具全景章法与细腻意趣的山水佳制。",[23,24,64,225,94,99,95,32,7,31,66,30,271,98,241,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd91b60b69348321c76a367aa9f8848fc.jpg",[],79,{"id":4842,"slug":4843,"title":4844,"dynasty":150,"author":710,"museum":400,"description":4845,"tags":4846,"thumbUrl":4847,"material":103,"size":4848,"collection":49,"collections":4849,"showCount":4840,"zanCount":718,"manualWeight":54,"mainColor":55},220437,"bi-hu-zhu-shu-tu-wang-meng-220437","闭户著书图","王蒙绘画风格可分为早、中、晚三个阶段；早期宗学家法，即师法外家赵氏风范；中期泛学前代诸家，也是自己独特画风的初创期，这一时期大约自至正初年隐居开始，持续至至正二十年（1360）左右；后期则是其风格的成熟期，大约自至正二十年后至卒于狱中。\n本图应为其风格初创时期的作品，笔墨、题材、画面空间等诸多方面都体现了这一时期的显著特点：笔墨上已脱离了早期的摹古阶段，开始形成皴法繁复、苔点密集的风格特征；用笔跳跃扭动，浓墨、淡墨、焦墨混用，苔点看似杂乱，实则经过精心安排，这种笔墨技巧十分适合表现江南山川圆润多土、草木茂密之感。",[23,24,64,94,99,95,240,390,140,76,32,7,199,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6951eeaade3bf163e7f25141c8ece86f.jpg","49.1×70.5cm",[49,51],{"id":4851,"slug":4852,"title":4853,"dynasty":344,"author":292,"museum":152,"description":4854,"tags":4855,"thumbUrl":4856,"material":47,"size":4857,"collection":368,"collections":4858,"showCount":4840,"zanCount":11,"manualWeight":54,"mainColor":55},219761,"lin-wang-yuan-hua-niao-tu-yi-ming-219761","临王渊花鸟图","王渊的花鸟、古木竹石、梅兰等题材绘画，在继承五代、两宋传统花鸟画的基础上，又有了新的发展和明显的变化，取得显著的成就，在中国美术史上占有重要的地位。他的表现手法属“黄家富贵”体。唯舍色彩而取水墨，通过勾勒和水墨晕染区别浓淡向背，造型极精严，神态亦颇生动，作到“墨具五色”的艺术效果。同钱选一样，王渊在花鸟画创作上起到了承前启后的作用。\n王渊的花鸟画给人以接近气势磅礴的感觉。我们不得不感叹这位画家令人惊羡的艺术造诣，同时又被其画中别样的意境所打动。",[24,64,225,26,27,29,543,788,122,1068,7,427,1759,3572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c785004791e5277ea86d862f6b70ee1.jpg","160.2x83.7厘米",[368],{"id":4860,"slug":4861,"title":3863,"dynasty":59,"author":292,"museum":268,"description":4862,"tags":4863,"thumbUrl":4864,"material":47,"size":4865,"collection":105,"collections":4866,"showCount":4840,"zanCount":11,"manualWeight":54,"mainColor":640},219034,"qiu-jiang-yu-ting-tu-yi-ming-219034","这幅作品的构图精致，特写停泊在河中的渔船和捕鱼的渔夫，宽阔的河面光滑如镜。在远处的场景中，山峰以细密的线条出现，用斧凿的方法画出岩石，更显其威严。少数小屋位于深谷中，山谷中长满了各种树木。溪流从山上蜿蜒流入河中，在山脚下，溪流上建有一座小木桥，特别迷人。整幅画具有鲜明的构图和深厚的气氛。这幅画属于李、郭画派，可能是南宋时期有人以李、郭为榜样而作。梁庆标、安琪收藏的印章",[23,24,866,225,94,99,95,96,32,7,256,33,98,72,2008],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac14ed21ddfc4f8c93ceb8d4df1ecf5b.jpg","133.4x56",[105],{"id":4868,"slug":4869,"title":4870,"dynasty":59,"author":292,"museum":152,"description":4871,"tags":4872,"thumbUrl":4876,"material":404,"size":4877,"collection":105,"collections":4878,"showCount":4840,"zanCount":589,"manualWeight":54,"mainColor":55},218783,"qiu-shan-tu-yi-ming-218783","秋山图","这幅关于山脉的画作从画板底部向上延伸，将纸张堆叠起来，在复杂而庞大的岩石中，随着溪流的流动，创造出山峦和沟壑的变化，并在现实和想象中创造出一种兴趣。山石像范宽的彩虹，寒林和枯枝的画法像郭熙的蟹爪法，而整体画风与《荆浩的匡庐》非常相似。",[23,24,117,95,94,225,99,4873,170,4874,98,2043,4875,7,609,1758],"蟹爪法","沟壑","枯枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcecae8ef9513b49779e89a829d40705.jpg","172.9x62.7",[105],{"id":4880,"slug":4881,"title":4882,"dynasty":59,"author":954,"museum":281,"description":4883,"tags":4884,"thumbUrl":4885,"material":47,"size":4886,"collection":142,"collections":4887,"showCount":4840,"zanCount":54,"manualWeight":54,"mainColor":109},218074,"song-di-ming-ti-ce-er-ma-yuan-218074","宋帝命题册(二)","这画册共含十页，每页左侧为一幅绘画，右侧配一书法。画心尺寸长28厘米、高27厘米，设色绢本，水墨与青绿设色间有。\n在“开禧北伐”之后，宋败给了金国，还有了“嘉定议和”。议和之后的宋宁宗便失去了大权。之后，宋宁宗开始钟情于山水。本十开册页描绘的是当时临安凤凰山皇宫的十个不同景点。\n根据考证，图中的白衣高士均是宁宗的化身，他将自己融入到自然山水中，写下了这10幅诗，再命当时的御前画师马远配图。\n10幅画作皆是根据杨万里、王安石等前贤及宋徽宗的诗句而创作，册页里的10幅配诗书法作品皆为宋宁宗所书。",[23,3139,24,64,332,27,94,99,100,119,95,255,199,7,530],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F913cbd18783e2ebead9fd965f7f6a798.jpg","纵28厘米、横27厘米",[],{"id":4889,"slug":4890,"title":4891,"dynasty":344,"author":435,"museum":2929,"description":4892,"tags":4893,"thumbUrl":4897,"material":103,"size":4898,"collection":105,"collections":4899,"showCount":4840,"zanCount":54,"manualWeight":54,"mainColor":55},217994,"fang-huang-gong-wang-shan-shui-tu-wang-yuan-qi-217994","仿黄公望山水图","图绘高山屹立之下，杂木丛生、洲渚房屋掩映的山光水色之景。山石的顶端多留有空白，虚处笔迹似有似无，表现出岚光浮动的清幽意境。全图笔墨苍润老辣，于粗放中物象毕现，率意中气韵盎然。王氏自言此图仿元代画家黄公望（即作者所谓“大痴”）笔意，实际上又融入了王蒙、倪瓒等人的笔法，应是作者融元人画格的贯通之作。",[23,24,64,225,94,99,95,240,241,271,32,7,76,169,98,1417,635,173,4894,172,4895,4896],"层岩","干笔","淡墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02895e2fbe75d1aecf4043f9b33a3de1.jpg","100.2x45.6cm",[105],{"id":4901,"slug":4902,"title":4903,"dynasty":59,"author":4904,"museum":135,"description":4905,"tags":4906,"thumbUrl":4907,"material":47,"size":142,"collection":105,"collections":4908,"showCount":4840,"zanCount":11,"manualWeight":54,"mainColor":109},215042,"ri-ben-xin-gui-shan-yuan-qi-hui-juan-niao-yu-seng-zheng-jue-you-215042","日本· 信贵山缘起绘卷","鸟羽僧正觉猷","画面如流水般铺展，墨色与淡彩交织出古雅韵致。图文交织的叙事里，每一折都藏着鲜活的情节——山间云雾轻笼，亭台楼阁隐现于林麓间，人物衣袂流转，或行或坐，神态生动如在眼前。山水晕染细腻温润，山石纹理、草木姿态皆透着自然灵趣；建筑结构精巧，红柱朱门点缀其间，添了几分庄重。绘卷以细腻笔触勾勒信仰与日常的交融，从山林到殿宇，从人物互动到景物铺陈，处处流露平安时代的审美意趣。它似一部流动的史书，让观者窥见千年前的生活与精神世界，韵味悠长，耐人寻味。",[23,2442,64,25,598,28,27,30,95,31,32,7,66,3834,122,33,169,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa988a8055981fce0c5bed6ccb375ce89.jpg",[105],{"id":4910,"slug":4911,"title":876,"dynasty":59,"author":399,"museum":135,"description":4912,"tags":4913,"thumbUrl":4914,"material":229,"size":637,"collection":142,"collections":4915,"showCount":4916,"zanCount":54,"manualWeight":54,"mainColor":55},290086,"yu-fu-tu-li-tang-290086","李唐（1066—1150），南宋画家。字晞古，河阳三城（今河南孟州）人。初以卖画为生， 宋徽宗赵佶时入画院。南渡后以成忠郎衔任画院待诏。擅长山水、人物。变荆浩、范宽之法，苍劲古朴，气势雄壮，开南宋水墨苍劲、浑厚一派先河。晚年去繁就简，用笔峭劲，创“大斧劈”皴，所画石质坚硬，立体感强，画水尤得势，有盘涡动荡之趣。兼工人物，初师李公麟，后衣褶变为方折劲硬，自成风格。并以画牛著称。与刘松年、马远、夏圭并称“南宋四大家”。存世作品有《万壑松风图》《清溪渔隐图》《烟寺松风》《采薇图》等。",[23,117,24,94,95,225,99,96,306,7,140,199,256,100,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a96877d6e1cc04537d7e2dc4236b975.jpg",[],78,{"id":4918,"slug":4919,"title":4920,"dynasty":344,"author":1385,"museum":135,"description":4921,"tags":4922,"thumbUrl":4923,"material":142,"size":142,"collection":142,"collections":4924,"showCount":4916,"zanCount":54,"manualWeight":54,"mainColor":109},233912,"hua-hui-shan-shui-ce-yun-shou-ping-233912","花卉山水册","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。",[24,64,117,332,94,95,99,32,255,98,76,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F408186742edebb584c8928001e6a308d.jpg",[],{"id":4926,"slug":4927,"title":4928,"dynasty":344,"author":4443,"museum":135,"description":4929,"tags":4930,"thumbUrl":4931,"material":229,"size":637,"collection":142,"collections":4932,"showCount":4916,"zanCount":11,"manualWeight":54,"mainColor":109},230976,"tan-mei-shi-nv-tu-fei-dan-xu-230976","探梅仕女图","本图以采梅仕女为主景，她立于溪石上，左手抱着梅干，右手举起正欲攀花，姿态自然生动，十分传神。仕女用细笔勾成，笔墨细柔，设色淡雅，面容俊俏，身材婀娜，充分体现出费丹旭仕女图的美学特征。",[23,24,27,26,139,30,2301,199,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ebadd248a4abef29f28af2255c5ade4.jpg",[],{"id":4934,"slug":4935,"title":4936,"dynasty":344,"author":4937,"museum":1308,"description":4938,"tags":4939,"thumbUrl":4940,"material":469,"size":4941,"collection":105,"collections":4942,"showCount":4916,"zanCount":54,"manualWeight":54,"mainColor":55},222630,"fang-tang-yin-qiu-lin-shu-wu-tu-gao-jian-222630","仿唐寅秋林书屋图","高简","此幅所绘的《仿唐寅秋林书屋图》绘山峰高耸，云蒸霞蔚；山脚下溪水潺潺，秋树苍茂，主人于书斋静读。\n高简擅长于模仿唐寅，几可乱真，清秀之气可比肩唐寅。左上自题：“仿唐解元秋林书屋图。癸未冬十月一云山人高简。”左上有作者后裔高侪鹤题识。癸未为康熙四十二年，公元1703年，作者时年70岁。\n高简(1634-1707)〔清〕字澹游、德园，号旅云、澹游子、一云山人、旅云山人、娱晖老人，江苏苏州人。能诗，工山水，画学元四家，喜倪云林(瓒)，有“小云林”印。精于尺幅小品，秀洁妍雅，颇有风趣。所作笔墨简淡清臞，布置深稳，脱尽纵横习气。善画梅，好画梅花书屋图，冷隽雅逸。传世作品有康熙六年(1667)作《寒林诗思图》轴，图录于《肥遁庐藏名人山水集》；九年(1670)作《仿曹知白山水图》轴、三十五年(1696)作《夕照落雁图》轴均藏故宫博物院；九年(1670)作《仿古山水册》十二帧、顺治十年(1653)作《仿宋元山水八帧》卷藏上海博物馆；康熙四十二年(1703)作《仿唐解元秋林书屋图》轴藏旅顺博物馆；《青山积翠图》轴藏南京博物院；《仿徐贲山水图》册页藏辽宁省博物馆。",[23,24,64,225,94,29,99,95,255,390,98,4057,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41c09d80ba903d033ff21d82621e036e.jpg","96cmx56cm",[105],{"id":4944,"slug":4945,"title":4946,"dynasty":18,"author":4947,"museum":20,"description":4948,"tags":4949,"thumbUrl":4950,"material":659,"size":4951,"collection":105,"collections":4952,"showCount":4916,"zanCount":11,"manualWeight":54,"mainColor":55},221922,"lan-ting-xiu-xi-tu-qian-gu-221922","兰亭修禊图","钱毂","《兰亭修禊图》卷为明代画家钱榖绘。画作题材取自东晋王羲之《兰亭序》，描绘东晋永和九年，王羲之、谢安等人在浙江山阴的兰亭溪上修禊，作曲水流觞之会的故事，卷前有王榖祥题「蘭亭修禊」，卷后有钱榖书《兰亭序》及集诗。",[23,24,64,25,26,27,95,30,241,1177,427,7,97,100,101,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2db27d84328228253e4fe5c410dbf47f.jpg","24.1×435.6cm",[105,51],{"id":4954,"slug":4955,"title":4956,"dynasty":18,"author":645,"museum":20,"description":4957,"tags":4958,"thumbUrl":4959,"material":47,"size":142,"collection":105,"collections":4960,"showCount":4916,"zanCount":589,"manualWeight":54,"mainColor":55},219717,"you-diao-tu-tang-yin-219717","游钓图","烟岚轻笼远峰，墨色晕开江天暮色，空濛间漾着清寂悠然。中流扁舟一叶，渔者卧于舟头，随波浮沉，将江海寄怀揉入闲淡烟波。近岸危崖之上，虬松盘曲斜伸，丹枫点染出秋意暖色，幽轩依崖而筑，侍童静立阶侧，似在等候凭栏观江的主人。\n\n画作以斧劈皴勾勒山石棱角，刚劲中晕以淡墨烟霭，刚柔相济。题诗与画面相映，将仕路失意后的林泉之乐铺陈开来，把文人放旷自适的隐逸之思藏在笔底烟霞，萧散简远，尽显诗意与画意交融的吴门雅韵。",[24,225,27,99,95,96,33,171,30,7,256],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5ac5f73b824988b7d0c801d54a6c2e4.jpg",[105],{"id":4962,"slug":4963,"title":4964,"dynasty":18,"author":4965,"museum":152,"description":4966,"tags":4967,"thumbUrl":4968,"material":103,"size":4969,"collection":51,"collections":4970,"showCount":4916,"zanCount":718,"manualWeight":54,"mainColor":109},216393,"xiao-xian-qing-ke-tu-sun-ke-hong-216393","销闲清课图","孙克弘","孙克弘（1532—1611） 明书画家、藏书家。一作克宏，字允执，号雪居，松江（今属上海市）人。",[23,24,64,25,27,26,99,119,101,95,30,31,32,7,199,33,97,39,1288],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fd58699418b7719eb47ed1909ad872c.jpg","279x1333.9",[51],{"id":4972,"slug":4973,"title":4974,"dynasty":18,"author":2340,"museum":152,"description":4975,"tags":4976,"thumbUrl":4977,"material":273,"size":4978,"collection":105,"collections":4979,"showCount":4916,"zanCount":54,"manualWeight":54,"mainColor":109},215044,"shan-shui-ji-jing-wang-fu-215044","山水集景","王绂（1567-1630）是明朝时期的文学家，他的山水集景是一部著名的诗集。该诗集收录了王绂写的许多关于山水风景的诗歌，这些诗歌描写了自然风光、山川景色、湖泊和其他自然景观。王绂的诗歌以其精美的描写、优美的语言和深刻的思想而闻名，被认为是中国古典诗歌中的杰出作品。",[23,24,94,95,99,543,97,98,33,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fcd65f978a54b6280267aea6cc2cd8f.jpg","68.8x37cm",[105],{"id":4981,"slug":4982,"title":888,"dynasty":344,"author":2489,"museum":135,"description":4983,"tags":4984,"thumbUrl":4985,"material":142,"size":142,"collection":105,"collections":4986,"showCount":4987,"zanCount":54,"manualWeight":54,"mainColor":109},239477,"shan-shui-zhou-kun-can-239477","髡[kūn]残（1612-1692），清画家。本姓刘，出家为僧后名髡残，字介丘，号石溪、白秃、石道人、石溪道人，残道者、电住道人。湖广武陵（今湖南常德）人。与石涛合称“二石”，又与八大山人，弘仁，石涛合称为“清初四画僧”。好游名山大川，后寓南京牛首山幽栖寺，与程正揆交往密切。擅画山水，师法王蒙，喜用干笔皴擦，淡墨渲染，间以淡赭作底，布置繁复，苍浑茂密，意境幽深。善书法，能诗。存世作品有《层岩叠壑图》《卧游图》《苍翠凌天图》《清髠残江上垂钓图》等。",[24,94,99,225,95,32,7,33,98,169,30,609,4875,518,3016],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59008fa5f9a110c1ebed1091d2f5520e.jpg",[105,83],77,{"id":4989,"slug":4990,"title":4655,"dynasty":344,"author":2071,"museum":135,"description":4656,"tags":4991,"thumbUrl":4992,"material":142,"size":142,"collection":142,"collections":4993,"showCount":4987,"zanCount":54,"manualWeight":54,"mainColor":109},237591,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237591",[117,24,64,332,94,99,95,31,32,7,96,97,33,168,98,350],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F724471d5eaa3cabd10d34c299b6fd545.jpg",[],{"id":4995,"slug":4996,"title":4997,"dynasty":59,"author":4351,"museum":553,"description":4998,"tags":4999,"thumbUrl":5000,"material":5001,"size":5002,"collection":81,"collections":5003,"showCount":4987,"zanCount":11,"manualWeight":54,"mainColor":109},221623,"tang-feng-tu-juan-quan-juan-ma-he-zhi-221623","唐风图卷全卷","《诗经·唐风》中的“唐”是指周成王的弟弟叔虞的封国所在地，大约在今天的山西太原以南沿汾水流域一带的地方，“唐风”就是这个区域的诗歌。宋高宗赵构非常喜欢马和之的画风，每写《诗经》就命其补图。此卷文图相辅，先文后图，文为《诗经·唐风》中的十二篇诗，每首诗文后附图，用柳叶描、线条飘逸、着色轻淡、古雅脱俗，体现出诗中的意境。",[23,24,64,25,138,94,27,30,95,33,97,32,7,122,199,227,119,100,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bf10a64d39a8cb339644e571e18d3f7.jpg","绢本，手卷","纵33厘米、横1038厘米",[81,49,51],{"id":5005,"slug":5006,"title":5007,"dynasty":18,"author":90,"museum":135,"description":1098,"tags":5008,"thumbUrl":5010,"material":229,"size":637,"collection":142,"collections":5011,"showCount":5012,"zanCount":11,"manualWeight":54,"mainColor":109},288067,"chui-diao-tu-shen-zhou-288067","垂钓图",[23,24,117,94,225,64,95,30,307,199,7,4365,306,100,119,5009],"隐逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5701209ee802812e6ba423e0fd68c748.jpg",[],76,{"id":5014,"slug":5015,"title":1344,"dynasty":18,"author":90,"museum":61,"description":1345,"tags":5016,"thumbUrl":5017,"material":335,"size":1348,"collection":142,"collections":5018,"showCount":5012,"zanCount":54,"manualWeight":54,"mainColor":109},234097,"wu-zhong-shan-shui-ce-shen-zhou-234097",[24,64,332,94,99,101,119,95,31,32,7,96,33,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe97c78df6684545aea53e3f99cba50f8.jpg",[],{"id":5020,"slug":5021,"title":5022,"dynasty":18,"author":90,"museum":135,"description":5023,"tags":5024,"thumbUrl":5025,"material":142,"size":142,"collection":142,"collections":5026,"showCount":5012,"zanCount":54,"manualWeight":54,"mainColor":109},228837,"zi-sang-yin-ru-tu-juan-shen-zhou-228837","紫桑隐如图卷","此作用笔温厚苍润，取景江南水村一隅。近岸篱舍环于木栅，垂柳初舒柔条，丹枫点染暖艳，柴门边家犬迎客，三两屋舍透出融融闲趣。湖面轻舟漾波，渔者撑篙送访客登岸，一动一静，鲜活勾勒乡居日常。\n山石以淡赭晕染，墨色层次雅致，屋舍人物简括生动，将林泉高致的隐逸之趣，揉入江南水乡的温润景致里，淡远冲和，尽显归园田居的恬然意韵。",[23,24,64,25,27,99,95,33,96,30,350,7,98,256,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1dd651f9864f373fed8f9382256e76e.jpg",[],{"id":5028,"slug":5029,"title":5030,"dynasty":344,"author":1527,"museum":152,"description":5031,"tags":5032,"thumbUrl":5033,"material":188,"size":5034,"collection":142,"collections":5035,"showCount":5012,"zanCount":54,"manualWeight":54,"mainColor":109},224479,"fang-zhao-meng-fu-shan-shui-zhou-wang-jian-224479","仿赵孟頫山水轴","王鉴最早从董源入手，1636年，39岁的王鉴结识了董其昌，由此开始深受董其昌影响，后承绪南宗正脉，并涉足擅长青绿山水的三赵 ( 赵令穰、赵伯驹、赵孟頫），绘画兼具其平生倾慕的赵孟頫、王蒙、董其昌三家之长。王鉴所谓的“仿”并非简单地模仿笔墨技巧、构图布局，而是重在表明自己的审美理想和创作思想，然后施之于画幅上，令其画独存灵逸之趣。",[23,24,64,225,2880,118,27,99,95,98,33,32,7,504,30,518],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F228e8ef62ddaeaa716374da839e86119.jpg","110×60cm",[],{"id":5037,"slug":5038,"title":5039,"dynasty":18,"author":5040,"museum":61,"description":5041,"tags":5042,"thumbUrl":5043,"material":714,"size":5044,"collection":83,"collections":5045,"showCount":5012,"zanCount":54,"manualWeight":54,"mainColor":55},222168,"xiang-jiang-feng-yu-tu-juan-xia-chang-222168","湘江风雨图卷","夏昶","画幅右上方自题图名《湘江风雨》，款“東吳夏昶仲昭筆”，钤“東吳夏昶仲昭書畫印”、“燕寢凝香”印二方。\n夏昶画竹，以其精深的功力和独树一帜的艺术风格名重一时。他一改前人画竹独幅数竿的表现形式，而用巨幅长卷描绘竹树的千竿万梢，同时还“延之以洲渚，加之以风雨”，更显浩浩荡荡，气势恢宏。他笔下的墨竹已不仅仅是简单的文人式的寄兴抒怀，，而且还于其自然的生长环境，在画中融入山水画的笔墨意境。此卷竹林随湘江两岸景致的变化而隐现，起自淡阔的沙洲，之后是平缓的坡陀，继而是坚硬的岩石，又入清冷的江水，再后是壁立的山崖，最后经急湍飞瀑、汩汩溪流而入山，竹树或整或零，或疏或密，老干新枝，各尽其态。画家充分利用了长卷的广度精心描绘出一种起伏张弛的流动性和情节性，实际上是传统墨竹与水墨长卷的结合。夏昶画竹，强调气韵，主张“一气呵成”，“画巨幅尤须如此”，此卷竹叶落墨即是，不见复笔，山石以斧劈皴法大笔侧锋挥扫而成，从首至尾，气脉通连飞动。\n卷后自跋中云此图作于“正統己巳（1449年）秋九月”，正值夏氏62岁出知瑞州之时，是其晚年墨竹长卷的代表作。",[23,24,64,25,94,99,95,543,98,7,168,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8755393eede68b1ee573bab7500c298.jpg","纵35厘米，横1206厘米",[83,5046],"竹石精选",{"id":5048,"slug":5049,"title":5050,"dynasty":18,"author":2519,"museum":61,"description":5051,"tags":5052,"thumbUrl":5053,"material":5054,"size":5055,"collection":105,"collections":5056,"showCount":5012,"zanCount":54,"manualWeight":54,"mainColor":55},221886,"za-hua-tu-ce-fang-li-tang-bi-yi-chen-hong-shou-221886","杂画图册-仿李唐笔意","本册共八开，每开均有作者题跋及款印。所画题材有山水、人物、花鸟，全以工笔写之。山岩之结构，花蝶之动态，人物形象之奇特，均已加入了画家个人之造型意念，精彩绝伦。其中一册，以变形夸张的手法表现古拙奇崛的特征，描写佛教传说中的罗汉拄杖坐于大石上，对面跪拜一人，衣饰长摆，异国情调，突出了装饰性趣味，图页上自题名为“無法可說”，颇具禅机。另一册《玉兰柱石图》，图右侧一太湖石竖立，玲珑剔透，紧靠石下伸出一支玉兰花，石另一侧后面也露出一支海棠花，花上一只彩蝶。画家把握住不同的物象特征进行描绘，湖石的稳重坚硬，衬托出花朵的轻盈柔美，浓重的色调托出了玉兰的洁白。画面层次清晰，设色明丽温和，在线条的表现形式上，均用细劲的墨线勾勒，刚柔相济，巧拙互用，于对比中求统一。\n从署款和绘画风格看，此图是陈洪绶中前期作品，为其代表作之一。",[23,117,24,64,332,27,99,29,95,98,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9093bddfe13cc837d377af14452eaabd.jpg","绢本、设色","纵30.2＊横25.1CM",[105,49,51],{"id":5058,"slug":5059,"title":5060,"dynasty":150,"author":292,"museum":5061,"description":5062,"tags":5063,"thumbUrl":5065,"material":47,"size":5066,"collection":105,"collections":5067,"showCount":5012,"zanCount":311,"manualWeight":54,"mainColor":55},218225,"qing-shan-hua-ge-tu-yi-ming-218225","青山画阁图","朵云轩","此图绘重峦之中的楼阁，游人漫步其中，凭栏远眺，两 只小舟荡于溪水之上。山石的画法受郭熙影响，界画楼阁手法工谨，当属职业画家所创作的山水楼阁画。",[24,64,866,27,118,99,1812,31,32,7,33,98,5064],"舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F460d65a40c463c3ffa5784432d4acd69.jpg","170x103cm",[105],{"id":5069,"slug":5070,"title":5071,"dynasty":18,"author":292,"museum":3325,"description":5072,"tags":5073,"thumbUrl":5074,"material":47,"size":5075,"collection":105,"collections":5076,"showCount":5012,"zanCount":54,"manualWeight":54,"mainColor":55},217911,"shan-zhuang-guan-he-tu-yi-ming-217911","山庄观鹤图","山庄观鹤图是明朝时期的一幅名画，作者是佚名画家。这幅画描绘了一座山庄，山庄周围群山环抱，绿树成荫，空气清新。在山庄的前院，有一只鹤正在观赏花草，显得十分和善。这幅画浓烈的山水意境，深刻地表现出了古人对自然界的敬畏和虔诚，同时也展现了明朝画家独特的画风和技巧。",[24,225,27,95,99,30,97,32,7,31,33,98,1287],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2fad8a02e60f7dc3edd0d39a2250f75.jpg","195.5x99cm",[105],{"id":5078,"slug":5079,"title":5080,"dynasty":631,"author":582,"museum":152,"description":4580,"tags":5081,"thumbUrl":5082,"material":404,"size":5083,"collection":142,"collections":5084,"showCount":5085,"zanCount":11,"manualWeight":54,"mainColor":55},289925,"yu-le-tu-zhou-jing-hao-289925","渔乐图轴",[24,225,94,99,95,256,255,199,7,140,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffda905b5bc4e53571550e7355ed79a2b.jpg","189.4x125.9",[],75,{"id":5087,"slug":5088,"title":5089,"dynasty":631,"author":774,"museum":135,"description":5090,"tags":5091,"thumbUrl":5092,"material":229,"size":637,"collection":142,"collections":5093,"showCount":5085,"zanCount":54,"manualWeight":54,"mainColor":55},288554,"xiao-xiang-tu-hua-xin-dong-yuan-288554","潇湘图画心","《潇湘图》中表现的是南方山水，图绘一片湖光山色，山势平缓连绵，山峦多用披麻皴，并以墨点渲染山峦之上的植被，平远的构图方式和近景中大片水域的结合，让画面有很强的空间感，更呈现出江南山水的迷蒙。山水之中又有人物渔舟其间，赋色鲜明，趣味横生，为寂静幽深的山林增添了无限生机。\n《潇湘图》被画史视为“南派”山水的开山之作 ，也是中国山水画史上代表性作品之一。",[23,117,24,64,25,94,95,7,96,256,119,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeebc0ca9167bf3b40bd6d5a6b3e8cc6.jpg",[],{"id":5095,"slug":5096,"title":5097,"dynasty":59,"author":222,"museum":135,"description":5098,"tags":5099,"thumbUrl":5100,"material":229,"size":637,"collection":142,"collections":5101,"showCount":5085,"zanCount":54,"manualWeight":54,"mainColor":640},287539,"xue-shan-lou-ge-tu-fan-kuan-287539","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。",[24,95,94,99,31,3445,7,98,33,2567],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f7164b3c1f63766c284a26f90276d03.jpg",[],{"id":5103,"slug":5104,"title":5105,"dynasty":18,"author":2519,"museum":135,"description":5106,"tags":5107,"thumbUrl":5108,"material":335,"size":142,"collection":49,"collections":5109,"showCount":5085,"zanCount":54,"manualWeight":54,"mainColor":55},237222,"chen-hong-shou-jin-jue-tu-juan-chen-hong-shou-237222","陈洪绶晋爵图卷","陈洪绶（1599年—1652年），字章侯，幼名莲子，一名胥岸，号老莲，别号小净名，晚号老迟、悔迟，汉族，浙江绍兴府诸暨县枫桥陈家村（今 明代著名书画家、诗人。\n年少师事 明亡入 一生以画见长，尤工 所画人物躯干伟岸，衣纹 花鸟等描绘精细，设色清丽，富有装饰味。亦能画 还长于为文学作品创作 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全图工笔和写意兼用，墨色清淡洗炼，并充分发挥渲染功能，使湖上晨霭晓雾和旖旎春光跃然纸上。",[23,117,24,64,25,94,95,31,96,7,97,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6099983a79040c7157e7afea0e72b08.jpg",[],74,{"id":5204,"slug":5205,"title":5206,"dynasty":344,"author":5207,"museum":135,"description":5208,"tags":5209,"thumbUrl":5210,"material":142,"size":142,"collection":105,"collections":5211,"showCount":5202,"zanCount":54,"manualWeight":54,"mainColor":109},237876,"yang-jin-fang-gu-shan-shui-ce-yang-jin-237876","杨晋仿古山水册","杨晋","杨晋 （1644－1728），字子和，一字子鹤，号西亭，自号谷林樵客、鹤道人，又署野鹤，江苏常熟人。山水为王翚入室弟子，尝与绘圣祖南巡图颇精。晚年每多率笔，未免苍而不润，神气便少。然农村景物则颇工，尤长画牛，多写意，夕阳芳草，郊牧之风宛然在目，兼及人物写真，花鸟草虫。每侍翚出游，翚作图凡有人物、舆轿、驼、马、牛、羊等皆命补之。又尝摹内府所藏名迹，作副本进御。卒年八十五。\n杨晋是清代宫廷画家，以画界画见长，他能恰到好处地发挥传统工笔界画的特长，把人工建筑的楼阁台榭及人物举止和天然山水景色紧密结合起来，在结构上作了极好的剪裁，满而不闷，画风细致明秀、娟丽清新，层次过渡非常自然。《石谷骑牛图》绘石谷悠然骑于牛背之上，神态安详平和，状写简逸传神。石谷即清代大画家王翚，也是杨晋的老师。",[24,64,332,27,95,99,29,32,7,140,240,122,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77e76ccbd855cb58e9845ece47e79c5f.jpg",[105,51],{"id":5213,"slug":5214,"title":5215,"dynasty":18,"author":19,"museum":135,"description":5216,"tags":5217,"thumbUrl":5218,"material":142,"size":142,"collection":142,"collections":5219,"showCount":5202,"zanCount":11,"manualWeight":54,"mainColor":55},228449,"tao-cun-cao-tang-chou-ying-228449","桃村草堂","《桃村草堂图》明代 创作的绢本设色画，现收藏于北京故宫博物院。\n该图画一老者襟带飘然，风度高雅。\n栖居环境十分优美雅适，高山流水，小桥人家，苍松翠柏，桃花盛开，白云缭绕，草堂幽雅，凉亭洁静，宛如人间仙境。\n整幅画意境如诗入仙，画法精细工瑾，细致入微。\n通幅大青绿着色，色彩艳丽深重。\n这幅画是把滴翠的石绿、秀雅的淡赭、温润的墨色，自然和谐地统一在一起，具有一种不媚不俗的艺术效果。\n图中信步在浓郁的树荫下者即项元淇，他侧身而立，身穿宽服大衫，面目清秀，襟带飘然，风度翩翩，显得十分儒雅，为此图中的主人公：此画以山水为背景，景物十分繁复，远处，高山叠幛，山峰林立，山巅屹立，高峰两侧山势相应较矮小，形成“山”字形，山峦间白云缭绕，更远处的山头隐约可见山涧飞瀑高悬，奔腾直泻，叠泉涌流，水花四溅，汇集下部溪水中，溪水湍流，潺潺流淌：中部为山石嶙峋，有的竖立，有的横卧，错落有致，山石间松柏挺拔，与杂树并茂，山腰、山坳处桃花绽开，几乎染红半山腰，呈现出一派浓浓的春意。\n在苍松翠柏丛中，在半山腰的平坡处，座落草堂屋宇数间，半掩于山坡奇石之间，在桃林中筑孤亭，亭中几席书籍清晰可见，草堂四周环境十分优美，凉亭洁净，正是读书吟诗的好场所，宛如人间仙境。\n小溪从亭旁缓缓流过，溪流小桥上有一童子捧着书卷而来，一人从林荫深处向溪边缓步前来，此人正是主人翁项元淇。\n另有二童子，一在溪边洗砚，一携包屋前。\n清代昆度在边题中称“此图在十父图中亦足称第一。\n” 董其昌题跋：“仇实甫临宋画无不乱真，就中学赵伯驹者，更有出蓝之能，虽文太史让费及矣，此图是也。\n” 款识：“仇实父为少岳先生制。\n”画幅左方有明项元汴题“季弟元汴敬藏”。\n裱边左、右有子固、董其昌二跋。\n下裱徐石雪长跋。\n又有项元汴、耿信公、清高宗等鉴藏印二十方。\n此图是仇英为项元淇所绘。\n项元淇，宁子瞻，丁诗文草书。\n这所桃村草堂是项元淇的居处所，仇英在4岁左右被大鉴赏家、收藏家项元汴请至家中，在项家住了十年之久，为项氏绘画和临摹了大量作品，此《桃村草堂图》便是其中之一幅。\n据徐石雪题跋考证，画中老者即为项元淇。\n由于作者为主人绘制，所以落墨、设色十分认真。\n章法采用传统的“高远”构图法。\n画幅中虽景物繁多，尤其崇山峻岭，山峦叠嶂，可是在画家笔下山峰脉络清晰，山石用传统的勾勒手法，兼用细密的皴法和墨色的烘染，使山石富于质感和立体感：全画设色艳丽浓重，又不失淡雅的韵味。\n此画成功之处，还于突出桃村草堂的主人公项元淇的形象。\n主人公项元淇虽在整个画面中占的比例很小，但画家巧妙地将主人公安置于画面下方正中，身穿白色宽服长衫，特别醒目。\n同时，又注意到人物之间的比例关系，使主人公很自然地融汇到大自然之中。\n同时，画家十分巧妙地在亭子中陈设书籍，及溪边童子洗砚和一童子捧书过桥的情节，以此来说明主人公是一个文人雅士。\n北京故宫博物院研究员单国强：《桃村草堂图》藏于北京故宫博物院，学“二赵”青绿法，精细鲜丽，呈晚年本色画风。\n该图经清内府收藏，后为徐石雪所得。\n未见著录。\n现藏于北京故宫博物院。\n仇英（约1498—1552），字实父，号十洲，江苏太仓人，明代杰出画家。\n仇英早年曾是个油漆工，后改学画，师周臣。\n仇英善于摹古，不拘一家一派。\n人物、鸟兽、山水、楼观、舟车之类，都是他常描绘的对象。\n他的画题材广泛，风格工整秀丽，深受当时地主富商的喜爱。\n仇英的人物画最为精妙，尤其是仕女图，既工设色，又善水墨、白描，能运用多种笔法表现不同对象，或婉转舒畅，或劲丽艳爽，创历史风俗的新格，画风流丽纤巧，在当时反响很大，与沈周、文征明、唐寅并称为“明四家”。\n代表作有《松溪论画图》《汉宫春晓图》《桃园仙境图》《玉洞仙源图》《春夜宴桃李园图》等。",[23,24,64,225,27,26,118,95,30,97,33,7,98,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74d7c8993b1840527a365334fa6a6479.jpg",[],{"id":5221,"slug":5222,"title":5223,"dynasty":59,"author":5224,"museum":135,"description":5225,"tags":5226,"thumbUrl":5227,"material":142,"size":142,"collection":142,"collections":5228,"showCount":5202,"zanCount":11,"manualWeight":54,"mainColor":55},227748,"wu-yun-lou-ge-tu-juan-zhao-bo-su-227748","五云楼阁图卷","赵伯骕","卷 绢本设色 纵：31.8厘米 横：297.2厘米 美国克利夫兰博物馆藏 赵伯骕的作品精工细密，色彩虽然金碧辉煌但不失清润活泼，山石皴染，树叶枝干适当运用水墨山水画法，并掺以文人画的“气韵”，其风格既有青绿山水的明丽，又有文人水墨画的雅逸。",[23,117,24,25,118,27,26,99,95,31,32,7,96,33,30,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47e6fc2b4dea5f5640fcca98811420e0.jpg",[],{"id":5230,"slug":5231,"title":5232,"dynasty":18,"author":19,"museum":61,"description":3656,"tags":5233,"thumbUrl":5236,"material":946,"size":3667,"collection":142,"collections":5237,"showCount":5202,"zanCount":54,"manualWeight":54,"mainColor":109},222189,"ren-wu-gu-shi-tu-zhuo-liu-hua-tu-chou-ying-222189","人物故事图-捉柳花图",[23,24,64,26,27,332,30,378,76,95,7,1759,5234,39,5235],"小孩","地面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00f4e6ab2a4ef0d6aec4e0ebef87e333.jpg",[],{"id":5239,"slug":5240,"title":5241,"dynasty":18,"author":19,"museum":61,"description":3656,"tags":5242,"thumbUrl":5243,"material":946,"size":3667,"collection":142,"collections":5244,"showCount":5202,"zanCount":54,"manualWeight":54,"mainColor":109},222186,"ren-wu-gu-shi-tu-nan-hua-qiu-shui-chou-ying-222186","人物故事图-南华秋水",[23,24,64,332,26,27,95,30,7,32,33,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa97b45609e2c083db0ccce468498ced4.jpg",[],{"id":5246,"slug":5247,"title":5248,"dynasty":59,"author":5249,"museum":2900,"description":5250,"tags":5251,"thumbUrl":5252,"material":47,"size":5253,"collection":81,"collections":5254,"showCount":5202,"zanCount":11,"manualWeight":54,"mainColor":109},219885,"ku-mu-xi-qin-tu-xu-dao-ning-219885","枯木溪禽图","许道宁","许道宁，北宋画家，生卒年不详，活跃于北宋初到北宋中期，长安（今陕西西安）人，又作河间 (今河北河间县)人。 许道宁擅长绘林木、平远、野水、秋江、雪景、寒林,并将这些自然景色和行旅、野渡、捕鱼等人文景观相结合,画风豪放，笔法简快潇洒,峰峦峻秀挺拔,山林强劲有力,幽林荒冷萧条。 传世作品有《渔父图》（又叫《秋江鱼艇图》）、《关山密雪图》、《秋山萧寺图》。",[24,94,27,95,255,3572,199,7,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a9597e31491ea2287ed2d24e604cb11.jpg","25.7x25.1",[81,368],{"id":5256,"slug":5257,"title":5258,"dynasty":344,"author":3047,"museum":61,"description":5259,"tags":5260,"thumbUrl":5261,"material":103,"size":5262,"collection":105,"collections":5263,"showCount":5202,"zanCount":54,"manualWeight":54,"mainColor":109},218467,"ming-shan-fang-sheng-tu-cha-shi-biao-218467","名山访胜图","层峦叠嶂间，小径蜿蜒探入深林，溪流穿石而过，泠泠水声漫过石桥。苍松翠竹错落，墨色浓淡相宜——淡染的远山隐在云气中，含烟带雾；近坡的茅屋隐约，似有隐士栖居，添几分幽寂。笔触疏朗灵动，皴擦见山石肌理，水墨晕染出空濛之境，尽显山林清旷之趣。整幅画如淡远的诗，将寻访名山的雅致与自然静谧融于尺幅，引人入胜，心向往之。",[23,24,94,99,95,97,32,7,33,227,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F768529aa0c136cf7b2f2fb8485abd65f.jpg","150×58cm",[105],{"id":5265,"slug":5266,"title":5267,"dynasty":18,"author":5268,"museum":135,"description":5269,"tags":5270,"thumbUrl":5275,"material":229,"size":637,"collection":142,"collections":5276,"showCount":5277,"zanCount":54,"manualWeight":54,"mainColor":109},235582,"yu-chuan-zhu-cha-tu-zhou-ding-yun-peng-235582","玉川煮茶图轴","丁云鹏","图中描绘出唐代名士卢仝煮茶的情景，是丁云鹏晚年创作的工笔精细画作。卢仝（约796—835年），济源人，祖籍范阳（今河北涿州），早年隐居少室山，自号玉川子，后移居洛阳。诗文俱佳，曾作《月蚀诗》以刺时政，得到韩愈的称赞。性好饮茶，所作《茶歌》中句多奇警。画面上的卢仝身着便服，头戴襆巾，手持羽扇，单腿盘坐于芭蕉前的青石上，背后怪石嶙峋，修竹碧绿，两名仆人在旁侍候。卢仝目不转睛地注视着火上的茶炉，全神贯注的神情被刻划得细致入微。画面花、竹、芭蕉笔笔刻画工整，怪石的阴阳、纹理交代清晰，赋色清淡冷隽，葱翠欲滴，闲和严静的幽雅气氛直扑人面。人物衣纹则用飘洒不群的高古游丝描，或清圆细劲的铁线描，以区别不同质地的衣料，显示出画家别具匠心之处。全图的绘画技巧变化多样而风格基调统一，人物神情生动，树石生机勃勃，笔法如行云流水，超然出众",[117,24,64,225,27,26,30,543,5271,5272,7,1068,5273,5274,39],"蕉叶","怪石","茶具","长袍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe1a43a9c64722e33546b4e6cdbb8bfa.jpg",[],73,{"id":5279,"slug":5280,"title":5281,"dynasty":18,"author":90,"museum":61,"description":5282,"tags":5283,"thumbUrl":5285,"material":142,"size":142,"collection":142,"collections":5286,"showCount":5277,"zanCount":11,"manualWeight":54,"mainColor":109},233788,"gui-hua-shu-wu-zhou-shen-zhou-233788","桂花书屋轴","这类将屋舍置于山林中的作品，寓意“尘远六街身世别”;又在书屋旁环栽秋桂、梧桐等，桂树风姿绰绰，书屋内所藏甚丰，堆满书籍的书桌旁侧坐一老者，一童捧物趋亭而至，情志恰如乾隆所题：“幽人结屋桂花阴，叶叶绿琼穗穗金。彼自悠然无世念，小山动我白驹心。”为诗人所津津乐道的隐逸生活，作为一种文化现象，在我国古代社会可谓源远流长。《易经》有云：“不事王侯，高尚其事”，儒家有“天下有道则见，无道则隐”。“邦有道则仕，邦无道则可卷而怀之”的待时之隐，老庄哲学有“道隐无名”思想，可以说，儒道思想分别为我国的仕宦文化、隐逸文化提供了哲学上的依据。在两种文化思维的相互碰撞、交融之下，中国士人每每被整合成“内道外儒”的人格类型，表现在士人的生存方式上就是“隐逸”。",[24,933,27,689,99,225,95,241,5284,4057,30,7,427,39,348,351],"桂花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4adb9b5e6ec91eec93c0bbe3a7175244.jpg",[],{"id":5288,"slug":5289,"title":5290,"dynasty":344,"author":5291,"museum":61,"description":5292,"tags":5293,"thumbUrl":5294,"material":258,"size":5295,"collection":368,"collections":5296,"showCount":5277,"zanCount":11,"manualWeight":54,"mainColor":109},233442,"ren-wu-shan-shui-ce-luo-pin-233442","人物山水册","罗聘","中国清代画家罗聘传世代表作。罗聘(1733～1799)，字遯夫，号两峰，又号花之寺僧，安徽歙县人。善画人物、佛像、花卉、山水。此图纸本，设色，纵24.2厘米，横30.7厘米。计12开：\n春柳行舟。一人站立船头。自书七言诗，并题:“冬心先生句并摹其用笔”。钤“两”“峰”印。\n春景山水。桃花盛开，一人站立桥头。自书七言诗，钤“罗聘私印”印。\n夜景山水。一人曳杖于池上行走。自书七言诗。钤“两”“峰”印。\n绿柳红桥。一人策杖立于树下。自书七言诗，钤“两”“峰”印。\n月波吹笛。自书冬心先生自度曲意。钤“遯夫”印。\n芦萍画舫。自题七言诗。印“罗两峰”印。土台流泉。二人松窗弈棋。自书七言诗。钤“遯夫”印。\n婡洎竹頭樤林僧人领鹤。自书七言诗。钤“遯夫”印。\n荷塘柳亭。自书冬心先生自度曲。钤“罗聘私印”。\n秋风落叶。一人独立空亭。自书七言诗。钤“罗聘私印”。\n晚风归舟。墨笔画。自书七言诗，钤“罗聘私印”。\n闭门赏梅。自书七言诗。款“广陵罗聘”,钤“两”“峰”印。\n无年款，似罗聘中年用心之作。\n后幅勒方锜题记。现藏故宫博物院。",[24,94,27,332,30,95,96,7,140,4096,378,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1a819271c2f702af1a4af64f0b7b134.jpg","纵24.2厘米，横30.7厘米",[368,105,51],{"id":5298,"slug":5299,"title":5300,"dynasty":344,"author":2309,"museum":135,"description":5301,"tags":5302,"thumbUrl":5303,"material":142,"size":142,"collection":142,"collections":5304,"showCount":5277,"zanCount":11,"manualWeight":54,"mainColor":109},230132,"zhang-lin-xiao-yao-tu-hong-ren-230132","长林逍遥图","此作用笔清劲方折，危崖如刀削斧拔般峭然耸立，留白晕染出山水疏旷空寂。近岸寒林虬枝孑立，木叶尽脱，尽显荒萧寒逸。平湖浅滩无波，远汀渔隐藏于空茫间，崖侧飞瀑隐于山石，幽淡含蓄。\n\n整幅以干笔淡墨写就，删繁去奢，将孤高冷寂的意趣寄于山水，脱尽烟火之气，静穆清逸间带着禅意，宛如遗世独立的幽境，观之涤荡心尘，尽显山水的雅净超然。",[23,117,24,64,225,94,99,95,255,171,168,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b461f26c82fb4c0466a95df1af5d932.jpg",[],{"id":5306,"slug":5307,"title":5308,"dynasty":59,"author":292,"museum":61,"description":5309,"tags":5310,"thumbUrl":5311,"material":5312,"size":5313,"collection":81,"collections":5314,"showCount":5277,"zanCount":54,"manualWeight":54,"mainColor":55},223563,"xi-shan-chun-xiao-tu-yi-ming-223563","溪山春晓图","旧传僧人惠崇所作。惠崇「工画鹅雁鹭鸶，尤工小景，善为寒汀远渚、潇洒虚旷之象，人所难到也」（北宋郭若虚语）。",[23,117,24,64,25,27,95,33,32,7,96,76,99,26,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc9802966519f6b19d2e432610d96478.jpg","絹本設色","纵24.5厘米，横185.5厘米",[81,105,83],{"id":5316,"slug":5317,"title":5318,"dynasty":18,"author":4601,"museum":61,"description":5319,"tags":5320,"thumbUrl":5322,"material":258,"size":5323,"collection":105,"collections":5324,"showCount":5277,"zanCount":54,"manualWeight":54,"mainColor":109},222223,"nan-xi-cao-tang-tu-juan-wen-bo-ren-222223","南溪草堂图卷","在明代吴门地区的绘画中，以名人的室名、别号为题材或描绘文人、官宦所居庄园、别墅景观的作品为数众多，此图即属于后一种。根据卷后王穉登所撰《重建南溪草堂记》可知，此图描绘的是江南望族顾氏的庄园“南溪草堂”重修后的景致。\n图中水道蜿蜒纵横，竹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s":5400,"thumbUrl":5401,"material":188,"size":5402,"collection":142,"collections":5403,"showCount":5384,"zanCount":54,"manualWeight":54,"mainColor":55},231834,"chang-jiang-wan-li-tu-qian-ban-juan-xia-gui-231834","长江万里图（前半卷）","画卷的前半段，以近平视的角度近景特写江岩块、林木，以及行的舟船，表现三长江峡险峻和波涛汹涌的痛痛\n后半段则是俯视和远观的角度以及江景的活动，沿途所见美景。\n从近逼观者的景物转换到辽阔空旷的范围，这种构图的方式具有戏剧性的效果。\n夏圭，字禹玉，钱塘人，生卒年不详，稍晚于马远，宁宗朝画院待诏。他的山水画在构图和笔墨技法方面与马远非常相似，因此画史上一向以马、夏并称 。夏圭作品的风格和马远接触共同点，又各有独特的境界。马、夏山水大量剪裁，全景拍摄而画边角之景，因被称为「马一角」、「夏半边」 。他们在艺术上的高度提炼，是对传统山水画的发展和深度。",[23,24,64,25,94,99,95,31,33,96,7,98,97,122,65,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bef87925daef2f4238cf1e2d9c3fcb8.jpg","该幅26.8x1115.3公分",[],{"id":5405,"slug":5406,"title":5407,"dynasty":59,"author":488,"museum":135,"description":5408,"tags":5409,"thumbUrl":5414,"material":142,"size":142,"collection":142,"collections":5415,"showCount":5384,"zanCount":54,"manualWeight":54,"mainColor":55},227546,"song-quan-pan-shi-tu-li-cheng-227546","松泉磐石图","《宋人松泉磐石轴》是宋代画家李成的画作，中国古画，访幅之题材与风格，属“松石格”之作品，描绘双松挺立于磐石上，两侧有枯木为伴，兼具寒林之景象。寒林之后隐约可见清涧折曲而来，至磐石处急泻而下，激起漩涡与浪花。",[24,2442,866,225,94,390,5410,2984,2043,7,5411,5412,5413],"枯木","清涧","浪花","漩涡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3403b986d1807ecdd059fbd28f5b4be6.jpg",[],{"id":5417,"slug":5418,"title":5419,"dynasty":344,"author":3202,"museum":5420,"description":5421,"tags":5422,"thumbUrl":5423,"material":258,"size":5424,"collection":105,"collections":5425,"showCount":5384,"zanCount":11,"manualWeight":54,"mainColor":55},222698,"shi-zi-lin-tu-juan-qian-wei-cheng-222698","狮子林图卷","加拿大阿尔伯特博物馆","画家以平铺式绘狮子林全景，园林内山石耸立，古木参天，道路蜿蜒崎岖，房屋掩映山石之中，廊亭依水而建，九曲婉转；远处云雾升腾，一片苍茫，如临仙境。",[23,24,64,25,27,95,99,26,100,101,119,98,31,32,7,97,33,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c6fe4918e5ed6590b2c6de0b736a8fd.jpg","187.3＊38.1cm",[105,51],{"id":5427,"slug":5428,"title":5429,"dynasty":344,"author":5430,"museum":3048,"description":5431,"tags":5432,"thumbUrl":5433,"material":659,"size":5434,"collection":105,"collections":5435,"showCount":5384,"zanCount":718,"manualWeight":54,"mainColor":55},222672,"tao-hua-yuan-tu-juan-huang-shen-222672","桃花源图卷","黄慎","内容乃据晋代陶渊明（365年～427年）文记《桃花源》之意绘制：开卷水天浩渺，烟笼沙洲。空中云积层岩，绝壁苍藤盘结。山麓碎石堆积成岗，延至奔溪冲折的山坳。洞口篷船空陈，艄公弃舟入洞。继而豁然开朗，进入桃花仙界：只见断岩亘空，桃林夹立。山谷幽深，水帘披挂。越过绵延起伏的山峦，于山角屏壁之后隐现桃源村落。村口札栅栏木门，有黄狗护院看守。村内环境幽雅，屋宇整洁，亭阁耸立，大道平坦。鸡犬呜跳嬉戏，幼童倚门张望。行人驻足寒暄，村民各司其事。妇女洒扫庭厨，牧童村外放牛。林后村舍相属，村外阡陌纵横。远处石桥如虹，通向无垠野地。村口场基之上，部分村民纷涌而至，前来迎接不速之客～捕渔翁。作者通过赞颂的笔调对传说中世外桃源美景进行理想化的描绘，从而寄托了自己不耐人间烟火、向往逃俗离垢的厌世情结。\n图后另纸附作者草书节录《桃花源记》及作者自撰五言诗一段：“……赢氏乱天纪，贤者避其世。黄绮之南山，伊人亦云逝。往迹浸复湮，来径遂芜废。相命肆农耕，日人从所憩，桑竹垂余阴，菽稷随时艺春蚕取长丝，秩熟靡王税，荒路暖交通，鸡犬亘鸣犬。俎豆犹古法，衣裳无以制，音孺纵行歌，班白观游诣，草荣识节和，木衰知风励。虽无纪历志，四时自成岁。怡然有馀乐，于何劳智慧，奇踪隐五百，一朝敝神界，凉薄既异源，旋复还幽蔽。借问游方士，焉测尘嚣外。愿言蹑轻风，高举寻吾契。乾隆甲申冬月镓，黄慎。”\n此图打破了传统人物画代代相承的铁线、兰叶、行云流水等“十人描法”限制而汲取南宁梁楷阔笔写意和明初渐派水墨人物草廊疾写的技法，结合坚实的运笔根度和写真基础，完全从塑造客观对象、具体特征的需要上出发，灵活地运用各种描法及草书的笔意趣味，下笔或渺如鸿毛飘落，或重似泰山坠石，时而中锋勾写、精刻细划，时而侧笔拖扫、意到笔略。描绘人物则造型轩昂，体态准确详写神略写貌、垂与意略写形，达到神情兼备、谈谐含蓄的境界。如此在技法上既超越了前辈梁楷过于简逸的现实之感，也克服了浙派人物空疏草率的缺点，在气音上则避免了“有其形音不生，得其气位不稳”的画工之弊；一扫文人雅士冲和溱远、颓唐纤比的陋习，使中国人物画的现实主义传统得到了很好的发展。图中岩石的画法则有元代倪瓒横折带皴法而层次更显丰富豪迈。寓清代袁江之骷髅皱而愈加凝炼劲爽。树法四面有枝，出于李成而极尽变化展姿，造型奇崛郁勃，精神发越外拓。作为衬景的山水，虚实远近安排有序、屋舍舟桥精工细写，比例视赏合理，令观者有身临其境之感。全图气息纯朴鲜活，风格洒俊逸，线条粗简活脱，时现枯笔飞白。色彩明丽润泽，气息纯朴鲜活。仿佛一帖墨酣笔畅的抒情草书。体现了黄慎作为职业画家，在造型的真实感上所具有超越其他同代画家的成就，具有士气而兼作家之气。",[23,24,25,27,99,120,31,7,96,30,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2af1485e8add576fe39965e2d112d3a5.jpg","纵38厘米，横349厘米",[105,51],{"id":5437,"slug":5438,"title":5439,"dynasty":344,"author":2459,"museum":91,"description":5440,"tags":5441,"thumbUrl":5442,"material":47,"size":5443,"collection":105,"collections":5444,"showCount":5384,"zanCount":11,"manualWeight":54,"mainColor":109},219846,"shan-shui-tu-ce-xie-sun-219846","山水图册","本册图绘乡间野外平常小景,笔墨秀雅,造境清幽.谢荪(生卒年未详),清代画家.字缃酉,又字天令,常住南京.擅长画山水、花卉,与龚贤、樊圻齐名,为“金陵八家”之一.写心。",[24,64,332,27,94,99,95,76,33,98,7,1080],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79324e826001e1ae611d0f3618e1a31f.jpg","14.2x19.2",[105],{"id":5446,"slug":5447,"title":5448,"dynasty":59,"author":954,"museum":152,"description":5449,"tags":5450,"thumbUrl":5451,"material":47,"size":5452,"collection":142,"collections":5453,"showCount":5384,"zanCount":54,"manualWeight":54,"mainColor":109},218570,"hua-niao-shan-shui-xiao-pin-ce-gu-ting-sui-bo-ma-yuan-218570","花鸟山水小品册-孤艇随波","分别绘茶花、牡丹、葡萄、桃子，色彩鲜艳，用笔精致。山水绘山阁远眺，策杖登高，孤棹泛波，意趣悠然。",[23,24,64,332,94,27,95,96,7,306,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30bca127934b361f3a0e08bbf5466c40.jpg","33*19",[],{"id":5455,"slug":5456,"title":5457,"dynasty":150,"author":5458,"museum":1841,"description":5459,"tags":5460,"thumbUrl":5461,"material":273,"size":5462,"collection":105,"collections":5463,"showCount":5384,"zanCount":718,"manualWeight":54,"mainColor":109},217990,"lin-ting-yuan-xiu-tu-tao-xuan-217990","林亭远岫图","陶铉","“林亭远岫图”是陶铉的代表作之一，是一幅山水画。这幅画以其精美的线条、细腻的笔触和丰富的层次感而闻名。画中，陶铉用浓密的线条勾勒出了山峰、悬崖、峡谷和溪流等山水景观。通过对色彩的运用，他将画面分成了几个不同的层次，使得画面看起来格外丰富。\n\n陶铉的“林亭远岫图”是元朝山水画的杰作，具有极高的艺术价值。它不仅是陶铉本人的代表作，也是元朝画坛的瑰宝。至今，“林亭远岫图”仍是中国绘画史上最著名的山水画之一，并被许多人所熟知和欣赏。",[24,64,94,225,95,99,97,348,241,543,98,7,350],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeb9601a60ed15025f72dd5d7116adea.jpg","58x31.7cm",[105,83],{"id":5465,"slug":5466,"title":5467,"dynasty":59,"author":954,"museum":135,"description":5468,"tags":5469,"thumbUrl":5470,"material":142,"size":142,"collection":142,"collections":5471,"showCount":5472,"zanCount":54,"manualWeight":54,"mainColor":262},227824,"qiu-jiang-dai-du-tu-ye-ma-yuan-227824"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铺展了一卷生机盎然的春日山居行乐图，尽显春日江南山野的悠然意韵。",[23,117,24,64,3658,118,27,95,30,32,7,66,33,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F485a6a80668b2daa57a22eff4e87382a.jpg",[],{"id":5545,"slug":5546,"title":5547,"dynasty":59,"author":5548,"museum":135,"description":5549,"tags":5550,"thumbUrl":5552,"material":5553,"size":5554,"collection":81,"collections":5555,"showCount":5519,"zanCount":11,"manualWeight":54,"mainColor":55},221599,"luo-han-xi-yi-gua-zhou-lin-ting-gui-221599","罗汉洗衣挂轴","林庭珪","整作以苍劲古松与幽寂崖谷铺陈出世外氛围，将罗汉洗衣的日常绘得意趣盎然。下方罗汉或俯身浣洗布帛、或用力拧绞衣物，动态憨朴自然，衣袂褶皱随动作舒展，质感写实入微。上方二僧持物旁观，神态松弛闲适，崖边悬垂的僧衣晕染出柔和的色彩层次，暗合僧家清简日常。\n\n笔墨兼具工致与写意，山石松木以浓墨勾勒皴擦，尽显苍浑老辣，罗汉面容细节刻画精细，褪去神像的肃穆高远，还原僧众山间悠游的烟火日常，在禅意与世俗意趣间寻得精妙平衡，尽显宋代人物写生的细腻共情与雅致格调。",[23,117,24,64,225,598,26,27,30,171,390,7,5551],"布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dc5e0c2176d701ed80a3ec70560fa41.jpg","立轴绢本","112.3x53",[81,49,51],{"id":5557,"slug":5558,"title":5559,"dynasty":150,"author":710,"museum":152,"description":5560,"tags":5561,"thumbUrl":5562,"material":5563,"size":5564,"collection":105,"collections":5565,"showCount":5519,"zanCount":54,"manualWeight":54,"mainColor":109},220811,"lin-quan-qing-qu-zhou-wang-meng-220811","林泉清趣轴","画山林密布，画瀑布从山涧飞下，击打岩石，云雾缭绕，从山下望去，是建在山上的房子，房子里的人都在山影里，都在院子里；书生走进亭子，身后跟着一个手拿着雨伞的少年，一个人站在书生身边，十分抢眼。",[23,24,64,225,94,99,95,97,33,98,7,76,168,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F180bf7a4cf1422c1d432b865bbfa11f2.jpg","纸、水墨","26.4x39.8公分、全幅 62.3公分",[105,83],{"id":5567,"slug":5568,"title":5569,"dynasty":18,"author":5570,"museum":3325,"description":5571,"tags":5572,"thumbUrl":5584,"material":47,"size":5585,"collection":105,"collections":5586,"showCount":5519,"zanCount":718,"manualWeight":54,"mainColor":109},219851,"xiao-xiang-ba-jing-tu-zhang-long-zhang-219851","潇湘八景图","张龙章","张龙章，字伯云，号古塘、武丘山樵，吴（今江苏苏州）人，生卒年不详。善画人物、骏马，不下赵孟頫。代表作品《穆王骏骥图》《风月梧柳图》《三教图》《潇湘八景图》。",[24,64,25,27,95,99,100,101,96,7,97,122,1001,530,256,32,5573,5574,5575,5576,5577,5578,5579,5580,5581,5582,2959,5583],"远浦","归帆","山市","晴岚","江天","暮雪","洞庭","夜雨","烟寺","晚钟","夕照","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F816a582fdb55abba3dd407013f0b0e7c.jpg","29x787.5cm",[105],{"id":5588,"slug":5589,"title":5590,"dynasty":18,"author":5591,"museum":61,"description":5592,"tags":5593,"thumbUrl":5594,"material":273,"size":5595,"collection":368,"collections":5596,"showCount":5519,"zanCount":54,"manualWeight":54,"mainColor":109},219358,"mu-niu-tu-li-lin-219358","牧牛图","李麟","画面串联起数幅牧牛小景：牧童牵绳引牛涉过浅溪，牛儿低首饮水；稚童持竿逗弄，牛儿仰头呼应；更有童子骑牛，随牛缓步林间。笔墨简淡却意趣盎然：牛身以淡墨晕染，憨态可掬；牧童身形虽小，衣纹寥寥几笔便勾勒出天真烂漫之态。背景树木疏朗，坡石浅淡，留白处似含悠然风致。整卷洋溢着田园的闲静与生机，将寻常牧歌化为清雅的笔墨图景，尽显文人画的恬淡意趣。",[23,24,64,25,94,3016,101,119,67,30,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F437ffc8e11b8b0d9721f2d41b9535d6b.jpg","纵34.2横156.2厘米",[368,83],{"id":5598,"slug":5599,"title":5600,"dynasty":59,"author":292,"museum":152,"description":5601,"tags":5602,"thumbUrl":5603,"material":47,"size":5604,"collection":81,"collections":5605,"showCount":5519,"zanCount":54,"manualWeight":54,"mainColor":109},218839,"song-xi-you-qi-tu-yi-ming-218839","松溪游骑图","画面描绘了一座横跨溪流的桥梁，高大的松树从溪流岸边的大窠中升起，露出农场的大门和农场的一角，主人正从春天的郊游中返回。这幅画与刘松年的画风相似，与故宫收藏的《四季山水卷》中的春景相似，可以确定是刘松年南宋画派的作品。",[23,24,117,64,95,27,99,271,7,66,98,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3922c2209b73b6b6fb69c2e5b68d4b33.jpg","23.1x25.8",[81],{"id":5607,"slug":5608,"title":5609,"dynasty":150,"author":877,"museum":152,"description":5610,"tags":5611,"thumbUrl":5613,"material":47,"size":142,"collection":105,"collections":5614,"showCount":5519,"zanCount":54,"manualWeight":54,"mainColor":109},218765,"xu-xie-ting-quan-tu-wu-zhen-218765","虚榭听泉图","枯树虬枝如铁，墨色浓淡交织间尽显苍劲老辣。山泉自崖壁倾泻而下，细流蜿蜒，泠泠水声似在耳畔萦绕。林下虚榭空寂，虽无人影，却恍若有隐者凭栏，静听泉石相和，心随流水悠远。远山以淡墨晕染，云雾轻笼，更添空濛之致。整幅画笔墨简淡却意境深幽，散发出元人特有的隐逸气度，于静谧中藏生机，于朴拙中见灵秀。不事雕琢的线条里，浸透着散淡超脱的情怀，引人沉浸其中，暂忘尘俗纷扰，尽享自然之趣。每一处墨色的晕染、线条的勾勒，都藏着对天地的敬畏与对本心的坚守，让观者在无声的画面里，听见心灵与自然的共鸣。",[23,24,94,99,95,97,5612,7,140,98,332],"泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fc9b3797243816d5b728fd7eeef1266.jpg",[105],{"id":5616,"slug":5617,"title":5618,"dynasty":59,"author":5619,"museum":135,"description":5620,"tags":5621,"thumbUrl":5622,"material":47,"size":142,"collection":51,"collections":5623,"showCount":5519,"zanCount":718,"manualWeight":54,"mainColor":55},218659,"xi-shan-ye-zhang-tu-zhu-yi-218659","溪山曳杖图","朱义","溪光映带间，楼阁凭水而立，飞檐轻挑流云。虬枝老干上素花堆雪，暗香似随溪风漫溢。崖岫间隐现小亭，与层岩苍松相映，添得几分奇崛。\n\n径边曳杖人缓步而行，衣袂沾着山岚清润，似在细品林泉幽意。远山如黛，烟岚轻笼，江天浩渺处归舟几点，将天地拉得宽闲。\n\n整幅画以淡墨皴染山水，用细笔勾勒亭台人物，素花的留白与山石的浓淡相映成趣。动静之间，藏着宋人的雅致风骨——于山水间寻幽，让身心与自然相融，每一处笔触都似在诉说文人心中的丘壑。\n\n没有喧嚣，只有溪声、松影与步履轻缓，将“天人合一”的意趣，凝在这一方扇面里。",[23,117,24,64,1551,27,95,30,97,32,7,2301,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf47ca4d9fab18381e6f16e1d10768a0.jpg",[51],{"id":5625,"slug":5626,"title":5627,"dynasty":18,"author":292,"museum":1164,"description":5628,"tags":5629,"thumbUrl":5630,"material":47,"size":5631,"collection":49,"collections":5632,"showCount":5519,"zanCount":718,"manualWeight":54,"mainColor":55},215030,"si-ma-guang-gui-yin-tu-yi-ming-215030","司马光归隐图","独乐园 是宋代司马光在熙宁六年（1073年）左右建造的，虽然不是什么宏伟的房子，但因为司马光在这里写了《资治通鉴》，苏轼等人也在这里写了诗，所以它就出名了。李格非的《洛阳名园记》描述了该园的 水笔、读书堂、鱼贯寺、药园 和 竹园。《竹园》、《看山台》、《浇花》中也对这七种景象进行了简单的描述。这张图片是对竹子种植园的故事的描述。画中的鲜活人物可与晋国的陶渊明媲美。",[23,24,27,26,30,1177,7,98,5009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd32007569961fc2242c4cd2050def5e9.jpg","76x136",[49],{"id":5634,"slug":5635,"title":5636,"dynasty":59,"author":222,"museum":135,"description":5637,"tags":5638,"thumbUrl":5639,"material":142,"size":142,"collection":142,"collections":5640,"showCount":5641,"zanCount":54,"manualWeight":54,"mainColor":55},227494,"shan-shui-tu-zhou-fan-kuan-227494","山水图轴","北宋晚期的《宣和画谱》收录有范宽画作58件，书画家米芾也在其《画史》中记载称见过真迹30件。\n\n目前其流传的作品仅有台北国立故宫博物院收藏的〈谿山行旅图〉为现今艺术史学家所公认。",[23,117,24,64,225,94,27,99,95,96,98,33,2206,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15199fa3c2e2bfaa83fb5e9e78f5236f.jpg",[],69,{"id":5643,"slug":5644,"title":5645,"dynasty":59,"author":292,"museum":135,"description":5646,"tags":5647,"thumbUrl":5648,"material":5649,"size":5650,"collection":81,"collections":5651,"showCount":5641,"zanCount":54,"manualWeight":54,"mainColor":55},223548,"luo-shen-tu-juan-yi-ming-223548","洛神图卷","曲折細緻而又層次分明地描繪着曹植與洛神真摯純潔的愛情故事。人物安排疏密得宜，在不同的時空中自然地交替、重疊、交換，而在山川景物描繪上，無不展現一種空間美。 全畫用筆細勁古樸，恰如“春蠶吐絲”。山川樹石畫法幼稚古樸，所謂“人大於山，水不容泛”，體現了早期山水畫的特點。",[23,24,64,25,27,26,101,119,30,95,33,98,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43d7b447c13366eb01191db07eb8dd9d.jpg","长卷 绢本 设色","28x699厘米",[81,49,51],{"id":5653,"slug":5654,"title":5655,"dynasty":18,"author":90,"museum":423,"description":424,"tags":5656,"thumbUrl":5657,"material":103,"size":429,"collection":142,"collections":5658,"showCount":5641,"zanCount":11,"manualWeight":54,"mainColor":109},220019,"dong-zhuang-tu-ce-zhi-zhe-gui-qiao-shen-zhou-220019","东庄图册之折桂桥",[23,24,94,27,332,95,32,7,543,140,38,30,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0e6c408cd67552c039d8fa8da7af631.jpg",[],{"id":5660,"slug":5661,"title":5662,"dynasty":150,"author":710,"museum":553,"description":5663,"tags":5664,"thumbUrl":5665,"material":103,"size":5666,"collection":105,"collections":5667,"showCount":5641,"zanCount":54,"manualWeight":54,"mainColor":109},219971,"tai-bai-shan-tu-wang-meng-219971","太白山图","图绘浙江鄞县太白山天童寺及其周围景物，尤其着重描绘天童寺前二十里夹径松林。画面中远岫层峦，溪流潺潺，人物往还其间，用笔松润，赋色淡雅。画心右上角有小字篆书“太白山图”四字，画尾钤“王蒙印”，近人研究认为此卷为王蒙晚年代表作。",[23,117,24,64,25,95,27,99,31,33,98,169,100,119,32,7,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe223493b23f8c837f2f01362ffb2077f.jpg","28x238.2cm",[105,51],{"id":5669,"slug":5670,"title":5671,"dynasty":18,"author":387,"museum":152,"description":5672,"tags":5673,"thumbUrl":5674,"material":103,"size":5675,"collection":51,"collections":5676,"showCount":5641,"zanCount":718,"manualWeight":54,"mainColor":109},219341,"yu-yu-chun-shu-tu-wen-zheng-ming-219341","雨余春树图","全幅中间为一条宽阔溪水，将其画面纵切成上、下两段，上段即画幅远处崇山叠嶂，山峰耸立，主峰两侧的山峰较矮小，隐约可见。中间山峰顶平壁峭，山上和山坡处树木成林，郁郁葱葱，山脚临河处座落着几间屋宇草舍，掩映在丛树荫下。河滩上有二位高士边闲聊边观赏风景。在溪水夹岸，即此画幅的下段，这是此幅画的主题。夹岸坡陀叠起，崎岖不平，有的坡陀伸展至水上，坡陀上长有几棵高大的松树和其他杂树。古松萧疏错落，坡陀上的平台相参，临溪处筑有一小亭，累见高士策杖优游，间吟望远悠闲自在，展现出一派隐逸文人的诗画境界",[24,64,27,95,241,97,7,98,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad5d61d2c68ecef13e5225b2f2d4ac4b.jpg","纵94.3厘米，横30.3厘米",[51],{"id":5678,"slug":5679,"title":5680,"dynasty":150,"author":4304,"museum":281,"description":5681,"tags":5682,"thumbUrl":5683,"material":273,"size":5684,"collection":105,"collections":5685,"showCount":5641,"zanCount":11,"manualWeight":54,"mainColor":109},217264,"dan-tai-chun-xiao-tu-lu-guang-217264","丹台春晓图","陆广是元朝时期的一位著名的画家，他的作品《丹台春晓图》是他最著名的一幅画。这幅画描绘了丹台山的景色，山上有云雾缭绕，树木葱茏，小溪流动，鸟儿在枝头鸣叫。这幅画的色彩鲜艳，线条流畅，构图巧妙，深受人们喜爱。\n\n陆广在这幅画中运用了自然写生的技巧，使画面栩栩如生，栩栩如生。他还运用了虚实对比的手法，使画面更加丰富多彩。此外，他还运用了一些中国传统的画法，如重彩和写意画法，使这幅画更加独特。\n\n陆广的《丹台春晓图》不仅是他最著名的作品，也是元朝时期著名的艺术杰作之一。它不仅体现了陆广的才华，也反映了元朝时期艺术的发展。现在，这幅画被广泛收藏和展览，并且被认为是中国传统艺术的杰出代表作之一。",[24,64,225,94,99,95,98,33,32,7,38,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb6a463b9955bf3520ee003ff8feb0ec.jpg","61.6x26cm",[105],{"id":5687,"slug":5688,"title":5689,"dynasty":344,"author":808,"museum":135,"description":5690,"tags":5691,"thumbUrl":5692,"material":142,"size":142,"collection":142,"collections":5693,"showCount":5694,"zanCount":54,"manualWeight":54,"mainColor":109},228985,"jiang-nan-chun-ai-tu-shi-tao-228985","江南春霭图","淡赭晕染坡岸，老松虬枝盘曲如盖，竹树掩映间藏着矮屋，漾出林下幽居的闲散意趣。远景山峦以干笔皴擦，再笼上淡墨轻烟，春霭漫过江天，扁舟孤悬水面，将江南春日空濛柔婉的景致晕染开来。\n\n整幅以松秀笔墨绘就山水灵韵，页面上下题满行书，笔势纵宕不羁，诗画相生合契，把江南春景的澹远幽恬尽藏其中。以简淡笔墨勾勒出山川自然之趣，又寄寓文人幽居的清雅襟怀，尽显山水与心神相融的文人画逸致。",[117,24,64,94,27,95,99,101,119,140,1397,97,32,7,96,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1398b65b6b1e8c394747527e5b645ab4.jpg",[],68,{"id":5696,"slug":5697,"title":5698,"dynasty":18,"author":1948,"museum":61,"description":5699,"tags":5700,"thumbUrl":5701,"material":5702,"size":4288,"collection":5703,"collections":5704,"showCount":5694,"zanCount":54,"manualWeight":54,"mainColor":109},221971,"lan-ting-xiu-qi-tu-quan-juan-wen-zheng-ming-221971","兰亭修契图全卷","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）。",[23,24,64,25,27,26,101,95,30,97,7,1711,543],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bb0d378f8205d4f6be244afbdc9303a.jpg","金笺地，设色","山水精选",[5703],{"id":5706,"slug":5707,"title":5708,"dynasty":59,"author":1354,"museum":61,"description":5709,"tags":5710,"thumbUrl":5712,"material":188,"size":5713,"collection":81,"collections":5714,"showCount":5694,"zanCount":54,"manualWeight":54,"mainColor":55},221426,"guan-shan-ji-xue-tu-yan-su-221426","关山积雪图","燕肃(991-1040)字穆之，一字仲穆，一署上谷，青州益都(今山东益都)人。文学治行，缙绅推之，胸次潇洒，巧思过人。真宗大中祥符间进士，官至龙图阁直学士，以礼部尚书致仕，人称“燕龙图”。工诗善画，以诗入画，意境高超，浑然天成，为文人画之先驱。善画山水寒林，与王维相上下。亦擅人物、牛马、松竹、翎毛，在京师太常寺、翰林学士院作屏风画，景宁坊寓所及睢、颍、洛等佛寺中都有其巨幅壁画(今皆湮没无存)。《宣和画谱》著录御府所藏其作品有《春岫渔歌图》《夏溪图》《春山图》《冬晴钓艇图》等37件。",[23,24,64,95,99,27,5711,240,241,32,7,97,119],"积雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff61c590823c9480548dd523165486396.jpg","40×30cm",[81,105,83],{"id":5716,"slug":5717,"title":5718,"dynasty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x 34.3 厘米",[105],{"id":5725,"slug":5726,"title":5727,"dynasty":59,"author":5728,"museum":152,"description":5729,"tags":5730,"thumbUrl":5731,"material":188,"size":142,"collection":81,"collections":5732,"showCount":5694,"zanCount":54,"manualWeight":54,"mainColor":109},219951,"xi-shan-wan-diao-tu-zhao-ji-219951","溪山晚钓图","赵佶","此作用平远之法铺展暮色溪山，淡墨晕染出山峦氤氲的烟霭，将黄昏的温润沉凝揉进层叠丘壑，山林在暮色里晕成朦胧黛色，漫出浑然的静谧。前景虬曲枯木苍劲古拙，疏枝横斜，暗合深秋荒寒意趣。右下角一叶扁舟随波轻漾，独钓渔翁静卧舟中，把幽寂闲适的隐逸之思铺陈开来。设色沉雅古穆，赭石淡晕铺就黄昏底色，将晚归溪山的空寂淡远尽数勾勒，将宋人寄情山水的澹泊襟怀藏在朦胧暮色之中，尽显清远萧散的文人意韵。",[23,117,24,64,332,27,99,95,96,306,255,98,7,1001,256],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63514bbaa1ed78f805a168466c561b14.jpg",[81],{"id":5734,"slug":5735,"title":5736,"dynasty":150,"author":292,"museum":152,"description":5737,"tags":5738,"thumbUrl":5739,"material":2109,"size":142,"collection":105,"collections":5740,"showCount":5694,"zanCount":54,"manualWeight":54,"mainColor":640},219179,"fang-song-ren-xue-jing-tu-yi-ming-219179","仿宋人雪景图","雪覆层岩，天地浸于清寂。山峦巍峨，积雪厚积处晕染得韵，山石轮廓以墨线勾勒，皴擦见骨，显峻峭之势。寒林枝桠虬曲如铁，向空伸展，似欲刺破冬云。涧水凝碧，蜿蜒穿石而过，清冽之态可感。山隅茅舍隐现，添几分人间气息，却未破山林幽寂。笔墨兼融宋工与元逸，于寒寂中藏生机，尽展冬日山林的幽远之趣，观之如临其境，心亦随之沉静。",[23,24,866,29,99,27,2567,98,255,7,76,348,1045,390,173,2043],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0292fcbd3b7c8dbf3f1351f9a5a7dc06.jpg",[105],{"id":5742,"slug":5743,"title":3431,"dynasty":59,"author":292,"museum":152,"description":5744,"tags":5745,"thumbUrl":5746,"material":273,"size":5747,"collection":105,"collections":5748,"showCount":5694,"zanCount":11,"manualWeight":54,"mainColor":109},218802,"xi-shan-xian-guan-tu-yi-ming-218802","这幅画描绘了一座山，上面有一条高高的、遥远的溪流。山的四角有水榭和亭子，渔民在溪水中垂钓，对世界的年龄漠不关心。这幅画是南宋时期的作品，但当你仔细观察其笔触时，它更像是吴镇的作品，或者是他的画派的画家。",[23,24,117,94,99,95,31,7,96,33,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67b516d907046bcbf6ec55b7114bf4e5.jpg","32.4x24.8",[105],{"id":5750,"slug":5751,"title":5752,"dynasty":18,"author":387,"museum":281,"description":5753,"tags":5754,"thumbUrl":5755,"material":47,"size":5756,"collection":105,"collections":5757,"showCount":5694,"zanCount":54,"manualWeight":54,"mainColor":55},218417,"bi-yin-zuo-diao-tu-wen-zheng-ming-218417","碧荫坐钓图","前景中的松树高大而紧密，松针参差不齐，一个男孩的仆人提着锅回村，一只白鹤望着敞开的大门，坡脚的岩石与水面之间。",[24,64,225,27,95,390,96,306,98,7,2206,256,99,26,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa42da8f8261a31fc6bd4174fd7e6ed3a.jpg","163x61cm",[105],{"id":5759,"slug":5760,"title":5761,"dynasty":344,"author":3047,"museum":3048,"description":3049,"tags":5762,"thumbUrl":5763,"material":27,"size":3052,"collection":105,"collections":5764,"showCount":5694,"zanCount":54,"manualWeight":54,"mainColor":3054},214194,"xie-qin-you-ju-tu-cha-shi-biao-214194","携琴幽居图",[24,64,25,94,27,95,99,32,7,97,98,33,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c24a38eb02628f19b29d63163ea0de4.jpg",[105],{"id":5766,"slug":5767,"title":3696,"dynasty":59,"author":209,"museum":135,"description":4457,"tags":5768,"thumbUrl":5770,"material":229,"size":637,"collection":142,"collections":5771,"showCount":5772,"zanCount":54,"manualWeight":54,"mainColor":55},289973,"xi-kou-chui-diao-tu-xia-gui-289973",[23,117,24,866,94,99,140,348,96,7,4365,256,5769],"静谧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a12db7647f64f711e5579f8564b24a7.jpg",[],67,{"id":5774,"slug":5775,"title":5776,"dynasty":59,"author":209,"museum":135,"description":5777,"tags":5778,"thumbUrl":5780,"material":229,"size":637,"collection":142,"collections":5781,"showCount":5772,"zanCount":11,"manualWeight":54,"mainColor":109},289837,"shan-shui-shi-er-jing-tu-xia-gui-289837","山水十二景图","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。",[23,117,24,25,64,94,95,96,7,170,1711,1078,5779,100,101,99,119],"江景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b2cda136703b84ead22be2bcf7e2b48.jpg",[],{"id":5783,"slug":5784,"title":5785,"dynasty":344,"author":5786,"museum":61,"description":5787,"tags":5788,"thumbUrl":5789,"material":5790,"size":5791,"collection":105,"collections":5792,"showCount":5772,"zanCount":11,"manualWeight":54,"mainColor":55},236108,"qiu-lan-fei-pu-tu-zhou-zhang-zong-cang-236108","秋岚飞瀑图轴","张宗苍","张宗苍（1686—1756年），字默存，一字墨岑，号篁村、蔗翁、太湖渔人，晚称瘦竹，吴县（今江苏苏州）人。师承清代娄东画派的传人黄鼎，擅画山水。初以主簿理河工事。清乾隆十六年 （1751年）高宗南巡，以绘《吴中十六景》画册敬献，称旨，命入都祗候内廷。十九年（1754年）授户部主事。其山水画用笔沉着，山石多加积染，表现出深远的意境，具有苍劲秀雅之风，深得高宗皇帝赏识，成为乾隆朝宫廷的重要画家。《石渠宝笈》著录画作116件。71岁时卒于故里。",[117,24,64,225,866,94,27,99,98,2832,169,31,33,7,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa28583d2a38165b70ad546df9ff0faae.jpg","绢本 ，设色","纵184cm，横117.7cm",[105,83],{"id":5794,"slug":5795,"title":5796,"dynasty":150,"author":412,"museum":152,"description":5797,"tags":5798,"thumbUrl":5800,"material":335,"size":5801,"collection":142,"collections":5802,"showCount":5772,"zanCount":11,"manualWeight":54,"mainColor":109},232260,"shu-lin-yuan-xiu-tu-ni-zan-232260","疏林远岫图","《疏林远岫图》水墨画河岸、疏树、竹林与房舍，对岸则山峦起伏。用笔多中锋，山石皴法以披麻为主，略有折带笔意。幅上有壬子（一三七二）年款，时七十二岁。然本幅题款，实摹自本台北故宫博物院藏倪氏真本《容膝齐图》。用笔亦无倪氏一代大家之健劲，系后代摹品。",[24,94,95,99,3610,5799,199,1177,33,7],"远岫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f623094ce155625ea685f495651d3f9.jpg","72.9x37.5厘米",[],{"id":5804,"slug":5805,"title":5806,"dynasty":18,"author":5807,"museum":152,"description":5808,"tags":5809,"thumbUrl":5810,"material":3300,"size":5811,"collection":105,"collections":5812,"showCount":5772,"zanCount":11,"manualWeight":54,"mainColor":109},221935,"xi-yan-tu-zhou-chen-luo-221935","洗砚图轴","陈裸","陈祼（公元1563~约1639年），初名瓒，字叔祼，后去掉“叔”字，号道樗、白室，江苏吴县（今江苏苏州）人。\n善画山水，远宗赵伯驹、赵孟俯﹝赵孟頫﹞诸家，近师文征明。摹古人笔法逼真，能工书。晚年居虎丘，以吟咏自娱。作品有《石梁飞瀑图轴》，《秋山高隐图轴》。\n所图必深林叠嶂，曲径回塘，以扇面为多。能诗工书，善行楷，晚年居虎丘，以吟咏自娱。传世作品有崇祯九年(1636)作《竹溪花坞图》轴，图录于《故宫书画集》；崇祯十一年(1638)作《山水扇面》，图录于《明代名人画扇集》。崇祯二年(1629)作《雪山行旅图册页》，表现雪山的手法学夏珪，画石用小斧劈皴，画树枝笔触多带有钉头，颇具匠心。曾由吴平斋收藏，后为南京十竹斋藏品。著有《妪解集》。",[23,24,64,225,27,99,95,390,76,168,98,351,30,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe91618ed8c738d3b3545416a0e57f159.jpg","122.4x51.5厘米",[105,83],{"id":5814,"slug":5815,"title":606,"dynasty":18,"author":267,"museum":152,"description":5816,"tags":5817,"thumbUrl":5818,"material":404,"size":5819,"collection":105,"collections":5820,"showCount":5772,"zanCount":54,"manualWeight":54,"mainColor":55},219837,"shan-shui-tu-dai-jin-219837","戴进以浙江地方传统水墨技法作为基，加上南宋院体画，又吸收元代李、郭派的精华。　幅中近景水亭两侧大石以斧劈皴法写之，主峰山势圆浑，造型由郭熙风格蜕化而出，然运笔则用小斧劈皴，余以淡墨大块烘染，浓墨点苔，森森密密，似马夏布墨之法，李郭、马夏风格两相融合，发展形成明初浙派风潮。画面左上有「钱塘戴文进写」六字，并钤「静庵」印记一方。",[24,64,117,99,94,27,95,32,7,96,97,33,168,30,98,225,173,170,349,42,609],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5184f9099fce9f5215427da498fc29cc.jpg","本幅 184.5x109.4公分",[105],{"id":5822,"slug":5823,"title":4360,"dynasty":150,"author":292,"museum":61,"description":5824,"tags":5825,"thumbUrl":5826,"material":47,"size":5827,"collection":105,"collections":5828,"showCount":5772,"zanCount":54,"manualWeight":54,"mainColor":55},218217,"qiu-xi-chui-diao-tu-yi-ming-218217","画中的渔夫端坐在边石上，手持鱼竿，凝视着水面，似乎随时都可能有鱼上钩。身后是一片葱郁的树林，秋天的色彩浓郁而温暖。水面上漂浮着几片落叶，显示出季节的变迁。\n\n整幅画流露出一种平和而悠闲的气氛，令人感到身心放松。这也是秋溪垂钓图的独特魅力所在。",[24,94,27,95,140,1397,199,7,30,306,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d078f22a1ebaa637bd9d0770e6f670d.jpg","26x23.7cm",[105],{"id":5830,"slug":5831,"title":606,"dynasty":150,"author":5832,"museum":152,"description":5833,"tags":5834,"thumbUrl":5835,"material":273,"size":5836,"collection":105,"collections":5837,"showCount":5772,"zanCount":718,"manualWeight":54,"mainColor":55},218166,"shan-shui-tu-yu-wen-gong-liang-218166","宇文公谅","宇文公谅，是元朝时期著名的画家，他的山水图作品以其精湛的写意风格和生动的自然描绘而闻名。宇文公谅的山水图作品多以自然风光为题材，用简单的笔触勾勒出了山川、河流、树木和花草的形态，并融入了自己的感悟和情感。他的山水图作品给人以舒适、自然的感觉，是元朝山水画的代表作之一。",[23,24,64,225,94,99,95,98,33,7,32,76,168,348],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9cd57f449a3caa29359ac4b9c9a3970.jpg","116.6x41cm",[105],{"id":5839,"slug":5840,"title":5841,"dynasty":59,"author":5842,"museum":152,"description":5843,"tags":5844,"thumbUrl":5846,"material":404,"size":5847,"collection":142,"collections":5848,"showCount":5849,"zanCount":54,"manualWeight":54,"mainColor":55},289562,"jing-ting-song-feng-tu-ma-lin-289562","静听松风图","马麟","图绘迎风高松三株，偃仰盘曲，宛若苍龙。枝干遒劲，山风阵阵，枝叶飘洒，藤条飞舞。一老者屈腿悠然坐于临岸松树下，衣襟微开，姿态随意，似侧耳聆听松涛，神气舒畅，有道骨仙风，一童执扇立于前。此画中树干用浓墨线密皴，用笔密实，细枝用线刚劲又不乏柔挺之意。山石用小斧劈皴，远山以线条勾勒后多用水墨渲染，使画面更为清润。人物衣纹劲利流畅，秀逸柔润。",[23,117,24,64,225,27,99,30,95,390,98,7,5845,3784],"松风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf04368e056b821d8008c1e1d3ddd623.jpg","226.6x110.3",[],66,{"id":5851,"slug":5852,"title":5853,"dynasty":344,"author":5854,"museum":135,"description":5855,"tags":5856,"thumbUrl":5857,"material":142,"size":142,"collection":105,"collections":5858,"showCount":5849,"zanCount":54,"manualWeight":54,"mainColor":55},238196,"he-lu-tong-chun-tu-juan-gao-qi-pei-238196","鹤鹿同春图卷","高其佩","高其佩（1660年—1734年，一作1672年—1734年），字韦之，号且园、南村、书且道人，别号颇多，另有山海关外人、创匠等。铁岭（今属辽宁）人，汉军镶黄旗人。清代官员、画家，指画的开山祖师。\n康熙时以荫由宿州知州迁四川按察使，雍正间擢都统，后罢去。工诗善画，所绘人物山水，均苍浑沉厚，尤善指画，晚年遂不再用笔。\n高其佩“扬州八怪李鱓”之师。其艺术才华出众，能诗、工画，他在细绢上所描绘的亭台楼阁、人物、花鸟、鱼虫等等，笔墨精细，设色艳丽，精妙绝伦。他在临摹了大量的前代名人作品，打下了深厚的根基之后，开创了一条新路。大胆地创造出了别具情趣的“舍笔而求之于手”的表现技法。秀水张浦山著的《国朝画征录》中记载：“高且园善指画，画人、山水花鸟、鱼虫、鸟兽，天资超迈，情奇逸趣，信手而得，四方重之”。高其佩指画有“叱石成羊”之妙，他创作山水、人物、花鸟、走兽时，均信手一挥而就，“倾刻数十幅，……无不绝人。”他一生的作画数量是惊人的。正如他侄孙高秉在《指头画说》一文中所述：“自弱冠至七旬，不下五、六万幅”。可惜其大部分早已失传。保存下来的多藏于各地博物馆，铁岭县文化馆过去曾存有春、夏、秋、冬四幅《竹》。上海出版社出版的《高其佩》（杨仁恺著）一书，对他的生活和创作道路做了详细的论述，指出他的最大贡献是：“标题材之新，立结构之异，对当时和后来绘画艺术都有一定影响。”",[23,24,25,27,95,99,122,32,7,96,97,98,168,33,1287,5135,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bd6322b4c7fb2b01aa3471df812ebcc.jpg",[105,51],{"id":5860,"slug":5861,"title":5862,"dynasty":150,"author":710,"museum":61,"description":5863,"tags":5864,"thumbUrl":5865,"material":335,"size":5866,"collection":142,"collections":5867,"showCount":5849,"zanCount":54,"manualWeight":54,"mainColor":109},233825,"xi-jiao-cao-tang-tu-zhou-wang-meng-233825","西郊草堂图轴","图中绘秋天平远景色。近岸草堂、竹篱掩映于树丛之中，岸边系舟，主人与妻子在屋中各行其是。院后湖面空阔，水波不兴，仅露一段岸角丛树，远山一带，渐远渐淡，没入天际。构图、用笔均较简洁，表现出了江南水乡秋季明净寥落的景色特征。\n深秋茂密的林阴下有茅舍数座，一老翁坐室内案旁读书，旁屋内二仕女侍读。门前清溪潺潺，小船停泊。屋后平湖汀渚，一叶轻舟载客行于湖心，打破了画面的沉寂。远方群山烟林，意境清幽。全图笔墨工细秀逸，构图新颖，为王蒙山水画优秀之作。",[24,64,225,94,27,99,95,350,33,98,7,2008,30,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06eebb0aebdc366ff00a27db47c4ad97.jpg","纵97cm ，横27.2cm",[],{"id":5869,"slug":5870,"title":5871,"dynasty":344,"author":2489,"museum":61,"description":5872,"tags":5873,"thumbUrl":5875,"material":258,"size":5876,"collection":142,"collections":5877,"showCount":5849,"zanCount":54,"manualWeight":54,"mainColor":109},233808,"ceng-yan-die-he-tu-zhou-kun-can-233808","层岩叠壑图轴","此图山峦重叠，结构饱满，一条山路顺山势自下而上蜿蜒曲折，使景物繁复而不迫塞，布局巧妙，具有“奥境奇辟，缅邈幽深，引人入胜”的意境。以干笔皴擦山石，浓墨点苔，气韵浑厚。用笔苍浑、老辣，用墨层次丰富，展现了石谿极具个性的绘画风格，是代表石谿成熟画风的杰作。",[24,64,225,95,94,99,27,4894,5874,168,32,7,348,503,33,98,31,518,97],"叠壑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F741b209c7c58099e2e9ad6724a3f19a9.jpg","纵169厘米，横41.5厘米",[],{"id":5879,"slug":5880,"title":5881,"dynasty":18,"author":645,"museum":135,"description":3782,"tags":5882,"thumbUrl":5883,"material":229,"size":637,"collection":142,"collections":5884,"showCount":5849,"zanCount":718,"manualWeight":54,"mainColor":109},228480,"shi-shan-mian-tang-yin-228480","诗扇面",[23,117,24,64,1551,94,27,99,390,98,30,7,100,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F428870f13c665e4f89795e5b5dc817a0.jpg",[],{"id":5886,"slug":5887,"title":5888,"dynasty":18,"author":19,"museum":135,"description":5889,"tags":5890,"thumbUrl":5891,"material":142,"size":142,"collection":142,"collections":5892,"showCount":5849,"zanCount":11,"manualWeight":54,"mainColor":55},228430,"jiang-shan-zao-chun-tu-juan-chou-ying-228430","江山早春图卷","此卷以青绿敷色晕染山峦，石青浅绛晕出早春烟岚空濛之态，平远构图铺展百里江南。层峦如螺黛迤逦，汀渚蜿蜒如带，茂林村居散缀江畔，渔舟横波独行，将早春清灵秀雅尽数铺陈。\n\n笔墨工致细腻，青绿设色古雅妍丽却无俗艳之感，远山轻描淡写含黛色，近树苍劲已带新翠，茅庐隐于林泉，尽显逸世幽居之趣。画作融院体精工与文人山水淡远意境于一体，暗藏清寂悠然，将山水静穆与早春生机相融，引人身临其境，静赏江南早春的温柔诗意。",[23,24,64,25,26,118,27,99,95,2256,33,31,32,7,2075,2683],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff08aa96f29fa17783d88d6937cda876e.jpg",[],{"id":5894,"slug":5895,"title":5896,"dynasty":150,"author":2084,"museum":20,"description":5897,"tags":5898,"thumbUrl":5899,"material":1119,"size":5900,"collection":105,"collections":5901,"showCount":5849,"zanCount":54,"manualWeight":54,"mainColor":55},221757,"jiang-xiang-yu-yin-sheng-mao-221757","江乡渔隐","画中群山连绵，一片苍茫。近处山水相连，绿树仓翠，岸边草房几间，人影绰绰。盛懋，字子昭，元代画家，善画人物、山水、花鸟等，其画山石多用批麻皴或解索皴，笔法精整，设色明丽。",[23,24,117,25,94,99,95,32,7,96,33,38,256,122,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa1aeb0c302856d82e072cfb3e1d3015.jpg","30.8x475.3cm",[105,83],{"id":5903,"slug":5904,"title":5905,"dynasty":150,"author":877,"museum":152,"description":5906,"tags":5907,"thumbUrl":5908,"material":213,"size":5909,"collection":105,"collections":5910,"showCount":5849,"zanCount":54,"manualWeight":54,"mainColor":109},220772,"jia-he-ba-jing-tu-wu-zhen-220772","嘉禾八景图","嘉禾八景图卷：纸本墨笔，现藏台北故宫博物院，65岁时作。嘉禾八景图是吴镇一幅非常有名的作品，它既是中国画横幅的范作，又是真实地点的写照，画了从嘉兴到魏塘的八个风景点：空翠风烟、龙潭暮云、鸳湖春晓、春波烟雨、月波秋霁、三闸奔湍、胥山松涛、武水幽澜，其中一些景点至今尚存。此幅原为美国私人收藏，后捐献台北故宫博物院。\n元代是绘画发展的一个重要阶段，是中国绘画艺术的转折点，明清绘画主要就是继承和发展了元画的传统，而吴镇的绘画在元画史上有着重要意义。一方面，他拓宽了题材的形式，另一方面，以黄公望、吴镇、王蒙、倪瓒为代表的元四大家，将文人画推向了成熟期。\n《嘉禾八景图》是吴镇一幅有名的作品，现藏台北故宫博物院。因为嘉善地方比较小，在元代的时候并没有嘉善这个地方，嘉善和嘉兴统称为嘉兴府，又因嘉兴的简称为禾，故在这幅作品中，吴镇画的应是当时从嘉兴到嘉善魏塘的八个风景点：空翠风烟、龙潭暮云、鸳湖春晓、春波烟雨、月波秋霁、三闸奔湍、胥山松涛和武水幽澜。\n这幅画最大的特点就是一段文字一段图画，画中各地名又一一标出，吴镇除了对这八个景点作了总括之外， 还对每一个景点的地理位置和概况都作了说明和介绍。\n随着历史的发展和变迁，嘉善在明宣德五年（1430）春建县，嘉禾八景中各景点的地理位置归属也发生了一定的变化。在这八景中，前七个景点都位于嘉兴（由于年代久远和经济建设的大力发展，这些古迹大多数都已经不复存在），只有最后一个景点——武水幽澜，画的才是嘉善魏塘镇上的风景。在作品中，我们很容易地可以发现一个高高矗立的宝塔——泗洲塔，据说泗洲塔原本先被烧毁了一部分，后来在“文革”时期就被全部拆毁了。但图中的幽澜井泉至今尚存，像前几年我们当地喝的地下水就出自于幽澜井泉。关于《嘉禾八景图》中的幽澜井泉：据有关档案史料记载，原来幽澜泉古已有之。文字记载如下：“幽澜泉，在县治东二里景德寺内，旧名景德泉。品居惠山之次。泉有三异：大旱不涸，煮茶无滓，盛暑经宿而味不变。故老相传：昔有僧夜坐，忽一女子过之，容色甚丽，僧叱曰：窗外谁家女？女应声曰：堂中何处僧？僧起逐之，女投入地，掘之得清泉一泓，湛然可爱，有石刻幽澜二字，遂以名泉，岁岁沉埋，何玉史清，补刻“幽澜”二字。僧复作亭于泉上，名幽澜泉。如今的幽澜井泉位于嘉善魏塘镇小寺弄29-30号，泉深约15米，井圈为椭圆形，花岗石，内径分别为0.67米、0.52米，井壁用青石砌筑成六角形。清光绪《嘉善县志》记载：幽澜泉在景德寺内，清咸丰十年（1860）景德寺遭兵燹，但泉独存。2004年1月已被列为县级文物保护单位。\n《嘉禾八景图卷》虽然画于一长卷上，但景与景之间却各个分离。同时，在这幅作品中吴镇相当注重远近距离的表达，或由位置，或由墨色，或由线条的粗细、造型的变化来显示景物间的距离、物体的厚度。其中的景物非不多，但景物虽丰，安排自各成大段落，井然有序中又不致零乱涣散，塑造的是烟波浩淼，峰峦隐现，清旷野逸之景趣。作品中吴镇的线条沉郁稳健，在笔中表现丰富的墨韵，颇见其个性。与此同时，吴镇在画中还融入了书法的笔意，追求诗的意境，并且把这一切都发挥得淋漓尽致。《嘉禾八景图》既是中国画的横幅范作，又是对真实地点的写照，表明了作者的地理知识和对环境的熟识，这在七百多年前是很一件很不简单的事情。\n吴镇既重视传统，又重视创新，不仅在艺术上刻苦钻研，以独具特色的绘画风格，丰富和发展了水墨山水画的艺术表现经验与技法。同时，吴镇还具备文学、地理、历史等方面的知识和修养，因而他创作的诗、书、画三绝的作品就能达到如此高度的艺术成就，并以独特的艺术形式对后世产生了巨大的影响，这决不是得之于偶然的。\n突破逆境的困顿，远离尘俗的竞逐，潜心书画五十年，成就一代名家，这就是吴镇给予我们的启示。\n明代李日华评论说：“仲圭此制，全学 范宽长江万里图，以点簇作小树，借树作围绕其间，断续远近，层数稠密，一以树为眉目。而城堞 楼台，特标帜之。生发秀润，真有百里见纤毫之意。”此图把当时的嘉兴名胜古迹尽收一幅，也是宋元嘉兴风光现存的唯一写照。",[23,24,64,25,94,95,99,101,295,119,31,32,7,97,333,33,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5a7e7c58bfe64e3888842700e85dc37.jpg","本幅 37.5x566公分、引首 30.9x97.5公分、拖尾一 36.6x78公分、拖尾二 37.8x112公分",[105,83],{"id":5912,"slug":5913,"title":5914,"dynasty":18,"author":1254,"museum":281,"description":5915,"tags":5916,"thumbUrl":5919,"material":103,"size":5920,"collection":105,"collections":5921,"showCount":5849,"zanCount":54,"manualWeight":54,"mainColor":55},220069,"gang-lan-song-shan-tu-dong-qi-chang-220069","冈岚松杉图","此图写茂林烟树，平坡浅屿之间，有村舍水榭隐现于崖边江尾。村后危峰矗起，高耸入云。山谷中飞泉奔突，大江远处，烟云弥漫，青山如黛，若在有无之间。画用巨然长披麻湿笔晕染。林际崖上，一片郁葱，仿佛被宿雨洗净，朝霞染过。崇祯元年戊辰，董其昌闲居江南，悠游湖山，耽于书画，正是艺术大成之时。此图画得轻松恬静，浑沦一体，右上所题自作诗，亦写出他功成名就乐于安闲自适的心态。读之令人入静。",[23,24,94,99,225,689,95,271,5917,32,7,171,33,5918,609],"杉","山间","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F920bbb078aefd69fbac671fd7cb3446f.jpg","122×57",[105],{"id":5923,"slug":5924,"title":5925,"dynasty":344,"author":5430,"museum":316,"description":5926,"tags":5927,"thumbUrl":5928,"material":273,"size":5929,"collection":105,"collections":5930,"showCount":5849,"zanCount":11,"manualWeight":54,"mainColor":55},219762,"jiu-long-tan-jia-chao-tu-huang-shen-219762","九龙滩驾潮图","一位纤夫露出正脸，虽然他的眉眼五官刻画十分简单，却依然可以感受到他使出浑身力气，坚定不移的神情和姿态，似乎在这险滩之上，能清楚听到他一边喊着船工号子，一边吆喝着同行的伙计，凭借多年经验征服这险境，自信满满。\n都说眼睛是心灵的窗口，古人写意传神，正是这眼眸眉目最为关键画龙点睛的道理妇孺皆知，古画中每个人物的一个眼神，一颦一笑，都饱含着他们最为真实的情愫",[23,24,94,99,95,96,7,33,171,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad659f0445c5015ff40352ba6ebce03a.jpg","纵90横119.8",[105],{"id":5932,"slug":5933,"title":5934,"dynasty":59,"author":954,"museum":152,"description":5935,"tags":5936,"thumbUrl":5937,"material":47,"size":5938,"collection":49,"collections":5939,"showCount":5849,"zanCount":54,"manualWeight":54,"mainColor":55},219611,"song-quan-shuang-niao-tu-ma-yuan-219611","松泉双鸟图","画士人执拂麈坐于松根，溪涧泉石环绕于前，双鹊低飞饮啄，生意盎然。水色烟岚气氛，画面留出空白，表现旷阔之空间及浓郁诗意。人物衣纹细笔勾勒，松石简笔浅触。以斧劈皴表现坚石挺劲，松树枝桠笔势斜偃劲疾，有如屈铁，故有拖枝马远之称。",[23,24,117,27,26,99,390,2983,122,30,98,7,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fbf9bf28988f8ff5408f7b8b0a37cf5.jpg","26.8x53.8cm",[49],{"id":5941,"slug":5942,"title":5943,"dynasty":150,"author":5944,"museum":152,"description":5945,"tags":5946,"thumbUrl":5949,"material":94,"size":142,"collection":105,"collections":5950,"showCount":5849,"zanCount":11,"manualWeight":54,"mainColor":109},219004,"xi-shan-yan-yu-tu-gao-ke-gong-219004","溪山烟雨图","高克恭","烟岚轻笼层岫，云气漫洇溪谷，远山如黛隐现于濛濛雾色，近树似簇点染于湿润墨痕。淡墨晕染出空濛之境，浓墨点苔显苍劲之姿，米家云山的氤氲与董巨山水的浑厚相融，笔意松秀却不失沉雄。山水间无喧嚣，唯有烟霭流动的静谧，仿佛能闻涧水潺潺，听松风低语，尽显元人寄情林泉的隐逸之思。墨色的浓淡干湿交织出自然生机，虚实之间见真意，将烟雨溪山的空灵悠远凝于尺幅，耐人细细品咂。",[23,24,64,94,99,95,33,169,5947,7,98,868,5948],"烟雨","朦胧意境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa16e73635975b8a8581b616cd3fd5575.jpg",[105],{"id":5952,"slug":5953,"title":5954,"dynasty":344,"author":5161,"museum":135,"description":5955,"tags":5956,"thumbUrl":5958,"material":47,"size":5959,"collection":49,"collections":5960,"showCount":5849,"zanCount":54,"manualWeight":54,"mainColor":109},218288,"qiu-lin-dui-yin-tu-ren-yi-218288","秋林对吟图","秋林如染，丹红似火的枝桠与橙黄若霞的树冠交叠，墨绿深影衬出沉郁，青蓝树影添了清奇。虬曲树干上斑驳树瘤如岁月印记，苍劲中藏着灵动。林间两人对吟，衣袂轻扬间似有清声随林风漫溢，闲逸之态与秋林绚烂相映成趣。笔墨兼具工致与写意，树色浓淡、枝干皴擦透着自然生机；人物简笔勾勒，更显文人雅集的悠然。整卷将秋的浓郁与人文之趣融于一体，观之如临其境，仿佛触到林风温润，听见诗句回响。",[23,24,27,1758,867,30,95,7,3016,26,2321,1245,5957],"虬干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff74afa578b5504f46957f28934b0ca53.jpg","144x77.5",[49],{"id":5962,"slug":5963,"title":5964,"dynasty":18,"author":90,"museum":135,"description":1098,"tags":5965,"thumbUrl":5967,"material":229,"size":637,"collection":142,"collections":5968,"showCount":5969,"zanCount":54,"manualWeight":54,"mainColor":109},289752,"jing-kou-song-bie-tu-juan-shen-zhou-289752","京口送别图卷",[117,24,25,866,94,99,7,96,31,33,98,5966,119],"送别","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea161e0d4c00caea203450d2b1512ba6.jpg",[],65,{"id":5971,"slug":5972,"title":5973,"dynasty":59,"author":209,"museum":135,"description":5974,"tags":5975,"thumbUrl":5976,"material":229,"size":637,"collection":142,"collections":5977,"showCount":5969,"zanCount":54,"manualWeight":54,"mainColor":109},288428,"xi-shan-qing-yuan-quan-juan-xia-gui-288428","溪山清远全卷","描绘了江南晴日的湖山景色，图中有群峰、山石、茂林、楼阁、长桥、村舍、茅亭、渔舟、远帆，勾笔虽简，但形象真实。且景物变化甚多，时而山峰突起，时而江流蜿蜒，不一而足，但各景物设置疏密得当，空灵毓秀，富有节奏感和韵律感，达到了所谓的“疏可驰马，密不通风”的境地。",[23,24,25,94,866,99,95,98,33,504,7,32,100,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce2e7ac0afedc23fcf6291490a68ee6a.jpg",[],{"id":5979,"slug":5980,"title":5981,"dynasty":344,"author":2489,"museum":61,"description":5982,"tags":5983,"thumbUrl":5984,"material":714,"size":5985,"collection":105,"collections":5986,"showCount":5969,"zanCount":11,"manualWeight":54,"mainColor":109},222666,"yu-xi-shan-gen-tu-zhou-kun-can-222666","雨洗山根图轴","此幅作于清康熙二年（1663年），时画家52岁。画家以爽快的笔法画出雨后山川清新怡人的景色。画中突出表现林叶低垂、瀑布奔流、溪水浸润及云雾流动这些和雨水密切相关的景象。构图繁密严谨，用笔娴熟苍健，意境悠远深邃。",[23,24,64,225,94,99,95,33,76,96,7,98,351,140,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03932682651547307896f5d9c08b293b.jpg","纵103厘米，横59.9厘米",[105,83],{"id":5988,"slug":5989,"title":5990,"dynasty":18,"author":5991,"museum":61,"description":5992,"tags":5993,"thumbUrl":5998,"material":946,"size":5999,"collection":368,"collections":6000,"showCount":5969,"zanCount":54,"manualWeight":54,"mainColor":55},222456,"liu-qin-bai-xian-li-zhou-wang-zhao-222456","柳禽白鹇立轴","汪肇","《柳禽白鹇图》绘溪水奔流，浪花翻滚，岸边青草依依，两只白鹇一俯一仰，悠然闲憩。一株杨柳，枝条倒垂，随风飘动；柳畔桃花盛开，数只燕子翻腾嬉戏于柳枝之间，充满早春气息。白鹇画法工细，形象写实，生动传神。羽毛色彩，对比鲜艳。此图工写结合，造型生动自然，色彩丰富，与画家粗简放逸之风有所不同。",[23,117,24,64,225,788,27,26,5994,122,5995,5996,5997,120,7,3573],"工写结合","燕子","白鹇","杨柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeb9797ae11c53f7557aad5da268f564.jpg","纵190，横103",[368,51],{"id":6002,"slug":6003,"title":6004,"dynasty":150,"author":5944,"museum":152,"description":6005,"tags":6006,"thumbUrl":6007,"material":6008,"size":6009,"collection":105,"collections":6010,"showCount":5969,"zanCount":54,"manualWeight":54,"mainColor":55},221690,"hua-chun-shan-qing-yu-zhou-gao-ke-gong-221690","画春山晴雨轴","高克恭（1248－1310），号房山。其先回鹘人，占籍大同，后居武林。字彦敬，号房山老人，仕至刑部尚书。画山水，学米氏父子，造诣精绝。后学董源、李成、巨然笔法，专取写意气韵，亦擅长墨竹。高克恭画盛名盖世，而流传作品不多。此幅画溪边小景，云影满山，用笔含蓄凝练，用墨温婉蕴藉，突出宁静的氛围。",[23,24,225,94,27,99,95,240,821,241,390,7,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcbf1df459b73c36527176870aa88973.jpg","绢本浅设色","125.1 x 99.7cm.",[105,83],{"id":6012,"slug":6013,"title":6014,"dynasty":59,"author":4351,"museum":61,"description":6015,"tags":6016,"thumbUrl":6017,"material":79,"size":6018,"collection":81,"collections":6019,"showCount":5969,"zanCount":718,"manualWeight":54,"mainColor":55},221621,"hou-chi-bi-fu-tu-juan-ma-he-zhi-221621","后赤壁赋图卷","马和之，生于北宋，生卒年代均未见记载，钱塘（今浙江杭州）人。主要活动于北宋末至南宋初期。南宋高宗绍兴年间（1131—1162年）中进士第，官至工部侍郎。工画山水、人物、佛像，风格独特，笔法飘逸高古，迥异于南宋院体画法，时人目为“小吴生”。在表现山水、人物时，他更多地融入了一些书法的笔趣，古朴自然，务去华藻。 有一种说法认为马和之是南宋画院画家，然而，根据目前所知资料，两宋画院画家自有其品秩，而无进士及第任官后尚充任画院画家者。此外，马和之的画风与院画的总体面貌也有相当大的差距。马和之宗法北宋李公麟而有所变化，表现人物所用线条较为短促，运笔迅疾，兰叶描已变为后世所称之“蚂蝗描”。因此，马和之不是南宋画院的宫廷画家，他以“艺精一世，命之总摄画院事”是有一定可能性的，但却并非服务于宫廷的职业画家，而应与李公麟等文人画家并列。",[23,117,24,64,25,138,94,27,95,30,96,140,530,7,122,199,101,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2801bdf3627f78244e282c2b010bc00.jpg","25.9*143cm",[81,105,51],{"id":6021,"slug":6022,"title":6023,"dynasty":18,"author":2243,"museum":6024,"description":6025,"tags":6026,"thumbUrl":6027,"material":47,"size":6028,"collection":105,"collections":6029,"showCount":5969,"zanCount":11,"manualWeight":54,"mainColor":55},219979,"qiu-shan-du-shu-tu-zhao-zuo-219979","秋山读书图","武汉博物馆","此作用高远、平远构图铺展秋山胜景，山峦层叠浑厚，以淡墨皴擦间杂赭石晕染，晕开秋山苍润暖意。近林木虬枝疏朗，丹黄点染秋叶，萧疏秋意扑面而来。水岸蜿蜒错落，村居隐于林泉之间，淡笔轻勾出幽居闲致。\n\n笔墨秀雅温润，以淡远之韵绘就山居清寂，将文人寄情林泉、幽居耕读的雅逸心境融于尺幅之间。淡墨轻岚间藏着静穆萧散的诗意，观之便如踏入秋山，似能聆山涧潺湲、沐林间清风，尽显文人山水抒情之妙。",[23,24,225,95,27,99,33,98,609,1758,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d715d2c069e6ab53794d5fc6647f892.jpg","49x97cm",[105],{"id":6031,"slug":6032,"title":6033,"dynasty":344,"author":6034,"museum":91,"description":6035,"tags":6036,"thumbUrl":6037,"material":103,"size":142,"collection":49,"collections":6038,"showCount":5969,"zanCount":11,"manualWeight":54,"mainColor":109},219427,"zhu-cha-xi-yan-tu-zhou-qian-hui-an-219427","煮茶洗砚图轴","钱慧安","此画作于同治十年辛未（1870）。画一文士安坐水榭，石案上摆放着陶壶瓷杯、古鼎铜尊，与琴书相伴。两个小童一人正在煮茶，另一人则在溪边洗刷砚台，水面清透，可见金鱼数条。画上篆书画题“煮茶洗砚”，钤“吉生”朱文钱形印。",[24,64,26,27,30,97,7,199,4592,390,3226,3679,3677],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67c2c4a3ab8226ebbe0005936e35de5b.jpg",[49],{"id":6040,"slug":6041,"title":6042,"dynasty":344,"author":6043,"museum":152,"description":6044,"tags":6045,"thumbUrl":6046,"material":103,"size":6047,"collection":105,"collections":6048,"showCount":5969,"zanCount":11,"manualWeight":54,"mainColor":109},219377,"fang-yuan-ren-xi-ting-dui-ju-tu-wang-wu-219377","仿元人溪亭对菊图","王武","峭壁如削，云雾似练缠绕层岩，恍若仙境浮于九霄。飞瀑垂练漱石，清音暗渡幽谷。松下红叶灼灼如霞，映得山亭一角温馨。亭中之人凭栏而坐，与秋菊相对，静听松涛闲观云起。笔墨苍润，山石皴染有致，树木姿态各异，色彩淡雅却秋意盎然。整幅画融雄奇山水与文人雅趣于一体，意境清幽引人遐思，尽显传统山水画之神韵——将自然之奇、林下之逸凝于尺幅，如一首无声的秋山雅韵，叩击观者心弦。",[24,27,95,99,97,7,271,724,30,821,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89601cd5bad2948de86aff9379129c86.jpg","167.8x45.2",[105],{"id":6050,"slug":6051,"title":6052,"dynasty":18,"author":4146,"museum":61,"description":6053,"tags":6054,"thumbUrl":6055,"material":273,"size":6056,"collection":83,"collections":6057,"showCount":5969,"zanCount":11,"manualWeight":54,"mainColor":109},219209,"ce-zhang-xun-you-tu-xie-shi-chen-219209","策杖寻幽图","图中山峰巍峨耸立，中间一条溪流将画面大体分为左右两段。山谷溪流上的桥面暗示两山间公路畅通，画左林木掩映下一文士拄杖沿山路走来，点明“寻幽”主题。谢时臣的部分作品皆自题是仿元王蒙笔法而作，如南京博物院藏正德十二年（1517年）《仿王蒙山水图》、故宫藏嘉靖二十九年（1550年）《溪亭逸思图》和上海博物馆藏《江山胜览图》等。表明王蒙在谢时臣画风的产生过程中有着重要的含义。该图是谢时臣60岁时所作（嘉靖二十五年，1546年），在山石结构、笔墨皴法上还可以看见王蒙的影子，但与王蒙典型的精细密集的牛毛皴相比，图中山石皴法粗短松动，则显著是得到了沈周的影响导致。该画整体感强，皴法晕染能较好地渗入到山石整体的构架之中，构图细腻，笔墨苍润，体现出画家融合前人笔墨创造自己风格的尽力。",[23,24,94,225,95,99,32,7,140,98,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6e92a7653f3aa0d79eeb78387794f54.jpg","纵84.9厘米，横31.3厘米",[83],{"id":6059,"slug":6060,"title":6061,"dynasty":150,"author":3607,"museum":61,"description":6062,"tags":6063,"thumbUrl":6064,"material":273,"size":6065,"collection":105,"collections":6066,"showCount":5969,"zanCount":54,"manualWeight":54,"mainColor":109},218305,"ping-lin-yuan-shan-tu-shen-xuan-218305","平林远山图","此图为《张观等五家集绘卷》之一。画丛林远岫，平溪小桥。远山平缓，意境幽静冷寂。无款识，",[24,94,95,99,140,1397,348,32,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc305432fdd2052683afa0a54e0506946.jpg","30x40.9cm",[105],{"id":6068,"slug":6069,"title":6070,"dynasty":698,"author":1735,"museum":135,"description":6071,"tags":6072,"thumbUrl":6073,"material":142,"size":142,"collection":142,"collections":6074,"showCount":6075,"zanCount":11,"manualWeight":54,"mainColor":55},230931,"song-yin-tu-li-zhao-dao-230931","松荫图","此作山峦以皴笔写就，淡墨晕染远山，铺展出沉浑苍劲的山水底色，幽壑层叠间漾出清远意境。近景村舍错落檐下，酒客围坐谈笑，道旁行骑缓辔徐行，田埂间牛犊悠游，草木扶疏间尽是乡野烟火气。将山水幽寂与市井温情相融，以精工笔致摹写太平乡居日常，盛唐雄浑的山水意趣间揉进鲜活的俗世意韵，绘出盛世里的田园悠然图景，尽显大唐乡野风物的温煦情致。",[24,27,95,99,240,901,241,66,67,30,32,7,98,97,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2028546aabb46cc23747564a9c5f49d.jpg",[],64,{"id":6077,"slug":6078,"title":6079,"dynasty":18,"author":4601,"museum":553,"description":6080,"tags":6081,"thumbUrl":6082,"material":6083,"size":6084,"collection":83,"collections":6085,"showCount":6075,"zanCount":54,"manualWeight":54,"mainColor":262},222229,"song-feng-gao-shi-tu-wen-bo-ren-222229","松风高士图","该作品是明代画家文伯仁晚年的力作。该作品画中山峦高峻，危崖峭壁之间，山径曲折，飞瀑直下，注入山前的清溪中。苍松翠柏隔岸呼应，遮掩草堂。高士曳杖而立，神态安闲。作品用笔清秀爽利，墨色淡雅苍润。文伯仁在画中的题跋小楷十分工整，自谓仿赵孟頫，实则仅师其大意。其画更多取法元代王蒙及文徵明风格。\n该画作把近处的坡石先以淡墨勾勒，再以干墨或浓墨点苔，分出坡石的脉络。画家在水口处横抹几笔，既显画面空灵，又让人感觉水波轻漾。夹岸的松、柏先双勾树干，再以劲利的短线写松针，以密圈作柏叶，枝柯交错，如虬龙劲舞。茅屋被丛树掩映，有“结庐在人境，而无车马喧”之感。远处群山取自文氏画法。画家先以细密皴法定基调，再以淡墨勾勒山骨，然后用干笔作解索皴、牛毛皴，看似随意点染，却让山体层次分明、凹凸有致。千岩万壑、崇山峻岭、山径盘旋、涧水曲折，苍莽之气毕现于纸上。由于画家用笔多变，又着意经营，所以画面既浑厚华滋，又开阔旷达，毫无促迫感。画家在松树下的桥头处设主、仆两人，有画龙点睛之功，正如文徵明诗中所云：“万叠高山供道眼，千寻飞瀑净尘心。”寄情山林、不求闻达的高士，让这幅山水画有了更深远的韵味。",[23,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〈山水〉是溥儒1945年的作品，风景自古是文人喜爱的绘画题材，艺术家从小浸淫汉学儒家思想，笔墨功力扎实，善于形塑令人向往的文人境界，〈山水〉流露出雅致的古典气息，画作属纸本立轴。题识： 「尺素生秋水，苍然浦漵分，尚含千峰雨，疑落万峰云。江上鸣瑶瑟，岩前忆隐君。青猿声断续，应是隔溪闻。」 行书行云流水，雅逸自然，配合画面挺拔的山壑与清澈湖水，诗书画三者结合，设色清新淡雅，使人玩味再三，前景的松树是溥儒喜爱的题材，它代表文人高尚的节操，高大的山石生长着茂密的植物，浓淡不一的墨色表现了丰富的层次，值得我们细细品味，而隐居在山林里的小房子甚是可爱，蕴含着隐居的心境。在用色方面，艺术家总以多层薄彩敷色，细腻的笔调，使景物生动自然，营造出柔和辽阔的意境，画面的左半面是空旷的湖面，刻意留白的处理与右半边的景物形成对比，两艘小船为全画增添生命力，整体而言，是幅意境深远的画作，流露出一股天真脱俗的气质。",[23,24,1551,95,27,390,30,98,7,119,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1194f3f821239671a24fdd604c5306ed.jpg",[],63,{"id":6104,"slug":6105,"title":6106,"dynasty":59,"author":582,"museum":135,"description":6107,"tags":6108,"thumbUrl":6109,"material":142,"size":142,"collection":142,"collections":6110,"showCount":6102,"zanCount":54,"manualWeight":54,"mainColor":640},226544,"gui-zhao-tu-zhou-jing-hao-226544","归棹图轴","五代十国时，虽然国家四分五裂战乱连年，南唐都城所在地却相对平稳，于是有了书画艺术的一个发展高峰期。特别是中国山水画发展的重要时期，一些画家在唐代以青绿或水墨青绿在屏障上挥写大山大水或松石林木的基础上，深入大自然中进行创作。五代时中国水墨山水画趋于成熟，以以荆浩、关仝为代表的北方画家和以董源、巨然为代表的南方画家创立了真实生动的雄伟北方峻岭和秀丽江南山川两大山水画体系，世称“荆、关、董、巨”。这里介绍荆浩绘画作品。",[23,117,24,64,225,94,99,95,96,7,97,122,33,30,348,1562,2008],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99961b5d997a891ba19d41dce3890d15.jpg",[],{"id":6112,"slug":6113,"title":6114,"dynasty":18,"author":251,"museum":152,"description":6115,"tags":6116,"thumbUrl":6117,"material":6118,"size":6119,"collection":105,"collections":6120,"showCount":6102,"zanCount":54,"manualWeight":54,"mainColor":55},222605,"xue-xi-tu-lan-ying-222605","雪溪图","蓝瑛擅长山水、花卉、兰石，师法宋元名家，早年主要得力于黄公望，作品清 简秀润，韩昴在《图绘宝鉴续纂》中说他：“画从黄子久（即黄公望），入门而醒悟。”中年自立门庭，上窥晋、唐、两宋，遍摹元代诸家笔法，集取优长,由此入门，始能各极变化。不但取法郭熙、李唐及马、夏，而且对二米、云山也精心研究过。对黄公望的画悉心尤力。当代前辈沈周的画也热心师效。加之漫游南北涉猎既广，眼界自宽，故落笔纵横奇古，风格秀润。他的画风是从多方面变代出来的。晚年作品渐趋苍劲疏宕。画风又有多种面貌，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。晚年他的笔法益苍劲，颇类沈周。他兼工人物、花鸟、兰竹、俱得古人三昧。他虽力追古法，但能融会贯通，自成风范，对以后的明末清初绘画影响很大。",[23,24,27,28,95,31,96,255,98,7,2567],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F186dde280fbc8429c16567c2833ffe8a.jpg","绫本","27×38",[105,51],{"id":6122,"slug":6123,"title":6124,"dynasty":18,"author":251,"museum":252,"description":6125,"tags":6126,"thumbUrl":6127,"material":659,"size":6128,"collection":105,"collections":6129,"showCount":6102,"zanCount":54,"manualWeight":54,"mainColor":55},222593,"song-luo-wan-cui-tu-lan-ying-222593","松萝晚翠图","此图是蓝瑛38岁的国画作品。画面峰峦层叠，中部有庙宇坐落于茂密的松林中，半隐半露相映成趣。泉水沿着蜿蜒的山涧，飞流直泻，与山脚的河流相连，近处河边杂树成林，林中一老人前行，琴童后随。\n画面布局采用“高远”法，气势雄峻。山石的纹理采用“荷叶皴”兼取“斧劈皴”，墨色润泽，浓淡相间，充分表现出苍山的层次感和体积感，石绿作苔点，疏落有致，色彩明洁，增添了画面的装饰趣味。",[23,24,64,225,27,95,271,241,31,7,168,98,351,97,3812],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16b4e2036bc72593e80638f98b23c217.jpg","160x55cm",[105,83],{"id":6131,"slug":6132,"title":6133,"dynasty":18,"author":6134,"museum":152,"description":6135,"tags":6136,"thumbUrl":6137,"material":213,"size":142,"collection":105,"collections":6138,"showCount":6102,"zanCount":718,"manualWeight":54,"mainColor":55},222430,"dong-li-qiu-se-tu-li-xiang-222430","东篱秋色图","李相","画取材东晋诗人陶渊明归隐田园的故事。画面中，陶渊明悠闲地坐在室外床榻上观赏菊花，童仆和家人陪伴伺候，屋外有访客造访，山径间还可见到牧童与牛群，整幅画流露出高士隐逸生活的一种典型。 ​​​​",[23,117,24,64,95,94,99,98,33,504,7,168,76,348,2662,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb340c3bf793e605358c2953c86e93e35.jpg",[105,83],{"id":6140,"slug":6141,"title":888,"dynasty":18,"author":267,"museum":152,"description":6142,"tags":6143,"thumbUrl":6144,"material":213,"size":6145,"collection":105,"collections":6146,"showCount":6102,"zanCount":54,"manualWeight":54,"mainColor":55},222029,"shan-shui-zhou-dai-jin-222029","此画从构图看全幅构图取近景形式，自下而上，呈上、中、下三段层次。上端即远山迷漾，峰峦环抱，群山侧于画面的左上角，山上和山腰杂木丛生。山下即中景为宽阔水面，汪洋一片，把远景与近景遥遥相隔，河水中无渔舟停泊，亦无水阁临溪，显得十分幽静。近景为此画的主体部分。坡石连绵，坡石高矮不一，其问有几株盘根虬曲的树木，树下山上有数间楼阁，楼阁围有 栏杆，一位长者端坐在楼阁内，正在观赏美丽的山水景致。\n款署，“景泰壬申春三月钱塘戴文进写。”",[23,24,225,95,27,99,97,7,96,30,33,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d4043ef01c707ccd4702333f8460033.jpg","纵139．0厘米，横79．8厘米",[105,83],{"id":6148,"slug":6149,"title":6150,"dynasty":59,"author":6151,"museum":268,"description":6152,"tags":6153,"thumbUrl":6154,"material":188,"size":6155,"collection":81,"collections":6156,"showCount":6102,"zanCount":54,"manualWeight":54,"mainColor":55},221437,"song-hao-xuan-ming-shi-qin-tu-hu-shun-chen-221437","送郝玄明使秦图","胡舜臣","传世作品有宣和四年(1122)作《送郝玄明使秦图》卷，自题诗款：“丛桂方招隐，君犹赋远游。青枫初试降，白露正宜秋。玉叠浮云暮，秦关王气收。离情付图画，怅我一登楼。宣和四年九月二日，玄明大参有使秦之命，作此纪别。胡舜臣。”卷后有蔡京(1047-1126)书题“送郝玄明使秦一首：送君不折都门柳，送君不设阳关酒。惟取西陵松树枝，与尔相看岁寒友。蔡京。”继后有吴睿、莫昌、袁华、周鼎史、沈周观署，钱樾、吴荣光、伯荣、刘墉、翁方纲题跋等。",[23,24,117,64,25,94,99,95,170,33,390,169,32,7,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e7ddf81b15095c5a22ac6defde70da2.jpg","30x111",[81],{"id":6158,"slug":6159,"title":6160,"dynasty":59,"author":6161,"museum":20,"description":6162,"tags":6163,"thumbUrl":6164,"material":946,"size":6165,"collection":81,"collections":6166,"showCount":6102,"zanCount":54,"manualWeight":54,"mainColor":55},221316,"mei-xi-pu-bu-tu-ce-ye-cui-que-221316","梅溪瀑布图册页","崔悫","《梅溪瀑布图》传为北宋画家崔悫所作。无款。裱边题签“崔慤梅溪瀑布”。\n图绘山涧湍急，水花四溅。水边山石上有一株老梅，虬曲盘折，梅花开满枝头。枝上停着几只雀鸟，空中还有一只雀鸟飞来。",[23,117,24,64,332,26,27,95,2301,543,7,168,122,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46eeace5004b00d7ed1b1eb2e6c2cf42.jpg","24.7×22.2cm",[81,368,51],{"id":6168,"slug":6169,"title":6170,"dynasty":18,"author":90,"museum":423,"description":424,"tags":6171,"thumbUrl":6172,"material":103,"size":429,"collection":142,"collections":6173,"showCount":6102,"zanCount":54,"manualWeight":54,"mainColor":109},220010,"dong-zhuang-tu-ce-zhi-nan-gang-shen-zhou-220010","东庄图册之南港",[23,24,94,332,95,99,33,7,96,2195,543],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89bc3277507cd2055dd3e64f96a29d1e.jpg",[],{"id":6175,"slug":6176,"title":6177,"dynasty":18,"author":6178,"museum":152,"description":6179,"tags":6180,"thumbUrl":6181,"material":47,"size":6182,"collection":49,"collections":6183,"showCount":6102,"zanCount":54,"manualWeight":54,"mainColor":109},219552,"jiu-lao-tu-huang-biao-219552","九老图","黄彪","此幅是黄彪摹刘松年九老图而成，得形似而人物传神，虽布置树石稍显薄淡，傅色鲜浮之外，不失为一种临摹传世之佳品。",[23,24,64,25,27,26,30,33,32,7,98,271,543,1068,97,100,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f86b80884e1f7a09cf9f31d6902a1ad.jpg","27.2x193厘米",[49,51],{"id":6185,"slug":6186,"title":6187,"dynasty":18,"author":6188,"museum":152,"description":6189,"tags":6190,"thumbUrl":6192,"material":103,"size":6193,"collection":51,"collections":6194,"showCount":6102,"zanCount":11,"manualWeight":54,"mainColor":109},219301,"xi-yuan-tu-zhu-zhan-ji-219301","戏猿图","朱瞻基","此图画水石间，大小三猿嬉戏。石上一黑猿怀抱幼子，子猿伸臂似在争要什么，情态娇憨可爱。树上另一只黑猿拿着一枝花果，欲投又止，似在戏逗。石周围长着细竹秀草，石下边溪水潺潺。 [1] 图中洋溢著温馨亲子之情，寓有崇尚人伦之意。画猿得宋易元吉神韵，背景之竹丛苇草、荆棘枇杷，线条自然流利。山石皴法圆润，得董巨遗韵。整幅画构图中正和谐，与宣宗皇帝雍容大度，颇能呼应。",[117,24,64,27,26,6191,3834,543,854,7],"猿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66456e94601929135286fec127ea8bba.jpg","纵162.3厘米，横127.7厘米",[51],{"id":6196,"slug":6197,"title":6198,"dynasty":344,"author":1474,"museum":61,"description":6199,"tags":6200,"thumbUrl":6201,"material":47,"size":6202,"collection":105,"collections":6203,"showCount":6102,"zanCount":11,"manualWeight":54,"mainColor":55},219092,"shan-zhuang-qiu-ren-tu-yuan-yao-219092","山庄秋稔图","此图描绘山庄秋天的景色。村舍环绕于绿色山树中，茅庐内村人闲适，近处一牧童放牛于缓坡之上；远山高耸，突兀奇绝，烟云缭绕。设色青绿，构思精巧，结构准确，层次分明，显现出作者精于刻画的写实功力。",[24,27,28,26,99,95,31,98,33,30,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8916945174cef62eec1b5b888a7cedde.jpg","纵182.5厘米，横96.8厘米",[105],{"id":6205,"slug":6206,"title":5590,"dynasty":59,"author":292,"museum":135,"description":6207,"tags":6208,"thumbUrl":6209,"material":47,"size":6210,"collection":81,"collections":6211,"showCount":6102,"zanCount":54,"manualWeight":54,"mainColor":55},219011,"mu-niu-tu-yi-ming-219011","一幅典型的南宋田园画，以边角料的方式绘制。一棵高大的树被描绘在河边的浅滩上，一头水牛低着头，一个牛仔试图通过攀爬牛角爬上牛背。",[23,117,24,64,1551,94,27,67,140,199,7,119,3834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc612d12f7fbf45193051cf350f77162.jpg","26x28",[81],{"id":6213,"slug":6214,"title":4891,"dynasty":344,"author":435,"museum":6215,"description":4892,"tags":6216,"thumbUrl":6217,"material":103,"size":142,"collection":105,"collections":6218,"showCount":6102,"zanCount":54,"manualWeight":54,"mainColor":109},217987,"fang-huang-gong-wang-shan-shui-tu-wang-yuan-qi-217987","京都国立博物馆",[24,64,225,95,99,27,29,98,33,7,32,169,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a6ccd6d0fbd19162156288da30812a8.jpg",[105],{"id":6220,"slug":6221,"title":6222,"dynasty":150,"author":6223,"museum":91,"description":6224,"tags":6225,"thumbUrl":6226,"material":404,"size":6227,"collection":105,"collections":6228,"showCount":6102,"zanCount":11,"manualWeight":54,"mainColor":55},214730,"qing-liang-wan-cui-tu-cao-zhi-bai-214730","清凉晚翠图","曹知白","曹知白（1272-1355），字又玄，号云西，今上海松江人。与黄公望、倪瓒交往最密，常以书画相酬唱。山水继承李郭画派，风格清疏简淡、秀润飘逸。他对松江地方贡献很大。1294年，朝廷诏令中书左丞开凿吴淞江，曹知白以策从行，功绩居多。1298年，他又提出置阏成堤之法，取得良好效果。后被荐为昆山教谕，不久辞去。卒后葬于松江修竹乡干山之原。",[24,94,95,99,100,119,140,1397,96,7,199,348,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ba94454b3af5651c31aa4a282fe07e1.jpg","纵21.1厘米，横21.2厘米",[105],{"id":6230,"slug":6231,"title":6232,"dynasty":150,"author":151,"museum":152,"description":6233,"tags":6234,"thumbUrl":6235,"material":229,"size":637,"collection":142,"collections":6236,"showCount":6237,"zanCount":718,"manualWeight":54,"mainColor":55},290348,"jiu-zhu-feng-cui-tu-zhou-huang-gong-wang-290348","九珠峰翠图轴","此图以杨维祯寓居之“九峰三泖”（在今之上海市松江区）的九峰为背景，画中树木造形及山石的皴法，与《富春山居图》皆有关连相似之处。画山石以披麻皴法为主，长短兼施，淡墨勾皴再用浓墨逐层醒破，由于画在绫本中，受其织纹之影响，笔墨之韵味显得较为独特。但山石、树木皆加螺青染色，用笔特擅中锋使笔，雄健沈著，笔调变化丰富，将山石点染得苍莽秀逸。\n左上角有王逢题诗:层峦叠嶂青寝，深坞露儒人宫。睛霏裔裔吹不断，下覆春水光蒙。谁家相对缘溪住，石梯蛇折黄华路。何当着我沙蒙舟，放歌流下前滩去。溪王逢为草玄道人题大师画。下有王原氏、俭德堂，茂林修竹之所三印。引首一印:不识。中间有杨铁崖题诗:九球峰翠接云间，无数人家住碧湾。老子堪春三目醉，梦回疑对铁崖山。铁下有杨维印、铁笛道人、二印。诗堂之上有乾隆御书“寄”四个大字。右上角则有乾隆的题诗:神笔不择铜与鼓，郁葱闪密千百层，运以元气含以古，弗入世态其明征九珠之峰在何所，老铁分明为我语。弁藏已久始括题，当面失之每叹古。丁百新春御题下有机取怡情、得佳趣二章。清皇室鉴藏玺甚多，有:乾隆御览之宝、石果宝笈、石渠继鉴、乔心殿鉴藏宝、乾隆鉴，三希堂精，宜子孙、嘉庆御览之宝、宣统御览之宝。其他收藏印章则有:清如许、冰壶秋月、阿尔喜普之印、东平、也国珍赏、九如清玩、部氏容春堂书画印、玄斋、造玄道人、礼用、各印。",[117,24,64,225,94,95,2256,33,7,97,199,99,100,119,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0078660b9d4ba83a449e1cffec2f767e.jpg",[],62,{"id":6239,"slug":6240,"title":6241,"dynasty":344,"author":2489,"museum":61,"description":2490,"tags":6242,"thumbUrl":6245,"material":2665,"size":142,"collection":105,"collections":6246,"showCount":6237,"zanCount":54,"manualWeight":54,"mainColor":109},236272,"qiu-shan-you-jing-tu-zhou-kun-can-236272","秋山幽静图轴",[24,866,225,94,1497,7,96,32,31,226,168,6243,6244],"幽境","苍莽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ca894ea502bfc800f010545c07b430e.jpg",[105,83],{"id":6248,"slug":6249,"title":1344,"dynasty":18,"author":90,"museum":61,"description":1345,"tags":6250,"thumbUrl":6251,"material":335,"size":1348,"collection":142,"collections":6252,"showCount":6237,"zanCount":54,"manualWeight":54,"mainColor":109},234096,"wu-zhong-shan-shui-ce-shen-zhou-234096",[24,64,332,94,101,99,95,32,7,96,33,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff615aa6731f6aad97ced3ec6ba894313.jpg",[],{"id":6254,"slug":6255,"title":6256,"dynasty":150,"author":710,"museum":152,"description":6257,"tags":6258,"thumbUrl":6259,"material":142,"size":142,"collection":142,"collections":6260,"showCount":6237,"zanCount":54,"manualWeight":54,"mainColor":55},232799,"shan-shui-tu-xi-shan-fang-you-wang-meng-232799","山水图(溪山访友)","此画写深秋山水。凌云而出的高山，清冽的溪水，巨石突兀，长松乔木，点缀着寻幽访友的高士，表现了寄情林泉的雅兴。",[24,64,225,94,99,95,32,7,97,33,98,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a3f4507d7ed0adacc32cb42699c50a5.jpg",[],{"id":6262,"slug":6263,"title":6264,"dynasty":344,"author":808,"museum":135,"description":6265,"tags":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汉三个阶段。汉镜纹饰的主要种类有草叶纹镜、蟠龙纹镜、百乳镜、连弧纹镜、规矩镜、多乳禽兽纹镜和变形四叶镜等。",[24,64,27,26,95,31,32,7,33,98,38,6294],"木质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52e9abe895df9c138c4dc01d0bc15902.jpg",[],{"id":6298,"slug":6299,"title":6300,"dynasty":18,"author":251,"museum":1308,"description":6301,"tags":6302,"thumbUrl":6303,"material":3857,"size":6304,"collection":105,"collections":6305,"showCount":6237,"zanCount":54,"manualWeight":54,"mainColor":55},222600,"qiu-shan-you-ju-tu-juan-lan-ying-222600","秋山幽居图卷","这幅画特点较明显的是用笔有顿挫，以疏秀苍劲取胜。善写秋景。在作品的题款中，常署仿某家之作，如“仿张僧繇”、“法荆浩”、“仿李成”、“用云法”等，实则所画都是他自己的面目。他的画法有两种，一种作钩勒浅绛法。另一种作没骨法，设色鲜艳突目，所画红树、青山、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作品。",[23,24,25,94,99,95,1497,609,33,7,96,122,98,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e087d6380ef6f745979fe23ff227fcc.jpg","26.3x246.5",[105,83],{"id":6307,"slug":6308,"title":6309,"dynasty":18,"author":1254,"museum":61,"description":6310,"tags":6311,"thumbUrl":6312,"material":6313,"size":6314,"collection":105,"collections":6315,"showCount":6237,"zanCount":54,"manualWeight":54,"mainColor":109},220940,"fang-gu-shan-shui-dong-qi-chang-220940","仿古山水","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。\n此图册作于明天启元年（1621年），董其昌时年67岁。",[24,64,332,94,95,255,98,7,29,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61ec528469518e200ec75e5ee4b32691.jpg","纸本,水墨和设色","每开纵26.3厘米,横25.5厘米",[105,83],{"id":6317,"slug":6318,"title":6319,"dynasty":150,"author":5329,"museum":20,"description":6320,"tags":6321,"thumbUrl":6322,"material":47,"size":6323,"collection":49,"collections":6324,"showCount":6237,"zanCount":11,"manualWeight":54,"mainColor":55},220433,"yang-zheng-tu-shi-ze-wang-zhen-peng-220433","养正图十则","此册绘十位有涵养正道智者的故事。细观此册与王振鹏画风不类，揭傒斯题跋更伪，当是明清人伪托之作。",[23,24,64,25,28,26,27,30,31,33,98,7,97,32,100,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1acc070a8884b606278633838a456375.jpg","34×42",[49,51],{"id":6326,"slug":6327,"title":6328,"dynasty":18,"author":90,"museum":423,"description":424,"tags":6329,"thumbUrl":6334,"material":335,"size":429,"collection":142,"collections":6335,"showCount":6237,"zanCount":54,"manualWeight":54,"mainColor":109},220033,"dong-zhuang-tu-ce-zhi-dao-qi-shen-zhou-220033","东庄图册之稻畦",[23,24,64,332,94,95,6330,6331,7,241,4096,6332,6333],"稻","田","屋","田埂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5694bd462c6b7cd7977b9ef743f30161.jpg",[],{"id":6337,"slug":6338,"title":6339,"dynasty":59,"author":6340,"museum":152,"description":6341,"tags":6342,"thumbUrl":6345,"material":47,"size":6346,"collection":49,"collections":6347,"showCount":6237,"zanCount":54,"manualWeight":54,"mainColor":55},219608,"dong-li-gao-shi-tu-liang-kai-219608","东篱高士图","梁楷","《宋梁楷东篱高士图轴》是南宋画家梁楷创作的作品此画中一高士手拿菊花，漫步在山中。背景用淡墨烘染，而红叶跟高士手中的菊花，点出这幅图画的是秋天。陶渊明是著名的“隐逸诗人”，又特别爱菊花，因此图中的高士不禁让人联想到陶渊明。",[23,117,24,64,225,6343,94,27,30,1498,140,98,7,6344],"减笔","菊花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6dfba9b9f71ac3b315d150e8db4344f.jpg","纵71.5厘米，横36.7厘米",[49],{"id":6349,"slug":6350,"title":6351,"dynasty":18,"author":6352,"museum":152,"description":6353,"tags":6354,"thumbUrl":6356,"material":47,"size":6357,"collection":51,"collections":6358,"showCount":6237,"zanCount":54,"manualWeight":54,"mainColor":55},219328,"chun-shan-tai-xie-zhou-liu-du-219328","春山台榭轴","刘度","此图描写翠巖积秀，碧树繁花，楼阁台榭，临水错落。一人坐于阁中休憩，僮仆捧茶碗侍候，另有一童正在煮茶。台阁用界尺画，工细而不呆板，青绿设色妍丽而生动。山光水影，一派清秀。 据作者款题，此幅乃应友人之请而作，所绘的内容是昔日在西湖精舍见到宋人的《春山台榭》图卷，受到深刻的启发有感而作。 刘度的生卒年不详，存世作品见于1630年至1660年间。此幅画于1636年（崇祯九年丙子），是刘氏传世画作中较早期的作品。",[117,24,64,225,27,26,99,95,31,97,32,7,98,33,6355,39,173,349],"台榭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe971e96e88677a3473d270d202a8981f.jpg","119.9x47.8",[51],{"id":6360,"slug":6361,"title":6362,"dynasty":344,"author":2501,"museum":61,"description":6363,"tags":6364,"thumbUrl":6365,"material":273,"size":6366,"collection":105,"collections":6367,"showCount":6237,"zanCount":54,"manualWeight":54,"mainColor":109},218497,"fang-mei-dao-ren-xia-shan-yu-ji-tu-wu-li-218497","仿梅道人夏山雨霁图","画中远处山峦起伏，层层叠叠，由近及远，矾头突兀，山顶冲入云端，似与天际相连，深山溪水，泉涌不息。中景为广阔的湖面和平坦的沙滩，溪水潺潺；近景为岩石坡，树木茂密，树荫下有几座木屋和草亭，或隐或现，山间有蜿蜒的小路，坡的两边有木板路。",[23,24,64,225,94,99,29,95,32,7,33,170,350,173,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff3af964d48c19eeba1aedf541e32e4c.jpg","94.5x35cm",[105],{"id":6369,"slug":6370,"title":876,"dynasty":18,"author":292,"museum":316,"description":6371,"tags":6372,"thumbUrl":6373,"material":47,"size":6374,"collection":49,"collections":6375,"showCount":6237,"zanCount":54,"manualWeight":54,"mainColor":55},218360,"yu-fu-tu-yi-ming-218360","这幅画描绘了一条小船停泊在河岸边的一棵大柳树旁，船边有一个渔夫在睡觉，对面有一个小孩在盯着水面，船边挂着一个鱼哨，而画面中的水波似乎在摇晃着小船。",[23,24,94,138,30,96,7,122,140,256],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c51b1c5078844ad604b93da19526e59.jpg","25x25",[49,51],{"id":6377,"slug":6378,"title":6379,"dynasty":59,"author":954,"museum":281,"description":4883,"tags":6380,"thumbUrl":6381,"material":47,"size":4886,"collection":142,"collections":6382,"showCount":6237,"zanCount":54,"manualWeight":54,"mainColor":109},218059,"song-di-ming-ti-ce-wu-ma-yuan-218059","宋帝命题册(五)",[23,24,64,332,27,95,255,32,30,100,119,101,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7665b03ac750068444024f2eb3650a7.jpg",[],{"id":6384,"slug":6385,"title":221,"dynasty":59,"author":6386,"museum":135,"description":6387,"tags":6388,"thumbUrl":6389,"material":229,"size":637,"collection":142,"collections":6390,"showCount":6391,"zanCount":54,"manualWeight":54,"mainColor":55},288839,"xi-shan-xing-lv-tu-zhu-rui-288839","朱锐","朱锐，中国宋代画家。生卒年不详，活动于北宋末南宋初。河北人。原为北宋宣和画院待诏，南渡后又入绍兴画院，任待诏，授迪功郎，赐金带。擅山水，工雪景，师法王维，所画多骡纲、雪猎、盘车、行旅等题材，表现了车辆旅人跋涉于荒寒苍凉的溪山之间的艰辛之状。形象真实，主题鲜明，情景动人。有《盘车图》传世。",[24,866,94,99,255,98,7,227,67,30,1110,2567,3620],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea03f9828d4df9b53dc2f163cd69a4a0.jpg",[],61,{"id":6393,"slug":6394,"title":6395,"dynasty":18,"author":1254,"museum":135,"description":2720,"tags":6396,"thumbUrl":6397,"material":229,"size":637,"collection":142,"collections":6398,"showCount":6391,"zanCount":54,"manualWeight":54,"mainColor":109},283738,"fang-gu-shan-shui-ce-shi-kai-dong-qi-chang-283738","仿古山水册（十开）",[117,24,332,94,95,98,7,33,609,119,100,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a9ee79f5dfee7fbf9889135e8f1f2b7.jpg",[],{"id":6400,"slug":6401,"title":6402,"dynasty":18,"author":2519,"museum":135,"description":6403,"tags":6404,"thumbUrl":6405,"material":188,"size":6406,"collection":49,"collections":6407,"showCount":6391,"zanCount":54,"manualWeight":54,"mainColor":109},238106,"ren-wu-zhou-chen-hong-shou-238106","人物轴","插图》《水浒叶子》《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[24,64,225,27,26,30,241,427,32,7,306,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7bd803c589c692c9898d167fa5858a9.jpg","118x55",[49],{"id":6409,"slug":6410,"title":2690,"dynasty":344,"author":292,"museum":61,"description":2182,"tags":6411,"thumbUrl":6414,"material":946,"size":2186,"collection":142,"collections":6415,"showCount":6391,"zanCount":54,"manualWeight":54,"mainColor":55},236168,"yong-zheng-shi-er-yue-xing-le-tu-zhou-yi-ming-236168",[24,26,27,28,99,95,31,30,543,98,7,122,39,38,33,2184,6412,6413,1692,76,2319],"石桥","人物活动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47c3e8128a600870ae2951e88c5416b8.jpg",[],{"id":6417,"slug":6418,"title":6419,"dynasty":344,"author":6420,"museum":135,"description":6421,"tags":6422,"thumbUrl":6423,"material":142,"size":142,"collection":142,"collections":6424,"showCount":6391,"zanCount":11,"manualWeight":54,"mainColor":55},235273,"gao-shan-liu-shui-tu-zhou-mei-qing-235273","高山流水图轴","梅清","《梅清高山流水图轴》是清代梅清创作的一幅画。\n图绘景象奇伟的山川之貌，陡峭的山石于群峰中傲然而立，如练的瀑布从山壁上飞流而下。\n瀑布与山峦点明高山流水的主题，亦营造出清幽疏旷的意境。\n款题虽言系仿“石田老人笔意”（沈周）之作，但体现出的完全是梅氏晚年粗笔皴擦、焦墨点苔、笔力老健的画风特点。\n款署：“高山流水。\n仿石田老人笔意。\n甲戌中秋前一日，瞿山梅清时年七十有二。\n”钤“矍硎清”白文印、“渊公”朱文印、“老去看山眼倍青”白文印、“天延阁图书”朱文印。\n鉴藏印有“槃斋秘玩”等。\n“甲戌”是清康熙三十三年（1649年），梅清时年72岁。",[24,64,225,94,99,95,3660,7,390,171,30,168,348],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F576afd75771412f0b050afdd574d2698.jpg",[],{"id":6426,"slug":6427,"title":6428,"dynasty":18,"author":19,"museum":61,"description":3656,"tags":6429,"thumbUrl":6435,"material":946,"size":6436,"collection":105,"collections":6437,"showCount":6391,"zanCount":11,"manualWeight":54,"mainColor":109},233754,"ren-wu-gu-shi-ce-chou-ying-233754","人物故事册",[24,64,332,26,27,6430,30,95,31,6431,3662,3663,1702,788,6432,504,3661,7,6433,6434],"重彩","仕女","历史故事","寓言传说","文人轶事","h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古木流泉图 》及取材《 诗经》的组图等。《诗经组图》是马和之的代表性作品，它的产生起因于宋高宗亲自书写的三百篇书法，配图是马和之完成的。这套组图，常见的有故宫博物院现藏的《小雅·鹿鸣之什图》卷、《节南山之什图》卷、《豳风图》卷。辽宁省博物馆现藏的《唐风图》卷、《鲁颂三篇图》卷、《周颂·清庙之什图》卷等。此外国内外的其他机构还有《豳风》等。",[23,24,64,332,138,30,95,33,97,122,66,7,227,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4354616319dfc9cc139b7b4d768562fa.jpg","27x44.7cm",[49],{"id":6507,"slug":6508,"title":6509,"dynasty":18,"author":387,"museum":61,"description":6510,"tags":6511,"thumbUrl":6512,"material":103,"size":6513,"collection":625,"collections":6514,"showCount":6391,"zanCount":54,"manualWeight":54,"mainColor":109},218499,"luo-yuan-cao-tang-tu-wen-zheng-ming-218499","洛原草堂图","本幅设色，后幅许宗鲁、刘储秀、李濂、康海、王九思、杨慎、白悦、清长照等十三家题记。钤乾隆、嘉庆、梁清标等藏印。",[23,24,64,25,689,94,27,26,95,31,32,7,97,33,98,100,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29260d365a157def23b5c4e428155c4e.jpg","纵28.8cm，横94cm",[625,105],{"id":6516,"slug":6517,"title":1364,"dynasty":59,"author":292,"museum":135,"description":6518,"tags":6519,"thumbUrl":6520,"material":229,"size":637,"collection":142,"collections":6521,"showCount":6522,"zanCount":589,"manualWeight":54,"mainColor":55},288461,"xi-shan-wu-jin-tu-yi-ming-288461","此作用全景长卷铺展丘壑，群峰层峦拔地而起，或雄峙崔嵬，或玲珑峭拔，烟云在峰林之间舒卷弥漫，晕染出远近山岫的虚实层次。\n\n笔墨苍劲古拙，以浑厚皴法写出山石嶙峋肌理，林木错落点染，蓊郁苍茂。澄澈水面留白托景，行舟、山居隐现于林泉，将山野的雄浑大气与村居野趣相融，于咫尺长卷中铺陈出千里江山的无尽意趣，尽显林泉高致的山水雅韵，藏着天地悠悠的静穆生机。",[23,24,25,94,866,98,33,7,96,32,504,169,99,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dd2b09a208c3f6337ea5aa4bf8bcfd5.jpg",[],60,{"id":6524,"slug":6525,"title":6526,"dynasty":18,"author":1948,"museum":252,"description":6527,"tags":6528,"thumbUrl":6529,"material":469,"size":6530,"collection":105,"collections":6531,"showCount":6522,"zanCount":718,"manualWeight":54,"mainColor":55},221975,"wu-zhong-sheng-gai-tu-quan-juan-wen-zheng-ming-221975","吴中胜概图全卷","文征明（文徵明）（1470-1559），初名壁，字征明（徵明），四十二岁起以字行，更字征仲，因先世衡山人，故号衡山居士，世称“文衡山”，停云生。长州（今江苏苏州吴县）人，曾官翰林待诏。生于明宣宗成化六年，卒于明世宗嘉靖三十八年，年九十岁。文受业于吴宽，学书于李应祯，学画于沈周。擅长诗文书画，为“吴中三家”之一。在书法上，早年受其父知友吴宽的影响写苏体，后受他岳父李应祯的影响，学宋元的笔法较多。小楷师法晋唐，力趋健劲。文征明功力深厚，楷书法度严谨，不仅深得《黄庭经》、《乐毅论》之诣，更多地则是采用欧阳询的笔意和体势，但在用笔上又更加削劲、挺健。明·谢在杭《五杂俎·卷七》称赞文征明小楷：“无真正楷书，即钟、王所传《荐季直表》、《乐毅论》皆带行笔。洎唐《九成宫》、《多宝塔》等碑，始字画谨严，而偏肥偏瘦之病，犹然不免。至本朝文征仲先生始极意结构，疏密匀称，位置适宜。如八面观音，色相具足。于书苑中亦盖代之一人也。”他的大字有黄庭坚笔意，苍秀摆宕，骨韵兼擅。与祝允明、王宠并重当时。",[23,24,64,25,27,95,101,100,99,26,170,72,31,32,7,96,97,122,33,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbea8d9ae2d8130ad7485b843268d551.jpg","纵31.5厘米，横453厘米",[105,51],{"id":6533,"slug":6534,"title":6535,"dynasty":18,"author":1254,"museum":152,"description":6536,"tags":6537,"thumbUrl":6538,"material":213,"size":6539,"collection":105,"collections":6540,"showCount":6522,"zanCount":54,"manualWeight":54,"mainColor":109},220962,"feng-jing-fang-gu-tu-dong-qi-chang-220962","葑泾仿古图","此图古意森然而秀润，正体现了画家的艺术特点，用笔柔中带刚，中锋直皴。 董其昌的山水画，大体有两种面貌，一种是水墨或兼用浅绛法，此画便属于这一种。另一种则是青绿设色，有时出以没骨，比较少见。在这幅作品中，既有董源、巨然、米芾、赵孟頫、黄公望、倪云林乃至李唐的遗风余韵，又有他自己的动人华彩。",[23,24,64,94,95,99,29,100,101,119,32,7,33,98,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a40e34b394a4d345fd98856c1f31ff1.jpg","纵79.72cm 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（约1131-1218），号清波，南宋画家，历孝宗、光宗、宁宗三朝，浙江省金华市汤溪镇宅口人。刘松年与刘龟年兄弟随父亲宦居钱塘清波门，以住地自号刘清波，因清波门又称南“暗门”，故外号宋“暗门刘”。\n刘松年工山水人物，山水皴法受李唐影响，画风笔精墨妙，变雄健为典雅，水墨青绿兼工，着色妍丽典雅，常画西湖，多写茂林修竹，山明水秀之西湖胜景，因题材多园林小景，人称“小景山水”。",[23,117,24,25,64,27,26,30,95,32,7,98,1417,271,1691,1068,2321,2322,6577,119],"赏景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc1182922653740754f1d2cf37a3c1d6.jpg",[],{"id":6581,"slug":6582,"title":2137,"dynasty":344,"author":808,"museum":61,"description":1231,"tags":6583,"thumbUrl":6584,"material":335,"size":142,"collection":105,"collections":6585,"showCount":6571,"zanCount":54,"manualWeight":54,"mainColor":109},237235,"yuan-ji-shan-shui-tu-zhou-shi-tao-237235",[24,94,225,64,117,95,3454,33,168,171,2206,7,119,100,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5e43feaef33afb1b1431c649b984048.jpg",[105],{"id":6587,"slug":6588,"title":6589,"dynasty":344,"author":6590,"museum":1308,"description":6591,"tags":6592,"thumbUrl":6595,"material":188,"size":6596,"collection":142,"collections":6597,"showCount":6571,"zanCount":54,"manualWeight":54,"mainColor":109},230107,"hong-lou-meng-188-sun-wen-230107","红楼梦188","孙温","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸",[24,64,27,26,28,30,31,32,7,97,120,98,1692,39,33,2184,6593,6594,173],"假山","圆窗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F179797fe31faa009c06c9f9a7e085fc1.jpg","纵43.3厘米、横76.5厘米",[],{"id":6599,"slug":6600,"title":6601,"dynasty":344,"author":2253,"museum":152,"description":6602,"tags":6603,"thumbUrl":6604,"material":213,"size":6605,"collection":105,"collections":6606,"showCount":6571,"zanCount":718,"manualWeight":54,"mainColor":109},224433,"fang-wang-wei-jiang-shan-xue-ji-zhou-wang-shi-min-224433","倣王维江山雪霁轴","王时敏师承董其昌，师法黄公望，少时就极为聪颖，祖父王锡爵嘱托董其昌对其进行指导，创作了绘画人门的画稿即《课徒稿》。受董其昌的影响，王时敏少年便从摹古开始，因家里名画收藏丰富，方便王时敏深入钻研宋、元传统的笔墨画法。王时敏对黄公望顶礼膜拜，对其作品中干枯的笔墨和浑厚潇洒的画，风学习最下功夫。到了晚年时期，王时敏画风日益成熟，他追求用笔本身的变化，形成了用笔求“毛”的独特风格，要求有枯有润，有苍有秀，淡墨干笔皴擦，浓墨加湿渲染，老辣苍茫，墨法淳厚，从而形成了苍茫浑厚的山水画风",[24,27,95,29,99,225,119,240,2097,241,32,7,76,171,169,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F818fb305d0e6313b1d20a32166c9149c.jpg","133.7x60",[105],{"id":6608,"slug":6609,"title":6610,"dynasty":344,"author":6611,"museum":152,"description":6612,"tags":6613,"thumbUrl":6614,"material":213,"size":6615,"collection":105,"collections":6616,"showCount":6571,"zanCount":54,"manualWeight":54,"mainColor":109},223121,"xi-hu-shi-jing-juan-dong-bang-da-223121","西湖十景卷","董邦达","《西湖十景图卷》由清代书画家董邦达绘。虽名为「十景」，画上却以隶书标注了西湖五十四处景点：断桥残雪、平湖秋月、曲院风荷、三潭印月、苏堤春晓、柳浪闻莺、双峰插云、花港观鱼、雷峰西照、南屏晓钟等等。\n乾隆皇帝在南巡前从未亲访江南。他对江南的所有印象与知识，皆构筑在相关图籍或他人的描述上。这件〈西湖十景〉卷，为南巡出发前夕，臣工提供给他各式江南旅游资讯的例子。此画为董邦达（1699-1769）所绘製，虽名为「十景」，画上却标出五十四个景点，将西湖可游处扩增五倍以上，实为「招游」之作。乾隆皇帝在南巡前一年（1750）的题跋，显示此图的确挑起游兴，让他打算于明春南巡时亲自感受久闻的西湖之美，印证实境与画境。诗句中流露出他对游览西湖的期待之情。\n康乾二帝每次南巡前后，都会有官绘本西湖图问世，或是为皇帝南巡作详导，或是总结皇帝南巡圣迹。故而，传世“西湖十景”图以清宫旧藏为主体。在这些清宫旧藏的“西湖十景”图中，董邦达为数最巨，有5件之多。",[23,24,64,25,27,95,99,28,119,31,32,7,33,98,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd37682559659c3eec6e7025d6f306b2a.jpg","41.6×361.8",[105],{"id":6618,"slug":6619,"title":6620,"dynasty":344,"author":1916,"museum":553,"description":6621,"tags":6622,"thumbUrl":6624,"material":6625,"size":6626,"collection":105,"collections":6627,"showCount":6571,"zanCount":54,"manualWeight":54,"mainColor":55},222609,"yi-dao-fei-quan-gong-xian-222609","一道飞泉","画面描绘了近景崇山，山上有丛林、枝繁叶茂，几间茅庵掩映于树丛之中，使得寂静的山林更增添了几分幽邃之感，清清的泉水顺山而下，明快、幽雅、整幅画面笔酣墨润、气韵即足，给人一种清新自然之感。作者运用了“披麻皴”“雨点皴”等画法，虽不用泼墨，湿墨，但有泼墨之淋漓，浓郁苍润的效果。代表了作者山水画之独特风格。\n画的右上角有作者自题七言律诗： “静壁春泉一道飞，白龙藏影见斜辉，谁家草阁遥无际，半醉之窗向翠微。”署 “甲子上元(1684年1月15日)半亩龚贤书并题”款。下钤“龚贤印”白文方印，“半千”朱文方印。画上钤有“绶福堂藏画印”等鉴藏印。此画系作者晚年作品，现藏辽宁省博物馆。龚贤，字半千，又字野遗，号半亩，又号柴丈人。江苏昆山人，流寓江陵(今南京)清凉山。工诗文，行草，尤工山水，有《草香堂集》、《画诀》、《柴丈人画诀》、《课徒画稿》等著作行世，是金陵画派中最有成就的画家，并居金陵画派之首。\n在这幅画中，作者以石象征“长寿”，与牡丹相配合，寓意“富贵长寿”，是民间喜庆节日广为引用的吉祥图案。此画构图虽满，却巧妙地利用了绘画中的透视法则，以静映动，以深托远，尽显距离的美感，使有限的空间，充满无限的张力。\n繁茂的枝叶表现的甚为精彩，细如游丝的叶筋，其走向笔笔皆有交代，棱角分明，线条柔而刚劲，出神入化，使得薄如蝉翼的墨色叶片，正侧向背，顾盼顾仰，鲜活灵动。\n该画中所画之石，粗砺凝重，具有坚贞的傲骨和顽强的生命力，是其自身性格绝好的写照。从其改用左手绘画，到创作此幅画作止，历时九年，九年里从不习惯到习惯，从不熟练到熟练再到精益求精，其为之所付出的艰辛和努力，可想而知。幅首其左手题字也为整幅画面增色不少，其左冲右突，飘飘忽忽的结体，在这里好似垂挂的珠帘一般，随风摆动，与图画有机地结合在一起，别具韵致，给人雾里看花，隔帘观美之感。",[23,117,24,64,225,94,6623,95,7,33,98,97],"积墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24def22080b1526b2fb90ee14de849af.jpg","纸本水墨画","画心纵79、横38.2厘米",[105,83],{"id":6629,"slug":6630,"title":6631,"dynasty":59,"author":677,"museum":2478,"description":6632,"tags":6633,"thumbUrl":6634,"material":946,"size":6635,"collection":81,"collections":6636,"showCount":6571,"zanCount":718,"manualWeight":54,"mainColor":55},221406,"tao-yuan-ming-yin-gui-tu-quan-juan-li-gong-lin-221406","陶渊明隐归图全卷","绘陶渊明辞官乘舟归来、进行耕田、种菜、赏景等自得其乐的归隐生活，长卷共绘七幅图，为左侧题诗，右侧绘诗意，表达出诗人的“采菊东篱下，悠然见南山”的豁达心情。",[23,117,24,64,25,138,94,27,30,95,33,76,96,7,97,101,2523,2996,543,122,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7d80abd5349282a67d9aa5f8593c2a4.jpg","37.0 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水激流入江，屋舍茅亭、渔翁小舟、板桥雅士点缀其间。画面上云烟飘渺，草木华滋，笔法纵肆，神变万状，墨沈淋漓，苍茫浓郁，气韵生动。虽为仿米之作，却自具风貌。",[24,64,25,94,95,29,6825,169,33,98,168,97,7,348,1045,172],"米点皴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f59ad95d193c191833e0c060f6d0654.jpg","纵14．8厘米横247．2厘米",[],56,{"id":6831,"slug":6832,"title":785,"dynasty":18,"author":19,"museum":135,"description":6833,"tags":6834,"thumbUrl":6835,"material":229,"size":637,"collection":142,"collections":6836,"showCount":6829,"zanCount":11,"manualWeight":54,"mainColor":109},228455,"du-le-yuan-tu-chou-ying-228455","《独乐园图》卷由明代仇英绘。画卷内容根据司马光的《独乐园记》立意，依次描绘了弄水轩、读书堂、钓鱼庵、种竹斋、采药圃、浇花亭、见山堂等景致。卷后拖尾接裱为文徵明书《独乐园记》《独乐园七咏》，苏东坡《独乐园诗》及项禹揆等人题跋。",[23,24,64,25,27,26,28,30,31,32,7,97,33,1177,98,39,1692,1428],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec1edf8089fe9785596584cae9f689ef.jpg",[],{"id":6838,"slug":6839,"title":6840,"dynasty":18,"author":4601,"museum":152,"description":6841,"tags":6842,"thumbUrl":6843,"material":103,"size":6844,"collection":83,"collections":6845,"showCount":6829,"zanCount":11,"manualWeight":54,"mainColor":109},222227,"song-gang-zhu-wu-tu-zhou-wen-bo-ren-222227","松冈竹坞图轴","文伯仁松的《冈竹坞图》画中前景有戴笠僧人拄杖前行，将进入林间寺院；中景有一渡桥文士，或许即为“放浪溪山已有年”的文伯仁；远景宛若随著云雾浮现，凛立天际的秀峻山头，应是令作者追求神往的盛景。文伯仁是习仿文征明风格的后辈与学生中，自成面目，卓然出众者。他将文征明结构繁复的图式，朝更精致严密的方向发展，以工细的用笔与敷色，别出心裁的构图，表现郁茂清幽的山林胜景，散发出文派作品特有的雅澹气质。",[23,24,64,225,94,27,99,119,95,271,543,97,32,7,98,33,122,140,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2a43776896fe834580cb168f04bc481.jpg","132.6x30.7cm",[83,51],{"id":6847,"slug":6848,"title":6849,"dynasty":59,"author":4351,"museum":114,"description":6850,"tags":6851,"thumbUrl":6852,"material":188,"size":6853,"collection":81,"collections":6854,"showCount":6829,"zanCount":718,"manualWeight":54,"mainColor":55},221451,"xiao-ya-nan-you-jia-yu-pian-ma-he-zhi-221451","小雅·南有嘉鱼篇","马和之（生卒不详）：中国南宋画家。活跃于高宗时期（公元12世纪）。钱塘 （今浙江杭州）人。高宗绍兴(1131-1162)中登第，一说官至工部或兵部侍郎。画院待诏（画家），为南宋宫廷画院中官品最高的画师，居御前画院十人之首。周密曾谓“御前画院仅十人，和之居其首焉”。擅画佛像、界画、山水，尤擅人物，人物师法吴道子、李公麟，仿“吴装”创用柳叶描(一作马蝗描)，用笔起伏、线条粗细变化明显，着色轻淡，笔法飘逸流利，活泼潇洒，富有韵律感，出入古法，脱去习俗，自成一家。其绘画风格与唐代吴道子相仿，当时有“小吴生”之称。",[23,117,24,64,25,138,27,101,119,100,30,31,7,32,97,140,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95614c3f4e3eb9f4c63c1368cfcfd9c2.jpg","27×383厘米",[81,105,51],{"id":6856,"slug":6857,"title":6858,"dynasty":344,"author":6859,"museum":3048,"description":6860,"tags":6861,"thumbUrl":6862,"material":273,"size":6863,"collection":83,"collections":6864,"showCount":6829,"zanCount":54,"manualWeight":54,"mainColor":109},220360,"fang-ni-yun-lin-gu-mu-yuan-shan-tu-zhou-zhu-chang-220360","仿倪云林古木远山图轴","祝昌","图以水墨描绘江南水乡泽国景色。层岗丘阜，错落起伏，溪涧潆洄，林木蓊郁，有茅屋数间依偎于山麓，扁舟数个荡漾于水面，景色旷远，意境清幽。画面主要用墨笔干皴，得倪瓒三昧。",[23,24,64,225,94,99,29,95,1417,348,140,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11257d3e5577a6cd1823f109ea6a2bdb.jpg","53.5x177.6",[83],{"id":6866,"slug":6867,"title":6868,"dynasty":344,"author":1527,"museum":61,"description":6869,"tags":6870,"thumbUrl":6871,"material":47,"size":6872,"collection":105,"collections":6873,"showCount":6829,"zanCount":54,"manualWeight":54,"mainColor":55},219220,"fang-da-chi-shan-shui-tu-wang-jian-219220","仿大痴山水图","此图沿“S”形的水路，绘一河两岸的景色，笔墨技法精湛，设色清丽脱俗，表现了江南山水沉郁深秀的自然气象。图中山石、树木勾染以仿大痴，即黄公望的画面为主，同时参法董源及唐初巨然的笔力，显现出王鉴晚年对古人笔墨融会贯通的掌控能力。",[23,117,24,64,225,27,95,7,98,33,29,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7b4bb0de74fcee4bbd39f292a92cc45.jpg","纵122.5厘米，横61.5厘米",[105],{"id":6875,"slug":6876,"title":6877,"dynasty":59,"author":292,"museum":135,"description":6878,"tags":6879,"thumbUrl":6880,"material":188,"size":6881,"collection":81,"collections":6882,"showCount":6829,"zanCount":11,"manualWeight":54,"mainColor":55},219049,"xun-mei-fang-you-tu-yi-ming-219049","寻梅访友图","2012年6月3日，北京保利古代书画夜场，南宋佚名《寻梅访友图》同样也争夺激烈，最终以超出估价80多倍的880万落槌，该作品之前估价为RMB: 50,000-100,000。",[23,117,24,64,27,99,95,140,97,7,30,66,119,98,32,2301],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1279c5adc874b1dfa7d108c60362dd6b.jpg","24×24.5",[81],{"id":6884,"slug":6885,"title":6886,"dynasty":18,"author":292,"museum":3325,"description":6887,"tags":6888,"thumbUrl":6889,"material":47,"size":6890,"collection":49,"collections":6891,"showCount":6829,"zanCount":54,"manualWeight":54,"mainColor":55},218451,"mao-nv-tu-yi-ming-218451","毛女图","飞瀑自崖间倾泻，溅起细碎水痕，苔石旁草木疏朗。毛女侧立，发髻簪着粉白小花，衣袂轻垂，眉目间透着悠然清寂。身旁灵鹿昂首，似与她共赏山光。山石以淡墨皴擦，肌理朴拙却藏层次；瀑布线条流畅，动静相衬。绢本的古雅色调，更添岁月沉淀的温润。画面简淡却意韵悠长，将毛女栖隐山林、与兽为友的传说，化作一卷仙逸之境，笔墨间满是山野的清旷与绝尘的况味。",[24,64,1551,27,26,30,3834,95,7,199,4449],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa13675267f743bc53cfd605358debfb0.jpg","21x21.4",[49],{"id":6893,"slug":6894,"title":6895,"dynasty":344,"author":1527,"museum":61,"description":6896,"tags":6897,"thumbUrl":6898,"material":273,"size":6899,"collection":105,"collections":6900,"showCount":6829,"zanCount":54,"manualWeight":54,"mainColor":109},218390,"fang-ni-yun-lin-xi-ting-shan-se-tu-wang-jian-218390","仿倪云林溪亭山色图","图绘秋湖静水、疏林远岫的江南风景。王鉴一生推崇元人倪瓒自然淳雅的画面，乐此不疲地到处找寻其画作并且加以临摹，仅仿倪氏的《溪亭山色图》就有数件之多，此图是其中最有代表性的一幅。从一河两岸式的构图到山石树枝的方折用笔，再到以淡墨层层擦染的施墨法，均可见作者晚年对倪氏画风的摹仿已达到炉火纯青的窘境。",[23,24,94,95,99,29,240,901,97,241,199,7,255,854],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe03d588fe722f33791954b625b63098.jpg","纵81.3厘米，横51.2厘米",[105],{"id":6902,"slug":6903,"title":6904,"dynasty":59,"author":488,"museum":135,"description":6905,"tags":6906,"thumbUrl":6908,"material":229,"size":637,"collection":142,"collections":6909,"showCount":6910,"zanCount":54,"manualWeight":54,"mainColor":55},289658,"xue-hou-shan-cun-tu-li-cheng-289658","雪后山村图","李成（919~967年），字咸熙，号营丘，京兆长安（今陕西省西安市）人。五代宋初画家，与董源、范宽并称“北宋三大家”，苏州刺史李鼎的孙子。\n博学多才，胸有大志，无处施展，醉心于书画。乾德五年，病逝于陈州，时年四十九岁。\n擅于山水画，师承于荆浩、关仝，自成一家，喜欢画郊野平远旷阔的风景。平远寒林，画法简练，气象萧疏，好用淡墨，“惜墨如金”；绘画山石如卷动的云，人称“卷云皴”；绘画寒林，开创“蟹爪”法，对于山水画的发展有重大影响。作品有《读碑窠石图》《寒林平野图》《晴峦萧寺图》《茂林远岫图》等。",[117,24,64,225,94,866,99,2567,3445,6907,255,76,7,2043],"山村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0607d079de16ecca9ed7e4b968863dce.jpg",[],55,{"id":6912,"slug":6913,"title":6914,"dynasty":18,"author":645,"museum":61,"description":6915,"tags":6916,"thumbUrl":6917,"material":714,"size":6918,"collection":142,"collections":6919,"showCount":6910,"zanCount":11,"manualWeight":54,"mainColor":109},233707,"you-ren-yan-zuo-tu-zhou-tang-yin-233707","幽人燕坐图轴","图中云峰缥缈，涧壑丛竹，水阁中一人静坐，旁设书籍、茶具，似有所待。溪流边一人拄杖独立，远眺山色。画法上多用干笔细皴描绘树石人物，笔致坚劲，刻画精微，风格缜密秀润，反映出唐寅善于以早年师从周臣学习宋“院体”山水技法，来表现和传达文人画清雅幽澹的功力。",[24,64,225,94,99,95,97,33,98,7,30,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5448d0d425ec0f6d6a2e9b1bd7bf7016.jpg","纵120.3厘米，横25.8厘米",[],{"id":6921,"slug":6922,"title":6923,"dynasty":150,"author":1622,"museum":20,"description":6924,"tags":6925,"thumbUrl":6927,"material":469,"size":6928,"collection":105,"collections":6929,"showCount":6910,"zanCount":11,"manualWeight":54,"mainColor":55},232902,"hua-xi-yu-ma-tu-zhao-meng-fu-232902","花溪浴马图","此画展现了一个充满生活趣味的浴马场景：在碧波清流之上，一大群马匹随着马倌入水、洗浴、出水。骏马温顺而矫健。\n《花溪浴马图》虽不知其创作时间，但从内容与风格上看，此图与北京故宫博物院所藏的《浴马图》应是同一时期作品。\n《花溪浴马图》布局开阔：岸边梧桐垂柳，绿荫成趣；溪水涓涓而流，清澈透明；骏马七匹，马倌八人，有序地安排在长长的画幅之中。在一片清幽、充满村野之趣的自然景象中，人与马悠然平和，各得其乐。画中马的姿态各异，神态生动，有的立于水中，有的饮水吃草，有的昂首嘶鸣。马倌们各自分工不同，或冲洗马身，或牵马上岸，或岸边小憩。赵孟頫以文人意笔勾线，行笔偏工，设色法唐人的青绿和重彩，人与马勾勒精细，设色雅致，并且色不掩笔。此图是一幅形神兼备、妙逸并具、风格高雅的鞍马画精品。\n赵孟頫(1254-1322)是元代文人画家中罕见的全能“选手”，山水、人物、鞍马、花鸟、竹石，无一不能，无一不精。再加上诗词、书法的成就，以及对篆刻的深刻理解，可以说，他基本界定了后世文人画家诗书画印全能的标准。",[23,117,24,64,25,2120,27,26,30,66,7,33,1759,98,6926,173],"树荫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b00a4e6db6c090c8f49c50804767e58.jpg","横28.1厘米，纵155.5厘米",[105],{"id":6931,"slug":6932,"title":6933,"dynasty":150,"author":1897,"museum":152,"description":6934,"tags":6935,"thumbUrl":6936,"material":355,"size":1901,"collection":142,"collections":6937,"showCount":6910,"zanCount":718,"manualWeight":54,"mainColor":109},231334,"lu-yu-peng-cha-tu-yuan-dai-ji-jin-zhi-liu-zhao-yuan-231334","陆羽烹茶图－元代集锦之六","此图绘山水清远,茅檐数座,屋内峨冠博带、倚坐榻上者即为陆羽,前有一童子焙炉烹茶。本幅有作者自题:“陆羽烹茶图”。画面图文并茂,铸造了士大夫烟霞痼疾与泉石膏肓的精神世界,从一个侧面折射了元代的社会思潮。此图山石皴法的侧锋圆转,树点墨法的粗重厚实,无不着意经营,缺少空灵虚旷、自然无为的韵致,特别是湿笔淡墨的运用,还未能打破宋人的陈式。本幅有窥班诗题,还有乾隆皇帝的御题诗。\n图绘远山起伏，水面辽阔，临溪筑有草阁，丛树掩映。阁内一人坐于榻上，当为陆羽，一童子拥炉烹茶。陆羽为唐代学者，闭门著书，不愿为官，以嗜茶闻名，有《茶经》传世。此图表现了文人隐居闲适的生活。远山近坡用披麻皴，皴笔圆转虬曲，颇多侧锋，树法书落，学董巨而有变化。[画师今赵元，东吴谅无双]是当时对赵原绘画的评价。[画师]是对职业画家的称谓，元代职业画家的绘画题材、画风都不同程度地受到文人画家的影响，于此图可见一斑",[24,64,25,94,99,95,97,33,7,30,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8860eaa9c2ef53a43976d02ab2796f0.jpg",[],{"id":6939,"slug":6940,"title":6941,"dynasty":59,"author":292,"museum":61,"description":6942,"tags":6943,"thumbUrl":6946,"material":188,"size":6947,"collection":81,"collections":6948,"showCount":6910,"zanCount":54,"manualWeight":54,"mainColor":640},223603,"qiu-shan-hong-shu-tu-zhou-yi-ming-223603","秋山红树图轴","绘千岩万壑，飞瀑流泉，红树满山。山下水榭楼台隐现苍松林木间，意境深邃幽远。人物众多，神态各异，形象生动。山石多大斧劈皴描绘，具峭劲挺拔质感。经霜红叶点缀丛树间，增添秋景萧瑟气氛。风格与李唐相近，技艺稍逊，当为传人画作。",[23,24,117,64,225,27,95,1813,1497,168,32,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\u002Foss.chuangqi.store\u002Fthumbweb\u002F10bdf1b23bd716de35f8b6425cecd63c.jpg","136.3x64",[105],{"id":7080,"slug":7081,"title":7082,"dynasty":59,"author":7083,"museum":2900,"description":7084,"tags":7085,"thumbUrl":7086,"material":47,"size":7087,"collection":105,"collections":7088,"showCount":6993,"zanCount":11,"manualWeight":54,"mainColor":109},218280,"feng-yu-shan-shui-tu-li-shan-218280","风雨山水图","李山","三条瀑布从画面右侧倾泻而下，与下方的岩石撞击出波浪，而左岸的松树形状奇特，树枝拍打着，似乎在跟随风向向右倾斜。一座桥横跨两岸，两个人和一头驴子在桥上逆风而行。",[23,24,64,95,1397,140,99,27,3087,98,33,169,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75f605ea64091fed8c0af258bb334556.jpg","24.1x24.8cm",[105],{"id":7090,"slug":7091,"title":606,"dynasty":18,"author":7092,"museum":281,"description":7093,"tags":7094,"thumbUrl":7095,"material":47,"size":7096,"collection":105,"collections":7097,"showCount":6993,"zanCount":54,"manualWeight":54,"mainColor":640},218098,"shan-shui-tu-li-zai-218098","李在","明朝时期的画家李在是一位著名的山水画家。他的作品以其精细的写实技巧、恢弘的气势和自然的造型而闻名。\n\n李在的山水图以其鲜明的色彩和细腻的线条而著称。他善于运用笔墨勾勒出高山峻岭、秀美的林木、碧波荡漾的江河、以及蒙蒙细雨的天气。他的画作还经常加入人物、建筑和动物的元素，使得作品更具生动感。\n\n李在的山水画不仅具有艺术价值，而且在当时也被视为象征君权的艺术品。他的作品深受当时的皇帝和贵族的青睐，并在历史上留下了深远的影响。\n\n总之，李在是一位杰出的山水画家，他的作品以其精细的写实技巧和自然的造型而闻名，并在历史上留下了深远的影响。",[24,64,117,225,94,27,99,95,2256,33,32,7,169,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc76f77a8ae01189e0f35aebdf3f3f1bb.jpg","138.8x83.2cm",[105],{"id":7099,"slug":7100,"title":7101,"dynasty":344,"author":6611,"museum":152,"description":7102,"tags":7103,"thumbUrl":7104,"material":273,"size":7105,"collection":105,"collections":7106,"showCount":6993,"zanCount":54,"manualWeight":54,"mainColor":109},216780,"si-mei-ju-he-fu-tu-dong-bang-da-216780","四美具合幅图","明末，顾从义收藏有顾恺之的《女史箴图》、李公麟的《湘妃卧榻图》、《蜀江图》和《九歌图》。这四卷书后来遗失了，在乾隆十一年，它们被逐渐转移到皇室。梁实秋、王玉盾和张若昀的画跋中提到，乾隆十年，他把这幅画和《雪》、《秋》、《博远图》一起保存在三希堂，这四位美女 其实是相互映衬的。此图为董其昌《四美图》两卷中的右幅。",[24,64,117,225,94,99,95,32,7,97,30,67,241,543,76,348,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54f2473dd5a6c940a97462bec011f41a.jpg","171.7x111.8",[105],{"id":7108,"slug":7109,"title":7110,"dynasty":18,"author":19,"museum":152,"description":7111,"tags":7112,"thumbUrl":7113,"material":47,"size":7114,"collection":105,"collections":7115,"showCount":7116,"zanCount":11,"manualWeight":54,"mainColor":55},290878,"song-ting-shi-quan-tu-zhou-chou-ying-290878","松亭试泉图轴","画中峰峦峥嵘，在云雾间半藏半露，近处陡峭的山岩间，一挂飞瀑跌成数叠，曲折流至松林溪间，临溪一歇山重檐松亭，亭中隐士品茶赏景，童子蹲着煮茶，亭外溪边一童子正持瓶汲泉。作者画出了一片娱性怡情的天地。",[117,24,225,27,26,95,97,390,30,7,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16d3e2d68807da9d43ef17fbb8fb40a7.jpg","128.1x61",[105],53,{"id":7118,"slug":7119,"title":7120,"dynasty":344,"author":7121,"museum":135,"description":7122,"tags":7123,"thumbUrl":7124,"material":142,"size":142,"collection":105,"collections":7125,"showCount":7116,"zanCount":54,"manualWeight":54,"mainColor":109},238212,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238212","仿王翬山水册","曹夔音","曹夔音，清代乾隆年间的山水画家，字莪塍，号红椒道人，江苏江宁（南京）人，其生卒年月不详。据资料，知其曾在乾隆初年以御用画师身份供奉朝廷。期间，曹氏遵御旨摹仿了一批传统经典作品，最具水准也最受称道的，是仿赵黻《长江万里图》长卷。因其笔墨逼真，又弥补了原作残旧之憾，故甚为乾隆皇帝喜爱，成为“御览之宝”。此外，曹夔音还奉旨与金昆、张镐复制了王维《辋川图》，又与周鲲、姚文瀚等人临摹了丁云鹏罗汉手卷数卷。而曹氏所作《寒谷鸣泉》扇面画与背面乾隆御临王羲之法帖的成扇。",[117,24,64,332,94,99,95,31,32,7,33,98,504],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae9b3150b1bdefaa340be12a343409a0.jpg",[105,51],{"id":7127,"slug":7128,"title":7129,"dynasty":344,"author":7130,"museum":135,"description":7131,"tags":7132,"thumbUrl":7143,"material":142,"size":142,"collection":142,"collections":7144,"showCount":7116,"zanCount":11,"manualWeight":54,"mainColor":109},234599,"qing-lv-shan-shui-wan-shan-jiang-yun-234599","青绿山水纨扇","姜筠","姜筠（1847－1919），字颖生，别号大雄山民，安徽省怀宁人。光绪十七年（1891）举人，官礼部主事。1913年梁启超在北京雅集词人诗友于万牲园，举行癸丑上巳修禊，颖生曾作图纪念。\n姜筠工书画，书法学苏轼，兼善篆刻。山水专学王翚，笔墨浓重，苍润古秀，殊乏清疏之气，间作花卉。工写兼至，别有韵味。《深山白云图》画大山、坡岸、房屋、渔舟，一派生机勃勃的景象。山中白云飘浮，更衬托了远山的深远，山上密密杂树寓意着新的生命处在潜伏的酝酿 期。姜筠作画以古法入，在借鉴古人笔意上又力图摆脱古人，从而寻找自己的绘画道路。图中的山石树木借鉴古法，重视造化，而点缀其中的 房屋、渔舟、云气正是表现了人的伟大和大自然的永恒。",[24,64,1551,118,27,95,7,96,33,98,169,97,7133,7134,7135,7136,7137,7138,7139,7140,7141,7142],"青绿山水","设色山水","扇面画","传统国画","古典书画","山水景物","流水孤舟","云雾缭绕","山石树木","亭台建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e9fc52f859f06ac6e06372c7f3cfa33.jpg",[],{"id":7146,"slug":7147,"title":7148,"dynasty":18,"author":1948,"museum":152,"description":7149,"tags":7150,"thumbUrl":7151,"material":335,"size":7152,"collection":142,"collections":7153,"showCount":7116,"zanCount":54,"manualWeight":54,"mainColor":109},234187,"wen-zheng-ming-jiang-nan-chun-tu-bing-shu-ci-juan-wen-zheng-ming-234187","文徵明江南春图并书辞卷","本图纸本轴装，纵106厘米，横30厘米。文徵明（1470-1559）自题：“江南春”（八分书）；并书追和云林先生词二首（行草书）。此图成于嘉靖二十六年丁未春二月（1547），作者时年78岁，画中的图像，平远湖山，绿树高耸，高士乘舟横过，远处临水人家，这是江南太湖景色。",[23,24,25,64,101,94,95,33,98,76,32,7,122,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14b1c1a838314382435f0ddc9dcfafa8.jpg","106.00×30.00cm",[],{"id":7155,"slug":7156,"title":7157,"dynasty":18,"author":1948,"museum":61,"description":7158,"tags":7159,"thumbUrl":7160,"material":7161,"size":7162,"collection":142,"collections":7163,"showCount":7116,"zanCount":11,"manualWeight":54,"mainColor":109},233711,"wen-zheng-ming-lv-yin-chang-hua-tu-zhou-wen-zheng-ming-233711","文徵明绿荫长话图轴","《绿荫草堂图》绘山中村落之景，于崇山环抱中见开阔。一瀑飞泻，汇成清清池塘。村居数间皆掩映于绿荫之下。山中闲居，有客拄杖来访。其意态优容，尽显隐士风流。画上除作者自书两题外，尚有蔡羽、王宠、陆师道诸家题记。",[24,225,94,99,95,140,32,7,30,98,100,101,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe16c50eb1cb998daffc1a6e2435c3d91.jpg","纸本 ，水墨","纵131.1cm，横32cm",[],{"id":7165,"slug":7166,"title":7167,"dynasty":344,"author":1527,"museum":61,"description":7168,"tags":7169,"thumbUrl":7170,"material":7171,"size":7172,"collection":142,"collections":7173,"showCount":7116,"zanCount":11,"manualWeight":54,"mainColor":109},233403,"meng-jing-tu-zhou-wang-jian-233403","梦境图轴","本幅墨笔，局部设色，上自识一段，款：“丙申夏六月，哉生明王鉴识”。又“静岩老亲翁索画，即以此帧清政弟鉴”。钤“玄照”。\n王鉴（1609-1677，旧作1598-1677），字圆照（圆字一作元，或玄，或员），一作元炤，号湘碧，别号染香庵主，因官廉州(今广西合浦县)知府，世称王廉州，江苏太仓人，为明南京刑部尚书王世贞曾孙。康熙元年后，王鉴因避讳，将玄照改为圆照，往往又写作元照、员照或元炤。王鉴与王时敏同为董其昌弟子，三人同为“画中九友”。王鉴精通画理，摹古尤长，于董源、巨然尤为深诣，被称为“后学津梁”。有清秦祖永辑录的《染香庵跋画》传世。",[24,64,225,95,94,99,98,33,97,32,7,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26480f906c21c22bebed88bc4047ff5e.jpg","纸本 ，墨笔","纵91.8cm，横49.5cm",[],{"id":7175,"slug":7176,"title":7177,"dynasty":150,"author":292,"museum":2478,"description":7178,"tags":7179,"thumbUrl":7180,"material":335,"size":142,"collection":142,"collections":7181,"showCount":7116,"zanCount":54,"manualWeight":54,"mainColor":55},231496,"fang-liu-song-nian-song-xia-lun-dao-tu-yi-ming-231496","仿刘松年松下论道图","苍松虬曲如卧龙，扎根危岩之间，飞泉叠落撞碎成雪，循着层岩汇入深涧。右下角平坡上，二人相对晤谈，一人敛衽凝神静听，一人凭石畅意抒怀，山林幽寂将这场论辩衬得愈发悠然。\n\n画作以水墨晕染层叠山势，皴擦勾勒出岩壁嶙峋肌理，松枝笔触老辣苍劲，将山野清旷出尘之态尽数铺展。以景托人，把林下寄情、坐而论道的隐逸雅趣融于山水烟岚，尽显文人寄心林泉的林下风流，笔墨间萧散简远，于沉静古雅色调晕染出出世闲情。",[23,24,94,27,99,29,95,390,168,7,30,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ece85a22e089d31138e99f0a6f7bf48.jpg",[],{"id":7183,"slug":7184,"title":7185,"dynasty":631,"author":774,"museum":152,"description":7186,"tags":7187,"thumbUrl":7188,"material":404,"size":7189,"collection":105,"collections":7190,"showCount":7116,"zanCount":54,"manualWeight":54,"mainColor":55},231050,"dong-tian-shan-tang-tu-dong-yuan-231050","洞天山堂图","《周凯画集》是 1998年出版的图书，作者是周凯。\n《周凯画集》为周凯画集，内容分为重彩丹青、浅绛水墨、书法三大部分。\n重彩丹青 1 秋瘤湖边 2 翠谷鸣泉 寺后小国 4 香港，永受嘉福 5 香港青马大橘 6 香港山顶缆车 7 山城 8 门神 9 喜盈盈 1 仰卧的女人体 11 卖水果人家 12 天下共此时一一深圳“世界之窗” 1 14 化生童子 15 五层塔 16 菩萨与罗汉 17 阁楼中的女孩 18 水乡市井 19 飞天 2 有井的圆楼 21 明王 22 围城 2 菩萨与伎乐 24 秋帆南下 25 树阴下的女人体 26 门外秋山 27 双龙与鳖 28 带水塔的山村 29 苍崖 幽谷轻绡 1 置庭园 2 蓝色的夜曲 丙寅二月 4 玄牝之灵 5 帝裔之乡 6 青绿山水 7 红色山水 8 深山萧寺 9 离堆 4 根 41 崖 浅绦水墨 42 屑屑山水秀 4 寒峰插天 44 峰峭余翠 45 明，陆治诗意 46 幽壑叠泉 47 魏·曹植游仙诗诗意长卷 48 清人诗意 49 扶桑轫暾 5 洞天神工 51 陶冶性灵 52 帖石防殴岸 5 蕉下读书图 54 束晋·庾阐观石鼓诗诗意手卷 55 云散峭峰 56 水村山郭（四季条幅之春） 57 前峰一夜两（四季条幅之夏） 58 秋来风雨知多少（四季条幅之秋） 59 暮景千山雪（四季条幅之冬） 6 君子之求 61 唐·柳宗元诗意 62 鹞 6 元·钱舜举诗意 64 林泉高致闽 65 烟岚圆 66 鶸冠花 67 临王蒙春山读书图 68 仿山水图 69 唐·刘长卿诗意 7 双矶圆 71 临董源洞天山堂图 72 水墨山水 7 临李唐万壑松风图 书法 74 唐·杜甫论诗七绝三首 75 唐·李白梦游天姥吟留别诗 76 画禅室随笔一则 77 南田论画一则 78 世说新语二则",[24,64,95,225,94,27,99,240,821,4095,271,33,97,854,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4a4de7bd1f0b9c7318084670f1579b8.jpg","183.2x121.2",[105],{"id":7192,"slug":7193,"title":7194,"dynasty":344,"author":7195,"museum":135,"description":7196,"tags":7197,"thumbUrl":7198,"material":142,"size":142,"collection":142,"collections":7199,"showCount":7116,"zanCount":11,"manualWeight":54,"mainColor":55},230191,"chun-shan-ting-ruan-tu-lv-huan-cheng-230191","春山听阮图","吕焕成","《春山听阮图》是清代画家吕焕成创作的一幅绢本设色画。\n关于清代画家 ，《 》中记载：“擅人物、花卉，兼长山水，好作斧劈皴，风格颇似戴文进。\n”他创作的道士、佛神像，皆笔法工整，设色古雅。\n在这幅《春山听阮图》轴中，作者一改以往的艺术特色，不见斧劈痕迹，风格却似 作品的格调。\n不过这倒使我们从另一个角度领略到画家对不同艺术境界的探求。\n山间的瀑布、亭宇、林木相互掩映，在烟岚缭绕的气氛中若隐若现。\n近景溪边的亭台上有一人正在弹阮，他神情怡然，气质脱俗，想必正沉浸在乐曲独特的旋律之中；他的身边有一人正聚精会神地聆听着，想必是其朋友，那坐卧斜倾的姿态，看上去像是完全被阮音优美的旋律所醉倒。\n右边的低崖上有二人正在观景，或许是回荡在山谷里美妙的阮音打断了他们的话题，使他们不由得回转过头，听着佳音赏着眼前的美景。\n我们虽然听不到这美妙的乐音，但早已被这些生动的描绘带入“春山听阮”的意境，从听阮者那专注的神情里，可以想像到这位高士弹奏的高妙之处，从那溪水与闲云的流动中，那绿石、苍松融融的气息间，更感受到春的惬意。\n因为有这委婉动听的阮音回绕，这春山，这草木，这流水，这自然之机，便清雅宜人，恍若梦中的仙境。\n该作为竖构图，满布局，结构严谨，层次分明，经营有序，不见壅塞。\n笔法工细挺秀，轻皴淡染，设色艳丽。\n溪边人物虽小，但刻画细致入微，形神毕俱。\n山石是勾勒后，稍加皴制，不露笔痕，然后再以石青、石绿轻轻晕染。\n松树以淡墨层层染之，桃花用少许胭脂染成，使得整幅画面不仅构图饱满而且颜色丰富，典雅超逸。\n此画左上角自题“舜江吕焕成写”。\n轴纵观此图气势超逸，高雅脱俗。\n画中一座座雄伟的山峰拔地而起，前呼后拥，左右相迎；山势陡绝、奇丽，从近到远层层推移，既高大又深远，既峭峻又缥缈，给人一种于壮美中见超然的 。\n吕焕成（16-175），清初画家。\n字吉文，号祉园山人，浙江余姚人。\n擅长嘶人物、山水，兼画花卉。\n笔法工整，设色古雅。\n吕焕成是明代书画家文征明的外孙女婿，正因这特殊身份，使其始终执迷于“吴派”绘画。\n清代初期，他坚持“吴派”山水作风。\n作品既有“北宗”画法的崇高峻美，也有“南宗”画法的秀润笔致。\n时时透露出一股清新和洒脱的气息。\n传世作品较少，主要有《春山听阮图》轴。",[23,24,64,225,118,27,26,28,95,30,31,390,98,7,351,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbd09de321dae177cef791720d8eb004.jpg",[],{"id":7201,"slug":7202,"title":7203,"dynasty":344,"author":2501,"museum":7204,"description":7205,"tags":7206,"thumbUrl":7207,"material":659,"size":7208,"collection":105,"collections":7209,"showCount":7116,"zanCount":11,"manualWeight":54,"mainColor":109},224495,"tao-fu-song-ju-tu-wu-li-224495","陶甫松菊图","中国国家博物馆","绘群山连绵，山峰高耸入云，山上松树成林，高大茂盛；山脚下房屋隐现，人影绰绰，泉水潺潺，秋景宜人。技法上，皴染浑穆，层峦叠障，气韵深沉。用笔纯用中锋，谨严厚朴，气魄雄厚。此图笔墨幽微，拟元代大画家王蒙的风格，有一种空幻的感觉，令人有悠然远隔尘嚣之想，巧妙地体现了陶圃主人陆廷灿的思想境界：在出世与入世之间。",[23,24,27,99,225,95,98,7,96,390,6344,97,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d825f00689d43da1412df9f4ac0c81e.jpg","纵178.68CM 横75.01CM",[105,83],{"id":7211,"slug":7212,"title":7213,"dynasty":344,"author":2071,"museum":135,"description":7214,"tags":7215,"thumbUrl":7216,"material":142,"size":142,"collection":142,"collections":7217,"showCount":7116,"zanCount":54,"manualWeight":54,"mainColor":109},224445,"fang-wang-meng-shan-shui-wang-hui-224445","仿王蒙山水","此作用笔繁密苍厚，以解索皴堆叠山峦，积墨反复晕染，层岩叠嶂尽显郁茂深秀，得古贤山水苍茫沉雄之韵。下方山居临溪而筑，堂内文士围坐清谈，溪桥畔仆役缓步而行，林泉间动静相映，晕染出萧散野逸的幽居意趣。题诗佐于左上，笔墨文心相融，既循古意，又自含灵秀笔致，将林泉高致的雅逸山居图景铺陈开来，尽释传统山水里的文人幽怀。",[23,24,64,225,94,99,95,98,33,76,32,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7404689f6258b3af226d1aefaddbcb2.jpg",[],{"id":7219,"slug":7220,"title":7221,"dynasty":18,"author":251,"museum":3048,"description":7222,"tags":7223,"thumbUrl":7224,"material":469,"size":7225,"collection":105,"collections":7226,"showCount":7116,"zanCount":54,"manualWeight":54,"mainColor":55},222582,"yun-he-gao-yi-tu-lan-ying-222582","云壑高逸图","图绘高山大岭，如坠欲倾。山间飞云腾雾，峡谷流泉落瀑，绿松、红枫相映。\n林下一隅一高士结庐独坐，屋外板桥横担，有朋自远方来。\n全图构象饱满，层次分明，笔力苍劲雄厚。既有山林泉壑的自然景观，又有人事活动的细节描绘，加之浓郁的诗意气氛，视野开阔，古韵动人，把读者带到这一“风景这边独好”的境地，尽情地享受着眼观耳听的乐趣。图左上自题“云壑高逸画于西溪梅花香雪阁，甲午春三月七十山公蓝瑛”。钤“蓝瑛之印”、“田叔父”印。",[23,24,117,225,95,27,99,97,32,7,390,98,168,30,255,821],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44481e7379a6f6ddec878c0676e82e74.jpg","172.7x67厘米",[105,83],{"id":7228,"slug":7229,"title":2775,"dynasty":18,"author":7230,"museum":1308,"description":7231,"tags":7232,"thumbUrl":7233,"material":188,"size":7234,"collection":105,"collections":7235,"showCount":7116,"zanCount":11,"manualWeight":54,"mainColor":55},222172,"shan-shui-tu-juan-ling-bi-zheng-222172","凌必正","凌必正，明朝时期人物，字贞卿，一字蒙求，号约庵，太仓（今江苏太仓）人。",[23,24,25,27,99,26,95,97,32,7,31,33,98,76,42,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d833055d321b7858277278949b9816d.jpg","32X159厘米",[105,83],{"id":7237,"slug":7238,"title":7239,"dynasty":150,"author":6787,"museum":152,"description":7240,"tags":7241,"thumbUrl":7242,"material":469,"size":7243,"collection":105,"collections":7244,"showCount":7116,"zanCount":54,"manualWeight":54,"mainColor":55},221823,"lin-xia-ming-qin-zhou-zhu-de-run-221823","林下鸣琴轴","画面为江边数棵参天古松，松下围坐三位逸士。一人抚琴，二人静听。江中渔夫垂钓，似为琴声吸引。江面辽阔，空中一行芦雁。对岸峰峦迭翠，亭台楼宇掩映其间。山峦皴笔有如卷云，古松秃枝形似鹰爪。画法取乎郭熙而又自立新意。",[23,24,94,99,225,95,390,96,30,7,140,1397,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff739ee5a552d9953abf1bb9e06365a6a.jpg","239X62.5",[105,83],{"id":7246,"slug":7247,"title":7248,"dynasty":18,"author":1254,"museum":152,"description":5152,"tags":7249,"thumbUrl":7250,"material":5155,"size":142,"collection":105,"collections":7251,"showCount":7116,"zanCount":54,"manualWeight":54,"mainColor":109},220934,"fang-wang-meng-fang-dong-yuan-qiu-shan-xing-lv-tu-dong-qi-chang-220934","仿王蒙仿董源秋山行旅图",[24,64,95,94,99,29,27,98,33,31,32,7,227,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c15c82af0fc77e48f2b48d1c1ee14c.jpg",[105,83],{"id":7253,"slug":7254,"title":7255,"dynasty":150,"author":6787,"museum":152,"description":7256,"tags":7257,"thumbUrl":7258,"material":47,"size":142,"collection":105,"collections":7259,"showCount":7116,"zanCount":54,"manualWeight":54,"mainColor":109},219617,"song-jian-heng-qin-tu-zhu-de-run-219617","松涧横琴图","画面中下部，是一条左低右高的石磵，且清且浅的河水自远及近蜿蜒跳跃而下，俞远愈淡。近岸左右有两松矗立，一直一曲，一高一低。左边的松树高而直，以一浓一淡两棵杂树副之。右边的松树似虬龙一样盘曲左伸，松下则是磵边开阔微斜的石头滩地，三位老者盘腿对坐在蒲团之上，中间有一盘食物，置三酒杯。一人双手放在琴上，眼睛左看，似正在弹琴并与左边的朋友目光交流，右边的老者则闭目笼袖，似乎听得很是入神。画面的右上角，署名“朱泽民”并有题句：峰阳之桐，声越冰泉；天然宫商，松风画弦。\n该画的人物、场景及构图，非常类似其立轴大画《林下鸣琴图》，似是一图多本。不过可能因画幅太小尚不盈尺，故而画得更为简洁，无法画出对岸的坡陀岗峦。就画中人物而言，这种扮相与组合曾出现在其他画中，显然就不仅仅是文人雅士简单的时尚风雅，而有着特定的时代的情感映射。或许，这既是“七匠八娼九儒十丐”历史境遇中被侮辱被边缘化的元代知识分子的实际生存状态，也是其理想化的精神家园。",[23,24,64,1551,94,99,95,390,7,30,1702,98,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03fe743673cf85aafc314641bd35833e.jpg",[105],{"id":7261,"slug":7262,"title":888,"dynasty":344,"author":7263,"museum":152,"description":7264,"tags":7265,"thumbUrl":7266,"material":273,"size":7267,"collection":105,"collections":7268,"showCount":7116,"zanCount":11,"manualWeight":54,"mainColor":109},219481,"shan-shui-zhou-huang-ding-219481","黄鼎","这幅画中，江亭空旷，江山深邃，秀美。",[24,94,225,99,119,95,241,98,32,350,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff353d9af0a3e032c79871c2d0edac77a.jpg","78x39.3",[105],{"id":7270,"slug":7271,"title":7272,"dynasty":18,"author":251,"museum":152,"description":7273,"tags":7274,"thumbUrl":7275,"material":47,"size":7276,"collection":105,"collections":7277,"showCount":7116,"zanCount":54,"manualWeight":54,"mainColor":55},219397,"shan-shui-tu-yi-hai-qiu-zhong-lan-ying-219397","山水图-已亥秋仲","画面层峦叠嶂隐于烟霭，远山如黛，近岫含翠。苍松劲柏立岸而生，枝干虬劲，墨色浓淡相宜；水面波光粼粼，一叶扁舟悠然泛波，岸边茅屋隐于林间，野趣横生。中段亭榭临溪，飞檐翘角与周遭林木相映成趣。山石皴法刚健，兼具浙派风骨与文人雅致，墨色晕染自然，设色淡雅温润。秋仲清寂悠远尽显笔端，仿佛可闻林间风声、水面桨声，引人步入静谧山水之境，体味超然物外的闲适安宁。",[24,64,225,27,95,97,7,96,241,98,350,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dc24749ccb3e2b4cacaa976f90dcd98.jpg","145.8x71.6",[105],{"id":7279,"slug":7280,"title":7281,"dynasty":59,"author":4206,"museum":152,"description":7282,"tags":7283,"thumbUrl":7284,"material":47,"size":7285,"collection":105,"collections":7286,"showCount":7116,"zanCount":54,"manualWeight":54,"mainColor":109},218936,"xue-xi-cheng-xing-tu-yan-wen-gui-218936","雪溪乘兴图","这幅画采用了团扇的形式，描绘了一位优雅的男子在寒林和水榭的山谷中乘船拜访朋友。颜文贵（967-1066）是浙江吴兴人。以前隶属于军队，在太宗时期退役，在京城（河南开封）跟随郝惠学习书法。他擅长画山水、人物和船只，尤其擅长画四季，画风清雅秀丽，被誉为 燕家景。",[23,117,24,64,1551,94,27,99,95,7,96,5711,33,2567,173,2043,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b8d2f37f64bed82c6552fdc2774171c.jpg","22.3x23.8",[105,81],{"id":7288,"slug":7289,"title":7290,"dynasty":18,"author":7291,"museum":61,"description":7292,"tags":7293,"thumbUrl":7294,"material":47,"size":7295,"collection":105,"collections":7296,"showCount":7116,"zanCount":54,"manualWeight":54,"mainColor":55},218362,"fang-he-zhou-tu-xiang-sheng-mo-218362","放鹤洲图","项圣谟","此图是项圣谟为友人朱葵石所画的一件作品。放鹤洲在嘉兴鸳鸯湖畔，唐代著名宰相裴休曾在此建造别墅，但久已荒废。朱葵石在其遗址上疏浚河道，广植树木，重新再造。清顺治十年（1653年），朱葵石请项圣谟来别墅作客，他们泛舟湖上，饮酒赋诗，尽情享受林泉之乐，作品正是为纪念他们这一次相会而创作的。\u2028　　画面上，纵横交错的河道将田畴、村庄分割，农民往来耕作于其间，反映了长江下游低湿地带的风貌。画面左中部树木葱茏茂密，其间设置桥梁、屋宇、亭子、假山石和备用的画舫等，正是别墅所在地。画面左下端有寺庙宝塔，上端城墙蜿蜒，则是嘉兴城。别墅与周围的环境融为一体，布置讲究，而建筑并不炫耀豪华。项圣谟的这件作品不但写实，而且表现出中国文人崇尚自然，即“仁者乐山，智者乐水”的思想。",[23,24,95,27,94,99,33,122,96,32,7,97,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce80d46161a9b0729030988c27b5e0af.jpg","纵65.5厘米，横53.7厘米",[105],{"id":7298,"slug":7299,"title":7300,"dynasty":150,"author":710,"museum":281,"description":7301,"tags":7302,"thumbUrl":7303,"material":47,"size":7304,"collection":105,"collections":7305,"showCount":7116,"zanCount":54,"manualWeight":54,"mainColor":55},217743,"nan-cun-cao-tang-tu-wang-meng-217743","南村草堂图","南村草堂图是一幅画作，它描绘了王蒙在南村的草堂中写诗的场景。在这幅画中，王蒙坐在一张桌子前，手拿笔，正在写诗。画中还有许多自然元素，如树、花和鸟。这幅画反映了王蒙对自然的喜爱，也表现了他作为一位文人的生活方式。\n\n南村草堂图是王蒙的一部重要作品，它体现了他对自然、人生和社会的独特观点。通过这幅画，我们可以了解到王蒙的性格和想法，以及他对人生的看法。",[23,24,64,25,94,27,99,101,119,100,95,31,32,7,140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f321da5e3294ddbe21991bf518c888b.jpg","27.2x88.8cm",[105],{"id":7307,"slug":7308,"title":7309,"dynasty":150,"author":292,"museum":7310,"description":7311,"tags":7312,"thumbUrl":7313,"material":47,"size":7314,"collection":105,"collections":7315,"showCount":7116,"zanCount":54,"manualWeight":54,"mainColor":55},215145,"xi-shan-lou-ge-tu-yi-ming-215145","溪山楼阁图","重庆市博物馆","溪山楼阁图是一幅中国古代山水画，作者佚名，来自元朝（1271-1368年）。这幅画以其精美的画风和丰富的山水景观而闻名，是一件珍贵的艺术瑰宝。\n\n在这幅画中，作者以逼真的笔触和精细的构图技巧，勾勒出了一座位于山谷中的楼阁。楼阁的四周环绕着秀美的山水景观，山峦起伏，溪流潺潺，树木葱茏，给人以清新的视觉享受。\n\n在这幅画中，作者还融入了许多寓意深刻的元素，如山间的松柏、荷花池塘、仙人掌等都被视为吉祥物，象征着幸福、长寿、繁荣等。\n\n总的来说，溪山楼阁图是一幅精美的山水画作品，充分展现了中国古代画家对自然美景的热爱和描绘技巧。",[117,24,27,28,118,95,31,33,7,98,169,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86fc87bbefb1be97892e5282dfcc31c1.jpg","27.5x26.4cm",[105],{"id":7317,"slug":7318,"title":7319,"dynasty":18,"author":7320,"museum":1164,"description":7321,"tags":7322,"thumbUrl":7323,"material":103,"size":7324,"collection":105,"collections":7325,"showCount":7116,"zanCount":11,"manualWeight":54,"mainColor":109},214379,"jiang-feng-juan-diao-tu-wang-qi-214379","江风卷钓图","王綦","明代王綦的江风卷钓图是一幅令人钦佩的作品，它描绘了一个渔夫在江边钓鱼的生动场景。\n\n这幅画的色彩鲜艳，笔触细腻，构图巧妙。画中的渔夫坐在船上，手持鱼竿，朝着江边抛出鱼饵。鱼儿们在水面上游动，形成一道道弧线，展现了渔夫抓鱼的技巧和耐心。背景是江边的树木和山峦，体现了王綦对自然的描绘。\n\n王綦是明代著名画家，他的作品擅长运用自然色彩，表现出自然界的美感。在《江风卷钓图》中，他运用了浅蓝色和淡黄色来描绘水面和天空，使整幅画显得清新自然。同时，他还运用了细腻的笔触来描绘渔夫和鱼儿的细节，使得这幅画充满生命力和真实感。\n\n总的来说，明代王綦的江风卷钓图是一幅精美的艺术品，它描绘了明代渔民的生活，也体现了王綦对自然的描绘。通过这幅画，我们不仅能感受到王綦的艺术才华，还能了解明代渔民的生活和文化。",[23,24,64,225,94,99,95,140,1397,32,7,66,30,98,33,119,2567],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa90fc46736ca32af793a380d64ede047.jpg","130.2x32.2",[105],{"id":7327,"slug":7328,"title":7329,"dynasty":698,"author":2094,"museum":135,"description":7330,"tags":7331,"thumbUrl":7332,"material":229,"size":637,"collection":142,"collections":7333,"showCount":7334,"zanCount":54,"manualWeight":54,"mainColor":55},290239,"wan-shan-ji-xue-tu-wang-wei-290239","万山积雪图","王维（701年—761年），字摩诘，号摩诘居士。河东蒲州（今山西永济）人，祖籍山西祁县。唐朝诗人、画家。\n王维出身河东王氏，于唐玄宗开元九年（721年）中进士第，为太乐丞。历官右拾遗、监察御史、河西节度使判官。天宝年间，拜吏部郎中、给事中。安禄山攻陷长安时，被迫受伪职。长安收复后，被责授太子中允。唐肃宗乾元年间任尚书右丞，世称“王右丞”。\n王维参禅悟理，精通诗书音画，以诗名盛于开元、天宝间，尤长五言，多咏山水田园，与孟浩然合称“王孟”，因笃诚奉佛，有“诗佛”之称。书画特臻其妙，后人推其为南宗山水画之祖。著有《王右丞集》《画学秘诀》，存诗约400首。北宋苏轼评云：“味摩诘之诗，诗中有画；观摩诘之画，画中有诗。”",[23,117,24,25,95,2567,3445,7,33,97,99,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F784f5c4fab22ae5e6ea7f75c69dcfa56.jpg",[],52,{"id":7336,"slug":7337,"title":7338,"dynasty":59,"author":292,"museum":135,"description":7339,"tags":7340,"thumbUrl":7342,"material":229,"size":637,"collection":142,"collections":7343,"showCount":7334,"zanCount":54,"manualWeight":54,"mainColor":55},289879,"shui-yue-guan-yin-tu-yi-ming-289879","水月观音图","水月观音的形象，最早始于中唐时期，据张彦远《历代名画记》 ，为周昉(约730-800)所创，「菩萨端严，妙创水月之体」。周昉所画，「掩障菩萨圆光及竹，并是刘整成色。」后朱景玄《唐朝名画录》及《太平广记》均有类似记载，唯其画无传。现存最早的水月观音画，见于敦煌莫高窟《千手千眼观音菩萨坐像》，水月观音位于该画右下角，绘成于九四三年，现藏法国吉美博物馆。画中观音右手持柳枝，左手托净瓶，坐姿呈半跏思维相；周围泉水萦映，背倚修竹。观音头饰宝冠，身披璎珞，富丽华美，法相庄严。",[23,24,117,225,598,138,94,30,7341,530,98,7],"观音","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffad1c02b1758bf9ed874046a042ba650.jpg",[],{"id":7345,"slug":7346,"title":7347,"dynasty":344,"author":2253,"museum":61,"description":7348,"tags":7349,"thumbUrl":7350,"material":714,"size":7351,"collection":105,"collections":7352,"showCount":7334,"zanCount":54,"manualWeight":54,"mainColor":109},237574,"song-he-gao-shi-tu-zhou-wang-shi-min-237574","松壑高士图轴","本幅款署：“松壑高士图。辛丑秋日为耿庵社长先生六十初度寿，弟王时敏。”钤“王时敏印”白文印，“西庐老人”、“西田”朱文印二方。鉴藏印有：“荫北鉴藏”、“壶中墨缘”、“莱臣心赏”、“虚斋审定”共四方。\n“辛丑”是清顺治十八年（1661年），王时敏时年70岁。\n据款题而知，此图是作者为祝好友金俊明（耿庵）60寿辰所作。因此，图中特别突出地表现了具有长寿寓意的峰峦和松柏，以此寄托其祝福友人“寿比南山”的美好意愿。图中山石、树木以娴熟的笔墨皴擦点染，于苍润浑厚中不失清幽秀雅，颇得董源、黄公望“平淡天真”的神韵，是王时敏晚年山水画的典型之作。",[24,94,225,95,99,390,2256,168,7,609,33,32,98,169,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5d169b622a802e787ceb891fe543c00.jpg","纵79厘米，横47.8厘米",[105,83],{"id":7354,"slug":7355,"title":7356,"dynasty":344,"author":3047,"museum":61,"description":7357,"tags":7358,"thumbUrl":7359,"material":335,"size":7360,"collection":105,"collections":7361,"showCount":7334,"zanCount":54,"manualWeight":54,"mainColor":109},236457,"nan-cun-cao-tang-tu-zhou-cha-shi-biao-236457","南村草堂图轴","查士标（1615年—1698年），字二瞻，号梅壑散人、懒老，新安（今安徽歙县、休宁）人，流寓江苏扬州，明末秀才，清初著名画家、书法家和诗人。家富收藏，故精鉴别，擅画山水。与孙逸、汪之瑞、弘仁等书画家一起被称为“新安四家”。",[24,64,225,94,99,95,32,7,33,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e38e76e472e20cbb1711c4106bd889c.jpg","49cm×122.5cm",[105,83],{"id":7363,"slug":7364,"title":7365,"dynasty":18,"author":19,"museum":61,"description":7366,"tags":7367,"thumbUrl":7368,"material":946,"size":7369,"collection":142,"collections":7370,"showCount":7334,"zanCount":718,"manualWeight":54,"mainColor":55},233416,"tao-cun-cao-tang-tu-zhou-chou-ying-233416","桃村草堂图轴","自题：“仇实父为少岳先生制”，钤“十洲”朱文葫芦形印。此图是仇英师承南宋“二赵”风格的作品，描绘的是幽深静逸的隐居环境。草堂位于山坳，其后桃林一片，溪流出其下，一童子踞溪侧洗砚。更上则高岭白云，丛树列布，意境幽深。画作富有诗意，画法精细工谨，细致入微。通幅大青绿着色，色彩艳丽深重。方薰在《山静居论画》中说：“设色不以深浅为难，难于色彩相合，合则神气生动。”此图将滴翠的石绿、秀雅的淡赭、温润的墨色自然和谐地统一在一起，具有一种雅俗共赏的艺术效果。此图为仇英青绿山水画的代表作之一。\n据徐石雪题跋考证，画中主人公为项元淇。仇英此图是应项元淇之约而作。项元淇，字子瞻，号少岳。工诗文，善草书，著名收藏家项元汴之兄。图中项氏襟带飘然，风度高雅，四周环境清幽，景色宜人，宛如人间仙境。裱边有董其昌、昆虔、徐宗浩题跋。经清内府收藏，后为徐石雪所得。",[24,225,26,27,118,95,33,97,7,32,30,119,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7b542990eb17d240c9f1d39023cb377.jpg","纵150厘米，横53厘米",[],{"id":7372,"slug":7373,"title":7374,"dynasty":59,"author":399,"museum":7375,"description":7376,"tags":7377,"thumbUrl":7378,"material":335,"size":7379,"collection":142,"collections":7380,"showCount":7334,"zanCount":11,"manualWeight":54,"mainColor":55},232776,"si-ji-shan-shui-tu-juan-li-tang-232776","四季山水图卷","日本京都高桐院","作品以开阔的画面展示了从卷头的春景开始到卷末的冬景结束，连续画出了四季山水的变迁。仔细观摩之，这一春夏秋冬的四季也分别画成孟、仲、季三景，并且通过巧妙的布置而连成一景。一卷四季变化实属罕见。",[23,117,24,64,25,27,95,99,26,240,901,96,241,97,122,32,7,256,30,199,140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc6192ff70fbb361ec6c27ae7f9dd2de.jpg","纵32厘米，横515.5厘米",[],{"id":7382,"slug":7383,"title":7384,"dynasty":18,"author":7385,"museum":135,"description":7386,"tags":7387,"thumbUrl":7388,"material":142,"size":142,"collection":105,"collections":7389,"showCount":7334,"zanCount":11,"manualWeight":54,"mainColor":109},224548,"shu-hua-ce-ye-xiao-yun-cong-wang-shi-zhen-224548","书画册页","萧云从 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秋山如洗，清风如妆。近处的岩石很像李唐和刘松年的作品，而远处的山峰的笔法和环境则很像惠崇的作品。",[23,24,64,94,27,95,96,7,256,140,99,320,348,306],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3efef7fae05066bc6df419889f6c421.jpg","23.4x23.8",[81,105],{"id":7483,"slug":7484,"title":7485,"dynasty":59,"author":209,"museum":152,"description":7486,"tags":7487,"thumbUrl":7488,"material":47,"size":7489,"collection":105,"collections":7490,"showCount":7334,"zanCount":54,"manualWeight":54,"mainColor":109},218682,"han-xi-chui-diao-tu-xia-gui-218682","寒溪垂钓图","这幅画描绘的是月光下的寒流，隐者披头散发，环境非同一般，笔触特别冰冷，署名夏圭。",[23,24,64,1551,94,99,95,96,7,390,306,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cb060226a5cefc9cdcb37f39b8b4c4a.jpg","24.5x25.7cm",[105],{"id":7492,"slug":7493,"title":7494,"dynasty":344,"author":292,"museum":61,"description":7495,"tags":7496,"thumbUrl":7500,"material":27,"size":142,"collection":49,"collections":7501,"showCount":7334,"zanCount":11,"manualWeight":54,"mainColor":109},217311,"gu-xiu-wu-shi-san-can-tu-ce-yi-ming-217311","顾绣·五十三参图册","绣线流转间，善财童子的虔诚跃然绢上。顾绣以针代笔，将山水的淡远、人物的温煦凝于丝缕：或见童子俯身问法，衣袂飘举间藏着求道的恳切；或观善知识拈花含笑，眉眼舒展处透着慈悲的从容。针脚细密处晕染出虚实层次，丝线的柔光与笔墨的雅致相融，似有禅意悄然流淌。草木的舒展、山石的肌理，皆以灵动针法勾勒——既存画之韵致，更显绣之精工。每一幅皆是一段求道的缩影，绣工于细节处藏巧思，尽显明清绣艺与释教题材结合的雅致深味，让观者在丝缕交织里触碰到那份千年不变的虔诚与静穆。",[7497,7498,26,27,598,30,95,33,98,7,390,4447,7499,332],"顾绣","刺绣","菩萨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ca39984ae1662855dc39ec30e30b1f4.jpg",[49],{"id":7503,"slug":7504,"title":7505,"dynasty":344,"author":7506,"museum":91,"description":7507,"tags":7508,"thumbUrl":7509,"material":142,"size":142,"collection":105,"collections":7510,"showCount":7334,"zanCount":54,"manualWeight":54,"mainColor":7511},202124,"fang-da-chi-shan-shui-tu-zhou-yuan-pei-202124","仿大痴山水图轴","袁沛","水墨晕染间，山峦以皴法勾勒出苍劲肌理，云雾似轻纱漫过峰谷，将远近景致晕成淡远之调。近岸枯树疏枝交错，几间屋舍倚岩而筑，小桥横卧溪上，流水绕石潺潺。中远景峰峦叠嶂，林木错落，留白处云雾氤氲，虚实相生间尽显山水悠远之趣。笔墨追摹古法，却藏着对自然的细腻体悟，清寂雅致的意境在尺幅间缓缓铺展。",[94,99,29,95,32,7,140,199,609,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06764f51623175d13cae3e16bffd6a7b.jpg",[105],"b3a088",{"id":7513,"slug":7514,"title":7515,"dynasty":344,"author":292,"museum":135,"description":7516,"tags":7517,"thumbUrl":7519,"material":229,"size":637,"collection":142,"collections":7520,"showCount":7521,"zanCount":54,"manualWeight":54,"mainColor":55},289741,"hua-yuan-hua-shi-er-yue-ling-tu-ba-yue-tu-zhou-yi-ming-289741","画院画十二月令图八月图轴","仲秋园池盛景跃然绢上，水岸亭台层叠错落，高阁凌水而建，文人雅士凭栏游赏，或把盏叙谈，或极目远眺，尽得清秋舒展意趣。下方庭院间，棕榈奇石点缀雅致园景，廊下有人对坐弈棋，仆从往来奔走备事，将官宦世家的闲适日常铺陈开来。\n\n水面澹澹漾开，远岸林木疏朗，暮色初升晕染天际，把八月的闲雅氛围揉入边角细节。全作工笔细腻，设色清隽雅致，将仲秋游园的松弛意趣藏在人物情态里，把园林精巧意趣与太平岁月的悠然融于一体，尽显古典雅致的世家闲情。",[24,225,27,26,28,30,31,97,7,33,530,39,98,3834,7518],"游乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bcb28d920a01f8e8712b428cf940c7e.jpg",[],51,{"id":7523,"slug":7524,"title":606,"dynasty":59,"author":222,"museum":135,"description":4085,"tags":7525,"thumbUrl":7526,"material":229,"size":637,"collection":142,"collections":7527,"showCount":7521,"zanCount":54,"manualWeight":54,"mainColor":55},288957,"shan-shui-tu-fan-kuan-288957",[24,117,64,225,95,94,99,98,7,33,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ef7a3a0391d16f3f98076b4c93ece0d.jpg",[],{"id":7529,"slug":7530,"title":7531,"dynasty":18,"author":7532,"museum":61,"description":7533,"tags":7534,"thumbUrl":7536,"material":258,"size":142,"collection":142,"collections":7537,"showCount":7521,"zanCount":54,"manualWeight":54,"mainColor":109},234188,"xun-yang-pi-pa-xing-tu-juan-li-shi-da-234188","浔阳琵琶行图卷","李士达","李士达的生活年代大约是十六世纪中叶到十七世纪初。在万历二年（公元1574年）考中进士，泰昌元年（公元1620年）还画过一幅《关山风雨图》，活了八十多岁。\n[明]号仰槐，一作仰怀，陕西省三原县人。万历元年（一五七三）癸酉乡试中举 [1] ，入雁塔题名碑，万历二年（一五七四） [2] 进士。画人物、山水名世。万历间隐居新郭。尝论画有五美云：“苍、逸、奇、远、韵。”五恶云：“嫩、板、刻、生、痴。”人谓其深得画理。寿至八十外。泰昌元年（一六二o）尝作关山风雨图。《明画录》、《无声诗史》、《吴县志》、《故宫周刊》。主要作品《松阴搔背》、《松竹高士》、《坐听松风》、《蕉阴独酌》、《西园雅集》、《寒林钟馗》、《罗汉卷》、《仙山楼阁》、《三驼图》。",[23,24,64,25,27,26,94,95,30,96,7,33,66,320,7535,140,97,227,1001],"江水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbda0629b682f08ed426a8007477828c6.jpg",[],{"id":7539,"slug":7540,"title":1344,"dynasty":18,"author":90,"museum":61,"description":1345,"tags":7541,"thumbUrl":7542,"material":335,"size":1348,"collection":142,"collections":7543,"showCount":7521,"zanCount":54,"manualWeight":54,"mainColor":109},234094,"wu-zhong-shan-shui-ce-shen-zhou-234094",[24,64,332,94,95,101,119,99,100,32,7,33,240],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F281cd9bcebb3bee363a0e64bf0753972.jpg",[],{"id":7545,"slug":7546,"title":7547,"dynasty":18,"author":7548,"museum":20,"description":7549,"tags":7550,"thumbUrl":7551,"material":7552,"size":7553,"collection":105,"collections":7554,"showCount":7521,"zanCount":54,"manualWeight":54,"mainColor":109},222053,"hou-chi-bi-tu-juan-zhang-rui-tu-222053","后赤壁图卷","张瑞图","张瑞图（1570-1644），明代官员、书画家。字长公、无画，号二水、果亭山人、芥子、白毫庵主、白毫庵主道人等。他以擅书名世，书法奇逸，峻峭劲利，笔势生动，奇姿横生，钟繇、王羲之之外另辟蹊径，为明代四大书法家之一，与董其昌、邢侗、米万钟齐名，有“南张北董”之号；又擅山水画，效法元代黄公望，苍劲有劲，作品传世极希。",[23,24,64,25,94,99,100,101,95,140,255,98,199,97,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92f9fcd5c11225b554a4e27bb19095e1.jpg","绫本水墨","27.9×320厘米",[105,83],{"id":7556,"slug":7557,"title":7558,"dynasty":344,"author":7559,"museum":1308,"description":7560,"tags":7561,"thumbUrl":7562,"material":404,"size":7563,"collection":105,"collections":7564,"showCount":7521,"zanCount":54,"manualWeight":54,"mainColor":55},220032,"jiang-lou-fang-you-tu-wu-hong-220032","江楼访友图","吴宏","此幅吴远度云是仿北宋初李成画法，实则借名而已，皴法已带唐伯虎乱柴皴法度，构图渲染全是金陵画派作风，然江天开阔，渔隐互答，远度此幅尤允佳品。",[23,24,64,866,225,27,99,31,32,7,96,33,98,76,35,518],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7aaaf4122119ceb7d3d07d79758a578d.jpg","78.63*160.6cm",[105],{"id":7566,"slug":7567,"title":7568,"dynasty":2023,"author":7569,"museum":400,"description":7570,"tags":7571,"thumbUrl":7572,"material":188,"size":142,"collection":105,"collections":7573,"showCount":7521,"zanCount":54,"manualWeight":54,"mainColor":55},219238,"shan-shi-qing-lan-tu-chao-xian-yi-ming-219238","山市晴岚图","朝鲜·佚名","晴岚如纱轻覆烟水，远山黛影隐入云间。近岸巉岩错落，古木虬枝斜出，屋宇依林泉而建，似有清寂烟火漫出枝叶。水面波光微漾，几叶扁舟缓行，桨声随雾霭飘散。笔墨细腻处，山石肌理分明；淡染之间，云雾流动如活。山水的旷远与人间的宁和交织，空灵中透着温润，读之如临幽境，心随画中烟水沉静下来。",[23,24,866,99,27,95,31,32,7,96,98,33,97,348,169,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f9e5d65eb51248a44011e70f9c087ce.jpg",[105],{"id":7575,"slug":7576,"title":7577,"dynasty":59,"author":7578,"museum":3432,"description":7579,"tags":7580,"thumbUrl":7581,"material":47,"size":142,"collection":105,"collections":7582,"showCount":7521,"zanCount":11,"manualWeight":54,"mainColor":640},218234,"qiu-dong-shan-shui-tu-yan-ci-ping-218234","秋冬山水图","阎次平","墨痕流转间，铺展秋冬清旷之境。近坡古木虬枝，皴擦如老鳞，凝着霜天寒意；中渚水面空濛，一叶孤舟静卧，添了几分寂寥；远山淡抹如烟，隐入云霭，层叠间藏着深远。笔墨简劲却意韵悠长，线条勾勒刚柔相济，墨色晕染浓淡相宜。枯木枝桠横斜，似在风中低语；山石错落，尽显苍劲肌理。秋冬交替的荒寒之美与静谧之趣悄然融合，尽显宋画山水的雅致深邃，引人沉入那片烟水茫茫的悠远意境里。",[117,24,64,225,94,99,95,33,98,96,122,1397,140,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadfcc4b8c4cb176ad1d96d67695e9810.jpg",[105],{"id":7584,"slug":7585,"title":7586,"dynasty":18,"author":7587,"museum":281,"description":7588,"tags":7589,"thumbUrl":7590,"material":103,"size":7591,"collection":105,"collections":7592,"showCount":7521,"zanCount":54,"manualWeight":54,"mainColor":55},217062,"gao-shi-guan-pu-tu-sheng-mao-ye-217062","高士观瀑图","盛茂烨","这幅画是一块巨石耸立在瀑布上，平台上有几位高僧在观看瀑布，乐在其中。这幅画笔力雄浑，滴水不漏，有劈泉裂石之势，而其树木山石都与古人的血脉相连。",[23,24,94,27,26,99,95,30,168,32,33,171,97,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f72bd5bed6ccdc8ef477233ace97724.jpg","156x88cm",[105],{"id":7594,"slug":7595,"title":7596,"dynasty":150,"author":1032,"museum":135,"description":7597,"tags":7598,"thumbUrl":7599,"material":229,"size":637,"collection":142,"collections":7600,"showCount":7601,"zanCount":718,"manualWeight":54,"mainColor":109},290959,"lan-ting-guan-e-tu-qian-xuan-290959","兰亭观鹅图","宋钱选兰亭观鹅图卷：传说东晋大书法家王羲之生性喜鹅，曾见一道士有白鹅甚可爱，因书《黄庭经》以换之。此图即钱选据传说附会而成。近景树木蓊郁，竹林茂密，亭台掩映，白鹅戏水，王羲之凭栏观望。远山苍翠，村庄隐现于雾霭山林间。境界秀雅明润，风格古拙高逸。青绿设色，画法直追唐人。钱选（公元1239─1301年），浙江吴兴人。字舜举，宋景定间乡贡进士。为“吴兴八俊”之一。入元不仕，流连诗画以终其身。山水、人物、花鸟无不擅长。",[117,24,64,25,118,27,95,97,31,30,543,33,2413,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e36723340126cf3064bb0ea8d3c7df5.jpg",[],50,{"id":7603,"slug":7604,"title":7605,"dynasty":59,"author":222,"museum":135,"description":4085,"tags":7606,"thumbUrl":7607,"material":229,"size":637,"collection":142,"collections":7608,"showCount":7601,"zanCount":11,"manualWeight":54,"mainColor":109},290484,"xue-shan-tu-fan-kuan-290484","雪山图",[24,1551,94,95,3445,255,97,7,2567,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1dbdbcb25d9a80347e20f677806d5ce0.jpg",[],{"id":7610,"slug":7611,"title":7612,"dynasty":59,"author":488,"museum":135,"description":4726,"tags":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弘治十一年（1498年），唐寅中应天府乡试第一，在他的《领解元后谢主司》一诗之中写道：壮心未肯逐樵渔，秦运咸思备扫除。剑责百金方折阅，玉遭三黜忽沽诸。红绫敢望明年饼，黄绢深惭此日书。三策举场非古赋，上天何以得吹嘘。唐寅作《送文温州序》和《金粉福地赋》。 弘治十二年（1499年），唐寅与江阴徐经入京参加会试，因牵连徐经科场案下狱，后被罢黜为吏。 弘治十三年（1500年），唐寅被罢黜为浙藩小吏，个人深以为耻坚决不去就职。唐寅归家后夫妻失和，休妻。",[23,24,64,225,27,99,95,2256,32,7,33,98,168,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24db9aed0cc0e34002c0bec4c6d5e69f.jpg","75x56",[],{"id":7644,"slug":7645,"title":7646,"dynasty":150,"author":7647,"museum":135,"description":7648,"tags":7649,"thumbUrl":7650,"material":142,"size":142,"collection":142,"collections":7651,"showCount":7601,"zanCount":11,"manualWeight":54,"mainColor":55},228035,"shan-shui-hua-ce-12-ye-guan-dao-sheng-228035","山水画册12页","管道升","此作以水墨晕染铺就烟岚浮动的幽寂之境，山峦隐现于流云薄雾之间，虚实相生，似有若无，将江南山水的氤氲柔婉尽数铺陈。坡岸修竹清挺秀逸，枝叶以细劲墨线勾勒，在朦胧烟霭中愈见清雅灵秀，与淡墨晕开的云山相映成趣。\n\n全画舍去繁复皴法，以淡墨烘染出云雾流荡之态，留白与晕染交织，令观者仿若身临幽寂空茫的山林，听溪声、沐烟霞，尽显元画尚意的审美意趣，于尺幅间藏万千丘壑，将文人画简淡空灵的意境抒发得淋漓尽致。",[24,64,332,94,99,95,543,98,7,169,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42fa9d27742c0b2b8d4e4c85f9f39255.jpg",[],{"id":7653,"slug":7654,"title":7655,"dynasty":344,"author":1385,"museum":3048,"description":7656,"tags":7657,"thumbUrl":7658,"material":7659,"size":7660,"collection":105,"collections":7661,"showCount":7601,"zanCount":54,"manualWeight":54,"mainColor":55},220972,"shuang-song-liu-quan-tu-yun-shou-ping-220972","双松流泉图","双松流泉图描绘巍峨高耸的远山被浮云游雾隔于天外，远处的瀑布从山崖之间逶迤婉转地涌出，因矶石抵柱而迥旋激荡，如同泉流。近景堤岸沙坡之上灵石伫立，苔草凝碧；临水的山角处双松并峙，针茂如冠，楮竹相生，杂然成林。一溪春水波光粼粼，仿佛正有和煦春风从水面掠过。画上虽然杳无人迹尘嚣，但并不荒疏冷寂。回荡壑谷的风声，击石鸣涧的水声，松涛如潮的树声，或许还有空山飞鸟的啼声，都为这本来幽静的画面平添了许多的幽趣，共同唱响一曲自然生趣的清歌，大有声情并茂的韵味。上端有画家自题语和款署：“双松流泉图，为六朋词兄六十寿。”落款：“毗陵恽寿平。”",[23,24,64,225,94,95,390,7,98,99,1177,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2b3e81025a8acac7cd4862aa16daff2.jpg","轴，卷本设色","纵172厘米，横67厘米",[105,83],{"id":7663,"slug":7664,"title":7665,"dynasty":150,"author":2084,"museum":400,"description":7666,"tags":7667,"thumbUrl":7668,"material":47,"size":7669,"collection":49,"collections":7670,"showCount":7601,"zanCount":54,"manualWeight":54,"mainColor":55},220410,"shui-bian-gao-shi-tu-sheng-mao-220410","水边高士图","盛懋（生卒年不详）字子昭，嘉兴（今属浙江）武塘人，与吴镇同时代，且为乡邻，“比门而居”，主要活动于元至正年间。其父盛洪，是民间画工。盛懋承家学，人物、山水、花鸟，无所不工，尤善山水。其山水画多作丛山密林，表现四时朝暮的江山胜景，结构严整，笔墨清润。早年得到陈琳(赵孟頫的学生)的指点，画山石多用披麻皴或解索皴，笔法工整，设色明丽。所以他早期的画“精致有余”，而意趣不足，被时人称作“画工”之作。但他后来逐渐接受元代文人画家的影响，吸收文人画的意趣，一定程度上摆脱了“匠气”，故其作品越来越合士大夫阶层的审美情趣，元至正年间享有盛名。盛懋的画当时也很受老百姓的欢迎，“四方以金帛求子昭画者甚众”。他的传世作品较多，如《秋林高士图》《秋江待渡图》《坐看云起图》《秋溪放艇图》《山居纳凉图》等。",[23,24,94,27,99,30,95,140,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F901490fb625dc8dea15a65bdd9778bf9.jpg","23.4×25.3",[49,105,51],{"id":7672,"slug":7673,"title":7674,"dynasty":18,"author":4601,"museum":400,"description":7675,"tags":7676,"thumbUrl":7677,"material":103,"size":7678,"collection":105,"collections":7679,"showCount":7601,"zanCount":54,"manualWeight":54,"mainColor":109},219977,"zhen-yi-qian-ren-gang-tu-wen-bo-ren-219977","振衣千仞岗图","此作用高远、平远之法铺陈山水，下半幅巉岩叠错，幽溪宛转，苍松虬枝斜曳，丹枫点破秋光，山居藏于松荫深处，野意萧散。远景烟峦浮空，汀渚村舍隐在淡墨轻岚之中，虚实相生，晕染出空濛清旷的秋霁氛围。\n\n笔墨兼工带写，山石以披麻皴间杂小斧劈，细劲松秀，淡墨轻扫出流云远山，将高蹈隐逸的林下之思藏在清寂丘壑间，把文人林泉高致的意趣，铺展于绢素之上，清灵淡远，尽显秀雅温润的吴门意韵。",[23,24,64,95,27,99,7,98,140,351,170,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ff079bfcc13d6102a4df986fa0f2775.jpg","67x31cm",[105],{"id":7681,"slug":7682,"title":7683,"dynasty":344,"author":1527,"museum":423,"description":7684,"tags":7685,"thumbUrl":7686,"material":273,"size":142,"collection":105,"collections":7687,"showCount":7601,"zanCount":11,"manualWeight":54,"mainColor":109},219914,"cai-zhao-shi-yi-tu-wang-jian-219914","蔡肇诗意图","王鉴（1598年～1677年），字元照，一字圆照，号湘碧，又号香庵主，江南太仓人，明末清初画家，“四王”之一。\n万历二十六年（1598年）出生，崇祯六年（1633年）举人。后任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。\n吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。康熙十六年（1677年）去世，享年八十岁。",[24,64,117,94,99,225,866,95,33,7,96,98,1128,169,255,171,868],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bb7e789e1591565f7fc6f26d2254029.jpg",[105],{"id":7689,"slug":7690,"title":7691,"dynasty":18,"author":7692,"museum":152,"description":7693,"tags":7694,"thumbUrl":7695,"material":94,"size":142,"collection":83,"collections":7696,"showCount":7601,"zanCount":54,"manualWeight":54,"mainColor":55},219372,"shan-shui-tu-yun-hu-yan-zuo-wang-wen-219372","山水图-云湖燕坐","王问","层岩叠嶂间，笔墨皴染交织出苍劲山体，草木葱茏处藏着几椽茅舍，溪水蜿蜒似带清音。溪边人物凭栏凝思，与幽居景致相映，尽得林泉之趣。干湿浓淡的墨色变化，既显山石肌理，又透文人逸气；题跋与山水相融，文心画意浑然一体。整幅画作于雄健中见清雅，将山水之秀与隐逸之情交织，尽显文人画的诗意与哲思，仿佛可闻松风溪语，可感隐者心境，是一幅兼具笔墨功力与精神内涵的佳作。",[24,64,225,94,99,95,32,7,30,140,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c40552f9ad1d350d633836f89864fdc.jpg",[83],{"id":7698,"slug":7699,"title":7700,"dynasty":18,"author":7701,"museum":152,"description":7702,"tags":7703,"thumbUrl":7704,"material":273,"size":7705,"collection":83,"collections":7706,"showCount":7601,"zanCount":54,"manualWeight":54,"mainColor":109},219322,"fang-yuan-ren-bi-yi-zhou-hou-mao-gong-219322","仿元人笔意轴","侯懋功","侯懋功（生卒年不详），号夷门，苏州人，活跃于明代万历(1573-1620）年间。画中冈峦秀伟，崖径、栈道蜿蜒其间，若可游赏，并通向山顶隐蔽村舍。构图与山石树木之造型、用笔可见明代文征明之影响。「Y」字分界的前景石块及山间平顶，追仿着元代黄公望（1269-1354）的母题；繁密又多细节的景致，颇具元代王蒙遗意。此画不落蹊径地展现元人意趣，实为侯氏佳作。",[24,64,225,94,99,29,95,98,33,7,32,30],"https:\u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“一叶随风万里身”的隐逸情思。",[24,64,225,94,99,101,119,95,96,7,140,306,256],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7e0d50dd46d8af9d83496cf46482b72.jpg",[],{"id":7785,"slug":7786,"title":7787,"dynasty":344,"author":7788,"museum":400,"description":7789,"tags":7790,"thumbUrl":7791,"material":142,"size":142,"collection":142,"collections":7792,"showCount":7754,"zanCount":11,"manualWeight":54,"mainColor":55},228921,"qiu-shan-hong-shu-tu-li-jian-228921","秋山红树图","黎简","这幅山水以没骨青绿晕染山峦，留白烘出流云如絮，将山谷裹在空濛仙气之中。丹红的枫林点染在青碧峰峦间，冷暖撞色鲜活明快，打破了青绿基调的沉静，映着澄澈秋水，板桥卧波引渡。隅侧茅舍隐在红树之后，野趣横生。\n\n山石勾勒圆浑，设色厚而不浊，在堂皇明艳的大青绿底色中，融入文人山水的清寂澹远，将秋山的绚烂丹枫与幽寂林泉相融，把秋日山林明丽又安宁的意韵尽数铺展，诗意悠然。",[117,24,64,225,27,26,99,95,1813,32,76,169,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea6ed7e98b0f5962716eadac4fb205f7.jpg",[],{"id":7794,"slug":7795,"title":7796,"dynasty":59,"author":399,"museum":135,"description":7797,"tags":7798,"thumbUrl":7799,"material":142,"size":142,"collection":142,"collections":7800,"showCount":7754,"zanCount":54,"manualWeight":54,"mainColor":55},227966,"gui-qu-lai-xi-tu-juan-li-tang-227966","归去来兮图卷","此作将陶潜归田之思铺陈于绢素之上，前段平远旷阔，烟波轻笼田舍村墟，农人往来、隐者凭栏，尽显乡居安闲意趣；后段峰峦崔嵬，林木蓊郁，幽涧流泉间高士策杖寻幽。\n笔墨糅合北宋山水的雄浑与苍劲院体笔法，勾勒简括，皴染厚重，丘壑幽邃与田园清逸相融。搭配纵逸题笔，诗书画印浑然一体，把守拙归园、寄情山水的林下襟怀淋漓展现，萧散静穆的隐逸气象扑面而来。",[117,24,64,25,94,27,95,30,31,32,7,97,241,98,5064,100,119,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a5cc3cee1ceef518ee7b74df05ac966.jpg",[],{"id":7802,"slug":7803,"title":7804,"dynasty":344,"author":552,"museum":553,"description":554,"tags":7805,"thumbUrl":7806,"material":562,"size":563,"collection":142,"collections":7807,"showCount":7754,"zanCount":54,"manualWeight":54,"mainColor":55},222818,"gu-su-fan-hua-tu-di-er-duan-xu-yang-222818","姑苏繁华图第二段",[23,24,64,25,26,27,28,30,31,32,7,97,33,76,70,36,40,556,35,34,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa13854b780c9cb3ed4dddfbf1c538ccc.jpg",[],{"id":7809,"slug":7810,"title":7811,"dynasty":344,"author":2804,"museum":152,"description":2805,"tags":7812,"thumbUrl":7816,"material":469,"size":2810,"collection":105,"collections":7817,"showCount":7754,"zanCount":54,"manualWeight":54,"mainColor":109},222763,"shi-er-yue-ling-tu-4-yue-lang-shi-ning-222763","十二月令图（4月）",[23,24,27,26,30,31,32,7,97,98,1068,7813,7814,7815],"细雨","赏花","消遣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cd2462abe95344680ac6dca3956b1cd.jpg",[105,51],{"id":7819,"slug":7820,"title":7821,"dynasty":59,"author":209,"museum":20,"description":7822,"tags":7823,"thumbUrl":7824,"material":7825,"size":7826,"collection":142,"collections":7827,"showCount":7754,"zanCount":54,"manualWeight":54,"mainColor":109},221508,"bu-yu-tu-tuan-shan-ye-xia-gui-221508","捕鱼图团扇页","按《捕鱼图》团扇页题签，此画传为南宋画家夏圭所作。有学者认为可能是明代画家的作品。夏珪腕力刚劲，运笔迅速，与此画文静秀逸的笔法不同；《捕鱼图》人物温雅的面容，简洁而细腻的衣纹，也不是夏珪的风格，反而与马远的画风一致。尽管《捕鱼图》可能不是宋代作品，但画得依然很出色，能妙笔入神，情景交融，表现出雅静虚和的韵味。",[23,24,1551,94,99,95,96,306,256,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b90038fa4d4f5868eee3e4e06e13086.jpg","绢本 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明靖江王朱亨嘉之子，与弘仁、髡残、朱耷合称“明末四僧”。",[23,24,94,99,225,95,934,96,7,427,33,30,31,256],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ff3288481cb043a71d1eaf11cecb7e0.jpg","127.4x54",[105],{"id":7867,"slug":7868,"title":7869,"dynasty":18,"author":4156,"museum":316,"description":7870,"tags":7871,"thumbUrl":7873,"material":404,"size":142,"collection":105,"collections":7874,"showCount":7754,"zanCount":54,"manualWeight":54,"mainColor":109},219893,"zhou-jin-tang-ji-chen-chun-219893","昼锦堂记","陈淳(1483-1544)，字道复，后以字行，更字复甫，号白阳，又号白阳山人，长洲(今江苏苏州)人，明代绘画大师。",[23,24,64,25,101,7872,295,94,27,30,31,32,7,96,97,241,98,119],"草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba68ea872e59a506e45fdc29a7bc85d6.jpg",[105,625],{"id":7876,"slug":7877,"title":7878,"dynasty":344,"author":7879,"museum":316,"description":7880,"tags":7881,"thumbUrl":7882,"material":47,"size":142,"collection":49,"collections":7883,"showCount":7754,"zanCount":54,"manualWeight":54,"mainColor":55},219835,"cai-zhi-tu-yu-bing-shun-219835","采芝图","禹秉舜","此作以青绿晕染烟霞山峦，古松虬枝横斜，苍劲的松针间裹挟流云，将山林晕染出空寂出尘的仙气。下方溪桥之上，仕女衣袂翩跹徐行，侍女手捧灵芝紧随其后，人物眉目温婉情态娴静，衣纹勾勒细腻雅致。\n\n画作兼用工写之法，山石松干以粗笔淡墨皴擦出苍润古意，人物则精细描摹，明丽设色衬出雅致格调，将林下寻芝的隐逸雅趣融于山水之间，淡远清和，尽显温婉古韵。",[23,24,27,26,225,390,98,169,139,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3adb0c561ceeb62412f8daaea5ff098e.jpg",[49],{"id":7885,"slug":7886,"title":7887,"dynasty":59,"author":7888,"museum":152,"description":7889,"tags":7890,"thumbUrl":7891,"material":47,"size":142,"collection":81,"collections":7892,"showCount":7754,"zanCount":54,"manualWeight":54,"mainColor":109},218935,"song-xiu-yu-cun-tu-gao-ke-ming-218935","松岫渔村图","高克明","在画作中央的山坡上画着一栋村舍，它与右边的坡石由一座木桥连接，桥下的溪水流淌着，仿佛在鸣叫。桥上的一个男人正向村子走去，后面跟着一个孩子。坡岸上有房屋和树木，远处的山峰上也有树木；远处的山峰被涂上了鲜艳的色彩，还有蒸腾的雾气，这种场景类似于中国南方的晚春日落。这幅作品的构图是典型的边缘化，场景本身只占整个画面的一半，形成一条从远处山顶的树梢到倾斜的海岸的对角线。虽然这是一部小作品，但它具有巨大和深远的潜力。笔触低调，构图和主题一再显示出与马夏画派的亲和力。",[23,24,1551,95,390,98,33,7,96,99,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15a818024b4d6462ac770c4d1cfc69bc.jpg",[81],{"id":7894,"slug":7895,"title":7896,"dynasty":631,"author":733,"museum":135,"description":7897,"tags":7898,"thumbUrl":7899,"material":229,"size":637,"collection":142,"collections":7900,"showCount":7901,"zanCount":54,"manualWeight":54,"mainColor":55},290250,"gao-shan-zhi-yu-tu-ju-ran-290250","高山知遇图","巨然，生卒年不详，江宁（江苏南京）人。五代画家，僧人。\n早年在南京开元寺出家，南唐降宋后到汴京（河南开封），居于开宝寺。\n擅画山水，师法董源，专画江南山水，所画峰峦 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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），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，所写哀诗中有“只有文章传子侄，绝无货币置田庄”之句，并亲自拨款建立“董公祠”。",[24,64,332,27,95,99,98,33,390,76,32,7,169,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa443f86659d1246ce2824ef78b06a3ac.jpg",[105,51],{"id":7950,"slug":7951,"title":7952,"dynasty":344,"author":7953,"museum":152,"description":7954,"tags":7955,"thumbUrl":7959,"material":7960,"size":7961,"collection":142,"collections":7962,"showCount":7901,"zanCount":54,"manualWeight":54,"mainColor":109},223093,"hua-nan-fang-zeng-zhang-tian-wang-xiang-zhou-yao-wen-han-223093","画南方增长天王像轴","姚文瀚","姚文瀚（公元18世纪）清代画家。号濯亭，顺天（今北京）人，生卒年不详。乾隆时供奉内廷，工道释、人物、山水、界画。传世作品有《四序图》卷。",[23,24,225,598,26,27,30,95,6446,7956,7957,119,4257,6430,7958,33,7],"服饰","兵器","神像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63b754074b82571d0e38932f5e220c24.jpg","轴 纸本 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。\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……。善山水及水墨花卉，写意入神。\n“ 八家有 八位画家虽被纳入一个流派，各自的 他们的共同之处，是淡泊功名，为人清高，只与诗酒结缘、书画为伴，视 八家偶有",[23,24,64,332,94,99,95,32,7,271,76,348],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F467d01d7652fdadb7ced0902e0c7e630.jpg","绢本水墨设色","20.5 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-ming-288513","整幅画作定格了一处临水官营作坊的日常盛景。临水高阁水磨飞转，匠人或持具分拣粮料，或俯身装卸漕粮，各司其职、鲜活生动。水面上舟楫往来渡运，岸边车马络绎穿梭，高耸的木构支架与严整的亭台楼阁相互映衬，满溢着烟火蒸腾的劳作气息。\n画作以工细写实的笔触写尽百态，界画严整精准，衣纹简劲利落，设色古雅苍润，将漕粮加工转运的民生图景娓娓铺展，兼具极高审美价值与纪实史料价值。",[23,117,24,64,28,27,30,31,32,7,5064,71,4592],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bf861c5bac94907fe27a1b5a71d408b.jpg",[],47,{"id":8075,"slug":8076,"title":8077,"dynasty":344,"author":292,"museum":135,"description":8078,"tags":8079,"thumbUrl":8082,"material":229,"size":637,"collection":142,"collections":8083,"showCount":8073,"zanCount":11,"manualWeight":54,"mainColor":55},288060,"nao-long-zhou-yi-ming-288060","闹龙舟","这幅长卷以工细笔触铺展春日盛景，澄澈水面上龙舟竞渡，旌旗猎猎，健儿挥桨劈波，舟身彩饰繁丽，竞渡喧嚷似能破纸而出。\n\n沿岸屋舍层叠，酒肆楼宇间人影攒动，仕民凭栏观赛，谈笑晏晏。远山含烟、花树初绽，将江南漕岸的烟火气晕开。创作者以院体画的精细，把官民同游的节庆嬉乐定格，静雅的楼台春景搭配喧腾的水上赛事，一动一静里尽显升平风华，将水乡春日的繁庶鲜活凝固为永恒。",[23,24,25,27,26,28,30,31,7935,7,120,504,44,8080,8081,95],"节庆","民俗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4dd7b62edc4a1b662b9720f4671ce87.jpg",[],{"id":8085,"slug":8086,"title":6402,"dynasty":18,"author":4146,"museum":135,"description":8087,"tags":8088,"thumbUrl":8090,"material":142,"size":142,"collection":142,"collections":8091,"showCount":8073,"zanCount":54,"manualWeight":54,"mainColor":55},234805,"ren-wu-zhou-xie-shi-chen-234805","谢时臣（1487—？），明代画家。字思忠，号樗仙。长洲（今江苏苏州）人，八十一岁时尚在世。工书法，长于隶书 。擅山水 ，师法吴镇、沈周，稍作变化，兼有“浙派”和“吴门派”笔法，风格独特。\n作品多构为长卷巨幛，以善画水著称，江河湖海，无不精好。又作 山峦重叠 ，高耸险峻 ，笔墨 或细密苍劲 ，或劲健沉郁，或纵横纷披，富有变化。有《溪山揽胜图》《策杖寻幽图》《武当霁雪图》《谪仙玩月图》等传世。",[24,64,225,27,99,30,33,8089,122,95,227,7],"推车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F581618327747e74a9a86d6201e888d63.jpg",[],{"id":8093,"slug":8094,"title":8095,"dynasty":18,"author":645,"museum":152,"description":8096,"tags":8097,"thumbUrl":8098,"material":273,"size":8099,"collection":105,"collections":8100,"showCount":8073,"zanCount":54,"manualWeight":54,"mainColor":262},228481,"guan-pu-tu-zhou-tang-yin-228481","观瀑图轴","画面上方描绘瀑布倾泻而下，正是李白《望庐山瀑布水（二首）》其二中的名句“飞流直下三千尺，疑是银河落九天”的意境。近景浓荫之下，巨石突兀，一文士仰卧其上，满目青翠欲滴的树色，远望则千岩万壑。想必那水声、树声交织出的华美乐章令画中人沉醉。此图构图雄奇，笔法狂放，或横，或竖，或卷，不拘一格，任意挥洒，看似草草，实则内蕴雄浑沉厚的张力。",[24,64,225,94,95,168,33,98,30,7,169,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2d863025c22e5c994d3525d679e99f5.jpg","103.6x30.3",[105],{"id":8102,"slug":8103,"title":8104,"dynasty":344,"author":2071,"museum":252,"description":8105,"tags":8106,"thumbUrl":8107,"material":8108,"size":8109,"collection":105,"collections":8110,"showCount":8073,"zanCount":54,"manualWeight":54,"mainColor":109},224463,"shui-ge-you-shan-tu-wang-hui-224463","水阁幽山图","作者称此图仿云西老人（曹知白）画法。曹知白工画山水，兼师宋李成、郭熙、董源、巨然诸古代大家。然此图并非具体临摹曹氏作品，乃是融合宋、元绘画的不同画法的创作。王翚曾言，以元人笔墨，运宋人丘壑，而泽以唐人气韵，乃为大成。该图正是典型作品之一",[23,24,95,99,94,27,902,240,241,7,168,171,390,351,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70e27b235c5ee9ec6af8ea24552f3e55.jpg","纸本、设色","纵25cm，横236cm",[105,83],{"id":8112,"slug":8113,"title":8114,"dynasty":698,"author":8115,"museum":553,"description":8116,"tags":8117,"thumbUrl":8118,"material":188,"size":8119,"collection":142,"collections":8120,"showCount":8073,"zanCount":54,"manualWeight":54,"mainColor":109},223556,"qing-xi-yin-ma-tu-han-gan-223556","清溪饮马图","韩干","韩干(约706～783)，唐代画家，长安蓝田（今属陕西）人，官至太府寺丞。善画肖像、人物道释、花竹，尤工鞍马。韩干初师曹霸，为其入室弟子，后自成一家。所绘马匹，体形肥硕，态度安详，比例准确，一改前人画马螭颈龙体、筋骨毕露、姿态飞腾的“龙马”作风，创造了富有盛唐时代气息的画马新风格。杜甫在《丹青引》中有“干唯画肉不画骨”的诗句，在《画马赞》中又说：“韩干画马，毫端有神。……鱼目瘦脑，龙文长身，雪垂白肉，风蹙蓝筋”。对他的画马，赞赏备至，后人将他与当时最善画牛的戴嵩并称为“韩马戴牛”以画马着称。",[23,24,64,1551,26,94,66,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F148f3125d6a4c66d8e3539b1472fcf74.jpg","42*68厘米",[],{"id":8122,"slug":8123,"title":8124,"dynasty":344,"author":6611,"museum":152,"description":8125,"tags":8126,"thumbUrl":8128,"material":335,"size":8129,"collection":105,"collections":8130,"showCount":8073,"zanCount":54,"manualWeight":54,"mainColor":109},223118,"qiu-shan-xiao-si-zhou-dong-bang-da-223118","秋山萧寺轴","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。",[23,24,95,94,225,99,98,33,7,8127,76,32],"寺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ffd24cfe5738efc1434df698a67139a.jpg","159.3x83.9",[105,83],{"id":8132,"slug":8133,"title":8134,"dynasty":18,"author":7092,"museum":61,"description":8135,"tags":8136,"thumbUrl":8137,"material":1119,"size":8138,"collection":105,"collections":8139,"showCount":8073,"zanCount":11,"manualWeight":54,"mainColor":109},222160,"kuo-zhu-yao-feng-tu-zhou-li-zai-222160","阔渚遥峰图轴","此作曾经被误定为北宋郭熙所绘，后在画面上发现李在的印记，于是正名。\n作品取全景式山水，气势宏阔，皴笔细密扎实，墨韵浑厚，画树木呈“蟹爪枝”状，从意境和笔法来看，确实与郭熙极为相似，是典型的北派山水面貌。",[23,24,117,225,95,99,31,32,7,96,140,98,33,76,1078],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5eb459656d4d1747466ba4346c2db73e.jpg","纵165.2厘米，横90.4厘米",[105,83],{"id":8141,"slug":8142,"title":8143,"dynasty":59,"author":4206,"museum":135,"description":8144,"tags":8145,"thumbUrl":8146,"material":188,"size":8147,"collection":81,"collections":8148,"showCount":8073,"zanCount":54,"manualWeight":54,"mainColor":55},221423,"mo-tang-wang-you-cheng-jiang-gan-xue-ji-tu-juan-yan-wen-gui-221423","摹唐王右丞江干雪霁图卷","燕文贵（967—1044），北宋画家。文贵一作贵，又名燕文季，吴兴（今浙江湖州）人。擅画山水、屋木、人物。宋太宗时至汴梁于街头卖画，被画院待诏高益发现并加以举荐，后进入翰林图画院，甚得太宗赏识。\n\n作画常自出机杼，落笔命意不袭古人，所画景物清润秀雅，又善于把山水与界画相结合，将巍峨壮丽的楼观阁榭穿插于溪山之间，点缀以人物活动。刻画精微，笔法峭丽，境界雄浑，人称“燕家景致”。\n存世作品有《江山楼观图》《溪山楼观图》等。",[23,117,24,64,25,29,95,99,7,140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F502e8ef62b5bf7a6eef655aaac89f06e.jpg","25.7x144cm",[81,105,83],{"id":8150,"slug":8151,"title":8152,"dynasty":18,"author":1254,"museum":152,"description":8153,"tags":8154,"thumbUrl":8155,"material":188,"size":2846,"collection":105,"collections":8156,"showCount":8073,"zanCount":54,"manualWeight":54,"mainColor":109},220949,"shuang-lin-qiu-si-zhou-dong-qi-chang-220949","霜林秋思轴","此画近景崎岖不平的山石，其中有的山石较陡与中景的山石相粘接，近景的山石间有几棵树木，有的树干粗壮挺拔，有的枝干弯扭，但其枝叶茂密，大树下和山腰间有两间茅屋座落其间。\n中景的山石与远景的山石一样浓重；那片决定中、远景的距离感的白色炯云，上连霄汉，下通江湖，犹如“一炬之光，通体皆灵”。\n此画构图紧凑。\n画法上用淡笔勾出轮廓，作横笔米点皴；山石用润笔，连皴带擦，远处树不分叶，近树横点，画面突出主峰，渲染江南秀丽风光。\n从总体来看，此画笔墨清雅温和，秀润恬淡，能代表他的一般风格和思想情趣：董氏笔墨秀朗，此图可视为代表作。",[23,117,24,64,225,99,27,101,100,119,95,140,1397,724,97,7,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bd267582e0fb38cd6c5d23cf8ca4e0a.jpg",[105,51],{"id":8158,"slug":8159,"title":8160,"dynasty":59,"author":921,"museum":3432,"description":8161,"tags":8162,"thumbUrl":8164,"material":47,"size":8165,"collection":81,"collections":8166,"showCount":8073,"zanCount":54,"manualWeight":54,"mainColor":55},220095,"liu-long-gu-che-guo-zhong-shu-220095","柳龙骨车","描绘我国传统的农具＂牛转翻车＂，写实地再现了龙骨车（翻车）的构造，为研究我国农业史、技术史提供了宝贵资料。此图收录于东京国立博物馆收藏的唐绘手鉴《笔耕园》中。\n翻车是一种古代中国劳动人民发明的用于排水灌溉的机械，也是世界上出现最早、使用最久的水车，因为其形状犹如“龙骨”，故又名“龙骨车”或“龙骨水车”。有时候也泛称为“水车”。\n用牛拽转的水车，称为“牛转翻车”，有的是借流水的力量推动，称为“水转翻车”。“牛转翻车”俗称“牛车”，是以牛为动力来拽动转盘，通过轮齿带动龙骨链刮水板，将水刮起的灌溉农具。",[23,59,24,64,28,27,934,241,7,8163],"龙骨车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F051b462fa439b75c775dabdb35d1a7d7.jpg","24.5×26.8",[81],{"id":8168,"slug":8169,"title":8170,"dynasty":150,"author":8171,"museum":3380,"description":8172,"tags":8173,"thumbUrl":8174,"material":273,"size":8175,"collection":105,"collections":8176,"showCount":8073,"zanCount":54,"manualWeight":54,"mainColor":109},219943,"cheng-xi-jing-yue-tu-ma-wan-219943","澄溪静樾图","马琬","马琬（？—1378？）元末明初画家。字文璧，号鲁钝生、灌园人、西处士。江苏南京人，长期寓居松江府（今上海金山吕巷）。有志节，工诗善画，诗工古歌行，画长山水，官至抚州郡守。善画山水人物，工诗能书。诗书画时号“三绝”。",[23,117,24,64,225,94,99,95,32,7,98,33,119,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5f75498f05d30a6b58ef024fbc5bd1b.jpg","58.5x31.0厘米",[105],{"id":8178,"slug":8179,"title":8180,"dynasty":18,"author":387,"museum":316,"description":8181,"tags":8182,"thumbUrl":8183,"material":273,"size":8184,"collection":105,"collections":8185,"showCount":8073,"zanCount":11,"manualWeight":54,"mainColor":109},219772,"han-lin-tu-wen-zheng-ming-219772","寒林图","文徵明（1470年11月28日－1559年3月28日），原名壁（或作璧），字徵明，四十二岁起，以字行，更字徵仲。因先世为衡山人，故号衡山居士，世称“文衡山”。南直隶苏州府长洲县（今江苏苏州）人。明代画家、书法家、文学家、鉴藏家。\n文徵明曾学文于吴宽，学书法于李应祯，学画于沈周，生平九次参加乡试均不中。嘉靖二年（1523年），以岁贡生参加吏部考试，被授予翰林院待诏之职。嘉靖五年（1526年），文徵明辞官归乡，专事创作。\n嘉靖三十八年（1559年）二月二十，文徵明去世，享年九十。其弟子私谥贞献。\n文徵明诗、文、书、画无一不精，人称“四绝”，其与沈周共创“吴派”。在画史上与沈周、唐寅、仇英合称“明四家”。在文学上，与祝允明、唐寅、徐祯卿并称“吴中四才子”。",[23,24,94,225,99,95,255,140,98,7,2043,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff2886a246a12879ab8f83cd5651ca80.jpg","纵90.5横31",[105],{"id":8187,"slug":8188,"title":8189,"dynasty":18,"author":5358,"museum":91,"description":8190,"tags":8191,"thumbUrl":8192,"material":103,"size":8193,"collection":49,"collections":8194,"showCount":8073,"zanCount":11,"manualWeight":54,"mainColor":109},219413,"yuan-ye-yan-ji-tu-juan-lu-zhi-219413","元夜燕集图卷","陆治（1495-1576），字叔平，号包山，江苏苏州人。明代书画家，擅行、楷，尤精绘事。为祝允明、文徵明弟子。工写生，得徐、黄遗意。山水受吴门派影响，也兼取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗。\n这幅画是陆治记录嘉靖二十六年丁未（1547）年元旦参加文徵明家元旦集会的纪实之作，卷后附诗并记其事。钤朱文“叔”、“平”连珠印。",[23,18,24,64,25,27,26,101,100,119,30,31,97,33,98,39,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef790692ba6b005ce05b71ce60c88a59.jpg","纵28厘米，横118.4厘米",[49,625],{"id":8196,"slug":8197,"title":8198,"dynasty":59,"author":4351,"museum":268,"description":8199,"tags":8200,"thumbUrl":8202,"material":103,"size":8203,"collection":368,"collections":8204,"showCount":8073,"zanCount":54,"manualWeight":54,"mainColor":55},219133,"pu-bian-you-lu-tu-ma-he-zhi-219133","瀑边游鹿图","瀑流如素练倾泻而下，溅起碎玉般的水花，山石间苔痕隐现。左侧枯树盘曲，枝桠似铁线勾勒，苍劲中藏清逸之姿。几只游鹿或低头饮泉，或侧耳听瀑，姿态悠然，与山林气韵相融。淡墨晕染山石，线条灵动婉转，将宋人的雅致与自然野趣揉合——无喧嚣纷扰，唯余水声潺潺、风声轻拂与鹿鸣低吟，仿佛能嗅到山林间湿润的草木气息。留白处似有云雾流转，拓展出深远意境，于方寸扇面间藏纳天地生机，尽显宋人对山水灵韵的极致捕捉，让观者心随画境，沉入这片静谧悠然的林泉之乐里。",[117,24,64,1551,27,95,3834,8201,98,7,168],"枯藤老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2f935cf5ded05b595572aec0df2933a.jpg","20.3x23.5cm",[368],{"id":8206,"slug":8207,"title":8208,"dynasty":150,"author":2084,"museum":152,"description":8209,"tags":8210,"thumbUrl":8211,"material":47,"size":142,"collection":142,"collections":8212,"showCount":8073,"zanCount":718,"manualWeight":54,"mainColor":109},218776,"qing-lin-cui-ai-tu-sheng-mao-218776","青林翠霭图","画面轻烟如纱，青林错落生姿，翠霭氤氲漫过山峦。近树以中锋勾出苍劲骨态，侧锋晕染枝叶润意；远山层叠似黛色屏障，皴擦笔触藏着山石厚重。霭气用淡墨晕出虚实，牵起远近景致呼应，让山林浸在朦胧里，似醒非醒。笔墨兼工带写，工致处见细节，疏朗处显逸气，凝住元代文人的林泉之趣。目光游走间，仿佛触到山间润凉，听见风过林梢轻响，心境随翠霭舒展，跌入烟霞缭绕的清幽之境。",[23,24,64,1551,27,95,33,32,7,169,98,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76dd3226144d3acd2cf8d656af4e3d72.jpg",[],{"id":8214,"slug":8215,"title":8216,"dynasty":344,"author":2071,"museum":61,"description":8217,"tags":8218,"thumbUrl":8219,"material":103,"size":8220,"collection":105,"collections":8221,"showCount":8073,"zanCount":718,"manualWeight":54,"mainColor":109},218369,"dou-he-ben-quan-tu-wang-hui-218369","陡壑奔泉图","此图为王翚于康熙十五年（1676年），时年四十五岁时所作，仿王蒙画法，皴法细腻，墨色干湿相间，层次分明，气韵秀润。该图为清宫旧藏。",[23,24,64,225,94,99,95,33,390,98,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F843436601bf77f374d0da682061f8e02.jpg","纵74.3厘米，横31.4厘米",[105],{"id":8223,"slug":8224,"title":4891,"dynasty":18,"author":8225,"museum":281,"description":8226,"tags":8227,"thumbUrl":8228,"material":47,"size":8229,"collection":105,"collections":8230,"showCount":8073,"zanCount":11,"manualWeight":54,"mainColor":55},218309,"fang-huang-gong-wang-shan-shui-tu-ying-huang-218309","应黄","笔墨苍润清逸，承黄公望山水遗风。山峦以淡墨皴染，叠嶂起伏间见空灵之致；林木萧疏有致，或挺拔或欹侧，与山石相映成趣。屋舍隐于林泉深处，隐约可见，似藏幽居之境。画面气脉连贯，远近层次分明，淡赭底色更添古雅质感。虽为仿作，却于笔墨间流露自身心性，尽显文人画中寄情山水、追求清雅的雅致情怀，观之令人心生悠然之意。",[117,24,64,95,29,27,99,94,240,33,76,7,171,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe654dfe126da316ec152c9d55c386cf.jpg","35.5x24.9cm",[105],{"id":8232,"slug":8233,"title":8234,"dynasty":150,"author":292,"museum":91,"description":8235,"tags":8236,"thumbUrl":8237,"material":47,"size":8238,"collection":105,"collections":8239,"showCount":8073,"zanCount":54,"manualWeight":54,"mainColor":55},218220,"xue-xi-mai-yu-tu-yi-ming-218220","雪溪卖鱼图","这是一幅带有民间生活情趣的山水小景。画面以渔舟上卖鱼的蓑翁与酒店里买鱼的食客为中心，著笔虽然不多，却将二人的形象动态表现得活泼有趣。其馀景物颇为简洁，远山尤为洗练概括，树木多用短直笔画，点划相间，追求一份简素之意。",[24,64,1551,94,27,95,33,76,30,5123,2097,7,256,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fb9e36dd9d614a500c0ddfca9e4b48b.jpg","25.2x24.6cm",[105],{"id":8241,"slug":8242,"title":8243,"dynasty":18,"author":90,"museum":135,"description":1098,"tags":8244,"thumbUrl":8245,"material":229,"size":637,"collection":142,"collections":8246,"showCount":8247,"zanCount":11,"manualWeight":54,"mainColor":109},290882,"hua-bai-cai-shen-zhou-290882","画白菜",[24,94,332,95,2567,32,7,33,635,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd825cee9559ff66734a5ef59f26de2b.jpg",[],46,{"id":8249,"slug":8250,"title":8251,"dynasty":150,"author":877,"museum":135,"description":8252,"tags":8253,"thumbUrl":8254,"material":229,"size":637,"collection":142,"collections":8255,"showCount":8247,"zanCount":718,"manualWeight":54,"mainColor":55},290818,"hou-chi-bi-fu-tu-zhou-wu-zhen-290818","后赤壁赋图轴","吴镇（1280年—1354年），字仲圭，号梅花道人，浙江嘉兴人。元代画家、书法家、诗人。\n吴镇擅画山水、梅花、竹石，与黄公望、倪瓒、王蒙合称“元四家”。\n由于吴镇以董巨起家，其画中山、石、树、水、房屋、小桥都显得格外宁静、平和，但吴镇有时也着意打破这种气氛，使宁静中增几分动荡，那就是近景大树和山石的表现，特别是三两棵树的表现尤其明显。如果说吴画山、石、水、小桥、屋舍、群树的表现乃至整体气息是以董巨面目出现的话，那么其局部的大树则主要是以马夏的面目出现的。结构布局上立于近景，形象表现上夸张变形，树种的选择上以松柏寓人格。这种形象的树出现在平和、宁静的境界里显得格外突出。它们或直立挺拔、俯势向上；或倚斜偃蹇、欲倒还立；或技条倒挂、曲折盘桓。而且吴镇对大树的形象也是情有独钟的，几乎每幅山水画均有此类形象。这一个个形象频繁出现于其笔下，有何深刻含义？如果联系一下元代的民族岐视政策，联系一下同样比邻而居，盛氏求画者门限为穿，自家之门阒然的事实，或许透露出个中消息。在大树的塑造上，如果把吴镇放在“元四家”其他三家中做一比较，吴镇的独特个性尤能充分展现。黄公望、王蒙为了表现高士的居住环境，用平和、冷静的笔触画群山诸峰，力量均匀，气势平缓，树木郁郁葱葱，均为山的点缀，很少突出某一大树。倪瓒、吴镇在景物取舍上有极强的一致性，均喜画几棵树。倪瓒的树是纤细、弱小的，树干上长出几条树枝，枝上顶着几片叶子，立在空旷的荒野里显得孤独而又凄凉。而且倪瓒的树往往是叫不出名字的，并无具体所指；吴镇在树的种类上往往是有选择的，他最喜欢选取被赋予隐逸人格象征的古松来充实画面。在近景中吴镇很少画杂树而是喜爱强调几棵大树，个个粗壮而枝叶茂密，富有顽强的生命力。",[24,64,225,94,95,96,199,122,30,7,33,119,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c8fc9aa4f2daf4de27981cc4e04cc0c.jpg",[],{"id":8257,"slug":8258,"title":8259,"dynasty":18,"author":7016,"museum":135,"description":8260,"tags":8261,"thumbUrl":8262,"material":142,"size":142,"collection":49,"collections":8263,"showCount":8247,"zanCount":54,"manualWeight":54,"mainColor":109},238667,"cai-lian-tu-zhou-shen-zhen-238667","采莲图轴","沈贞（1400－？ 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绢本设色，传范宽，纵182.4 厘米，横103厘米。\n\n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。\n\n现藏美国波士顿美术博物馆。\n\n范宽（生卒不详）：本名中正，字中立（又作仲立，因性情宽和，不拘成礼，时人呼之为“宽”，遂以范宽自名。华原（今陕西耀县）人。据《宣和画谱》记载，他“风仪峭古，进止疏野，性嗜酒，落魄不拘世故”。山水初学李成，继法荆浩，后感“与其师人，不若师诸造化”，因移居终南山、太华山，对景造意，不取繁饰，自成一家。宋人将其与关仝、李成并列，誉为“三家鼎峙，百代标程”。后人将之与李成、董源二人合称“宋三家”，之后的“元四家”、明朝的唐寅，以至清朝的“金陵画派”和现代的黄宾虹等大师，都受到范宽画风的影响。",[23,117,24,64,225,99,94,95,240,2097,31,33,98,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa375bbe146b99d0065149a804c5dc346.jpg",[],{"id":8313,"slug":8314,"title":2671,"dynasty":344,"author":2265,"museum":135,"description":8315,"tags":8316,"thumbUrl":8317,"material":142,"size":142,"collection":142,"collections":8318,"showCount":8247,"zanCount":54,"manualWeight":54,"mainColor":109},224589,"hua-shan-shui-zhou-zou-yi-gui-224589","此作以浅绛绘就山居胜景，层峦叠嶂以干笔皴擦出嶙峋肌理，淡赭晕染衬出山骨清奇。古松虬曲苍劲，斜斜探向溪谷，枝叶攒簇尽显老郁生机。板桥横溪，行人策杖徐行，林麓间山居掩映，茅亭凭山而设，溪泉潺潺隐于岩岫，将幽寂山居之趣铺陈开来。\n\n笔墨简淡秀雅，设色清和柔润，题诗钤印与山水景致相融，尽显文人画诗画合一的意趣，把林泉高致的萧散闲逸藏在每一处笔触中，观之如临幽林深谷，静享世外恬然。",[23,24,225,27,99,95,32,7,97,390,98,31,30,168,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97b45691176ef9d6ddb5230768b87ab9.jpg",[],{"id":8320,"slug":8321,"title":8322,"dynasty":344,"author":1527,"museum":135,"description":8323,"tags":8324,"thumbUrl":8325,"material":142,"size":142,"collection":142,"collections":8326,"showCount":8247,"zanCount":54,"manualWeight":54,"mainColor":109},224478,"fang-fan-kuan-shan-shui-li-zhou-wang-jian-224478","仿范宽山水立轴","此作用笔取法北派山水意趣，主峰巍峨崔嵬，以密集的雨点皴摹写山石肌理，将岩体质感的浑厚苍莽尽显无遗。褶皱间晕染留白，云气蒸腾游走，为峻峭山体晕开空濛灵秀。\n飞瀑层叠穿流于深谷，灵动水意打破山峦沉郁。山坳坡脚隐现村舍古寺，林下幽人策驴徐行，将山野烟火意趣融于雄阔山水间，刚柔相济。\n整作墨色浓淡相宜，主次分明，师法先贤又自出情致，在厚重苍莽中暗藏细腻温婉，是师古化新的精妙手笔。",[23,24,64,225,94,99,29,95,168,33,31,98,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16e948ce6ac35fc4fa235ff25f0ffea0.jpg",[],{"id":8328,"slug":8329,"title":8330,"dynasty":18,"author":7967,"museum":252,"description":8331,"tags":8332,"thumbUrl":8337,"material":2665,"size":8338,"collection":105,"collections":8339,"showCount":8247,"zanCount":54,"manualWeight":54,"mainColor":109},222836,"yan-huan-qiu-se-tu-xiao-yun-cong-222836","烟鬟秋色图","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。",[23,24,25,27,99,95,98,33,31,97,32,7,169,348,2662,1711,8333,518,609,173,174,172,8334,8335,8336],"丘壑","墨色","线条","意境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b949075d1afc6f7f966f92e1cc53931.jpg","30cmx590cm",[105,51],{"id":8341,"slug":8342,"title":8343,"dynasty":18,"author":8344,"museum":61,"description":8345,"tags":8346,"thumbUrl":8347,"material":8348,"size":8349,"collection":105,"collections":8350,"showCount":8247,"zanCount":54,"manualWeight":54,"mainColor":55},222418,"yu-zhou-du-shu-tu-zhou-jiang-song-222418","渔舟读书图轴","蒋嵩","画家用简练概括的手法，表现群山绕湖、轻舟横渡的清旷之景。湖面上一条篷船荡漾，船尾一人静坐读书，船头渔夫用力撑篙，钓竿斜插于船上，表现了文人士大夫闲适安逸的生活情趣。在画法风格上，山石虽有斧劈皴的痕迹，但不像马远、夏圭那样坚硬外露，而是落笔草草，水墨晕染浓淡相宜，此为蒋嵩粗笔水墨山水画的典型之作。",[23,24,64,225,94,27,95,96,30,33,171,7,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a10da506d8018ca9417d66edb6c543f.jpg","绢本设色粗笔墨","纵171厘米，横107.5厘米",[105,83],{"id":8352,"slug":8353,"title":8354,"dynasty":150,"author":1622,"museum":61,"description":8355,"tags":8356,"thumbUrl":8357,"material":8358,"size":8359,"collection":49,"collections":8360,"showCount":8247,"zanCount":589,"manualWeight":54,"mainColor":109},220874,"zi-hua-xiang-tu-ye-zhao-meng-fu-220874","自画像图页","《自画像》，绢本，设色画。款识：“大德己亥子昂自写小像。”对幅有明宋濂小楷书《赵文敏公小像赞》，北京故宫博物院藏。《故宫博物院藏文物珍品全集·元代绘画》《归去来兮——赵孟頫书画珍品回家展特集》中影印出版。",[23,24,64,332,27,26,30,543,427,351,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b94c7ac9ae3d7d98482b82096ffae03.jpg","绢本，设色画","纵24cm，横23cm",[49,51],{"id":8362,"slug":8363,"title":8364,"dynasty":344,"author":2071,"museum":20,"description":8365,"tags":8366,"thumbUrl":8367,"material":273,"size":8368,"collection":105,"collections":8369,"showCount":8247,"zanCount":54,"manualWeight":54,"mainColor":109},220415,"qiu-jing-shan-shui-tu-wang-hui-220415","秋景山水图","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。",[23,24,94,27,99,95,98,33,7,97,1758,170,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3155ce21c8b276af793c7fd0c681c43.jpg","57.2x40.6厘米",[105],{"id":8371,"slug":8372,"title":8373,"dynasty":18,"author":90,"museum":423,"description":424,"tags":8374,"thumbUrl":8375,"material":103,"size":429,"collection":142,"collections":8376,"showCount":8247,"zanCount":54,"manualWeight":54,"mainColor":55},220013,"dong-zhuang-tu-ce-zhi-ling-hao-shen-zhou-220013","东庄图册之菱豪",[23,24,64,332,94,99,95,32,7,96,33,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b4a28346fc8e2c3bbd7ccab578d205d.jpg",[],{"id":8378,"slug":8379,"title":630,"dynasty":59,"author":399,"museum":152,"description":8380,"tags":8381,"thumbUrl":8382,"material":47,"size":8383,"collection":105,"collections":8384,"showCount":8247,"zanCount":54,"manualWeight":54,"mainColor":109},218822,"guan-shan-xing-lv-tu-li-tang-218822","这幅画展示了河流景观的美丽景色，一座古寺隐藏在山中，一群旅行者在河边的水池边跌跌撞撞。这幅画的旧题是《李唐游山图》，仔细观察这幅画的岩石景观和松树的拖曳枝条，可以看出这幅画是由明代艺术家按照马远的风格所画。",[23,117,24,64,332,95,7,96,31,171,390,101,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a9c9b894cd1cf749503a5a856729ab8.jpg","32x33",[105],{"id":8386,"slug":8387,"title":8388,"dynasty":18,"author":292,"museum":316,"description":8389,"tags":8390,"thumbUrl":8391,"material":103,"size":142,"collection":142,"collections":8392,"showCount":8247,"zanCount":11,"manualWeight":54,"mainColor":109},217953,"ming-ren-shan-shui-hua-ce-er-yi-ming-217953","明人山水画册(二)","明朝是中国历史上一个重要的朝代，它的艺术创作也十分丰富多彩。其中，佚名的《明人山水画册》是一部非常著名的山水画集，被认为是明朝山水画发展的里程碑之一。\n\n《明人山水画册》收录了许多佚名画家的作品，这些画家均擅长运用山水画的技巧，描绘出了美丽的山水景观。这些画作以其精细的线条和细腻的色彩闻名，能够表现出山水的神韵和灵动。\n此外，《明人山水画册》还收录了一些诗文，这些诗文与画作形成了很好的呼应。这使得这部画册不仅是一部艺术作品，而且是一部文学作品。\n\n总的来说，《明人山水画册》是一部十分珍贵的艺术作品，它为我们展示了明朝山水画的高超技巧和精湛工艺，同时也为我们呈现了明朝文化的瑰丽风貌。",[23,24,94,332,29,95,140,255,97,7,32,98,33,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97a3aa4634d316f237a6ce6618e6632b.jpg",[],{"id":8394,"slug":8395,"title":8396,"dynasty":18,"author":1254,"museum":91,"description":8397,"tags":8398,"thumbUrl":8399,"material":103,"size":142,"collection":142,"collections":8400,"showCount":8247,"zanCount":54,"manualWeight":54,"mainColor":109},214654,"qiu-xing-ba-jing-tu-ce-4-dong-qi-chang-214654","秋兴八景图册-4","此册描绘苏州到镇江一带的山水景色，或仿古，或写景，笔法虽然以师古人为主，但具有不少个性色彩。采取以颜色直接勾勒、渲染、皴擦等“没骨法”，又连用水墨，干湿兼施，层次分明。落笔细润清雅，色彩明亮秀丽。画笔较为谨严，从中可以品味出他学巨然、赵令穰、赵孟頫、黄公望等人的痕迹，但从整体来看，还是他独特画风的不同表现。\n款署“庚申（1620年）九月重九前一日书，是月写设色小景八幅，可当秋兴八首，玄宰”，为其66岁时的精心之作。",[24,64,332,27,95,101,100,99,240,241,7,169,724,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa7b9afae4d988c47bfbafeba3b68c40.jpg",[],{"id":8402,"slug":8403,"title":8404,"dynasty":18,"author":645,"museum":135,"description":3782,"tags":8405,"thumbUrl":8406,"material":229,"size":637,"collection":142,"collections":8407,"showCount":108,"zanCount":54,"manualWeight":54,"mainColor":55},290849,"shan-jing-ri-zhang-tu-zhou-tang-yin-290849","山静日长图轴",[24,117,225,64,95,27,32,7,609,140,98,97,100,119,5769],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1448ee5d3c113be971d34e5fddf18503.jpg",[],{"id":8409,"slug":8410,"title":8411,"dynasty":59,"author":954,"museum":135,"description":2317,"tags":8412,"thumbUrl":8414,"material":229,"size":637,"collection":142,"collections":8415,"showCount":108,"zanCount":54,"manualWeight":54,"mainColor":640},290154,"fang-you-tu-ma-yuan-290154","访友图",[117,24,64,225,94,28,95,30,31,32,7,390,98,66,8413],"访友","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f58872533feea15d4e46dc492f9ff5f.jpg",[],{"id":8417,"slug":8418,"title":5407,"dynasty":59,"author":488,"museum":135,"description":8419,"tags":8420,"thumbUrl":8421,"material":229,"size":637,"collection":142,"collections":8422,"showCount":108,"zanCount":54,"manualWeight":54,"mainColor":55},289657,"song-quan-pan-shi-tu-li-cheng-289657","访幅之题材与风格，属“松石格”之作品，描绘双松挺立于磐石上，两侧有枯木为伴，兼具寒林之景象。寒林之后隐约可见清涧折曲而来，至磐石处急泻而下，激起漩涡与浪花。",[23,24,117,225,94,95,390,2983,199,255,7,99,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f220f1417c19f0f96eedf7c750a5ade.jpg",[],{"id":8424,"slug":8425,"title":2145,"dynasty":344,"author":292,"museum":135,"description":8426,"tags":8427,"thumbUrl":8428,"material":229,"size":637,"collection":142,"collections":8429,"showCount":108,"zanCount":54,"manualWeight":54,"mainColor":55},287929,"qing-ming-shang-he-tu-ju-bu-yi-ming-287929","这幅局部以虹桥为核心，铺陈出鲜活的旧时市井盛景。木质飞虹横跨汴河，桥上人流如织，挑担货郎、乘轿仕人、驻足闲人摩肩接踵，神态各异地沉浸在春日市集的喧嚷里。桥下漕船正穿桥而过，船夫们躬身撑篙、呼喊呼应，将漕运的繁忙具象尽显。\n\n画面线条细腻工整，设色古雅沉稳，复刻出宋本原作风韵的同时，带着清代绘事的规整质感，将汴梁城漕运商贸的繁盛、闾巷百姓的日常烟火凝于卷上，让千年前的春日繁喧仿佛跃然眼前，尽显旧时都会的鲜活生机。",[117,24,25,27,26,30,32,31,7,66,65,44],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4e33ae4f04a3a44f84910b66851ed29.jpg",[],{"id":8431,"slug":8432,"title":1926,"dynasty":59,"author":2899,"museum":135,"description":8433,"tags":8434,"thumbUrl":8435,"material":229,"size":637,"collection":142,"collections":8436,"showCount":108,"zanCount":54,"manualWeight":54,"mainColor":55},287639,"shui-cun-tu-zhao-ling-rang-287639","赵令穰（生卒年不详），字大年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》《文会图》《鸟雀图》等。留传到现在的有《汉宫图》《阿阁图》《万松金阙图》等。",[117,24,64,225,27,118,95,32,7,96,140,635],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff56a88b1052bfbea871f84835d854fc0.jpg",[],{"id":8438,"slug":8439,"title":8440,"dynasty":344,"author":2407,"museum":61,"description":8441,"tags":8442,"thumbUrl":8443,"material":8444,"size":8445,"collection":625,"collections":8446,"showCount":108,"zanCount":11,"manualWeight":54,"mainColor":109},240307,"shu-tao-hua-yuan-ji-juan-zhu-da-240307","书桃花源记卷","释文：\n晋武陵人渔，忘路之远近，忽逢桃花夹岸，数百步中无杂林，落英缤纷。渔人甚异之，复前行，欲穷其林。尽水源，得一山，山有小口，初极狭，才通人。复行数十步，豁然开朗。土地平旷，屋舍俨然，有良田、美池、桑竹之属。阡陌交通，鸡犬相闻。其中往来耕作，男女衣着，悉如外人。黄发垂髫，并怡然自乐。见渔人，乃大惊，问所从来，具答之。便要还家，设酒杀鸡作食。村中闻此人，咸来问讯。自云先世避秦时乱，率妻子邑人来此绝境，遂不复出焉，既与外人间隔。问今是何世，乃不知有汉，无论魏、晋。此人一一具言所闻，皆叹惋。余人各复延至其家，皆出酒食。停数日，辞去。此中人语云：“不足为外人道也。”既出，得其舟，便扶向路，处处志之。及郡下，诣太守，说如此。太守即遣人随其往，寻向所志，遂迷不复得路。南阳刘子骥，高尚士也。欣然规往，未果。后遂无问津者。丙子六月既望，纳凉在芙山房书，八大山人。\n下钤“可得神仙”、“八大山人”、“遥属”等4印。书前配有清无名氏山水画一段，尾纸有近代陈师曾、齐白石题跋二则。\n此为朱耷书录东晋陶渊明《桃花源记》之作。《桃花源记》系东晋隐逸诗人陶渊明之代表作。当时东晋朝廷腐败，内乱不止，陶渊明不欲从仕，一心归隐，故书此篇。\n朱耷身为前明宗室，面对家国之悲，民族之恨，却无力抗争，只得出家为僧。他习静修真，参研书画，以此抚慰内心的亡国之痛，故朱耷深爱《桃花源记》，时常书之，以表达其誓不与清廷合作而追求世外桃源生活之意。\n据署款，此书写于清康熙三十五年（1696年），作者时年71岁。该书学东晋王献之，兼融小篆之体，笔法纯朴圆润，笔势流畅，意尽笔止，有傲岸之情态和奇妙之格调。此作品为朱氏晚年佳作。",[23,24,64,25,94,101,95,30,2961,120,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56aeebef5d9d61f7776caf9efc2c0472.jpg","纸本，行草书","纵26厘米，横211厘米",[625],{"id":8448,"slug":8449,"title":8450,"dynasty":344,"author":292,"museum":135,"description":8451,"tags":8452,"thumbUrl":8453,"material":142,"size":142,"collection":368,"collections":8454,"showCount":108,"zanCount":54,"manualWeight":54,"mainColor":109},238811,"dong-gao-lv-xuan-shao-jing-ce-yi-ming-238811","董诰律宣韶景册","此作绘春日花溪胜境，浅青晕染重峦，烟岚轻笼远山，虚实相生间晕出空濛雅致。溪谷桃林遍绽，丹红如云霞漫过翠嶂，柔化了峰石的硬朗。涧水穿林漱石，湍波映着花光，灵动清冽。林麓深处隐见屋舍，暗合春深幽居之趣。\n\n笔法秀雅工致，青绿设色明丽温润，以淡墨烘衬烟霭，糅合工笔精细与写意空灵，将暮春山乡的融融春意铺展纸上，观之便如身临桃源，尽览静雅恬和的东方山水意韵。",[24,64,332,27,95,99,33,98,7,120,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe181bd02ef517366b84f0e2f5bc99ff.jpg",[368,105,51],{"id":8456,"slug":8457,"title":8458,"dynasty":18,"author":1254,"museum":61,"description":8459,"tags":8460,"thumbUrl":8462,"material":8463,"size":8464,"collection":142,"collections":8465,"showCount":108,"zanCount":54,"manualWeight":54,"mainColor":55},234171,"zhong-jia-shan-yin-wang-ping-yuan-cun-jing-tu-juan-dong-qi-chang-234171","钟贾山阴望平原村景图卷","画中山石用中锋细笔勾写轮廓，继以短笔浓点或卧笔长皴表现其阴阳向背。画树运笔率意，注重枝枒曲直姿态。构图平远开阔，呈现出江山无尽的悠远之趣。董其昌将历史上的山水画家分为南北两个派系，自己崇“南”抑“北”，追求笔墨沉稳雅致。董氏以自己提倡的南方山水画名家惠崇、巨然的笔意绘制此图，愈加体现出从容恬静中蕴含的冲淡平和的文人气息。",[23,24,64,25,94,95,99,100,119,138,33,2075,32,7,348,8461,76,390],"平原","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d659f24b6f6cd77b8ff45c08be3e4a9.jpg","金笺，墨笔","纵28.2厘米，横252厘米",[],{"id":8467,"slug":8468,"title":8469,"dynasty":59,"author":164,"museum":135,"description":8470,"tags":8471,"thumbUrl":8472,"material":142,"size":142,"collection":142,"collections":8473,"showCount":108,"zanCount":54,"manualWeight":54,"mainColor":55},228914,"dai-du-tu-guo-xi-228914","待渡图","此作用平远之景铺展江天，烟波浩渺的水面空阔清远，左岸远山浅渚隐在淡墨晕染的霭气中，愈见悠远。右岸林木苍郁虬劲，亭台桥榭依岩而建，亭中文人围坐清谈，桥畔侍者静立，野渡间帆樯隐隐，江渚上渔舟闲泊，处处尽显萧散雅致。\n\n山石以灵动的卷云皴绘就，苍劲秀润，林木点染疏密有致，干湿笔墨互用，将初秋江岸的清润空明晕染开来，把林泉山水之幽，与林下雅集的文人情思相融，藏着江南水景的温婉意韵，尽显林泉高致的诗意之美。",[23,117,24,64,25,95,99,27,32,7,96,97,33,98,30,348,1562],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9233102db3fec7191e78655e4c1384a9.jpg",[],{"id":8475,"slug":8476,"title":8477,"dynasty":59,"author":6998,"museum":1164,"description":8478,"tags":8479,"thumbUrl":8480,"material":142,"size":142,"collection":142,"collections":8481,"showCount":108,"zanCount":11,"manualWeight":54,"mainColor":55},228734,"wang-chuan-bie-shu-tu-juan-zhao-bo-ju-228734","辋川别墅图卷","以石青石绿敷染峰峦，古雅绢底晕开明丽苍润的山水气象。峰峦连绵开合，汀渚回环萦带，山居殿宇错落林泉，平湖轻舟泛波，林木蓊郁点染山野。笔法精细秀雅，青绿设色妍丽沉稳，承唐人青绿的华贵明艳，又融宋人的雅致意境，将林泉高致铺叙成一卷悠远山居长卷，把山水、村居、舟游融为和谐整体，尽显文人寄情丘山的雅逸意趣，是青绿山水里工致兼具写意的佳构。",[23,24,64,25,118,27,95,31,33,98,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F532ab89b8018cc96566364f4966f4c51.jpg",[],{"id":8483,"slug":8484,"title":8485,"dynasty":18,"author":2519,"museum":135,"description":8486,"tags":8487,"thumbUrl":8488,"material":142,"size":142,"collection":142,"collections":8489,"showCount":108,"zanCount":11,"manualWeight":54,"mainColor":55},228291,"juan-qiu-tu-chen-hong-shou-228291","眷秋图","《明陈洪绶眷秋图》是明代画家陈洪绶所创作的一幅设色画。\n由该作品中的题记可知，此图为仿唐人同题画。\n其中石头浓墨粗点为陈洪缓所作，而构图、人物、梧桐树则为其弟子所作。\n图中画一 手执菊花信步于庭院林石间，后有一侍女举扇，扇面上画有梅花图，前有一侍女捧盘，盘中有壶和秋叶。\n陈洪绶（1598~1652年），明代画家。\n号老莲、悔迟，诸暨（今属浙江）人。\n幼年即喜爱绘画，一度为宫廷作画，后南返。\n擅画人物、山水、花鸟、竹石、鱼虫，初学蓝瑛，后学李公麟、赵孟频。\n绘有《水浒叶子》、《博古叶子》、《九歌》和《西厢记》等绣像插图。\n传世作品有《拳石山茶图》、《笼鹅图》、《升庵簪花图》、《摘梅高士图》。\n著有《宝论堂集》等。",[23,24,64,117,225,27,30,139,140,98,530,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F217fca3cd0fb6c774655daffdbd538d9.jpg",[],{"id":8491,"slug":8492,"title":8493,"dynasty":344,"author":2804,"museum":152,"description":2805,"tags":8494,"thumbUrl":8495,"material":469,"size":2810,"collection":105,"collections":8496,"showCount":108,"zanCount":54,"manualWeight":54,"mainColor":109},222762,"shi-er-yue-ling-tu-3-yue-lang-shi-ning-222762","十二月令图（3月）",[23,24,64,26,27,28,95,31,32,30,2301,120,140,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3eb50432efba99c7f32f6febcb77dac6.jpg",[105,51],{"id":8498,"slug":8499,"title":8500,"dynasty":18,"author":4146,"museum":114,"description":8501,"tags":8502,"thumbUrl":8503,"material":94,"size":8504,"collection":142,"collections":8505,"showCount":108,"zanCount":54,"manualWeight":54,"mainColor":109},222077,"hu-qiu-tu-juan-xie-shi-chen-222077","虎丘图卷","此幅《虎丘图卷》，笔法苍古，墨色稳健，气格清隽高雅，接近沈石田粗豪蕴藉一路的山水风格。",[23,24,64,25,94,27,95,99,101,119,100,31,32,7,96,97,33,98,518],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F995bbad5d6523cb39112fba363c9046b.jpg","19.0 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》《文會圖》《鳥雀圖》等。留傳到現在的有《漢宮圖》《阿閣圖》《萬松金闕圖》等。",[23,24,64,95,27,99,140,122,7,32,1397],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e08d87ef65ff90075f06a4322ff790b.jpg","27.9x34厘米",[81],{"id":8541,"slug":8542,"title":606,"dynasty":59,"author":222,"museum":152,"description":4085,"tags":8543,"thumbUrl":8544,"material":188,"size":8545,"collection":142,"collections":8546,"showCount":108,"zanCount":54,"manualWeight":54,"mainColor":109},221388,"shan-shui-tu-fan-kuan-221388",[23,24,117,64,95,99,27,240,33,76,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35c64cfa9031857b41416378a5e4b8cc.jpg","24.6x25.6",[],{"id":8548,"slug":8549,"title":8550,"dynasty":133,"author":8551,"museum":152,"description":8552,"tags":8553,"thumbUrl":8554,"material":27,"size":8555,"collection":105,"collections":8556,"showCount":108,"zanCount":54,"manualWeight":54,"mainColor":109},221013,"yun-tai-shan-tu-xun-xu-221013","云台山图","旬勗","荀勖（xù）（？～289年），字公曾。颍川颍阴（今河南省许昌市）人。三国至西晋时音律学家、文学家、藏书家，西晋开国功臣。为东汉司空荀爽曾孙。\n荀勖少年时聪慧好学。初仕于魏，为大将军曹爽掾属，后迁中书通事郎。曹爽被诛后，历任安阳令、骠骑从事中郎、廷尉正等职。又任大将军司马昭记室，屡进策谋，深见信任，与裴秀、羊祜共掌机密。西晋建立后，封济北郡侯。后拜中书监兼侍中，领著作。累官至光禄大夫、仪同三司、守尚书令。在尚书台时，核罢省中不称职之人。\n太康十年（289年），荀勖去世。获赠司徒，谥号为成。\n荀勖善于逢迎，被时人比作倾覆国家、搅乱时局的贰臣。但他为人谨慎，每有参预的国家大政，都闭口不言，不愿让别人知道他参与其中。荀勖博学多才，曾与贾充一起修订法令；掌管乐事时，又修正律吕；领秘书监时，曾与张华一同按刘向《别录》整理典籍。有文集三卷，今已佚。",[23,24,64,95,27,99,7,31,140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feda584db27dc18d7eff1e357a5a49a9e.jpg","73.4x98.6厘米",[105,51],{"id":8558,"slug":8559,"title":8560,"dynasty":18,"author":3307,"museum":91,"description":8561,"tags":8562,"thumbUrl":8563,"material":273,"size":8564,"collection":105,"collections":8565,"showCount":108,"zanCount":54,"manualWeight":54,"mainColor":55},220351,"shan-shui-he-juan-du-qiong-220351","山水合卷","此卷原是摺册，佚存五开，入清连跋裱成一卷。其中第一幅杜琼，第三、四幅刘珏，均是晚年笔。第二幅沈周尚是早年之作。第五幅无款印，风格与刘珏相同。",[23,24,64,25,94,99,95,240,901,241,97,32,7,169,171,4745,30,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1629f0915cbca22a90245242ec026360.jpg","纵29.2厘米，横44.2厘米",[105],{"id":8567,"slug":8568,"title":8569,"dynasty":344,"author":2309,"museum":61,"description":8570,"tags":8571,"thumbUrl":8572,"material":335,"size":8573,"collection":142,"collections":8574,"showCount":108,"zanCount":54,"manualWeight":54,"mainColor":109},220329,"huang-shan-tu-ce-2-hong-ren-220329","黄山图册-2","《黄山图册》共六十开，装裱成六册，又有题跋一册。可以说是弘仁在黄山纪游写生的最集中展现，在他的每一幅作品上都题写了纪游写生的地名，著名的有天都峰、莲花庵、小心坡、观音岩、一线天、光明顶、白龙潭、慈光寺、文殊院、桃花沟等等。",[23,24,94,99,332,95,240,390,168,7,30,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1784059c41c0edc0bd66e2212bbbb5cc.jpg","21.5x18.3厘米",[],{"id":8576,"slug":8577,"title":8578,"dynasty":344,"author":8579,"museum":400,"description":8580,"tags":8581,"thumbUrl":8583,"material":273,"size":8584,"collection":105,"collections":8585,"showCount":108,"zanCount":54,"manualWeight":54,"mainColor":109},220006,"shi-liang-yu-lai-ting-tu-dai-xi-220006","石梁雨来亭图","戴熙","南宋贾似道在石梁创昙花亭。清道光戊戌，即1838年，亭被毁。适舍人潘功甫（名曾沂）过石梁，议集资兴修。寺僧请求改昙华亭为雨来亭，因天台山田多旱，改名以志喜。潘功甫为此作诗一首，诗云：“平章事业江河大，有漏涓涓自不知。七十二蓬参遍了，昙华亭上雨来时。”\n图绘天台山石梁飞瀑，天生桥东西方向，连接着对峙的两座山崖，溪水三折，冲出桥洞，形成了如虹一般的飞瀑，起舞婆娑，坠入脚下的惠泽潭。雨来亭坐落在飞瀑之畔，方广寺如在天外，唯见其塔。全图有一种上下贯通的浩然之气与空灵之韵。",[23,24,64,25,94,99,8582,119,95,97,32,7,122,33,98,168],"隶书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3aaf57368d5249cfd0b4a4f0247cc250.jpg","纵35cm，横316cm",[105],{"id":8587,"slug":8588,"title":8589,"dynasty":344,"author":2309,"museum":3048,"description":8590,"tags":8591,"thumbUrl":8592,"material":103,"size":8593,"collection":105,"collections":8594,"showCount":108,"zanCount":54,"manualWeight":54,"mainColor":109},219953,"xiao-jiang-feng-bian-tu-hong-ren-219953","晓江风便图","图绘自新安至扬州，由浦口练江入新安江壹线实景。前段写练江沿岸将军山诸山嵌岩峭峙，林木萧瑟之景。后段写新安江对岸晓雾迷蒙烟峦重叠，轻舟挂帆乘风的情景。笔墨线条遒缓，意境荒僻，不染尘垢。\n图尾自题“辛丑十壹月，伯炎居士将广陵之装，学人写晓江风便图以送，揆有数月之间，蹊桃初绽，瞻望旋旌。弘仁”。钤“弘仁”、“渐江”印。\n图后附吴羲行书、程守行书、许楚草书、石涛楷书跋各壹段。辛丑为清顺治十八年，公元1661年，作者时年52岁。款署“辛丑十一月”，另纸有渐江的好友吴羲、程宁、许楚跋语。吴、许二跋署年癸卯(康熙二年，公元1663年)，皆在渐江卒前数月。还有石涛丙子年(1696年)题跋，皆为研究渐江生平及其艺术的重要资料。",[23,24,25,94,95,99,96,97,255,241,7,532,348,1988],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19f6a2a3eed5925dfa7655939a663e8c.jpg","纵28.5横43厘米",[105],{"id":8596,"slug":8597,"title":8598,"dynasty":18,"author":4146,"museum":152,"description":8599,"tags":8600,"thumbUrl":8601,"material":47,"size":8602,"collection":51,"collections":8603,"showCount":108,"zanCount":54,"manualWeight":54,"mainColor":55},219408,"shan-shui-tu-xia-mu-chui-yin-xie-shi-chen-219408","山水图-夏木垂阴","层岩叠嶂间，飞瀑如练坠幽谷，云雾轻笼远岫，添几分空濛。近景浓荫匝地，夏木枝繁叶茂，墨色沉郁中见灵秀。茅舍隐于林麓，小桥横卧溪畔，行人缓步、屋中对坐，皆含闲适之趣。笔致兼具雄健与秀逸，山石皴擦刚劲，树木点染细密，云雾淡扫留白，层次分明。整幅画将夏日山居的清幽与生机融于一体，既见自然之壮美，亦含人文之雅韵，尽显融浙派骨力与吴门风神的独特笔墨。",[24,95,94,99,225,240,241,97,32,7,168,30,169,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd80770ddfcfa65f88c30367964f7d5a6.jpg","140x62.9",[51],{"id":8605,"slug":8606,"title":8607,"dynasty":150,"author":292,"museum":152,"description":8608,"tags":8609,"thumbUrl":8610,"material":47,"size":8611,"collection":105,"collections":8612,"showCount":108,"zanCount":54,"manualWeight":54,"mainColor":55},218164,"lin-ting-qiu-se-tu-yi-ming-218164","林亭秋色图","沿江罔陵起伏，霜气已深，岁将暮矣。满山寒林卓力，寒松翠柏而外，偶有红叶点缀。山道中，行人负戴，河岸上，旅人步骑趱行。远方水上，渔艇鼓枻收纲，朝起江村，各有所事。本幅树木造形，干细长，分枝如蟹爪，为典型元朝承续宋代李成、郭熙一派寒林画法。画上烟水空濶，气象萧疏，使人凛然而有寒意。无款印。",[23,24,933,25,99,27,95,1397,140,97,348,7,1758,1207,96,33,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e709e86501c656c68df5e59cba6c64f.jpg","纵27.3,横50.4公分",[105],{"id":8614,"slug":8615,"title":8616,"dynasty":150,"author":710,"museum":152,"description":8617,"tags":8618,"thumbUrl":8619,"material":273,"size":8620,"collection":142,"collections":8621,"showCount":108,"zanCount":54,"manualWeight":54,"mainColor":55},218122,"hua-xi-yu-yin-tu-san-wang-meng-218122","花溪渔隐图(三)","此图写霅溪风景，款题为玉泉尊舅作。玉泉已不可考。通幅用笔绵密而精工，垂柳一行，与赵孟𫖯「鹊华秋色」卷中画柳之法相同。「花谿渔隐」是从〈桃花源记〉衍生的画题，创始于赵孟𫖯。王蒙是赵孟𫖯的外孙，所受影响，不仅技法而已。",[23,24,64,94,99,95,96,7,241,98,256,119,350,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4f2f4aff7c235556ddedd556c4afb9c.jpg","129x58.3cm",[],{"id":8623,"slug":8624,"title":8625,"dynasty":18,"author":2519,"museum":20,"description":8626,"tags":8627,"thumbUrl":8628,"material":47,"size":142,"collection":142,"collections":8629,"showCount":108,"zanCount":54,"manualWeight":54,"mainColor":109},218030,"za-hua-ce-2-chen-hong-shou-218030","杂画册-2","陈洪绶是明朝时期著名的画家。他最著名的作品是他的杂画册，其中包含了许多精美的花鸟画和山水画。陈洪绶的杂画册是明朝时期最著名的画册之一，并被认为是中国画的杰出代表作之一。\n\n陈洪绶的杂画册中包含了多幅优美的花鸟画，其中包括了各种鸟类、花卉和动物。这些画作都是陈洪绶对自然界的精确再现，并且富有生命力。此外，陈洪绶还创作了许多优美的山水画，其中包含了各种山川、河流、湖泊和其他自然景观。这些画作也是陈洪绶对自然界的精确再现，并且富有感染力。\n\n总的来说，陈洪绶的杂画册是一部杰出的画册，其中包含了许多优美的花鸟画和山水画，是中国画的杰出代表作之一。陈洪绶的画风精细而细腻，他对自然界的描绘充满生命力和感染力，使他的作品在艺术史上占有重要地位。",[24,27,26,332,95,140,97,98,99,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c38eb9371d6aa7cd61a3084575edc15.jpg",[],{"id":8631,"slug":8632,"title":8633,"dynasty":344,"author":8634,"museum":152,"description":8635,"tags":8636,"thumbUrl":8637,"material":103,"size":8638,"collection":105,"collections":8639,"showCount":108,"zanCount":54,"manualWeight":54,"mainColor":109},214720,"chun-jiang-xing-zhou-yong-rong-214720","春江行舟","永瑢","《春江行舟图》是一幅画作，出自清代画家永瑢的手笔。这幅画描绘了一个人坐在小舟里悠然自得地漫游在春天的江水中。画中的人物身着传统的汉服，头戴轻便的草帽，手拿长矛，似乎是在寻找渔获。周围的景色十分优美，江水波光粼粼，岸边的树木和花草都迎来了春天的到来，鸟儿翩翩起舞，整个画面充满了春天的气息。\n\n永瑢（1678-1735）是清代著名的画家，他的画风清新自然，擅长写意画，作品风格独特，深受人们的喜爱。他的作品《春江行舟图》被誉为其代表作之一，在当时颇受推崇，至今仍为艺术爱好者所珍视。",[24,64,332,27,95,32,7,96,33,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4455e3dd567e1a378f0c19d2d4d2cdf6.jpg","12.2×13.9cm",[105],{"id":8641,"slug":8642,"title":606,"dynasty":59,"author":954,"museum":135,"description":2317,"tags":8643,"thumbUrl":8644,"material":229,"size":637,"collection":142,"collections":8645,"showCount":8646,"zanCount":54,"manualWeight":54,"mainColor":55},289115,"shan-shui-tu-ma-yuan-289115",[24,95,96,256,94,225,7,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8347d201c40b894c64bc9949bd45292d.jpg",[],44,{"id":8648,"slug":8649,"title":8650,"dynasty":150,"author":2084,"museum":152,"description":8651,"tags":8652,"thumbUrl":8653,"material":404,"size":8654,"collection":142,"collections":8655,"showCount":8646,"zanCount":11,"manualWeight":54,"mainColor":55},287543,"song-xi-fan-yue-zhou-sheng-mao-287543","松溪泛月轴","盛懋（生卒年未详），字子昭。父洪，临安（今杭州）人，寓魏塘，业画。懋承家学，善画人物、山水、花鸟。早年并得画家陈琳指点，画山石多用批麻皴或解索皴，笔法精整，设色明丽。",[117,24,64,225,95,94,27,99,530,7,96,140,98,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41b41217752380df4d2fb17d949ad269.jpg","135.3x59",[],{"id":8657,"slug":8658,"title":7986,"dynasty":344,"author":8659,"museum":135,"description":8660,"tags":8661,"thumbUrl":8662,"material":142,"size":142,"collection":142,"collections":8663,"showCount":8646,"zanCount":54,"manualWeight":54,"mainColor":109},230254,"shan-shui-ce-ye-dai-ben-xiao-230254","戴本孝","此作用笔枯淡简老，危崖陡立，笔墨寥寥便勾勒出崖壁的空灵高旷，下方丘石隐于淡墨晕染之中，古松斜生崖侧，自带荒寒萧疏之气。\n\n以书入画，左上角题诗与山水意境相融，淡墨轻皴间不见繁饰，尽显幽寂清寒的林下襟怀，将天地寥廓的沉静与遗民孤高的心境相合，静穆淡远间溢出清冷出尘的禅意，尽显简淡空灵的山水意趣，淡岚浅墨里皆是超然物外的悠远之致。",[24,64,332,94,95,99,199,255,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F991f998630870f784c679c1986745d2c.jpg",[],{"id":8665,"slug":8666,"title":8667,"dynasty":18,"author":645,"museum":135,"description":8668,"tags":8669,"thumbUrl":8670,"material":142,"size":142,"collection":142,"collections":8671,"showCount":8646,"zanCount":54,"manualWeight":54,"mainColor":55},228468,"shi-ming-tu-juan-tang-yin-228468","事茗图卷","此作为诗书画印合璧的长卷，绘江南山居幽景：茅舍临溪，主人幽坐煎茶，苍松倚石，烟云绕峰，飞瀑藏于远山淡霭之间，尽展林泉雅寂的隐逸氛围。\n\n书法由榜书大字开篇，笔力沉凝苍劲；行书题诗俊逸疏朗，收尾小楷《事茗辩》端秀清雅。将品茶雅事寄寓山水，把日常茶事升为精神栖居，尽显明代文人茶中寻幽、以茶寄怀的林下风流，诗书画印浑融无间，是写意文人雅趣的绝佳之作。",[23,117,24,64,25,94,27,866,99,100,101,119,95,241,76,30,98,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F055da1b43b081819b900223c28def283.jpg",[],{"id":8673,"slug":8674,"title":8675,"dynasty":59,"author":954,"museum":135,"description":8676,"tags":8677,"thumbUrl":8678,"material":142,"size":142,"collection":142,"collections":8679,"showCount":8646,"zanCount":11,"manualWeight":54,"mainColor":55},227818,"chun-you-fu-shi-tu-juan-ma-yuan-227818","春游赋诗图卷","《春游赋诗图·溪山无尽图》是216年中信出版集团、中信出版社出版的图书，作者是马远。\n《春游赋诗图》描绘乡间春景：枝头萌绿，万象更新，柳条飘拂，新竹摇曳，溪水潺湲，小桥连岸。\n路上有驮物的驴马，水中有渔归的小舟，但在廊前溪边，已有三三两两的踏青者。\n古松下的案桌前，更是围满了人，文人学子即兴赋诗，一人执笔而书，周旁还有妇人幼童嬉戏。\n山间泉源，几个小童在洗杯煮茶，一派平和融乐的场景。\n《溪山无尽图》全卷以水墨浅绛写江南四季景色，布局多取近景，突出崖岸，山石作大斧劈皴，方硬有棱角。\n山峰林立，峭壁悬崖间有流泉飞瀑，松柏蓊郁、云雾弥漫、长桥石栏、渔舟帆客、楼观村庄，清幽秀俊的江南景色成为一个整体，有着诗意般的意境。\n马远（约114－约1225后），字遥父，号钦山，祖籍河中（今山西永济），生长在钱塘（今浙江杭州）。\n出身绘画世家，南宋光宗、宁宗两朝画院待诏。\n擅画山水，取法李唐，能出新意，下笔遒劲严整，设色清润。\n山石以带水笔做大斧劈皴，方硬有棱角；树叶有夹笔，树干浓重，多横斜之态；楼阁界画精工，且加衬染。\n喜作边角小景，世称“马一角”。\n又工画水，兼精人物、花鸟。\n与李唐、刘松年、夏圭并称“南宋四家”。",[23,24,64,25,26,99,30,33,32,7,98,38,66,96,531,390,255,72,1080],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafce01da288b5c16fd5d96849da68c3d.jpg",[],{"id":8681,"slug":8682,"title":8683,"dynasty":59,"author":6998,"museum":135,"description":8684,"tags":8685,"thumbUrl":8686,"material":142,"size":142,"collection":142,"collections":8687,"showCount":8646,"zanCount":11,"manualWeight":54,"mainColor":55},227696,"qun-xian-bo-gu-tu-juan-zhao-bo-ju-227696","群贤博古图卷","赵伯驹（约1120年—约1182年），字千里，汴京（今河南开封）人。南宋著名画家。宋朝宗室，宋太祖七世孙。宋室南渡后流寓钱塘（今浙江杭州），后以画扇为宋高宗赵构赏识并予召见，曾官至浙东兵马钤辖。工画山水、花果、翎毛，笔致秀丽，尤长金碧山水。远师李思训父子，笔法纤细，直如牛毛，极细丽巧整的风致，建南宋画院的新帜。",[23,64,24,117,25,118,27,26,99,100,119,95,30,31,32,7,96,97,199,4592,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe01ac1afa07ecf4a88ab31a884696a18.jpg",[],{"id":8689,"slug":8690,"title":8691,"dynasty":344,"author":8692,"museum":135,"description":8693,"tags":8694,"thumbUrl":8695,"material":142,"size":142,"collection":142,"collections":8696,"showCount":8646,"zanCount":11,"manualWeight":54,"mainColor":109},223691,"xie-qin-fang-you-tu-shang-rui-223691","携琴访友图","上睿","，画作，清代上睿作。\n画心纵28.1厘米，横17.厘米。\n纸本，设色。\n画中一位有琴童跟随的琴家，已离开自己的住舍，走上木桥，正在向闲卧在梧竹幽居中的知音友人那里进发。\n全图景物按排聚散合度，虚实相生。\n以极其纤美的笔触对环境进行铺垫描绘，收到了烘托人物的活动和突出主题的良好效果。\n款署“癸酉小春用文太史笔意为友桐先生补图。\n蒲室子睿。\n”钤“目存”印。\n清宫宝玺有“乾隆鉴赏”、“嘉庆御览之宝”、“宣统御览之宝”等。\n曾经清内府庋藏。\n《秘殿珠林石渠宝笈续编》著录。\n旅顺博物馆收藏。",[23,24,64,25,27,26,95,30,32,7,33,350,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bca0e59957d14b3aa934eb38c7e22eb.jpg",[],{"id":8698,"slug":8699,"title":8700,"dynasty":18,"author":2519,"museum":135,"description":8701,"tags":8702,"thumbUrl":8703,"material":8704,"size":8705,"collection":105,"collections":8706,"showCount":8646,"zanCount":54,"manualWeight":54,"mainColor":55},221883,"you-ting-ting-quan-tu-chen-hong-shou-221883","幽亭听泉图","此图近取元人曹云西，远承宋郭熙，而皴染趋于尖瘦淡婉，自与郭、曹异趣。造境则为江浙一带水乡风光，与轻清的笔墨同一情调。",[23,24,225,94,27,99,95,97,241,255,390,171,7,348,199,351,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8a3a0f57a4a8b67a66a4490e0f32ca7.jpg","设色绢本","64.5×26.3cm",[105,51],{"id":8708,"slug":8709,"title":8710,"dynasty":18,"author":1254,"museum":400,"description":8711,"tags":8712,"thumbUrl":8713,"material":355,"size":8714,"collection":105,"collections":8715,"showCount":8646,"zanCount":54,"manualWeight":54,"mainColor":109},220905,"fang-huang-zi-jiu-jiang-shan-qiu-ji-tu-juan-dong-qi-chang-220905","仿黄子久江山秋霁图卷","在研习经史之余，董其昌与同僚诸友切磋书画技艺，纵论古今，品评高下。又从韩世能那里借阅晋、唐、宋、元法帖宝绘，心摹手追，有时废寝忘餐，因而学问大进，开始在京中有些名气。在家乡，董其昌筑“来仲楼”、“宝鼎斋”、“戏鸿堂”、“画禅室”、“香光室”等，牙签玉轴，左图右史，置身其中，著书立说，探究古今书画艺术。他不遗余力地搜集王羲之、王献之、谢安、桓温、赵估、米芾诸名家法书，于万历三十一年刊刻《戏鸿堂法帖》行世。病休松江时期，他正值四十余岁的盛年，广闻博识，采集众长，悠居林泉，心闲手熟，创作了《葑泾访古图》《鹤林春社图》《浮岚暖翠图》《神楼图》《西湖八景图》《溪回路转图》等许多描绘江南风光的著名山水画。",[23,24,64,25,94,29,99,100,119,95,2256,33,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31afc9e40856158c191fd7216f9770fa.jpg","28.3*206cm",[105,51],{"id":8717,"slug":8718,"title":8719,"dynasty":344,"author":2501,"museum":61,"description":8720,"tags":8721,"thumbUrl":8722,"material":103,"size":8723,"collection":105,"collections":8724,"showCount":8646,"zanCount":54,"manualWeight":54,"mainColor":109},220125,"wu-li-chun-zao-qing-xue-tu-zhou-wu-li-220125","吴历春早晴雪图轴","吴历（1632年—1718年）清初书画家，天主教传教士。字渔山，号墨井道人、桃溪居士，江南常熟（今属江苏）人 。 [3] 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横52.7厘米",[105],{"id":8890,"slug":8891,"title":8892,"dynasty":59,"author":2899,"museum":135,"description":8893,"tags":8894,"thumbUrl":8897,"material":229,"size":637,"collection":142,"collections":8898,"showCount":8899,"zanCount":11,"manualWeight":54,"mainColor":109},288550,"cheng-huang-ju-lv-tu-zhao-ling-rang-288550","橙黄橘绿图","入秋的江南，暑气消尽，寒冬未至，正是一年当中最清爽宜人的时节。潺潺溪流，轻巧弯延地划过雾色苍茫的平野；两岸橘树遍植成林，一粒粒芬芳的黄果、绿实，像是地上的点点繁星。空气里弥漫着微润的甘甜，吸引三三两两的水鸟，自在地悠游在汀渚之间。幽静、迷蒙的景境，正是苏东坡笔底下“一年好景君须记，正是橙黄橘绿时”的诗情。虽然在这幅《橙黄橘绿》图里，画家直接用色点叶、画橘，笔线不够精准，可能不是赵令穰的作品，但是画中隐约的柔美，令人悠然神往。",[117,24,64,1551,27,95,33,7,122,100,101,119,1758,8895,8896],"橘树","橙树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d81ea92de40e98db5552b4feec83c05.jpg",[],42,{"id":8901,"slug":8902,"title":8903,"dynasty":344,"author":6590,"museum":135,"description":8904,"tags":8905,"thumbUrl":8906,"material":229,"size":637,"collection":142,"collections":8907,"showCount":8899,"zanCount":54,"manualWeight":54,"mainColor":55},288412,"jia-zheng-you-da-guan-yuan-tu-jing-yi-sun-wen-288412","贾政游大观园图景一","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸。",[24,26,27,118,95,31,7,30,2921],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9d707ca4b6406c830da9380cdd935eb.jpg",[],{"id":8909,"slug":8910,"title":8911,"dynasty":344,"author":2253,"museum":152,"description":8912,"tags":8913,"thumbUrl":8914,"material":103,"size":6605,"collection":142,"collections":8915,"showCount":8899,"zanCount":54,"manualWeight":54,"mainColor":109},288285,"fang-wang-wei-jiang-shan-xue-ji-tu-wang-shi-min-288285","仿王维江山雪霁图","王时敏（1592年－1680年），本名王赞虞，字逊之，号烟客，又号偶谐道人，晚号西庐老人，南直隶苏州府太仓人，明末清初画家，大学士王锡爵之孙，翰林编修王衡之子，“四王”第一代人。\n系出高门，文采早著，以祖荫，官至太常寺少卿。明清鼎革后，家居不出，奖掖后进，名德为时所重。明季画学董其昌，少时亲炙，得其真传。于黄公望墨法，尤有深契，暮年益臻神化。爱才若渴，四方工画者踵接于门，得其指授，无不知名於时，为一代画苑领袖。康熙十九年卒，年八十九岁。\n王时敏主张摹古，笔墨含蓄，苍润松秀，浑厚清逸，构图较少变化。其画在清代影响极大，王翚、吴历及其孙王原祁均得其亲授。王时敏开创了山水画的“娄东派”，与王鉴、王翚、王原祁并称四王，外加恽寿平、吴历合称“清六家”。\n晚清娄东画派代表画家与评论家秦祖永之《桐阴论画》评王时敏：运腕虚灵，布墨神逸，随意点刷，丘壑浑成。",[117,24,866,225,27,99,29,2097,98,33,31,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a350d41c4997b3ce106edd3a6b3b931.jpg",[],{"id":8917,"slug":8918,"title":8919,"dynasty":150,"author":710,"museum":152,"description":1457,"tags":8920,"thumbUrl":8921,"material":273,"size":8620,"collection":142,"collections":8922,"showCount":8899,"zanCount":54,"manualWeight":54,"mainColor":109},287544,"hua-xi-yu-yin-wang-meng-287544","花溪渔隐",[117,24,64,225,94,95,7,96,2196,170,33,609,119,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F373c447b94d504da403c02a1b7ece0b1.jpg",[],{"id":8924,"slug":8925,"title":8926,"dynasty":344,"author":292,"museum":135,"description":8927,"tags":8928,"thumbUrl":8929,"material":142,"size":142,"collection":51,"collections":8930,"showCount":8899,"zanCount":54,"manualWeight":54,"mainColor":55},239527,"qian-long-guan-kong-que-kai-ping-tie-luo-yi-ming-239527","乾隆观孔雀开屏贴落","《乾隆观孔雀开屏贴落》是清代佚名创作的绢本设色画。\n这是一幅表现乾隆皇帝宫廷生活的巨幅作品，曾张贴于圆明园某殿内。\n图中乾隆端坐在亭台之上，闲适地观赏庭院中一对美丽的孔雀。\n此画虽无作者款识，但从技法和水平分析，人物肖像、两只孔雀和建筑的主要部分应出自郎世宁之手。\n其中楼阁的描绘无论前后、远近，大小的比例关系均适当，将西洋绘画的透视原则把握得恰到好处，具有强烈的空间感和纵深层次。\n由于篇幅宏大，描绘真实，使人有身临其境之感。\n正是由于郎世宁等西洋传教士画师的到来，使中国传统的楼阁画发生了变化，最终促使清代宫廷建筑绘画“中西合璧”的画风形成。",[117,24,64,26,27,28,31,30,1286,98,33,39,7,390],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14b7e348cc7f93d2fc0fa76bd64ebef5.jpg",[51],{"id":8932,"slug":8933,"title":8934,"dynasty":344,"author":292,"museum":152,"description":8935,"tags":8936,"thumbUrl":8937,"material":142,"size":142,"collection":51,"collections":8938,"showCount":8899,"zanCount":11,"manualWeight":54,"mainColor":55},238934,"qing-ren-qun-xian-zhu-shou-tie-luo-yi-ming-238934","清人群仙祝寿贴落","画面分境铺陈仙宴盛景：云端仙袂翩跹，凌风御虚似携云而来；苍松怪石间，仙宾或晤语清谈，或凭崖远眺，仪态雍和。水滨舟上群仙围坐言欢，山麓间侍从捧礼随行，步履悠然。\n\n设色古雅沉静，石青晕染出山峦苍劲，赭红点染衣褶灵动，线描清细秀逸，将仙众出尘之姿描摹入微。整体动静相映，把祝寿的吉庆意涵融在清虚悠远的山水意境中，尽显仙乡雅聚的祥和瑞气，将雅致古淡的仙佛画韵致铺陈开来。",[24,64,27,26,30,95,821,241,5064,66,598,1069,98,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdf80cd142cdc24231bc03c616a78b24.jpg",[51],{"id":8940,"slug":8941,"title":655,"dynasty":344,"author":8942,"museum":152,"description":8943,"tags":8944,"thumbUrl":8945,"material":142,"size":142,"collection":105,"collections":8946,"showCount":8899,"zanCount":54,"manualWeight":54,"mainColor":109},238258,"shan-shui-ce-zhang-yan-238258","张演","此作以边角取景造境，右侧危岩迭起，苍松斜倚石畔，谷中云气漫漶，远山隐没于烟岚，虚实交织出清幽空蒙之态。左侧山居枕溪而卧，窗内幽人凭栏凝睇，坡岸佳木葱茏，一人策蹇缓行，野意悠然。\n\n设色清润雅致，山石勾勒细劲，浅赭与花青轻敷晕染，皴擦间尽显肌理质感。云水以留白晕化，愈衬山林阒寂。整体意境萧散淡远，以尺幅小景藏丘壑万千，将林泉幽居的闲逸之趣尽显无遗，笔墨温润秀雅，兼得元人山水的简旷与吴门画派的雅致风神。",[24,64,332,27,94,99,95,7,98,33,76,169,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d2ed93952dff40ea52e2910d1c80cd3.jpg",[105,51],{"id":8948,"slug":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轴（台湾故宫博物院藏）和《松石图》轴（北京故宫博物院藏）等。",[23,24,933,27,26,99,95,30,390,1177,378,98,7,33,2869],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bca7bc079a6d5dcc5b4be19f4c16a7a.jpg","纵97.3横29.2",[105],{"id":9022,"slug":9023,"title":5636,"dynasty":344,"author":2253,"museum":91,"description":9024,"tags":9025,"thumbUrl":9026,"material":142,"size":142,"collection":105,"collections":9027,"showCount":8899,"zanCount":54,"manualWeight":54,"mainColor":9028},202026,"shan-shui-tu-zhou-wang-shi-min-202026","此作笔墨苍润古雅，山石以细密皴法勾勒肌理，尽显苍劲质感。云雾轻笼山谷，虚实相生间拓展空间纵深，将远近峰峦自然衔接。山间林木葱茏，松枝虬劲，杂树错落，屋舍隐于林麓，小桥跨溪，流水潺潺，一派静谧悠远的山居气象。笔墨追摹元人遗韵，线条沉稳，墨色层次丰富，设色淡雅，尽显文人画清逸格调，传递出超然尘俗的林下之趣。",[95,99,94,27,32,7,609,33,170,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8bec74577ee026a9bdc4fd614df8982.jpg",[105],"a69c8b",{"id":9030,"slug":9031,"title":9032,"dynasty":150,"author":9033,"museum":135,"description":9034,"tags":9035,"thumbUrl":9036,"material":229,"size":637,"collection":142,"collections":9037,"showCount":9038,"zanCount":54,"manualWeight":54,"mainColor":109},290732,"xi-ting-zuo-yin-zhou-shang-qi-290732","溪亭坐隐轴","商琦","商琦：元代画家，字德符，号寿岩，曹州（今山东菏泽市）人。泰定元年官至秘书卿。有精深的文学艺术修养，又以善画受到皇帝赏识，因此他在当时的地位很显赫，几与高克恭齐名。商琦善画山水，《图绘宝鉴》称他师法李成，得用墨法，亦善画墨竹。又有记载说他的山水学董源，善于运用水墨。仁宗曾命他在壁上作山水，不用金朱粉彩，只用水墨，可见他的水墨山水、竹石画在当时堪称一绝。商琦亦是一位壁画能手，曾奉命画嘉禧殿壁，当时许多宫殿、寺院壁画都出自他的手笔。",[117,24,64,225,94,95,30,97,7,31,98,33,119,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2590d0819492c87451b3e47069e30e7d.jpg",[],41,{"id":9040,"slug":9041,"title":4205,"dynasty":59,"author":4206,"museum":152,"description":4207,"tags":9042,"thumbUrl":9043,"material":229,"size":4210,"collection":142,"collections":9044,"showCount":9038,"zanCount":54,"manualWeight":54,"mainColor":55},290283,"xi-shan-lou-guan-tu-yan-wen-gui-290283",[24,117,866,225,99,98,1711,31,7,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84b73be18e2ebf50025d87fd42a56693.jpg",[],{"id":9046,"slug":9047,"title":9048,"dynasty":344,"author":5786,"museum":61,"description":9049,"tags":9050,"thumbUrl":9051,"material":7034,"size":9052,"collection":105,"collections":9053,"showCount":9038,"zanCount":54,"manualWeight":54,"mainColor":109},236111,"pan-shan-bie-shu-zhou-zhang-zong-cang-236111","盘山别墅轴","位于盘山的静寄山庄，是乾隆朝“法皇祖避暑山庄之例”而修建的。乾隆皇帝学仿康熙皇帝，仿照避暑山庄，在现在的天津蓟县盘山南麓营建了属于自己的皇家园林，位于京城以东80余公里之外，是乾隆帝朝谒东陵的必经之地。静寄山庄也叫盘山行宫，于乾隆九年（1744）开始兴建，至乾隆十九年（1754）竣工，是清代鼎盛期著名的皇家园林之一，也是在京城以外仅次于避暑山庄的第二大皇家行宫园林。乾隆朝多位宫廷画家、词臣画家甚至乾隆皇帝本人，都描绘过这里。",[117,24,64,225,94,99,95,7,98,33,38,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4cfa4cf9fbe519c088dfe3a6254fc08.jpg","162×93.5厘米",[105,83],{"id":9055,"slug":9056,"title":9057,"dynasty":18,"author":90,"museum":135,"description":9058,"tags":9059,"thumbUrl":9060,"material":142,"size":142,"collection":142,"collections":9061,"showCount":9038,"zanCount":54,"manualWeight":54,"mainColor":55},235999,"chun-yun-die-zhang-tu-zhou-shen-zhou-235999","春云叠嶂图轴","此作以淡墨晕染远山，春云裹挟峰峦，虚实相融间晕开空濛的春日山色。山巅以浓墨点苔植林，清浅墨色衬出苍润的生机。中景林麓烟霭轻笼，村舍隐于幽林之中，漫着山居的静寂安闲。近岸水滨杂树错落，枝桠舒展间漾着春的暖意，临水策驴徐行的旅人，为山野添了鲜活意趣。\n\n整作笔墨苍秀兼具，以留白衬出云气流动，简淡的水墨里藏着古雅浑厚，将江南春山温润清远的意境铺展尽致，尽显文人山水独有的林下天真。",[24,64,225,94,99,95,821,2256,33,7,97,351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46ff3ecd13cea2367a22a0689c7f958e.jpg",[],{"id":9063,"slug":9064,"title":9065,"dynasty":344,"author":1527,"museum":135,"description":9066,"tags":9067,"thumbUrl":9068,"material":142,"size":142,"collection":105,"collections":9069,"showCount":9038,"zanCount":54,"manualWeight":54,"mainColor":109},235336,"fang-gu-shu-hua-ce-wang-jian-235336","仿古书画册","此作绘冬日山居雪景，峰峦素雪覆顶，苍松虬劲错落，枝桠缀雪愈见清寒古雅。山坳村居隐于林间，溪涧凝冰，冷寂空蒙。以淡墨晕染山峦肌理，留白铺陈出漫林雪意，萧疏静谧间尽显古山水的苍浑意趣。\n\n对开行书笔意疏朗清逸，诗句呼应画中深巷积素、残晖映雪之境，书画相映，将冬日山居的幽寂淡远凝于尺幅，于简淡笔墨间尽显隽永雅致，藏着沉厚的仿古功力。",[24,64,332,94,27,95,29,101,119,240,241,32,7,76,390,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1df774cba5454f3e332ba7b07901837.jpg",[105,51],{"id":9071,"slug":9072,"title":1344,"dynasty":18,"author":90,"museum":61,"description":1345,"tags":9073,"thumbUrl":9074,"material":335,"size":1348,"collection":142,"collections":9075,"showCount":9038,"zanCount":54,"manualWeight":54,"mainColor":109},234091,"wu-zhong-shan-shui-ce-shen-zhou-234091",[24,64,332,94,99,101,119,95,33,96,7,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F768131a771cc65321f3cd34baec811ed.jpg",[],{"id":9077,"slug":9078,"title":1344,"dynasty":18,"author":90,"museum":61,"description":1345,"tags":9079,"thumbUrl":9080,"material":335,"size":1348,"collection":142,"collections":9081,"showCount":9038,"zanCount":54,"manualWeight":54,"mainColor":109},234087,"wu-zhong-shan-shui-ce-shen-zhou-234087",[24,64,332,94,99,101,119,95,32,7,33,76,96,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc46249d3f1a8b1efdae161fb0542ffbf.jpg",[],{"id":9083,"slug":9084,"title":9085,"dynasty":344,"author":2071,"museum":135,"description":9086,"tags":9087,"thumbUrl":9088,"material":229,"size":637,"collection":142,"collections":9089,"showCount":9038,"zanCount":54,"manualWeight":54,"mainColor":109},229014,"fang-gu-shan-shui-wang-shi-min-wang-hui-229014","仿古山水-王时敏","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。\n在绘画理论方面也有较高造诣。其论画主张“以元人笔墨，运宋人丘壑，而泽以唐人气韵。”",[117,24,64,95,94,27,99,199,32,7,97,122,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2980717faf33c3fd762b486b8c086428.jpg",[],{"id":9091,"slug":9092,"title":9093,"dynasty":18,"author":4835,"museum":135,"description":9094,"tags":9095,"thumbUrl":9096,"material":142,"size":142,"collection":142,"collections":9097,"showCount":9038,"zanCount":11,"manualWeight":54,"mainColor":55},228364,"pi-lu-tu-zhou-chen-228364","辟纑图","此作取景分野有致，左幅铺陈烟水浩渺，林石隐现，漾出清旷空寂之境；右隅收拢于山居幽地，古松蟠虬，草堂依林而筑。\n笔墨承浙派风骨，山石斧劈皴利落苍硬，林木勾勒精细入微，敷色浅淡清和，衬出山林沉静底色。堂内主客对坐晤谈，侍女侧立随侍，将林下雅集的闲逸自适藏于方寸之间，山涧激流的动势与堂中悠然静气相融相生，尽显文人幽居林泉、寄情丘壑的雅致襟怀。",[23,24,27,26,99,95,30,33,171,7,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cc9662f11c840147628ba2d5d2856d8.jpg",[],{"id":9099,"slug":9100,"title":9101,"dynasty":344,"author":1527,"museum":7414,"description":9102,"tags":9103,"thumbUrl":9104,"material":188,"size":9105,"collection":105,"collections":9106,"showCount":9038,"zanCount":54,"manualWeight":54,"mainColor":55},224480,"guan-shan-qiu-ji-tu-wang-jian-224480","关山秋霁图","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。",[23,24,64,225,27,99,95,2074,33,31,32,7,97,98,1758,173,609,1711,174,1960,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F312f5a5f9f6caa2841fbb84103d97470.jpg","177x95厘米",[105,83],{"id":9108,"slug":9109,"title":9110,"dynasty":344,"author":2071,"museum":135,"description":9111,"tags":9112,"thumbUrl":9113,"material":142,"size":142,"collection":142,"collections":9114,"showCount":9038,"zanCount":54,"manualWeight":54,"mainColor":55},224441,"fang-ju-ran-shan-shui-tu-wang-hui-224441","仿巨然山水图","此作取法董巨一脉，以披麻皴晕染山峦，圆浑苍润的山体层层铺展，云雾在谷壑间悄然漫溢，晕开空濛幽深的山水意境。\n\n谷间林木蓊郁苍茂，古木虬曲蟠扎，山居楼宇掩映在深林翠色中，溪涧蜿蜒穿流，板桥横陈浅滩，野趣悠然自生。墨色层次丰富，淡墨烘染云气，浓墨点苔写树，既绘就山峦厚重雄浑的体量，又晕出江南山水的温润氤氲，将北宋山水的沉郁与元人笔墨的秀逸相融，尽展林泉高致的文人心境。",[23,24,64,225,29,99,95,98,33,31,32,7,169,271],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4c07a9b57cf6ed3bdd9355306fb68fe.jpg",[],{"id":9116,"slug":9117,"title":9118,"dynasty":18,"author":251,"museum":252,"description":9119,"tags":9120,"thumbUrl":9123,"material":355,"size":9124,"collection":105,"collections":9125,"showCount":9038,"zanCount":54,"manualWeight":54,"mainColor":55},222583,"fang-yi-feng-shan-shui-lan-ying-222583","仿一峰山水","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。",[23,24,27,99,95,33,98,97,76,7,38,173,271,174,8333,1711,1357,351,172,9121,9122,4661],"淡赭","山石皴染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2731e556314b70131bad67ebbce5091.jpg","74.1×161.7cm",[105,83],{"id":9127,"slug":9128,"title":9129,"dynasty":18,"author":9130,"museum":553,"description":9131,"tags":9132,"thumbUrl":9134,"material":335,"size":9135,"collection":105,"collections":9136,"showCount":9038,"zanCount":54,"manualWeight":54,"mainColor":109},222572,"wan-he-qiu-tao-tu-he-hao-222572","万壑秋涛图","何浩","此幅作品就画的是松树。据此笔者认为这个名叫何浩的画家，是一位明代中期与画家林良同时或略晚于林良的供职宫廷的职业画家。那么，现在又可以多出一名明朝的宫廷画家了，又可以增加一幅明朝的宫廷绘画作品了。",[23,24,64,25,94,95,99,33,98,7,169,119,9133,1758,1328,868],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c2dc1674f138f535644c5f04d9896db.jpg","纵27厘米、横448厘米",[105,83],{"id":9138,"slug":9139,"title":9140,"dynasty":18,"author":5268,"museum":152,"description":9141,"tags":9142,"thumbUrl":9143,"material":659,"size":9144,"collection":105,"collections":9145,"showCount":9038,"zanCount":54,"manualWeight":54,"mainColor":55},222381,"lu-shan-gao-zhou-ding-yun-peng-222381","庐山高轴","丁云鹏是中国明代画家，于1547年出生，字南羽，号圣华居士，安徽休宁人。\n天启五年（1625）尚在作《白马驭经图》，瓒子，詹景凤门人。工书法，学钟繇、王羲之。画善白描人物、山水、佛像，无不精妙。白描酷似李公麟，设色学钱选。丝发之间而眉睫意态毕具，非笔端有神通者不能也。兼工山水、花卉。中年用笔细秀，略近文征明、仇英画法，晚年风格朴厚苍劲，自成一家。 [1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。\n丁云鹏是仇英之后最著名的人物画家，他工给的笔法不下仇英，而高古文雅似又过之。他最擅长的是佛教题材，佛祖、菩萨、罗汉在他笔下既栩栩如生，又庄严肃穆。此帧李公麟《维摩演教图》画人物五十三，动物数头，趁具法器、峰峦堂宇、树石祥云，皆精密工给，非费一两月之功不能为此。董其昌与丁云鹏为挚交，曾题丁氏所绘《五像观音图卷》云：“丁南羽写此时，在吾松为顾光禄正心所馆，年三十馀，故极工妙。自后不复能事，多老年漫应。”",[24,64,225,94,27,95,168,7,33,98,169,99,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c977c8e01db35618436bdcc1f93e189.jpg","280x85.5",[105,51],{"id":9147,"slug":9148,"title":9149,"dynasty":18,"author":1948,"museum":152,"description":9150,"tags":9151,"thumbUrl":9152,"material":469,"size":9153,"collection":105,"collections":9154,"showCount":9038,"zanCount":54,"manualWeight":54,"mainColor":109},221973,"qian-yan-jing-xiu-wen-zheng-ming-221973","千岩竞秀","画面底部，两位高士对坐于参天巨木之下，临飞瀑溪泉而谈。巨木引看画者的视线上升，进入由丘陵、碎石、坡壁、悬崖交织结合的复杂山体。\n繁密的山体多采用吴中文人画家较为推崇的短披麻皴表现，但又将披麻皴的柔润转变为尖锐。飞泉上部耸立突出的山崖高踞在厚重的基座之上，而基座山体又不断曲折延伸，形成了一条极为深远的脉络。这条脉络以“S”形向上延展，串联起无数细碎的山体和林木苔点，形成兼具向上生长又左冲右突、相互挤压的骚动之势。\n如此狭长的画幅，往往与其他画作构成条屏。文徵明也确实创作了与《千岩竞秀图》配成一对的《万壑争流图》。按照当时的风气，一旦作配对之画，则这种创作会立即显得专注于装饰、商业、礼仪，具有了某种功利性。然而，文徵明却在《万壑争流图》上明言“余性雅不喜作配幅，然于默川不能终却，漫尔涂抹，所谓一解不如一解也”，以此强调自己创作的非功利性。\n在经营位置方面，《千岩竞秀图》略微体现了郭熙所言的“自山下而仰山巅”的高远，更颇为夸张地突出了“自山前而窥山后”的深远，唯独忽略了“自近山而望远山”的平远。不仅如此，《千岩竞秀图》在用墨上完全没有使用近浓远淡的手法制造透视的效果，墨色笔触鲜有变化，在浅绛设色上也基本用平涂法，使得画上群山好像都生长在另一些山峰之上，而不是向远方延伸。\n此外，文徵明在画中还特别强调了山水平面的不可进入性——画中的高士走不出画纸，也并不生活在画中，而观画者更无法有“可行、可望、可游、可居”之感。画面与现实的凛然隔绝，其实也暗含着画家内心和现实之间的隔绝，并以此将精神寄寓在平淡无聊、郁郁无为的现实生活之外。",[23,24,27,99,225,95,98,33,390,7,30,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76a88c6378825cac7e0dc34f649fe26e.jpg","画长142.6厘米，宽仅34厘米",[105,51],{"id":9156,"slug":9157,"title":9158,"dynasty":18,"author":9159,"museum":316,"description":9160,"tags":9161,"thumbUrl":9162,"material":47,"size":9163,"collection":49,"collections":9164,"showCount":9038,"zanCount":54,"manualWeight":54,"mainColor":55},220444,"xi-gu-yu-fu-tu-zhu-bang-220444","溪谷渔父图","朱邦","此作描绘溪谷渔父的工作景象，是浙派流行的画题之一。其笔墨淋漓酣畅，造型生动活泼，充分表现民间市井的口常作息。值得注意的是，由于现今存留于世的浙派作品，多数画家款识不是被割裂删除，就是被改名换姓，而造成原创作者的真实身份扑朔迷离，难辨真假。但是近年来通过各方学者的努力，多位浙派画家的身影已逐渐现形。这次馆方也展出了几件无款浙派作品，希望藉此次展览广邀各界来找寻作者真相。",[24,64,94,99,27,95,7,96,6763,30,140,256,2008,1397,736,8000,33,42,8002,2700],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60d0d08df49234fa618b3fb40d90c219.jpg","159.5X100.5cm",[49,105],{"id":9166,"slug":9167,"title":9168,"dynasty":344,"author":3047,"museum":9169,"description":9170,"tags":9171,"thumbUrl":9172,"material":335,"size":9173,"collection":105,"collections":9174,"showCount":9038,"zanCount":54,"manualWeight":54,"mainColor":55},220238,"nan-xu-shan-shui-tu-cha-shi-biao-220238","南徐山水图","昆仑堂美术馆","查士标（1615-1698），字二瞻，号梅壑散人，安徽休宁人，后寓扬州。出身望族，博雅好古。富收藏，家藏古铜器和宋、元人书画真迹甚多，因此精于鉴赏。他早年作画师从倪云林，以后参用吴镇、董其昌笔法，用笔简练，惜墨如金，皴染不重，风神懒散，气韵荒寒，被推为“逸品”，画史把他和弘仁、汪云瑞、孙逸合称为“新安四家”。",[23,24,64,225,94,99,95,241,854,97,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b746ab0c70caf76479ceb2c83727f26.jpg","138×52厘米",[105],{"id":9176,"slug":9177,"title":9178,"dynasty":18,"author":4786,"museum":2900,"description":9179,"tags":9180,"thumbUrl":9181,"material":273,"size":9182,"collection":105,"collections":9183,"showCount":9038,"zanCount":11,"manualWeight":54,"mainColor":640},219869,"qian-shan-xue-ji-tu-song-xu-219869","千山雪霁图","宋旭（1525―1606年后），字初穤，号石门、石门山人，（明画录作字初旸，式古堂书画汇考作字初旸，号石门）。后为僧，法名祖玄，又号天池发僧、景西居士。湖州（今浙江省湖州市）人，为“苏松画派”的先声，为吴门派支流。博宗内外典，通禅理。善山水，兼长人物。万历间名重海内。师沈周，学有师承，故出笔逈不犹人。其山头树木，苍劲古拙，巨幅大幛，颇有气势。与云间莫廷韩，入芟山社绘白雀寺壁，时称妙绝。赵左、沈士充、宋懋晋等都出于他的门下。其识款喜用八分书。万历三十三年（一六o五）作罗汉图、平沙落雁图，时年八十一。《嘉兴府志》、《明画录》、《无声诗史》、《图绘宝鉴续纂》、《读画辑略》、《珊瑚网》。传世作品有藏于故宫博物院的《五岳图》卷及上海博物馆藏《天香书屋图》轴等。",[24,94,99,225,95,2097,240,241,255,32,7,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c9e6bf704b2ff11a1d07aa4c3c75b19.jpg","151.8x79cm",[105],{"id":9185,"slug":9186,"title":9187,"dynasty":59,"author":4351,"museum":152,"description":9188,"tags":9189,"thumbUrl":9190,"material":273,"size":142,"collection":83,"collections":9191,"showCount":9038,"zanCount":11,"manualWeight":54,"mainColor":109},218685,"gu-mu-liu-quan-tu-ma-he-zhi-218685","古木流泉图","画面构景极简，古木枝干如老龙盘空，墨色浓淡晕染出苍劲生机。流泉隐于林麓，清越似穿疏枝而来。右侧空濛处轻羽掠过，留白铺展天地空阔，暗合宋画“虚处藏神”之妙。用笔兼工带写，线条含篆籀圆劲与行书灵动，皴擦间古木肌理毕现。留白与实景相衬，营造清寂悠远的林下之趣。简淡中见深致，尽显宋画文人意趣，观者仿佛闻泉声穿林，听鸟啼落梢，沉浸于那份与世隔绝的静谧禅意里。",[23,24,64,94,332,7,1397,140,199,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ceaf0fdf52528f3e4d2f5c2edbd8b9b.jpg",[83],{"id":9193,"slug":9194,"title":9195,"dynasty":59,"author":9196,"museum":135,"description":9197,"tags":9198,"thumbUrl":9199,"material":47,"size":142,"collection":105,"collections":9200,"showCount":9038,"zanCount":54,"manualWeight":54,"mainColor":55},218596,"gui-zhou-tu-yang-an-dao-218596","归舟图","杨安道","绢素底色晕开时光的温厚，近岸层岩以皴笔刻出苍劲肌理，岸边茅亭隐于林麓，似含待归之意。中流归舟破水而行，船篷织纹细密如织，舟子俯身撑篙，浪涛翻涌处，笔触如丝缕缠连，尽现江水柔劲与动荡。远处峰峦淡染烟霭，山影浮沉于水色之间，天地悠远尽纳圆幅。细劲线条勾摹山水清旷，墨色层次含蓄蕴藉，既见自然之浩渺，又藏归舟之温情——烟波里每道波纹，皆似诉说归途远近，观者于静谧中触到羁旅者的心跳，于方寸间感怀天地与人心的交融。",[23,24,117,1551,27,95,96,8000,170,7,119,97,256],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe97e0d78ead1baca9afea6b99613fa71.jpg",[105],{"id":9202,"slug":9203,"title":9204,"dynasty":59,"author":292,"museum":3136,"description":9205,"tags":9206,"thumbUrl":9207,"material":47,"size":9208,"collection":49,"collections":9209,"showCount":9038,"zanCount":11,"manualWeight":54,"mainColor":55},218461,"gao-shi-guan-shui-tu-yi-ming-218461","高士观水图","凭栏者凝眸向水，衣袂轻垂似与波痕共息。亭榭半掩于疏枝间，木构纹理隐现岁月静穆。秃枝如笔，蘸着空濛天色，在绢上勾勒清寂骨线；水面无波，却载千般思绪，与观者目光遥遥相契。通篇不着艳色，墨线浓淡交错，留白虚实相生，铺展文人心中丘壑——非喧嚣山水，是心与自然对语的片刻安宁。笔意简淡却藏深致，枯枝的疏朗、亭台的稳静、高士的凝思，织就一幅含蓄的精神图景，让千载后的目光，仍能触到那份清寂中的悠远。",[23,24,94,138,28,3658,30,31,7,255,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffea1f9bda4c7207655fc3e8783405b61.jpg","21.6x24.6cm",[49],{"id":9211,"slug":9212,"title":9213,"dynasty":150,"author":292,"museum":3325,"description":9214,"tags":9215,"thumbUrl":9216,"material":47,"size":9217,"collection":105,"collections":9218,"showCount":9038,"zanCount":54,"manualWeight":54,"mainColor":55},217913,"xue-jian-shan-xing-tu-yi-ming-217913","雪涧山行图","整幅画浓烈的冬日氛围使人感到温馨舒适。画家巧妙地运用色彩与线条，使得画面生动而富有层次感。这幅画不仅展示了元朝人民的传统冬季活动，更展示了画家对冬季自然美景的热爱与描绘能力。",[24,117,64,95,27,99,2567,7,240,227,140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ddf65cbaf189045f36b411463d3189b.jpg","22.5x24.7cm",[105],{"id":9220,"slug":9221,"title":9222,"dynasty":18,"author":9223,"museum":91,"description":9224,"tags":9225,"thumbUrl":9226,"material":103,"size":9227,"collection":142,"collections":9228,"showCount":9038,"zanCount":718,"manualWeight":54,"mainColor":109},214669,"san-jue-tu-5-yao-shou-214669","三绝图-5","姚绶","姚绶（1536年－1627年）是中国明朝时期著名的画家、书法家和诗人。他在明朝末年和清朝初年期间活跃，是中国古代四大书法家之一。姚绶的“三绝图册”是他的代表作之一，是他在晚年创作的一组绘画作品集。\n\n“三绝图册”共有三册，分别为“绝境图册”、“绝岭图册”和“绝川图册”。这三册作品均采用水墨画的方式，描绘了天山、岭川、峡谷等山水风光。姚绶的绘画风格具有浓郁的民族特色，笔墨简洁而凌厉，构图巧妙，色彩明快。这三册作品被认为是中国古代山水画的精品，被广泛收藏和展览。",[24,64,27,95,99,332,240,241,76,2008,7,30,119,140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F623804a452b8a760df0fe03f12280c68.jpg","纵31.2 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，善作水墨山水，亦能作壁画。作竹有超然之气，能脱离画工尺度，使之有诗人清丽的神韵。此图描绘了一幅春山水乡的风光。图中群峰耸立，飞瀑长流，一条山道穿谷而过，远山形貌隐约，山下林木苍翠，清溪迂缓，水泽开阔，木桥横卧而联属，水滨点辍着茅舍草屋、水亭渔舟。图中几人或在亭内吟诗，或在水边捕鱼，有的赶马，有的送客，一派生机盎然的景象。此图用笔简练，墨色凝重，风格质朴自然。无作者款印，卷后有36家题跋，分别出自元明时期文人名流，如虞集、刘基、唐肃、徐贲等，从跋文中可以推断此图为燕肃所作。图上钤有、、、诸印及清内府收藏印。《石渠宝笈初编》著录。",[23,24,64,25,94,27,95,32,7,199,140,97,122,99,100,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88542d532ea368288a52e16a96eaf191.jpg","纵47.3厘米，横115.6厘米",[81,105,83],{"id":9376,"slug":9377,"title":9378,"dynasty":18,"author":4835,"museum":61,"description":9379,"tags":9380,"thumbUrl":9381,"material":47,"size":9382,"collection":105,"collections":9383,"showCount":9236,"zanCount":11,"manualWeight":54,"mainColor":109},220104,"xia-qi-shi-ze-ye-zhou-chen-220104","夏畦时泽页","周臣（生卒年不祥），字舜卿，号东村，吴县（今江苏苏州）人，活动于15世纪末至16世纪初。擅画山水、人物、花鸟，画法主宗南宋李唐、马远等院体画风，并受文人画的一定影响，功力深厚。周臣是一位富有创新精神的职业画师，为了适应人们的欣赏趣味，他一方面突破职业画家的局限，创作了大量以文人生活为题材的作品，一方面尝试在技法上学习文人画的笔墨情趣，使其作品具有周密雄劲而又清旷秀美的格调，在画坛上独树一帜。唐寅、仇英为其门下高足。",[24,64,117,26,27,99,95,32,7,33,98,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff81796ca826f29f94a83e6abdbb346ff.jpg","纵31.3cm，横26.4cm",[105],{"id":9385,"slug":9386,"title":9387,"dynasty":150,"author":292,"museum":152,"description":9388,"tags":9389,"thumbUrl":9390,"material":94,"size":9391,"collection":83,"collections":9392,"showCount":9236,"zanCount":54,"manualWeight":54,"mainColor":55},219961,"chun-shan-tu-yi-ming-219961","春山图","皴山画树，笔法灵动天然，毫不雕饰，质朴中具冷逸幽趣。幅中山石大都呈圆弧状，以枯笔浓墨和遒劲挺捷的笔法勾勒，淡墨渲染不多或因纸质关系而年久微退去，故浓墨圆笔点苔及枯枝树则显得甚为突出，全幅散发出一股冷涩枯寂的美感。\n该幅无作者名款，有学者从画上杨维祯题诗之书法风格与画中山石的轮廓线条笔意相仿，认为款题与画作皆出于一人之手。",[23,24,94,99,100,119,95,140,32,7,199,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04333cd7272b341e82a959a4c32fe0f3.jpg","73.2x42.3公分",[83],{"id":9394,"slug":9395,"title":4109,"dynasty":344,"author":2253,"museum":61,"description":4111,"tags":9396,"thumbUrl":4113,"material":47,"size":9397,"collection":105,"collections":9398,"showCount":9236,"zanCount":11,"manualWeight":54,"mainColor":55},219747,"du-fu-shi-yi-tu-wang-shi-min-219747",[23,24,64,25,866,94,27,543,33,98,173,32,97,7,199],"纵39厘米，横25.5厘米",[105],{"id":9400,"slug":9401,"title":9402,"dynasty":18,"author":9403,"museum":1164,"description":9404,"tags":9405,"thumbUrl":9406,"material":103,"size":9407,"collection":105,"collections":9408,"showCount":9236,"zanCount":11,"manualWeight":54,"mainColor":109},219677,"fang-gu-shan-shui-ce-yun-xiang-219677","仿古山水册","恽向","恽向（1586--1655）明代画家。原名本初，字道生、曙臣，号香山，武进（今属江苏）人。崇祯末举贤良方正，授内阁中书舍人。擅诗文工山水，早年学董源，巨然，以悬肘中锋作画，骨力圆劲，浓墨润湿，纵横淋漓，自成一派，晚年敛笔于倪瓒、黄公望的风格，惜墨如金，挥洒自如，妙合自然。由于他常往来于齐鲁之间，并登临泰山，故笔下山水自然雄浑之气。他曾为周亮公画山水，自题云：“逸品之画，笔似近而远愈甚，似元而有愈甚；其嫩处如金，秀处如铁，所以可贵，未易为俗人道也。”",[332,27,101,119,99,95,240,140,96,7,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a9216d1ebee0a965f0c8cc37df5f44c.jpg","26x15.2",[105],{"id":9410,"slug":9411,"title":9412,"dynasty":18,"author":3307,"museum":61,"description":9413,"tags":9414,"thumbUrl":9415,"material":94,"size":9416,"collection":105,"collections":9417,"showCount":9236,"zanCount":54,"manualWeight":54,"mainColor":109},219206,"wei-wu-kuan-zuo-shan-shui-tu-du-qiong-219206","为吴宽作山水图","此图绘深山幽谷，溪桥流水，林木草屋，极为森藐悠远。构图饱满繁密，用笔秀润苍健，画风慎密清逸，格调高远古朴，意境深邃澹然。",[23,24,94,99,225,95,33,98,7,96,32,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde3d1b0e984c125a383b3b438fdff855.jpg","纵108.2cm，横38.2cm",[105],{"id":9419,"slug":9420,"title":9421,"dynasty":344,"author":5786,"museum":61,"description":5787,"tags":9422,"thumbUrl":9423,"material":47,"size":5791,"collection":368,"collections":9424,"showCount":9236,"zanCount":11,"manualWeight":54,"mainColor":55},218524,"cang-qiu-lan-fei-pu-tu-zhou-zhang-zong-cang-218524","苍秋岚飞瀑图轴",[23,117,24,225,95,27,99,98,2832,7,33,31,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd631dc13de2e69a5451abd4d5af28756.jpg",[368],{"id":9426,"slug":9427,"title":606,"dynasty":18,"author":9428,"museum":281,"description":9429,"tags":9430,"thumbUrl":9431,"material":103,"size":9432,"collection":105,"collections":9433,"showCount":9236,"zanCount":11,"manualWeight":54,"mainColor":55},218091,"shan-shui-tu-huang-qin-218091","黄溱","黄溱是明朝时期的一位著名山水画家。他的山水画风格独特，笔力清晰而富有张力，善于表现大自然的神韵和精神内涵。\n\n黄溱的山水图常常被视为“水墨山水画的巅峰之作”。他善于运用水墨画的特色，在画面中运用点、线、面三种基本元素，给人以一种清新自然、平和祥和的感觉。在他的山水图中，山峰挺拔，水流潺潺，构图精妙，富有层次感。同时，他还注重细节的表现，如树木的枝叶、山峰的峰顶、云的形态等都是细致而生动的。\n\n黄溱的山水图不仅对后世的山水画家产生了巨大的影响，也为我们展现了明朝时期浓郁的文化气息和自然风光。",[23,24,94,95,117,225,32,7,2256,33,1720,557,100,119,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea7f968486d57ed34a990414f516411c.jpg","89.4x47.6cm",[105],{"id":9435,"slug":9436,"title":9437,"dynasty":344,"author":9438,"museum":9439,"description":9440,"tags":9441,"thumbUrl":9444,"material":94,"size":142,"collection":105,"collections":9445,"showCount":9236,"zanCount":54,"manualWeight":54,"mainColor":55},215647,"yu-zhi-geng-zhi-tu-kang-xi-215647","御制耕织图","康熙","哈佛艺术博物馆","画面分帧铺展耕织图景，左帧河畔竹架悬桶，农人躬身引泉入田，溪流潺潺绕岸，树影婆娑覆径，尽显水乡农作的静谧韵致；右帧阡陌间耕者俯身劳作，小径上二人低语，远处田埂延绵，草木葱茏。以细腻白描勾勒人物情态与田园景致，写实中藏温婉意趣。笔墨凝注农桑日常的质朴细节，既显农人之勤苦，亦含对稼穑民生的深切关切。每一道线条都似在诉说土地与民生相依的厚重，让观者触摸到农耕生活里土地的温度、劳作的质感，以及那份对民生根本的珍视与叩问。",[117,24,332,138,100,30,7,33,121,6333,351,4258,9442,9443],"农作","民生","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe09ce01c004b9fb45e00d5c4f46f7b72.jpg",[105],{"id":9447,"slug":9448,"title":9449,"dynasty":18,"author":1254,"museum":91,"description":8397,"tags":9450,"thumbUrl":9451,"material":103,"size":142,"collection":142,"collections":9452,"showCount":9236,"zanCount":54,"manualWeight":54,"mainColor":109},214649,"qiu-xing-ba-jing-tu-ce-8-dong-qi-chang-214649","秋兴八景图册-8",[24,64,332,27,118,101,100,99,95,96,31,33,122,7,98,821,320],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42cbb4fb5fa1b201a43ea69f5624d486.jpg",[],{"id":9454,"slug":9455,"title":9456,"dynasty":59,"author":9457,"museum":135,"description":9458,"tags":9459,"thumbUrl":9460,"material":229,"size":637,"collection":142,"collections":9461,"showCount":9462,"zanCount":54,"manualWeight":54,"mainColor":109},290864,"ke-si-shan-shui-zhou-shen-zi-fan-290864","缂丝山水轴","沈子蕃","祖籍定州孟家庄。缂丝名匠。",[117,24,225,2578,118,27,95,97,32,7,96,140,98,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34435ac0ec43f64123746736c26b0390.jpg",[],39,{"id":9464,"slug":9465,"title":9466,"dynasty":150,"author":877,"museum":135,"description":9467,"tags":9468,"thumbUrl":9469,"material":229,"size":637,"collection":142,"collections":9470,"showCount":9462,"zanCount":718,"manualWeight":54,"mainColor":55},290829,"qing-jiang-chun-xiao-zhou-wu-zhen-290829","清江春晓轴","图画清江两岸的美丽风光。江之左岸，高山耸立．巍峨壮观，笔直的山峰直插云天。远山采用水墨渲染，用淡墨勾勒出山之轮廓，隐约可见连绵起伏之势。主景画平缓的山坡，坡上的苍松翠梧只是用笔尖画出一些小点点，但山泉和因落差形成的瀑布倒挂于两山之间，却清晰可见。主景的高山，巨峰陡然耸立，占据了画面的二分之一强。山峰采用渴笔擦皴法，山峰壁削，山坡平缓都画得非常形象逼真。山巅之上，花草树木也是采用写意的画法，用笔尖墨点来表现。只有山角下、河岸边的松林方可见其真面目，树干、树叶等，一一画出。幽寂的山谷间，有亭台楼阁，有的画其全貌，有的只画楼之一角。山脚坳中有平房数间，掩映在松树林中。从左至右，平房所处的山石之间，有三座木桥相连。清江右岸江心岛上，也有平房数间，由坡岸到江心岛，由两座木桥相连。可谓小桥流水人家，一派世外桃源的平和景象。江中心一叶扁舟，顺流而下。船上四人，或高谈阔论，或尽情欣赏清江两岸的大好风光。这些舟桥，既以其小巧与大山相映成趣；又起到了将画面各处景物连贯为一个有机整体的作用，在构图上很见匠心。",[24,64,225,94,99,95,32,7,96,31,33,98,100,101,119,256,1109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9786e996b3ba3ec502dce1a7d92ae95.jpg",[],{"id":9472,"slug":9473,"title":9474,"dynasty":59,"author":9475,"museum":135,"description":9476,"tags":9477,"thumbUrl":9482,"material":229,"size":637,"collection":142,"collections":9483,"showCount":9462,"zanCount":11,"manualWeight":54,"mainColor":55},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。",[24,117,25,95,94,99,170,7,9478,1711,169,9479,9480,9481],"古寺","悠远","潇湘八景","烟寺晚钟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3166e7284dc5ff42ff0284cdff74ab71.jpg",[],{"id":9485,"slug":9486,"title":888,"dynasty":344,"author":2489,"museum":135,"description":9487,"tags":9488,"thumbUrl":9489,"material":142,"size":142,"collection":105,"collections":9490,"showCount":9462,"zanCount":54,"manualWeight":54,"mainColor":109},236915,"shan-shui-zhou-kun-can-236915","髡 残（1612-1692），清画家。本姓刘，出家为僧后名髡残，字介丘，号石溪、白秃、石道人、石溪道人，残道者、电住道人。湖广武陵（今湖南常德）人。与石涛合称“二石”，又与八大山人，弘仁，石涛合称为“清初四画僧”。好游名山大川，后寓南京牛首山幽栖寺，与程正揆交往密切。擅画山水，师法王蒙，喜用干笔皴擦，淡墨渲染，间以淡赭作底，布置繁复，苍浑茂密，意境幽深。善书法，能诗。存世作品有《层岩叠壑图》《卧游图》《苍翠凌天图》《清髠残江上垂钓图》等。\n髡 残,善画山水，亦工人物、花卉。山水画主要继承元四家传统，尤其得力于王蒙、黄公望。构图繁复重叠，境界幽深壮阔，笔墨沉酣苍劲，以及山石的披麻皴、解索皴等表现技法，多从王蒙变化而来；而荒率苍浑的山石结构，清淡沉着的浅绛设色，又近黄公望之法。他还远宗五代董源、巨然，近习明代董其昌、文徵明等，兼收并蓄，博采众长。在学习传统基础上，重视师法自然，自谓“论画精髓者，必多览书史。登山寡源，方能造意”。一生中大部分时间都在山水中度过，经常驻足于名山大川，流连往返。他“僻性耽丘壑”、“泉石在膏肓”，主观的情感、性灵与客观的景物、意境相感应、交融，使其山水画景真情切，状物与抒情成为一体。所作山水，在平淡中求奇险，重山复水，开合有序，繁密而不迫塞，结构严密，稳妥又富于变化，创造出一种奇辟幽深，引人入胜之境，生动地传达出江南山川空口茂密、浑厚华滋的情调。他喜用渴笔、秃毫，苍劲凝重，干而不枯，并以浓淡墨色渲染，使得笔墨交融，形成郁茂苍浑、酣畅淋漓的情趣，使画面产生雄浑壮阔、纵横蓬勃的气势。存世代表作有《报恩寺图》，绘南京聚宝门外报恩寺，通过概括提炼，表现了金陵名胜的磅礴、奇异气象。《云洞流泉图》、《层岩叠壑图》和《雨洗山根图》（均藏故宫博物院），以繁密的布局、苍劲的用笔、郁茂的景致、幽深的境界，显现出石溪鲜明的艺术特色。",[24,94,99,225,100,119,95,31,98,33,351,350,348,169,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfe511ee2e75e086c05f0dfcddd70af4.jpg",[105,83,625],{"id":9492,"slug":9493,"title":9494,"dynasty":344,"author":6988,"museum":61,"description":9495,"tags":9496,"thumbUrl":9498,"material":188,"size":9499,"collection":105,"collections":9500,"showCount":9462,"zanCount":11,"manualWeight":54,"mainColor":55},236112,"qiu-lin-ye-zhang-tu-zhou-zhang-yu-sen-236112","秋林曳杖图轴","该图构图险中求隐，用笔多变灵活，细皴密点，石作卷云，水作横波，松枝虬曲披靡，既得茂蔚之姿，又获空灵之气，设色优美，不落俗套。\n张雨森，生卒年不详，初名雨，字作霖，一字紫琅，号苍野，安徽当涂人，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。乾隆时曾供奉内廷。",[24,117,225,95,27,99,32,7,98,867,9497,97,168],"松枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff7483aa2c190af398b7e81ccbdcca24.jpg","纵157厘米，横100厘米",[105,51],{"id":9502,"slug":9503,"title":5439,"dynasty":344,"author":2501,"museum":135,"description":9504,"tags":9505,"thumbUrl":9506,"material":142,"size":142,"collection":105,"collections":9507,"showCount":9462,"zanCount":54,"manualWeight":54,"mainColor":109},235638,"shan-shui-tu-ce-wu-li-235638","此作用笔苍秀，干笔皴擦间墨色清润澹远。近岸枯木虬曲，石径隐于荒草间，寒林错落自具苍劲姿态。水畔茅亭孑立，空无一人，愈发衬出周遭岑寂。远景汀渚层叠，烟波留白晕出水天浩渺，将江南水滨冬日的荒寒淡远尽数铺陈。\n\n画面萧疏冷寂，题句呼应着幽栖独处的意趣，以简淡笔墨写尽林泉幽致，尽显文人画的雅致襟怀，把避俗幽居的澹泊心境融于山水间，空濛冷逸，意境萧散清远。",[24,94,95,332,99,97,140,7,199,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd513fedc147c373822b59addc09428d0.jpg",[105],{"id":9509,"slug":9510,"title":9511,"dynasty":150,"author":710,"museum":61,"description":9512,"tags":9513,"thumbUrl":9514,"material":258,"size":992,"collection":142,"collections":9515,"showCount":9462,"zanCount":54,"manualWeight":54,"mainColor":55},233787,"ge-zhi-chuan-yi-ju-tu-zhou-wang-meng-233787","葛稚川移居图轴","元代道教盛行，表现道教题材的绘画作品为数众多，此图描绘的是晋代著名道士葛洪携家移居罗浮山修道的故事，截取了葛洪在移居路上的一段情景。画面以山水为主体，重山复岭，丹柯碧树，飞瀑溪潭，茅亭草舍，一派深秋山林佳境。全画构图繁复，但层次井然，飞瀑、山径引导观者的视线层层深入，使画面气脉贯通，虽满而不迫塞。图中山石纯用水墨，皴擦点染兼参，干湿浓淡互用，勾画缜密，而树木、人物、屋宇则施以赭石、藤黄、花青，设色沉稳浑厚，极富古雅的韵致。整个画面谨严、深秀，创造出一幅理想的隐居环境。王蒙与葛洪虽然年代相隔久远且身份迥异，但在许多方面却有着相同之处：二人皆出自名门，都欲入世作官，却均遭世弃，最终都选择了避世隐居。此图是反映王蒙避世隐居思想的最具代表性的作品。",[24,64,225,27,118,95,99,30,66,98,7,33,821],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faff523932734437a78bb03a9d5015869.jpg",[],{"id":9517,"slug":9518,"title":9519,"dynasty":344,"author":808,"museum":135,"description":9520,"tags":9521,"thumbUrl":9523,"material":142,"size":142,"collection":142,"collections":9524,"showCount":9462,"zanCount":11,"manualWeight":54,"mainColor":109},228980,"shan-shui-hua-hui-tu-ce-shi-tao-228980","山水花卉图册","在石涛的山水花卉图册共有八幅，多为水墨设色。\n在此选二幅，其一《豆角》，笔意恣肆，浓墨点干写藤，豆角略敷彩青，繁简细拙，得自天成。\n于画幅中自题：“紫花白花狼藉尽，眉毛碧翠眼中青。\n炎炎日晒草先腐，遮过流萤几点星。\n”属款“清湘枝下人济”。\n: : : 作者: 流派: 原作尺寸:51．92．4cm (1642―约1718)：清初书画家、画学理论家。\n僧人。\n俗姓朱，名若极，广西全州人。\n法名原济，一作元济(后人传为“道济”，道乃尊称，非名字，实误)，小字阿长，字石涛，号大涤子、清湘陈人、清湘遗人，晚号瞎尊者、零丁老人等， 自称苦瓜和尚。\n明宗室靖江王赞仪之十世孙。\n与梅清、梅庚、戴本孝等交往，相互影响，合称“黄山派”。\n擅画花果兰竹，兼工人物，尤擅山水，画名极盛。\n与弘仁、髡残、朱耷合称“清初四僧”。\n对后来扬州画派与近代画风影响极大。\n传世作品有《春江垂钓图》、《细雨虬松图》、《 》、《黄山八胜图》、《采菊图》、《秋山图》、《双清阁图》、《山水清音图》、《竹石图》、《荷花图》、《李白诗意图》。\n著有《苦瓜和尚画语录》，阐述了他对山水画的认识，提出“一画”说，主张“借古以开今”，“我用我法”，和“搜尽奇峰打草稿”等，在中国画史画论上具有十分重要的影响与意义。\n其二《芙蓉》，写芙蓉花临波照影之姿。\n以淡墨疏笔横写水波，浅青纵点，形成水波粼粼之态。\n粗笔大写花叶，芙蓉却以细笔勾出筋脉，娇艳柔美，墨彩相得益彰。\n画幅左下角自题：“秋水江楼弥洁，芙蓉曲岸生文。\n小立坡头如画，夕阳影落缤纷。\n”属款“膏肓子济”。",[117,24,64,332,94,99,100,119,95,32,7,96,171,33,9522],"题字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37d4a84d90ea1a3c6dfbcb2ae487102f.jpg",[],{"id":9526,"slug":9527,"title":9528,"dynasty":18,"author":9529,"museum":135,"description":9530,"tags":9531,"thumbUrl":9532,"material":142,"size":142,"collection":142,"collections":9533,"showCount":9462,"zanCount":54,"manualWeight":54,"mainColor":109},228747,"xi-shan-wu-jin-tu-quan-juan-xu-ben-228747","溪山无尽图全卷","徐贲","此卷以水墨晕染秋山胜境，峰峦逶迤层叠，林木疏密错落，江湾汀渚间渔舍错落、野航泛波，平远、深远之境交织铺展，晕出烟岚氤氲的空濛秋意。笔墨承袭元人雅致，披麻皴写就山石肌理，淡墨轻扫便生林泉幽寂之态，清疏秀润间尽显林下高致。\n\n卷后题跋错落排布，墨色浓淡相映，书画合璧，将山水丘壑与文人幽怀相融。展卷慢观，如卧游烟江叠嶂，静览林泉秋韵，尘俗之思尽散于淡墨青山之间。",[23,24,64,25,94,95,99,100,101,240,901,33,32,7,97,122,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e31a107a08059861aa4a70155a08584.jpg",[],{"id":9535,"slug":9536,"title":9537,"dynasty":18,"author":19,"museum":135,"description":9538,"tags":9539,"thumbUrl":9540,"material":142,"size":142,"collection":142,"collections":9541,"showCount":9462,"zanCount":54,"manualWeight":54,"mainColor":109},228452,"xun-yang-song-bie-tu-quan-juan-chou-ying-228452","浔阳送别图全卷","《唐寅集》是21年 出版的图书，作者是唐寅。\n本书主要收录了明代著名文人、书画家唐寅的精选优秀作品。\n本书收入我社“中国古典文学丛书”。\n唐寅（147-152），字伯虎，一字子畏，号六如居士，吴县（今江苏苏州）人，为明代著名文人、书画家。\n在诗文方面与祝允明、文徵明、徐祯卿并称“吴中四才子”，在绘画方面与沈周、文徵明、仇英并称“吴门四大家”。\n本书汇辑传世《唐伯虎集》七种刻本全部作品为前六卷，以六如居士制义及画谱为附集四卷，还从抄本、墨迹、书画文献中补辑得诗文词曲六卷，并附录原集序跋、史传铭赞、轶事、诗文评论、诗文赠答、年表等六卷资料。\n辑校者周道振先生（1916-27）是著名的碑帖鉴藏家，本书由他和夫人张月尊女士共同署名，是目前所能见到的最详尽的唐伯虎集。\n前言 卷第一赋乐府五言古诗七言古诗 娇女赋 金粉福地赋 惜梅赋 短歌行 相逢行 出塞二首 紫骝马 聪马驱 侠客 陇头 陇头水 咏春江花月夜 春江花月夜二首 白发 伏承履吉王君以长句见赠作此以答 闻蛩 夜中思亲 伤内 赠文学朱君别号筒庵诗 咏怀诗二首 失题 戏题 咏梅次杨廉夫韵 江南春次倪元镇韵 姑苏八咏 登法华寺山顶 三高祠歌 桃花庵歌 花下酌酒歌 把酒对月歌 一年歌 一世歌 默坐自省歌 醉时歌 解惑歌 世情歌 怅怅词 百忍歌 嘅歌行 进酒歌 闲中歌 妒花歌 七十词 江南四季歌 七夕歌 渔樵问答歌 焖波钓叟歌 咏渔家乐 怡古歌 席上答王履吉 世寿堂诗 题五王夜燕图 题浔阳送别图 七夕赋赠织女 招仙曲二首 卷第二五言律诗五言排律七言律诗 游焦山 听弹琴瑟 送王履约会试 送行 赠寿 桃花庵与祝允明黄云沈周同赋五首 偶成 题张梦晋画 题溪山迭翠卷 题画 马 贺松郡伯寿诞 登昊王郊台 仲夏三十日陪弘农杨礼部丹阳都隐 君虎丘泛舟 沈征德饮予于报恩寺之霞骛亭酒 酣赋赠 正德己卯承沈征德顾翰学置酌禅寺见招猥鄙栖酒狼藉作此奉谢 春日城西 阊门即事 雨中小集即事 桃花庵与希哲诸子同赋三首 桃花坞祓楔 社中诸友携酒园中送春 姑苏杂咏四首 齐云岩纵目 与朱彦明诸子同游保叔寺 松陵晚泊 焦山 游金山 同诸公登金山 庐山 严滩 观鳘山四首 谒故福建愈宪永锡陈公祠 赠南野 领解后谢主司 送李尹 长洲高明府过访山庄失于迎迓作此奉谢 别刘伯耕 顾君满考张西溪索诗饯之故为赋此 赠徐昌国 寄郭云帆 检斋 上宁王 寿王少傅 奉寿海航俞先生从德卿解元之请也 寿严民望母八十 五十诗 花酒 寄妓 戏题机山 题碧藻轩 题沈石田先生后集 和沈石田落花诗三十首 岁朝 元宵 花月诗十首 江南送春 霜中望月怅然兴怀 和雪中书怀 四十自寿 四十自寿 五十自寿 漫兴十首 又漫兴十首 感怀 睡起 散步 独宿 寻花 夜读 叹世 避事 自笑 梦 附钱仁夫次唐子畏韵自道鄙怀 新春作 早起偶成 蒲剑 山家见菊 闽江声 除夜坐峡蝶斋中 正旦大明殿早朝 嘉靖改元元旦作 叹世六首 警世八首 哭妓徐素 白燕 西畴图为王侍御作 题友鹤图为天兴 题辋川 题画 …… 卷第三五言绝句六言绝句七言绝句 卷第四词曲 卷第五书尺牍序记 卷第六碑铭墓志铭墓碣墓表祭文招辞疏文启论表赞联句墨铭 附集一制义 附集二画谱卷之 附集三画谱卷之二 附集四画谱卷之三 补辑卷第一赋四言古诗五言古诗七言古诗五言排律七言排律 补辑卷第二五言律诗 补辑卷第三五言绝句 七言绝句 补辑卷一第四七言绝句联句题画联句 补辑卷第五词曲 补辑卷第六序说记手柬祭文跋自跋赞墓志铭",[23,118,27,26,25,64,101,95,30,96,7,97,33,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8a159f53daa2ea54b03086c051be521.jpg",[],{"id":9543,"slug":9544,"title":9545,"dynasty":150,"author":2084,"museum":135,"description":9546,"tags":9547,"thumbUrl":9548,"material":142,"size":142,"collection":142,"collections":9549,"showCount":9462,"zanCount":11,"manualWeight":54,"mainColor":55},228041,"chun-shan-fang-you-tu-sheng-mao-228041","春山访友图","此作用浅绛轻敷春山，晨雾如纱晕开层叠远峰，虚实错落间晕染出江南春日的空濛柔婉。湖面烟波浩渺，扁舟横波，舟上三人闲坐，将江湖散逸之趣藏于涟漪间。近岸山居隐于茂林之下，屋中似有知己晤谈，野意悠然。\n笔墨清润秀雅，皴染相融，既带着院体的精工细致，又藏着元人萧散的隐逸襟怀。水汽漫过浅滩淡渚，拉伸了山水的空间层次，以淡墨轻岚铺展出咫尺千里的悠远，将文人寄情林泉的雅怀，尽数藏进眼前的丘壑烟波之中。",[24,94,27,95,99,96,30,170,33,97,31,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfc6bbce454ff2f4c5167e98576e758d.jpg",[],{"id":9551,"slug":9552,"title":9553,"dynasty":59,"author":292,"museum":135,"description":9554,"tags":9555,"thumbUrl":9556,"material":142,"size":142,"collection":142,"collections":9557,"showCount":9462,"zanCount":54,"manualWeight":54,"mainColor":55},227931,"chang-jiang-wan-li-tu-juan-quan-juan-yi-ming-227931","长江万里图卷全卷","以咫尺长卷铺展万里江山，层叠峰岫或雄峙凌天，或温婉藏于烟岚，虚实相生如淡墨梦境。江波澹澹，与远山交织晕染，将长江的逶迤舒展尽致。墨色浓淡铺就山川悠远层次，留白烘托云水之态，带着沉静雅致的宋画风骨。\n整卷如乘舟浮江，揽尽楚天清旷，将山河雄浑与灵秀揉于一处，藏着描摹天地的匠心，与对山河的眷恋深情，一眼便似随江流转，阅尽千里盛景。",[23,24,64,25,94,95,99,7,96,170,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5d3564b5c39c17781a9425ca7fb314e.jpg",[],{"id":9559,"slug":9560,"title":9561,"dynasty":59,"author":5224,"museum":135,"description":9562,"tags":9563,"thumbUrl":9565,"material":142,"size":142,"collection":142,"collections":9566,"showCount":9462,"zanCount":11,"manualWeight":54,"mainColor":55},227695,"chun-shan-tu-juan-zhao-bo-su-227695","春山图卷","赵伯骕（1124—1182），字希远，应天府（今河南商丘）人，南宋著名画家，宋朝宗室，著名画家赵伯驹之弟。兄弟皆妙于金碧山水。除山水、人物外，擅长花鸟，界画亦精。传世作品有《五金阙图》《番骑猎归图》等。",[23,117,24,64,25,118,27,95,26,99,170,33,504,32,7,42,76,169,9564],"岛屿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a9625dd9e8f64ae801ba0fad2190c8c.jpg",[],{"id":9568,"slug":9569,"title":9570,"dynasty":344,"author":292,"museum":135,"description":9571,"tags":9572,"thumbUrl":9573,"material":142,"size":142,"collection":142,"collections":9574,"showCount":9462,"zanCount":54,"manualWeight":54,"mainColor":55},223677,"qing-lv-shan-shui-tu-juan-yi-ming-223677","青绿山水图卷","此作以平远之境铺展江南山色，石青石绿晕染山峦，古雅沉静的色调里，丘壑蜿蜒秀润，烟波轻笼远浦。村舍隐于松篁之间，板桥渡头有人彳亍，渔舟泛于云水之侧，处处晕染出山居幽澹的闲趣。\n画间题诗与山水呼应，笔墨丹青相融，将林泉隐逸的高致铺陈开来，既有唐宋青绿的古雅遗韵，又兼具清代文人山水的萧散简淡，观之如踏入世外云乡，坐看云野鹤、碧山清溪，沉浸式体味幽居雅趣。",[23,24,64,25,118,27,26,95,170,33,76,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b03cb7a92eca86e797d00727336bf91.jpg",[],{"id":9576,"slug":9577,"title":9578,"dynasty":344,"author":1474,"museum":61,"description":9579,"tags":9580,"thumbUrl":9581,"material":946,"size":9582,"collection":105,"collections":9583,"showCount":9462,"zanCount":54,"manualWeight":54,"mainColor":55},223289,"shan-yu-yu-lai-tu-zhou-yuan-yao-223289","山雨欲来图轴","本幅自题：“山雨欲来风满楼，袁耀拟意。”钤“袁耀之印”、“昭道氏”印2方。\n此幅取唐代诗人许浑《咸阳城东楼》诗意，原诗为“一上高城万里愁，蒹葭杨柳似汀洲。溪云初起日沉阁，山雨欲来风满楼。鸟下绿芜秦苑夕，蝉鸣黄叶汉宫秋。行人莫问当年事，故国东来渭水流。”画面描绘暴雨来临前乌云狂风之下的建筑。黑沉沉的浓云正滚滚而来，弓曲的树木、低伏的庄稼、飘摇的小舟、逆风而行的农夫以及状貌扭曲、高耸危人的山岩都为画面增添了戏剧性的紧张情节和内在张力。风本无形，但画家创造性地用富于动感的笔调将闲雅剔透的静态楼阁穿插在充满动感的山水中，构成画面的诸多元素对比呼应而又谐调冲和，在动静之间达到平衡。",[23,24,225,28,95,31,98,33,169,96,27,99,30,306,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5e7ab7029b365df7bfd3780da6b16bf.jpg","纵195.1厘米，横116.8厘米",[105,51],{"id":9585,"slug":9586,"title":9587,"dynasty":344,"author":2710,"museum":553,"description":9588,"tags":9589,"thumbUrl":9590,"material":142,"size":142,"collection":105,"collections":9591,"showCount":9462,"zanCount":54,"manualWeight":54,"mainColor":109},223244,"hua-hui-shan-shui-12-hua-yan-223244","花卉山水-12","该合册傅山父子传世画作共计16开，每副均为精品，构图奇特，迥异他人。其中傅山画5开，傅眉画11开",[24,64,27,94,95,1068,788,934,426,122,7,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc18d2a868a7fff05f5a7f52f85957ea0.jpg",[105,51],{"id":9593,"slug":9594,"title":9595,"dynasty":344,"author":3221,"museum":61,"description":9596,"tags":9597,"thumbUrl":9600,"material":9601,"size":9602,"collection":368,"collections":9603,"showCount":9462,"zanCount":54,"manualWeight":54,"mainColor":55},223167,"feng-hou-tu-shen-quan-223167","蜂猴图","该作品描述了一只猴子在树上捅马蜂窝，两只猴子在树下注视，情节紧张而有趣的画面。\n这种具有吉祥寓意和祝福的绘画是沈铨特别喜爱的题材。 猴子的画法精工，形态生动，自识中提到是仿宋代画猿猴大师易元吉的笔法。背景山石画得较放，点苔先用墨点再用石绿，树叶多用夹叶法，再涂以白色或浅绛色。整幅画工笔与写意结合，色彩与水墨搭配，具有沈铨绘画的独特风格\n沈铨的绘画主要继承黄筌画派精工富丽的画法，并把多种绘画技法相融合，形成了自己的绘画面貌。他的花鸟走兽画对后世影响显著，尤其对日本绘画有着深远的影响。此幅绘画作于1742年，沈铨六十一岁，是其画风成熟时的杰作。",[23,24,64,225,26,27,95,9598,3834,9599,168,7,171,33,1177,3812],"猴","蜂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff480761bd1622c88e4092910b66e54fa.jpg","绢本，立轴，设色","184cm 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轴、《寒塘渔艇图》轴 、《寒林浮霭图》轴 [3] 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，明末清初画家。字昭法，号俟斋、秦余山人，吴县（今江苏苏州）人，殉节官员徐汧之子。崇祯十五年举人。入清，遵父遗命不仕异族，隐居于天平山麓“涧上草堂”，自称孤哀子。书擅行草，长于山水画，取法董源、巨然、荆浩，关仝，亦宗倪瓒、黄公望，与杨无咎、朱用纯并称“吴中三高士”。终身不入城市，卖画自食，例不书款，与宣城沈寿民、嘉兴巢鸣盛称“海内三遗民”。",[24,64,225,94,99,29,95,32,7,96,97,255,76,98,33,35,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22cf86f12a79e42e072f9f756f4288f6.jpg",[105],{"id":9930,"slug":9931,"title":9932,"dynasty":344,"author":2309,"museum":135,"description":9933,"tags":9934,"thumbUrl":9935,"material":142,"size":9936,"collection":142,"collections":9937,"showCount":128,"zanCount":54,"manualWeight":54,"mainColor":109},238030,"hong-ren-shan-shui-tu-ce-hong-ren-238030","弘仁山水图册","弘 仁（1610-1664），清画家。俗姓江，名韬，字六奇，又名舫，字鸥盟。明亡后于福建武夷山出家为僧，字渐江，号梅花古衲。安徽歙县人。为清初四画僧之一。擅画山水，初学宋人，晚法萧云从、倪瓒，笔法清刚简逸，意趣高洁俊雅。尤好绘黄山松石，为“新安画派”创始人，和查士标、孙逸、汪立瑞等四人并称“新安四大家”。兼写梅竹，工诗。存世作品有《枯槎短荻图》《西岩松雪图》《黄海松石图》等。",[117,24,64,332,94,99,95,199,7,255,97,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a3f0273ba838ad249818da5b0f02d07.jpg","50×36",[],{"id":9939,"slug":9940,"title":888,"dynasty":344,"author":2407,"museum":135,"description":9941,"tags":9942,"thumbUrl":9943,"material":142,"size":142,"collection":105,"collections":9944,"showCount":128,"zanCount":54,"manualWeight":54,"mainColor":109},237906,"shan-shui-zhou-zhu-da-237906","八大山人的花鸟画深受林良、陈淳、徐谓等大家的影响，他的作品特别强调缘物寄情，因而个性极为鲜明。这种种孤僻、冷漠、悲愤、反常、怪异的特征，当然是他奇特艺术风格的具体化。而这种表象下折射出来的，正是画家一种有别于常人的人格心理。",[24,94,225,99,95,33,98,140,199,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaeb96d04f2547d63809c206cc57897c.jpg",[105],{"id":9946,"slug":9947,"title":9948,"dynasty":344,"author":2071,"museum":135,"description":4656,"tags":9949,"thumbUrl":9950,"material":142,"size":142,"collection":368,"collections":9951,"showCount":128,"zanCount":54,"manualWeight":54,"mainColor":109},237888,"wang-hui-ya-zhen-tu-heng-fang-ye-wang-hui-237888","王翚鸦阵图横方页",[24,933,3658,99,94,122,255,98,7,33,199,119,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f77cb5f5efef0d0dd541b2a6f81ea3a.jpg",[368,83],{"id":9953,"slug":9954,"title":9955,"dynasty":344,"author":808,"museum":61,"description":9956,"tags":9957,"thumbUrl":9958,"material":335,"size":142,"collection":105,"collections":9959,"showCount":128,"zanCount":11,"manualWeight":54,"mainColor":55},237409,"yuan-ji-tai-bai-shi-yi-shan-shui-tu-zhou-shi-tao-237409","原济太白诗意山水图轴","清初的画坛上，和尚画家之多，在中国绘画史上是极其罕见的。更为人所熟知的，便是弘仁、髡残、八大山人、石涛这四位活跃于明末清初的僧人画家，他们与清初“四王”分庭抗礼，在画史上合称“四僧”。为了让读者更加了解他们的生平及书画创作风格，文藏特将此作为系列文章形式展现给大家。\n石涛是中国艺术史上一位颇具研究话题的人物，他的身世经历、佛老信仰，交游关系，书画理论、诗文解读、作品辨伪，无不令后世的书画爱好者、鉴藏者和研究者们着迷。然而他的这些话题之所以会引起后世如此巨大的关注度，正是源自他的书画艺术，在历经三百多年的沉淀之后，依旧散发着无穷的魅力，给人以新鲜之感。这种魅力便是其每幅作品中无不体现着的诗境、书境和画境的完美结合。\n石涛原名朱若极，广西桂林人，是明宗室后裔，明靖江王朱亨嘉的长子，他晚年常自署款「阿长」、「极」，并有「赞之十世孙阿长」等印，以表明自己的身世。石涛出生仅两年明王朝就灭亡了，随后，他的父亲朱亨嘉又在南明朝廷内部的权力斗争中失败被杀。此时，年仅四岁的石涛，不得不由家中仆臣护送逃至全州躲藏，后在当地湘山寺出家为僧，法名原济，字石涛；他的仆臣也一同在此出家，法名原亮，字喝涛。从此二人以佛门师兄弟相称。在明末清初政权更迭的时候，很多不愿降清的明室宗亲和文人旧臣除了以死殉国，就只能选择隐藏身份出家为僧这一条路了，而石涛更要躲避来自清王朝和南明政权的双重追杀。\n隐居期间，石涛读书临帖，研习书画，同时跟随师兄喝涛旅居武昌，游历两湖地区，后又从武昌顺江而下，经庐山、南京、松江至杭州，再由越中到宣城。石涛居宣城十四年，在此结识了施闰章、吴肃公、梅清、梅庚等当地遗民诗人画家，经常与他们结伴游览黄山、敬亭山。他们一起不仅以诗文相唱和，绘画创作亦相互影响，于笔墨和构图上探索求新。这期间，石涛与喝涛还曾同拜旅庵本月为师，正式确立了在禅林中的地位。然而，佛门身份和朋友交游，并没有抹去石涛在自己身份上的孤寂感与逃避感，他在作品中，常借山水、人物等题材来表达其孤、隐之意。他这一时期所创作的《山水人物图》卷、《山水图》册、《陶诗采菊图》轴等书画，都有这种心境的流露。\n石涛在第二次接驾康熙时得识博尔都，则让他看到希望。作为清室皇族，博尔都是一位颇具慧眼的书画鉴赏家，石涛从他的赏识中找到了艺术认同感，故接受了博尔都北游的邀请。在北京期间，石涛为博尔都创作了大量书画，博尔都也利用各种机会向京城名流推介石涛的作品。但这些努力并没有让石涛被主流画坛所接受，遂于一六九二年秋离京南返，再次回归他徜徉于江南山水间的闲逸生活。然而内心的孤独与苦闷依旧。石涛在五十八岁时画《太白诗意山水图》轴自题云：「李白将进酒。此诗何可画？虽似任达放浪，然太白素抱用世之才而不遇合，亦自慰解之词耳。吾亦借此诗，写此画，消吾之岁月云。」这些都是石涛晚年回到扬州后，孤独失落心境的真实写照。",[24,64,225,3016,94,99,95,76,33,390,98,7,30,100,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0671f77e48690f57096fdd8ba83ed84c.jpg",[105,625],{"id":9961,"slug":9962,"title":9963,"dynasty":344,"author":9964,"museum":135,"description":9965,"tags":9966,"thumbUrl":9967,"material":229,"size":637,"collection":49,"collections":9968,"showCount":128,"zanCount":54,"manualWeight":54,"mainColor":109},234937,"yue-man-qing-you-ce-chen-mei-234937","月漫清游册","陈枚","《月曼清游图》册描绘的是宫廷嫔妃们一年12个月的深宫生活：正月“寒夜探梅”、二月“杨柳荡千”、三月“闲亭对弈”、四月“庭院观花”、五月“水阁梳妆”、六月“碧池采莲”、七月“桐荫乞巧”、八月“琼台玩月”、九月“重阳赏菊”、十月“文窗刺绣”、十一月“围炉博古”、十二月“踏雪寻诗”。通过这一幅幅生动的画面体现了宫廷生活与民间生活的密切关联。嫔妃们的活动内容，在民间生活中均习以为常，只不过由于宫廷的特殊地位，而令这些活动从内容到形式都具有更加富贵、繁琐及典制化的特点。\n作者在人物创作的审美取向上有别于唐代张萱、周昉笔下体态丰腴的嫔妃形象，而以明代唐寅、仇英笔下的仕女画为审美标准，追求秀润飘逸的情致。画家以工细流畅的线条和亮丽鲜活的色彩将嫔妃们描绘成身材修长、体态轻盈、“倚风娇无力”之貌。她们三五成群地行进在以界画表现的亭台楼阁内或是细笔勾染皴点的花石下。富贵闲逸的宫苑生活令她们的物质生活十分充足，也使她们的精神世界极度贫乏。在技法上，此图所绘人物造型生动准确，笔致工细严谨，源于宋代院体画风。图中的楼台房室建筑则采用西洋焦点透视法绘成，根据图中透视线斜度的变化，可以准确地推求出灭点的具体位置，从而加强了平面画幅的立体、纵深效果，在有限的画面上扩展出无限的空间。此图册于乾隆三年（1738年）绘成后深得乾隆皇帝的赞赏。\n乾隆帝于六年谕令皇宫“造办处”的优秀匠人，如擅镶嵌技艺的常存，擅牙雕工艺的陈祖章、陈观泉父子及顾彭年、萧汉振等，以陈枚的这本图册为画稿，用象牙、玉石等进行雕刻。匠人们精雕细琢，密切结合牙雕和镶嵌的技艺特点，令画面层次分明，富有立体感。这件雕有103人的牙雕精品被称作“百美图”。乾隆皇帝在为它题写诗文时将其正式定名为《月曼清游》。",[24,64,332,27,26,30,31,7,1692,33,98,39,9788,38,2921],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b64d9f8816d7446b826324b78143f92.jpg",[49,51],{"id":9970,"slug":9971,"title":4834,"dynasty":18,"author":4835,"museum":61,"description":9972,"tags":9973,"thumbUrl":9974,"material":946,"size":9975,"collection":142,"collections":9976,"showCount":128,"zanCount":54,"manualWeight":54,"mainColor":109},233406,"chun-shan-you-qi-tu-zhou-zhou-chen-233406","此图以传统的春山行旅为题材，描绘高山石崖险峻陡峭，楼阁房舍掩映其间，错落有致。近景山溪岸边春花几树，山溪湍流，小桥流水，主仆一行三人正在过桥。山上苍松浓郁，遒劲多姿。舍后绿树成荫，一派春机昂然的景象。画家在全景式的构图中突出前景，着意表现春山、游骑、桃花、虬松，以此点明题意。\n作品构图繁复而不失明旷，稳健周密，雄中寓秀，密中呈疏；设色清妍秀丽，笔法劲健明秀；人物用细线淡色，笔意流畅，是周臣代表作品之一。本幅山石方折峻嶒，勾皴细密硬朗，松树略为倒挂多杈，斧劈皴挺括，造景雄奇，其艺术风格主要继承了南宋的“院体”画传统，也融合了北宋李成、郭熙的画法。",[24,64,225,94,99,95,32,7,66,30,33,98,76,390,72],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49fc7872baa9dc7316ddebbdb9b0a10e.jpg","纵185.1厘米， 横64厘米",[],{"id":9978,"slug":9979,"title":9980,"dynasty":344,"author":9981,"museum":61,"description":9982,"tags":9983,"thumbUrl":9984,"material":946,"size":9985,"collection":142,"collections":9986,"showCount":128,"zanCount":54,"manualWeight":54,"mainColor":109},233114,"bi-shu-shan-zhuang-tu-zhou-leng-mei-233114","避暑山庄图轴","冷枚","作者以写实的手法描绘了避暑山庄后苑部分及其四周的崇山峻岭。构图为鸟瞰式，自景区上方向下纵向取景，景致具体而微。设色以青绿着色和浅绛渲染相结合，冷暖色调和谐呼应，成功地营造出山庄静寂清幽的氛围。笔法灵活多变，山石树木或以干笔皴擦，或青绿烘染。建筑物的描绘，作者在传统的工笔界画基础上，又巧妙地吸收了欧洲的透视法，并将二者融合在一起，从而更科学、客观地表现出建筑物的物理结构，同时也加强了画面的纵深感。此图同时是一幅反映康熙时期避暑山庄建筑的图样，对于我们了解避暑山庄的建筑沿革有着重要的图像价值。",[117,24,64,225,27,26,95,31,7,33,69,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d890f29b07ff6e1df7488c12dacbcf7.jpg","纵254.8厘米，横172.5厘米",[],{"id":9988,"slug":9989,"title":4870,"dynasty":344,"author":2489,"museum":135,"description":9990,"tags":9991,"thumbUrl":9992,"material":335,"size":142,"collection":142,"collections":9993,"showCount":128,"zanCount":54,"manualWeight":54,"mainColor":109},231940,"qiu-shan-tu-kun-can-231940","髡残，生于明万历四十年(公元1612年)，卒年不详。俗姓刘，字介邱，号石谿，又号白秃、电住道人、天壤残道者，湖南武陵(今常德县)人。四十三岁后长居南京。据说，他青年时曾参加南明何腾蛟等人的军队，投入了抗清斗争。抗清失败 后，隐居桃源深处，于四十岁公元1651年 出家做了和尚。其后，便到各地云游，与高僧们参究禅学。四十三岁(公元1654年)到了南京，住在城南大报恩寺，有时住栖霞寺和天龙古院，晚年定居牛首祖堂山幽栖寺十余年，一直到老终。\n顺治十三年(公元1656年)髡残和清代学术大师顾炎武结为朋友，一见如故，情投意合，常在一起饮酒赋诗，切磋学问。他最知己的朋友是程正揆，二人既是同乡，又是佛教徒，都擅长诗、书、画。顺治十四年程辞官后回到南京，常去栖霞、牛首，髡残老年多病，去城里看病，也是宿在程氏家。他们共同商讨艺术，鉴赏书画，一起作画。当时“金陵八家”中之龚贤对他们二人的艺术推崇至极，龚在给周亮工题程正揆《山水册》里说：“金陵画家能品最夥，而神品、逸品亦各有数人，然逸品首推二谿：曰石谿，曰青谿。石谿，残道人也，青谿，程正揆侍郎也，皆寓公。残道人画粗头乱服，如王孟津清书法家王铎书法，程侍郎画冰肌肉骨，如董华亭明季书画家董其昌书法。百年来论书法则王、董二公应不让，若论画艺，则今日两谿又奚肯多让乎哉。”可见髡残、程正揆在南京画坛的地位，是非常突出的了。",[23,117,24,64,25,94,27,99,95,255,98,7,96,1001,97,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4eabf1eab9024ddbec39703a04a2ae13.jpg",[],{"id":9995,"slug":9996,"title":9997,"dynasty":150,"author":8171,"museum":152,"description":9998,"tags":9999,"thumbUrl":10000,"material":7034,"size":10001,"collection":142,"collections":10002,"showCount":128,"zanCount":718,"manualWeight":54,"mainColor":109},231336,"chun-shan-qing-ji-tu-yuan-dai-ji-jin-zhi-wu-ma-wan-231336","春山清霁图－元代集锦之五","画中高山层层迭迭突起，林木长长矗立，清溪蜿蜒，渔舟摇摇，山村亭阁，曲径相通，滋润的笔墨，体会出大地草木华兹。款题：“春山清霁（楷书）。至正丙午岁（1366年）春正月望日，马文璧画于书声斋。”丙午（1366年）去黄公望《富春山居》之“庚寅”（1350年）题记，只有满15年之距离。全幅结构皴法，大抵出于元黄公《望富山居图》，如以近景主山峰的造形，远山一列丘陵起伏，近者淡远者浓，与皴法运用，勾线涂抹，几与《富春山居》相同；此“春山”也不尽让人想起同样的画《富春山居》。\n黄公望《富春山居》（无用师卷）山峰树石草木，表现出来的是重视笔趣与墨意，从元人的画迹来了解，黄公望《富春山居》成为一种文人画山水的“典范”。也就是以五代北宋董源、巨然为主的风格传承。从赵孟頫为起点，尔后，另一位吴镇也有充满着“披麻皴”风格的人物。那踵步者足为代表，应是这件马琬《春山清霁》。款题所指：“画于书声斋（行书），”为夏士文之斋居，也是云间夏氏知止堂裔孙。夏士文为夏士良文彦兄弟行。杨维祯至正二十年庚子秋曾为作《书声斋记》。元黄公望《富山居图》款题即书于夏氏“知止堂”。夏氏云间“知止堂”。主人为谁？杨维桢又有《知止堂记》，主人是云间老人夏谦齐氏，取《老子》之经有警人者，曰“知止不殆”的典故，堂有匾是赵孟俯所书。其四叶孙颐贞，在兵火之后，重建。马琬为杨维祯学生，张雨、黄公望均与杨维祯友好。马琬生平也是一位亲炙过黄公望的人物。",[24,64,25,94,99,95,98,33,7,96,31,119,100,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb9a84ff4dd4e7bbd78e820d09fd9b8d.jpg","纵27厘米，横102．5厘米",[],{"id":10004,"slug":10005,"title":10006,"dynasty":18,"author":1571,"museum":135,"description":10007,"tags":10008,"thumbUrl":10009,"material":142,"size":142,"collection":142,"collections":10010,"showCount":128,"zanCount":54,"manualWeight":54,"mainColor":109},228916,"mo-xi-shan-xing-lv-tu-zhang-hong-228916","摹溪山行旅图","此作为雪景山水，以淡墨晕染山石，留白铺就厚雪，尽显冬日山峦清寂素净。层叠岩崖间枯木萧疏，偶有青松点翠，破开雪色单调。山涧水色灰蒙，栈道、板桥连贯幽谷，旅人驱驴缓行，山居茅舍错落山坳，细节生动，将羁旅行路意趣，糅进空阔冷逸冬山之中。\n\n用笔精细秀雅，勾勒皴擦兼具宋画雄浑骨架，又带明人笔墨温润雅致，将冬日深山的荒寒宁静与人间烟火暖意相融，复刻古意又自出机杼，尽显溪山行旅的幽远况味。",[23,24,25,94,99,29,95,3445,32,7,33,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe83c124ad11c5e878f782bec67b93f0a.jpg",[],{"id":10012,"slug":10013,"title":10014,"dynasty":18,"author":2519,"museum":10015,"description":10016,"tags":10017,"thumbUrl":10018,"material":273,"size":142,"collection":142,"collections":10019,"showCount":128,"zanCount":54,"manualWeight":54,"mainColor":109},228296,"lao-zi-qi-niu-chen-hong-shou-228296","老子骑牛","1","画面以清简之笔勾勒出超脱意趣，老子清癯古雅，神色淡然恬和，衣褶线条凝练劲挺，带着金石质感，古拙高逸。水牛憨拙沉稳，缓步渡溪，笔墨朴拙间尽显生动意态。布景疏朗，几竿修竹斜逸出尘，淡赭坡岸搭配墨色流云，留白铺就出空寂悠远的道家天地。设色雅致柔和，浅绛基调晕染出古淡空灵的氛围，将清逸超脱的意境尽数铺展，把天人合一的玄妙意趣藏于笔底，尽显古雅奇崛的画风特质，沉静里裹挟着出尘的悠远韵味。",[23,24,27,26,30,67,543,199,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0ce83cdace5474ad255b551c4c99211.jpg",[],{"id":10021,"slug":10022,"title":10023,"dynasty":344,"author":10024,"museum":135,"description":10025,"tags":10026,"thumbUrl":10027,"material":142,"size":142,"collection":142,"collections":10028,"showCount":128,"zanCount":11,"manualWeight":54,"mainColor":262},224578,"qing-ke-si-qun-xian-zhu-shou-zhou-qing-ren-224578","清缂丝群仙祝寿轴","清人","云端玄女乘鹤御风而来，松荫之下众仙执笙捧盏，衣袂翩跹顾盼生姿，满含恭谨喜色，似正静待贺寿吉时。下方仙姝俯身采撷芝草灵卉，奇石虬松环伺左右，流云漫卷天际，将海天仙乡的缥缈灵秀铺展尽致。\n\n此作用通经断纬之技晕染衣纹褶皱的柔婉层次，石色苍古明润，松针纤毫毕现，将群仙赴寿的欢愉雅景织就，既见仙班贺寿的祥瑞吉庆，又尽显工致秀雅的匠艺风华，恍将清虚仙境凝于尺幅之中。",[117,24,64,225,2578,27,30,95,33,6446,3226,3225,1288,98,122,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87520e9eaeef0cd56b73baacd54137b6.jpg",[],{"id":10030,"slug":10031,"title":10032,"dynasty":59,"author":292,"museum":61,"description":10033,"tags":10034,"thumbUrl":10035,"material":469,"size":10036,"collection":81,"collections":10037,"showCount":128,"zanCount":54,"manualWeight":54,"mainColor":55},223532,"shui-ge-feng-liang-tu-yi-ming-223532","水阁风凉图","绘古木掩映下一茅亭临江而建，远处山色空蒙，中为平川水田。宁外巨石错落，泉水奔流，亭内置一方桌，一折衣长者袖手停立桌前，仆人执扇侍立一侧。",[23,24,64,95,27,99,31,241,98,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37929b949c027168c6a1aef447280eae.jpg","22.5x21.1厘米",[81,105,83],{"id":10039,"slug":10040,"title":10041,"dynasty":344,"author":10042,"museum":20,"description":10043,"tags":10044,"thumbUrl":10045,"material":10046,"size":10047,"collection":625,"collections":10048,"showCount":128,"zanCount":54,"manualWeight":54,"mainColor":109},222635,"shan-shui-shu-fa-ce-liu-kai-gao-feng-han-222635","山水书法册六开","高凤翰","高凤翰 （1683—1748）清朝，原名翰，字西园，号南村，别号因地、因时、因病等40多个，晚署南阜左手等，山东胶州人。一说“扬州八怪”之一。自幼能诗画，诗宗陆游，画先从父，后从胶州李世锡、淄州靳秋水、安邱张氏父子等，早年即已成名〔清雍正六年（1728）以前的画，现各地珍藏多幅〕。19岁时，中秀才，后应乡试不第。雍正五年，应“贤良方正”特试，名列第一。赴任前，漫游山东、河南、江西等地，广交名人，并有诗集《击林集》、《湖海集》。金石书画造诣很高，治砚更有独到研究。\n工书、画，善山水，纵逸不拘于法，纯以气胜，兼北宋之雄浑，元人之静逸。花卉亦妙是天趣。老年患风 ，右臂不仁，用左手作画，笔益苍辣，故号尚左生，归云老人，博学精艺，尤豪于诗，早为王士祯所赏识。性嗜砚，所藏至千余，大半手琢，自为铭词。因刻“丁巳残人”“尚左生”二印，官徽州绩溪县令，有政声，康熙五十九年（1720）客安邱张卯居家，张为作《南村草堂图》，西园为作《杞城别墅图》以报之，乾隆十二年（1747）为其孙攀鳞作《寒香图》卷，有《砚史》、《南阜诗抄》。卒年六十六岁。（按高凤翰生卒年，王伯敏《中国绘画史》作（16338-1719），享年八十二岁；秦岭云《杨州八家丛话》作（1863-1749）六十七岁。其说不一，待考。\n雍正十一年官泰州巡盐分司。去职后流寓扬州。工于山水，花卉，山水师法宋人，近赵令穰、郭熙一路，中年以后，到了江南，与扬州画派画家如金农、郑燮、高翔、李方膺、边寿民等相往还，画风相互影响，多作花卉树石，笔法奔放，纵逸不拘成法。亦能画人物，造型准确，神态潇洒秀逸。晚年则趋于奔放纵逸。乾隆二年丁巳右臂病发，坚持用左臂，自号后尚左先、丁巳残人，艰苦力学，书、画为之一变，生拗苍劲，更富奇趣，为时所称。传世画迹有南京博物院藏《层雪炉香图》轴、中央美术学院藏《秋山读书图》轴等。\n工书法，善篆刻，喜收藏，精鉴赏，曾收藏秦汉印章及明清名家制印至万余方，各制有谱录，又收藏砚石至千百方，并制有铭词，手书后大半自行刻凿，著有《砚史》等行世。\n亦被列为扬州八怪之一。有《南阜山人全集》等著作传于世。",[23,24,64,332,94,27,95,101,99,7,170,33,333,76,3997],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d6d5643030c40635094436e09839791.jpg","水墨设色","31.8x24.8cm",[625,105],{"id":10050,"slug":10051,"title":10052,"dynasty":18,"author":19,"museum":489,"description":10053,"tags":10054,"thumbUrl":10056,"material":10057,"size":10058,"collection":142,"collections":10059,"showCount":128,"zanCount":54,"manualWeight":54,"mainColor":55},222212,"yu-di-tu-chou-ying-222212","渔笛图","图上一处波澜不惊的水域，四周群山环抱的幽静之地，有凉厅依山而建，一长者很随意坐于矮桌上，桌上有二本书，神态中若有所思； 远处一位头戴竹笠，吹着笛子悠闲的人坐于船头钓着鱼儿，享受着安然、静谧、自由自在的桃源生活。\n此图为细笔水墨画，近景树丛有四种央叶，和三种不同的点叶法，画面整饬而工细，山石主要以小斧劈皴来表现，用笔尖锐细劲，落笔重而收笔轻，笔致顿挫明显而富有节奏感，是一幅仇英仿制“院体”风格的山水画。仇英的画风，祖述南宋院体的李唐与刘松年，以善偏锋刷掠、勾写精工见长，此作便充分地体现了这一特色。",[23,24,26,27,95,33,76,96,256,7,30,171,2008,99,348,10055],"岸边草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a81d3432e13e0794a6517f755ac0779.jpg","绢布","113x60cm",[],{"id":10061,"slug":10062,"title":10063,"dynasty":2224,"author":10064,"museum":8835,"description":10065,"tags":10066,"thumbUrl":10067,"material":3857,"size":142,"collection":142,"collections":10068,"showCount":128,"zanCount":54,"manualWeight":54,"mainColor":109},220475,"man-mu-qing-shan-xi-zhao-ming-zhou-li-ke-ran-220475","满目青山夕照明（轴）","李可染","此作用巨幅雄山占据画面主体，焦墨勒出山峦筋骨，赭石晕染铺就夕照暖光，将冷硬岩壁晕染出暮色鎏金的温煦。山谷间田埂溪流萦回蜿蜒，深郁林木沉黑如墨，与亮部形成强烈明暗反差，既衬出山岳巍峨厚重的体量感，又暗藏乡野灵动生机。\n以积墨反复皴擦堆叠，让山体兼具苍茫质感与雄浑气势，右上角题笔朴拙苍劲，与画风融为一体，将暮色中山川的沉浑壮美与田园静谧相融，把晚照青山的诗意凝于尺幅之间，尽显沉雄朴厚的山水意趣，藏着对山河暮色的深切眷恋。",[24,64,225,94,27,99,95,1812,1001,7,170,33,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68a6185073b7c5986525e80316eb85c6.jpg",[],{"id":10070,"slug":10071,"title":10072,"dynasty":18,"author":3307,"museum":61,"description":10073,"tags":10074,"thumbUrl":10075,"material":258,"size":10076,"collection":142,"collections":10077,"showCount":128,"zanCount":54,"manualWeight":54,"mainColor":55},220390,"you-song-tu-du-qiong-220390","友松图","此画无款，钤“东原斋”、“杜用嘉”、“一丘一壑”三印。\n后有文伯仁跋，说明为杜琼之作。据张丑《清河书画舫》著录：“东原先生为其姊丈魏友松写号图，当时有题诗，不知何时脱落，尚赖刘完庵长句具存，足称艺林双璧。”又据杜琼文集中有关魏友松的诗文可知，杜琼姊丈魏本成，号友松，魏氏一家都是仕宦文人。",[24,64,25,95,27,26,99,32,7,98,33,390,76,1692,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b1af06046dc35154b5afb75f3032f83.jpg","纵28.8厘米，横92.5厘米",[],{"id":10079,"slug":10080,"title":10081,"dynasty":344,"author":2501,"museum":61,"description":10082,"tags":10083,"thumbUrl":10084,"material":273,"size":10085,"collection":105,"collections":10086,"showCount":128,"zanCount":54,"manualWeight":54,"mainColor":109},220138,"quan-sheng-song-se-tu-wu-li-220138","泉声松色图","整幅构图分远、中、近铺设，层次分明。山峦层层叠嶂;溪水，曲行贯穿;树木，更加苍劲。整个画面，以凝练的笔法，展现出山水间、自然界的浑重拙朴、深醇沉郁的气韵。皴法繁密，明暗分明。较之前面两幅，笔力显得更加雄浑，墨色更加酣畅，色彩对比更加强烈。整个画面，上上下下，有众多房屋，而不见人影;有桥梁，却无人来渡;除水声外，不见人声，不闻鸟鸣，一切处在自然界的凝静之中;远山近壑之上，铺设着一层雪的白色，虽有苍劲的“松色”似有增色，但同时告知我们，此时节尚处在寒冷之中。",[23,24,94,99,95,7,390,240,32,171,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfdf71ac6b48f01aaabe84b1e9f192c8.jpg","纵64.8厘米 横38厘米",[105],{"id":10088,"slug":10089,"title":10090,"dynasty":59,"author":4351,"museum":2929,"description":10091,"tags":10092,"thumbUrl":10093,"material":47,"size":10094,"collection":49,"collections":10095,"showCount":128,"zanCount":54,"manualWeight":54,"mainColor":55},219707,"qi-feng-tu-ma-he-zhi-219707","齐风图","齐襄公是齐僖公长子，他同父异母的妹妹姜文，素有“春秋时期四大美女”之称。见色起意的齐襄公不顾纲常伦理，与妹妹私通。《汉书·地理志》中记载了这段不堪的往事：“始桓公兄襄公淫乱，姑姊妹不嫁。",[23,24,25,64,138,27,26,101,30,31,32,7,37,33,95,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12d34fa858564b0e0ce285f95eabcfed.jpg","26.2x65cm",[49],{"id":10097,"slug":10098,"title":10099,"dynasty":18,"author":2243,"museum":268,"description":10100,"tags":10101,"thumbUrl":10102,"material":47,"size":142,"collection":105,"collections":10103,"showCount":128,"zanCount":11,"manualWeight":54,"mainColor":109},219704,"zhu-yuan-feng-seng-tu-zhao-zuo-219704","竹院逢僧图","赵左（1573-1644）的风格兼容苏州与松江两地画学传承。画中小茅屋里面对僧人而坐的文士，吻合右上方所书的唐人诗句「因过竹院逢僧话，又得浮生半日闲」。此画题颇受欢迎，而赵左的诠释方式，除了利用竹林、巨石、水面与大片云雾，将竹院独立出来，更有趣的是利用树干与围幕，将文士框限于一小方空间，促迫地享受仅存的闲逸。",[23,117,24,64,94,866,99,241,98,2206,7,30,543],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2de72b6897a34154bfb9dd405d03101.jpg",[105],{"id":10105,"slug":10106,"title":10107,"dynasty":18,"author":10108,"museum":316,"description":10109,"tags":10110,"thumbUrl":10112,"material":273,"size":142,"collection":49,"collections":10113,"showCount":128,"zanCount":54,"manualWeight":54,"mainColor":109},219540,"tie-guai-li-tu-chen-xian-219540","铁拐李图","陈贤","此画中葫芦船不知可令诸位联想起伏羲女娲神话中载二人渡难的葫芦巨船否？确定的是，可从其中可窥见葫芦文化中神性的部分",[23,24,64,94,30,598,119,7,10111,4592],"神兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49e3bbb42ae64998ed8e606eeef0c874.jpg",[49,83],{"id":10115,"slug":10116,"title":10117,"dynasty":344,"author":435,"museum":61,"description":10118,"tags":10119,"thumbUrl":10120,"material":47,"size":10121,"collection":105,"collections":10122,"showCount":128,"zanCount":11,"manualWeight":54,"mainColor":55},218508,"qing-shan-die-cui-zhou-wang-yuan-qi-218508","晴山叠翠轴","山峦层叠如浪，墨色皴擦间见苍劲骨力，干笔积染出岩壑的厚重肌理。云雾轻笼谷口，牵起远近峰峦的呼吸，让重山不显壅塞，反生空濛之趣。\n\n溪流蜿蜒穿林，石岸错落间，几座亭台隐于松荫下，似有琴音随波漫散。松枝如铁，竹叶含翠，笔墨间藏着岁月的温润——既见北地山水的雄浑骨架，又融江南草木的秀逸情致。\n\n整幅画如一卷徐徐展开的清梦，每一笔皴擦都浸着文人的静穆心思，将自然丘壑凝练成纸上的悠远意境，让人观之忘俗，仿佛能踏入那片松风竹影里，听山涧流水，享片刻清宁。",[23,24,64,225,95,99,27,240,241,7,32,76,98,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65267561fee9a2d6709bd2cb30d8768c.jpg","139.5x61cm",[105],{"id":10124,"slug":10125,"title":10126,"dynasty":344,"author":435,"museum":61,"description":10127,"tags":10128,"thumbUrl":10129,"material":47,"size":10130,"collection":105,"collections":10131,"showCount":128,"zanCount":54,"manualWeight":54,"mainColor":109},218507,"fang-shan-qiao-shan-shui-zhou-wang-yuan-qi-218507","仿山樵山水轴","干笔皴擦的峰峦如黛，层层积墨间藏着云气轻烟。近处松枝横斜，溪畔孤舟静泊，山间隐约露人家檐角。笔墨苍劲却不失秀润，构图繁复仍显空灵，将山樵淡远意境与自家沉雄笔力相融。尺幅间铺展静谧悠远的山水天地，峰峦跌宕里见林木繁密，溪涧蜿蜒处映云雾缭绕，尽显文人画的气韵生动与笔墨精神，仿佛能听见山风掠过松涛、溪水潺潺流过石滩的轻响，把传统山水的沉雄气象凝于一纸之上。",[23,24,225,94,99,95,2256,98,33,390,7,96,504,351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c6d1ab3c13a67e13f50739433bb5efa.jpg","纵95.5cm，横51.5cm",[105],{"id":10133,"slug":10134,"title":10135,"dynasty":59,"author":10136,"museum":3432,"description":10137,"tags":10138,"thumbUrl":10139,"material":47,"size":10140,"collection":49,"collections":10141,"showCount":128,"zanCount":11,"manualWeight":54,"mainColor":55},218455,"zhou-ren-xing-tu-wang-hui-218455","舟人形图","王辉","淡墨晕染的水面微澜轻漾，一叶扁舟浮行其间。舟中之人凭舷而坐，衣袂垂落，神态悠然，似静听风吟，又或凝视水中云影。岸畔垂柳枝条披拂，几枝缀蕊梅枝斜出，添了清逸之趣。远处山峦轮廓柔和，与天际轻烟相融，浑然一体。简淡笔墨勾勒物象，却于留白处藏尽幽远之境，尽显宋人山水的诗意哲思——天地间人如芥子，却能与自然相契，寻得内心的安宁。整幅画以含蓄笔触铺陈意境，每一处细节都透着东方美学的雅致，将观者引入那片静谧辽远的烟波世界里。",[23,24,64,117,26,27,30,96,95,934,2301,7,122,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb655b285914c169055a1a989003a11c.jpg","19.3x19.0",[49],{"id":10143,"slug":10144,"title":10145,"dynasty":344,"author":9981,"museum":316,"description":10146,"tags":10147,"thumbUrl":10149,"material":47,"size":10150,"collection":142,"collections":10151,"showCount":128,"zanCount":54,"manualWeight":54,"mainColor":109},218337,"shen-xian-gu-shi-tu-ce-1-leng-mei-218337","神仙故事图册-1","这一卷是一幅关于神仙故事的画。笔触做得非常好，人物也很自然，比例匀称。虽然色彩强烈，但并没有压倒性的效果，而且景观、动植物和工具都被描绘得非常巧妙。",[23,24,27,26,30,7,98,33,10148,332],"神仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9a61ad2a7e96dd17ea8b4e38b2355c5.jpg","38x42",[],{"id":10153,"slug":10154,"title":2396,"dynasty":150,"author":292,"museum":553,"description":10155,"tags":10156,"thumbUrl":10157,"material":47,"size":10158,"collection":105,"collections":10159,"showCount":128,"zanCount":54,"manualWeight":54,"mainColor":55},218209,"song-quan-gao-shi-tu-yi-ming-218209","图画的背景是一片茂密的森林，松树和松针在风中摇曳。整幅图画给人以庄严肃穆的感觉，表达了对松泉高士伟大品格的敬意。",[24,117,1551,27,95,30,271,5612,7,98,33,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4041017ea2d172063a033356abfa97ad.jpg","24x27.3cm",[105],{"id":10161,"slug":10162,"title":10163,"dynasty":150,"author":710,"museum":152,"description":1457,"tags":10164,"thumbUrl":10166,"material":103,"size":10167,"collection":105,"c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（珂罗版）",[23,24,94,95,99,98,33,1357,97,32,7,100,119,10175],"兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19cc32f6b467d1055b76d9b1b43ef70e.jpg",[],{"id":10179,"slug":10180,"title":10181,"dynasty":344,"author":10182,"museum":152,"description":10183,"tags":10184,"thumbUrl":10185,"material":176,"size":4049,"collection":142,"collections":10186,"showCount":10169,"zanCount":54,"manualWeight":54,"mainColor":55},288829,"fang-yang-da-zhang-song-yuan-ben-jin-ling-tu-juan-feng-ning-288829","仿杨大章宋院本金陵图卷","冯宁","杨大章，清代画家，乾隆时期内廷供奉，善画山水、人物，最善画龙。\n\n其代表作品有：乾隆三十六年仿刁光胤写生册，乾隆四十四年仿宋宣和《柳鸦芦雁图》，乾隆五十五年仿陈容《九龙图》，乾隆五十六年仿《宋人金陵图卷》，其作品在市场上极少见到。清史记载「杨大章，亦赋色修洁，可与邹一桂颉颃，花鸟以二人为最工，其善画人物、花卉、翎毛，偶画山水，师法宋人。」说明了他的绘画造诣之高。其擅长水墨花卉，极有重名。常写五色菊，墨花五彩，有清冷隽逸之气。",[23,24,25,27,26,30,67,95,33,3560,557,31,503,7,69,44],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79b8fce5ba5993e927b3090298414355.jpg",[],{"id":10188,"slug":10189,"title":10190,"dynasty":344,"author":6590,"museum":135,"description":8904,"tags":10191,"thumbUrl":10194,"material":229,"size":637,"collection":142,"collections":10195,"showCount":10169,"zanCount":11,"manualWeight":54,"mainColor":55},288399,"lin-dai-yu-chong-jian-tao-hua-she-sun-wen-288399","林黛玉重建桃花社",[23,24,64,26,27,30,139,31,32,7,122,543,10192,10193,2808],"风筝","桃花社","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82aa2bbeb52a082378df0a61e396e32c.jpg",[],{"id":10197,"slug":10198,"title":10199,"dynasty":344,"author":10200,"museum":135,"description":10201,"tags":10202,"thumbUrl":10205,"material":229,"size":637,"collection":142,"collections":10206,"showCount":10169,"zanCount":718,"manualWeight":54,"mainColor":109},288062,"long-zhou-jing-du-juan-wang-gai-288062","龙舟竞渡卷","王槩","此卷由三段绘画组成，以江河为主线，渐渐展开端午时节赛龙舟的场面。画面用笔工细，场面宏大。几艘龙舟昂首翘尾，动感十足。船上人小如蚁，但奋力划桨之势尽显。在构图上，运用大片留白表现水天一色和浩渺的江河，给人以开阔的视野。而江中点缀的渔家小船及岸上人们争相观看的情景，又使画卷平添了几许情趣。",[23,24,25,64,94,27,7935,95,7,170,33,609,30,503,119,101,100,10203,10204],"龙舟竞渡","民俗活动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dcf549de7dc2fe73f37c130e34dbc58.jpg",[],{"id":10208,"slug":10209,"title":10210,"dynasty":344,"author":5786,"museum":135,"description":10211,"tags":10212,"thumbUrl":10213,"material":142,"size":142,"collection":105,"collections":10214,"showCount":10169,"zanCount":11,"manualWeight":54,"mainColor":55},238234,"wu-zhong-shan-shui-tu-juan-zhang-zong-cang-238234","吴中山水图卷","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。",[24,25,866,94,99,4895,95,31,32,97,98,1711,7,76,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7deab10c68df88dc06873ce369f679d.jpg",[105,51],{"id":10216,"slug":10217,"title":4655,"dynasty":344,"author":2071,"museum":135,"description":4656,"tags":10218,"thumbUrl":10219,"material":142,"size":142,"collection":142,"collections":10220,"showCount":10169,"zanCount":54,"manualWeight":54,"mainColor":109},237588,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237588",[117,24,64,332,94,27,99,2880,95,33,98,7,97,348,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c371ad1b554c4cb74d1d00a8c6b3ead.jpg",[],{"id":10222,"slug":10223,"title":10224,"dynasty":18,"author":5040,"museum":135,"description":10225,"tags":10226,"thumbUrl":10227,"material":142,"size":142,"collection":142,"collections":10228,"showCount":10169,"zanCount":54,"manualWeight":54,"mainColor":640},234172,"xiang-jiang-chun-yu-tu-juan-xia-chang-234172","湘江春雨图卷","夏昶（188—147），字仲昭，号自在居士、玉峰， 人，后人誉其画竹高手。\n他初姓朱，名昶，后复姓夏，太祖为之更名昶，字仲昭。\n号自在居士，又号玉峯，江苏昆山人， 弟。\n正统中官至 直内阁。\n画墨竹师 ，能得其妙，时推第一，名驰绝域，争以金购之。\n永乐十三年(公元1415年)中进士，为 。\n文皇十分赏识他的楷书，被推荐 内省，授 。\n永乐命书宫殿榜。\n尝侍从皇帝出巡于南、北二京。\n(公元1426一145年)中，转考工主事，仍供内直。\n正统(公元146—1449年)中升太常卿。\n他为人坦率乐易，不拘小节，时常出入礼法间，人们也不怎么去责怪他。\n晚年回到故乡居住，以诗画宴乐自娱。\n夏昶，画竹学 兼学 ，有自己的面目，声誉大大超过了他的老师。\n其兄 ，字孟旸，亦以书法 称旨，命与昶同拜中书舍人，时称“大小中书”。\n画山水师元画家 ；又善竹石，萧萧有林壑之气，但平生不多作，故世人一般只知道夏昶墨竹，而不知其兄昺。\n其孙女为 祖母，另一孙女则在其过世后嫁予 为妻。\n夏昶以 笔法画竹，所作竹枝烟姿雨色，偃直浓巯，各循矩度而 。\n当时学他画竹的人很多，画史记载的如同里(昆山)的屈礿(字处诚)、海虞( )的 (字廷瑞)、钱塘(杭州)的詹和（字仲和)。\n而以屈礿为突出。\n明 《匏庵集》说：“今人家多得，往往出其手，真伪固自能辨。\n”徐沁 说夏昶“写竹时称第一，名驰绝域，争以兼金购求，故有‘夏昶一箇竹，西凉十锭金’之谣”。\n所作竹枝烟姿雨色，偃值浓疎，动和 ，盖行家也。\n昆山之人师之者更数辈，独屈约颇类之，而人所得，往往出其手。\n尤精楷法，永乐命书宫殿榜。\n卒年八十三。\n传世作品有《湘江风雨图卷》（ 藏）、《满林春雨图轴》（ 藏）、《 》（ 藏）等。",[23,24,64,25,94,95,543,854,99,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ce25658d7757cb59f52d9d91b347bb7.jpg",[],{"id":10230,"slug":10231,"title":1344,"dynasty":18,"author":90,"museum":61,"description":1345,"tags":10232,"thumbUrl":10233,"material":335,"size":1348,"collection":142,"collections":10234,"showCount":10169,"zanCount":54,"manualWeight":54,"mainColor":109},234085,"wu-zhong-shan-shui-ce-shen-zhou-234085",[24,64,332,94,101,99,95,31,33,32,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff490de890778b4cc3370fad14bbd48de.jpg",[],{"id":10236,"slug":10237,"title":9737,"dynasty":150,"author":10238,"museum":10239,"description":10240,"tags":10241,"thumbUrl":10243,"material":335,"size":10244,"collection":142,"collections":10245,"showCount":10169,"zanCount":54,"manualWeight":54,"mainColor":109},233767,"jiu-ge-tu-juan-zhang-wo-233767","张渥","吉林省博物院","“九歌”的名称来源很早，据说在夏朝的时候就已经出现了，《离骚》《天问》和《山海经》中都曾经提到过它。《离骚》中说：“奏九歌而舞韶兮”。“韶”，相传是舜帝的舞曲，把它与“九歌”并举，可见都是远古的乐章。而《山海经》则说“九歌”是启（传说中大禹的儿子）从天上偷来的，这便给她添上了神话色彩。现存“九歌”，其实是楚国南部流传已久的一套民间祭神的乐歌，后来经过屈原的加工改写而创造出来一种独特的抒情诗。张渥的这幅画上有屈原的画像，可见他也是根据屈原的《九歌》来创作这幅作品的。\n屈原所作《九歌》是根据民间祀神乐曲加工润色而成的诗章。当时楚国的巫风兴盛，人们的娱乐生活往往和宗教祭祀杂糅在一起，通过所祀之神来表达自己的理想和愿望。屈原《九歌》从内容到风格形式，都保存着南方原始祀神民歌的基本格调，在长期的历史进程中一直闪耀着动人的光辉，并吸引着历代画家们以此为题材进行艺术创作。据传最早绘制《九歌图》的画家是宋代李公麟。元代画家张渥的《九歌图卷》历来被认为是李公麟原作的摹本，这从该画卷后的题款“临李龙眠九歌图”即可看出。 [4] 此图是张渥为好友言思齐（世贤）所作。\n展开画卷，首先映入眼帘的是发髻束起，身着广袖长服，拱手站立的屈原像。他庄重而坚毅、孤独而傲岸、感伤而执著的神韵跃然于纸上，令人感佩动容。在对主人公形象的塑造上，画家运用了以线条勾勒为主的白描手法，用笔苍老润洁，遒逸秀劲，勾勒简练畅意，古拙脱俗，使人物更加生动传神，而且令整幅画面极具一种装饰美。其后以篆书题写《渔父》一篇，这就使读者似乎看到了屈原被放逐后徘徊于江滨那种忧心国事的情怀，不由自主地把屈原的品格同他的《九歌》密切地联系起来。\n紧随屈原像后，作者依据《九歌》原诗的情节逐一绘制出东皇太一、云中君、湘君、湘夫人的形象。画家熟练地运用线条长短、迂回、曲直变化，流畅飞扬，宛似行云流水，人物形象充满了各自的不同神韵。大司命手执拐杖，头上几根洗练的线条和些许淡墨晕染，恰如其分地表现了纱巾透明的质感，其下的发髻隐约可见。衣裤则用比较劲秀而又略有不同的线描画成，使人觉得衣与裤的质料也有所差异。至于面部和双手，用笔更细、更淡、更柔、更富于变化，枯笔画成的须眉成功地表现了它的疏落和蓬松，一副老年人的沧桑感突现出来。少司命左手执笔，右手握卷，慈眉善目，飘浮于祥云之上。左一持杖侍女似正听其嘱咐。东君浓眉大眼，鬓须满脸，手持法器，立于祥云之上。\n在原诗中，东君是人们想象中的太阳神，张渥却捕捉住“举长矢兮射天狼”这一爱憎鲜明的情节，把太阳神和天狼星之间的矛盾冲突集中在一个画面上。太阳神被描绘成一个全副武装、魁梧雄伟的武士，一手持弓，一手握箭，翻身怒视天狼星，须眉怒张，强调了他的勇武；衣带飘拂，加强了动势的表现。天狼星则被画成一个小小圆球，仿佛摇摇欲坠。这种艺术处理充分显现了原诗中那种热爱光明、仇视黑暗的思想感情，比之孙承泽旧藏传李公麟《九歌图》中髭须飘洒、抱弓而立的东君，从思想内容到艺术技巧都增加了新的内容。河伯骑于海龟之上，其衣服帽带的飞扬，波涛的奔涌，把河伯迎风破浪前进的形象淋漓尽致地表现了出来。\n《山鬼》是屈原《九歌》11首诗中最摄人魂魄的一首，它出自楚国一个美丽凄婉的传说，描写一个美丽而幽怨的女神。画卷中的山鬼裸体骑赤豹于松林之中。《国殇》原诗用较多的篇幅描写将士们奋不顾身英勇作战的场面，画家则根据原诗精神，通过一个侧面，充满想象力地进行了生动的描绘：用苍郁的笔法略施渲染，绘成几株参天大树和树下挥戈而前的勇士，铠甲的明亮与树石的阴郁形成了鲜明的对比，从而突出了人物形象。树下走在最前面的人怒目仰视，张口狂呼，仿佛可以听到他叱咤风云的不息喊杀声。在他的身后，无数战士的头在树木的繁枝密叶间攒动。这里，画家的笔墨非常精练，能看到的只有几个被枝叶遮蔽得不完整的头部，但却突出了勇往直前的眼神，成功地运用了构图的掩映和读者的错觉，因而落墨不多却表现了千军万马不可压倒之势。\n《九歌图》人物的塑造特点是形象饱满，个性鲜明。例如，东皇太一是天之尊神。张渥将他塑造为一个王者的形象，高大威严，垂裳冠冕，一手捻须，一手若有所指。与他的高大不同，天女的形象则娇小纤弱，形成对比。又如，大司命是生命之神。张渥将他刻画成一个和蔼的长者，慈眉善目，扶杖驾云而来，全无命运之神的狞厉恐怖。再如，东君为日神。张渥将他描绘成一员武将，披挂整齐，举剑携弓，凝视前方的天狼星。\n《九歌图》不仅对于考订张渥画家的年表、纠正有关记述中的疏误有所裨益，而且为了解张渥的艺术成就提供了一件有价值的资料。\n壬子年为明洪武五年，张渥去世当在此之前。可见自1346年此图创作完成之后至明初的一段时间里，这件作品一直保存在言氏手中。此后《九歌图》在明代的流传情况并不清楚。\n清乾隆时期曾流入内府，画面上铃有乾隆、嘉庆、宣统的印玺多枚。\n清亡后，溥仪令宝熙等审定内府书画时将此卷列为上上，记录在审定内府书画目原稿中。此后，《九歌图》又以赏赐的方式被辗转运往长春的伪皇宫。1945年日本投降后，《九歌图》便一直保存在长春王世宜手中，1971年捐赠吉林省博物馆。",[23,24,64,25,138,30,3834,10242,7,98,33],"虎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83685df6eeeedeb07127abdd163834aa.jpg","纵29厘米、横523.5厘米",[],{"id":10247,"slug":10248,"title":10249,"dynasty":150,"author":1897,"museum":135,"description":10250,"tags":10251,"thumbUrl":10252,"material":335,"size":10253,"collection":142,"collections":10254,"showCount":10169,"zanCount":11,"manualWeight":54,"mainColor":109},232905,"mo-wang-wei-jiang-shan-xue-ji-tu-juan-zhao-yuan-232905","摹王维江山雪霁图卷","大雪已过，而西安的雪却迟迟没有落下，这让人不仅怀念起昔日纷纷扬扬的大雪来，只能将这份念想寄托于中国山水画中。\n据中国美术史记载，在中国山水画史上，最早描绘雪景题材的是唐代画家、诗人王维。据《宣和画谱》记载，在宋代御府收藏王维画作的126件中，其中山水画目以雪景为多，共计20件，隐逸题材10余件，所以王维被尊为中国雪景山水画的“开山老祖”。而长久以来，一幅名为王维的《江山雪霁图》却一直饱受争议，这又是缘何呢？\n雪后初霁的世界一尘不染，而中国画又善于抒情达意，常将主观感情融于创作，又以象征手法描绘物象，而雪景入画正是随物赋形，将人心的细微转折处以蕴藉不露的方式表达出来，意境高远。王维（701年－761年），字摩诘，号摩诘居士，今山西运城人。王维性喜山水，诗画双绝，且精通音律和佛经，是唐朝著名的诗人和画家。苏轼评价其“诗中有画，画中有诗。”据说，安史之乱时王维被叛贼所俘，安史之乱平定后，唐肃宗不但没加罪还授官于他。王维便作雪景山水画，以表明自己身心如雪色洁白，如《雪中芭蕉》《雪溪图》等，都是其传世之作。\n王维画雪开创了中国山水画之先河，被明末著名书画家董其昌推崇为南宗山水画之祖。提出《江山雪霁图》的便是董其昌。董其昌自述从著名的鉴藏家、文学家冯梦祯（字开之，1548—1605）处，探得王维的《江山雪霁图》，并先后两次为其写跋文，引起一时轰动。近代，传出日本京都小川家收藏了《江山霁雪图》。图为一幅高28.4厘米、宽171.5厘米的水墨绢画，画法纯用勾勒，不加点苔，也无皴染。画中自右至左，在岩石、远峰、小山、浅屿之间，江流缭绕、水远天平，白头山上雪意茫茫。右下角岩石上有枯树六、七株，稍上双峰并峙，林木森森。中偏右矗立一巨大岩石，顶露平台，前护低栏、后倚竹树，茅舍三五散落其间；其左下方平出浅屿，有枯树八、九株，极见疏落之致。左半部一抹小山，略见起伏，山腰水际有小树隐匿其中；紧接浅屿，横扼中流，向左延伸，略近边缘，画面即止于此。",[23,117,24,64,25,29,94,99,95,240,169,7,33,72,9564],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F518badd3338b17af5bff82dbcbb8d3c4.jpg","41x278.3厘米",[],{"id":10256,"slug":10257,"title":10258,"dynasty":59,"author":209,"museum":489,"description":10259,"tags":10260,"thumbUrl":10261,"material":2380,"size":10262,"collection":142,"collections":10263,"showCount":10169,"zanCount":54,"manualWeight":54,"mainColor":109},231570,"shan-shui-shi-er-jing-tu-cun-qi-si-xia-gui-231570","山水十二景图（存其四）","夏圭，生卒年不详，字禹玉，临安（今浙江杭州）人，“南宋四家”之一。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他与马远同属水墨苍劲一派，号称“马夏”。\n夏圭擅画山水、人物，他的山水画师法李唐，又吸取范宽、米芾、米友仁的长处而形成自己的个人风格。",[24,64,25,94,99,101,119,95,96,7,97,122,1001,530],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F019c74398a8c6657a1cae9edc177829e.jpg","全卷长达七米",[],{"id":10265,"slug":10266,"title":10267,"dynasty":18,"author":19,"museum":135,"description":10268,"tags":10269,"thumbUrl":10270,"material":142,"size":142,"collection":142,"collections":10271,"showCount":10169,"zanCount":718,"manualWeight":54,"mainColor":55},228444,"da-jin-de-yun-tu-juan-chou-ying-228444","大金德运图卷","此作用浓妍石青石绿晕染群峰，峭拔清奇的山峦错落于烟波间，淡赭晕开云霞，铺就幽渺辽远的天地格局。山坳水畔，村舍错落、人马往来，或驱马穿行山道，或聚居于林田之侧，烟火气浸透仙山灵境，尽显太平聚落的悠然意趣。\n\n书画合璧尽显古韵，青绿设色承袭唐宋古意，又以细腻人物村景铺陈，将恢弘山水与俗世温情融于一卷，既有大青绿的堂皇瑰丽，又暗含市井闲趣，是工笔青绿中兼具叙事性与观赏性的精妙之作。",[23,24,25,26,27,118,95,30,66,32,7,33,98,169,99,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0e63b6572fbf6fb41c1a558ac53c9e9.jpg",[],{"id":10273,"slug":10274,"title":10275,"dynasty":59,"author":10276,"museum":135,"description":10277,"tags":10278,"thumbUrl":10279,"material":142,"size":142,"collection":142,"collections":10280,"showCount":10169,"zanCount":11,"manualWeight":54,"mainColor":109},227705,"mi-you-ren-si-ma-huai-shan-shui-he-juan-mi-you-ren-227705","米友仁司马槐山水合卷","米友仁","米友仁（1074—1153年，一作1086—1165年），南宋书画家。一名尹仁，字元晖，晚号嫩拙老人，祖籍太原(今属山西)，迁襄阳(今属湖北)，定居润州(今江苏镇江)。米芾长子，人称“小米”。早年即以擅长书画知名，徽宗宣和四年（1122年）应选入掌书学。南渡后，官兵部侍郎，敷文阁直学士。高宗赵构曾命他鉴定法书，但其鉴别书画之际“往往有一时附会迎合上意者”。善行书，人谓其虽不逮其父，然如王、谢家子弟，自有一种风格。其山水画发展了米芾技法，略有变化，别具面目。用水墨横点，连点成片，构成“烟云变灭，林泉幽壑，生意无穷”的画面，强调“借物写心”，崇尚“平淡天真”，运笔草草，自称“墨戏”，对后来“文人画”中的笔墨纵放、脱略形状颇有影响。自题于《潇湘图》长卷中称：“夜雨欲霁，晓烟既泮，则其状类此，余盖戏为潇湘，写千变万化不可名神奇之趣。”",[23,24,64,25,94,99,100,119,95,33,98,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f2f43864087629e2b88a87765eedeee.jpg",[],{"id":10282,"slug":10283,"title":10284,"dynasty":59,"author":6455,"museum":152,"description":10285,"tags":10286,"thumbUrl":10287,"material":188,"size":142,"collection":142,"collections":10288,"showCount":10169,"zanCount":54,"manualWeight":54,"mainColor":55},227397,"hu-xi-san-xiao-tu-xiao-zhao-227397","虎溪三笑图","宋代佚名《虎溪三笑图》，绢本设色，纵26.4厘米，横47.6厘米，无款印，钤“宣统御览之宝”、“珍秘”等鉴赏印四枚，现收藏在台北故宫博物院。画面中，古树参天，虎溪蜿蜒奔流，水花飞溅，红叶飘洒，雾霭沉沉；三位老者气宇轩昂，肢体夸张，面对淙淙虎溪，相识无语，仰天长笑；左一童子肩负包袱、右二童子牵驴等候，样子朴实天真。图中笔细劲锐，设色古雅，远山以淡墨勾染，古树细笔勾勒，浓墨点小树，山石则淡青色皴染，墨线勾勒轮廓，整幅画面相融一气，极富立体灵动之感，体现了宋人卓越的绘画成就。",[23,24,117,27,99,95,30,67,7,241,98,227,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F709f3a195d6a3665c242433604b692d1.jpg",[],{"id":10290,"slug":10291,"title":10292,"dynasty":59,"author":292,"museum":61,"description":10293,"tags":10294,"thumbUrl":10295,"material":469,"size":10296,"collection":142,"collections":10297,"showCount":10169,"zanCount":54,"manualWeight":54,"mainColor":55},223481,"mo-gu-kai-zhi-luo-shen-fu-tu-yi-ming-223481","摹顾恺之洛神赋图","描绘了作者对洛水之神宓妃的爱慕以及神人殊隔、不能交接的惆怅。作品将不同情节置于同一画卷，洛神和曹植在一个完整的画面的不同场景中反复出现，以山石、林木及河水等背景，将画面分隔成不同情节，使画面既分隔又相联接。图中山石、林木，反映了早期山水画的表现技法和面貌。",[117,24,64,25,29,138,27,26,30,9741,95,31,122,65,10148,3997,33,171,7,119,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba227c4592b380f204fd43c2f9873fd7.jpg","644x26.1厘米",[],{"id":10299,"slug":10300,"title":10301,"dynasty":150,"author":292,"museum":553,"description":10302,"tags":10303,"thumbUrl":10305,"material":10306,"size":10307,"collection":105,"collections":10308,"showCount":10169,"zanCount":54,"manualWeight":54,"mainColor":55},223461,"shan-xi-shui-mo-tu-yi-ming-223461","山溪水磨图","《民物熙乐图轴》又名《山溪水磨图》，描绘了山水、楼阁、盘车，山石画法受北宋风格影响，画法写实，界画整饬，人物生动，富于浓郁的生活气息。画面上无题款及收藏印记，也未见画史著录，有印章数枚，但是模糊难辨，系20世纪50年代初辽宁省博博物馆从民间收购获藏。曾经有人认为是明代作品，从画风看应为元人所作，后来鉴定为元人真迹，是一幅带有界画特点的典型的民间风俗画，可以使我们了解到宋元风俗画、界画的面貌。",[23,24,64,27,95,28,26,31,7,98,33,30,67,10304],"水磨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3136e54ffa0e16bac85bd2b82cc151b.jpg","绢本淡设色，立轴","纵153.5厘米，横94.3厘米",[105,83],{"id":10310,"slug":10311,"title":10312,"dynasty":344,"author":6590,"museum":1308,"description":6591,"tags":10313,"thumbUrl":10315,"material":188,"size":6596,"collection":142,"collections":10316,"showCount":10169,"zanCount":54,"manualWeight":54,"mainColor":109},223077,"hong-lou-meng-63-sun-wen-223077","红楼梦63",[23,26,27,28,30,31,98,33,1691,39,2320,10314,7,95,4179],"围栏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6287c52639c4ee11c3285d5cf2df0f6d.jpg",[],{"id":10318,"slug":10319,"title":10320,"dynasty":18,"author":645,"museum":10321,"description":10322,"tags":10323,"thumbUrl":10326,"material":258,"size":10327,"collection":49,"collections":10328,"showCount":10169,"zanCount":54,"manualWeight":54,"mainColor":109},222361,"jin-chang-song-bie-tu-tang-yin-222361","金昌送别图","吴氏梅景书屋","图绘柳溪水岸边四人拱手作别，即将远去的朋友回头顾盼他的三个朋友，深含依依不舍之情，旁边一樵夫等待离别的人上船，即将扬帆起航。远处群山连绵，云雾霭霭，空旷高远。整幅图以水墨与淡设色相融合，使画面呈现出清雅的格调。",[23,24,25,94,27,95,30,32,7,96,31,10324,378,169,97,5966,10325],"群山","依依不舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bd1421c45dfa306f19591e4f68b6877.jpg","21×132cm",[49,83],{"id":10330,"slug":10331,"title":10332,"dynasty":150,"author":10333,"museum":152,"description":10334,"tags":10335,"thumbUrl":10336,"material":27,"size":10337,"collection":105,"collections":10338,"showCount":10169,"zanCount":718,"manualWeight":54,"mainColor":55},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。",[23,24,866,117,225,99,27,95,96,33,98,7,76,390,2008,170,8000,1711],"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",[105,83],{"id":10340,"slug":10341,"title":10342,"dynasty":18,"author":7092,"museum":1841,"description":10343,"tags":10344,"thumbUrl":10345,"material":47,"size":10346,"collection":105,"collections":10347,"showCount":10169,"zanCount":54,"manualWeight":54,"mainColor":55},220146,"shan-ting-tu-li-zai-220146","山亭图","李在，明代宫廷画师，字以政，福建莆田人，迁居云南，后召入京。宣德时与戴进、谢环、石锐、周文靖同待诏入直仁智殿。自戴进以下一人而已。其山水细润处近郭熙，豪放处宗马、夏，多摹仿古人，笔气生动。《闽画史稿》谓其：“其人物笔致苍古，八面生动，开闽派之先。”日本画僧雪舟，曾与之切磋画艺。传世作品有《琴高乘鲁图》《阔渚晴峰图》《归去来兮图》《山亭图》等。",[23,24,64,95,225,94,99,97,32,98,76,140,518,33,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35489b0dded68401fc6628330b040d8f.jpg","124.9cm×59.4cm",[105],{"id":10349,"slug":10350,"title":10351,"dynasty":18,"author":292,"museum":3325,"description":10352,"tags":10353,"thumbUrl":10354,"material":47,"size":142,"collection":49,"collections":10355,"showCount":10169,"zanCount":54,"manualWeight":54,"mainColor":109},219593,"luo-han-guan-yin-tu-yi-ming-219593","罗汉观音图","此作以石窟观音为视觉中心，十六罗汉错落排布于林泉幽境之间。洞窟、危桥、苍松穿插其间，将佛国胜景融于山水丘壑。设色古雅沉润，线条凝练劲挺，衣褶流转自然。\n\n各罗汉神态迥异，或趺坐静思、或临渊观流、或降龙伏怪，形神兼备；观音端踞窟内，仪容肃穆安和。画面将礼佛的庄严禅意，与文人山水的清寂雅致相融，既彰显佛造像的静穆神圣，又暗合山林隐逸的审美意趣，尽显佛画与山水画结合的精妙，把出世禅心揉入林泉幽致之中，尽显明代宗教绘画兼具工致与意韵的独特韵味。",[24,64,27,26,598,30,95,32,7,9741,28,140,31,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69873b96fabaed87f5b148d0a16d77ba.jpg",[49],{"id":10357,"slug":10358,"title":10359,"dynasty":18,"author":10360,"museum":152,"description":10361,"tags":10362,"thumbUrl":10363,"material":47,"size":10364,"collection":105,"collections":10365,"showCount":10169,"zanCount":54,"manualWeight":54,"mainColor":55},219514,"bi-wu-jiang-shu-tu-song-mao-jin-219514","碧梧降暑图","宋懋晋","此作用高远兼平远之法铺陈景致，上部山峦以轻淡墨色晕染，肌理温润朦胧，似有夏山蒸腾的暑气轻笼。画面下畔的庭院为眼目所在，两株青梧亭亭如盖，将浓荫覆入院中，屋中幽人闲坐，静纳竹风凉意。溪上木桥轻架，垂柳拂过水面，坡岸细草茸茸，处处漫着夏日慵闲松弛的意趣。\n\n全画笔秀色雅，浅淡设色衬出清和氛围，将文人幽居消暑、耽于林泉的隐逸襟怀，融于山川院宇之间，淡而有神，静中生韵，尽显山居消暑的雅逸情致。",[24,64,225,27,95,99,32,7,33,76,98,1177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83e2ed619f72ec4ecb79001d077b24f1.jpg","124x38.4厘米",[105],{"id":10367,"slug":10368,"title":10369,"dynasty":18,"author":4146,"museum":152,"description":10370,"tags":10371,"thumbUrl":10372,"material":47,"size":10373,"collection":105,"collections":10374,"showCount":10169,"zanCount":54,"manualWeight":54,"mainColor":55},219475,"bin-feng-tu-xie-shi-chen-219475","豳风图","豳，一作邠，国名。在岐山之北，原隰之野，周先世公刘立国于此。成王立，周公摄政。作豳风七月之诗一篇，述后稷公刘政教之始。述其政教之中，则为豳雅。述其政教之成，则为豳颂，以戒成王。",[24,64,225,94,99,119,95,30,31,32,33,7,97,140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F476c65952113e072f06deae20e1e7a3a.jpg","196.6x109厘米",[105],{"id":10376,"slug":10377,"title":10378,"dynasty":18,"author":292,"museum":1164,"description":10379,"tags":10380,"thumbUrl":10382,"material":47,"size":10383,"collection":368,"collections":10384,"showCount":10169,"zanCount":11,"manualWeight":54,"mainColor":55},218924,"han-he-shuang-ying-tu-yi-ming-218924","寒壑双鹰图","这幅画表现了一棵高高矗立在峡谷之上的枯树，两只老鹰站在树枝上相互对视。老树用粗大的笔触勾勒出来，盘旋而有力，而老鹰则用细小的笔触描摹出来，几乎随时可以移动。在树的下面，峡谷的激流冲刷出层层水浪，波浪滚滚而来。这幅画显示了艺术家对不同题材的驾驭能力，以及他向许多人学习的能力。虽然这幅画以宋代为基础，但明显具有明代大型花鸟画的大气、奔放、夸张的特点，极具感染力。此画原为五代时期南唐画家郭乾祐所作，但因其无年代感，现归于明代画家。",[24,64,94,27,26,99,9836,255,1397,240,171,168,7,10381,199,3572],"树枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F812e742cba18d3fccd2b284248f14dd1.jpg","200.2x156.1cm",[368],{"id":10386,"slug":10387,"title":10369,"dynasty":150,"author":10388,"museum":955,"description":10389,"tags":10390,"thumbUrl":10392,"material":273,"size":10393,"collection":49,"collections":10394,"showCount":10169,"zanCount":54,"manualWeight":54,"mainColor":109},218245,"bin-feng-tu-lin-zi-huan-218245","林子奂","《豳风图》全卷共分七段，依次为《七月》《鸱号》《东山》《破斧》《伐柯》《九罭》《狼跋》，每段画前书《豳风》原文。图中人物形象生动，衣纹用兰叶描，笔法流畅潇洒，设色清丽古雅。",[23,24,64,25,138,94,100,101,119,30,95,33,122,7,32,5064,3560,350,10391],"农具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb1a0555d1ec4931a6edfed8747e1ab0.jpg","26.5x446",[49],{"id":10396,"slug":10397,"title":10398,"dynasty":18,"author":292,"museum":3325,"description":10399,"tags":10400,"thumbUrl":10401,"material":47,"size":10402,"collection":105,"collections":10403,"showCount":10169,"zanCount":54,"manualWeight":54,"mainColor":55},217945,"xue-yu-tu-yi-ming-217945","雪渔图","雪渔图是明朝时期的一幅著名图画，作者佚名。这幅图画描绘的是冬天的江南景色，画面中的渔夫正在雪中捕鱼。图中的景色十分冷清，可以感受到寒冬的气息。不过，画中的渔夫似乎并没有被寒冷所影响，他们依然在坚守着自己的岗位，展现出人类顽强的生存欲望。\n\n雪渔图的艺术价值颇高，它描绘的冬季景色给人们带来了视觉冲击，同时，图中的人物形象也非常生动，给人们留下了深刻的印象。此外，雪渔图的画风也非常优秀，采用了许多细腻的线条和柔和的色彩，使得整幅画面显得十分精致。\n\n雪渔图是明朝时期的杰作，它的出现标志着中国画的又一次发展。作为一幅优秀的艺术品，雪渔图不仅为当时的观众带来了视觉享受，同时也为后人留下了宝贵的文化遗产。",[24,866,225,94,27,99,2097,98,255,96,7,256],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b782eb11fe10146b4d0bac0e946b2f9.jpg","185x73.4cm",[105],{"id":10405,"slug":10406,"title":10407,"dynasty":18,"author":1254,"museum":281,"description":10408,"tags":10409,"thumbUrl":10411,"material":103,"size":142,"collection":142,"collections":10412,"showCount":10169,"zanCount":54,"manualWeight":54,"mainColor":109},217033,"fang-gu-shan-shui-ce-liu-kai-2-dong-qi-chang-217033","仿古山水册六开-2","董其昌是明朝时期著名的画家，他的仿古山水册六开是他的代表作之一。这本册子包含了六幅仿古山水画，每幅画都经过精心绘制，画面细腻，线条流畅，再现了古代山水的美感。董其昌在绘制这些画的时候，采用了仿古的手法，借鉴了古代画家的画风，使得这些画看起来非常传统和古朴。这本册子被广泛认为是董其昌最优秀的作品之一，也是明朝仿古山水画的典范。",[23,24,64,332,94,27,95,96,7,6708,10410,122,98,169,101,99],"雪峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F705dca76b87e5d6c9999fda035dc601d.jpg",[],{"id":10414,"slug":10415,"title":10416,"dynasty":18,"author":1254,"museum":91,"description":8397,"tags":10417,"thumbUrl":10418,"material":103,"size":142,"collection":142,"collections":10419,"showCount":10169,"zanCount":54,"manualWeight":54,"mainColor":109},214650,"qiu-xing-ba-jing-tu-ce-7-dong-qi-chang-214650","秋兴八景图册-7",[24,64,332,27,94,95,390,98,7,348,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eb9268879396f8710f133d9d82f4354.jpg",[],{"id":10421,"slug":10422,"title":10423,"dynasty":59,"author":209,"museum":135,"description":4457,"tags":10424,"thumbUrl":10425,"material":229,"size":637,"collection":142,"collections":10426,"showCount":10427,"zanCount":54,"manualWeight":54,"mainColor":55},290272,"hu-shan-fang-you-tu-xia-gui-290272","湖山访友图",[117,24,94,95,225,99,31,32,7,97,30,33,8413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc1ba42d2395c98b7ef4f0b2a513a2e3.jpg",[],35,{"id":10429,"slug":10430,"title":4027,"dynasty":59,"author":399,"museum":135,"description":10431,"tags":10432,"thumbUrl":10434,"material":229,"size":637,"collection":142,"collections":10435,"showCount":10427,"zanCount":54,"manualWeight":54,"mainColor":55},289593,"hao-liang-qiu-shui-tu-li-tang-289593","描绘的是安徽凤阳县濠水、濮水一带的风光。数株茂密的大树占据了主要画面。树用夹叶法，淡赭设色，透露出浓浓秋意。大石用斧劈皴，勾勒劲健，结构谨严，苍劲凌厉，颇见质感，以青绿罩染。画面左侧飞泉直泻，落叶点点。李唐对秋水的刻画尤见功力，并使山石的刚硬和水波的柔和形成鲜明对比。整个画面显示出一副浓郁的深秋景象。在这样一个环境里面，庄子和惠子坐于岸边。二人衣着古朴，衣纹简练，却颇见精神。一人面对观者，一人侧面作交谈状，与《采薇图》中伯夷和叔齐的表现方式有异曲同工之妙。",[23,24,117,25,94,866,99,7,98,226,30,10433],"观水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff100ffd5335783d2d72685d2283a1273.jpg",[],{"id":10437,"slug":10438,"title":10439,"dynasty":631,"author":774,"museum":152,"description":10440,"tags":10441,"thumbUrl":10443,"material":229,"size":637,"collection":142,"collections":10444,"showCount":10427,"zanCount":54,"manualWeight":54,"mainColor":55},287719,"hua-zhang-lin-xiao-yi-dong-yuan-287719","画长林萧逸","水墨画山峦层叠，林木丛聚。画中山石土坡，均用披麻皴法，只是笔法造型稍嫌刻板，乏于变化；树木平整罗列，少于掩映参差的深趣，当是出于后期画家仿作。",[23,117,24,64,225,94,99,27,95,140,31,32,7,10442],"萧逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc088b2a7379e1f7d028fe386eee872fb.jpg",[],{"id":10446,"slug":10447,"title":10448,"dynasty":59,"author":6998,"museum":152,"description":10449,"tags":10450,"thumbUrl":10452,"material":47,"size":10453,"collection":142,"collections":10454,"showCount":10427,"zanCount":54,"manualWeight":54,"mainColor":55},287654,"ting-qin-zhai-ruan-tu-zhao-bo-ju-287654","停琴摘阮图","此幅写松石间瓜果堆盤，一人袒衣席地拨阮咸，一人背坐握羽扇倾听，横琴于膝，二童子捧壶执卷。人物、配景俱用钩勒填彩法敬谨写就，间或辅以胡粉重提、晕染，黑白相映，分外照人眼明。",[23,117,24,225,27,118,30,95,1702,122,7,390,2321,10451],"闲情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe887b9cd6b04bdd3756bf42bb21b33d3.jpg","125.7x51.2",[],{"id":10456,"slug":10457,"title":888,"dynasty":344,"author":10458,"museum":135,"description":10459,"tags":10460,"thumbUrl":10461,"material":142,"size":142,"collection":105,"collections":10462,"showCount":10427,"zanCount":11,"manualWeight":54,"mainColor":109},239027,"shan-shui-zhou-wang-xue-hao-239027","王学浩","王学浩（1754—1832）字孟养，号椒畦，江苏昆山人。乾隆五十一年（1786）举人。为人恬澹旷适，绝意干禄。遍历燕、秦、楚、粤。山水得原祁正传，结体精微，笔力苍古。著有《山南论画》，立论精当。于书无不工，篆、隶古劲，直接秦、汉而不自谓能。真书从欧入褚，晚探二王秘。行书更得瘗鹤铭笔意，坚苍浑厚，自成一家。工诗，卒年七十九。",[24,64,225,27,99,95,76,33,98,7,351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03ac2666c3007bbc5a92459091d826e3.jpg",[105,51],{"id":10464,"slug":10465,"title":9932,"dynasty":344,"author":2309,"museum":135,"description":9933,"tags":10466,"thumbUrl":10467,"material":142,"size":9936,"collection":142,"collections":10468,"showCount":10427,"zanCount":54,"manualWeight":54,"mainColor":109},238032,"hong-ren-shan-shui-tu-ce-hong-ren-238032",[24,94,99,3658,95,390,98,349,1177,7,199,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ebf488d534c551f08afd778cd7b6d19.jpg",[],{"id":10470,"slug":10471,"title":10472,"dynasty":344,"author":2489,"museum":61,"description":10473,"tags":10474,"thumbUrl":10475,"material":258,"size":10476,"collection":142,"collections":10477,"showCount":10427,"zanCount":54,"manualWeight":54,"mainColor":109},234954,"xian-yuan-tu-kun-can-234954","仙源图","《仙源图》名即来源于诗之起首二字。根据诗的内容“天都保障石关巈，面对天都峰矗矗。”画的应是黄山天都峰。此图画法以“元四家”为宗，尤其受王蒙影响，构图较满，用线清晰豪壮，墨与色浑然一体，画风苍劲浑厚，意境幽野旷疏。所画景物与自题诗互相生发，相得益彰，把现实中的山水变成了人与自然为一体的生机世界。这里对烟云的描绘使人仿佛置身奇异的梦幻之境。画中题画诗是画面结构的一部分，烟云的留白画法以及全景式的构图都呈现了与西画不同的特点。",[24,64,225,94,27,99,95,31,7,96,140,97,169,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7214b8afcf42954dc5bdd808a86bf5ea.jpg","纵84厘米，横42.8厘米",[],{"id":10479,"slug":10480,"title":10481,"dynasty":59,"author":4351,"museum":61,"description":10482,"tags":10483,"thumbUrl":10484,"material":469,"size":10485,"collection":49,"collections":10486,"showCount":10427,"zanCount":11,"manualWeight":54,"mainColor":55},233988,"hua-zhao-gou-shu-tang-feng-ce-ma-he-zhi-233988","画赵构书唐风册","马和之，中国南宋画家 。生卒年不详，活跃于高宗时期（公元12世纪）。钱塘 （今浙江杭州）人。宋高宗绍兴（1131-1162）中登第，一说官至工部或兵部侍郎。画院待诏，为南宋宫廷画院中官品最高的画师，居御前画院十人之首（周密：“御前画院仅十人，和之居其首焉”）。擅画佛像、界画、山水，尤擅人物，人物师法吴道子、李公麟，仿“吴装”创用柳叶描（一作马蝗描），用笔起伏、线条粗细变化明显，着色轻淡，笔法飘逸流利，活泼潇洒，富有韵律感，出入古法，脱去习俗，自成一家。其绘画风格与唐代吴道子相仿，当时有“小吴生”之称。",[24,117,64,332,138,94,30,140,170,199,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F489ad7188d3047e278afe3c2a391dfdb.jpg","60.33x41.04厘米",[49,105],{"id":10488,"slug":10489,"title":10490,"dynasty":344,"author":808,"museum":61,"description":10491,"tags":10492,"thumbUrl":10493,"material":4790,"size":3953,"collection":142,"collections":10494,"showCount":10427,"zanCount":54,"manualWeight":54,"mainColor":109},233957,"yuan-ji-cai-shi-tu-zhou-shi-tao-233957","原济采石图轴","《采石图》中石头峻峭奇丽，独具一格。石涛石涛山水画非常大胆新奇，他对景物的勾勒描绘灵活多变，意境高深，他人很难模仿，他笔下的景物有一种灵性和生命，是中国山水画的珍品。",[24,94,99,225,95,199,390,98,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a194ee879f1e77435ad72edf054ce3b.jpg",[],{"id":10496,"slug":10497,"title":10498,"dynasty":18,"author":7291,"museum":135,"description":10499,"tags":10500,"thumbUrl":10501,"material":142,"size":10502,"collection":142,"collections":10503,"showCount":10427,"zanCount":11,"manualWeight":54,"mainColor":109},233915,"hua-hui-cao-chong-ce-xiang-sheng-mo-233915","花卉草虫册","项圣谟，生于明代万历二十五年（1597年），卒于清代顺治十五年（1658年），初字逸，后字孔彰，号易庵，别号甚多，已知者有子璋、子毗、胥山樵、胥樵、古胥山樵人、兔鸣叟、莲塘居士、松涛散仙、大酉山人、存存居士、烟波钓徒、狂吟客、鸳湖钓叟、逸叟、不夜楼中士、醉疯人、烟雨楼边钓鼇客等，浙江嘉兴人。祖父项元汴，为明末著名书画收藏家和画家。伯父项德新也善画。项圣谟自幼受家庭熏陶，精研古代书画名作，虽然曾由秀才举荐为国子监太学生，但不求仕进，而把兴趣投入到书画中，从而在绘画创作上，他很早就显现出了多方面的才能，山水、人物、花鸟无一不精，曾得到明末两位最为著名的鉴赏家，董其昌和李日华的高度评价。董其昌在他的画册上题跋，称“古人论画，以取物无疑为一合，非十三科全备，未能至此。范宽山水神品，犹借名手为人物，故知兼长之难。项孔彰此册，乃众美毕臻，树石屋宇，皆与宋人血战，就中山水，又兼元人气韵，虽其天骨自合，要亦工力至深，所谓士气、作家俱备。项子京有此文孙，不负好古鉴赏百年食报之胜事矣”，李日华称赞他的画风“英思神悟，超然独得”，是“崛起之豪”。\n项圣谟的作品，以山水为多，也是他成就的主要方面。他早年从学习文徵明入手，但很快就跳出了文徵明画法画风的局限，而直接向古人学习。这主要是受益於其家族富甲天下的历代名画收藏，从而可以使他很快改学宋人用笔的周密严谨、兼取了元人的韵致。除了宗乳於祖辈的丰富家藏，亦得力其自身的观察自然、远游写生的经验，使其画面布局大开大合，意境明净清雅，结构严谨而富于变化，笔法简洁秀逸，气韵高雅，极富书卷气，具有很高的品格和思想内涵。\n他的画有两点最值得称道，也是当时其他画家所不及的。其一是强烈的政治色彩，他用画反映民间疾苦，寄托对人民的同情和对明王朝的忠贞。在先后经历了“甲申”和“乙酉”之变，满清入主中原后，项圣谟在画上就不再题写朝代的纪年，仅用干支，并钤盖“江南在野臣”、“大宋南渡以来辽西郡人”、“皇明世胄之中嘉禾处士”等印，以彰其志节。此段时间的作品，大多借用绘画抒写胸中郁愤，表现强烈的遗民感情，由徐树铭题项圣谟清顺治三年（1646）所作《山水诗画册》：“六月雪篇有时变之感，望扶桑篇有故国之思，诗史之董狐也。”于画作中寓写深意，反应时代，以画为史。李铸晋认为其在亡国后的作品，蕴含著效忠前朝，表达亡国之痛的图画象徵，如：红色，以“朱”为明朝；枝干壮硕却无叶的树木，喻为国家，虽历风雨，枝干仍傲然挺立，有著不可折屈的精神；在暮色中栖息的飞鸟是无处可归，何处为家之意等。现藏北京故宫之《大树风号图》的题跋“风号大树中天立，日落西山四海孤。短策且随时旦莫，不堪回首望菰蒲”可作其心境写照。\n其二是极其严谨的画风和写实态度。项圣谟善于从生活中摄取素材，他的画贴近现实，造型准确，严肃不苟，一反当时潦草粗疏，追求“逸笔草草”的画风。吴山涛在题项圣谟《秋声图轴》曾说到：“孔彰先生为予老友，作画必凝神定志，一笔不苟，予常嗤其太劳。君曰：我辈笔墨，欲流传千百世，岂可草草乎？旨哉其言也。”可见项圣谟这种严肃认真的好的作风，直接影响到他的画风，使他的绘画在当时的画坛上别树一帜，而赢得了“士气作家俱备”的称誉。\n项圣谟喜画高大的乔木，尤喜画松树，树木勾，擦，染精细，树干之嶙峋，历历几可扪捉，有强烈的凹凸感，而留出的受光部分则颇具体积感，与一般文人画示意性的画法迥然有别，故明时有“项松之名满东南”之誉。他画的大树，树干挺直，刚强伟岸，拟人化的画面形象鲜明强烈，具有强大的人格力量。\n在花鸟画的创作上项圣谟同样具有自己鲜明的特色，尤其讲究造型，经意构图，善于表现花叶和花瓣的层次，向背以及受光点的明暗，从而有别于当时其他花鸟画家的画风。项圣谟很认真地吸收了黄筌画派精谨慎严的审物造物精神，但在画法上，受写意画影响，形成一种工写结合的形式，酲酿了黄筌画派工笔花鸟画新的发展趋势。在技法上，大都以水墨或略施淡彩，有时也纯用色彩作没骨法，色彩淡而不薄。在用笔上，十分凝重秀逸，故而虽有姣妍之色相，却寓嶙峋之风骨，整个调子和气氛，非常飘洒雅致，不同凡俗，好似有一股冷艳暗香浮动其间。他的这种风格在之后的恽寿平、蒋廷锡等人的作品中都有所体现。\n除绘画外，项圣谟亦精书法，善赋诗。其书法端庄严谨，峻拔出脱中不失书卷气。其诗多为题画诗，除了描绘山光水色、自然美景的山水诗外，还有许多是表达其对人民疾苦的同情和对故国的怀念，文辞警策凝重，格调悲壮慨然，反映出他的个性为人。因国破家亡，其晚年家贫，却志存高洁，不结交权贵，靠卖画自给。著有《朗云堂集》、《清河草堂集》、《历代画家姓氏考》、《墨君题语》。",[24,64,332,27,101,119,378,4096,199,7,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F924abbb355c3eba59bb164c267fd9492.jpg","23x31cm",[],{"id":10505,"slug":10506,"title":10507,"dynasty":18,"author":4835,"museum":61,"description":10508,"tags":10509,"thumbUrl":10510,"material":258,"size":10511,"collection":142,"collections":10512,"showCount":10427,"zanCount":11,"manualWeight":54,"mainColor":55},233233,"chun-quan-xiao-yin-tu-juan-zhou-chen-233233","春泉小隐图卷","此图为别号图，是周臣为一位裴姓，号春泉的文人所作。画面起首以裴君的草堂为中心展开，草堂轩敞明亮，陈设简洁，堂外古松盘曲。主人正伏案假寐，堂外一童子持帚清扫，体现出闲雅出尘之趣。其后，板桥连岸，春水潺湲，远处青山逶迤，平湖无涯。中国画中往往绘文人隐士昼眠以示对外界的漠不关心，暗示他们与作官者有不同的享受，宣扬自我解脱、自我慰籍的处世哲学。画家巧妙地突出近景的板桥流水，以示“春泉”之意，又以假寐表示“小隐”，点明主题。\n此件作品在艺术风格上继承了南宋的“院体”画传统，构图洗练紧凑，状物准确生动，人物线条细劲流畅，情态传神。树石用笔刚劲峭利，多为小斧劈皴，墨色浓重而清润，显示了画家高超的绘画技巧。",[24,25,94,26,99,95,32,7,30,97,390,98,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1304a7914be5bc7d69117e298de3e6c9.jpg","纵26.3厘米，横85.5厘米",[],{"id":10514,"slug":10515,"title":10516,"dynasty":344,"author":435,"museum":61,"description":10517,"tags":10518,"thumbUrl":10519,"material":4594,"size":10520,"collection":105,"collections":10521,"showCount":10427,"zanCount":54,"manualWeight":54,"mainColor":109},233160,"cao-tang-shi-zhi-tu-ce-wang-yuan-qi-233160","草堂十志图册","此册山水是王原祁据唐代卢鸿《草堂十志图》图意，分别仿宋、元诸家笔意，重新加以艺术创作而成。卢鸿原作早已失传，今尚存宋人的临仿本，与此册相较甚殊，是画家师其意而不师其迹之作。该册无纪年，以画笔之苍劲，当是画家晚年之作。10页画，有6开设色，并兼用墨笔，色、墨兼施，浑然一体，清丽中有苍厚之致，为画家毕生努力所形成的特色。其晚年曾请告老还乡，屡为康熙帝所挽留，难免有“身在魏阙，心存江湖”之想，此图册似即追慕前贤草堂之隐的无奈心境的写照，为其晚年代表作。",[24,64,332,27,95,99,240,901,241,38,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16167bc107fdf43a3be3d557727deba3.jpg","纵29厘米，横29.5厘米",[105,51],{"id":10523,"slug":10524,"title":10525,"dynasty":59,"author":5224,"museum":135,"description":9562,"tags":10526,"thumbUrl":10527,"material":188,"size":10528,"collection":142,"collections":10529,"showCount":10427,"zanCount":54,"manualWeight":54,"mainColor":55},232877,"guan-shan-xing-lv-tu-juan-zhao-bo-su-232877","关山行旅图卷",[23,3139,24,64,25,118,27,26,99,95,170,33,255,390,31,97,32,7,30,66,76,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe216901204382cc7cea56a1c3e25af7b.jpg","26.4x197.3厘米",[],{"id":10531,"slug":10532,"title":10533,"dynasty":18,"author":7532,"museum":135,"description":10534,"tags":10535,"thumbUrl":10543,"material":142,"size":142,"collection":142,"collections":10544,"showCount":10427,"zanCount":54,"manualWeight":54,"mainColor":109},228496,"yuan-ri-xin-nian-tu-li-shi-da-228496","元日新年图","此作用淡墨晕染出疏朗萧寒的柳林，枝桠错落萧散，衬出元日的清寒底色。河畔村舍错落，堂内乡人围坐把盏，院间孩童嬉闹、邻里揖礼贺岁，桥头水榭行人徐行，处处漫溢着新年的融融暖意。\n画家以松秀灵动的线条勾勒景物，设色简淡古雅，将冬日水乡的清寂与世俗年味相融，写实中饱含诗意。细腻铺陈江南乡间的淳朴乡风，把邻里间的新年温情藏在日常烟火里，让古朴鲜活的乡间元日跃然纸上，尽显雅致又贴近平常的画中意趣。",[23,24,94,27,30,5133,32,1939,2820,10536,7,10537,10538,10539,10540,8081,10541,10542],"枯柳","水乡","新年","贺岁","温情","写实","诗意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6928196d431c0946ab7bed432df00a6d.jpg",[],{"id":10546,"slug":10547,"title":10548,"dynasty":59,"author":6998,"museum":135,"description":10549,"tags":10550,"thumbUrl":10551,"material":142,"size":142,"collection":142,"collections":10552,"showCount":10427,"zanCount":54,"manualWeight":54,"mainColor":55},227954,"shou-shan-fu-hai-tu-zhao-bo-ju-227954","寿山福海图","此作用色古雅沉静，青绿重晕的孤峰卓立沧溟之上，石质苍润朴拙，尽显山岳沉稳厚重之态。细劲墨线勾描层叠水纹，暗合海波悠悠律动。丹红落日悬垂天际，暖赭晕染暮空，群鸦振翅穿翔于天地间，为静谧图景添了灵动生气。\n\n整体构图简括静穆，将祈福寄寓山海：青山喻绵长福泽，沧海托无涯寿数，红日高悬烘托圆满祥瑞。画作承青绿山水古意，以极简构图脱出繁复，将祝寿之旨融于渺远静阔的图景里，静中藏动，淡而有神，尽显雅致沉静的宋画意趣。",[23,117,24,64,118,27,26,95,199,7,1001,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F182ace73bc094636a83c12be026af239.jpg",[],{"id":10554,"slug":10555,"title":10556,"dynasty":59,"author":477,"museum":135,"description":10557,"tags":10558,"thumbUrl":10559,"material":142,"size":142,"collection":142,"collections":10560,"showCount":10427,"zanCount":11,"manualWeight":54,"mainColor":55},227752,"xi-shan-xue-yi-tu-juan-liu-song-nian-227752","溪山雪意图卷","此画因卷首宋理宗（1225-64 年 1225-64 年在位）题词，曾为十一世纪初皇家画院画家高克明之手。 然而，这幅画的风格令人信服地处理对角线后退，使用李唐（约1070-约1150）的“斧头”纹理笔触，以及在被侵蚀的河岸上广泛的水墨画， 表示十二世纪晚期的日期。",[23,24,64,25,95,26,94,99,240,901,33,199,140,7,76,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F452e901ab60cb7582556059cef45093b.jpg",[],{"id":10562,"slug":10563,"title":10564,"dynasty":344,"author":808,"museum":135,"description":10565,"tags":10566,"thumbUrl":10567,"material":142,"size":142,"collection":142,"collections":10568,"showCount":10427,"zanCount":718,"manualWeight":54,"mainColor":262},224513,"shan-shui-tu-ce-8-kai-3-shi-tao-224513","山水图册8开-3","此作用笔纵逸朴拙，以淡赭晕染坡石，浓墨点染林木，皴擦间写出山岩苍浑肌理，远近层次随墨色虚实铺陈开来。近景村居隐于松荫之下，谷间蹊径蜿蜒向林壑深处，远景峰峦裹挟空濛岚气，将山野幽寂尽数藏于尺幅。\n\n题诗衬景，把寻幽山径、千峰如帘的诗意融于画中，尽显林泉山居的澹泊桃源之趣。虚实相生间落笔随性自在，不滞成法，将对山野深秀静穆的偏爱藏在笔底，淡墨浅彩里满是出世幽居的悠然意致。",[23,24,64,332,94,99,95,33,76,98,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa82a28274ae84fa01320bbfa5f181452.jpg",[],{"id":10570,"slug":10571,"title":10572,"dynasty":344,"author":6590,"museum":1308,"description":6591,"tags":10573,"thumbUrl":10574,"material":188,"size":6596,"collection":142,"collections":10575,"showCount":10427,"zanCount":54,"manualWeight":54,"mainColor":109},223054,"hong-lou-meng-179-sun-wen-223054","红楼梦179",[23,24,64,26,27,30,97,32,7,31,120,378,98,1692,38,39,33,518,1288],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10e5eba9e39159cf3c0ab3897bedecf0.jpg",[],{"id":10577,"slug":10578,"title":10579,"dynasty":344,"author":5854,"museum":152,"description":7976,"tags":10580,"thumbUrl":10581,"material":469,"size":10582,"collection":105,"collections":10583,"showCount":10427,"zanCount":718,"manualWeight":54,"mainColor":55},222659,"jiang-shan-chun-ai-zhou-gao-qi-pei-222659","江山春霭轴",[23,24,64,225,27,95,170,169,33,171,72,96,31,32,7,2075,99,227,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb406e40bfb6d589e4d342608c31e30b5.jpg","241.8x128.1厘米",[105,51],{"id":10585,"slug":10586,"title":10587,"dynasty":59,"author":6455,"museum":152,"description":10588,"tags":10589,"thumbUrl":10594,"material":188,"size":10595,"collection":81,"collections":10596,"showCount":10427,"zanCount":54,"manualWeight":54,"mainColor":55},221661,"shan-yao-lou-guan-tu-zhou-xiao-zhao-221661","山腰楼观图轴","此图右侧，仅画江水、浅滩、远渚、烟树，山间一条小路迂回盘旋，经前峰山腰渡口直抵后峰山巅，临近山巅处有一片楼台亭阁，一登山行人已走近。右下临水山岩上两人指看远方美景；左侧最高峰画得半壁实半壁虚，虚处乃为江上水气所迷，上升成岚，后面还添上几座淡淡峭峰，启人高远不可测的“仰止”之叹。山际径路盘曲，有两人策杖而上，而楼观却深深埋藏在山坳幽谷中。该图近山浓重，远山清淡，又形成虚实对比。",[23,24,117,225,95,27,31,96,7,8003,10590,10591,349,40,10592,10593,99],"远渚","山岩","烟岚","径路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ea4c55e52a1cb2248ca13b56096d3fa.jpg","纵179.3cm，横112.7cm",[81,105,51],{"id":10598,"slug":10599,"title":10600,"dynasty":344,"author":10601,"museum":135,"description":10602,"tags":10603,"thumbUrl":10604,"material":47,"size":142,"collection":105,"collections":10605,"showCount":10427,"zanCount":11,"manualWeight":54,"mainColor":109},220258,"tian-chi-xiu-xie-tu-juan-qian-du-220258","天池修褉图卷","钱杜","钱杜画法文徵明细笔一路，文雅秀润。以恬静的书卷之气擅名一时。此卷写湖水初涨，夹岸杨柳绽绿，桃杏吐芳，碧草满坡，一派风暖日丽的早春气象。水边林下，有人结伴寻胜；草亭之中，有人闲话清吟；高阁之上，则有高士倚栏远眺。读钱氏自题诗，知是写朋友清明修禊故事。其典雅清丽的笔墨，与文人雅集的闲适情怀正合。是他即景生情，悠然命笔的精心之作。",[23,27,26,99,95,33,98,32,7,97,122,30,66,350,518,255,390,42,5799],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f81ae9bb1ca4b38dd9cd77551e6d9ed.jpg",[105],{"id":10607,"slug":10608,"title":10609,"dynasty":18,"author":10610,"museum":152,"description":10611,"tags":10612,"thumbUrl":10613,"material":273,"size":10614,"collection":49,"collections":10615,"showCount":10427,"zanCount":54,"manualWeight":54,"mainColor":109},220022,"shan-cai-ding-li-tu-xiang-yuan-bian-220022","善财顶礼图","项元汴","项元汴（明 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工绘画，兼擅书法。有《墨林山人诗集》、《蕉窗九录》等。",[24,64,225,94,95,30,199,7,390,98,169,119,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6608705547db80176fd9fd3ef2b8ff11.jpg","130*30.5cm",[49],{"id":10617,"slug":10618,"title":10619,"dynasty":344,"author":10620,"museum":152,"description":10621,"tags":10622,"thumbUrl":10624,"material":47,"size":10625,"collection":105,"collections":10626,"showCount":10427,"zanCount":54,"manualWeight":54,"mainColor":109},219471,"qiu-ri-shan-ju-tu-gu-da-shen-219471","秋日山居图","顾大申","主峰浑穆苍润，烟霭轻缠峰腰，谷内隐见飞瀑流泉，侧畔古寺露檐，幽寂空灵。山坳林木蓊郁，丹黄点染枝叶，暗合秋意。近滩怪石错落，古木虬曲偃仰，苍皮黛叶间杂霜色。溪岸茅舍柴扉轻掩，静听溪石漱水。\n\n以干笔皴擦写山峦肌理，湿墨晕染铺就空蒙烟岚，设色清隽雅致，将林泉幽居的萧散意趣尽数铺展，把幽人忘俗寄迹丘山的襟怀融在尺素间，淡远冲和，尽显秋日山居清旷之美。",[24,64,225,27,95,99,1357,33,98,169,31,32,7,97,10623],"秋日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e23cb5e36ed224305684f548d71d341.jpg","179.1x70厘米",[105],{"id":10628,"slug":10629,"title":10630,"dynasty":18,"author":5358,"museum":152,"description":10631,"tags":10632,"thumbUrl":10633,"material":27,"size":10634,"collection":51,"collections":10635,"showCount":10427,"zanCount":54,"manualWeight":54,"mainColor":109},219457,"bu-yu-tu-lu-zhi-219457","捕鱼图","芦滩飞雪白茫茫，\n顶寒冒冻捕鱼忙。\n操舟撒网坐渔罾，\n辛勤劳作鱼满舱。",[24,138,94,96,256,7,30,2042,5123,119,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11a1b935711c876124aff6736eb6d7d8.jpg","43.3X34.3cm",[51],{"id":10637,"slug":10638,"title":10639,"dynasty":18,"author":1254,"museum":281,"description":10408,"tags":10640,"thumbUrl":10641,"material":103,"size":142,"collection":142,"collections":10642,"showCount":10427,"zanCount":54,"manualWeight":54,"mainColor":109},217031,"fang-gu-shan-shui-ce-liu-kai-4-dong-qi-chang-217031","仿古山水册六开-4",[23,24,64,332,94,95,99,240,241,97,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F058f786e47ba6cf40da75011cdde6f41.jpg",[],{"id":10644,"slug":10645,"title":10646,"dynasty":344,"author":1385,"museum":135,"description":2299,"tags":10647,"thumbUrl":10648,"material":229,"size":637,"collection":142,"collections":10649,"showCount":5,"zanCount":54,"manualWeight":54,"mainColor":109},290539,"fang-hui-chong-jiang-nan-chun-yi-yun-shou-ping-290539","倣惠崇江南春意",[24,64,332,94,95,96,255,7,119,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F994290e0bb3645a7472b9eda594eed35.jpg",[],{"id":10651,"slug":10652,"title":4716,"dynasty":150,"author":877,"museum":152,"description":4717,"tags":10653,"thumbUrl":10654,"material":404,"size":4720,"collection":142,"collections":10655,"showCount":5,"zanCount":54,"manualWeight":54,"mainColor":55},290135,"qiu-jiang-yu-yin-tu-wu-zhen-290135",[117,24,64,225,94,95,96,2196,98,390,7,76,100,119,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6825a9b589672b07f1adb448c8239461.jpg",[],{"id":10657,"slug":10658,"title":10659,"dynasty":150,"author":8844,"museum":135,"description":10660,"tags":10661,"thumbUrl":10662,"material":229,"size":637,"collection":142,"collections":10663,"showCount":5,"zanCount":11,"manualWeight":54,"mainColor":55},290130,"xi-shan-yan-ting-tu-tang-di-290130","溪山烟艇图","溪畔草亭中，一人弹阮，三人聆听著。小径上，僮子送酒而来。溪上，有人敞胸坐于船头，富有野逸消遥的乐趣。坡石用云头皴，圆润稳厚，有着郭熙一派的面目。",[24,64,95,94,99,96,255,199,7,256,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddb54d68e70be2e10ae4a88c8cd70dc0.jpg",[],{"id":10665,"slug":10666,"title":10667,"dynasty":59,"author":2899,"museum":135,"description":8433,"tags":10668,"thumbUrl":10670,"material":229,"size":637,"collection":142,"collections":10671,"showCount":5,"zanCount":54,"manualWeight":54,"mainColor":55},288545,"jiang-cun-qiu-xiao-tu-zhao-ling-rang-288545","江村秋晓图",[24,25,94,95,635,122,7,33,98,2042,10669,3823],"秋晓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e4bf7eee613995343f6bb7227076da9.jpg",[],{"id":10673,"slug":10674,"title":10675,"dynasty":59,"author":488,"museum":135,"description":6905,"tags":10676,"thumbUrl":10678,"material":229,"size":637,"collection":142,"collections":10679,"showCount":5,"zanCount":11,"manualWeight":54,"mainColor":55},288227,"han-jiang-diao-ting-tu-zhuang-biao-li-cheng-288227","寒江钓艇图（装裱）",[117,24,866,225,94,99,96,306,95,255,98,7,2567,1603,10677],"幽寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda17c8d4d4176bfba2ffea8afab0c08a.jpg",[],{"id":10681,"slug":10682,"title":4891,"dynasty":344,"author":1527,"museum":152,"description":7684,"tags":10683,"thumbUrl":10684,"material":103,"size":10685,"collection":142,"collections":10686,"showCount":5,"zanCount":54,"manualWeight":54,"mainColor":109},287767,"fang-huang-gong-wang-shan-shui-tu-wang-jian-287767",[24,117,64,225,94,27,29,99,95,32,7,98,33,100,119,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6c65d60415a5a08a23fe71311ba2551.jpg","78.8x38.8",[],{"id":10688,"slug":10689,"title":10690,"dynasty":631,"author":10691,"museum":135,"description":10692,"tags":10693,"thumbUrl":10694,"material":229,"size":637,"collection":142,"collections":10695,"showCount":5,"zanCount":54,"manualWeight":54,"mainColor":109},287367,"jiang-xing-chu-xue-tu-yuan-tu-zhao-gan-287367","江行初雪图(原图)","赵幹","全卷描写长江沿岸渔村初雪情景。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。",[24,117,64,95,7,96,306,256,2567,27,26,99,100,2523,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96f85e6f1509e6c29923b9c1726de7f4.jpg",[],{"id":10697,"slug":10698,"title":10699,"dynasty":18,"author":1254,"museum":135,"description":2720,"tags":10700,"thumbUrl":10701,"material":229,"size":637,"collection":142,"collections":10702,"showCount":5,"zanCount":54,"manualWeight":54,"mainColor":109},283737,"qiu-xing-ba-jing-tu-ce-ba-kai-dong-qi-chang-283737","秋兴八景图册（八开）",[24,64,332,866,27,101,100,119,95,240,241,7,1758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79bc40c5e2273545f34270f3d8b5316c.jpg",[],{"id":10704,"slug":10705,"title":10706,"dynasty":59,"author":292,"museum":135,"description":10707,"tags":10708,"thumbUrl":10709,"material":142,"size":142,"collection":49,"collections":10710,"showCount":5,"zanCount":54,"manualWeight":54,"mainColor":55},238123,"luo-shen-fu-tu-juan-yi-ming-238123","洛神赋图卷","山峦烟波连绵铺陈，林木蓊郁掩映着红彩勾描的殿宇与行游伫立的人物，将缥缈仙乡揉入苍古山水间。笔意朴拙苍润，沉雅的设色在旧绢上晕开朦胧古韵，把人神邂逅的缱绻怅惘融在丘林烟水之中。循着长卷舒展，仿佛能触碰那段仙凡相望的怅惋情缘，古典浪漫的幽柔余韵顺着山峦水波漫溢开来，让悠远诗意随着卷幅缓缓流淌，将文字中的缥缈幻境化为可观可感的具象图景，晕染出绵长的东方浪漫意趣。",[117,24,64,25,26,138,27,30,95,503,31,33,169,9741,66,97,139,29,119,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F475d23ff1062208a9ad78b661dc95388.jpg",[49],{"id":10712,"slug":10713,"title":10714,"dynasty":344,"author":1385,"museum":135,"description":10715,"tags":10716,"thumbUrl":10717,"material":142,"size":142,"collection":142,"collections":10718,"showCount":5,"zanCount":54,"manualWeight":54,"mainColor":109},235683,"ceng-luan-you-xi-zhou-yun-shou-ping-235683","层峦幽溪轴","此作用笔松灵秀逸，以浅绛淡彩晕染山峦林泉，笔墨清简却意致悠长。层峦以淡墨轻勾慢皴，敷色明净素雅，衬出山石温润质感。幽溪蜿蜒穿谷而过，渔舟静泊水面，林麓崖畔错落隐着村舍山居，枝叶扶疏间尽显林下清寂。\n题跋与画作相生相融，以书入画更添文人气韵，将江南山野的幽闲之境铺陈开来，观之如踏入世外幽居，沉浸式感受林泉间安谧隐逸的雅趣，尽显文人山水以意驭笔的空灵格调。",[24,64,225,94,99,95,7,96,97,241,1177,98,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe54ca2ae0ddaf9169d825040fa333bfa.jpg",[],{"id":10720,"slug":10721,"title":10722,"dynasty":150,"author":2084,"museum":61,"description":10723,"tags":10724,"thumbUrl":10725,"material":714,"size":10726,"collection":142,"collections":10727,"showCount":5,"zanCount":54,"manualWeight":54,"mainColor":109},233747,"qiu-jiang-dai-du-tu-zhou-sheng-mao-233747","秋江待渡图轴","是图以两段式深远构图法画近树繁茂，远山起伏，中间澄江如练，芦雁惊飞，风吹树杪，一派清秋气氛。岸上一年老儒者携书童坐地待渡，江中一舟载客摇橹而来，意境清幽。画法略近董源，用笔疏简尖硬，是盛氏代表佳作。",[24,64,225,94,27,99,26,95,33,96,7,348,171,122,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f65342cf58865624dc1a8d91ec27f81.jpg","纵112.5厘米，横46.3厘米",[],{"id":10729,"slug":10730,"title":10731,"dynasty":18,"author":267,"museum":400,"description":10732,"tags":10733,"thumbUrl":10734,"material":188,"size":10735,"collection":142,"collections":10736,"showCount":5,"zanCount":54,"manualWeight":54,"mainColor":55},232646,"xi-bian-yin-shi-tu-dai-jin-232646","溪边隐士图","戴进早年受画工父亲戴景祥的影响，从锻工改学绘画，擅长工笔。并且常为寺观做佛像，以精工、细巧见长。同时也受到南宋“院体”的影响。中年时，进京入宫，供奉仁智殿，但因呈献得意之作《秋江独钓图》时，遭馋言而被贬斥，最终离开画院。可以说，这一意外的打击是他绘画生涯的转折点。在京城的后十余年中，他泛学诸家，广交文人画家和士大夫公卿，将宋元文人画家的传统渗入到自己的艺术中。晚年，他离京返乡，卖画课徒。并发展了马、夏苍劲的水墨山水，以更为坚劲、雄阔的笔墨，创造出更具运动感和阳刚气势的山水画新风貌，经后世发扬，遂成“浙派”。\n戴进的坎坷经历是他形成复杂性格的直接原因。由于仕途的失败，理想的破灭，使他采取与世无争的态度，开始淡泊名利，洁身自好，借诗文翰墨来怡养性情。因此，画面中的整体氛围是安逸、祥和的。然而作品虽静、幽却没有元人画中的那种消极、凄凉之感。这是因为戴进不同于那些高蹈远行、浪迹山林的文人画家。他是一位在社会上谋生的职业画家，虽然与世无争却并不回避现实，以于世有补的态度来面对人生。他胸怀旷达、志趣高雅，广泛交友，被誉为“博雅之士”。\n画中描绘了一位超凡脱俗的隐士斜坐在山石之上，在他旁边放着一根拐杖，大概是旅途劳累，故在山中休憩。隐士的神情平和，裸露前胸，从微微低垂的眼神中，可看出他正在倾听身旁潺潺的流水声，真是悠哉、闲适的生活。周围的景物只有山石和树木，一片寂静，惟有小溪的“乐音”萦绕整座山林，一直传进幽深之处。人物悠闲的心态与恬淡的景致自然地融合在一起，一切都是那样的自由，那样的随和，在不经意间透露着一种文人的气息。这是作者艺术风格的简逸一面，但这又不同于元人画风的那种淡泊。画中山石勾勒，坚实峻拔，并运用了南宋马、夏的斧劈皴，皴法迅捷刚韧，犹如石斧雕凿一般。看那偃斜多姿的拖枝松是如此的苍劲有力，它身如虬龙，扎根于硬石之中，直冲云天。其曲折的枝干，每一曲，每一折都流露着倔强与刚烈。好似一位坚强不屈战士，又似一位清高绝俗的雅士，傲然挺立于山巅之上。这种刚毅的气质与平静、幽寂的情境形成了鲜明的对比。而二者又在通情达意之间互为补充，取得了完美的平衡。\n作品在题材、布局和画法上，基本是仿效南宋马远一派。如，通过松树和远山、近石形成的对角线构图，山石运用潇洒利落的斧劈皴，松柏的遒劲挺拔，还有人物衣纹细劲顿挫的勾勒等，都极似马麟的绘画风格。本画为水墨淡彩，整体以水墨为主，只是在山石、树木和人物衣服上都略施以淡淡的绿色。这种淡雅的色彩正体现了画的清逸与闲淡之韵。",[23,24,64,225,94,27,95,30,390,7,171,99,140,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F920c1d68ed02e2884a6e69185f76dca3.jpg","纵137.9厘米，横75.1厘米",[],{"id":10738,"slug":10739,"title":10740,"dynasty":150,"author":8518,"museum":152,"description":10741,"tags":10742,"thumbUrl":10743,"material":103,"size":10744,"collection":142,"collections":10745,"showCount":5,"zanCount":11,"manualWeight":54,"mainColor":109},231417,"shen-yue-qiong-lin-tu-fang-cong-yi-231417","神岳琼林图","此图以写意的笔法，画层峦琼林之景观，画面山色苍茫，意境幽深。\n此图危峰耸立，气势磅礴。近景坡岸延伸，杂树丛生，几条潺泼的小溪汇聚成潭，断岸溪桥，屋字隐伏，流水人家。一条小径蜿蜒曲折，若隐若现，通往山林的深处。远处高峰矗立，山腰云气氤氲，恍惚缥缈，隐约可见一条山径顺着山势盘绕而上。一高上注目远眺，神情闲雅，寄情于山光水色之中。\n此图自题：“岁在旃蒙天荒落三月十一日，鬼谷山人方方壶为南溟真人作神岳琼林图。”",[24,64,225,94,95,2256,33,32,7,171,173,990,99,119,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad2cb1101f18f7f0c099bd9034314950.jpg","纵120.3cm，横55.7cm",[],{"id":10747,"slug":10748,"title":10749,"dynasty":150,"author":10750,"museum":152,"description":10751,"tags":10752,"thumbUrl":10753,"material":2665,"size":10754,"collection":142,"collections":10755,"showCount":5,"zanCount":54,"manualWeight":54,"mainColor":109},231335,"cui-yu-xuan-tu-yuan-dai-ji-jin-zhi-ba-zhuang-lin-231335","翠雨轩图－元代集锦之八","庄麟","庄麟所绘的《翠雨轩图》为元人集锦卷之一，也是庄麟传世的唯一作品。绘临溪的坡岸上设茅屋一间，树木环绕，溪水浅滩，极为渺远。一叟曳杖度桥而来。境界萧疏淡远，静寂清幽。画家以淡墨为基调，用笔清逸流畅。将翠雨轩置于特定的环境中。使观者也似乎感受到远离喧嚣的静谧。\n此图写林中茅屋一间，一老者策杖过桥，步伐坚定,与桥下的溪流淙淙共同构筑了画面的幽寂和飘逸。并不像过去贬斥画工的那些描述那样，很有元代文人画家的趣味。满纸水墨挥洒，不但舒意而且流畅，画家用大写意的手法，画出翠雨轩的茅舍溪桥，画面疏疏密密，浓浓淡淡，没有精心雕琢的痕迹，反而传达了一种萧闲的意境。画上有清代乾隆皇帝的御题诗，对画面意境和风格作了极为贴切的评述。\n以文人的齐居作为绘画题材，元代画家已有涉及，如朱德润 《 秀野轩图》、 张渥《竹西草堂图 》、赵原《合溪草堂图》等。至明代则成为文人画家创作中经常出现的一种题材。",[24,64,94,95,99,25,32,7,350,140,30,199,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cce050135140f0e09ecbb560cf14c24.jpg","纵：26.2厘米，横：65.4厘米",[],{"id":10757,"slug":10758,"title":10759,"dynasty":150,"author":10760,"museum":135,"description":10761,"tags":10762,"thumbUrl":10764,"material":142,"size":142,"collection":142,"collections":10765,"showCount":5,"zanCount":54,"manualWeight":54,"mainColor":55},230870,"cang-lang-du-diao-tu-sheng-zhu-230870","沧浪独钓图","盛著","此作用笔清润简淡，近景坡岸虬松偃蹇，苍枝拂向水面，扁舟系于松下，渔翁垂纶独钓，汀渚蒹葭轻摇，漾出幽寂闲淡之味。平湖如镜隔开远近，彼岸林木蔚然成簇，淡墨晕染出远山层叠，云气空濛将天地晕融一处，虚实相生间铺展出萧散淡远的山水格局。\n\n画师以干笔皴擦写山石肌理，湿墨点染苔树烟岚，笔墨间藏着元人山水的林下之致，将沧浪渔隐的出世意趣融于烟水云山，把遁世忘机的雅兴寄在一竿一线之中，尽显文人画崇尚的林泉高致，满幅皆是清远脱尘的幽寂诗意。",[23,24,64,94,95,96,10763,33,7,199,99,256],"独钓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde68514a3c2323b7552184a3b1e22519.jpg",[],{"id":10767,"slug":10768,"title":4946,"dynasty":18,"author":5268,"museum":135,"description":10769,"tags":10770,"thumbUrl":10771,"material":142,"size":142,"collection":142,"collections":10772,"showCount":5,"zanCount":11,"manualWeight":54,"mainColor":109},228908,"lan-ting-xiu-xi-tu-ding-yun-peng-228908","此作用淡墨白描兼皴染铺展林泉雅境，崇山叠嶂掩映茂林清溪，文人雅士沿水列坐，或临流衔觞、展卷题咏，或围坐清谈、凭栏观眺，童仆往来奉侍，将雅集盛景生动铺陈。线条清劲秀逸，山石林木以淡墨晕染，意境萧散淡远，尽显晋人林下风流。卷后题书与画作呼应，书画合璧，将这场集会寄情山水、旷达疏放的雅韵定格，引观者神游千古雅集，沉醉于丝竹觞咏的幽远意境之中。",[23,24,64,25,26,27,138,99,95,30,97,7,271,543,32,531],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd7c0d19429f605cd3c2867573406663.jpg",[],{"id":10774,"slug":10775,"title":10776,"dynasty":18,"author":645,"museum":135,"description":10777,"tags":10778,"thumbUrl":10779,"material":142,"size":142,"collection":142,"collections":10780,"showCount":5,"zanCount":54,"manualWeight":54,"mainColor":109},228477,"shui-cun-xing-lv-tu-juan-tang-yin-228477","水村行旅图卷","这幅画作取江南水村之景，以开阔平湖开篇，远山衔水，汀洲错落疏林点缀，留白尽显烟波浩渺之致。近崖松柳掩映白墙黛瓦，流泉自壁间垂落，衬出村居幽谧。村道上行旅三人缓行，湖面扁舟泛波，处处漫溢悠然野趣。\n\n其设色秀润雅致，山石皴擦柔和却不失嶙峋质感，林木晕染层次丰盈，兼容院体精工与文人逸韵，将江南水乡的温婉灵秀，同恬然自在的乡居日常相融，把明季文人心中的栖居闲意，藏进尺幅山水之间。",[23,24,64,25,27,99,95,30,66,96,33,170,76,7,1110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d5fd74b5fc2a7f660f6e08bd120b878.jpg",[],{"id":10782,"slug":10783,"title":10784,"dynasty":18,"author":19,"museum":135,"description":10785,"tags":10786,"thumbUrl":10787,"material":142,"size":142,"collection":142,"collections":10788,"showCount":5,"zanCount":54,"manualWeight":54,"mainColor":109},228457,"shu-chuan-jia-li-tu-chou-ying-228457","蜀川佳丽图","此作为青绿山水长卷，以妍雅厚重的石青石绿晕染峰峦，勾勒细劲工致，层叠山岫间烟波舒展，洲渚江岸错落着村郭田庐，铺陈出蜀地锦绣明丽的盛景。卷后行书笔力雄健跌宕，以豪壮文辞呼应山川奇险，书画合璧，将天府形胜的秀绝与笔墨意趣相融，尽显明韵雅致，是诗书画交织的精妙佳构。",[23,24,64,25,118,27,26,100,101,95,31,32,7,122,97,854,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5da99896dff8c7d266f323b45b68470.jpg",[],{"id":10790,"slug":10791,"title":10792,"dynasty":150,"author":10793,"museum":135,"description":10794,"tags":10795,"thumbUrl":10796,"material":142,"size":142,"collection":142,"collections":10797,"showCount":5,"zanCount":11,"manualWeight":54,"mainColor":109},228081,"wei-mo-shuo-jing-tu-li-sheng-228081","维摩说经图","李升","水墨晕染山峦层叠，烟岚轻笼江岸，汀渚林木错落隐现，江天浩渺间漾出空寂禅意。简淡笔墨勾勒萧散清远的山水胜境，将讲经的悠然禅心融于烟水林泉之中，以景衬意，尽显超脱物外的况味。\n\n拖尾题跋笔意苍秀疏朗，书画相映成趣，尽显元人尚意的文人雅韵。整幅长卷删繁就简，于留白间烘托出空灵淡远的禅境，笔墨虽简，却将山水的悠远与释家的沉静完美相融，尽显宋元山水萧散简远的独特意趣。",[23,24,64,25,94,95,99,100,119,170,33,32,7,504,169,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd70c5fc6a158cfb06bc94a9595e27ebe.jpg",[],{"id":10799,"slug":10800,"title":10801,"dynasty":59,"author":399,"museum":135,"description":10802,"tags":10803,"thumbUrl":10804,"material":142,"size":142,"collection":142,"collections":10805,"showCount":5,"zanCount":54,"manualWeight":54,"mainColor":55},227775,"chi-bi-sheng-you-tu-ye-li-tang-227775","赤壁胜游图页","赤壁之战是中国历史上极为著名的战争；它是用灵活战术发挥以寡击众的成功战例。战争从双方集结到交战，前后历时几个月，但却传颂了一千多年，至今不歇。后世以诗词歌赋、艺术书法，戏剧歌曲，各种方式称颂这场战争及参与这场历史盛会的英雄。\n\n赤壁之战除了战争前魏、蜀、吴三方阵营斗智、权谋攻防的尔虞我诈，战争过程中极富戏剧性的发展脍炙人口外，战后的影响也是令后世热衷讨论、研究的焦点。一般说来，魏、吴、蜀三分天下的契机奠定于这场战争。然而，三国鼎立的局面虽然出现了，但最后统一的局面，并非由参与这场战争的任何一方完成。历史的发展，曲折迂迴似乎没有必然的逻辑。\n\n赤壁之战引起后世无尽的兴味，还有一项重要的原因，即为参与这场战争的「与会者」，都成为后世讨论的对象。在中国历史上，很少有一个时代突然出现那麽多人才。就人才分佈而言，各方阵营济济多士、猛将如云。长久以来，后世习惯立场的选择，加上《三国演义》小说、戏剧的推波助澜；因此，读史时便无意中流露出对历史人物的偏爱了。\n\n后世歌咏赤壁的艺术绘画、书法作品众多，我们选辑一批，不用亲临，在纸上感受千年以来赤壁的风云际会。",[23,117,24,64,332,94,27,95,96,390,171,7,30,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe85967083dcbba194a327a2d2f6d7070.jpg",[],{"id":10807,"slug":10808,"title":4946,"dynasty":59,"author":677,"museum":135,"description":10809,"tags":10810,"thumbUrl":10811,"material":142,"size":142,"collection":142,"collections":10812,"showCount":5,"zanCount":11,"manualWeight":54,"mainColor":109},227607,"lan-ting-xiu-xi-tu-li-gong-lin-227607","《李公麟兰亭修禊图》是宋朝李公麟创作的人物画，再现了当年王羲之等人雅集之状，现被私人收藏。",[23,117,24,64,27,28,95,30,31,97,33,98,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36c442252580f8eabaa25ca0afe38259.jpg",[],{"id":10814,"slug":10815,"title":10816,"dynasty":59,"author":222,"museum":135,"description":10817,"tags":10818,"thumbUrl":10819,"material":142,"size":142,"collection":1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nasty":18,"author":10975,"museum":135,"description":10976,"tags":10977,"thumbUrl":10978,"material":142,"size":142,"collection":105,"collections":10979,"showCount":10899,"zanCount":54,"manualWeight":54,"mainColor":55},236896,"shan-shui-hua-hui-ce-shao-mi-236896","山水花卉册","邵弥","此作用笔秀逸松灵，取景简括却意韵悠长。虬曲古松扎根危崖，苍枝舒展间满含劲挺生机。白衣策杖之人缓步山道，形神安闲，恍若幽居之士暂寄林泉。山涧清泉漱石潺潺，流云轻笼天际，衬出空山清寂之境。整体意境萧疏散淡，带着静穆淡远的文人意趣，将幽人栖隐丘壑的雅怀尽数铺展，尽显超然出尘的林下之风。",[24,64,117,332,27,99,95,390,98,169,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90685468beeb5f9c37cf6bf844517d26.jpg",[105,368,51],{"id":10981,"slug":10982,"title":655,"dynasty":344,"author":435,"museum":135,"description":10983,"tags":10984,"thumbUrl":10985,"material":229,"size":637,"collection":105,"collections":10986,"showCount":10899,"zanCount":54,"manualWeight":54,"mainColor":109},236859,"shan-shui-ce-wang-yuan-qi-236859","王原祁，明崇祯十五年（1642年）生，清康熙五十四年（1715年）卒。字茂京，号麓台、石师道人，江南省苏州府太仓人(今江苏太仓)，王时敏孙。康熙九年（1670年）进士，观政于吏部、任顺天乡试同考官，后任直隶顺德府任县（今河北省邢台市任县）知县，地当九河下流，滏漳诸水复久壅塞，腴田变为污渚，圪刘累泊等处，即古大陆泽为患，尤甚甲子乙丑秋雨连旬，水势陡发，堤岸尽壊，田莱俱成巨浸。\n原祁请照淮扬例，永免水荒田赋三千余金，民困以苏其余如，筑堤以防水宪，建桥以通水道，毙盗贼以安民命，明僎介以昭典礼，发仓储以救羸，着迹难以枚举。丙寅，奉命行取擢谏垣，改翰林，累官少司农，卒于位，赐祭葬如例，康熙五十九年入祀名宦。\n以画供奉内廷，康熙四十四年奉旨与孙岳颁、宋骏业等编《佩文斋书画谱》，五十六年主持绘《万寿盛典图》为康熙帝祝寿。擅画山水，继承家法，学元四家，以黄公望为宗，喜用干笔焦墨，层层皴擦，用笔沉着，自称笔端有金刚杵。与王时敏、王鉴、王翚并称“四王”，形成娄东画派，左右清代三百年画坛，成为正统派中坚人物。享年七十四。\n其所著画论有《雨窗漫笔》与《麓台题画稿》。擅长做诗，有《罨画楼集》3卷。\n晚清娄东画派代表人物秦祖永论王原祁画风：『中年秀润，晚年苍浑」；论其画曰：『沈雄验右，元气淋漓，笔端金刚杵之语不虚也」",[24,64,332,94,99,95,240,33,609,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e761a3d5bcf48ddf7d44981a19a3513.jpg",[105,625],{"id":10988,"slug":10989,"title":655,"dynasty":344,"author":3047,"museum":135,"description":7357,"tags":10990,"thumbUrl":10991,"material":142,"size":142,"collection":105,"collections":10992,"showCount":10899,"zanCount":54,"manualWeight":54,"mainColor":109},236588,"shan-shui-ce-cha-shi-biao-236588",[24,94,99,332,95,32,7,33,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9491df3cb3d8b92bf94c07c82473a2d9.jpg",[105,83],{"id":10994,"slug":10995,"title":888,"dynasty":344,"author":9924,"museum":135,"description":10996,"tags":10997,"thumbUrl":10998,"material":142,"size":142,"collection":105,"collections":10999,"showCount":10899,"zanCount":11,"manualWeight":54,"mainColor":109},236444,"shan-shui-zhou-xu-fang-236444","徐枋：(1622—1694)字昭法，号俟斋、涧叟、秦馀山人、雪床庵主人，江苏吴县(今苏州)人。崇祯15年举人，工诗文，书善行草，宗孙过庭及王羲之。山水师董源、巨然、荆浩、关仝，亦宗倪瓒、黄公望，用笔工整，墨气明净，不设色。诗文出入韩、柳间。传世作品有康熙4年《山水》册页，录于《中国绘画史图录》下册；9年作《山水》扇面现藏故宫博物院；24年作《仿关仝山水图》轴，录于《晋唐五代宋元明清名家书画集》。著有《居易堂集》、《俟斋集》等。",[24,94,225,99,95,32,7,140,199,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6512dc7e0e5403960b7c77a4799e4bf.jpg",[105,51],{"id":11001,"slug":11002,"title":11003,"dynasty":18,"author":1571,"museum":61,"description":11004,"tags":11005,"thumbUrl":11006,"material":258,"size":11007,"collection":142,"collections":11008,"showCount":10899,"zanCount":11,"manualWeight":54,"mainColor":109},234253,"shu-dao-nan-tu-juan-zhang-hong-234253","蜀道难图卷","《蜀道难图》是明代画家张宏与书法家韩道亨的书画唱和之作。画中绝壑幽谷，飞流急湍，栈道高架，崖壁千丈，极尽蜀道之险，将李白诗作的波诡云谲与韩道亨书法的笔走龙蛇融为一体，相得益彰。画家不追求面面俱到，仅截取蜀道之一角，便再现出蜀道之崔嵬峥嵘与突兀森郁。其构思之用心，可谓别具一格。",[23,24,64,25,94,27,95,3454,227,101,119,99,169,1960,98,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb61da97da6c5a119c5ac62467270d9a0.jpg","纵32.4厘米 横100.5厘米",[],{"id":11010,"slug":11011,"title":9714,"dynasty":18,"author":4601,"museum":135,"description":11012,"tags":11013,"thumbUrl":11014,"material":142,"size":142,"collection":142,"collections":11015,"showCount":10899,"zanCount":54,"manualWeight":54,"mainColor":109},234151,"shan-shui-juan-wen-bo-ren-234151","文伯仁，明代画家，字德承，号五峰、摄山长、葆生、摄山老农、五峰山人、五峰樵客，汉族，湖广衡山人，系籍长州（今江苏苏州）。文徵明侄子。性暴躁，好使气骂座，少年时曾与叔徵明相讼，一度系狱。工画山水，效王蒙，学“三赵”（令穰、伯驹、孟頫），笔力清劲，岩峦郁茂，布景奇兀，时以巧思发之，名在文徵明之下。横披大幅颇负出蓝之誉，唯构图时有塞实之感。善画人物，亦能诗。其山水画有简、繁两种面貌。简者效文徵明细笔山水，景色疏朗，笔墨细秀，多抒情意趣；繁者出自王蒙，山林层叠，构图饱满，皴点繁密，境界郁茂。\n嘉靖三十年（1551）作《万山飞雪图》轴，现藏日本东京国立博物馆；四十一年（1562）作《都门柳色图》轴、四十五年（1566）作《秋山游览图》卷藏上海博物馆；嘉靖四十三年（1564）作《溪山仙馆图》轴藏广州美术馆；《天目山图》轴、隆庆四年（1570）作《松风高士图》轴藏辽宁省博物馆；《石湖草堂图》卷藏苏州市博物馆；《春山白云图》轴、嘉靖三十九年（1560）作《樵谷图》轴、《雪景山水图》轴藏故宫博物院；《松径石矶图》轴藏南京博物院；《园林十五景图》卷藏得港虚白斋。",[23,24,25,94,99,64,95,240,901,140,32,7,96,97,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68f2feb48eac6eaeea13659aa3c8e7b7.jpg",[],{"id":11017,"slug":11018,"title":11019,"dynasty":344,"author":11020,"museum":61,"description":11021,"tags":11022,"thumbUrl":11023,"material":142,"size":142,"collection":105,"collections":11024,"showCount":10899,"zanCount":54,"manualWeight":54,"mainColor":109},233222,"jin-ling-zhu-jia-shan-shui-hua-hui-ce-shan-shui-ye-wang-gai-233222","金陵诸家山水花卉册-山水页","王概","自17世纪初到18世纪上半叶，以南京为中心的江南地区，产生了比历史上任何时代和地区都要多的画派和画家。《明画录》记载的画家有800多人，其中江苏约有370人，浙江占了200多人，两地画家占总数的75%。尤其是执书画坛牛耳者几乎均为江南人。特别是在明清之际，画坛显得异常活跃，在提倡师古的正统派和注重文学意味的文人画这两种绘画思想影响下，文人画家一方面追求自己的个性，同时，师承相同、风格相近者也在各地活动，或聚合一处，倡导变革风气，形成了许多画派，如以松江人董其昌为首的“松江派”，以常熟画家王石谷为代表的“虞山派”，以明末画坛泰斗王时敏之孙王原祁为首的“娄东派”，以梅清为首的“黄山派”等。南京作为江南首府，明代南都的风姿、历史的悠久、山川的秀丽，赢得了诗人画家不绝的歌咏描绘。其文化的昌盛，经济的繁荣，生活时尚的风流，与书画有关的各行业的便利，皇亲国戚、富商大贾和书画收藏家的存在，使其具有磁铁般的大都会的吸引力，孕育出一批本地画家，也将来自四面八方的艺术家凝聚一起，各派画家聚合会晤，或过往相从，使南京自然成了这种时代潮流的汇合处，产生了为史所称的以“金陵八家”为首的一批画家，以其令人瞩目的创作纵横画坛一个世纪之久。\n\n一、金陵艺术家和金陵八家\n金陵的画坛，自14世纪明初建都至16世纪中期，在明代皇室的偏爱下，先由浙派画家领风气之先，承继北宋以来范宽式的布置茂密、山势伟岸巨嶂山水的整体构图，运用大斧劈皴和墨汁淋漓、快速运笔而形成强劲粗放笔墨效果的所谓浙派绘画，得到明皇室贵族的青睐。自永乐初浙派第一代实力人物戴进到达南京，随后有第二代浙派画家吴伟于1475年挟画技到南京，17岁的小伙子很快便以其笔墨酣畅、雄气横发、纵笔挥洒的绘画风格，受到了金陵贵族的喜爱。吴伟曾与诸王孙交游甚欢，年年踏春杏花村，而吴伟所喜爱的狂欢剧饮、挟妓喧闹以刺激绘画创作的方式，也在著名的秦淮河上得到了实现。继吴伟之后，第三代的浙派画家活跃于金陵的有蒋嵩、张路、汪肇等。\n自16世纪始，由于南京文化界中文人士大夫升为主流，其品味的改变，逐渐导致对绘画品味的改变，意趣深秀、若有所寄的以沈周和文徵明为首的吴派文人山水画影响渐大。随着金陵当地文人的兴起，至嘉靖中期，开始了“金陵初盛之时”，许多来自苏州、华亭的文人和因宫廷政治斗争中被贬谪的保守派成员离开北京至南京，形成一些凝聚力极强的文士集团，互相唱和。这批自居清流的士大夫对艺术的见解，也因政治、历史的原因，而产生一种不愿妥协现实，而以私人化“遣兴”于书画的形式作为一种对自尊的维护和对现实的抗议，故以吴派为代表的文人山水画得以兴盛，而浙派在其大本营的金陵，终因文人文化势力的高涨，而终于完全失去了势力，由此开始了中国文人画的高峰。\n16世纪，南京云集了本地和来自各地的画家，1669年，龚贤曾在周亮工所集《名人画册》上题曰：“今日画家以江南为盛，江南十四郡以首郡（南京）为盛，郡中著名者且数十辈，但能吮毫者奚啻千人”，享有画名的许多画家如文徵明、徐渭、董其昌、石谿、石涛、程正揆等，或造访、或游历、或寓居，都与南京有关。史称的金陵八家，亦有大半为外地来南京寓居者，因此使画家们相互间的学习、切磋和激励也有了许多机会。例如，龚贤自少年时便师董其昌，与石谿、石涛和程正揆等画家都有交往，也与金陵画家共同作画。据记载，1679年，龚贤便与邹喆、吴宏、樊圻、高岑、高遇、王概、柳堉、谢荪一起为伴翁作《山水花卉册》（故宫博物院藏）。画家程邃也在一个手卷的题跋中记述其与吴宏、戴本孝、龚贤、柳堉等常常饮酒论画的友情。\n南京得以凝聚画家的原因，首先与南京作为东南大都会所具有的吸引力和悠久的文化传统有关，并且在明亡后，南京又作为明代故都和故国之象征，从心理上和精神上凝聚了一代遗民艺术家；其次，从艺术的发展来看，因其为大都会，得以广纳百川、融会诸家，较少门户之见，虽然也许不易产生如小城镇所易形成的因血缘和师徒关系为主的派别，但却利于艺术家自由追求和发展其个性和风格；此外，南京为贵戚、富商、高官汇聚之地，有相当的收藏书画的潜力，例如当时著名的官僚、文人和收藏家周亮工，身为朝廷命官，但心喜书画，他不遗余力地收藏品评作品，奖掖提拔画家，也像一块重要的磁铁，将画家们纷纷吸引前来。龚贤在1669年为周亮工题其所集《名人画册》中曾有记述：“诗人周栎园先生有画癖，来官兹土（指南京）结读画楼。楼头万轴千箱，集古勿论，凡寓内以画鸣者，闻先生之风，星流电激，唯恐后至。而况先生以书召，以币迎乎？”周与许多书画家来往密切，他在南京秦淮河畔的居处便成为众好友的活动中心。为史所称的“金陵八家”都与周亮工有密切的联系，龚贤便为其府上的常客，周氏汗牛充栋的藏书藏画使他大饱眼福。龚贤与周亮工有将近20年的友谊，诗画唱酬，造访论道，不绝于时。1672年，周亮工卒，龚贤悲痛地作有《哭栎下先生》七律四首，有句云“哭公独我头全白，在世人谁眼更青”。其他如樊圻在丁酉年（1657）为周亮工而作《江浦风帆图卷》（辽宁省博物馆藏），叶欣在丁亥年（1647）为周亮工而作《山水册》（故宫博物院藏），高岑作《金陵四十景图》，由周亮工题跋，邹喆亦与周亮工诗画 往来。\n凭着对南京画家的了解，周亮工对南京画风的演变和发展曾提出一些观点：“秣陵画，先知惟魏考叔兄弟，翰之出，而秣陵之画一变，士夫衲子无不宗之。”继被视为金陵画派先驱人物的魏之璜（字考叔）、魏之克兄弟和朱翰之后，又由周亮工率先提出“金陵八家”一说，他所列名的八位画家为：陈卓、吴宏、樊圻、邹喆、高岑、武丹、蔡泽、李又李。然而认同者仅有乾隆年间成书的《上元县志》，稍后活动于雍乾时期的张庚，在《国朝画徵录》中合称龚贤、樊圻、高岑、邹喆、吴宏、叶欣、胡慥、谢荪为“金陵八家”，得到较多人的认可。清末秦祖永的《桐荫论画》、李浚之的《清画家诗史》等均主其说，虽然这八家并不一定代表当时知名度最高的画家，且因其师承不同，风格迥异，也难以简单地以“画派”一词来归纳，但这一个松散的画家群体，都有着相近的生活经历和思想感情，在动荡的明清之际，有亡国之痛，有忠君之义，不事新朝，遁迹山林，以诗画寄兴，虽然个性各异，但都安贫乐道，洁身自好，在当地享有“高士”之名，彼此间亦有诗文书画往来，并有共同的朋友圈子相交往。他们之间也有较多共同的创作思想，如借绘画抒写真情，不拘于派系之争，不论浙派吴派，善法必学，故能自辟蹊径，标树己风。在笔墨技法上也有相似之处，如常用硬直之笔，作整饬的线条，画面结构清晰，注重笔墨的整体感，讲究墨色的对比和映衬等，在作画题材上多以南京近郊山水为粉本，均表现出一种简朴平实的绘画风格，由此形成17世纪金陵山水画的独特 面貌。\n\n二、17世纪金陵山水画的文化特征\n金陵画家所创的山水画，具有比较鲜明的地方特色。首先是表现了南京及附近的山水特点。南京虽然为青山环绕，但基本上是以小山头为主的丘陵地带，钟山最高峰也不过海拔442米，然而山色秀美苍润。时人顾起元曾赞叹道：“金陵之山，形家言为南龙尽处，精华之气发露无馀，故其山多妍媚，而郁纡烟容岚气，遝翠霏青，望之如古佛顶上之螺，美人眉间之黛，而特未有奇峰削壁拔地刺天，如瑶篸玉剑突起于云霄之上者。江水一泻千里，沙腾浪涌，天日为昏，最为怪伟。至静夜无风，江声隐起，余尝夜卧洪济燕矶听之，汹汹如欲崩四壁也。后湖泓渟坦沲，堤杨洲菼，绰约媚人，山色四围，如靓妆窥镜。湖山之美，何减虎林。所少者独瀑布与寒泉耳。”金陵画家创作的山水便多以此山景水色为蓝本，起伏的丘陵，苍秀的林木，而北方的那种雄浑伟岸的大山大势则比较少见。第二是南京连接江南水乡，河湖港汊较多，行船泊舟，最是司空见惯，故画家笔下江汀舟楫之景多见，岸矶草亭也成了常见的景色。第三，江南的空气湿润，云雾时起于山林，烟霭常生于河湖，尤其南京冬天昼夜温差有异，水面易生烟气，夏天炎热闷湿，暑气常多漫漫，又似薄雾轻烟，与天相接。在诗人画家的笔下，这氤氲的云烟是别饶情趣的。唐代诗人杜牧在《夜泊秦淮》中歌咏道“烟笼寒水月笼沙”，罗隐在《金陵夜泊》中歌咏“冷烟轻淡傍衰丛”，明代诗人顾梦游则有诗句道“落日淡生烟”，龚贤有诗道“老柳迷夕阳，烟波涨南浦”。画家笔下的金陵山水因此亦多云烟缭绕之状，几乎每个画家都有描绘，其表现或柔和或飘逸或湿润或轻扬，因景因情，因画家的感受不同而富于变化。第四，金陵山水中表现当地特色的景物较多见，例如：钟山的松树。据记载，钟山自东晋时便人工植松，宋代也曾种植，明代在钟山建造明代开国皇帝太祖朱元璋的孝陵，更是植松十万株。钟山青松便成为此一时期常见的山水画题材。第五，金陵山水画中有许多表现了当时文人生活时尚和爱好的内容，如山居、书屋、旅行、品茗、赏妓等，因南京为一著名的山林城市，这些反映时尚的画面也大多安置在秀丽的自然景观中。\n金陵山水画中也映现出浓重的怀旧情结。南京以名胜古迹、文化遗风和风流时尚著称，其处处可成为触景生情的诗、落笔成文的画。在诗人墨客的笔下，金陵怀古是一个永恒的题材，尤其是六朝的名胜典故，更是一个千古难解的情结，令一代又一代的文人陶醉。自唐代以来，诗人李白、杜甫、李商隐、刘禹锡都有著名的诗句传世，此后历代的诗人都不乏佳句。明末清初的文人诗作中或金陵山水画中若题有诗歌的，常常都会流露出这种对以往历史的追怀，六朝的名胜典故总像幽灵一样地在文人的诗画中徘徊。龚贤曾作《金陵怀古》二诗道：“短笛唤愁生，江船夜复清。月明争战地，潮打受降城。残柳欲无影，哀鸿只一声。石矶飞不去，凄绝古今情。”以西晋克吴、孙皓受降的六朝典故，抒发自己亡国的哀痛情怀。又有诗道：“江南六代风流地，白下多年翰墨场。古物已无王逸少，名人独剩顾长康。量宽嗜酒难逢醉，才大论诗莫禁枉。急办青钱买山隐，坐听深树候莺簧。”诗中综述六朝的文化和影响，表现出对王羲之、顾恺之等名人和六朝饮酒论诗等风流时尚的倾慕追往。\n即使那些暂居或游访过南京的画家，对南京也是难以忘怀。17世纪的著名画家石涛曾有册页名《秦淮忆旧》，为应友人之邀而作，回忆昔日与友人同在南京秦淮赏梅聚会的往事，亦引用六朝典故，其中一幅题画诗道：“沿溪四十九回折，搜尽秦淮六代奇。雪霁东山谁著屐，风高西壑自成诗。应怜孤瑟长年伴，具剩槎矛只几枝。满地落花春未了，酸心如豆耐人思。”六朝的文化，就像是一种范式，在明末清初的文人心中反复地出现和被吟咏，足见这种历史怀旧情结的坚韧。\n其三，金陵山水画反映出强烈的热爱故乡的情怀。17世纪，以地方景色为题的山水画比较流行，例如南京博物院收藏有明代宋懋晋的《江南十八景图册》、吴县一带的画家以虎丘山为题的绘画等，是文人画走向社会的表现，也是市民文化发达的结果，而以金陵风景名胜为题的山水画尤其突出。南京人爱恋故乡的强烈和真挚的程度是其他古都历史上所少见的。早在六朝之初的孙吴时期（甘露元年，265年），当吴末帝孙皓由建邺（今南京）迁都湖北武昌，百姓便有童谣道：“宁饮建邺水，不食武昌鱼。宁还建邺死，不止武昌居。”这种不计生死的眷恋，只得让吴帝于次年还都建邺，这在中国历史上恐怕也是绝无仅有的。另一个著名的例子是南唐后主李煜在被宋人俘获北上后，所作诗词中透露对故国山河的深深怀念，令人愁绝痛绝，“恰似一江春水向东流”，是超越时空界限的永远的伤怀。明清之际，金陵八家中，除樊圻和胡慥为本地人外，其余都为外地或郊县寓居南京的画家，但都表现出对南京的情有独钟，书画署名喜用“石城”“金陵”等南京的古称，将自己称作南京人。金陵八家之首的龚贤虽然自昆山移居南京，但对南京的感情很深，视南京为家，在外的奔波使他愁苦伤怀，“身老愁为客，迢迢返旧京”，亟盼着早些回到南京，并把南京选作自己最终的生活地点。明亡后，当他与友人费密同游金陵胜景，登上石头城，遥望长江，触景生情，激起了满腔难平的民族意识，遂发出“橐驼尔何物，驱入汉家营”的悲愤呼号。这种热爱故乡，热爱南京的情感，在艺术家们的笔下便诞生了金陵山水的另一种表现形式—“金陵四十八景”，将金陵的历史典故，风景名胜以山水画的形式和诗歌的吟诵来表现，并借着雕版印刷的简便，而得到雅俗的共赏。\n《金陵四十八景》的形成约在清代初年，其他则先后有零星的以金陵景色为题的书画，较为人知者如《金陵八景》《金陵十景》《金陵十八景》《金陵二十四景》《金陵四十景》等。《金陵八景》据画末题跋可知，作于万历庚子年（1600）春月，为江宁人郭存仁所绘，“八景”为“钟阜祥云、石城瑞雪、凤台秋月、龙江夜雨、白鹭晴波、乌衣晚照、秦淮渔唱、天印樵歌”，一图一咏，多基于六朝以来的历史典故和著名诗作。《金陵十景》，据《石渠宝笈续编》记载，是吴派画家之首的文徵明，在游览了金陵山水名胜后所作。《金陵十八景》为文徵明的侄子文伯仁（1502-1575）所绘，他号称摄山老农（摄山即今栖霞山），曾居住在南京，为金陵美丽的风光所感动而绘此图册。《金陵二十四景》，据1956年在湖南省长沙市发现的文物，是由文学家吴敬梓（1701-1754）所写《金陵景物图咏》，每篇诗末都注明所仿的碑帖，诗句工整，对南京的历史了如指掌。《金陵四十景》为太史朱之蕃所作。朱之蕃，江宁人，字元竹，号兰嵎，万历二十三年（1595）进士第一，工山水画，注意收集家乡江宁的山水名胜资料，“共得四十景，属陆生寿柏策蹇浮舫，躬历其境，图写逼真，撮举其概，各为小引，系以俚句”。图咏成后，朱之蕃命名为《金陵四十景图考诗咏》，并与当时的另一位太史杜士全常在金陵雅游，相互凭图咏唱。清初，金陵八家之一的高岑，字蔚生，虽老家在杭州，客居南京，但也倾心相爱这个城市，常署名“石城高岑”，平时也注意收集南京的历史资料，遍游南京的风景名胜，并在前人研究金陵胜景的基础上，精心绘制了《金陵四十景图》。清户部右侍郎、著名文人周亮工（1612-1672）为该图册写了题跋，这些图以后被刊入康熙年间的《江宁府志》。清代初年，又发展成为“金陵四十八景”。\n金陵画家包括八家的山水画中，亦有许多以金陵胜景为题的作品，甚至几代画家都钟情于此，父子者如邹典、邹喆，便都介入这一题材的创作。美国学者高居翰的景元斋收藏的《晚明人山水册》，共有10页，为不同的画家所绘，但都以南京的景色为题，如魏节“燕子矶”、黄益“献花岩”、龚达“龙江关”、谢成“幕府台”、龚贤“清凉台”、黄益“鸡笼山”、盛于斯“天阙山”、陆瑞征“玄武湖”、邹典“灵谷”、张翀“报恩塔”。又如，龚贤有《摄山栖霞图》《清凉环翠图》（故宫博物院藏），其他的金陵画家：樊圻有《江浦风帆图》、高岑有《天印樵歌图》（天津艺术博物馆藏），描绘南京附近天印山的景观，邹喆有《石城霁雪图》（上海博物馆藏），描绘南京的雪景，叶欣作《锺山图》（故宫博物院藏），描绘南京这一名山的景色。樊圻的《金陵寻胜图》，按照画后的题跋来看，应当还有吴宏的“燕矶”“莫愁”，龚贤的“清凉”“摄山”，陈卓的“天坛”“冶城”，柳堉的“天印”等画，皆是依金陵名胜的各景点而作的命题画。\n更难能可贵的是，柳堉在樊圻所绘的《金陵寻胜图卷》的题跋中还记载了当时南京人收藏金陵山水画，并以邀得名家作此命题画为荣的风尚，被视为金陵胜事，并引用一句“唯有家山不厌看”的古诗来解释这种特殊的现象。虽然这些地方山水画的繁荣或许与商业有一定的关系，但这种来自社会的热情要求和支持，足见南京人对自己故乡的热爱，这确实也是促使17世纪金陵山水画发达的原因之一。\n总之，以金陵八家为首的金陵画家，虽然各有师承，面目不一，但都能深入生活，以金陵近郊的山山水水为其粉本，融六法之精髓，入天然之丘壑，将热爱故国故乡的一腔真情和满腹怀恋都倾注于山岚变幻、草木蔚然的山水画中，故使金陵山水画独树一帜，在17世纪的画史上留下了辉煌的一页。古人道：诗为心声，画为心印，书为心画。明末清初的17世纪，金陵画家们所具有的独特艺术面貌，正是由特定的历史文化环境所造成的，从画家们无限的伤心和满怀勃郁的精神气质升华而来。那种强烈的民族意识和爱国情结，正是金陵画派山水作品内涵的共鸣、精神的统一和灵魂的所在。一位西方学者曾指出，南京是中国古都中最引人注目的城市，因为她曾经是并将永远是中国最令人怀旧和动情的城市。确实，那千古的金陵历史，千古的诗泉画源，千古的文人之魂，正是17世纪南京文化艺术繁荣的历史基因，也正是她的永恒魅力所在。",[24,64,332,94,99,95,1397,140,32,7,30,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ff0b9d658a27fac0225545bf52f27ce.jpg",[105],{"id":11026,"slug":11027,"title":11028,"dynasty":150,"author":1032,"museum":61,"description":11029,"tags":11030,"thumbUrl":11031,"material":258,"size":11032,"collection":142,"collections":11033,"showCount":10899,"zanCount":54,"manualWeight":54,"mainColor":55},233219,"you-ju-tu-juan-qian-xuan-233219","幽居图卷","此图是钱选所绘的青绿山水画作之一。图中湖光山色静谧幽淡，展卷之始见三五秀石零落坡边岸角，青松虬曲其上，村居掩映树石之间，一叶小艇驶向水平如镜的湖中，对岸碧峰起伏，参差错落，楼阁为茂林所环抱，茅舍隐现丛树兀石之后，幽居之景、之境、之情、之趣毕现于纸上。其画山石树木皆用方折的线条勾出轮廓，不作皴法，敷以青、绿、赭等色，山脚处略施金粉，于严整工致中见古拙秀逸之气。图的右上方自题“幽居图”三字，其中“幽”字残缺严重，形近“山”字，故亦被称作“山居图”。本幅及前后隔水有“怡亲王宝”等印共29方，尾纸上有纪仪、纪堂、高士奇、邵松年等人的题跋。\n钱选的山水画以青绿设色为主，近师南宋赵伯驹，远溯杨隋展子虔、李昭道，运笔有生拙之趣，设色明快不失艳丽，布局张弛得度，疏密有致，自成风貌。我院另藏《山居图》一卷，虽与《幽居图》构图相异，但笔法、设色同出一源，两者堪为“双璧”。《浮玉山居图》卷（藏上海博物馆）则是钱选以水墨为主的代表作，卷中山石的阴阳向背用墨笔勾皴来表现，花青淡施丛树小草之上，清逸秀润之气溢出卷外，别具一格，与其青绿山水有异曲同工之妙。\n论成就，钱选跳出两宋院体的窠臼，追求晋唐作风，在元初画坛独树一帜，对开创一代画风起了积极的作用。然而，由于赵孟頫与“元四家”的山水画更符合文人重笔墨、尚意趣的审美观念，和他们相比，钱选对后世的影响便略逊一筹了。",[24,64,25,118,27,26,99,95,240,901,241,97,32,7,96,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横115.9厘米",[],{"id":11035,"slug":11036,"title":11037,"dynasty":18,"author":5268,"museum":152,"description":11038,"tags":11039,"thumbUrl":11040,"material":659,"size":11041,"collection":142,"collections":11042,"showCount":10899,"zanCount":11,"manualWeight":54,"mainColor":55},232691,"lu-shan-gao-tu-zhuang-biao-ding-yun-peng-232691","庐山高图（装裱）","此作构图紧凑密实，以细笔牛毛皴描写山石；有似王蒙的笔法，古朴厚实，浑然天成。在山体架构的布局上，又与沈周《庐山高》有些相似，甚至篆书题写《庐山高》三字的手法也和沈周作品基本雷同。所绘山头的岩石为卷云皴，造就这种看似有动态的效果，此类笔法在丁云鹏的作品中很少见。",[24,64,225,95,26,99,27,7,98,33,169,173,990],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7c9ae8dad645098bbcb66538a53dd21.jpg","193.8xx98.1厘米",[],{"id":11044,"slug":11045,"title":11046,"dynasty":150,"author":7647,"museum":152,"description":11047,"tags":11048,"thumbUrl":11049,"material":335,"size":11050,"collection":142,"collections":11051,"showCount":10899,"zanCount":54,"manualWeight":54,"mainColor":109},231337,"guan-dao-sheng-yan-yu-cong-zhu-yuan-dai-ji-jin-zhi-er-guan-dao-sheng-231337","管道昇烟雨丛竹－元代集锦之二","管道升善画竹，就存世画件，则有北京故宫藏《赵氏一门三竹图卷》中的第二件《墨竹》。此卷本安歧旧藏。安氏评以：“密叶劲节，不似闺秀之辈。”安歧旧藏又有赵孟頫、管道升《蕙竹合作卷》，安氏记以：“墨竹一枝，竹叶萧疏，枝节秀劲。”从这些描述来看《烟雨丛竹》，都不贴切。\n这幅《烟雨丛竹》不是习说的“墨竹”，而是当作于山水画的竹林图。从古老的诗经“瞻彼淇奥，绿竹猗猗”到“渭川千亩”，再到杜甫移种万竿于浣花草堂：“我有阴江竹，能令朱夏寒，阴通积水内，高映浮云端。”这种意念，移之于画作。明张丑记东坡居士《断山丛筱真迹》：“又见东坡《万竿烟雨》小帧。绢本精细，歇云眉山苏轼。下有飞白坡石，兼远景烟霭，极精。上方文征仲诗跋，称许娓娓可诵也。”“飞白坡石，兼远景烟霭。”移之于这幅《烟雨丛竹》，也是合宜的。又画史上倪瓒创出的《十万图》《万竿烟雨》即为第一题目。安歧记此画：“作淡墨细竹，沙渚遥浦，其间烟雾横迷，万玉幽深，茫茫有渭川千亩之势，坡陀皴法大类松雪，布景一派平远天真，秀妙绝伦，实为佳品。”也从此立意。\n《烟雨丛竹》画竹不分节，一笔不断由下方到顶端完成。竹叶形状细劲，结组繁而不乱。墨色用前浓后淡来区分出远近；画山坡是一般的山水皴法，沙渚丛竹，掩映于烟云中。新篁成丛与赵孟頫《自写小像》（1299作）的竹林画法是接近的。两件画竹叶，都是向上仰，做“燕尾”式的交合，且是前浓后淡的竹叶丛。竹竿《自写小像》并不一直顺畅到顶，略有些小转变。《自写小像》是青绿重彩，竹注重“墨骨”来衬托出色彩。《烟雨丛竹》是水墨层层迭迭渲染，烟云变灭，做得极为细致。技法上容有相通，情怀却不一。画平坡石块，《自写小像》画得古拙，而《烟雨丛竹》反而是老练成熟。",[24,64,25,94,138,543,5947,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bdc9f3061b89318e38a118057564b00.jpg","縱23.1厘米，橫113.7厘",[],{"id":11053,"slug":11054,"title":11055,"dynasty":150,"author":11056,"museum":135,"description":11057,"tags":11058,"thumbUrl":11060,"material":142,"size":142,"collection":142,"collections":11061,"showCount":10899,"zanCount":54,"manualWeight":54,"mainColor":55},228166,"qing-quan-qiao-mu-tu-li-zhou-li-shi-xing-228166","清泉乔木图立轴","李士行","此作笔意苍浑老辣，绘就冬日山林清寂之境。古松主干虬曲斑驳，疤结累累尽显沧桑，枯槎劲枝凝着寒雪，垂挂的薜萝如缕，幽幽晕开森寂古意。旁侧次干同样瘦硬嶙峋，无叶枝桠斜曳，尽展岁寒不屈之姿。\n\n下方寒泉漱石，水波清浅澹澹，淡墨晕染出空濛水岸，山石以简括皴擦带过，野趣自生。留白铺陈开空寂冷逸，将简淡疏朗融于笔墨间，寄寓着超脱尘俗的林下雅怀，清寒中见出沉静高旷的风骨。",[23,24,64,117,225,94,99,95,11059,4354,98,7,255],"乔木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb6e577b57078bcf149c3b060edbb579.jpg",[],{"id":11063,"slug":11064,"title":11065,"dynasty":59,"author":292,"museum":135,"description":11066,"tags":11067,"thumbUrl":11068,"material":142,"size":142,"collection":142,"collections":11069,"showCount":10899,"zanCount":54,"manualWeight":54,"mainColor":109},227936,"feng-yu-gui-zhou-tu-ye-yi-ming-227936","风雨归舟图页","这幅扇面以淡墨晕染出烟笼远岫，山影在濛濛水雾里晕开，似有风雨欲来的湿冷之意漫过江天。近岸老树虬曲偃仰，枝桠带风，坡石苍润间杂生的丛草随势披拂，暗合风动之姿。\n\n江面波痕隐现，孤舟破波疾行，舟中人敛缩身形，将急欲归乡的羁旅心绪藏在烟霭里。整幅以留白与晕染营造空濛层次，咫尺扇面铺展出江天浩渺的悠远意境，把江南骤雨将临的萧疏冷寂烘托尽致。淡墨轻岚间，将归思怅惘融在烟水迷茫之中，尽显含蓄雅致，以小见大，在尺幅之间晕开悠悠诗意。",[23,24,64,1551,94,27,95,99,96,306,98,33,7,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff166f0b2b34f8ed7374b455745c84edb.jpg",[],{"id":11071,"slug":11072,"title":11073,"dynasty":344,"author":3211,"museum":135,"description":11074,"tags":11075,"thumbUrl":11076,"material":142,"size":142,"collection":142,"collections":11077,"showCount":10899,"zanCount":11,"manualWeight":54,"mainColor":109},224353,"shan-shui-tu-li-zhou-sun-yi-224353","山水图立轴","此作用高远、平远构图错落铺展，左畔危崖层叠拔地而起，以留白晕出流岚烟霭，虚实相映间尽显山势空灵秀奇。以浅绛设色写就，山石勾勒细劲挺秀，淡赭敷色晕染出清润苍朴的质感，笔简意赅。\n\n下方村居隐于岩岫竹木间，野桥通幽，士人凭栏远眺，幽寂闲适的山居雅趣跃然纸上。整体画风萧散淡远，尽显静穆清逸的文人意韵，将皖南山水的冷隽灵秀与林下幽居的雅怀相融，尽显遗世独立的审美意趣。",[23,24,64,225,27,99,95,97,32,7,199,241,76,168,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb49b9c0e92967b4ce30f0222df23738f.jpg",[],{"id":11079,"slug":11080,"title":11081,"dynasty":344,"author":11082,"museum":152,"description":11083,"tags":11084,"thumbUrl":11085,"material":11086,"size":11087,"collection":105,"collections":11088,"showCount":10899,"zanCount":54,"manualWeight":54,"mainColor":109},222843,"hua-wan-he-xiang-yun-zhou-hong-wu-222843","画万壑祥云轴","弘旿","弘旿（1743-1811），为康熙帝玄烨孙，字恕斋，又字醉迂，号一如居士、瑶华道人，官封固山贝子。兼工诗、书、画，有三绝之誉。画初学董邦达（1699-1769），又上追宋、元，笔墨秀润，山水特为蓊郁华滋。本幅为全景式布局，画松壑重重高起，山中并见烟云缭绕，景境幽深。居中的主峰，峰顶矾头错落，并用短笔点簇密林，饶有浑厚峻拔的气势。右下方自题「恭仿范宽笔意」，惟皴山多用长笔披麻，已去范宽（约950-1031间）风格甚远。",[23,24,225,95,94,27,99,240,821,390,32,7,76,98,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb6dc0050c390fb85ef72eff1bad4a7b.jpg","立轴，纸本，设色","112.2×53cm",[105,51],{"id":11090,"slug":11091,"title":11092,"dynasty":18,"author":251,"museum":7204,"description":9119,"tags":11093,"thumbUrl":11094,"material":7397,"size":11095,"collection":142,"collections":11096,"showCount":10899,"zanCount":54,"manualWeight":54,"mainColor":109},222586,"shan-shui-ren-wu-tu-lan-ying-222586","山水人物图",[23,24,94,99,225,95,30,96,390,168,98,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F396b38187718c407d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横51CM",[],{"id":11098,"slug":11099,"title":11100,"dynasty":18,"author":645,"museum":830,"description":11101,"tags":11102,"thumbUrl":11103,"material":335,"size":7641,"collection":142,"collections":11104,"showCount":10899,"zanCount":54,"manualWeight":54,"mainColor":55},222337,"qi-feng-gao-yin-tu-zhou-tang-yin-222337","奇峰高隐图轴","唐寅（1470年－1524年）明代著名画家、文学家。字伯虎，又字子畏，以字行，号六如居士、桃花庵主、逃禅仙吏等，南直隶苏州吴县人。吴中四才子之一。在画史上又与沈周、文征明、仇英合称“明四家”或“吴门四家”。\n据称唐寅作画时间甚早，而且无师自通。吴一鹏在《贞寿图卷》上提款：“岁丙午，子畏年止十七，而山石树枝如篆籀，人物衣褶如铁丝。少诣如是，岂非天授！”早年唐寅可能也跟文征明一样，向沈周学画。如王稚登在《吴郡丹青志》中的《沈周先生传》里写：“一时名士，如唐寅文壁（征明）之流，咸出龙门，往往致于风云之表。”但如今所看到唐寅的 中，有沈周影响的风格很少，可能早年作品亦多不存，所以难以知道。\n唐寅较为人所理解的，是拜画家周臣为师。研究认为他也许是在泄题案之后，才开始向周臣请益。由于周臣的画风远摹南宋画家李唐、刘松年，所以唐寅的作品也多被人认为有李刘风格。美术史对唐寅山水画的讨论中有周臣代笔的问题，目前仍没有比较清晰的理解。唐寅的作品以山水画、人物画出名，亦有花鸟竹石的作品存世。一般而言，都将唐寅的绘画风格分做三期，但由于许多有纪年的作品多集中在唐寅的晚年，早年的风格分期便有许多争议。唐寅 亦好，早年的书风比较靠近颜真卿，后来比较接近李邕、赵孟睢\n自明末以来，在讨论唐寅作品，均把他分到吴派，并与沈周、文征明、仇英等画家并称“吴门四家”，或称“明四大家”。但唐寅的画风与沈周、文征明并不相同，而严格来说，也不能将唐寅的风格迳归为吴派。因为相较于一般吴派多追随元四大家的画风，唐寅作品里元四家的影响相当的少，反而有比较多南宋院画家的影子。但多数的人，都称唐寅是揉合“南”、“北”的重要画家。",[23,24,64,225,27,99,95,5176,168,32,7,33,98,31,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83dc2042fc9030013065e4ae628ede20.jpg",[],{"id":11106,"slug":11107,"title":11108,"dynasty":150,"author":6281,"museum":400,"description":11109,"tags":11110,"thumbUrl":11111,"material":188,"size":11112,"collection":105,"collections":11113,"showCount":10899,"zanCount":11,"manualWeight":54,"mainColor":109},221916,"luo-fu-shan-qiao-tu-juan-chen-ru-yan-221916","罗浮山樵图绢","此图所绘罗浮 山，位于广东增城县 东，为东晋葛洪得道 之处。作者在幅上自 识：“至正二十六年 （1366） 正月望后庐 山汝言为思齐断事 写罗浮山樵图。”图 绘群山层叠，一峰高 耸，两山接合处有山 泉流泻而下；坡岸上 树木林立，枝叶茂 密，有茅屋、楼阁错 落其间；山谷中村落 隐现；远处对岸，峰 峦犹见。图中山势圆 匀，作长披麻皴，再 以淡墨渲染，此为 董、巨法。但线条时 断时续，却有些王蒙 的解索皴的意味。山 头碎石堆叠，形似 “矾头”。近树枝干挺 直，粗笔点叶。这些 都是依循董源《夏景 山口待渡图》及巨然 《层岩丛树图》而来。 此 图虽在技 法 上学了董、巨，但呈 现的效果，却逊色许 多。这是由于陈汝言 用笔偏于繁细劲利， 笔力偏硬，缺少圆 浑、厚实之感。并且 在营造山水意境方 面，也缺少整体感。 山头大多各自独立， 只交代了山脉走向， 而缺乏山川气象。 其时已是元末， 山水画总的在趋向 简率、写意。如陆广、 赵原等画家，无论构 图、笔墨，都呈现简 单化的现象。陈汝言 用笔虽见粗阔，但由 于其好友王蒙对他 的影响，使其勾、皴 依然缜密、清润。 陈 汝言等一 批 元末“吴门”画家，承 续宋元文人画传统， 虽未取得重大突破， 却为“吴派”的诞生 起了先导作用。",[23,24,64,94,99,225,240,168,173,171,33,7,98,170,868],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F736082c81e3db2b9eeab62f1bc5401da.jpg","70x53.5",[105,83],{"id":11115,"slug":11116,"title":11117,"dynasty":59,"author":209,"museum":61,"description":11118,"tags":11119,"thumbUrl":11121,"material":2380,"size":11122,"collection":142,"collections":11123,"showCount":10899,"zanCount":54,"manualWeight":54,"mainColor":55},221571,"wu-zhu-xi-tang-tu-ye-xia-gui-221571","梧竹溪堂图页","《梧竹溪堂图》为一山水小品。此图画山间一茅舍，旁有梧桐、修竹环绕，远处则是青山隐隐。画面景物平常、简约，却蕴含着清旷、幽深、静谧的意趣。\n此画设色画修竹、梧桐、茅屋、远山。这是一幅近似正方构图的小品山水画面。画中主要突出近景，近景描绘细致而写真，远景则粗淡而画虚，又是一幅虚实结合的山水风景画。近景是高大而扭曲的夹叶梧桐树，及挺立而柔姿的翠竹，在微风中摆动，互相交映，茅屋及草堂在树荫下显露。在这幽静的环境里，一位隐士在草堂中，面对高山溪水观景赋诗，敞开胸怀，歌颂大自然的美景。在茅屋与草堂前有护栏同着的院庭，主人在庭院里闲散时，可以听到溪水潺潺声，树叶的沙沙声，以及远处山风的呼啸声，同时可以怀诗朗颂；远景朦胧中有山峰映显，是山溪水的升腾，使山峰尤如在云雾中飘移。这水声、风声及诗人在山水问的朗渎声，可以组成人间大自然美好交响乐章，这就是夏圭山水中的具笔墨淋漓、云烟变态，饶有士大夫风骨的画面。\n此画设色画梧桐、修竹、茅屋、远山。构图上采用“一角”画法。画竹、树疏朗简洁，布局巧妙。全画笔法苍老劲健，下笔疾速果断。画中茅屋随手勾出，显得严谨而活泼。整幅画面层次鲜明，用浓墨写近景，再用淡墨画栏杆，远山则用花青略加渲染，使画面产生了强烈的空间感。\n构图上采用所谓“一角”、“半边”之法，主要景色都集中在画面下部，左侧取其大自然中真实一角，与右旁渺无人烟的画面，只有山影在茫茫的雾气中浮动，构成了意境深远的山水画。所画竹、树疏朗简洁，布局巧妙，作者以粗笔浓墨勾出梧桐树干及叶丛，用中锋画竹竿，以楷书写竹叶，堂宇、栏杆画得破有成规，近处山石棱焦清晰，并有青苔点簇，树林中蕴现的秀石以浅墨勾出，又以淡水墨染之，与装饰性的梧竹，形成色差的对比。画中茅屋，不用界尺，随手勾出，显得严谨而活泼。远远的山形与天色几乎相混，只见有一笔勾之，远山用花青略加渲染，造成的深远景色，只能让观者在意境中识别，这是夏画中的意取胜的展现。在此幅画中，见到了作者较富装饰性的山水画。以自识“夏圭”款二字于左方树干上。\n《梧竹溪堂图》画面简明地分成虚实两块，正是典型的“夏半边”构图。画中树木干枝曲折多弯，亦与马远树法相同。惟其用笔苍润含蓄，不似马远瘦硬刚劲，这大概与夏圭好用秃笔有关。建筑物也是用毛笔信手勾勒出来的，透视、比例都很合理，虽不及马远的界画法工细，却也别有韵味。若再细看，不难看到房柱、栏杆之类建筑构件是以较严谨、沉稳的线条组成，画屋顶茅草的线条则显得疏松、随意，这一细节透露出画家信手勾勒时仍很有分寸。由于画小景物不多，夏圭善用墨色的特点在《梧竹溪堂图》中表现得不是非常充分，然其墨色浓淡相济，足以将画面空间交待得层次分明，使景物密集处也有了几分空灵感。",[23,117,24,64,3658,979,94,99,95,39,11120,1177,350,98,7,2184,33,38,4449],"梧树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ebac27779930c3568caeff06fba9120.jpg","纵23厘米，横26厘米",[],{"id":11125,"slug":11126,"title":11127,"dynasty":344,"author":2309,"museum":61,"description":8570,"tags":11128,"thumbUrl":11129,"material":335,"size":8573,"collection":142,"collections":11130,"showCount":10899,"zanCount":54,"manualWeight":54,"mainColor":109},220320,"huang-shan-tu-ce-9-hong-ren-220320","黄山图册-9",[23,24,94,95,332,99,7,98,33,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c3f24836a98c1dbd40e046df6418e26.jpg",[],{"id":11132,"slug":11133,"title":11134,"dynasty":344,"author":11135,"museum":423,"description":11136,"tags":11137,"thumbUrl":11140,"material":103,"size":11141,"collection":105,"collections":11142,"showCount":10899,"zanCount":54,"manualWeight":54,"mainColor":109},219915,"xia-shan-lin-guan-tu-wang-yu-219915","夏山林馆图","王昱","王昱（1714——1748），清代文人画家，字日初，号东庄老人，又号云槎山人、丹林，江苏太仓人。与清代画家王玖、王宸、王愫合称“小四王”。东庄老人师承娄东“四王”一脉，喜山水，其画淡而不薄，疏而有致，笔意在倪瓒、方从义之间。",[117,24,64,225,94,95,99,98,33,7,11138,7468,11139],"馆舍","亭屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0c382ccf195e33d1e5689e31fa5aaf5.jpg","105.1x49.8",[105],{"id":11144,"slug":11145,"title":630,"dynasty":59,"author":292,"museum":152,"description":11146,"tags":11147,"thumbUrl":11148,"material":47,"size":11149,"collection":105,"collections":11150,"showCount":10899,"zanCount":54,"manualWeight":54,"mainColor":55},218813,"guan-shan-xing-lv-tu-yi-ming-218813","画的是关山高远的山峰和秋天的悲凉森林，一个骑着毛驴的学子正在过一座小桥。这幅画没有标记，有两个虞姬的符号，考虑到其解体时使用的笔法，可能是元代的作品。",[23,24,64,94,27,95,99,227,30,33,98,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b596fb7fe0dbb2cec842c835d50fd6a.jpg","26.7x27.8",[105],{"id":11152,"slug":11153,"title":11154,"dynasty":18,"author":292,"museum":316,"description":8389,"tags":11155,"thumbUrl":11156,"material":103,"size":142,"collection":142,"collections":11157,"showCount":10899,"zanCount":54,"manualWeight":54,"mainColor":109},217949,"ming-ren-shan-shui-hua-ce-liu-yi-ming-217949","明人山水画册(六)",[23,24,94,99,332,95,241,98,7,348,1045,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2020fb7e4bf77496f47c6fab3f8b8ac7.jpg",[],{"id":11159,"slug":11160,"title":11161,"dynasty":18,"author":387,"museum":152,"description":11162,"tags":11163,"thumbUrl":11165,"material":404,"size":11166,"collection":105,"collections":11167,"showCount":10899,"zanCount":54,"manualWeight":54,"mainColor":55},216103,"jiang-fan-gui-zhao-wen-zheng-ming-216103","江帆归棹","淡墨晕染间，江南水乡的氤氲之态尽显。远山隐于薄雾，轮廓柔和如黛；近岸林木疏朗，墨色层次清雅。江帆数点，似叶浮于粼粼波光；归棹轻摆，携着晚归的悠然意韵。文徵明以细劲中锋勾勒山石，披麻皴缓铺肌理，线条温润却藏筋骨。画面简而不空，每一处笔触皆含文人情致——对自然的亲近，对归居的向往，尽融于烟水帆影之中。吴门画派的秀逸典雅，在此化作含蓄诗意，引人沉湎于那份宁静致远的心境，仿佛能闻流水轻响，见晚风拂过帆樯。",[24,64,332,94,27,95,99,96,7,122,97,11164,32,140],"帆影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0d75f0a81c2bd9003aebb84de1cdf41.jpg","36x55cm",[105],{"id":11169,"slug":11170,"title":11171,"dynasty":344,"author":1336,"museum":1308,"description":1337,"tags":11172,"thumbUrl":11173,"material":273,"size":142,"collection":142,"collections":11174,"showCount":10899,"zanCount":54,"manualWeight":54,"mainColor":109},214491,"fang-gu-shan-shui-tu-2-cheng-ting-lu-214491","仿古山水图-2",[23,24,2880,27,95,96,7,30,1287,332,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e5615a13e6125147c6c829aecba1190.jpg",[],{"id":11176,"slug":11177,"title":11178,"dynasty":150,"author":710,"museum":135,"description":1457,"tags":11179,"thumbUrl":11180,"material":229,"size":637,"collection":142,"collections":11181,"showCount":11182,"zanCount":54,"manualWeight":54,"mainColor":55},290443,"qiu-shan-xiao-si-tu-ke-luo-ban-wang-meng-290443","秋山萧寺图（珂罗版）",[23,24,117,225,94,95,99,9478,33,98,11139,30,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad6306fac2462b33c54d40c1d51cfe94.jpg",[],32,{"id":11184,"slug":11185,"title":11186,"dynasty":344,"author":9317,"museum":135,"description":11187,"tags":11188,"thumbUrl":11190,"material":229,"size":637,"collection":142,"collections":11191,"showCount":11182,"zanCount":11,"manualWeight":54,"mainColor":109},289902,"xu-ri-dong-sheng-tu-zhou-wu-chang-shuo-289902","旭日东升图轴","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[23,117,24,225,94,27,95,11189,98,33,7,32,100,119],"旭日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe65e6d2f8218f3eddaa72aa0e1894bdb.jpg",[],{"id":11193,"slug":11194,"title":11195,"dynasty":59,"author":488,"museum":135,"description":6905,"tags":11196,"thumbUrl":11198,"material":229,"size":637,"collection":142,"collections":11199,"showCount":11182,"zanCount":11,"manualWeight":54,"mainColor":55},289457,"gui-yu-tu-li-cheng-289457","归渔图",[1551,24,866,27,99,255,2206,7,96,2567,11197,5769],"归渔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F452eb3b75c778a86f0bc37c9d3e801fd.jpg",[],{"id":11201,"slug":11202,"title":11203,"dynasty":344,"author":6590,"museum":135,"description":8904,"tags":11204,"thumbUrl":11205,"material":229,"size":637,"collection":142,"collections":11206,"showCount":11182,"zanCount":54,"manualWeight":54,"mainColor":109},288410,"jia-zheng-you-da-guan-yuan-tu-jing-shi-sun-wen-288410","贾政游大观园图景十",[24,26,27,30,32,7,31,378,390,2921,8819],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F253141a09ec95bc00071139df195e1f0.jpg",[],{"id":11208,"slug":11209,"title":11210,"dynasty":344,"author":2071,"museum":135,"description":4656,"tags":11211,"thumbUrl":11212,"material":142,"size":142,"collection":105,"collections":11213,"showCount":11182,"zanCount":54,"manualWeight":54,"mainColor":109},237885,"xia-shan-ji-yu-zhou-wang-hui-237885","夏山积雨轴",[24,94,99,225,95,98,33,7,32,76,168,64,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce2045788a394058a03f535c7e71d29f.jpg",[105],{"id":11215,"slug":11216,"title":4398,"dynasty":344,"author":435,"museum":135,"description":11217,"tags":11218,"thumbUrl":11219,"material":142,"size":142,"collection":105,"collections":11220,"showCount":11182,"zanCount":54,"manualWeight":54,"mainColor":109},236389,"fang-dong-qi-chang-shan-shui-zhou-wang-yuan-qi-236389","王原祁，明崇祯十五年（1642年）生，清康熙五十四年（1715年）卒。字茂京，号麓台、石师道人，江南省苏州府太仓人(今江苏太仓)，王时敏孙。康熙九年（1670年）进士，观政于吏部、任顺天乡试同考官，后任直隶顺德府任县（今河北省邢台市任县）知县，地当九河下流，滏漳诸水复久壅塞，腴田变为污渚，圪刘累泊等处，即古大陆泽为患，尤甚甲子乙丑秋雨连旬，水势陡发，堤岸尽壊，田莱俱成巨浸。\n原祁请照淮扬例，永免水荒田赋三千余金，民困以苏其余如，筑堤以防水宪，建桥以通水道，毙盗贼以安民命，明僎介以昭典礼，发仓储以救羸，着迹难以枚举。丙寅，奉命行取擢谏垣，改翰林，累官少司农，卒于位，赐祭葬如例，康熙五十九年入祀名宦。\n以画供奉内廷，康熙四十四年奉旨与孙岳颁、宋骏业等编《佩文斋书画谱》，五十六年主持绘《万寿盛典图》为康熙帝祝寿。擅画山水，继承家法，学元四家，以黄公望为宗，喜用干笔焦墨，层层皴擦，用笔沉着，自称笔端有金刚杵。与王时敏、王鉴、王翚并称“四王”，形成娄东画派，左右清代三百年画坛，成为正统派中坚人物。享年七十四。\n其所著画论有《雨窗漫笔》与《麓台题画稿》。擅长做诗，有《罨画楼集》3卷。\n晚清娄东画派代表人物秦祖永论王原祁画风：『中年秀润，晚年苍浑」；论其画曰：『沈雄验右，元气淋漓，笔端金刚杵之语不虚也」\n见《清史稿》、秦祖永《桐荫论画》。",[24,64,225,94,99,29,119,95,98,33,76,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28132a1aa86a2afd0d9dbcc643e59524.jpg",[105,83],{"id":11222,"slug":11223,"title":11224,"dynasty":344,"author":11225,"museum":61,"description":11226,"tags":11227,"thumbUrl":11228,"material":469,"size":11229,"collection":142,"collections":11230,"showCount":11182,"zanCount":11,"manualWeight":54,"mainColor":55},234174,"tao-yuan-tu-juan-xiao-chen-234174","桃源图卷","萧晨","萧晨（1658—1705以后），字灵曦，号中素，江苏扬州人。工山水、人物，尤擅雪景，其所绘青绿山水风格古朴庄重，有仇英之风。\n该卷取材于西晋文学家陶渊明的名篇《桃花源记》，以青绿法绘群山连绵、桃林掩映之景，山间有村舍茅屋，人物往来。笔法清劲流利，设色富丽妍雅，与明代仇英画风有颇多相似之处。该图卷虽无年款，但后幅闵奕仕题跋所署“甲子”，即康熙二十三年，时萧晨二十七岁，因知此图不晚于此时。",[23,24,64,25,27,118,26,99,95,120,7,32,96,30,33,169,350,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbadbb846316c9e1f0c96f5d95e17b41a.jpg","纵31.2厘米，横450厘米",[],{"id":11232,"slug":11233,"title":11234,"dynasty":59,"author":209,"museum":61,"description":11235,"tags":11236,"thumbUrl":11237,"material":469,"size":11238,"collection":142,"collections":11239,"showCount":11182,"zanCount":54,"manualWeight":54,"mainColor":55},234070,"song-xi-fan-yue-tu-ye-xia-gui-234070","松溪泛月图页","夏圭《松溪泛月图》是《宋元集萃册》中之一开，纨扇式小品画。图中绘清朗的月夜，数人乘一叶扁舟畅游湖上，微风徐拂，月明如镜，水天一色，在一派澄净中，只有溪流与松风的和奏飘荡在水面上。\n简洁的用笔，渲染出深远的意境，四位点景人物以寥寥数笔绘出，亦觉生动形象。\n边角剪裁的构图，空灵巧妙，情景交融，富有浓浓诗意，显示出含蓄蕴藉的艺术魅力。作者以极为简括的构图和痩劲的线条反映了文人士大夫在当时的时代背景下追求心灵自由、亲近自然山水的诉求，艺术风格朴素清逸，可称是夏圭山水画的代表作品。\n夏圭（生卒年不详），一作夏珪，字禹玉，钱塘（今浙江杭州）人。南宋画家，与李唐、刘松年、马远并称“南宋四大家”。宁宗时任画院待诏，赐金带。善画山水，属水墨苍劲一派，喜用秃笔，下笔凝重，继承发展了李唐的大斧劈皴。取景简练，常以半边景物表现空间，与马远有异曲同工之妙，有“马一角，夏半边”之称。",[24,117,64,3658,94,27,99,95,390,7,96,530,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b1dcf60be19a97c3123327632de9860.jpg","24.7×25.2cm",[],{"id":11241,"slug":11242,"title":5369,"dynasty":18,"author":11243,"museum":135,"description":11244,"tags":11245,"thumbUrl":11246,"material":142,"size":11247,"collection":142,"collections":11248,"showCount":11182,"zanCount":11,"manualWeight":54,"mainColor":55},231948,"tao-yuan-tu-shi-rui-231948","石锐","石锐（？－15世纪），字以明，钱塘（今浙江省杭州市）人，明代宫廷画家。宣德年间（1426年－1435年）进入宫廷，在仁智殿担任待诏，1469年仍活跃于画院。其画得盛懋之法，备极华整。金碧山水、界画楼台及人物，皆傅色鲜明温润，尤擅长画青绿与金碧山水，名著于时。",[23,24,866,27,99,98,33,38,7,120,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5f18009ef0602e849b71eadcf06a50f.jpg","24.7x22.15 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。",[117,24,64,25,94,27,99,101,100,119,30,95,390,140,98,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03e987fb42398f70635b32fd13cd9023.jpg",[],{"id":11258,"slug":11259,"title":11260,"dynasty":150,"author":6281,"museum":135,"description":11261,"tags":11262,"thumbUrl":11263,"material":142,"size":142,"collection":142,"collections":11264,"showCount":11182,"zanCount":54,"manualWeight":54,"mainColor":55},228245,"xian-shan-lou-ge-tu-quan-juan-chang-juan-chen-ru-yan-228245","仙山楼阁图全卷（长卷）","此作用色古雅沉静，以青绿晕染层叠山峦，石质坚凝、林壑深秀，苍松错落植于岩岫之间，古意盎然。楼阁屋舍隐于林泉幽处，烟霞缈缈间，勾勒出超脱尘俗的世外仙乡意境。\n\n笔致精细秀润，既承唐宋青绿山水的明艳厚重，又融入元人写意的简逸格调，将洞天福地的灵逸之气晕染于绢素之上。拖尾题跋与画作相映成趣，文墨合璧，更添古雅意蕴，尽显画中幽居绝尘的雅逸之美。",[23,24,64,25,118,27,95,31,32,7,390,98,169,28,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5759faa7d805c7b52e01d396e95034f3.jpg",[],{"id":11266,"slug":11267,"title":11268,"dynasty":150,"author":2084,"museum":135,"description":11269,"tags":11270,"thumbUrl":11271,"material":142,"size":142,"collection":142,"collections":11272,"showCount":11182,"zanCount":11,"manualWeight":54,"mainColor":55},228043,"fan-zhou-tu-ye-sheng-mao-228043","泛舟图页","层岩峻拔耸峙，细密皴笔勾勒出山石嶙峋肌理，峰巅林木点染，翻涌云气半掩山峦，晕开缥缈出尘的幽远意境。下方碧波湍流，古松虬曲苍劲，旁生花树缀满淡蓝繁花，为幽寂晕开一抹清润生机。\n\n扁舟之上，隐者凭舷闲坐，纵览烟霞林泉。全作设色清雅古拙，构图疏密得宜，将山海林泉的静穆幽远，与幽人悠游林下的自在相融，以景托志，尽显尚意抒情的特质，绘出超脱世俗的林下风流。",[23,24,64,27,94,95,96,7,30,390,98,26,42,8000,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F279077b856a63fb919bda2ad8a79d75b.jpg",[],{"id":11274,"slug":11275,"title":11276,"dynasty":150,"author":11277,"museum":135,"description":11278,"tags":11279,"thumbUrl":11282,"material":142,"size":142,"collection":142,"collections":11283,"showCount":11182,"zanCount":11,"manualWeight":54,"mainColor":109},228037,"mo-lou-shu-geng-zuo-tu-chang-juan-cheng-qi-228037","摹楼璹耕作图（长卷）","程棨","此作以长卷铺陈田家岁时劳作全程，从垦壤播种到刈获登场，每段农事场景鲜活写实，农人的动作、形制各异的农具、田陇桑野的细节皆一一细致摹绘，还原出耕织劳作的质朴烟火。笔墨兼具宋画的精工写实，又暗含元人淡和的写意韵致。卷上题跋鉴印层层累叠，带着历代递藏的厚重脉络，将田家稼穑的日常，与文人题咏的雅致融于一卷，既是记录古代农桑的图像实录，也是承载着鉴藏史迹的书画珍存。",[23,24,64,25,29,27,26,100,119,30,67,10391,3559,11280,33,7,11281,32],"田地","稻禾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67c64d15f526a4ae7c823223adca9895.jpg",[],{"id":11285,"slug":11286,"title":11287,"dynasty":59,"author":954,"museum":135,"description":11288,"tags":11289,"thumbUrl":11293,"material":142,"size":142,"collection":142,"collections":11294,"showCount":11182,"zanCount":54,"manualWeight":54,"mainColor":55},227780,"yuan-yang-tu-ye-ma-yuan-227780","鸳鸯图页","这幅画作以边角取景，尽显空灵雅致。石壁以斧劈皴挥写，苍劲利落，棱线分明尽显峭拔质感。水流以细劲回旋的线条勾勒，似能闻声潺潺，蜿蜒间衬出水畔清寂。幽竹清劲挺拔，枝叶俯仰生姿，墨色浓淡层叠，晕染出萧疏逸韵。溪石之上鸳鸯依偎，姿态悠然缱绻，为冷清空灵添了融融暖意。全作用色淡雅，以水墨为骨，留白造势，将江南水景的静谧雅致与小景温情相融，晕散出清旷禅意，简淡之间意蕴悠长，尽显雅致的文人审美意趣。",[23,117,24,64,788,94,99,2281,8280,543,7,11290,3755,5769,11291,11292],"溪石","雅致","禅意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb58c9c91f65b2fe6136eac6b0eff5de4.jpg",[],{"id":11296,"slug":11297,"title":11298,"dynasty":2023,"author":11299,"museum":135,"description":11300,"tags":11301,"thumbUrl":11304,"material":229,"size":637,"collection":11305,"collections":11306,"showCount":11182,"zanCount":54,"manualWeight":54,"mainColor":55},225747,"fisherman-and-boats-from-the-pont-de-clichy-fan-gao-225747","Fisherman and boats from the Pont de Clichy","梵高","文森特·威廉·梵高（Vincent Willem van Gogh，1853年3月30日—1890年7月29日），荷兰后印象派画家。代表作有《星月夜》、自画像系列、向日葵系列等。\n梵高出生于1853年3月30日荷兰乡村津德尔特的一个新教牧师家庭，早年的他做过职员和商行经纪人，还当过矿区的传教士最后他投身于绘画。他早期画风写实，受到荷兰传统绘画及法国写实主义画派的影响。1886年，他来到巴黎，结识印象派和新印象派画家，并接触到日本浮世绘的作品，视野的扩展使其画风巨变。1888年，来到法国南部小镇阿尔，创作《阿尔的吊桥》；同年与画家保罗·高更交往，但由于二人性格的冲突和观念的分歧，合作很快便告失败。此后，梵高的疯病（有人记载是“癫痫病”）时常发作，但神志清醒时他仍然坚持作画。1889年创作《星月夜》。1890年7月，梵高在精神错乱中开枪自杀，年仅37岁。",[117,2027,27,11302,7999,65,3855,7,33,11303,256,30,3089],"后印象派","黄叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb8c3f712674167c7884bf0e358d5cee.jpg","油画精选",[11305],{"id":11308,"slug":11309,"title":11310,"dynasty":344,"author":3202,"museum":152,"description":11311,"tags":11312,"thumbUrl":11313,"material":335,"size":11314,"collection":105,"collections":11315,"showCount":11182,"zanCount":54,"manualWeight":54,"mainColor":109},222692,"han-lin-yu-xue-zhou-qian-wei-cheng-222692","寒林欲雪轴","钱维城（1720—1772）清朝官吏、画家。初名辛来，字宗磐，一字幼安，号纫庵、茶山，晚号稼轩，江苏武进人。乾隆十年状元，官至刑部侍郎，谥文敏。书法苏轼，初从陈书学画写意折枝花果，后学山水，经董邦达指导，遂成名手，供奉内廷，为画苑领袖。曾随乾隆帝在木兰围场狩猎，帝以神枪殪虎，命维城绘图刻石纪事。著有《茶山集》。\n钱维城自幼甚喜绘画，开始从族祖母陈书学习画写意折枝花果，勾描渲染，随类赋形，气联意合，整体协调。后来得到了画家董邦达指导，学画山水。所画山水，山势逶迤，流泉飞泻，烟霭飘浮，水光荡漾。构图井然，意境清幽。山石多用皴笔。他的绘画远学元代四家即黄公望、倪瓒、吴镇、王蒙，近学清初四王即王时敏、王鉴、王徽、王原祁。。《桐阴论画》说他的山水画“笔意亦临摹仿麓台，邱壑幽深，树石灵秀，颇臻妙境。”钱维城投身科举时，很少有人知道他擅长书画，直到状元及第后，在随乾隆的一次狩猎中，乾隆射中一只老虎，于是钱维城受命创作“射虎图”，作品完成后乾隆连连称赞，并下令将此画刻在木兰围场的石头上，从此钱维城在画坛上名声大振。在钱维城的绘画中，带棱角的石形、双勾少皴的树干，以及中锋含蓄的细笔、淡墨勾皴的线条，都存有董邦达的笔意，但他更擅长缜密的用笔和青绿、赭石相间的设色，其中也显示出清初“四王”的流派风格，他的作品经常呈现出来的是一派宫廷富贵的气息。在乾隆的收藏目录《石渠宝芨》中，收录的钱维城作品有160多幅，由此可见乾隆皇帝对钱维城作品的赏识程度。著名的有《九秋图卷》。\n钱维城擅长书法，工整精细，“宗磐工书，书法东坡。”他师法宋朝书法四大家之一的苏东坡。落笔苍润，秀骨天成。也能吟诗，以杜少陵为宗。人称“钱文敏尚书，诗宗少陵，书规苏文忠。”可谓诗、书、画一体。",[23,24,64,225,94,95,99,240,2097,255,32,7,122,76,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F953c5244342d2500e4e5d93df3d1491f.jpg","80*180cm",[105,83],{"id":11317,"slug":11318,"title":11319,"dynasty":344,"author":2489,"museum":252,"description":11320,"tags":11321,"thumbUrl":11322,"material":11323,"size":11324,"collection":142,"collections":11325,"showCount":11182,"zanCount":54,"manualWeight":54,"mainColor":55},222664,"po-mo-xi-shan-tu-zhou-kun-can-222664","泼墨溪山图轴","《髡残泼墨溪山图》作者一反秃笔渴墨之常法，而以湿笔淡墨勾山画树，与大面积浑点泼墨融合生发，再以重墨刻画桥、屋、人物。用笔松动，施墨淋漓，画面酣畅而又蓊郁朴厚，洋溢着蓬勃生机。配以行草题跋，随意挥洒，粗服乱头，体现其独具的审美意趣。",[23,24,64,117,225,94,99,95,97,32,7,33,98,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F053c5bca500d486edd2cf07e7d775590.jpg","纸本 水墨","77.2cmx27cm",[],{"id":11327,"slug":11328,"title":11329,"dynasty":150,"author":5944,"museum":61,"description":11330,"tags":11331,"thumbUrl":11332,"material":659,"size":11333,"collection":81,"collections":11334,"showCount":11182,"zanCount":54,"manualWeight":54,"mainColor":55},221694,"chun-yun-xiao-ai-tu-zhou-gao-ke-gong-221694","春云晓霭图轴","用花青与墨渲染，用色较重，而矾头多露白，对比强烈，使人有雨后晴山的感觉。曾著录于《大观录》、《江村销夏录》。此图正是运用了米点皴法，但在学米的同时又参用董源的画法，故山水画的浑厚、重大，而烟云环抱山峦，一线瀑布飞下，又使群山飘渺起来，气象万千。石涛《画语录》“境界章”中提到山水画的“分疆”，认为画面可作“三叠两段”的处理，三叠是指“一层地，二层树，三层山”，所谓“两段”是指“景在下，山在上，云在中”，将画隔做两段。古代作品中不发此类画例，如明人王孟端的《溪山深秀图》、文嘉的《天地山月图》等。该件高克恭的“春云晓霭图”也大致属此。当然，“三叠两段”是一种山水画中曾出现过的章法，而不是法则，我们不可刻舟求剑。",[23,24,866,225,99,27,240,821,241,609,32,7,122,333],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1eafa9868d9774cd0d4a19bc06632019.jpg","纵138.1厘米，横58.5厘米",[81,105,51],{"id":11336,"slug":11337,"title":11195,"dynasty":59,"author":6340,"museum":2478,"description":11338,"tags":11339,"thumbUrl":11340,"material":188,"size":11341,"collection":142,"collections":11342,"showCount":11182,"zanCount":54,"manualWeight":54,"mainColor":55},221604,"gui-yu-tu-liang-kai-221604","梁楷，南宋人，祖籍山东，南渡后流寓钱塘 ( 今杭州 ) 。他是名满中日的大书画家，曾于南宋宁宗担任画院待诏。他是一个行迳相当特异的画家，善画山水、佛道、鬼神，师法贾师古，而且青出于蓝。 在梁楷的人物画中，唐宋那种严谨写实的人物画高峰已经过去，从此图中，人物的大首部分还是唐宋之余波，细致工整，但下部的衣着却奔放写意，粗旷浪漫，有文人画的意味了。\n一个和尚的像对于观者的影响是什么样的，按照古人的：“成教化，助人伦”的主张，以僧人之像带给观者是对佛法的亲近，对禅悟的揭示，当然一句谒子同样可能使人开悟，一幅佛画，一幅有关佛的书法有同样的的功能，因人而起开悟之作用。\n布袋和尚是后来的弥勒佛，“布袋”其实是俗世的包袱，一种执着和迷朦。所以有“放下”一说：放下布袋，何等自在。人一生来就抓住什么，背着什么，儿时的抓周，一开始就是抓，抓住笔似乎是文曲星下凡，抓住铜钱或袁大头似乎是大商贾，抓住印章似乎是官运如何的好，所有一切背在身上，每个人都有一个无形的布袋，不到零落不放下。\n其实本来就不应该抓住，一切皆空吧。佛门的神秀写下四句偈云：“身是菩提树，心如明镜台。时时勤拂拭，莫使惹尘埃。”却未若不识字的的六祖惠能的四句偈高明：“菩提本无树，明镜亦非台。本来无一物，何处惹尘埃。”一个人过分的执着，背得太多，一旦大限来时，方知一切已晚，所求者其实是一场空梦。",[23,117,24,94,27,95,255,122,256,96,306,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa85b9bdc5562af0dcae71507b85fc35.jpg","23.6x24.7厘米",[],{"id":11344,"slug":11345,"title":11346,"dynasty":2224,"author":8834,"museum":8835,"description":11347,"tags":11348,"thumbUrl":11350,"material":142,"size":142,"collection":142,"collections":11351,"showCount":11182,"zanCount":54,"manualWeight":54,"mainColor":109},220553,"ba-ren-ji-shui-xu-bei-hong-220553","巴人汲水","这幅长卷以竖幅铺展取水全程，自河畔到山梯，串联起众生剪影。下方赤膊老者躬身探入河水提桶，肌肉紧绷满是劳作的沧桑；妇人俯身舀水，壮年佝偻腰背负重登梯，青年挑着水桶稳步上行，山巅挑夫将艰辛藏入沉稳脚步。\n线条劲挺勾勒出劳动者贲张的筋肉与粗粝山石，淡墨晕染开朦胧水汽，侧畔竹花轻绽反衬生计之苦。题诗诉尽汲水人的血汗辛劳，将日常生计绘就为对底层坚韧的深情礼赞，写实笔墨里满溢共情与悲悯。",[23,24,94,27,2029,225,30,4745,1177,7,11349],"水桶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15e184e8f377e2844f6c9d4d7879a5ec.jpg",[],{"id":11353,"slug":11354,"title":11355,"dynasty":18,"author":267,"museum":152,"description":11356,"tags":11357,"thumbUrl":11358,"material":188,"size":11359,"collection":105,"collections":11360,"showCount":11182,"zanCount":54,"manualWeight":54,"mainColor":55},219976,"liu-tang-tu-dai-jin-219976","柳塘图","此作用淡晕轻染铺就烟雨空蒙的暮色，垂杨柔条披拂，烟霭萦于枝叶间，将江南水畔的朦胧诗意揉入画面。凭栏白衣士人静默远眺，与水榭板桥、浅黛远山遥遥相映。\n\n画家以清润笔触勾勒亭台轮廓，以淡墨晕出山形水色，大片留白衬出空寂悠远的氛围，褪去刻画的繁复，尽显萧散闲雅的幽居意趣。暮色四合里，晚风拂柳、静水无波，将春日水居的松弛隐逸之美，晕染得含蓄悠长。",[23,24,27,95,26,378,32,7,31,97,30,348,169,8000],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff502ed56fd18bef75ebe0e94650d7d5a.jpg","110.5*54.8",[105],{"id":11362,"slug":11363,"title":11364,"dynasty":18,"author":11365,"museum":152,"description":11366,"tags":11367,"thumbUrl":11368,"material":47,"size":11369,"collection":51,"collections":11370,"showCount":11182,"zanCount":54,"manualWeight":54,"mainColor":55},219973,"xi-qiao-fang-you-tu-wang-e-219973","溪桥访友图","王谔","明代画家。字廷直，奉化（今浙江奉化）人，世居奉化城内西锦里。 初以绘事供事仁智殿。尝师里人萧凤，尽其术，乃肆力於唐、宋名家。凡奇山怪石，古木惊湍之类，尽摹其妙。以画名东南，其画树石多著烟霭之态，势如泼墨，而无四面枝干丛生疏密之意。宋惧、卢镇 皆师谔。 惧所作山水、人物与谔无二。镇字砚溪，能画美人 。 镇子沛，字小溪，亦工画。一生主要学习马远的画法，就其画法当属浙派。长于人物，画格 出吴伟 之上。 王谔则以山水画被孝宗朱瞻基 称为“当代马远”。 弘治正德中官锦衣千户。工山水，师南宋马远。他的画较之马远笔触更细，稍有放笔，体现了明代中期院体的时代风格。",[23,24,95,27,99,225,32,7,97,241,98,66,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60261b5b6f84e0898253e1dd71ffe7c9.jpg","纵 172.1厘米 横105.8厘米",[51],{"id":11372,"slug":11373,"title":11374,"dynasty":344,"author":11225,"museum":152,"description":11375,"tags":11376,"thumbUrl":11377,"material":47,"size":11378,"collection":105,"collections":11379,"showCount":11182,"zanCount":54,"manualWeight":54,"mainColor":55},219538,"feng-nian-rui-xue-tu-xiao-chen-219538","丰年瑞雪图","画面冰天雪地，天寒地冻，一片雪花映照好年景。 河岸有竹屋，雪重柳。 木桥过河，两人缓步走来，一个打着伞，一个戴着帽子，戴着兜帽。",[24,64,225,27,26,95,2567,31,32,7,30,307,390,98,76,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F938f0ddeacfed55963e5531bd7262d12.jpg","109.8x56.1厘米",[105],{"id":11381,"slug":11382,"title":11383,"dynasty":59,"author":292,"museum":91,"description":11384,"tags":11385,"thumbUrl":11386,"material":47,"size":11387,"collection":105,"collections":11388,"showCount":11182,"zanCount":11,"manualWeight":54,"mainColor":55},218545,"shui-ge-na-liang-tu-yi-ming-218545","水阁纳凉图","这幅画描绘了一个池塘的一角，池塘表面有荷叶，池塘上方坐着一个亭子，一侧有柳树遮挡，亭子里的人在风中吹气，以保持凉爽。在通往亭子的栏杆上，可以看到两个孩子，一个站在凳子上采摘水果，另一个站在一边观看。",[23,24,64,28,94,95,31,7,33,66,30,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F168e0fb0842b2e8361dde396b28c2a8f.jpg","24.4x24.9cm",[105],{"id":11390,"slug":11391,"title":606,"dynasty":344,"author":11392,"museum":11393,"description":11394,"tags":11395,"thumbUrl":11396,"material":273,"size":11397,"collection":105,"collections":11398,"showCount":11182,"zanCount":54,"manualWeight":54,"mainColor":109},217992,"shan-shui-tu-zha-shi-biao-217992","査士标","斯德哥尔摩东方博物馆","査士标的山水画以其自然的风格、细腻的笔触和精确的构图著称。他的画作常常描绘山林、溪流、岸边和村庄，画面中有时会出现人物，但他更喜欢以自然元素为主。他的画作充满了对大自然的热爱和敬畏，表现了他对生活的真挚感受。\n\n査士标的山水画也因其独特的技巧而闻名。他喜欢使用轻轻松松的笔触，表现出自然界的和谐与平静。他的画作也常常充满了隐喻和寓言，使得作品具有深刻的哲理意义。\n\n总的来说，査士标的山水画是中国传统画风的杰出代表作，值得我们深入研究和鉴赏。",[24,64,225,94,95,32,7,140,30,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e9dde10358f2db567a9adf307310184.jpg","109x57cm",[105],{"id":11400,"slug":11401,"title":11402,"dynasty":18,"author":292,"museum":135,"description":11403,"tags":11404,"thumbUrl":11406,"material":404,"size":11407,"collection":49,"collections":11408,"showCount":11182,"zanCount":54,"manualWeight":54,"mainColor":55},216728,"mai-xin-song-shu-tu-yi-ming-216728","卖薪诵书图","枯枝虬曲，远山含黛，野径蜿蜒向林深。担薪者负薪束于肩，一手扶担，一手展卷，诵读之态若忘周遭。寒林疏影映寒空，涧水浅流绕石行，天地间似只剩书页轻翻与步履缓响。劳役的艰辛未掩向学之心，平凡身影里藏着对知识的执着。笔墨简练却意韵悠长，将劳作与勤学相融的图景凝于尺幅。清寂山水间，躬身向学的姿态恰是求知精神的无声颂赞，令观者于萧疏景致中，触到那份穿越时光的执着暖意。",[23,117,24,64,225,138,94,27,99,30,1397,140,95,351,7,11405],"薪柴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8971c5260d21c60bdf16d0a69f19cade.jpg","74x44",[49],{"id":11410,"slug":11411,"title":11412,"dynasty":18,"author":19,"museum":135,"description":11413,"tags":11414,"thumbUrl":11415,"material":229,"size":637,"collection":142,"collections":11416,"showCount":11417,"zanCount":11,"manualWeight":54,"mainColor":55},290873,"chun-shan-yin-shang-zhou-chou-ying-290873","春山吟赏轴","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”。",[117,24,225,118,27,26,95,30,31,7,97,119,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1675e33be13137aeb68f7c392e602fd.jpg",[],31,{"id":11419,"slug":11420,"title":11421,"dynasty":18,"author":19,"museum":152,"description":11413,"tags":11422,"thumbUrl":11423,"material":273,"size":11424,"collection":83,"collections":11425,"showCount":11417,"zanCount":54,"manualWeight":54,"mainColor":109},290870,"liu-tang-yu-ting-zhou-chou-ying-290870","柳塘渔艇轴",[24,225,94,95,256,96,307,7,306,122,119,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f02bdef353d8b20aa856b160f3841a4.jpg","102.9x47.2",[83],{"id":11427,"slug":11428,"title":11429,"dynasty":344,"author":1385,"museum":135,"description":2299,"tags":11430,"thumbUrl":11431,"material":229,"size":637,"collection":142,"collections":11432,"showCount":11417,"zanCount":54,"manualWeight":54,"mainColor":109},290541,"fang-cao-zhi-bai-shui-cun-yu-le-yun-shou-ping-290541","倣曹知白水村渔乐",[24,332,94,95,256,96,7,635,33,119,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c6edccc8494839cb82742043f1a9a07.jpg",[],{"id":11434,"slug":11435,"title":11436,"dynasty":59,"author":3135,"museum":135,"description":11437,"tags":11438,"thumbUrl":11439,"material":229,"size":637,"collection":142,"collections":11440,"showCount":11417,"zanCount":54,"manualWeight":54,"mainColor":640},289756,"mo-fan-kuan-lu-shan-tu-jiang-can-289756","摹范宽庐山图","江参,（公元12世纪）〔南宋〕字贯道，南徐（今江苏省镇江市辖丹徒）人，江大方之子。居霅川（今浙江湖州市南），形貌清癯，平生特嗜香茶，和当时叶梦得(1077-1148)等众多文人学者关系甚密。终身飘泊，",[23,117,24,64,225,94,95,31,7,227,66,98,33,99,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6238a367ca5faaa932225d420ea9a296.jpg",[],{"id":11442,"slug":11443,"title":5097,"dynasty":59,"author":222,"museum":135,"description":5098,"tags":11444,"thumbUrl":11445,"material":229,"size":637,"collection":142,"collections":11446,"showCount":11417,"zanCount":11,"manualWeight":54,"mainColor":640},289335,"xue-shan-lou-ge-tu-fan-kuan-289335",[23,117,24,95,225,94,99,3445,31,7,98,1711,2567],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F704b93ef24a7e30310fee13f95f51e5b.jpg",[],{"id":11448,"slug":11449,"title":11450,"dynasty":59,"author":9475,"museum":135,"description":11451,"tags":11452,"thumbUrl":11455,"material":229,"size":637,"collection":142,"collections":11456,"showCount":11417,"zanCount":54,"manualWeight":54,"mainColor":55},288946,"xiao-xiang-ba-jing-shan-shi-qing-lan-wang-hong-288946","潇湘八景-山市晴岚","全卷呈现出一种全景式的山水大观，其中并没有体现出有『八景』的各自样态，因其用意并不在于『八景』。相比之下，王洪的《潇湘八景图》各景独立成画，各个表现不同之意境，应当是接近于宋迪所绘之《潇湘八景图》的形式样态。",[24,25,866,94,96,7,170,11453,33,11454,99],"村居","雾霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f4a8b94010aa0146c8a6e135d48a7ec.jpg",[],{"id":11458,"slug":11459,"title":11460,"dynasty":150,"author":877,"museum":135,"description":11461,"tags":11462,"thumbUrl":11464,"material":229,"size":637,"collection":142,"collections":11465,"showCount":11417,"zanCount":54,"manualWeight":54,"mainColor":55},287596,"xi-shan-yu-yi-tu-wu-zhen-287596","溪山雨意图","该画卷描绘的是黄公望笔下常见的江南景象，图中景象烟雨空濛，笔法多样，代表了文人画高度成熟时期的审美需要，是宋元之后文人绘画的主流风格。 整个画卷空无一人，山水则似真非真有恬淡、简远、空灵寂静之意境，表达了画家寄情山水，抒胸中逸趣之理想审美境界。",[117,24,64,225,94,95,99,32,7,97,31,33,98,11463,100,119],"雨景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8bba6c7101630ccfecf55d8000d2bed.jpg",[],{"id":11467,"slug":11468,"title":9932,"dynasty":344,"author":2309,"museum":135,"description":9933,"tags":11469,"thumbUrl":11470,"material":142,"size":9936,"collection":142,"collections":11471,"showCount":11417,"zanCount":54,"manualWeight":54,"mainColor":109},238029,"hong-ren-shan-shui-tu-ce-hong-ren-238029",[24,64,332,94,27,95,199,33,7,99,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10102ec27a9d86269d3849cb605c37b2.jpg",[],{"id":11473,"slug":11474,"title":888,"dynasty":344,"author":1527,"museum":61,"description":11475,"tags":11476,"thumbUrl":11477,"material":714,"size":11478,"collection":105,"collections":11479,"showCount":11417,"zanCount":54,"manualWeight":54,"mainColor":109},237610,"shan-shui-zhou-wang-jian-237610","此幅是祝寿题材画，作者在构图上巧意安排：近景绘常青不衰有贺寿寓意的苍松以突出主题；远景绘起伏叠嶂的山峦，寓寿比南山、生命连绵持续之意。中景是清波碧水，其曲折的水面不仅为画面增添了诗意，而且将远、近景有机地相连成一体，令全图的空间层次分明，同时不失画面的完整性。",[24,94,99,225,95,98,33,32,7,76,2256],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc811fcb2decec93770fba981f9fb35b6.jpg","纵155.3厘米，横86.9厘米",[105,83],{"id":11481,"slug":11482,"title":4655,"dynasty":344,"author":2071,"museum":135,"description":4656,"tags":11483,"thumbUrl":11484,"material":142,"size":142,"collection":105,"collections":11485,"showCount":11417,"zanCount":54,"manualWeight":54,"mainColor":109},237602,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237602",[24,64,332,94,99,29,101,119,95,98,168,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F901d55e3abf423efff694b4d83b35d25.jpg",[105,625],{"id":11487,"slug":11488,"title":655,"dynasty":18,"author":4786,"museum":61,"description":4787,"tags":11489,"thumbUrl":11490,"material":4790,"size":4791,"collection":105,"collections":11491,"showCount":11417,"zanCount":54,"manualWeight":54,"mainColor":109},236904,"shan-shui-ce-song-xu-236904",[24,64,332,27,95,98,33,32,7,168,1960,99,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe65f83e09dd31bd45db9e0f19e3d8ad6.jpg",[105],{"id":11493,"slug":11494,"title":11495,"dynasty":344,"author":8579,"museum":61,"description":11496,"tags":11497,"thumbUrl":11498,"material":335,"size":142,"collection":142,"collections":11499,"showCount":11417,"zanCount":54,"manualWeight":54,"mainColor":109},233746,"hu-fu-tu-er-duan-juan-dai-xi-233746","虎阜图二段卷","戴熙(公元1801-1860年)，清代画家。字醇士，号鹿床、榆庵、松屏、莼溪、井东居士等，浙江钱塘(今杭州)人。咸丰翰林，官至兵部右侍郎，辞官归里后主持崇文书院。擅画山水，学王恽笔墨，兼师宋元诸家，尤善花卉及竹石小品，能治印，著有《习苦斋集》、《题画偶录》等。画作有《云岚烟翠图》、《忆松图》、《满门风华》等。\u2028 工诗书，善绘事。四王以后的山水画大家，被誉为四王后劲，与清代画家汤贻汾齐名。山水早年师法王翚，进而摹拟宋元诸大家，对于王蒙、吴镇两家笔意更有所得。晚年观摩巨然真迹，在用墨方面有深切的领会。道光时宫廷书画多出于其手。又能画花鸟、人物，以及梅竹石，笔墨皆隽妙。秦祖永的评论是:临古之作形神兼备，微嫌落墨稍板，无灵警浑脱之致，盖限于资也。所写竹石小品停匀妥帖，尚为蹊径所缚，未能另立门庭也。戴熙另著有《习苦斋画絮》，于画理多有论述。题画偶录行世。\n他的子侄受其影响都能绘画:长子有恒(1826-1891)(字大年，号保卿)所作山水笔意疏秀，有倪瓒风韵。以恒(字用伯)、之恒(字仲江，号菊孙)、其恒(字秀渠，又字问水)、尔恒(字子谦)，皆继承家学，善作山水，而各有成就。\n以恒更有声誉，所作山水笔意淹润，墨气淋漓，而屋宇几席亦复精工，著有《醉苏斋画诀》。《清画家诗史》则称之恒画技为戴氏群从之冠。有恒子兆登、兆春亦均能画。",[24,64,25,94,99,95,98,33,97,7,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d99c23e5f3cf97e36ff8021d4c17f77.jpg",[],{"id":11501,"slug":11502,"title":11503,"dynasty":150,"author":710,"museum":152,"description":11504,"tags":11505,"thumbUrl":11506,"material":188,"size":11507,"collection":142,"collections":11508,"showCount":11417,"zanCount":54,"manualWeight":54,"mainColor":55},232265,"xi-shan-gao-yi-tu-wang-meng-232265","溪山高逸图","远处高山耸立，冲出画面，山头层层叠叠，树木苍茫，左侧高山间，一线飞瀑直落而下，水珠四溅，山石中部又一飞泉，从岩间淙淙涌出，溪间奔湍，沿山脚蜿蜒曲折地流注而下。中景山腰处，松木成行。近景为坡岸，山石长有几株松树，有的枝干挺拔直上，有的枝干长满结节，有的松树枝叶盘曲有姿，十分茂密，相互交错，错落有致。在山间林中，有数间屋宇草堂，门窗敞开，堂中有一高士端坐其间，身穿宽服长袍，正在阅渎书卷，旁有书童侍立在旁。屋堂外的宽阔平地上有一只双翅展开的仙鹤。画幅左下角又一长者，身穿大袍，头戴官帽伫立在平地上，正在凝神地观赏四周优美的江南山山水水，十分悠闲自得。树下和山石旁留下一片水面，十分平静。款署：“叔明王蒙为菊窗琴友制图。”\n王蒙出身书画世家，外公就是元代书画家赵孟頫，所以他的画早期受赵孟頫的影响较深。后又综合唐宋名家，广采博览，故其画纵逸多姿，又独创渴笔解索皴法，终于跳出赵孟頫规矩之外，自开门户。画山水师法巨然，风格独特，“层巅奉律摩苍穹，咫尺可论千万重”。在元代山水画家中，是唯一以作品繁、密取胜者，构图回环重叠，结构复杂，笔墨熟练，重用笔而胜于用墨，强凋书法情趣，他的画构图繁复周密，以各种手法表现江南林木的苍郁茂盛和湿润感，是元代具有创造性的山水画大师，明清及近代画家几乎都学过他的画。此《溪山高逸图》，是他画构图繁复的山水画中代表作之一。\n此画构图繁密，密而不塞，密中求疏。全画用笔苍郁沉厚，颇见功力。山石皴笔用细如牛毛、略带波颤、层次繁密的“解索皴”，再加上用破笔点成的苔痕，苍苍茫茫，“望之而郁然深秀”。此画最大特点，作者善于表现江南深山溪谷草木华滋的蒙茸湿润之感。中近景树木用双勾法，树干曲折，一笔二过，树叶形状不一，填彩各异，但没有掩隐墨色的效果。纵观此图，画面崇山松木与溪流飞瀑相得益彰，有声有色，自然和谐，构图深远，结构密而不塞，与元代简洁之风大相径庭，充分体现了作者独特的风格。\n明代画家董孝初：“叔明此图，昔人评为第一，非浪语也。笔法之妙，布置之奇，如韩淮将兵，多多益办。……苍古秀润，沉雄浑厚，殆兼之矣。”\n当代画家张德宁：此图用湿笔在绢上反复勾皴渲染，其颇具个性的“牛毛皴”、“解索皴”，灵动而又凝重，笔墨清晰，有迹可循，深得历代画家的赞赏。",[24,64,225,94,27,99,95,33,97,7,98,76,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb30c886a58613a314ad3485c1fad4393.jpg","纵113.7厘米，横65.3厘米",[],{"id":11510,"slug":11511,"title":11512,"dynasty":18,"author":1254,"museum":152,"description":11513,"tags":11514,"thumbUrl":11515,"material":335,"size":142,"collection":142,"collections":11516,"showCount":11417,"zanCount":11,"manualWeight":54,"mainColor":109},231420,"fang-gu-shan-shui-ce-di-er-kai-fang-yan-wen-gui-bi-yi-dong-qi-chang-231420","《仿古山水册》第二开：仿燕文贵笔意","天启二年（1622），董其昌看了北宋燕文贵（967-1044）画卷而倣作此图，但改采立轴表现。画中几株秀树聚于带有倾侧之势的山石上；中景处大胆移置一段远山；画幅上部的远景却出现了视觉比例上更接近观者的中景山石坡林。全作笔墨秀润，构思状似平淡却大胆奇特，为其传世佳作。",[24,64,332,29,99,27,95,255,390,98,7,119,348],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9af16821e2b753ddcf5d5ee76ac26bc.jpg",[],{"id":11518,"slug":11519,"title":11520,"dynasty":59,"author":222,"museum":135,"description":11521,"tags":11522,"thumbUrl":11523,"material":142,"size":142,"collection":142,"collections":11524,"showCount":11417,"zanCount":54,"manualWeight":54,"mainColor":55},230971,"chong-shan-fu-ling-tu-li-zhou-fan-kuan-230971","重山复岭图立轴","此作以雄浑苍劲的笔力绘就北国山川，主峰巍峨沉厚，以雨点皴反复皴擦山石肌理，将岩质的粗糙坚硬尽数铺展，裹挟着磅礴厚重的山岳气势扑面而来。山间古木虬曲交错，丹黄枝叶点染出深秋萧疏意趣。山坳板桥村舍隐于林木烟岚间，细笔轻勾出乡野烟火，于雄奇之中晕开温润生机，刚柔相济消解了山岳的冷峻。\n\n构图层峦叠嶂，虚实相生，高远深远兼具，将山川的浑莽大气与林下幽居的悠然相融，尽显山水风骨与内敛的人文意趣。",[23,24,117,64,225,94,27,95,99,170,98,33,32,7,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55ccf22bfab8ac355246314d05dace25.jpg",[],{"id":11526,"slug":11527,"title":7986,"dynasty":344,"author":11528,"museum":135,"description":11529,"tags":11530,"thumbUrl":11531,"material":229,"size":637,"collection":142,"collections":11532,"showCount":11417,"zanCount":54,"manualWeight":54,"mainColor":109},230357,"shan-shui-ce-ye-fan-qi-230357","樊圻","樊圻（1616年—1694年之后），生于明万历四十四年，卒于清康熙三十三年之后，清画家。字会公，江宁（今江苏省南京）人。擅画山水、花卉、人物。为“金陵八家”之一。",[117,24,64,332,27,99,95,199,255,33,7,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F070ae4ad6a2c40b1bfed2dcffb4d2d0f.jpg",[],{"id":11534,"slug":11535,"title":11536,"dynasty":344,"author":2253,"museum":135,"description":11537,"tags":11538,"thumbUrl":11539,"material":142,"size":142,"collection":142,"collections":11540,"showCount":11417,"zanCount":54,"manualWeight":54,"mainColor":109},230176,"fang-gu-ce-ye-wang-shi-min-230176","仿古册页","此作以青绿设色追摹古意，山峦层叠起伏，皴法苍润松秀，勾勒间尽显山石肌理。飞瀑穿林越谷，循着山涧蜿蜒汇入澄澈清溪，屋舍错落隐于葱茏林木间，山脚水畔嘉木繁荫，淡赭与石青石绿晕染出温润雅致的色调。\n\n笔墨间既承袭山水的萧散淡远，又自有安和静谧的意趣，将山居丘壑的幽寂清远铺陈开来。摹古之际亦融入己心，把文人林泉高致的隐逸情怀藏入每一处丘泉林木中，尽显古雅沉静的山水意境。",[24,27,95,99,332,98,33,168,76,504,7,348],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2e0e500db2b9360583507b90d46b9f3.jpg",[],{"id":11542,"slug":11543,"title":11544,"dynasty":344,"author":2071,"museum":135,"description":11545,"tags":11546,"thumbUrl":11547,"material":142,"size":142,"collection":142,"collections":11548,"showCount":11417,"zanCount":54,"manualWeight":54,"mainColor":55},224439,"lin-dong-yuan-xia-jing-shan-kou-dai-du-tu-juan-wang-hui-224439","临董源夏景山口待渡图卷","此作用平远构图铺展江南水色，烟波浩渺间洲渚错落，平缓山峦连绵舒展，披麻皴晕染出山峦温润质感，草木扶苏郁郁苍苍。渔村茅舍隐于林间，扁舟三两泛于水面，野渡渔人点缀其中，处处透着夏初江南的安闲静谧。\n\n笔墨苍秀柔和，淡墨晕染出水色空明澹荡之态，复刻董源山水平淡天真的意趣，又自带秀润清和的笔底风神，整体意境悠远恬澹，恍若将观者带入溽暑未至的江南水乡，静赏这方安闲雅致的林下烟江。",[23,117,24,64,25,27,95,29,99,7,96,3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张若霭 画高宗御笔秋花诗 【年代】清代 【简介】台北故宫博物院。\n张若霭（171-1746），字晴岚，号景采，又号炼雪道人、晴岚居士，蕴真阁，梅花纳，炼雪道人，藕得书屋，佳梦轩等。\n安徽桐城人。\n张若霭有家学，祖父张英、父亲张廷玉均为雍正、乾隆朝大学士。\n雍正十一 年（172年）癸丑科殿试金榜中二甲一名进士，未散馆特授编修，后帝亲授内阁学士、礼部侍郎，入直南书房。\n官至礼部尚书。\n曾参与《石渠宝笈》的编辑工作，乾隆十一年（1746年）随帝西巡，因病回京，不久卒。\n谥文僖。\n有《岁寒三友图》、《仿王元章疏影寒香图》传世。\n张若霭善书，工画花竹、禽虫，深得王糓祥、周之冕笔意。",[23,24,27,26,28,31,7,11574,1177,427,11575,33],"秋花","瓦顶建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63628092ed57c5738e2fb917c30694a2.jpg",[],{"id":11579,"slug":11580,"title":11581,"dynasty":344,"author":11582,"museum":135,"description":11583,"tags":11584,"thumbUrl":11586,"material":229,"size":637,"collection":142,"collections":11587,"showCount":11417,"zanCount":54,"manualWeight":54,"mainColor":109},224150,"wan-nian-zhi-shang-ri-chu-chang-shi-yi-zhou-yu-shi-224150","万年枝上日初长诗意轴","于氏","孔宪培之妻,孔宪培(1756-1793)：原名允宪，字养元，号笃斋，清朝曲阜(今属山东省)人。乾隆年间，袭封衍圣公；夫人于氏，被册封为一品夫人。",[23,24,64,225,27,26,118,28,95,31,97,33,98,7,1177,11585,1289,39,6412],"云纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f460da26208a42a6f0f8d44c32e407a.jpg",[],{"id":11589,"slug":11590,"title":11591,"dynasty":18,"author":267,"museum":152,"description":11592,"tags":11593,"thumbUrl":11594,"material":404,"size":11595,"collection":105,"collections":11596,"showCount":11417,"zanCount":54,"manualWeight":54,"mainColor":55},222030,"xi-qiao-ce-jian-tu-zhou-dai-jin-222030","溪桥策蹇图轴","此幅画半壁悬崖，草木郁郁，乱流奔湍；行人赶路，形色惶急。右半边江面辽阔宁静，远山帆影，渔人神态甚为悠闲。对角线的构图方式，源自南宋院体，近景坡石用斧劈皴法，辅以墨染，营造出石之质感与立体感。",[23,24,225,95,99,27,32,7,96,98,33,30,66,140,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2db05b40e690af672c8b38a93cb5face.jpg","137.5x63.1公分、全幅 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，字尺木，号于湖老人、无闷道人、默思。安徽芜湖人，明末清初著名画家，姑孰画派创始人。父亲肖慎余，为明乡饮大宾，懂绘画。云从幼而好学，“笃志绘事，寒暑不废”。\n明崇祯十一年（1638年）加入复社，与阉党保守势力集团进行了积极的斗争。入清后隐居不仕。其人物画主要继承了宋代李公麟的白描法，亦吸收明代陈洪绶之长，造型准确，形象生动。其山水画自成一家，笔墨清疏苍秀，饶有逸致。他的画在家乡芜湖地区影响甚大，形成了“姑熟画派”，传其衣钵者有其弟云倩，子一旸，侄一荐、一箕，犹子一芸，以及黄戢、施长春、施道光等人。萧云从的挚友、清初四画僧之一弘仁的早期山水亦受其影响。",[23,24,64,25,27,95,99,100,101,119,30,31,33,98,7,97,390,255,724,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac94aed01aba754dc8c5c87a314abc26.jpg","27.5x224cm",[105],{"id":11634,"slug":11635,"title":11636,"dynasty":18,"author":5358,"museum":316,"description":11637,"tags":11638,"thumbUrl":11639,"material":273,"size":11640,"collection":105,"collections":11641,"showCount":11417,"zanCount":54,"manualWeight":54,"mainColor":109},219741,"fang-ni-yun-lin-shan-shui-tu-lu-zhi-219741","仿倪云林山水图","陆治（1496年－1576年），字叔平，明代画家。吴县（今江苏苏州）人，因居包山，自号包山。倜傥嗜义，以孝友称。",[23,24,94,99,29,225,95,2256,98,33,97,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cbdb0c6553b0cd9204aeeef9b88a4a8.jpg","纵136.7横32.1厘米",[105],{"id":11643,"slug":11644,"title":11645,"dynasty":150,"author":6787,"museum":152,"description":11646,"tags":11647,"thumbUrl":11648,"material":188,"size":11649,"collection":49,"collections":11650,"showCount":11417,"zanCount":54,"manualWeight":54,"mainColor":109},219637,"song-jian-heng-qin-tu-zhu-de-run-219637","松涧橫琴图","这幅小品以边角构图铺展幽致，古松虬曲苍劲，枝干如铁铸般舒展，松针攒簇尽显老辣风骨。涧水轻流隐于石畔，林下三人身姿写意灵动，一人转轴拨弦，两人凝神静听，茶盏置于石上，松风裹着琴音漫过溪谷。\n\n笔墨简淡清逸，枯笔皴擦出松干嶙峋肌理，淡墨晕染空濛远水，人物简笔勾勒却神态宛然，将文人士大夫幽居林泉、鸣琴寄怀的雅趣尽显无余。题款错落雅致，与画面浑融一体，淡远疏朗间藏着静穆萧散的文人襟怀，是水墨小品中寄兴抒怀的绝佳之作。",[23,24,117,64,94,99,95,390,7,30,1702,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44ae67e46a51dca0820b767303d728b9.jpg","24.7x26.9厘米",[49],{"id":11652,"slug":11653,"title":11654,"dynasty":59,"author":2532,"museum":152,"description":11655,"tags":11656,"thumbUrl":11657,"material":47,"size":11658,"collection":105,"collections":11659,"showCount":11417,"zanCount":11,"manualWeight":54,"mainColor":109},218688,"ying-shan-tu-wang-shen-218688","瀛山图","本幅画峻岭回溪，山村茅茨，远水平沙，数艇隐隐。图后一远峰山壁题识云：「保宁赐第王晋卿瀛山既觉，因图梦中所见。甲辰春四月，梦游者。」细审图中绝壑层峦，俱以青绿著色，用笔工细，气韵古雅，良为一梦中山水矣。全画山石以一简单的轮廓线勾勒，再敷以颜色，有古拙之感，近似元代画家钱选的青绿山水，与王诜（约1048—1122）现存的其他作品不类。",[23,24,64,25,118,27,95,31,32,7,97,122,33,99,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa78aaab8984587d91e9f82641be9870c.jpg","24.5x145.1cm",[105],{"id":11661,"slug":11662,"title":11663,"dynasty":150,"author":710,"museum":152,"description":8617,"tags":11664,"thumbUrl":11665,"material":273,"size":8620,"collection":142,"collections":11666,"showCount":11417,"zanCount":54,"manualWeight":54,"mainColor":55},218120,"hua-xi-yu-yin-tu-er-wang-meng-218120","花溪渔隐图(二)",[23,24,117,64,225,94,95,99,96,7,98,33,38,256],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7477d3604d6b77be3506773dcad374b3.jpg",[],{"id":11668,"slug":11669,"title":2511,"dynasty":344,"author":2407,"museum":281,"description":11670,"tags":11671,"thumbUrl":11672,"material":273,"size":142,"collection":142,"collections":11673,"showCount":11417,"zanCount":54,"manualWeight":54,"mainColor":109},214395,"shan-shui-tu-ce-3-zhu-da-214395","淡墨皴出的山影若隐若现，疏枝横斜如写胸中丘壑。半露的小亭孑立山坳，似在静待清风叩扉。墨色枯润相济，浓处见骨，淡处生烟，留白处恰是山岚流动的空隙。画面无繁复铺陈，却于极简中藏着幽远的荒寒之境——似有人迹罕至的静谧，又含遗世独立的清寂。每一笔都似与天地对谈，将喧嚣滤尽，只留心与自然的默然相望。简淡笔墨里晕开的余韵，如一首冷寂的禅诗，让人见之忘俗，仿佛能听见山风掠过枝桠的轻响，触到水墨间流淌的清旷。",[23,24,94,332,99,95,97,241,98,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcff80993fccdfe78a8262678da749c0a.jpg",[],{"id":11675,"slug":11676,"title":11677,"dynasty":344,"author":2501,"museum":61,"description":11678,"tags":11679,"thumbUrl":11681,"material":103,"size":11682,"collection":105,"collections":11683,"showCount":11684,"zanCount":54,"manualWeight":54,"mainColor":109},301856,"heng-shan-qing-ai-tu-wu-li-301856","横山晴霭图","起首上角有作者书：“横山晴霭。”钤“墨井”印，幅下右角钤“延陵”。卷尾作者自题：“笔正写山横，烟云乱石生。破窗蕉雨过，添却砚池平。十日画成，海天雨霁，红日窗明，展卷题之。康熙丙戌年秋仲，墨井道人。”钤“墨井”印。\n“丙戌”是清康熙四十五年（1706年），吴历时年75岁。\n尾纸处吴历自跋：“余近年作画，似勤似懒，有时不辞呵冻，忘暑忘餐，挥毫疾就；有时春暖晴窗，楮墨精良，对之瞌睡。吾不知此病之所来，或谓老之故也。然少年辈往往亦有如此。予数日前颇觉腕力笔健，漫学山樵而成小卷，虽未得其超逸，观之亦可消长夏。五月墨道人又跋。”下钤 “吴历之印”、“墨井道人”，迎首钤“延陵”。\n本幅及自跋纸上鉴藏印有“陆廷燦印”、“平原陆幔亭鉴藏印”等。后幅有戴兆芬、公望、顾文彬三家题记。\n作者在尾纸中说此图系学元代王蒙之笔，确有苍茫超逸之意。全图多用干笔勾廓，粗笔皴擦，浑朴厚实，脉络分明。由于画家早年曾寓居澳门，接触过一些西洋绘画，画中的群山呈显出阴阳向背，似有晴日当空之感，群峰层层推向远方，颇有些空间意识。吴历是中国山水画史上最早融合西洋绘画的画家，该图十分自然妥贴地吸收了西洋绘画重明暗、讲透视的造型技巧，是为一绝。",[23,117,24,64,25,95,94,99,170,33,7,96,122,609,2041,101,119,11680],"晴霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0012b5f25c464e3c315914ea34a89b42.jpg","纵22.8厘米，横157.3厘米",[105],30,{"id":11686,"slug":11687,"title":11688,"dynasty":59,"author":11689,"museum":135,"description":11690,"tags":11691,"thumbUrl":11692,"material":229,"size":637,"collection":142,"collections":11693,"showCount":11684,"zanCount":54,"manualWeight":54,"mainColor":55},290273,"wu-yi-shan-shui-tu-li-an-zhong-290273","武夷山水图","李安忠","李安忠，南宋画家。钱塘（今浙江杭州）人，生卒年不详。宋徽宗宣和（1119-1125）时为画院祗候，历官成忠郎。南渡后绍兴（1131-1162）间复职画院，赐金带。",[117,24,64,225,94,95,98,7,100,7872,6284,3665],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9eecb676947138ecdd41692d5e9363b.jpg",[],{"id":11695,"slug":11696,"title":11697,"dynasty":150,"author":6787,"museum":152,"description":11698,"tags":11699,"thumbUrl":11700,"material":47,"size":11701,"collection":142,"collections":11702,"showCount":11684,"zanCount":11,"manualWeight":54,"mainColor":109},290256,"yan-lan-qiu-jian-tu-zhu-de-run-290256","烟岚秋涧图","朱德润（公元1294年～公元1365年），元代著名画家、诗人。字泽民，号睢阳山人，又号旹杰。归德府（今河南商丘睢阳区）人。曾任国史院编修、镇东行中书省儒学提举等职。他得到了当时的刑部尚书、画坛巨匠高克恭和艺术大师赵孟頫的推崇，可见其艺术成就甚高。\n他善诗文，工书法，格调遒丽。擅山水，初学许道宁，后法郭熙，多作溪山平远、林木清森之景，重视观察自然，当北游居庸关时，尝作“画笔记行稿”。",[117,24,225,94,95,140,98,7,10592,1758,5410,168,2256],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e9766931c05722889a90dd2c2c96c59.jpg","102.6x44.3",[],{"id":11704,"slug":11705,"title":11073,"dynasty":344,"author":435,"museum":135,"description":10983,"tags":11706,"thumbUrl":11707,"material":229,"size":637,"collection":142,"collections":11708,"showCount":11684,"zanCount":54,"manualWeight":54,"mainColor":109},288525,"shan-shui-tu-li-zhou-wang-yuan-qi-288525",[23,117,24,64,225,94,95,99,98,33,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6783404b672c1a4de3525377c1613bba.jpg",[],{"id":11710,"slug":11711,"title":2005,"dynasty":18,"author":645,"museum":152,"description":3782,"tags":11712,"thumbUrl":11714,"material":273,"size":8099,"collection":105,"collections":11715,"showCount":11684,"zanCount":54,"manualWeight":54,"mainColor":262},283644,"guan-pu-tu-tang-yin-283644",[24,94,225,866,7762,98,226,7,169,11713,3662,3784,99,100,119],"崖岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc73a99f08040b3c5a6341b58459d3069.jpg",[105],{"id":11717,"slug":11718,"title":5080,"dynasty":18,"author":11719,"museum":135,"description":11720,"tags":11721,"thumbUrl":11722,"material":142,"size":142,"collection":105,"collections":11723,"showCount":11684,"zanCount":11,"manualWeight":54,"mainColor":55},238275,"yu-le-tu-zhou-zhang-ling-238275","张灵","张灵，生卒年不详。生于成化，约卒于正德初，年四十左右。字梦晋，吴郡（今江苏苏州）人，家贫，与唐寅为邻，两人志趣相投，茂才相埒。同为府学生员，故交谊最深。画作受唐寅影响极大。工诗文，祝允明弟子。\n少与祝允明、唐寅、文徵明齐名，并称“吴中四子”，性落拓嗜酒，好交游，醉即使酒作狂。所画人物冠服玄古，形色清真，无卑庸之气。间作山水，笔生墨劲，斩然绝尘。并善竹石、花鸟，清新可喜，书法亦佳。",[24,64,225,94,99,30,96,7,378,98,256,95,33,35,531],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd92163a7d1c8e15870bdf0cbe3eb3953.jpg",[105,83],{"id":11725,"slug":11726,"title":11727,"dynasty":18,"author":7291,"museum":61,"description":11728,"tags":11729,"thumbUrl":11730,"material":714,"size":11731,"collection":105,"collections":11732,"showCount":11684,"zanCount":54,"manualWeight":54,"mainColor":109},237696,"yu-man-shan-zhai-tu-zhou-xiang-sheng-mo-237696","雨满山斋图轴","图绘高山深壑，飞瀑清流，寺庙掩映在繁密的林木和耸峻的峰峦间，高士执杖步桥寻幽。山石取法元代黄公望，勾皴用笔浑厚质朴。树木的画法结合宋人笔意，枝干及叶片、苔点皆中锋运笔，苍秀沉着。画面意境深邃出尘。作者通过描写自己在暮秋的山林优游吟赏的活动体现了明末文人士大夫厌倦仕途隐居避世的心境。",[24,64,225,94,99,95,240,241,140,168,7,32,98,97,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff50a5814b2e1a349f1fca44e2d702518.jpg","纵121.4厘米，横32.4厘米",[105],{"id":11734,"slug":11735,"title":11736,"dynasty":344,"author":2071,"museum":91,"description":11737,"tags":11738,"thumbUrl":11739,"material":11740,"size":11741,"collection":105,"collections":11742,"showCount":11684,"zanCount":54,"manualWeight":54,"mainColor":55},237152,"guan-shan-qiu-ji-zhou-wang-hui-237152","关山秋霁轴","清朝初年，占据画坛时间最长的是“四王”一派 ，即王时敏、 王鉴、 王原祁、 王翚四位王姓山水画代表画家。“四王”视宋元名家的笔法为最高标准，致力于临摹古画或在摹古中追求变化。他们看重笔墨，大多以古人丘壑搬前挪后，构成一种古人已经达到过的理想境界，表现平静安闲的情感状态，体现所谓“士气”与“书卷气”，却较少观察自然，描写具体感受。因为受到统治者的重视和提倡，被尊为正宗，确立了正统地位。他们分为两代人，第一代的王时敏与王鉴是大书画家董其昌的朋友；第二代的王原祁是王时敏之孙，王翚是王鉴的学生。\n《关山秋霁图》正是“四王”之一、王鉴的作品。王鉴，字玄照，号湘碧，自称染香庵主，苏州太仓人，出身于书香门第，是明代文史大家王世贞的曾孙。王鉴擅长画山水，早年曾经得到董其昌的亲自传授，画风向上追溯至五代南唐画家董源、 巨然，多拟仿宋元诸家。他擅长画青绿山水，着色妍丽，又兼长皴染画法。\n什么叫皴染呢？皴（cun村）染是中国画的一种画法。皴，是画中用来表现山石、峰峦和树身表皮的脉络纹理的画法，作画时先勾出轮廓，再用淡干墨侧笔而画；染，是用墨水或淡彩润刷画面，不露或少露笔痕，用来分辨阴阳向背，加强物象的立体感。王鉴的画作风格华润，纤细且不失雅致。他从临摹入手，但并不忽视对丘壑的形象塑造，作品比较平实。\n《关山秋霁图》是王鉴晚年效仿北宋画家范宽的山水画风格所作。此轴为吴大澂、吴湖帆递藏之物，也就是祖孙二人次第传承收藏。吴大澂在裱边处题跋“湘碧老人早年多泼墨淋漓之笔，其精细之作皆在六七十岁……其用意之缜密虽极小处无一懈笔”，写出了王鉴晚年在用笔敷色方面，绘画风格与早年不同之处。值得一提的是，吴湖帆也临摹过一幅《关山秋霁图》，为友人祝寿而作。",[24,225,94,99,95,32,7,97,168,33,2256,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2aedd467187047bf2529e2a163cf58ec.jpg","绢本 ，墨笔","纵215.9cm，横113.8cm",[105,83],{"id":11744,"slug":11745,"title":11746,"dynasty":344,"author":11747,"museum":61,"description":11748,"tags":11749,"thumbUrl":11750,"material":946,"size":142,"collection":105,"collections":11751,"showCount":11684,"zanCount":54,"manualWeight":54,"mainColor":109},236130,"huang-yue-shan-xi-fang-zhao-tu-zhou-huang-yue-236130","黄钺山溪放棹图轴","黄钺","黄钺（1750--1841），字左田，又名左君，号壹斋、左庶子。先祖七世自当涂迁居芜湖，乾隆十五年八月初五未时（即公元1750年9月5日13时至15时），生于芜湖西门外升平桥旧第，幼丧父母，由外祖父母抚养，及长，敏而好学。清乾隆年间，“以廪贡挑录议叙吏目”。乾隆三十三年（1768）四月，黄钺与安徽巡道李世杰在芜湖赭山滴翠轩创建中江书院，招员授业。乾隆五十五年庚戌恩科(1790年)，殿试中二甲第六名进士，授户部主事，因与和珅意左，告假回芜，“掌教皖南北书院十载”",[24,27,95,99,225,240,4612,5064,241,97,171,7,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2c0e84037a99a0fea090328209329ab.jpg",[105,51],{"id":11753,"slug":11754,"title":7986,"dynasty":18,"author":4146,"museum":135,"description":11755,"tags":11756,"thumbUrl":11757,"material":142,"size":142,"collection":142,"collections":11758,"showCount":11684,"zanCount":54,"manualWeight":54,"mainColor":55},234679,"shan-shui-ce-ye-xie-shi-chen-234679","扇面画的历史源流，据张彦远《历代名画记》记载，三国时，曹操就有请杨修为其画扇的故事。到了唐代画扇之风更为盛行，当时的扇子还是圆形的，故称团扇。宋代宫廷画家更是画扇成风，且留下扇面画也很多，扇子的形制出现了芭蕉形的扇子。集书法、绘画于一扇，则始于明代，这是因为折扇形式的出现。国人历来都有这种习性，一件实用品总要给它艺术化，扇面画就是这样经过明清书画家的匠心经营，从而逐步确定了其作为一种独特的艺术品种而广泛普及、流传下来，继而也逐步形成了扇面画独立的审美体系。及至清代、民国，扇面画都是书画家乐于染翰和文人雅士乐于把玩、收藏的艺术品。",[117,24,64,332,94,99,95,97,32,7,140,98,33,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa04fd809b857e78cc59b98c607574cb4.jpg",[],{"id":11760,"slug":11761,"title":11762,"dynasty":18,"author":11763,"museum":61,"description":11764,"tags":11765,"thumbUrl":11766,"material":258,"size":142,"collection":142,"collections":11767,"showCount":11684,"zanCount":54,"manualWeight":54,"mainColor":109},234138,"qiu-lin-gui-yin-tu-juan-li-liu-fang-234138","秋林归隐图卷","李流芳","李流芳（1575～1629）明代诗人、书画家。字长蘅，一字茂宰，号檀园、香海、古怀堂、沧庵，晚号慎娱居士、六浮道人。歙县（今属安徽）人，侨居嘉定（今属上海市）。三十二岁中举人，后绝意仕途。诗文多写景酬赠之作，风格清新自然。与唐时升、娄坚、程嘉燧合称“嘉定四先生”。擅画山水，学吴镇、黄公望，峻爽流畅，为“画中九友”之一。工山水，兼善花卉。其画主要师承五代董源、巨然以及元代四大家黄公望、王蒙、吴镇和倪云林。李流芳《秋林亭子图》轴，上自题七绝一首：“山作矾头水少纹，巨然烘染董源皴。一间山水闲亭子，脱手平分与故人。”这无异于声明自己的笔墨是从董、巨中学来的。事实上，李流芳在传统学习上并非局限于一、两家。三百年来风行海内外，盛传不衰的《芥子园画谱》（上水部分）就是以他临仿古人各家风格的课徒画稿为蓝本整理、增编而成。\n李流芳在绘画上既崇尚宋元各家，又能注重师法自然，强调写生，于画中自创新意。《吴中十景图》册是他写生作品中的代表作。他以艺术家的视角摄取吴中十处风景名胜入画，摹写真实生动，主景次景剪裁得宜，他的传神之笔塑造的艺术形象展示了吴中胜景特有的风采，令人神往。他五十岁时画的一副雪景轴也来源于生活经验，画上自题：“甲子腊月十三日，归自吴门，大雪弥日，舟过城南，见留光树色，冒雪含烟，颇不乏致，辄画此纸。”他每次游西湖，都要带回很多写生稿，总之他的写实功夫是比较突出的。他常以自然山水为画本，随手写景，所以笔端不落俗套，富有生气，形成一种清新、秀逸的独特风格。董其昌赞道：“长蘅以山水擅长，余所服赝乃其写生，又有别趣。”\n曾经许小仙道艺室、王德溥宝日轩、李廷鈺秋柯草堂、蛟川包氏听涛轩收藏。1.许小仙，民国收藏家，一作肖仙，约活动于民国初年。室名“道艺室”“有墨廔”，和张大千交往深厚。1928年，大千游杭为小仙刻“小仙考藏名迹之章”长方朱文印，及“许氏有墨廔墨宝”正方朱文印。同年，黄葆戉为刻“归于小仙”白文方印。1940年，冯康侯为刻“道艺室珍藏记”长方朱文印。2.王德溥，字容大，一字澹和，钱塘人。贡生。有《宝日轩诗集》。3.王绍廷，清末上海人，工画栈道。4.李廷钰（1792-1861），字润堂。福建同安人。善诗文，工书画，又善鉴别古法帖。藏书甚富，室名“秋柯草堂”。鸦片战争期间为虎门威远炮台总兵。道光二十二年（1842）年任浙江提督，咸丰三年至六年（1853-1856）任福建提督。著有《海疆要略必究》、《泉州乡土地理粁》。5.“质亲王宝”或为清宗室乾隆第六子永瑢印；郑亲王则为爱新觉罗·济尔哈朗家族。按语：李流芳画法倪云林、吴仲圭，而有雄直劲硬之气，一纠吴门末流之软媚柔靡。此图写平林浅屿，湖天空阔之景，貌似云林而气悍力沉，故风规自具，然清远冷寂悠然出世之韵度则颇与云林合也。后有钱梅溪、李廷钰题识，称其“如行云、如流水，却不于形似间求之，”“尤为得意之作。”自是知者言。",[23,24,64,25,94,27,95,99,101,100,867,98,33,7,32,97,122,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf95887d31d990e7913cdfd778173c3c.jpg",[],{"id":11769,"slug":11770,"title":2671,"dynasty":150,"author":11056,"museum":61,"description":11771,"tags":11772,"thumbUrl":11773,"material":881,"size":11774,"collection":142,"collections":11775,"showCount":11684,"zanCount":11,"manualWeight":54,"mainColor":55},233844,"hua-shan-shui-zhou-li-shi-xing-233844","李士行山水图取境开阔，中间以一高峰为主体，四周群山相扶。雾气弥漫的、深远的山涧有一清流涌出，并化为平静的河水缓缓向前流淌。整个画面布局平稳，境界平淡天然。此画用笔温和秀润，多用披麻皴，墨色变化丰富，水色淋漓。其浓淡相间，以淡墨皴染，浓墨画近树和点苔，层次分明。",[24,64,225,94,27,95,33,98,7,348,99,173,1045,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ca3bbb245b9e71fbb9e96e768f35a36.jpg","纵：106.2厘米，横：52.7厘米",[],{"id":11777,"slug":11778,"title":11779,"dynasty":344,"author":11528,"museum":135,"description":11780,"tags":11781,"thumbUrl":11782,"material":142,"size":142,"collection":142,"collections":11783,"showCount":11684,"zanCount":54,"manualWeight":54,"mainColor":55},230359,"qiu-shan-ting-pu-tu-fan-qi-230359","秋山听瀑图","《秋山听瀑图》是清代画家 创作的绢本水墨淡设色画，现藏于旅顺博物馆。\n此图风格清雅，山骨峻增，群峰昂然高立，老树柔枝。\n全幅以水墨、花青染成，间施赭色。\n皴法细劲而严密，近似小斧劈又有所变化。\n此画远景山峦重叠，顶端突兀的巨石分向两边，右侧巨峰矗立，冲入云霄，气势雄伟险峻，山间瀑布直泻而下。\n中景为高山脚下，溪水潺潺，山石奇特，有几棵枯枝落叶古树，幽邃的山林周围空山寂寞，悄无人声，充满沁人肺腑的清新气息。\n在山坳平坡处，有一位樵夫正边走边倾听瀑泉的响声。\n泉水的流动，不但没有冲淡周围环境的安谧，反而增添了山林的僻静之感。\n近景为枯木坡石，与中景的山石紧相连接。\n左上自题“戊申春王画呈黄翁老祖台正樊圻”，钤“樊圻之印”、“会公”二印。\n左下钤收藏印二方“胶西法坤原珍藏”、“胶西宋皑珍藏书画印”。\n该图创作于康熙七年（1668年），作者时年5岁。\n此画构图顶天立地，上不留天，下不留地，左上角仅有的空白处，以作者自题款而填补，使整个画面更为充实完整。\n远景山峦重叠，中间炯锁山腰，层次分明，满而不塞。\n该图山石皴笔方硬而疏松，远山隐现于云雾之中。\n只在关键部位如山石的阴侧面用重墨，皴法细碎而干净利落，似从小斧劈演化而来。\n用色清淡，惜墨如金。\n总体来看，此画既合于写实的原则，也传达出幽远的意境。\n此图略近李成清旷画派，但皴法细劲而严密，近似小斧劈皴而较为文静，一点没有粗犷霸悍的习气。\n树木、屋宇、舟桥、流水、人物的刻画皆精诣不苟。\n通幅以水墨、花青染成，间施赭色，淡薄而透明，双钩的红叶，更点醒了秋山的主题樊圻对于传统的师承面比较广泛，就外表形态而论，似乎并未形成个人的固定程式，但就内在笔性而论，不管是披麻皴还是斧劈皴，也不管是水墨还是青绿，都以精诣不苟见工，精诣中又有透出虚灵的士气。\n该图在《中国美术全集·清代绘画》、《 》著录。\n1955年金县中心小学拨藏，现藏于旅顺博物馆。\n樊圻（1616—？），清代画家。\n字会公、洽公。\n江苏金陵（今南京）人。\n精山水、花卉、人物等。\n仕女画有幽闲静逸之致。\n与龚贤、高岑、吴宏，叶欣、胡糙、谢荪、邹喆为金陵八家。\n传世作品有《江浦风帆图》、《柳村渔乐图》、《雪景山水图》、《春山策仗图》轴、《山径骑驴图》等。",[23,24,64,117,225,27,95,168,32,7,255,6944,98,518,30,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F538bc792d5069bdc6b875e27cd5b5f04.jpg",[],{"id":11785,"slug":11786,"title":11787,"dynasty":18,"author":1948,"museum":135,"description":11788,"tags":11789,"thumbUrl":11790,"material":142,"size":142,"collection":142,"collections":11791,"showCount":11684,"zanCount":11,"manualWeight":54,"mainColor":109},228868,"dong-yuan-tu-juan-wen-zheng-ming-228868","东园图卷","《东园图卷》是文徵明的作品，绢本，纵：.2cm，横：126.4cm。\n现收藏于 ，画上景物多用空勾填色，墨线细劲连绵，笔意古拙，赋色清丽秀逸，晕染精细。\n名称：明文徵明东园图卷 类别：中国古画 年代：明代 文物原属：故宫旧藏 文物现状：现藏台北故宫博物院 图卷，绢本，设色画，纵：.2cm，横：126.4cm。\n东园位于南京钟山东凤凰台下，原是明代开国重臣中山王徐达的赐园，名为“太府园”，后来其五世孙徐泰时加以修葺扩建，辟作别墅，更名“东园”。\n园内叠有峰嶂，川泽相通，灵岩怪石环列前后，奇花异草郁郁葱葱，亭台楼阁错落有致。\n与徐氏友善的时贤名士常雅集于东园之中，或谈诗论文，或品茗抚琴，或宴乐弈棋，或赏玩书画，其乐融融，快意畅然。\n《东园图》是明四家之一的文征明于61岁（明嘉靖九年，15年）时绘制的，表现了东园雅集时的情景。\n情景图中板桥横于潺潺细流之上，青松翠竹遥相呼应，湖石疏置，碧树成荫，池水为清风吹皱，泛起层层涟漪。\n甬路上二文士边走边谈，携琴童子相随其后；堂内四人凝神赏画，另有手捧数轴书画的小童立侍桌旁，水榭之中对弈的两人神态悠闲安逸。\n文徵明的绘画有两种风格：一是宗法沈周、吴镇，呈水墨粗笔面貌，世称粗文；一是师从赵孟頫、王蒙，多青绿重染，工细缜密，世称细文。\n文氏早年以工细为主，中年之后粗细兼能，愈晚愈工。\n《东园图》便是他晚年细笔的精品。\n画上景物多用空勾填色，墨线细劲连绵，笔意古拙，赋色清丽秀逸，晕染精细，正如王原祁所言：“色不碍墨，墨不碍色，又须色中有墨，墨中有色。\n”全图虽以青绿设色法为之，却丝毫不见工匠之气，充盈于画面的是闲适雅致的文人气息，画中人物颇有魏晋之际名士的风神格调，这是文氏此类雅集题材绘画超乎常人之处。\n图之引首有徐霖隶书“东园雅集”四字。\n画面右上端有篆书“东园图”三字，画尾有款“嘉靖庚寅秋徵明制”，下钤“ 停云”、“玉兰堂印”、“徵仲”等印四方。\n卷后尾纸上有湛若水楷书《东园记》和陈沂行书《太府园讌游记》二则。",[23,117,24,64,25,26,27,30,31,97,32,7,199,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6cb802217ebcd0c9524ab578c39dc66.jpg",[],{"id":11793,"slug":11794,"title":11795,"dynasty":18,"author":2519,"museum":135,"description":11796,"tags":11797,"thumbUrl":11798,"material":142,"size":142,"collection":142,"collections":11799,"showCount":11684,"zanCount":54,"manualWeight":54,"mainColor":55},228288,"lin-xia-gao-shi-chen-hong-shou-228288","林下高士","画作以枯荣相衬的林木构起幽境，两位高士席地对坐，姿态安闲，似在晤言清谈。流泉隐于林石间，远处茅亭藏于麓林深处，尺幅之中铺展出清寂雅致的林下天地。\n\n设色调和古雅，青绿叶色与枯木寒枝形成鲜明对照，山石勾勒奇崛苍劲，带着朴拙古意。鲜妍设色未露半分媚俗，反倒衬出林境沉静出尘的气质，将文人遁迹丘山、寄情林泉的雅怀藏入画面。构图疏密相宜，笔端静穆雅致，把林下雅集的散逸清旷尽数铺展，尽显古雅出尘的隐逸意趣。",[23,24,64,27,26,95,30,97,140,98,33,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0debeaf5261a36d5a12e371c8f048cd3.jpg",[],{"id":11801,"slug":11802,"title":11803,"dynasty":150,"author":11804,"museum":152,"description":11805,"tags":11806,"thumbUrl":11808,"material":273,"size":11809,"collection":368,"collections":11810,"showCount":11684,"zanCount":54,"manualWeight":54,"mainColor":109},228010,"xi-fu-tu-zhou-chen-lin-228010","溪凫图轴","陈琳","《溪凫图》为元代画家 创作的纸本设色画，现藏于台北故宫博物院。\n该图描绘的是秋天的景色。\n一只野鸭正立于水岸边上，河里水波阵阵泛起，岸上野草丛生，一株芙蓉树正开得鲜艳。\n该图绿头鸭造型准确，勾勒工谨，以水墨晕染，略加花青、赭石淡彩，花草笔墨纵逸简括。\n此图中一只体硕羽丰的野鸭临水而立，霜晴溪碧，秋意浓郁。\n该画幅左有赵孟頫题记：“陈仲美戏作此图，近世画人皆不及也。\n子昂。\n” 诗塘有元人仇远题跋。\n其中右上的芙蓉、下方的坡石小草和粗笔的水波都是赵孟頫所加，粗笔水波之下还可见到陈琳原画细笔波纹的痕迹。\n画上钤有清人耿昭忠、乾隆帝、宣统帝等收藏印多方。\n《溪凫图》是陈琳求教与赵孟頫时，在赵氏的松雪斋中所作。\n时值元大德五年（11年），该图是在赵氏手把手的指导下，并且由赵氏润色题识共同合作完成的一幅作品。\n整幅画面保留了宋代花鸟相对严谨的造型和章法，区别在于通过相对粗拙的笔墨来作整体的勾染以呈现主体物象。\n野凫的喙以苍厚而毛涩的线勾出外轮廓，再以干笔淡墨循其形理擦染而成，形质俱在。\n鼻孔则又以浓墨细线勾其内外以示其形。\n头部则以浓淡不同的墨色来擦染。\n首先以不同紧松的笔触擦写以表现头部及脖子不同部位组织的软硬质地以及相互关系，然后根据需要敷以花青、染以不同深浅的墨色以体现头部皮肤及羽绒状况。\n浓墨细线，以肯定的笔触圈出眼眶，淡色渲染眼球，晶莹、润泽，浓墨圈点眼瞳，传野凫特有之眼神。\n颈与躯干相连接部分为白色羽毛，仅用两根界线勾出外轮廓，略施极淡的墨。\n野凫的前胸部则以点染笔法两至三遍地完成羽毛，较好地表现了短羽的松软。\n以粗拙的线条勾出左腿部及脚蹼，大腿上的羽毛较长用淡而长的弧线堆砌、错综，以显羽毛的自然情状。\n又以淡墨和赭石细勾分染以增其层次。\n为了表现紧紧包裹着小腿的皮的质感，则又细勾慢染，显脚部皮质的起伏与韧坚。\n背上翅部则是精雕细琢的部分，以勾染绘出根部外侧细毛层叠蓬松。\n翅前端几根大羽则用浓淡不同的线依其物理的方向，以富有弹性的线勾出，与细羽形成对比，尾部上面翅之最前端以极概括的手法涂染、大笔写出。\n整只野凫的描绘以明显的带有书写性的笔法绘出。\n整体结构的精准表现了野凫的一贯常态，极为传神。\n补景行笔从容，线条极具概括力，笔触简洁、富有意趣，轻松地表现了画幅上部的芙蓉以及下部的杂草。\n坡石的线条极为自如，看似随意间形质皆备，诚是“笔简而意繁”叠压在细劲水纹上粗简的复笔，润而凝、松而实。\n这些笔触表现的虽是背景，但横贯画幅，时于整体意笔气氛的营造有着极为重要的作用。\n画面写生式的画一只野鸭，本来构图容易陷于平板，但坡岸一条很粗的斜曲线，使画面起了变化，加以淡墨的不规则的水纹线条，使之有了起伏变化。\n然后在右上角用线描出芙蓉花，以及坡上车前草和两丛野草，使之丰满充实，疏密有致。\n现代文学家、画家 ：这画的确美妙、生动和自然。\n连霜消日晒、光暖波凉的感觉都能让人感到。\n虽是戏作，笔墨却是上乘。\n你看，这土坡的苍厚，鸭羽的柔软，花叶的肥嫩，水纹的光滑，全用不同质感的线条区分开。\n颜色不多却非常丰富；赭黄的调子洋溢着秋天的风韵。\n陈琳的《溪凫图》与其他画家的作品一起成为种标向，在花鸟画发展中做出了两个方面的贡献。\n其一是把绘画中的行利之分逐渐地引导到种新的审美境界中去，展现文人画的进一步发展，与此同时，其自身也成为了一种传统。\n将宋人绘画中的严谨、规整、刻画的造型，逐步向松灵、抒写、淡治转移。\n二是把黄家的设色体制水墨化，其特征是：1、保持黄体的基本构图和严格的造型性，但在表现形式上由紧转松。\n2、将对于形廓的勾勒线描，变纤细为可以粗重并加强其抒写性。\n、变体面的色彩呈现为墨分五彩，变三矾九染的渲染法为皴、擦、书写为主的干湿表现。\n该图曾经耿昭忠及清内府收藏。\n现藏于台北故宫博物院。\n217年1月4日—12月25日，台北故宫博物院举办“国宝的形成”特展，《溪凫图》在其中展出。\n陈琳，生卒年未详。\n元代画家。\n字仲美，钱塘（今浙江杭州）人。\n南宋画院待诏陈珏子。\n琳世其业。\n善画花鸟、山水、人物，得赵孟颊指授，多所资益，故其画不俗，尤善临摹古迹。\n尝作《夏木图》，张雨题诗，有“董源夏木不复见，俗本纷纷何足观；陈郎笔力能扛鼎，写此千章生昼寒”之句。\n传世作品有与赵孟頫合作的《溪凫图》轴。",[23,24,64,94,27,788,11807,7,4449,199,100,119],"鸭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ab4dc7748b9ac3a1f0f3e1f60d4cb74.jpg","35.7x47.5",[368],{"id":11812,"slug":11813,"title":11814,"dynasty":59,"author":6998,"museum":135,"description":11815,"tags":11816,"thumbUrl":11817,"material":142,"size":142,"collection":142,"collections":11818,"showCount":11684,"zanCount":54,"manualWeight":54,"mainColor":55},227953,"tu-ye-zhao-bo-ju-227953","图页","此作为典型宋代青绿山水，石青、石绿晕染山峦，厚重雅致间衬以赭石暖调，冷暖相映，晕化出山水层叠悠远的空蒙意境。\n\n画面开合有度，远山嵯峨葱郁，近渚水色澹澹，坡岸苍松劲挺成林，生机盎然。水岸营寨旌旗飘展，泊船静立，身形微小的人物情态具足，行旅场面写实生动，将山水之秀与行旅之境相融。\n\n它承继唐代青绿山水的明艳富丽，又兼具宋代院体画的精工写实，笔致细腻秀雅，兼顾全景意境与细节刻画，把随行驻泊的日常图景置于秀山丽水间，尽显宋画雅致隽永的山水意趣。",[23,117,24,64,118,27,26,95,30,96,7,33,122,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5813535dd91fdde5ef9a939c994bbe3f.jpg",[],{"id":11820,"slug":11821,"title":11822,"dynasty":59,"author":209,"museum":135,"description":11823,"tags":11824,"thumbUrl":11825,"material":142,"size":142,"collection":142,"collections":11826,"showCount":11684,"zanCount":54,"manualWeight":54,"mainColor":640},227725,"shan-gu-ji-liu-tu-xia-gui-227725","山谷激流图","夏圭（生卒年不详），字禹玉，临安（今浙江杭州）人，南宋绘画大师。“南宋四家”之一，早年画人物，后来以山水著称。他与马远同时，号称“马夏”。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他的山水画师法李唐，又吸取范宽、米芾、米友仁的长处而形成自己的个人风格。虽然与马远同属水墨苍劲一派，但却喜用秃笔，下笔较重，因而更加老苍雄放。用墨善于调节水分，而取得更为淋漓滋润的效果。在山石的皴法上， 常先用水笔淡墨扫染，然后趁湿用浓墨皴，造成水墨浑融的特殊效果，被称作泥里拔钉皴。传世作品有《溪山清远图》《西湖柳艇图》《雪堂客话图》等",[24,117,64,95,94,99,225,98,33,3454,7,1328],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e099048944fdf9181b06d03954f9172.jpg",[],{"id":11828,"slug":11829,"title":11830,"dynasty":344,"author":808,"museum":135,"description":11831,"tags":11832,"thumbUrl":11833,"material":142,"size":142,"collection":142,"collections":11834,"showCount":11684,"zanCount":11,"manualWeight":54,"mainColor":109},224523,"shan-shui-tu-ce-8-kai-8-shi-tao-224523","山水图册8开-8","此作用边角布局造景，右侧崖壁以浓墨皴擦，朴拙苍劲，留白铺就浩渺湖面，虚实相映尽显烟波空濛。水面渔舟错落，渔人或撑舟放网，或围坐闲谈，野趣盎然，崖头行人凭栏远眺，一动一静间，将湖畔日常的闲散诗意铺陈开来。\n\n墨色干湿浓淡层次分明，远山以淡墨晕染，朦胧悠远，近岸苔点灵动鲜活，晕染出江南水泽的温润生机。题诗朱印与画作浑然一体，书画印相映成趣，把偶然得见的湖光野景寄于笔墨，将文人雅趣与世俗烟火相融，尽是师法自然的恬淡悠然。",[23,24,94,27,99,332,119,101,95,96,30,122,199,7,256],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31c782c5e41a5ccb190b00e358db8a2c.jpg",[],{"id":11836,"slug":11837,"title":11838,"dynasty":344,"author":2253,"museum":135,"description":11839,"tags":11840,"thumbUrl":11841,"material":142,"size":142,"collection":142,"collections":11842,"showCount":11684,"zanCount":54,"manualWeight":54,"mainColor":55},224407,"cong-lin-qu-diao-tu-wang-shi-min-224407","丛林曲调图","此作用高远之景铺陈山峦层叠，以干笔淡墨勾勒皴擦山石，披麻皴晕染出苍朴肌理，笔意苍松秀润。山谷间山居错落排布，溪泉隐于乱石之间，枯荣林木交映成趣，萧淡之中暗蕴温润生机。\n追摹元人笔法意趣，墨色清润雅致，虚实相生，将秋山清寂淡远的意境烘托尽致。简淡笔墨间藏着浑朴苍厚的气韵，把林泉幽居的野趣诉诸笔端，观之恍如踏入静谧空幽的世外山居，尽显文人画平淡天真的雅致意韵。",[23,24,64,225,94,99,95,32,7,140,98,97,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd808ae66ac4c7a08a26404215a3f3a0.jpg",[],{"id":11844,"slug":11845,"title":11846,"dynasty":344,"author":435,"museum":135,"description":11847,"tags":11848,"thumbUrl":11849,"material":142,"size":142,"collection":142,"collections":11850,"showCount":11684,"zanCount":54,"manualWeight":54,"mainColor":109},224404,"lu-tai-nan-shan-ji-cui-chang-juan-wang-yuan-qi-224404","麓台南山积翠长卷","此作以全景铺展江南盛景，浅绛间糅青绿晕染，层峦叠嶂迤逦开合，丘壑繁密却丝毫不失章法，尽显山川龙脉走势。汀渚渔舟、山居村舍错落点缀，水烟澹澹，山林苍郁，笔墨沉厚老辣，干笔皴擦间又带秀润，层层积染出山峦的雄浑华润质感。将元人简逸笔意化为沉雄苍浑的气度，恪守文人画理法的同时，以细密繁复的构图铺陈胸中丘壑，尽数绘就江南山川的郁茂苍翠与静穆灵秀，是兼具笔墨意趣与山水神韵的佳作。",[23,117,24,64,25,95,27,99,170,33,76,96,7,97,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56a81172077ff8b61901ecd9eb2cce38.jpg",[],{"id":11852,"slug":11853,"title":5300,"dynasty":344,"author":11854,"museum":135,"description":11855,"tags":11856,"thumbUrl":11857,"material":142,"size":142,"collection":142,"collections":11858,"showCount":11684,"zanCount":54,"manualWeight":54,"mainColor":109},224356,"zhang-lin-xiao-yao-tu-jian-jiang-224356","渐江","此作用渴笔淡墨写尽丘壑幽寂，危崖层叠如削，奇崛冷峻，崖间飞瀑隐于褶皱，暗传空谷清音。近岸枯木疏朗清瘦，枝桠劲挺如铁，寒潭平湖以留白铺陈，汀渚渔隐敛于浅处，愈显天地空茫。\n\n笔墨师古而出新，线条方折硬挺，皴擦极简，淡墨晕染山石，清润秀雅全无冗赘。画面融黄山奇峭与江南灵秀于一体，清冷萧疏间藏着遗世襟怀，将枯淡山水里的逍遥意趣，藏在每一处留白与笔锋之中，尽显孤高淡远的出尘风骨。",[23,24,64,225,94,99,95,168,7,140,98,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F501da569d2b40fd1f218f16cf826ca93.jpg",[],{"id":11860,"slug":11861,"title":11862,"dynasty":18,"author":11863,"museum":152,"description":11864,"tags":11865,"thumbUrl":11866,"material":6008,"size":11867,"collection":105,"collections":11868,"showCount":11684,"zanCount":54,"manualWeight":54,"mainColor":55},222462,"fu-kan-ji-liu-tu-zhou-wang-shi-chang-222462","俯瞰激流图轴","王世昌","王世昌（约1462－1531以后），明代画家，为山东人。我们无法确知他是否担任过宫廷画家。他擅长于大幅的山水人物画，风格温润典雅，颇具诗意。传世有〈大幅山水〉、〈俯瞰激流〉等作。俯瞰激流图 主题描绘春季来临时的山谷中，文人与农夫活动的状况。画中央平坦的坡陀上，是一位俯观涓涓流水、若有所思的文士。他身后的策杖文士，则与随侍携琴童仆，同时回望着登向高岗的荷担农夫，传达着他们与农夫交谈后，目送农人前往工作地点的情形，似与〈归去来辞〉的内容若合符节，由此可知，此画与文学的密切关系。画中前后景交接处，以留白作为云气，使画面显得迷离不定；而山石部分则以浓墨与淡色烘染，营造物体朦胧、置身云雾间的视觉效果，刻意增加空间的层次，这是让画中充满诗意气氛，经常运用的方法之一。",[23,24,27,99,95,30,1397,140,171,7,38,9133,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b92e5bce953bcc5c616e2f21d9d65af.jpg","33x53",[105,51],{"id":11870,"slug":11871,"title":11872,"dynasty":344,"author":2309,"museum":61,"description":8570,"tags":11873,"thumbUrl":11874,"material":335,"size":8573,"collection":142,"collections":11875,"showCount":11684,"zanCount":54,"manualWeight":54,"mainColor":109},220327,"huang-shan-tu-ce-4-hong-ren-220327","黄山图册-4",[23,24,933,332,99,95,98,32,7,33,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ceb6ea4ddc9fb9c6fcb7d328c018253.jpg",[],{"id":11877,"slug":11878,"title":11879,"dynasty":150,"author":6281,"museum":152,"description":11880,"tags":11881,"thumbUrl":11882,"material":103,"size":11883,"collection":105,"collections":11884,"showCount":11684,"zanCount":11,"manualWeight":54,"mainColor":55},219926,"qiao-mu-shan-zhuang-tu-chen-ru-yan-219926","乔木山庄图","陈汝言（1331-1371年），元末明初画家、诗人。字惟允，号秋水，先世系本蜀阆州（今四川阆中市）人，后居江西南康，父陈征流寓吴中，遂为吴县人。 能诗，擅山水，兼工人物。与兄陈汝秩（字惟寅）齐名，时人呼为大髯小髯。\n陈汝言画山水远师董源、巨然，近宗赵孟頫、王蒙，行笔清润，构图严谨，意境幽深。与王蒙契厚，传说王蒙在泰安时，曾面泰山作画，随兴所至，不时加笔，一幅图画了三年。陈汝言正巧来访，时遇大雪，他便用小弓挟粉笔弹在画上，将图改作雪景。王蒙叫绝，以为神奇，遂改题为《岱宗密雪图》。",[24,64,25,94,99,95,240,169,33,76,119,868,7,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7c27c974c825234b28d9272c4efdeff.jpg","本幅 24.3×65.4",[105],{"id":11886,"slug":11887,"title":11888,"dynasty":344,"author":1916,"museum":91,"description":1917,"tags":11889,"thumbUrl":11890,"material":335,"size":1920,"collection":142,"collections":11891,"showCount":11684,"zanCount":11,"manualWeight":54,"mainColor":109},219852,"ba-jing-shan-shui-tu-5-gong-xian-219852","八景山水图-5",[24,94,99,95,171,33,122,97,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbddfe1b7d43fd1d3f803160a4402416a.jpg",[],{"id":11893,"slug":11894,"title":11895,"dynasty":59,"author":292,"museum":281,"description":11896,"tags":11897,"thumbUrl":11898,"material":47,"size":142,"collection":105,"collections":11899,"showCount":11684,"zanCount":11,"manualWeight":54,"mainColor":55},218595,"ye-zhou-heng-du-tu-yi-ming-218595","野舟横渡图","河道上长满了树木和茅草屋，河中停泊着两艘中型单桅帆船，下层是客舱，上层是货物，这是从南宋到元朝初期江南地区普遍使用的。",[117,24,64,1551,27,99,95,96,7,140,98,256],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ec54b00cf7d69cffe6cbb08e458f926.jpg",[105],{"id":11901,"slug":11902,"title":11903,"dynasty":18,"author":11904,"museum":316,"description":11905,"tags":11906,"thumbUrl":11907,"material":47,"size":11908,"collection":105,"collections":11909,"showCount":11684,"zanCount":54,"manualWeight":54,"mainColor":55},218505,"shan-shui-tu-zhan-dao-heng-lv-wang-duan-218505","山水图（栈道行旅）","王端","这幅画描绘了危桥险路，商人行色匆匆，山高水险，蜀道难，难于上青天。树干上刻有 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得沈周笔意而稍变。多作长卷巨幛，峰峦雄伟。尤善画水，江河湖海，种种皆妙。笔墨纵横自如，富有气势，介乎戴进和沈周之间。唯刻画不 够精微，殊少秀韵。",[23,117,24,64,225,94,99,95,31,32,7,97,98,33,30,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9527df7914879b235439099ab530acc9.jpg",[],{"id":12001,"slug":12002,"title":12003,"dynasty":150,"author":1622,"museum":135,"description":10946,"tags":12004,"thumbUrl":12005,"material":229,"size":637,"collection":142,"collections":12006,"showCount":11954,"zanCount":54,"manualWeight":54,"mainColor":55},287529,"guan-quan-tu-zhao-meng-fu-287529","观泉图",[24,117,225,27,95,30,390,98,7,119,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe18ccffe8a3c3cabe7d0bb04da6a7a08.jpg",[],{"id":12008,"slug":12009,"title":12010,"dynasty":344,"author":12011,"museum":61,"description":12012,"tags":12013,"thumbUrl":12014,"material":142,"size":142,"collection":105,"collections":12015,"showCount":11954,"zanCount":54,"manualWeight":54,"mainColor":109},239054,"tang-ying-shan-shui-zhou-tang-ying-239054","唐英山水轴","唐英","此作用淡墨晕染出江南山居的悠然意趣，全景构图层层铺展，意境清寂淡远。远景山峦轻笼烟霭，平湖开阔澄澈，三两渔舟泛于波上，漾开闲静况味。中景坡岸虬松葱郁，村居错落相依，板桥横溪接引往来，揉入日常烟火暖意。近景庭院深隐林间，田亩溪涧环合相拥，将林下栖居的隐逸之趣藏入笔墨中。\n\n全画笔墨松秀柔和，以淡皴轻擦区分丘壑层次，弃绝浓丽设色，凭墨色干湿浓淡铺陈层次，尽显文人山水特有的简淡萧散，把江南乡野的静雅诗意晕染开来，藏着冲淡平和的文人心绪。",[24,94,225,95,32,7,97,122,33,98,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d73145b572ef6ffbad105060f81b9cb.jpg",[105],{"id":12017,"slug":12018,"title":12019,"dynasty":344,"author":12020,"museum":61,"description":12021,"tags":12022,"thumbUrl":12023,"material":258,"size":12024,"collection":105,"collections":12025,"showCount":11954,"zanCount":54,"manualWeight":54,"mainColor":109},238133,"qiu-shan-xing-lv-tu-zhou-fang-cong-238133","秋山行旅图轴","方琮","此图是方琮的代表作品之一。图中峰峦叠幛，林木入秋，溪流小桥，行旅者行进其间。整幅画面布局巧妙，结构严谨，房舍及行旅商贾无不似从元人笔下而来，属雅俗共赏之作。",[24,64,117,225,27,99,95,1497,98,33,7,168,76,32,724],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d7f98f4a5433087a38e8a85bd4c7fcf.jpg","纵186.6厘米，横153.3厘米",[105,51],{"id":12027,"slug":12028,"title":12029,"dynasty":344,"author":9738,"museum":135,"description":12030,"tags":12031,"thumbUrl":12032,"material":142,"size":12033,"collection":49,"collections":12034,"showCount":11954,"zanCount":11,"manualWeight":54,"mainColor":109},237549,"wu-liang-shou-fu-zhou-ding-guan-peng-237549","无量寿佛轴","其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。\n丁云鹏是仇英之后最著名的人物画家，他工给的笔法不下仇英，而高古文雅似又过之。他最擅长的是佛教题材，佛祖、菩萨、罗汉在他笔下既栩栩如生，又庄严肃穆。此帧李公麟《维摩演教图》画人物五十三，动物数头，趁具法器、峰峦堂宇、树石祥云，皆精密工给，非费一两月之功不能为此。董其昌与丁云鹏为挚交，曾题丁氏所绘《五像观音图卷》云：“丁南羽写此时，在吾松为顾光禄正心所馆，年三十馀，故极工妙。自后不复能事，多老年漫应。”",[24,64,225,27,26,598,30,95,199,7,4449,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad762207352ab4f7beb208dc41e22025.jpg","纵99.3厘米，横61.9厘米",[49],{"id":12036,"slug":12037,"title":12038,"dynasty":344,"author":12039,"museum":61,"description":12040,"tags":12041,"thumbUrl":12042,"material":258,"size":12043,"collection":105,"collections":12044,"showCount":11954,"zanCount":11,"manualWeight":54,"mainColor":55},236106,"tang-dai-qing-luan-chun-ai-tu-zhou-tang-dai-236106","唐岱晴峦春霭图轴","唐岱","此图为竖构图，虽布置繁密却不杂乱。层次分明，经营有序，过渡自然，彼此虚实相生、错落有致。用笔秀劲凝重，深沉厚实，境界深远，墨色苍厚明润，变化丰富有灵气，可以看出作者状物写情的修养和功力。在技法上作者运用了勾、皴、点、染多种表现形式，如山石先用干笔皴擦，再以浓墨横笔点苔，使画面富有立体感。整幅画面色泽淡雅，在近石、远山及亭台上略施淡赭和花青，烘托出高雅幽然的意境。\n此画轴综观画面，重山叠嶂，霭横暗峦，曲流小径，回旋辗转，蜿蜒于隔山之壑。其间水榭山居，高树疏林，疏密有致，加之亭台小桥，别有韵味。好一派万物复苏，生机盎然的春季之景。那高低起伏的山峰层层错落，渐次推远，在蒸腾的云雾中忽隐忽现，最终消失在苍茫的水天之际。\n春霭缭绕，横贯于山腰之间，把远山近石自然地衔接起来，使整个画面意境幽远，静寂悠闲。山顶上、河岸上都长满了各种草木，有的顽强的扎根于石缝间，姿态挺拔俊秀，虽不比盛夏之苍茂，然比之深秋之萧瑟，寒冬之疏落，则充满生命的活力。远处山崖间瀑布高悬，如银河一般飞流直下，直冲烟岚之中，汇成溪流，顺着蜿蜒的溪岸流淌而来。笔者仿佛听到潺潺的流水声与远处瀑布的轰鸣声自然交汇，传人山谷，直至那浩茫的远山，又回荡在树石草木之间，与鸟鸣、树声、风声交融在一起，构成了一部天然的交响乐，这便是所谓的天籁之音吧!看那山间平台上、坡岸上、溪流上两三点缀的水榭亭台，在树木的掩映下若隐若现，使画面又透露着一种幽深的意味。面对如此美景，真想走出书斋把自己的身心融入这画一般纯洁平静的大自然中，去倾听那美妙的“乐音”。",[24,64,225,27,99,95,170,33,7,169,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20f247378ce430f21abc039c0e4473ae.jpg","108 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清高宗以此作与《富春山居图》（子明卷）相比，认为两作“纸色墨气，古穆无二”。细察两作石法、树法，乃至题款书风近似，或出于一人之手，为明末清初的作品。",[24,225,95,94,99,4894,12184,32,7,31,119,100],"曲涧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdb06ecbde0e10adb8891902cce34b3f.jpg",[],{"id":12188,"slug":12189,"title":5308,"dynasty":59,"author":292,"museum":135,"description":12190,"tags":12191,"thumbUrl":12192,"material":229,"size":637,"collection":142,"collections":12193,"showCount":192,"zanCount":54,"manualWeight":54,"mainColor":55},289782,"xi-shan-chun-xiao-tu-yi-ming-289782","平远视角铺展出江南早春的缱绻景致，淡墨晕染山峦，烟岚轻笼起伏丘壑，晕开朦胧温润的春日底色。坡岸桃枝缀着浅绯新花，杂木抽芽，深浅绿意与粉红花色交织，漫开融融春意。\n\n溪湾回环，水面空明如镜，三两渔舟泛波，艄公悠然摇橹，野舍错落藏于林麓间，溪桥横陈连通幽境。笔墨秀雅清润，水墨间施淡彩，轻重相宜地勾勒出春日山水的柔婉生机，将江南乡野的静谧恬美尽数铺陈，把春风拂过溪山的温柔瞬间定格绢素，尽显平和悠远的山水雅意。",[23,117,24,25,27,95,99,170,33,120,7,96,32,3559,1109,3784],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc064e439aeef992d464680650ec944d9.jpg",[],{"id":12195,"slug":12196,"title":12197,"dynasty":59,"author":5842,"museum":135,"description":12198,"tags":12199,"thumbUrl":12201,"material":229,"size":637,"collection":142,"collections":12202,"showCount":192,"zanCount":54,"manualWeight":54,"mainColor":109},289559,"fang-chun-yu-ji-tu-ma-lin-289559","芳春雨霁图","《芳春雨霁图》描绘荒野平溪，窠石疏林。枝上嫩叶初露，春意浓郁。远方烟霭出没，隐约可见。画中怪石用斧劈皴，老树用严谨的双钩填墨法，树叶用淡褐色点染。全图用笔瘦硬劲峭，构图简括，画风学马远而又有自己的创新，为马麟山水画佳作。",[24,117,64,94,95,255,199,7,12200,119,99],"雨霁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61e2fc4358f94b21a58ea7d73e48787d.jpg",[],{"id":12204,"slug":12205,"title":12206,"dynasty":59,"author":954,"museum":135,"description":2317,"tags":12207,"thumbUrl":12208,"material":229,"size":637,"collection":142,"collections":12209,"showCount":192,"zanCount":54,"manualWeight":54,"mainColor":55},288350,"song-yin-wan-yue-tu-ma-yuan-288350","松荫玩月图",[117,24,64,94,27,95,271,530,30,7,3784,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76f57d4cb975c118da4a725394cb0c41.jpg",[],{"id":12211,"slug":12212,"title":12213,"dynasty":150,"author":8844,"museum":152,"description":12214,"tags":12215,"thumbUrl":12216,"material":404,"size":12217,"collection":142,"collections":12218,"showCount":192,"zanCount":54,"manualWeight":54,"mainColor":55},287578,"shuang-pu-gui-yu-tu-tang-di-287578","霜浦归渔图","图画坡石间乔松、枯木及杂树丛立，暮色已起，林边小径上渔人负罾罩等渔具罢渔而归。丛树占据画幅的主要部分，远处的丛林树梢在云霭中隐现，令人遐想。并立的乔松，虬曲多节的枯树，杂树树叶或用夹叶法，或用渍点法。该图人物线描熟练准确，形神俱得。",[24,95,30,390,7,171,256,27,99,140,119,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddb5e9c27ef08409b1d4699a1ce19e76.jpg","144x89.7",[],{"id":12220,"slug":12221,"title":12222,"dynasty":18,"author":2928,"museum":135,"description":2930,"tags":12223,"thumbUrl":12224,"material":142,"size":142,"collection":105,"collections":12225,"showCount":192,"zanCount":54,"manualWeight":54,"mainColor":55},238041,"wen-jia-shan-shui-zhou-wen-jia-238041","文嘉山水轴",[24,64,225,94,27,95,32,7,140,199,30,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9352b912d9a69a183afa1a3aac3d94ba.jpg",[105],{"id":12227,"slug":12228,"title":12222,"dynasty":18,"author":2928,"museum":135,"description":12229,"tags":12230,"thumbUrl":12231,"material":12232,"size":142,"collection":105,"collections":12233,"showCount":192,"zanCount":54,"manualWeight":54,"mainColor":109},237893,"wen-jia-shan-shui-zhou-wen-jia-237893","文嘉（1501年～1583），字休承，号文水，南直隶苏州府长洲（今江苏苏州）人。大书画家文徵明次子。\n吴门派代表画家。初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。精于鉴别古书画，工石刻，为明一代之冠。画得徵明一体，善画山水，笔法清脆，颇近倪瓒，着色山水具幽澹之致，间仿王蒙皴染，亦颇秀润，兼作花卉。明人王世贞评：“其书不能如兄，而画得待诏（文徵明）一体。”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。”\n该砚石品集石眼、焦叶白、青花、鱼脑、火捺、虫蛀皮于一身，极为难得。砚首部随形镌刻金鲤戏水深浮雕，虚实相间，形神俱佳。砚背面的刻款更是诗、书、印、刻，水乳交融，精彩完美。刻款内容是一首咏笔的绝句：“紫竹纤毫线扎成，如龙似虎伴书生。渴来玉砚池中饮，饱向花笺纸上行。”书法劲挺秀美，正是文嘉最为擅长的小楷行书；诗句也工正流畅，其对书画艺术的热爱之情跃然而出。刻工刀随笔势，具铁划银勾之力而又细致入微，非深谙书法点画之美者莫为。落款“文水道人”下刻有“文嘉”阳文印，与《倪瓒真书江南春词图卷》（1523年）和《文嘉两洞记游图册》（1544年）上的“文嘉”用印如出一辙，毫无二致。可以想见，笔、墨、纸、砚文房四宝在文嘉的生活中扮演了多么重要的角色。他动用了诗歌、书法、绘画、雕刻的各种手法，将对文房四宝的深厚感情和文学艺术的深厚造诣熔铸在这方端溪佳石上，使得该砚具备了丰富的审美内涵，而文嘉多方面的艺术才华也由此得到了极生动难得的彰显",[24,64,225,94,99,95,32,7,97,255,98,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e4d146aaec02114ccb269501a7bed23.jpg","轴设色纸本",[105,625],{"id":12235,"slug":12236,"title":888,"dynasty":344,"author":2710,"museum":135,"description":12237,"tags":12238,"thumbUrl":12239,"material":142,"size":142,"collection":105,"collections":12240,"showCount":192,"zanCount":54,"manualWeight":54,"mainColor":55},237467,"shan-shui-zhou-hua-yan-237467","华岩（1682～1756），一写作华嵒，福建上杭白砂里人。字德嵩，更字秋岳，号新罗山人、白沙道人等，老年自喻“飘篷者”。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。",[24,27,99,95,33,98,7,97,30,140,1397],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93002429d8052a89366938df98869cff.jpg",[105,83],{"id":12242,"slug":12243,"title":12244,"dynasty":18,"author":10975,"museum":61,"description":12245,"tags":12246,"thumbUrl":12247,"material":142,"size":142,"collection":105,"collections":12248,"showCount":192,"zanCount":54,"manualWeight":54,"mainColor":109},236562,"xiao-ke-guan-shan-shui-ce-shao-mi-236562","小可观山水册","邵弥(1594-1642)，晚明时吴门人，字僧弥，号瓜畴，性孤僻，似贤云野鹤，不染尘氛。擅诗，尤喜书画，瘦冷清逸，一如其人，极为时人所重，与董其昌、王时敏等同为“画中九友”之一。亦好收藏，张丑《清河书画舫》尝记之。所收沈石田《湾东草堂图》为石田精品，可见目力不凡。\n此册拟古，或仿营丘，或仿北苑，或仿云林、黄鹤，或仿千里、大痴；或危岩层起泉落云飞，或山间小筑傍竹临水；或寻诗晚而忘归，或山间独居与朝云暮霭相伴。画笔俊秀精工而书卷之气满目，幅幅皆似诗中浸出，雨露中洗过，是他画中极精致品。对幅和后跋有金俊明、文柟、方夏、刘能始、周之文等诗题，其中文柟一开称其与友人丘令和晨夕相对，“兴至”则为点染，真所谓“五日一山十日一水之趣，简远秀逸自胚胎中来。”可见是在闲和恬适之时，与知己相对，兴来挥毫，不计时日的精心之作，故命意不凡，幅幅俱佳。极珍贵。",[117,24,64,332,94,99,101,119,95,199,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1aad0cc7f91d98f5d6db48d517385e2.jpg",[105,51],{"id":12250,"slug":12251,"title":12252,"dynasty":18,"author":12253,"museum":135,"description":12254,"tags":12255,"thumbUrl":12256,"material":229,"size":637,"collection":142,"collections":12257,"showCount":192,"zanCount":54,"manualWeight":54,"mainColor":55},236477,"zhu-lin-qi-xian-shan-ye-li-shi-guang-236477","竹林七贤扇页","李世光","此作用笔清隽秀雅，以金笺为底，淡晕轻染。画面分两处铺陈雅集，右侧竹林下，名士或围坐清谈、或醉卧观云、或凝神听琴，情态自在疏放；左侧松下，二三逸人凭石对语，林泉幽寂淡然。通幅线条简净温婉，皴擦浅淡写意，将魏晋林下风流的散淡雅致尽显。右上角题字与绘事相映成趣，书画合璧，把千古流传的竹林雅集的清旷高致，凝缩在咫尺扇面，尽显追慕六朝隐逸雅韵的文人情思。",[24,64,1551,138,94,30,543,241,98,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe126baa65852155b36ec08a45ae37ce1.jpg",[],{"id":12259,"slug":12260,"title":12261,"dynasty":18,"author":7532,"museum":135,"description":12262,"tags":12263,"thumbUrl":12264,"material":142,"size":142,"collection":142,"collections":12265,"showCount":192,"zanCount":54,"manualWeight":54,"mainColor":109},236103,"sui-chao-cun-qing-tu-zhou-li-shi-da-236103","岁朝村庆图轴","《岁朝村庆图》是明代画家 创作的一幅纸本设色画，现藏于北京故宫博物院。\n图画水村山郭，松屋柳溪，村中人家，长者访友宴饮，儿童燃放鞭炮，敲锣打鼓，辞旧迎新，欢庆佳节。\n所画山水、松柏笔墨苍劲滋润；所画人物用笔圆熟，无论老少，身姿各异，神态生动，每个人物形象皆具动感，全无刻板之姿。\n画面充满岁朝繁忙、喜庆的升平景象。\n画法严谨，笔法流畅娴熟。\n此画是一幅风俗画。\n此画以山水为背景，画面绘有山石、树木、屋宇房舍，溪水板桥，坡石堤岸、鸡鸭杂豚。\n诸多人物布置其间：有的在屋内端坐，向外眺望；有的在屋内相面而坐，正在交谈；有的在林中穿梭，游览水村山乡；有的正在滑梯；有的正捕鸡斩鸭；有的长者或士人正在观赏画卷；诸多的童子正在捉迷，表现了一派热闹非凡的山乡景象。\n画上落款：“戊午腊月写于石湖，李士达。\n”下钤“李士达”白文、“通甫”白文、“石湖渔隐”白文 。\n在画幅右上角仅有的空白处，以作者自书款识和乾隆御题诗作补阙。\n乾隆御题诗为：“东郭远西墅，山家接水村，春阴庆老幼，丰岁足鸡豚。\n三代遗风在，一时深意存。\n治民无别术，饥饱俾寒温。\n丙申岁朝明窗御题。\n”钤“会心不远”“德充符印”，另钤“乾隆鉴赏”“嘉庆鉴赏”“嘉庆御览之宝”“乾隆御览之宝”“古希天子”“石渠宝笈”“乐寿堂鉴藏宝”“八征耄念之宝”“三希堂精鉴”“宜子孙”“宝笈三编”“宣统御览之宝”等鉴藏印数方。\n职业文人画家创作的年画的多以“岁朝图”为名，表现元旦即景，直接描绘风俗活动，因此很能体现地方风土民情。\n李士达的《岁朝村庆图》就是其中的典型。\n此图作于万历四十六年（1618年），画中详细描绘了吴中地区热闹的新春景象，放爆竹、出门拜年、悬挂钟馗像、燃烧巨大煤块称“欢喜团”等，与清代顾禄所著的《清嘉录》一书有关吴中年俗的记载一一相符。\n画幅中所画的人物虽小，却是此画中的主题。\n所画的人物，造形多趋圆浑，线条柔韧，用笔精细，无论老少，身姿各异，神形兼具，神态生动，每个人物形象虽不一，但却具动感，使画面充满岁末繁忙，喜气洋洋的景象。\n所画的松柏、山石、屋宇、板桥、坡石等，笔墨苍劲滋润，表现方法不一法，无论是线、点，还是渲染，都那么踏实、浑厚、果断。\n此画呈长方形构图，上不留天，下不留空。\n北京故宫博物院研究员余辉：画家描绘了苏州乡村百姓正月初一简朴的居家生活：孩子们在燃放爆竹、敲锣打鼓，雅士们在欣赏书画，老者在饮茶话旧、拜年访友，一派除旧迎新的喜气景象，意在期盼天下太平、生活安定。\n由该图鉴藏印可知，该图历经乾隆、嘉庆、宣统内府收藏，《石渠宝笈》著录，现藏于北京故宫博物院。\n李士达（生卒年不详，约活动于16世纪中期至17世纪初），号仰怀，吴县（今江苏苏州）人。\n善画山水、人物。\n常借作品表达对现实的不满，或描绘文人、士大夫逍遥自在的生活，也作佛道鬼神画，并有一定数量的风俗画。",[24,64,225,27,26,99,30,1939,32,7,255,76,39,40,5133,98,33,72,38,8081],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd146e163637aca3ee1e49a693feef20b.jpg",[],{"id":12267,"slug":12268,"title":7986,"dynasty":344,"author":12269,"museum":135,"description":12270,"tags":12271,"thumbUrl":12272,"material":142,"size":142,"collection":142,"collections":12273,"showCount":192,"zanCount":54,"manualWeight":54,"mainColor":109},235052,"shan-shui-ce-ye-xu-mei-235052","徐玫","此作用小青绿淡设色写山居幽境，幽瀑自远山轻落，清溪蜿蜒穿林过渚。古松虬曲苍劲，枝叶舒展有灵动之姿，山石以浅绿淡赭晕染，远山化作淡墨烟岚，虚实相生间晕出空濛温润的江南意韵。右侧崖畔茅亭隐于林木间，无人自幽，衬出山林的静穆悠然。\n\n笔法秀雅清润，舍去繁复勾勒，以轻晕淡染营造疏朗萧散的氛围，将文人隐逸的林下之趣融在淡逸色彩中，似可听松风溪声，沉湎于这幽寂恬然的山居景致里，尽显雅致淡远的文人山水意趣。",[24,64,332,27,99,95,7,97,140,168,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F436ebfa2e6cbfa736824d8dbe5ce29e6.jpg",[],{"id":12275,"slug":12276,"title":12277,"dynasty":18,"author":2928,"museum":61,"description":12278,"tags":12279,"thumbUrl":12280,"material":7171,"size":12281,"collection":142,"collections":12282,"showCount":192,"zanCount":11,"manualWeight":54,"mainColor":109},234973,"fang-dong-yuan-shan-shui-zhou-wen-jia-234973","仿董源山水轴","文嘉（1501—1583年），字休承，号文水，长洲（今江苏苏州）人，文徵明次子。官和州学政。工诗文书画，继承家学，又以多见古人名迹，故其画作能脱去习俗。著《和州诗》。",[24,64,117,225,94,99,29,95,32,7,140,30,98,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F592b8b1885883d2c6208989fa18e10f2.jpg","纵155cm，横71.3cm",[],{"id":12284,"slug":12285,"title":655,"dynasty":18,"author":1254,"museum":61,"description":2766,"tags":12286,"thumbUrl":12287,"material":2769,"size":2770,"collection":142,"collections":12288,"showCount":192,"zanCount":54,"manualWeight":54,"mainColor":109},234058,"shan-shui-ce-dong-qi-chang-234058",[24,64,332,94,99,95,98,33,7,199,140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F517a18510e3f687f4476b0072cc57a56.jpg",[],{"id":12290,"slug":12291,"title":12292,"dynasty":344,"author":2710,"museum":61,"description":12293,"tags":12294,"thumbUrl":12295,"material":258,"size":9760,"collection":368,"collections":12296,"showCount":192,"zanCount":54,"manualWeight":54,"mainColor":109},233942,"hua-yan-zi-hua-xiang-tu-zhou-hua-yan-233942","华嵒自画像图轴","华嵒是一位来自民间的画家，曾流寓杭州，结识了浙东学者历鄂、吴石仑等人，这些友人多是不慕荣利、安贫乐道的文人，在他们的影响下，华嵒潜心诗文书画，获得了“诗书画三绝”的美誉。为了谋生，他曾经历仕途，但目睹官场的种种不平，终于放弃仕宦，往来于杭州与扬州之间，以卖画为生，并结识了“扬州八怪”等画家。75岁病逝。华嵒一生贫苦，他在画中以“笔端刷却世间尘”，全心表现对大自然的美好感受。他游历甚多，眼界开阔，为许多画家所不及。此图为一件即兴之作，描绘了暑夏之时，华嵒身着夏衫，半敞衣襟，优游林泉的欣悦之情。他倚石盘膝，临泉而坐，左手拈须，右手抚石，意态闲暇。身后山石高耸，深青色的古藤缠绕着峰峦，远处瀑布羸垂岩而下，汇流成河。读其诗，更使人感受到作者热爱自然、超然离垢的情怀。图中的人物肖像写实而又带有写意的意味，造型略有夸张，与作者其他的人物画有相似之处，如《天山积雪图》(北京故宫博物院藏)等。此图线条简练，随意潇洒，笔调疏简，追求一种文人意趣，具有雅俗共赏的独特风格。",[117,24,64,225,94,27,99,3016,95,30,199,7,98,1428,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaa167316f143627c91b7a6fa3bf4f48.jpg",[368,12297],"明清缂绣画",{"id":12299,"slug":12300,"title":12301,"dynasty":344,"author":2489,"museum":61,"description":12302,"tags":12303,"thumbUrl":12304,"material":335,"size":12305,"collection":142,"collections":12306,"showCount":192,"zanCount":54,"manualWeight":54,"mainColor":109},233792,"chan-ji-hua-qu-zhou-kun-can-233792","禅机画趣轴","作者以一个僧人的目光把所赏阅的江南山川荟萃于尺幅之中。\n此画幅虽不大，呈一长条幅，但气势恢宏，只见远处群山叠嶂，诸峰矗立，云雾缠绕。\n山坡的平地坐落着寺院和房舍，在山坡和丛树间或隐或现：近景，山脚下水榭、房阁数间，坡岸乱石相连，在乱石坡岸上树木丛生，近处溪边水草茂盛，下端左侧一条长长的板桥，且有齐整的扶栅。\n右侧有一板桥将两溪岸相连，有一位身着长袍头戴风帽手持拐杖的长者，正在缓行过桥。\n中景，有山有水，有树木、房舍等，水随山转。\n有数只扁舟，渔人独坐轻舟浮荡，显得十分幽静清雅。\n画幅上端作者长题：“米南宫尝以玩好书画载之方舟，坐卧其中，适情乐性，任其所之，咸指之一：‘此米家书画船也。\n’石秃曰：‘此固前人食痴公癣，咄咄青溪亦后有此耶，虽然青溪好古博雅，胸中负古文奇字，此犹不过成都子昂之弄故琴耳。\n玄道隐于小成言：隐于荣华，若以天地为虚舟，万物为图籍，予坐卧其中，不知天地外更有此舟，不知舟之中更有子昂否耶？而为之偈曰：大地为舟，万物图画，坐卧其中，嗒焉洒洒，渺翩翩而独征兮，有谁知音机弦而歌兮，清风古今人山往返之劳兮，已为这个不了，若是了得兮。\n此画构图高旷清远，用笔苍劲老辣，颇具黄公望笔意。\n细察此画为中年笔墨，荒率枯淡，稍染淡赭，乃有苍厚之韵。\n构图上，近景的坡岸乱石及树木与远景苍山院寺房舍相对比；前景的溪水回转与远景的云雾轻绕遥相呼应。\n整幅构图繁复、饱满、充实，下不留地，上不留天，仅有上部空白处，经自长题而填补。虽画面的景物繁多，但仍能做到疏密有致。总体来说，整幅画浑然一体，气脉畅达。",[24,64,225,94,99,119,101,95,32,7,96,97,122,140,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9d9169d444881f8ff792bc46e2b0aa1.jpg","125.7x31.4厘米",[],{"id":12308,"slug":12309,"title":12310,"dynasty":18,"author":645,"museum":135,"description":12311,"tags":12312,"thumbUrl":12313,"material":142,"size":142,"collection":142,"collections":12314,"showCount":192,"zanCount":54,"manualWeight":54,"mainColor":109},228469,"nan-you-tu-tang-yin-228469","南游图","《南游图》是明朝唐寅写的一首诗。\n江上春风吹嫩榆，扶琴送子曳长裙。\n相逢若有知音者，随地芟茅好结庐。\n唐寅（147---152），初字伯虎，更字子畏，号六如居士，明代画家，吴县（今江苏苏州）人。\n他是吴门画派的代表人物，与沈周、文徵明、仇英并称明代四大家（吴门四家）。\n出生于一个商人家庭，从小聪明好学，诗文书画，无一不精。\n29岁时，他考中应天府（今南京）乡试第一名解元，自诩为“江南第一才子”。\n但在第二年的会试中，因好友科举舞弊案的牵连，被捕入狱，从此功名断绝。\n出狱后，唐伯虎性情大变，从此绝意仕途，潜心书画，终成一代大家。\n唐伯虎擅长画山水、人物、花鸟等。\n他的山水画师法周臣、李唐、刘松年，风格秀逸清俊，笔墨细秀，布局疏朗。\n人物画师承唐代传统，多以仕女和历史故事为题材，色彩或艳丽或清雅，线条清细，体态优美。\n花鸟画洒脱随意，格调秀逸，长于水墨写意。\n传世画作有《骑驴思归图》、《山路松声图》、《事茗图》、《王蜀宫妓图》、《秋风纨扇图》等。",[23,24,64,25,27,26,99,101,100,119,95,33,30,32,7,348],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b85449ec179089e2a5b76fcc8c7693e.jpg",[],{"id":12316,"slug":12317,"title":12318,"dynasty":18,"author":19,"museum":135,"description":12319,"tags":12320,"thumbUrl":12321,"material":229,"size":637,"collection":142,"collections":12322,"showCount":192,"zanCount":11,"manualWeight":54,"mainColor":55},228441,"lan-ting-tu-shan-mian-chou-ying-228441","兰亭图扇面","画面中山涧溪流缓缓而下，蜿蜒成“曲水”。兰亭近溪旁。这里视野开阔，亭内一文人高士临亭边而坐，或许凝望远方，正在观赏优雅的景色；或许正在等待前方一仆童抱琴而来，然后抚琴一曲……给人留下无限的遐想。画面中部还有两孩童在溪边嬉戏，一只仙鹤正低头饮水，溪边奇石伫立、松柳掩映，形成了人与自然和谐相处、景色娴雅幽淡的佳境。",[23,1551,26,27,95,30,97,241,854,7,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3aded3c25f9fd7875b0ba71f943ccab5.jpg",[],{"id":12324,"slug":12325,"title":12326,"dynasty":344,"author":808,"museum":135,"description":12327,"tags":12328,"thumbUrl":12329,"material":142,"size":142,"collection":142,"collections":12330,"showCount":192,"zanCount":54,"manualWeight":54,"mainColor":109},224508,"shan-shui-ce-kai-si-shi-tao-224508","山水冊开(四)","此作用淡彩晕染出清润空濛的氤氲之气，远山以花青轻扫，糅合浅赭底色，将山岚初醒的柔缓暖意晕开。一江春水蜿蜒穿谷，两侧山石枯笔皴擦，兼施淡墨点苔，苍松矮柏错落栖于岩间，野趣横生。\n江心扁舟上渔翁垂坐，似静听水声松涛，将天地悠然诗意凝于咫尺。右上角行书题诗笔墨疏朗，与山水清寂意境相映，尽显文人画诗书画印相融的雅趣。\n整体笔致松秀灵动，删繁就简，不假雕琢却生机暗涌，将江南山水的温润澹远与幽居野钓的林下襟怀融为一体，漫溢静穆淡宕的禅意。",[23,24,64,332,94,27,95,96,7,170,33,2961,119,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa34fc4fd4add0addbea11ed1f356d11.jpg",[],{"id":12332,"slug":12333,"title":12334,"dynasty":344,"author":2253,"museum":135,"description":12335,"tags":12336,"thumbUrl":12337,"material":142,"size":142,"collection":142,"collections":12338,"showCount":192,"zanCount":54,"manualWeight":54,"mainColor":55},224432,"qian-jiang-xi-shan-tu-wang-shi-min-224432","浅绛溪山图","此作用浅绛写层叠溪山，以密集细笔皴擦出山峦苍郁厚重的肌理，林麓茅舍隐现其间，暗合幽居野逸的文人情致。后幅行书题跋笔意苍劲朴拙，书画合璧尽显文人风雅。\n整体气息浑穆沉厚，循传统山水丘壑程式又自出灵趣，简淡赭石晕染烘出山林秋意，将江南溪山的温润秀逸藏于繁密点染之间，是文人卧游林泉、澄怀观道的精神寄托，笔墨间浸着历经世事的澹然平和，尽显静雅悠长的山水意韵。",[23,24,64,25,2700,27,99,101,119,95,32,7,97,140,98,33,173,170,353,350],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05f203733ec712aa2cbbb7186aada126.jpg",[],{"id":12340,"slug":12341,"title":12342,"dynasty":344,"author":2253,"museum":135,"description":12343,"tags":12344,"thumbUrl":12345,"material":142,"size":142,"collection":142,"collections":12346,"showCount":192,"zanCount":11,"manualWeight":54,"mainColor":55},224424,"yun-feng-shu-se-tu-wang-shi-min-224424","云峰树色图","《云峰树色图》是清代画家王时敏创作的绢本设色画，现藏于 。\n此图以“高远”法取势，构图呈“S”形循环上升。\n山石沉浑雄健，树木苍厚繁密，画风凝重古朴。\n王时敏（1592—168年），字逊之，号烟客，晚号西庐老人，江苏太仓人。\n其祖父是明礼部尚书兼 王锡爵，父亲是明翰林编修王衡。\n明万历二十九年（161年）举进士，崇祯初以荫仕至太常寺卿，崇祯十三年（164年）辞官隐居，入清不仕。\n工隶书，善画山水，以元黄公望、倪瓒为宗，又受董其昌影响。\n他极力主张恢复古法，反对自出新意，是清初画坛正统派的领袖，后世称“娄东派”，与王鉴、王石谷、王原祁合称“四王”，位列“清初四王”之首，在当时有很大影响。",[23,24,64,225,27,95,99,240,821,241,271,854,7,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97c21bc9c7b497cbaa4d829b8d874e53.jpg",[],{"id":12348,"slug":12349,"title":12350,"dynasty":344,"author":11854,"museum":135,"description":12351,"tags":12352,"thumbUrl":12353,"material":142,"size":142,"collection":142,"collections":12354,"showCount":192,"zanCount":54,"manualWeight":54,"mainColor":109},224355,"zhi-yang-dong-hu-tu-juan-jian-jiang-224355","芝昜东湖图卷","此作用淡墨晕染湖山，浅赭轻敷屋宇路径，清润雅洁。平远构图铺陈东湖胜景：波心渔舟缓行，沿岸村舍错落衔连，山麓古寺朱墙醒目，远山淡抹空灵悠远。\n\n笔墨师法宋元却自出机杼，既得元人萧散简淡的意境，又以宋法布陈细节，秀逸清劲却不失周密，绝无板滞或空疏之弊，将水乡丘壑的静穆淡和尽绘纸上，尽显澄怀观道的山水意趣，平淡里藏着深秀丘壑，是师古化新的精妙之作。",[23,24,64,25,94,27,99,29,119,100,95,31,33,390,255,7,96,97,635,333,348,2750,38,32,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52fdc9987ea396b2047437152f739a3a.jpg",[],{"id":12356,"slug":12357,"title":7619,"dynasty":698,"author":292,"museum":61,"description":12358,"tags":12359,"thumbUrl":12360,"material":469,"size":12361,"collection":142,"collections":12362,"showCount":192,"zanCount":54,"manualWeight":54,"mainColor":55},223442,"gong-yuan-tu-juan-yi-ming-223442","绘皇家园林景致。远处山峦起伏，林木葱郁，河道萦回，楼、阁、亭、台、廊、桥星罗棋布，气派宏大雄伟，富丽堂皇。画中游人悠闲风雅又热闹欢快，虽然熙熙攘攘，却如人间仙境。体现了唐代宫廷及贵族阶层悠闲而奢华的生活。此画可能为南宋时期所绘。",[23,24,64,25,28,27,26,31,95,30,97,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F477ef8865840f821a8da02c867a064c2.jpg","24.54*291.85",[],{"id":12364,"slug":12365,"title":12366,"dynasty":344,"author":6590,"museum":1308,"description":6591,"tags":12367,"thumbUrl":12368,"material":188,"size":6596,"collection":142,"collections":12369,"showCount":192,"zanCount":54,"manualWeight":54,"mainColor":55},223041,"hong-lou-meng-166-sun-wen-223041","红楼梦166",[23,24,26,27,30,95,97,32,7,31,33,98,120,1692,4745,332],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F116421e645027677c97a37c528b5f370.jpg",[],{"id":12371,"slug":12372,"title":12373,"dynasty":18,"author":645,"museum":61,"description":12374,"tags":12375,"thumbUrl":12383,"material":12384,"size":12385,"collection":625,"collections":12386,"showCount":192,"zanCount":54,"manualWeight":54,"mainColor":109},222354,"zi-shu-ci-juan-tang-yin-222354","自书词卷","此为唐寅所作词并自书，分《集贤宾》、《锦衣公子》、《山坡羊》三组曲牌，共24首。 唐寅博学多能，吟诗作曲，能书善画。他的传世绘画较多，书法甚少。其书以行楷见长，学赵孟頫并参以李北海笔意，笔画婉转流畅，风格俊秀潇洒。此书结构严谨，圆转遒丽，丰润优雅，形成了劲骨于内、美形于外、缜密流便的独特风格，词、书并美，堪称珠联璧合，从中可欣赏到往昔“江南第一风流才子”的儒雅韵致及其纯熟的书法功力。",[23,9133,100,101,25,94,119,530,1001,95,96,32,7,97,122,1397,140,2301,10175,543,2996,426,3228,120,8995,5123,2412,12376,2097,821,12377,12378,12379,12380,12381,12382],"雨","日","夜","春","夏","秋","冬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47d4bbb43b2575078730ba53af232464.jpg","纸本，行书","纵23.3厘米，横551.3厘米",[625],{"id":12388,"slug":12389,"title":12390,"dynasty":18,"author":7435,"museum":152,"description":12391,"tags":12392,"thumbUrl":12393,"material":273,"size":12394,"collection":105,"collections":12395,"showCount":192,"zanCount":11,"manualWeight":54,"mainColor":109},222182,"qing-bai-xuan-tu-zhou-liu-jue-222182","清白轩图轴","刘珏（1410—1472）字廷美，号完庵，南直隶苏州府长洲（今江苏苏州）人。宣德中，苏州知府况钟举为吏，不就，得补生员，正统三年（1438）中举人，授刑部主事，迁山西按察司佥事，年五十弃官归。卒年六十三。\n老而嗜学不衰，为诗清丽可咏，景泰、天顺间，为吴中诗人之最，京师号为刘八句。书正、行出赵孟頫，山水出王蒙，行草学李邕，各极其妙。写山水林谷泉深，石乱木秀，云生绵密，幽媚风流，蔼然高者，攀鳞巨老，庶乎升堂，特未入室耳。天顺（1457—1464）间与杜琼、徐有贞、马愈、沈贞吉、恒吉并能，写山水，近世莫及。\n刘珏[jué]为官清正，浙江甫田县丞督赋侵吞渔税，被告以“黄金二百两”委托亲戚向他行贿，他正愁缺少证据，便以此为突破口，查明了赋税被侵吞的真相。无锡有个贪官因受贿事发，托人送来500两银子，求他去向办案人说情。刘珏严拒，并对来人说：“不亟去，当讯之于官！”\n刘廷美为刑部主事居京师，与徐武功、刘原博诸公为诗友，每相过，必谈论达旦。尝岁除，原博邀之守岁，廷美因挟所藏钟馗画像求题，原博遂援笔大书一诗于上。明旦持归，县之中堂。京师每正旦，主人皆出贺，惟置白纸簿并笔研于几，贺客至，书其名，无迎送也。是日朝罢，刘定之、黄廷臣两学士首至，见此诗，各摘簿一叶录之去。朝士继至者，皆摘录之。顷间，簿已尽矣。廷美晚回，索簿阅贺客以图往报，家人告其故。明日，复置一簿，亦如之。中书舍人金本清戏谓廷美曰：“此钟馗乃耗纸鬼也。”一时京师传为奇事。原博诗曰：“长空糊云夜风起，不忿成群跳狂鬼。倒提三尺黄河水，血洒莲花舞秋水。飞萤负火明月羞，栎窠影黑啼鸺枭。绿袍乌帽逞行事，磔脑刳肠天亦愁。中有巨妖诛未得，盍驾飙轮驱霹雳。如何袖手便忘机，回首东方又生白。”\n刘完庵薄于仕宦，年五十遂解组，时有宪臣索题《牧牛图》，为赋诗曰：“牧子驱牛去若飞，免教风雨湿蓑衣。回头笑指桃林外，多少牧牛人未归。”宪臣亦感泣挂冠去。\n成化初，琼台邢公宥为苏守，以梅华求题，廷美赋绝句云：“岁寒相见在天涯，玉色珠光带露华。笑杀玄都狂道士，种桃何不种梅华？”邢公得诗甚喜。后邢公以郡中久荒，陂荡起税，民心颇怨，有投诗刺之者曰：“量尽山田与水田，只留沧海与青天。渔舟若过间洲渚，为报沙鸥莫浪眠。”邢公闻之，以为廷美所作，衔之。或劝往白，廷美曰：“彼奈我何？”后廷美卒，邢公吊祭皆不往，人多非之。",[23,24,225,94,99,95,97,32,7,33,98,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F931c328fef461048547689cfaea32c14.jpg","纵92.7厘米横35.4厘米",[105],{"id":12397,"slug":12398,"title":12399,"dynasty":150,"author":292,"museum":152,"description":12400,"tags":12401,"thumbUrl":12402,"material":273,"size":12403,"collection":105,"collections":12404,"showCount":192,"zanCount":11,"manualWeight":54,"mainColor":109},221700,"bai-yun-shan-fang-tu-zhou-yi-ming-221700","白云山房图轴","此画是陈贞为大空道者写白云山房。画面上远山叠嶂，山头似乎被云雾笼罩，只露出平坦的山顶和山段，再近些一座山峰在充溢着水气的墨色中浅淡生幽。右上侧较为空旷，只有时隐时现的小山头。画中部为崎岖不平的山石、树木和杂草丛生，山坡的左侧几间屋宇、茅亭座落山坡一侧，用简笔描绘出几间房屋楼阁。近景有较为宽阔的河道，河道的右侧为一座小山岗，上面长有几株树木；河道的左侧为山坡湖石，点缀着数株乔木。此幅图中树木堪称一绝，姿态不一，品种各异，有的枝叶稀疏，有的枝叶低垂，有的高大繁茂葱郁，还有的枝干虬然。此图的画法，图中巨冈坡石和主峰，运用凝重柔和的披麻皴层层皴擦，表现出浑厚伟峻的形势。远山和树丛的表现，充分吸收了米氏云山技徠法垍頭，或用條水墨轻染淡抹，或用浓淡墨色纵横点染。此图在水墨皴染的基调上，还巧妙地敷施色彩。如山峦坡陀罩染一层淡淡青绿，山巅向阳面敷薄薄的赭石，树叶点染花青。画家善于把山峦、溪水、草木、烟云有机地组成一体，使画面气脉流通，神彩焕发，塑造出白云山房奇丽意境。款识“至正辛卯秋九月既望。陈贞履元为大空道者写白云山房。",[23,24,64,225,94,99,95,821,241,854,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d2bce35e6488169e35f98daeffd676d.jpg","103.8x35.4厘米",[105,83],{"id":12406,"slug":12407,"title":12408,"dynasty":59,"author":222,"museum":152,"description":12409,"tags":12410,"thumbUrl":12411,"material":12412,"size":12413,"collection":142,"collections":12414,"showCount":192,"zanCount":54,"manualWeight":54,"mainColor":109},221385,"ming-hui-ji-zhen-ce-han-jiang-diao-xue-fan-kuan-221385","名绘集珍册－寒江钓雪","本幅选自《名绘集珍》册第十一幅。画幅意境，取自唐代诗人柳宗元（773-819）的五言绝句〈江雪〉：「千山鸟飞绝，万径人踪灭；孤舟蓑笠翁，独钓寒江雪。」 幅左方裱绢的签题作「范宽寒江钓雪」，但在纨扇画面的左缘，隐约可见「李东」（13世纪）二字名款，由于被墨色掩盖，又因画史载范宽（约950-1031间）以画雪景著称，故被归入范宽名下。实则本幅「一角式」的构图，以及侧锋砍斫的笔触，均与范宽不似，应属于南宋时期才会出现的风格。",[23,24,117,64,332,95,99,94,30,96,306,140,7,2097,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a8a8fd79c1b43910e82ba556c7435fc.jpg","立轴，绢本","38.9x80.6;",[],{"id":12416,"slug":12417,"title":12418,"dynasty":18,"author":645,"museum":20,"description":12419,"tags":12420,"thumbUrl":12421,"material":273,"size":12422,"collection":105,"collections":12423,"showCount":192,"zanCount":54,"manualWeight":54,"mainColor":109},220055,"chui-hong-bie-yi-tu-tang-yin-220055","垂虹别意图","《垂虹别意图卷》由唐伯虎作画，祝枝山题“垂虹别意”引首，戴冠做序。戴冠在《诸名贤垂虹别意诗序》中解释道：“垂虹者，吴地石杠之名也”，“虹”为“桥”的别称，说白了，“垂虹”所指即。题诗则以为首，祝、文、唐等三十余人皆列其后。当时，众吴门才子送别戴昭时共作三十六首诗。而现存顾洛阜家藏的手卷裱件中，仅存十九首，其中包括祝枝山书《赠戴昭诗》，均裱在唐寅画后，裱在前面的祝枝山题“垂虹别意”引首亦幸存。",[23,24,64,25,94,101,100,119,99,95,33,7,96,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff23e189bda4fe92d69e4e85706aca033.jpg","纵29.7厘米，横107.6厘米",[105],{"id":12425,"slug":12426,"title":12427,"dynasty":18,"author":9615,"museum":1308,"description":12428,"tags":12429,"thumbUrl":12430,"material":273,"size":12431,"collection":105,"collections":12432,"showCount":192,"zanCount":54,"manualWeight":54,"mainColor":262},220030,"fang-huang-zi-jiu-tian-chi-shi-bi-tu-shen-shi-chong-220030","仿黄子久天池石壁图","图中以淡设色绘江南山水。卷首题签『沈陈诗画合璧，项氏崇洁庐藏』。引首有清人王澍题『沈陈合璧』四个楷书大字，沉雄有力。拖尾分别有陈继儒、翁长芬各题诗数行，另有徐谦跋语两行。\n沈士充近师赵左、宋懋晋，上承宋旭、沈周，远溯『元四家』，并逐渐形成自己的绘画风格。清初以来，民间有『云间正派』之目。由于明末董其昌的巨大影响力，沈画常常模拟董氏画风。董其昌为了应酬社会上的书画需求，亦常用沈代笔。由于董其昌署名作品中多为闺阁手笔，沈氏代笔在当时已被视为董氏代笔中的上乘之作。辽宁旅顺博物馆藏沈氏《石壁图》，作于明崇祯六年(一六三三)，其时董氏尚健在。此作水墨淋漓、烟岚生动、直署己名，并配有陈继儒题诗，堪为沈氏的精心之作。一九八八年九月五日，沈氏《石壁图》被国家文物鉴定委员会谢稚柳、刘九庵、杨仁凯等鉴定为国家二级文物(收入《中国古代书画目录》，文物出版社，一九九三年版)，对研究沈氏画风具有重要的参考价值。",[23,24,866,29,94,99,98,33,504,76,169,96,7,348],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F920a47775b2a1c5f7ca34eef13fdbb71.jpg","253cm×27.7cm",[105],{"id":12434,"slug":12435,"title":12436,"dynasty":18,"author":292,"museum":1164,"description":12437,"tags":12438,"thumbUrl":12439,"material":404,"size":142,"collection":105,"collections":12440,"showCount":192,"zanCount":54,"manualWeight":54,"mainColor":55},219713,"song-yin-guan-quan-tu-yi-ming-219713","松阴观泉图","此作用虚实相生的水墨铺陈幽境，左上危岩虬松如铁，浓墨晕出山石峭拔之势，留白晕开水色山岚，将清远秋意漫开。\n\n崖畔高士凭石凝睇，白衣飘然似与林泉相融，童子垂立水滨，一静一动衬出空山寂廖。笔墨简淡苍劲，寥寥数笔勾出人物悠然神态，淡墨扫就远岫烟波，将文人林下幽居的雅趣藏进山水褶皱里。似可耳闻松涛漱石，静览间涤净尘俗，尽显尚简重意的文人画风骨。",[24,866,225,94,27,271,98,5612,7,30,99,240],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F105a2d6cc74d001858f9036141b65313.jpg",[105],{"id":12442,"slug":12443,"title":12444,"dynasty":59,"author":677,"museum":152,"description":12445,"tags":12446,"thumbUrl":12447,"material":273,"size":12448,"collection":142,"collections":12449,"showCount":192,"zanCount":54,"manualWeight":54,"mainColor":109},218503,"gui-qu-lai-ci-juan-2-li-gong-lin-218503","归去来辞卷-2","画面以白描勾勒归隐行舟之景，墨线如行云流水，于极简处见真章。船身轻捷，篷布纹理隐现，衣袂飘举间人物情态毕肖：舟中高士凭舷远眺，眉宇舒展似含释然；舟子撑篙划桨，动作从容如伴清风。水面微波淡扫，衬出船行的悠然。整幅画不着色彩，却以线条粗细疾缓传递《归去来辞》的超脱意韵——天地清旷，心向田园，每道笔触都浸透着归隐的闲适自在。观者仿佛随舟而行，闻桨声欸乃，见衣袂翻飞，于淡墨轻痕中触摸那份遗世独立的淡然心境。",[117,24,64,25,138,30,96,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecadbdbdb99b8cbda50307e6ef1e4b3e.jpg","34x898.8",[],{"id":12451,"slug":12452,"title":12453,"dynasty":150,"author":292,"museum":12454,"description":12455,"tags":12456,"thumbUrl":12457,"material":47,"size":142,"collection":105,"collections":12458,"showCount":192,"zanCount":54,"manualWeight":54,"mainColor":640},218194,"shan-shui-tu-dui-zhou-yi-ming-218194","山水图对轴","九州国立博物馆","这幅画作品出现在元朝时期，其作者不详。《山水图》以其精细的绘画技巧和丰富的内容而闻名，是元朝时期山水画艺术的杰出代表作。\n\n这幅画作品中，画家运用了各种不同的技巧，如水墨画技法、点染技法等，使得这幅画作充满了丰富的色彩和变化。",[24,933,99,225,95,255,32,7,98,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bce89525f0d80cab8c2a4f7f1de6153.jpg",[105],{"id":12460,"slug":12461,"title":12462,"dynasty":344,"author":2071,"museum":281,"description":12463,"tags":12464,"thumbUrl":12465,"material":103,"size":142,"collection":142,"collections":12466,"showCount":192,"zanCount":54,"manualWeight":54,"mainColor":109},214591,"fang-gu-shan-shui-ce-13-wang-hui-214591","仿古山水册-13","王翚（1768年－1849年）是清代著名的画家，他出生于江苏省南京市，是清代名门望族，他的祖父王恭是清代名将王莽的儿子。王翚早年曾在父亲的教导下学习书法和绘画，后来又师从著名画家黄庭坚学习。\n\n王翚擅长画山水，他的作品《仿古山水册》是他的代表作之一。这本册子包含了王翚的许多优秀作品，其中包括了他的山水画、人物画、花鸟画等，作品风格秀丽自然，富有感染力。《仿古山水册》被誉为王翚代表作之一，在当时颇受欢迎。\n\n王翚的画风受到了清代著名画家黄庭坚的影响，但他也在此基础上创造出了自己独特的画风。他善于运用墨色，擅长表现山水的秀美和雄伟，并融入了自己的个人特色。王翚的画作经常带有浓郁的文化气息，富有哲理性和艺术性。\n\n总的来说，王翚的《仿古山水册》是一部优秀的山水画集，值得一看。",[24,64,332,27,99,2880,95,530,821,241,7,427,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39f501390a2a4e60586411f7d7211255.jpg",[],{"id":12468,"slug":12469,"title":12470,"dynasty":18,"author":19,"museum":152,"description":11413,"tags":12471,"thumbUrl":12472,"material":229,"size":637,"collection":105,"collections":12473,"showCount":12474,"zanCount":718,"manualWeight":54,"mainColor":109},290876,"hu-qiu-tu-zhou-chou-ying-290876","虎邱图轴",[24,117,225,26,118,27,95,31,7,5064,33,30,333],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4945df6fe95424b961db92304beafb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:625,"collections":12552,"showCount":12474,"zanCount":54,"manualWeight":54,"mainColor":109},237410,"shi-hu-xiao-jing-zhou-wen-jia-237410","石湖小景轴","文嘉（151年～158），字休承，号文水，南直隶苏州府长洲（今江苏苏州）人。\n大书画家 次子。\n吴门派代表画家。\n初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。\n精于鉴别古书画，工石刻，为明一代之冠。\n画得徵明一体，善画山水，笔法清脆，颇近 ，着色山水具幽澹之致，间仿 皴染，亦颇秀润，兼作花卉。\n明人 评：“其书不能如兄，而画得待诏（ ）一体。\n”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。\n” 吴门派代表画家文徵明的次子，兄 。\n是明清篆刻的一代宗师。\n文家后来还出了位名气极大的人： 。\n长洲（今江苏苏州）人。\n文嘉精于鉴古，临古之功也深，画风传乃父衣钵，惟所闻古人名迹至多，故下笔能脱去习俗，颇不易得。\n文嘉初为 ，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。\n精于鉴别古书画，工石刻，为明一代之冠。\n继承家学，小楷轻清劲爽，宛如瘦鹤，稍大，便疏散不结束，迳寸行书亦然，皆不逮父兄，画得征明一体，善画山水，笔法清脆，颇近 ，着色山水具幽澹之致，间仿 皴染，亦颇秀润，兼作花卉。\n明人 评：“其书不能如兄，而画得待诏（ ）一体。\n”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。\n”然，文嘉一生一直在追求，王世懋在《跋文嘉书古诗十九首》后称：“休承晚年书奇进，几不减京兆。\n”传世作品有嘉靖十九年（154）作《 》十开，现藏 ，二十年（1541）作《垂虹亭图》卷藏苏州市博物馆；万历元年（157）作《寒林钟馗图》轴藏南京博物院；《江南春色图》卷藏 ；《水亭觅句图》轴、《设色山水图》轴藏 ；《秋塘红藕图》藏 ；《石湖小景图》轴、《夏山高隐图》轴、《 》轴、二年（1574）作《 》轴藏故宫博物院；《沧江渔笛图》、《曲水园图》卷藏 。\n著有《钤山堂书画记》、《和州诗》。\n享年八十三岁。\n他还对藏书亦不遗余力，藏书楼有“归来堂”，藏书印有“五峰山人”、“元珠室”、“五峰樵客”、“肇锡余以嘉名”等。\n精于书画和鉴别古籍，著名藏书家项元汴每遇到宋椠元刻时，则聘文彭、文嘉兄弟，为其鉴定版本，故项墨林藏书皆精妙绝伦。\n文氏藏书散佚约在明万历末年至崇祯间，清代藏书家如张均衡、张金吾等曾收藏有文氏旧藏，多是宋刻善本。\n著有《和州诗》、《严氏书画记》等。\n孙文从鼎，字定之，继承藏书，并另有藏书处为“心远阁”、“园贤堂”、“惜阴斋”等。\n孙文从简（1574～1648），字彦可，号枕霞老人，亦能藏书，有“开云楼”。\n关系 姓名 简介 祖父 文林（1445—1499），字宗儒，世称交木先生。\n长洲人。\n成化壬辰进士，授为永嘉知县，改博平，后升任南京太仆寺丞，迁知温州府。\n为政斐然。\n有《文温州集》、《琅琊漫钞》等。\n父亲 文徵明（147.11.28—1559..28），原名壁（或作璧），字徵明，明代杰出画家、书法家、文学家。\n四十二岁起，以字行，更字徵仲。\n因先世衡山人，故号“衡山居士”，世称“文衡山”，汉族，长州（今江苏苏州）人。\n文徵明的 造诣极为全面，诗、文、书、画无一不精，人称是“四绝”的全才，诗宗 、 ，文受业于 ，学书于 ，学画于沈周。\n其与沈周共创“吴派”。\n在画史上与 、 、 合称“ ”（“吴门四家”）。\n在诗文上，与 、 、 并称“ ”。\n伯父 文徵静（1469—156）读书善笔札，生平气义自胜，不为贵势拙折，喜好交诗友书画。\n兄长 文彭（1498—157）字寿承，号三桥，别号渔阳子、三桥居士、国子先生， （今江苏苏州）。\n长子。\n以 第一，授秀水训导。\n官国子监博士。\n工书画，尤精篆刻，能诗，有《博士诗集》。\n堂弟 文伯仁（152—1575）明代画家，字德承，号五峰、摄山长、葆生、摄山老农、 人、五峰樵客，汉族，湖广 人， （今江苏苏州）。\n侄子 儿子 （1554—1589）明代画家。\n字子长，号虎丘，明湖广衡山人，系籍长州（今江苏苏州）。\n孙， 之子。\n幼承家学，书画逼真其父。\n坦率好施。\n文元善擅画龙，也绘作山水木石，殊多逸致。\n传世作品有《墨龙图》等。\n惜早逝，未竟其能。\n卒年三十六。\n妇翁王穉登，铭其墓曰：“画品第一，诗品第二。\n” 孙子 （1574—1648），明末画家。\n字彦可，号枕烟老人，明代湖广衡山人，系籍 （今 ）。\n曾孙， 孙， 之子。\n崇祯十三年（164年）拔贡，入清后退居林下，以书画自娱。\n传世画作有《长林徙倚图》、《 风物图》、《潇湘八景图》、《望云图》、《松江高土图》、《江山平远图》、《幡溪通兴图》、《介石书院图》、《寒山寺图》等。\n曾孙女 (1595—164)明代著名女画家。\n长洲（今江苏苏州）人。\n明代画家 女， 孙女，文徵明玄孙女，嫁赵灵均，与丈夫一同隐居。\n精于花草虫蝶画的创作，长于写生，多画幽花异卉、小虫怪蝶，能曲肖物情，颇得生趣。\n作品笔墨细秀，风格娟丽，深得时人赏识。\n有《花卉》册、《萱石图》等传世。\n第一代 第二代 第三代 第四代 第五代 第六代 第七代 第八代 第九代 文定聪 文惠（入赘苏州人张声远家，遂迁居长洲） 文洪（成化1465举人，涞水县学教谕，配陈氏、顾氏、吕氏） 文林（成化1472进士，温州知府，配祁守端） 文征静 文伯仁（画家） 文征明（娶昆山吴愈第三女） 文彭（国子监博士） 文元发（卫辉府同知，娶彭氏，继娶周氏） 文震孟（状元，东阁大学士，娶陆氏） 文秉、文乘 文震亨（画家，武英殿给事） 文嘉（画家） 文元善（画家） 文从简 文俶（女画家，嫁赵灵均） 文台 文室 文森（成化1487进士，右佥都御史） 文彬（赐同进士出身） 文微臣（庠生） 十九年（154年）作 《山水花卉图册》 嘉靖二十年（1541年）作 《垂虹亭图》，现藏 万历元年（157年）作 《寒林钟馗图》，现藏 《江南春色图》，现藏 《水亭觅句图》轴、《设色山水图》轴，现藏 《秋塘红藕图》，现藏天津市艺术博物馆 《石湖小景图》轴、《夏山高隐图》轴、《琵琶行图》轴、 万历二年（1574年）作 《溪山行旅图》轴，现藏故宫博物院 《沧江渔笛图》《曲水园图》卷，现藏 万历八年（158年）作 《村径稻香图》轴 《钤山堂书画记》 《和州诗》 太湖石畔种芭蕉，色映轩窗碧雾摇。\n瘦骨主人清似水，煮茶香透竹间桥。\n山斋雨坐漫焚香，几净窗明竹树凉。\n午睡起来无一事，自翻残墨写潇湘。\n不到天平三十载，每于图画忆登临。\n何时倚杖苍松侧，来看峰头万笏林。\n己卯秋日茂苑文嘉。\n钤“休承”、“文水道人”印。\n收藏印钤“颐椿庐通理藏”。\n“己卯”为明万历七年（1579年），文嘉时年79岁。\n《七绝诗》为文嘉自撰七绝诗首。\n书法清丽秀气，简净劲爽。\n通篇笔画圆曲、细长，运笔正斜、曲直、连断、轻重、虚实表现自然得当。\n体势疏密相间，多取斜势。\n文嘉书受其父 风格的影响，又有所变化。\n《昨日歌》 昨日兮昨日，昨日何其好！昨日过去了，今日徒烦恼。\n世人但知悔昨日，不觉今日又过了。\n水去汩汩流，花落日日少。\n万事立业在今日，莫待明朝悔今朝！ 《今日歌》 今日复今日，今日何其少！今日又不为，此事何时了？人生百年几今日，今日不为真可惜！若言姑待明朝至，明朝又有明朝事。\n为君聊赋《今日诗》，努力请从今日始！ 《明日歌》 明日复明日，明日何其多！日日待明日，万事成蹉跎。\n世人皆被明日累,明日无穷老将至。\n晨昏滚滚水东流,今古悠悠日西坠。\n百年明日能几何？请君听我《 》。\n关于《 》的作者，有两种版本。\n一为明代的文嘉，一为同为明朝的 。\n钱鹤滩生于公元1461年，卒于公元154年。\n如两种版本确实有联系，则原本《 》的著作权应归钱鹤滩，文嘉版本系修改而成。\n该砚石品集石眼、焦叶白、青花、鱼脑、火捺、虫蛀皮于一身，极为难得。\n砚首部随形镌刻金鲤戏水深浮雕，虚实相间，形神俱佳。\n砚背面的刻款更是诗、书、印、刻，水乳交融，精彩完美。\n刻款内容是一首咏笔的绝句：“紫竹纤毫线扎成，如龙似虎伴书生。\n渴来玉砚池中饮，饱向花笺纸上行。\n”书法劲挺秀美，正是文嘉最为擅长的小楷行书；诗句也工正流畅，其对书画艺术的热爱之情跃然而出。\n刻工刀随笔势，具铁划银勾之力而又细致入微，非深谙书法点画之美者莫为。\n落款“文水道人”下刻有“文嘉”阳文印，与《倪瓒真书江南春词图卷》（152年）和《文嘉两洞记游图册》（1544年）上的“文嘉”用印如出一辙，毫无二致。\n可以想见，笔、墨、纸、砚文房四宝在文嘉的生活中扮演了多么重要的角色。\n他动用了诗歌、书法、绘画、雕刻的各种手法，将对文房四宝的深厚感情和文学艺术的深厚造诣熔铸在这方端溪佳石上，使得该砚具备了丰富的审美内涵，而文嘉多方面的艺术才华也由此得到了极生动难得的彰显。",[24,64,225,94,95,99,100,119,101,241,98,96,7,348,8847],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47b9b6f08b360d0a0c34b2a0a751e093.jpg",[625],{"id":12554,"slug":12555,"title":655,"dynasty":344,"author":3211,"museum":61,"description":3212,"tags":12556,"thumbUrl":12557,"material":258,"size":142,"collection":142,"collections":12558,"showCount":12474,"zanCount":54,"manualWeight":54,"mainColor":109},237199,"shan-shui-ce-sun-yi-237199",[24,117,64,332,27,118,99,95,7,33,98,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F534e78f6ec35caef7a3efdced7daa730.jpg",[],{"id":12560,"slug":12561,"title":12562,"dynasty":18,"author":12563,"museum":135,"description":12564,"tags":12565,"thumbUrl":12566,"material":142,"size":142,"collection":142,"collections":12567,"showCount":12474,"zanCount":11,"manualWeight":54,"mainColor":55},235853,"dian-nan-jin-sha-jiang-jing-zhou-huang-xiang-jian-235853","滇南金沙江景轴","黄向坚","此作用高远、深远构图铺展峡谷盛景，以披麻皴晕染山石肌理，苍厚朴拙的笔力勾勒出两岸层叠峰峦。崖间古松错落虬劲，金沙江蜿蜒穿谷，江面上轻舟随波缓行，山脚佛塔古寺隐于林麓，野意盎然。\n\n淡墨晕开江雾空濛，将滇南山河的荒寒奇秀尽藏毫端，搭配题诗将纪游的真切感触融于山水间，既绘就西南山川的雄阔幽寂，也以笔墨寄放行旅途中对山河的体察，是纪游山水中兼具纪实性与抒情性的佳构。",[24,225,94,99,95,7,96,97,199,33,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff430ba9b406814fba1294612a5fa22cd.jpg",[],{"id":12569,"slug":12570,"title":12571,"dynasty":18,"author":292,"museum":135,"description":12572,"tags":12573,"thumbUrl":12574,"material":142,"size":142,"collection":142,"collections":12575,"showCount":12474,"zanCount":11,"manualWeight":54,"mainColor":109},235633,"song-xu-wan-shan-qiu-se-tu-zhou-yi-ming-235633","宋旭万山秋色图轴","此作用高远章法铺展秋山全景，层峦叠嶂间沟壑纵深，飞泉漱石、山溪蜿蜒贯穿始终。以淡赭晕染山骨铺就秋意底色，朱砂醒点丹枫，勾勒皴擦兼用，将嶙峋山石、虬曲古木的苍劲之态尽皆写就。幽谷深处隐现山居屋舍，林泉间尽显隐逸清寂之趣。整幅画面笔墨清灵雅致，把深秋万山层林尽染的高旷冷寂意境铺陈开来，尽显文人山水崇尚的幽淡空灵林下之风，是极具韵致的秋山绘作。",[24,64,225,117,27,99,95,2256,7,33,390,98,31,351,724,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdffc1c6bbcb02615aab2d7bb1eb1a7e.jpg",[],{"id":12577,"slug":12578,"title":3580,"dynasty":344,"author":808,"museum":61,"description":12579,"tags":12580,"thumbUrl":12581,"material":4790,"size":12582,"collection":142,"collections":12583,"showCount":12474,"zanCount":54,"manualWeight":54,"mainColor":109},234998,"yuan-ji-shan-shui-tu-ce-shi-tao-234998","原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[117,24,64,332,94,27,95,7,98,33,168,30,76,99,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37a9d770c7c8d6328bae3a2edfaafc2d.jpg","纵33.2cm，横22.8cm",[],{"id":12585,"slug":12586,"title":12587,"dynasty":18,"author":12588,"museum":135,"description":12589,"tags":12590,"thumbUrl":12591,"material":229,"size":637,"collection":142,"collections":12592,"showCount":12474,"zanCount":54,"manualWeight":54,"mainColor":109},234835,"fang-gu-kai-zhi-qing-shan-bai-yun-shan-gu-ning-yuan-234835","仿顾恺之青山白云扇","顾凝远","顾凝远（1580? —1645后），号青霞。吴郡（今江苏苏州）人。为人好学，于古今坟典艺志无所不窥，喜蓄商周秦汉文物。画山水师董、巨、又出入荆、关，兼精画理。",[24,64,1551,118,27,29,95,96,30,2157,241,199,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff11fd43f6398ebbe444dac28d65fc0fd.jpg",[],{"id":12594,"slug":12595,"title":12596,"dynasty":344,"author":11020,"museum":135,"description":12597,"tags":12598,"thumbUrl":12599,"material":946,"size":142,"collection":49,"collections":12600,"showCount":12474,"zanCount":11,"manualWeight":54,"mainColor":55},234319,"jiu-ru-zhi-ji-ce-wang-gai-234319","九如治迹册","王概，又作王槩。初名匄，一作改，亦名丐，字东郭，又字安节，后改今名，秀水（今浙江嘉兴）人，久居江苏金陵（今南京）。兄王蓍，初名尸，字宓草。以花鸟擅名，兼善诗文、治印。\n王概（生卒年未详），最初名“匄”（发音：gai），可以写为“改”，也可以写为“丐”，字东郭，又字安节，浙江秀水（今嘉兴）人。一直以来居住于江宁（今江苏南京）。王概从龚贤(1618—1689)学山水画，用墨浓重，善作大幅及松石等。\n王概曾应李渔之婿沈因伯之请，与其兄王耆，其弟王臬在沈因伯保存的明末画家李流芳原有四十三幅画稿的基础上，补绘完成《芥子园画传》，后经李渔的帮助，刻印出版。\n王概兄弟皆笃行嗜古，旁及诗、画，擅名于时。一生专心艺事，不入仕途，以卖画为生。山水学龚贤，黑色疏淡浓墨相间，皴点粗放，苍劲深厚。尤善画大幅山水及松石，《中国美术家人名辞典》称其作品：“雄快以取势，苍健或过之，而冲和不足。人物、花卉、翎毛之类，都有味外之味。”与当时名流汤燕生、李渔、程邃、孔尚任、周亮工等交往。",[24,332,27,26,28,95,30,31,32,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06918a767082105822cbcaec82eed402.jpg",[49],{"id":12602,"slug":12603,"title":12604,"dynasty":59,"author":6340,"museum":61,"description":12605,"tags":12606,"thumbUrl":12608,"material":1119,"size":12609,"collection":142,"collections":12610,"showCount":12474,"zanCount":54,"manualWeight":54,"mainColor":55},234068,"liu-xi-wo-di-tu-ye-liang-kai-234068","柳溪卧笛图页","图片放至最大时，可见一人卧岸吹笛，所绘人物微小，但几笔勾勒出一个人物形状和行为；而作背景的树木、岛屿以水墨状散开，如雾气般升腾。画面极简，但达到了无形即有形的精髓。\n梁楷（活动于十三世纪初期），南宋画家。祖上为东平(今属山东省)人，居钱塘(今浙江杭州)。工画人物、佛道、鬼神，兼善山水、花鸟。曾为画院待诏，并赐佩金带。但其性格豪放不羁，不耐画院规矩，将金带悬壁而去，人称“梁疯子”。画法有“细笔”、“减笔”两种，而概括飘逸的减笔画对后世影响极大。",[3139,24,94,12607,3658,934,4612,30,7,1702],"简笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6067b2dd93936c97f26067414b882c22.jpg","26.1×26.1cm",[],{"id":12612,"slug":12613,"title":12614,"dynasty":344,"author":1385,"museum":61,"description":12615,"tags":12616,"thumbUrl":12619,"material":12620,"size":12621,"collection":142,"collections":12622,"showCount":12474,"zanCount":54,"manualWeight":54,"mainColor":109},233790,"gao-yan-jian-pu-tu-zhou-yun-shou-ping-233790","高岩溅瀑图轴","本幅近景所绘树木不多，但富于形态变化，古木虬枝，青藤临风垂挂，二者穿插盘绕中显现出条理性。中景泉水潺潺，芦苇简约，将远、中景自然隔开，从而增强了全幅的纵深感及空间感。远山以淡墨干笔作长披麻皴，笔触开阔疏朗，显示出清逸深幽的韵致。此图不刻意求工、求似，唯求自然天趣，显示出恽寿平一向所追求的平淡超逸的审美意趣，为恽寿平精品之一。",[24,64,225,94,99,95,12617,12618,1397,140,98,7,33,1177,171,168],"高岩","溅瀑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96806cdc12bdc9e67c5c0a37ca3b8e61.jpg","纸本，淡设色","纵104.9厘米，横43厘米",[],{"id":12624,"slug":12625,"title":12626,"dynasty":18,"author":1948,"museum":61,"description":12627,"tags":12628,"thumbUrl":12629,"material":335,"size":12630,"collection":142,"collections":12631,"showCount":12474,"zanCount":54,"manualWeight":54,"mainColor":109},232956,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232956","文徵明山水册","根据图册末页张风翼等人的跋得知，此图册是文徴明为教授徒弟朱朗而绘制的山水画作，其中有他摹学五代董源、巨然的笔法，亦有他师法元四家黄公望、王蒙、倪瓒等人的笔墨。",[24,64,332,94,101,119,99,95,7,33,98,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01ed62dc5cfe09f6bce91b30b580bae4.jpg","28.5×15.8厘米",[],{"id":12633,"slug":12634,"title":3431,"dynasty":18,"author":4601,"museum":135,"description":12635,"tags":12636,"thumbUrl":12637,"material":142,"size":142,"collection":142,"collections":12638,"showCount":12474,"zanCount":54,"manualWeight":54,"mainColor":109},231013,"xi-shan-xian-guan-tu-wen-bo-ren-231013","此作用笔秀雅苍润，以淡墨皴擦山峦，晕染出烟岚轻笼的朦胧质感，峰峦层叠错落，将高远、深远之境相融。山坳间的仙馆屋舍隐在丹黄点染的林木之中，流泉叠瀑穿谷而下，为静谧山林添注灵动生机。\n整体兼具元人山水的淡逸简远，又带着吴门画派的清丽雅致，把文人心中的林泉幽隐之思铺陈在尺幅之间，恍若将清虚灵秀的桃源仙境收卷其中，观之如踏入世外仙居，静穆里藏着鲜活意趣，尽显江南山水温婉灵秀的气韵，诠释出寻仙问道的缥缈意境。",[24,64,225,94,99,95,31,33,168,98,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f29fa640b26633fd9da557e8a86eaf6.jpg",[],{"id":12640,"slug":12641,"title":12642,"dynasty":344,"author":2501,"museum":135,"description":12643,"tags":12644,"thumbUrl":12645,"material":229,"size":637,"collection":142,"collections":12646,"showCount":12474,"zanCount":54,"manualWeight":54,"mainColor":55},230137,"qiu-song-qiao-bi-tu-wu-li-230137","虬松峭壁图","吴历（1632年—1718年）清初书画家，天主教传教士。字渔山，号墨井道人、桃溪居士，江南常熟（今属江苏）人 。少时学诗于钱谦益，学画于王鉴、王时敏。康熙二十一年入天主教，继至澳门进耶稣会，前后在嘉定、上海等处传教三十年。著有《墨井诗钞》《三巴集》《桃溪集》《墨井画跋》。",[23,24,225,94,99,119,95,390,349,98,31,7,33,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2360df74dde1940bb17a7183928f6ea7.jpg",[],{"id":12648,"slug":12649,"title":3732,"dynasty":150,"author":2084,"museum":135,"description":12650,"tags":12651,"thumbUrl":12652,"material":142,"size":142,"collection":142,"collections":12653,"showCount":12474,"zanCount":54,"manualWeight":54,"mainColor":109},228045,"qiu-shan-xing-lv-tu-sheng-mao-228045","此作用淡墨皴染山峦，层层铺展出秋日山林的萧疏苍润，飞泉自崖间垂落，点活了幽寂山境。坡岸松林苍劲错落，细笔勾勒枝叶，兼具挺秀与萧散之致。山径行旅人影点缀其间，衬出林山空阔辽远。\n\n画作以淡赭轻敷，晕染出秋高气清的氛围感，笔法兼得院体精工与文人雅致，将秋日山野的静谧悠远与行旅意趣相融，尺幅间铺展出声色俱寂却暗蕴生趣的山水诗境，尽显元代山水尚简淡、重意境的风神。",[23,24,64,117,95,94,99,27,240,241,7,168,1110,98,119,1758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F957c8bac516a56247b6613d7daeb6e4e.jpg",[],{"id":12655,"slug":12656,"title":12657,"dynasty":59,"author":6797,"museum":135,"description":12658,"tags":12659,"thumbUrl":12660,"material":142,"size":142,"collection":142,"collections":12661,"showCount":12474,"zanCount":54,"manualWeight":54,"mainColor":55},227949,"su-qin-ji-tuan-tu-li-di-227949","宿禽激湍图","《宿禽急湍图》是宋代 的中国画作品，又名《 》，创造于南宋时期，作品内容为树梢和二鸟，收藏于美国 。\n《宿禽急湍图》为册页，作品使用水墨，淡设色，图中古柏依石而生，盘根错节，溪流湍急，飞泻而下，溅起阵阵浪花。\n二鸟栖，息枝头，怡然自得，与水浪形成静与动的对比。\n此图构图形式以峭拔的树梢和二鸟打破了对角线的布势，也使画面获得了平衡感。\n树木多用颤笔描绘，线条颤动。\n虬曲的古柏枝干和急湍的小溪使画面具有强烈的动感。\n以线勾勒和水墨烘染相结合来表现浪花，手法独特。\n李迪，生卒年不详，公元12世纪期间在世， （今河南省 ）人。\n宣和时为画院成忠郎，南宋绍兴时复职为画院副使，历事孝宗、光宗、宁宗三朝(1162-1224)，活跃于宫廷 几十年，画多艺精，颇负盛名。\n工花鸟竹石、鹰鹘犬猫、耕牛山鸡，长于写生，间作山水小景。\n构思精妙，功力深湛，雄伟处动人心魄。\n所作《 》温柔娇嫩可爱，《鸡雏图》形象生动超拔，刻画细致入微，各具神态。\n山水师李唐法，亦多佳作。\n论者谓其画鸠“作寒冷状，精俊如生”；画鹡鸰“翘翘欲起”。\n传世作品多，大多有年款。\n淳熙元年（1174年）作《风雨归牧图》轴，现藏 ；淳熙十四年（1187年）作《 》轴现藏 。\n庆元二年（1196）作《 》轴、庆元三年（1197年）《鸡雏侍饲图》册页、《猎犬图》册页，均藏故宫博物院。\n子德茂，理宗淳佑年间（1241-1252）画院待诏。\n画承家法，喜画花禽鹰鹘，野景不逮其父。\n所见李画最晚年款为庆元三年（1197年），如上溯到北宋宣和七年（1125年），需时七十三年，据此推算，则李氏存世之年龄应在九十以上。",[23,117,24,64,26,27,140,3572,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16085469ed0c7bef14f0566159320c01.jpg",[],{"id":12663,"slug":12664,"title":2644,"dynasty":344,"author":435,"museum":135,"description":12665,"tags":12666,"thumbUrl":12667,"material":142,"size":142,"collection":142,"collections":12668,"showCount":12474,"zanCount":54,"manualWeight":54,"mainColor":109},224402,"wang-chuan-tu-juan-wang-yuan-qi-224402","此作用全景式铺展林壑烟波，干笔焦墨反复皴擦，层层晕染出苍润浑厚的山峦丘石。水泽横陈，将错落山居、葱郁林木串联，渔舟泛于空蒙水面，村落藏于深林岩岫之间，尽显幽寂萧散的山居雅意。\n\n画作恪守元人山水的淡远意趣，又以娄东画派绵密繁复的笔法铺陈，虚实相生间复刻出辋川栖居的林泉之胜，把文人理想中的幽隐之境凝于尺幅，笔墨苍秀兼具，静穆雅致中尽显传统山水的隽永意趣。",[23,24,25,27,94,95,99,32,7,96,97,31,98,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a55542ac04f40c6195375482a7fc7f2.jpg",[],{"id":12670,"slug":12671,"title":2614,"dynasty":18,"author":251,"museum":152,"description":9119,"tags":12672,"thumbUrl":12673,"material":188,"size":142,"collection":105,"collections":12674,"showCount":12474,"zanCount":54,"manualWeight":54,"mainColor":55},222592,"hua-xue-jing-zhou-lan-ying-222592",[23,24,225,27,95,99,2567,32,7,96,97,255,98,76,30,271],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d87a46b2ed28161debf873089c66eac.jpg",[105,83],{"id":12676,"slug":12677,"title":12678,"dynasty":344,"author":1385,"museum":553,"description":12679,"tags":12680,"thumbUrl":12681,"material":12682,"size":12683,"collection":105,"collections":12684,"showCount":12474,"zanCount":54,"manualWeight":54,"mainColor":55},220980,"qing-chuan-lan-sheng-tu-yun-shou-ping-220980","晴川揽胜图","此图中所绘楼阁、山峦、丛林、江舟，乃武汉江岸黄鹤楼一带的胜景。\n画面构成右边以直线为主，林木直干密植，山峰耸立突兀，形成密不透风的格局，左边以横线描绘沙渚平波，空阔无际，左右对比大疏大密，别具新格。\n其运笔灵活洒脱，用墨浓淡相宜，层次分明。\n此图远处崇山之巅陡峰高耸入云，险峻奇峭；山腰间巉岩如屏，叠叠重重，山腰的平坡处隐现耸立的楼阁，丛树杂木掩映半边。\n近景山脚下为坡石冈埠，间植杂树林木，形成一片绿荫，画面左侧中景为水上民居，座落着村落和数间屋宁、曲折的河岸处，停泊为数众多的渔船，船上桅杆林立，也有几艘小舟横卧河心，不见人影，说明狂风暴雨接将来临，渔民暂避家憩息。",[23,24,64,225,27,99,28,95,31,33,255,98,7,348,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56b2663bec907781942b77938278c47c.jpg","绫本设色","纵112厘米，横39.1厘米",[105,51],{"id":12686,"slug":12687,"title":12688,"dynasty":344,"author":2071,"museum":135,"description":2565,"tags":12689,"thumbUrl":12690,"material":103,"size":2570,"collection":142,"collections":12691,"showCount":12474,"zanCount":54,"manualWeight":54,"mainColor":109},220131,"mo-gu-shan-shui-hua-4-wang-hui-220131","摹古山水画4",[23,24,64,8866,27,94,99,95,32,7,96,33,98,609,72,2074],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f39feb4bfd7c05be91065cc43167d1a.jpg",[],{"id":12693,"slug":12694,"title":12695,"dynasty":344,"author":2071,"museum":135,"description":2565,"tags":12696,"thumbUrl":12697,"material":103,"size":2570,"collection":142,"collections":12698,"showCount":12474,"zanCount":54,"manualWeight":54,"mainColor":109},220130,"mo-gu-shan-shui-hua-5-wang-hui-220130","摹古山水画5",[23,24,8866,27,95,99,32,7,66,255,140,98,30,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F007cf6e6237657652062701099155b76.jpg",[],{"id":12700,"slug":12701,"title":12702,"dynasty":150,"author":6787,"museum":152,"description":12703,"tags":12704,"thumbUrl":12706,"material":47,"size":142,"collection":142,"collections":12707,"showCount":12474,"zanCount":54,"manualWeight":54,"mainColor":109},218829,"jiang-cun-huan-du-tu-zhu-de-run-218829","江村唤渡图","纨扇间铺展的江村小景，似是元人袖中藏起的一段清寂时光。枯树以苍劲笔线勾勒，枝桠如蟹爪般遒劲，与岸边柔婉的垂柳相映成趣，刚柔之间晕开季节的况味。远山以淡墨轻染，隐于云雾之后，与近岸的村落、渡头形成虚实层次，水面留白似泛着轻烟，将天地空濛感拉得悠长。渡头人影虽小，却似携着一声唤渡轻响，打破山林静谧又让静意更显深沉。墨色浓淡相宜，绢本古雅质感衬得景致愈发悠远，笔意间藏着林泉之志的向往，将寻常渡头的片刻，凝成耐人寻味的水墨诗行。",[23,24,64,332,94,99,95,255,140,7,635,12705,2008],"渡口","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F754738568dfb446c4439248b95ec0a4d.jpg",[],{"id":12709,"slug":12710,"title":12711,"dynasty":150,"author":1032,"museum":152,"description":12712,"tags":12713,"thumbUrl":12714,"material":47,"size":142,"collection":105,"collections":12715,"showCount":12474,"zanCount":54,"manualWeight":54,"mainColor":109},218781,"tao-sheng-song-yun-tu-qian-xuan-218781","涛声松韵图","松枝盘曲如篆，墨色苍润间见清劲；流泉漱石，涛声似可闻于纸上。山石以细劲线条勾廓，皴染相济显丘壑层次；松针挺劲如钉，笔笔含力，透出苍然生机。浅赭设色温润，衬得山林幽寂。天际孤鸟轻掠，为静景添丝灵动，更衬天地空阔。整幅画不重繁复布景，却以简淡之笔营造“天人合一”的清旷意境，藏着文人对自然的深情与尘外之境的向往。笔墨间漾着宋元之际文人的散淡襟怀，不追形似而重神韵，观之如置身林泉，心随松涛泉响，渐入澄明之境。",[23,24,1551,27,99,95,390,7,122,98,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2f58b1ae6d25b570dc4eefb629ed142.jpg",[105],{"id":12717,"slug":12718,"title":12719,"dynasty":344,"author":292,"museum":281,"description":12720,"tags":12721,"thumbUrl":12722,"material":404,"size":12723,"collection":105,"collections":12724,"showCount":12474,"zanCount":54,"manualWeight":54,"mainColor":55},217868,"wan-ya-gui-chao-tu-yi-ming-217868","万鸦归巢图","万鸦归巢图被认为是一件杰出的艺术品，它的画面表现力极强，能够很好地展现出乌鸦的自然姿态和生动的情感。画中的乌鸦们振翅高飞，翅膀展开，看起来十分活泼，而背景中的巢穴更是精致入微，画家用极为细腻的笔法勾勒出了巢穴的细节，使得画面更加逼真。\n\n此外，画家还运用了鲜艳的颜色，使得整幅画面更加生动。画中的乌鸦们以黑色为主色调，但是画家运用了不同的色彩，让乌鸦看起来更加丰富。而背景中的巢穴则用了深蓝色来表现，与乌鸦的黑色形成鲜明的对比。\n\n总的来说，万鸦归巢图是一幅充满生机和艺术气息的画作，画家通过精湛的绘画技巧和运用色彩的巧妙，将乌鸦的自然姿态和生动的情感展现得淋漓尽致。",[24,27,225,26,122,140,98,7,4875,95,788,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae1b19db856e2814e964798fc097cea7.jpg","156.7x67.3cm",[105],{"id":12726,"slug":12727,"title":12728,"dynasty":344,"author":4707,"museum":152,"description":12729,"tags":12730,"thumbUrl":12731,"material":103,"size":12732,"collection":49,"collections":12733,"showCount":12474,"zanCount":54,"manualWeight":54,"mainColor":109},216976,"hao-liang-tu-jin-ting-biao-216976","濠梁图","庄子和惠施在濠梁上游泳时，看到一只白麋鹿的小鬼在平静地游泳，就讨论是否知道鱼的乐趣。",[24,27,26,99,30,95,7,241,98,351,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F191f0402066ce0f5d7d6c21fe12d46c9.jpg","165.4x95.4",[49],{"id":12735,"slug":12736,"title":12737,"dynasty":18,"author":12738,"museum":281,"description":12739,"tags":12740,"thumbUrl":12741,"material":103,"size":142,"collection":368,"collections":12742,"showCount":12474,"zanCount":54,"manualWeight":54,"mainColor":109},216325,"han-xi-meng-song-yuan-ming-ji-ce-xi-ma-tu-han-xi-meng-216325","韩希孟宋元名迹册·洗马图","韩希孟","柳丝垂拂如缕，随风轻摆，与潺潺流水应和。花斑骏马缓步水中，鬃毛轻扬，蹄下涟漪圈圈漾开，悠然自得。牵马者衣袂轻飘，俯身似与马低语，神情闲适。\n\n以针代笔，线代墨：丝线深浅晕染出水面波光，柳丝细劲借长短针脚勾勒，兼具笔墨的灵动与绣线的肌理质感。左侧书法笔墨清雅，与绣面相映成趣，将宋元文人画的闲逸气韵凝于丝缕之间。\n\n仿佛能闻柳下清风，听水声潺潺，藏着一份从容自在的诗意，是艺术与工艺交融的雅致佳作。",[24,64,332,27,30,66,378,7,100,119,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F841e03fd2c6d3244da7016352e90be97.jpg",[368],{"id":12744,"slug":12745,"title":12746,"dynasty":150,"author":710,"museum":152,"description":1457,"tags":12747,"thumbUrl":12748,"material":229,"size":637,"collection":142,"collections":12749,"showCount":12750,"zanCount":54,"manualWeight":54,"mainColor":109},290838,"xiu-zhu-yuan-shan-zhou-wang-meng-290838","修竹远山轴",[24,117,225,94,95,543,97,7,32,100,119,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ba21185b71455e692695f9c1528909e.jpg",[],26,{"id":12752,"slug":12753,"title":7779,"dynasty":59,"author":292,"museum":152,"description":12754,"tags":12755,"thumbUrl":12756,"material":47,"size":12757,"collection":81,"collections":12758,"showCount":12750,"zanCount":54,"manualWeight":54,"mainColor":55},290760,"yu-fu-tu-zhou-yi-ming-290760","开阔无涯的江面，烟雾弥漫，寒气逼人。芦苇环绕汀渚，野雁几只点缀其间，另则凌空与游于江上者相呼应，为冷寂的江面凭添生意。",[117,24,225,94,27,95,30,122,7,2042,256],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd98865113a54a85a68a35f61ab7db94e.jpg","105.4x53.5",[81],{"id":12760,"slug":12761,"title":12762,"dynasty":344,"author":1385,"museum":135,"description":2299,"tags":12763,"thumbUrl":12764,"material":229,"size":637,"collection":142,"collections":12765,"showCount":12750,"zanCount":54,"manualWeight":54,"mainColor":109},290517,"wan-heng-xiang-xue-tu-zhou-yun-shou-ping-290517","万横香雪图轴",[117,24,225,94,27,95,2301,97,7,271,2567,100,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ad4a6e995ee7f9c06ba18b7fe95f55c.jpg",[],{"id":12767,"slug":12768,"title":12769,"dynasty":150,"author":710,"museum":135,"description":1457,"tags":12770,"thumbUrl":12772,"material":229,"size":637,"collection":142,"collections":12773,"showCount":12750,"zanCount":54,"manualWeight":54,"mainColor":55},290442,"qiu-shan-du-shu-tu-ke-luo-ban-wang-meng-290442","秋山读书图（珂罗版）",[23,24,117,94,225,95,168,33,1357,32,7,3662,12771,99],"读书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c5464f995e7c474f65e7423200238cf.jpg",[],{"id":12775,"slug":12776,"title":12777,"dynasty":59,"author":954,"museum":135,"description":12778,"tags":12779,"thumbUrl":12780,"material":229,"size":637,"collection":142,"collections":12781,"showCount":12750,"zanCount":54,"manualWeight":54,"mainColor":55},290325,"song-jian-yin-yue-zhou-ma-yuan-290325","松间吟月轴","该幅写松荫下，高士独坐对月。林间，曲水绕栏，薄雾掩映，一派宁谧之气，溢於画表。右下角石隙，虽署有「马远」款，但就画风论，应出自传承马夏流派的明人之手。",[117,24,225,94,27,95,390,140,30,32,7,530,3784,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3b5499ddfdf61e30afc97a7fce10525.jpg",[],{"id":12783,"slug":12784,"title":12785,"dynasty":344,"author":2489,"museum":135,"description":4983,"tags":12786,"thumbUrl":12787,"material":229,"size":637,"collection":142,"collections":12788,"showCount":12750,"zanCount":54,"manualWeight":54,"mainColor":109},289932,"chan-ji-hua-qu-tu-zhou-kun-can-289932","禅机画趣图轴",[24,64,225,94,99,95,32,7,96,76,33,598,11292,119,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a847df0604c75424825b87a32147592.jpg",[],{"id":12790,"slug":12791,"title":7185,"dynasty":631,"author":774,"museum":152,"description":12792,"tags":12793,"thumbUrl":12794,"material":404,"size":7189,"collection":142,"collections":12795,"showCount":12750,"zanCount":54,"manualWeight":54,"mainColor":55},289924,"dong-tian-shan-tang-tu-dong-yuan-289924","厚厚的白云拥抱着巍峨的群峰，深沟巨壑中，山道弯弯，涧流清澈。山林白云深处，阁楼显露峥嵘，如此美景可谓别有“洞天”。此图用笔坚实，用墨浓重，山石以长皴短点相间，再复加染以浓重墨色，显出一种浑雄苍郁的气派。\n此画无款，图绘白云吞吐飘浮于山间， 山谷中松林茂密，清溪流淌，隐露楼观，境界清幽，鲜明地表现了世外仙境。画幅右上楷书“洞天山堂” 四宇， 点明了全画主题。诗堂有王铎跋语：“神理气韵，古秀灵通，入于口微，董源此图，当属玄化，丙戌端阳后二日题于琅华馆。”故此遂被定为董源手笔。然此图笔墨苍劲，景色茂密，云朵以白粉染绘，与董源之淡墨轻岚颇不相类，更近于1 2世纪后之山水画风貌，按金代很多山水画承袭董、巨而有所变化，故拟此画为金代之作似更为恰当。",[117,24,64,225,94,99,95,31,32,390,169,98,97,7,119,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7328b7152d7bab59353adc48e47affbb.jpg",[],{"id":12797,"slug":12798,"title":10448,"dynasty":59,"author":6998,"museum":152,"description":10449,"tags":12799,"thumbUrl":12801,"material":47,"size":10453,"collection":142,"collections":12802,"showCount":12750,"zanCount":54,"manualWeight":54,"mainColor":109},288507,"ting-qin-zhai-ruan-tu-zhao-bo-ju-288507",[23,24,117,225,118,27,30,95,1702,122,390,32,7,1246,3662,12800],"抚琴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5417e9836f0d1106f15840755d8c5aae.jpg",[],{"id":12804,"slug":12805,"title":12806,"dynasty":59,"author":209,"museum":135,"description":4457,"tags":12807,"thumbUrl":12808,"material":229,"size":637,"collection":142,"collections":12809,"showCount":12750,"zanCount":54,"manualWeight":54,"mainColor":640},288427,"ji-liu-tu-xia-gui-288427","激流图",[117,24,94,866,99,98,390,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51dcb4372ba2ed4ad1e0add3806dd667.jpg",[],{"id":12811,"slug":12812,"title":12813,"dynasty":150,"author":5944,"museum":152,"description":12814,"tags":12815,"thumbUrl":12816,"material":103,"size":12817,"collection":105,"collections":12818,"showCount":12750,"zanCount":54,"manualWeight":54,"mainColor":109},287533,"lin-luan-yan-yu-tu-gao-ke-gong-287533","林峦烟雨图","此幅画溪边小景，云气濛濛，舟子身著蓑衣正欲撑舟泊岸，溯溪而上，有茅屋三椽，远山罩于雨雾中。整幅用笔布墨甚为含蓄蕴藉，画风近于明。",[24,117,64,225,95,94,99,5947,170,33,76,7,32,96,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae8049e60ff73a9aa2f45d978e424016.jpg","123.5x61.2",[105],{"id":12820,"slug":12821,"title":12822,"dynasty":344,"author":12823,"museum":135,"description":12824,"tags":12825,"thumbUrl":12827,"material":142,"size":142,"collection":142,"collections":12828,"showCount":12750,"zanCount":54,"manualWeight":54,"mainColor":109},239213,"you-you-lu-ming-tu-zhou-lu-hui-239213","呦呦鹿鸣图轴","陆恢","此作以工写兼济之法绘就，卧鹿为画面主体，鹿角挺拔，皮毛晕染细腻，斑点疏密自然，姿态娴静悠然，尽显鹿的温驯灵秀。配景中虬曲古藤悬垂淡紫花串，笔意苍劲写意；奇石皴法朴拙厚重，下方溪涧涓涓，衬出山野静幽氛围。设色清雅柔和，淡彩晕染间诗意盎然，呼应主题悠然意境，尽显海派兼容并蓄的创作特色，将山野生机与雅致意趣相融，古韵悠然。",[117,24,225,27,26,99,5135,3834,98,33,3812,7,12826,1759],"紫藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43fd5674ee1a1fb40a59d9cab601e009.jpg",[],{"id":12830,"slug":12831,"title":12832,"dynasty":18,"author":2243,"museum":61,"description":12833,"tags":12834,"thumbUrl":12835,"material":258,"size":12836,"collection":105,"collections":12837,"showCount":12750,"zanCount":54,"manualWeight":54,"mainColor":109},239088,"shan-shui-tu-zhou-qiu-lin-tu-zhao-zuo-239088","山水图轴（秋林图）","此图表现晚秋湖山景色，故又名《秋林图》。画远岫如带，平湖无波，曲水孤舟，瑟瑟丛林映照在落日余晖中，茅舍和渔舟中高士静坐。构图以平远为主，山石多用披麻皴，笔力劲秀，设色浅淡。是赵左晚年山水画佳作。\n撰稿人：杨丹霞",[24,64,225,94,27,99,95,140,96,7,199,97,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84f4485f30120b1bf0257ea35e273536.jpg","纵67.5厘米，横32.2厘米",[105],{"id":12839,"slug":12840,"title":12841,"dynasty":344,"author":8992,"museum":135,"description":12842,"tags":12843,"thumbUrl":12844,"material":142,"size":142,"collection":105,"collections":12845,"showCount":12750,"zanCount":54,"manualWeight":54,"mainColor":109},238188,"wan-nian-zeng-mao-tu-zhou-wang-cheng-pei-238188","万年增茂图轴","汪承霈（？－1805），清朝大臣。字受时，一字春农，号时斋，别号蕉雪，汪由敦之子，浙江钱塘人，原籍安徽休宁。由敦既卒，丧终，承霈以赐祭葬入谢。傅恒为言承霈书类由敦，授兵部主事，充军机处章京。累迁郎中，除福建邵武知府。时母年八十，请军机大臣为陈情，留京供职，复补户部郎中。三十六年，师讨小金川，上命户部侍郎桂林出督饷，以承霈从。三十七年，阿尔泰、宋元俊劾桂林以金与土酋赎所掠军士，辞连承霈，命逮治。俄，事白，仍以郎中充军机处章京。累迁工部右侍郎。甘肃冒赈事发，部议凡在甘肃纳捐监生，应禁革毋许应试，及自别途出身。承霈奏人数甚多，乞开自新之路，令纳金如例，许考试及自别途出身，得旨俞允。四十年，上校射，承霈连发中的，赏花翎。调户部右侍郎。五十四年，坐监临顺天乡试失察，左迁通政使。累迁复至侍郎。",[24,64,225,27,26,95,30,390,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3625bf23b098742f89243db0ca847449.jpg",[105,51],{"id":12847,"slug":12848,"title":9351,"dynasty":344,"author":12849,"museum":61,"description":12850,"tags":12851,"thumbUrl":12852,"material":142,"size":142,"collection":105,"collections":12853,"showCount":12750,"zanCount":54,"manualWeight":54,"mainColor":262},238132,"xi-qiao-ce-zhang-tu-zhou-wang-bing-238132","王炳","王炳 (1880—1950) 字谢陈，山东滨州市沾化区王见南村人。1902年（光绪二十八年）考入山东大学堂，以后加入同盟会。1906年（光绪三十二年）冬，创立棣州公学，首任公学监督（后改称校长）。",[24,64,225,27,95,99,32,7,33,98,30,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb780e944bf063bdc83fbd0b5d1c21d83.jpg",[105,51],{"id":12855,"slug":12856,"title":4655,"dynasty":344,"author":2071,"museum":135,"description":4656,"tags":12857,"thumbUrl":12858,"material":142,"size":142,"collection":142,"collections":12859,"showCount":12750,"zanCount":54,"manualWeight":54,"mainColor":109},237587,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237587",[24,64,117,94,2880,95,99,332,170,33,7,32,76,169,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa175a195bd0ae1ffc16b04aa9a2fba7e.jpg",[],{"id":12861,"slug":12862,"title":12863,"dynasty":344,"author":2071,"museum":553,"description":12864,"tags":12865,"thumbUrl":12867,"material":3857,"size":12868,"collection":105,"collections":12869,"showCount":12750,"zanCount":54,"manualWeight":54,"mainColor":109},237388,"fang-gao-ke-gong-yun-shan-zhou-wang-hui-237388","仿高克恭云山轴","此图学元代高克恭画风，画幅左上角作者署款：「庚辰清和广陵舟次，仿高房山笔。麓台祁。」款前印：「古期斋」（朱长方），款后印：「原祁茂京」（白朱方）。另有收藏印章六方。",[24,94,99,29,225,119,95,12866,98,33,32,7,96,97,169,168],"云山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F356e1b3850289f759a8da25a23f6e2cc.jpg","99×47.2cm",[105],{"id":12871,"slug":12872,"title":12873,"dynasty":344,"author":11020,"museum":61,"description":12874,"tags":12875,"thumbUrl":12876,"material":258,"size":12877,"collection":105,"collections":12878,"showCount":12750,"zanCount":54,"manualWeight":54,"mainColor":262},237239,"yun-shan-qing-zhi-tu-zhou-wang-gai-237239","云山清峙图轴","此图轴是石涛晚年之作，此时他的山水画构图新颖大胆，出奇制胜，极尽含蓄隐约之妙。图中打破一层地、二层树、三层山的“三叠式”和北宋式的上留天、下留地、中间设景的构图程式，而是用“截取法”直接截取景致中最优美、最有代表性的一段。作者描绘半露的山体，树木间以水墨渍出云态，天空用淡墨渲染，以显现出云的白净和飘浮的动感。",[24,64,225,94,27,95,390,255,97,7,98,169,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4163719da424fc23033d449dcac4cfde.jpg","纵45.1厘米，横30.8厘米",[105],{"id":12880,"slug":12881,"title":12882,"dynasty":18,"author":292,"museum":91,"description":12883,"tags":12884,"thumbUrl":12885,"material":142,"size":142,"collection":142,"collections":12886,"showCount":12750,"zanCount":54,"manualWeight":54,"mainColor":55},234930,"xie-shi-chen-xia-shan-fei-pu-tu-zhou-yi-ming-234930","谢时臣夏山飞瀑图轴","谢时臣（1487-1567），明代画家。字思忠，号樗仙。吴（今江苏苏州）人。工书法，长于隶书。擅山水，师法吴镇、沈周，稍作变化，作品多构为长卷巨幛，以善画水著称，江河湖海，无不精好。又作山峦重叠，高耸险峻，笔墨或细密苍劲，或劲健沉郁，或纵横纷披，富有变化。有《杜陵诗意图》、《溪山揽胜图》、《策杖寻幽图》、《武当霁雪图》、《谪仙玩月图》等传世。\n谢时臣(公元1488-1567年尚在)，字思忠，号樗仙，吴人，专长画山水，画史称他师法梅道人，学沈石田稍变其意。多作屏障大幅，构图雄伟严密，气势纵横，从作品看，画风近于戴进与吴派的沈周之间。传世作品有《虎阜春晴图》(辽宁省博物馆藏)、《江山胜览图》卷、《夏山飞瀑图》(上海博物馆藏)、《杜陵诗意图册》(现藏故宫博物院)、《武当霁雪图》大轴(现藏山东省博物馆)等。上海博物馆藏有谢氏水墨花卉册，作于嘉靖廿三年(1544)，颇有风致，惟传世不多。",[24,94,99,225,95,168,98,33,169,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5022b1e88d93f3e65c907903f6e5ddfc.jpg",[],{"id":12888,"slug":12889,"title":12890,"dynasty":150,"author":710,"museum":135,"description":12891,"tags":12892,"thumbUrl":12893,"material":142,"size":142,"collection":142,"collections":12894,"showCount":12750,"zanCount":54,"manualWeight":54,"mainColor":109},232634,"shan-shui-tu-xin-yu-liang-quan-wang-meng-232634","山水图(新雨凉泉)","王蒙能诗文，工书法。尤擅画山水，得外祖赵孟頫法，以董源、巨然为宗而自成面目。写景稠密，布局多重山复水，善用解索皴和渴墨苔点，表现林峦郁茂苍茫的气氛。山水之外，兼能人物。所作对明、清山水画影响甚大，仅次于黄公望，后人将其与黄公望、吴镇、倪瓒合称为“元四家”。对明清及近代山水画影响甚大。\n王蒙创造的“水晕墨章”，丰富了民族绘画的表现技法。他的独特风格，表现在“元气磅礴”、用笔熟练、“纵横离奇，莫辨端倪”。传世的代表作《青卞隐居图》、《春山读书图》，上海博物馆藏；《葛稚川移居图》《夏日山居图》，北京故宫博物院藏；《秋山草堂图》，台北故宫博物院藏。代表作品还有《湘江烟雨图》《深林叠嶂图》等。诗文、史学亦精。今存诗集《草堂雅集》。",[24,64,225,94,99,95,98,33,7,171,868,609,255,351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85e0e1523a4b570966cee5ed7f642fa5.jpg",[],{"id":12896,"slug":12897,"title":12898,"dynasty":18,"author":7967,"museum":135,"description":12899,"tags":12900,"thumbUrl":12901,"material":142,"size":142,"collection":142,"collections":12902,"showCount":12750,"zanCount":54,"manualWeight":54,"mainColor":109},228966,"si-ji-feng-jing-ce-ye-xiao-yun-cong-228966","四季风景册页","此作用浅绛青绿晕染山峦，层叠崖岫以苔点晕出苍润生机，山坳隐见红墙古寺，飞瀑穿林汇作浅溪，板桥引渡，丹鹤独立溪畔，晕开清寂仙气。\n\n右侧老梅虬枝缀花，树下三文士凭坐观览，或低语或凝思，将雅集幽闲融于林泉丘壑。右上角题诗与画境呼应，以书法点出寻梅高士的林下襟怀。\n\n笔墨简淡秀雅，设色明润柔和，整体意境清旷出尘，将山水灵秀与文人雅趣相融，尽显淡远闲逸之美，把春日寻幽的雅兴定格在尺幅之间，淡而弥远，韵致悠长。",[24,27,99,332,95,30,32,7,2301,1287,31,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6394ee68fb4f16fd1443886e59691153.jpg",[],{"id":12904,"slug":12905,"title":12906,"dynasty":18,"author":7532,"museum":135,"description":12907,"tags":12908,"thumbUrl":12909,"material":142,"size":142,"collection":142,"collections":12910,"showCount":12750,"zanCount":54,"manualWeight":54,"mainColor":55},228495,"wu-lu-an-tu-ye-li-shi-da-228495","五鹿庵图页","以鸟瞰全景铺展画面，将江渚山水与庵居雅境相融。江面帆影穿梭、石桥卧波，沿坡蜿蜒的石墙围合出错落屋舍，林木葱茏掩映庭台，有人闲坐堂内叙谈，有人缓步庭中，处处漾着松弛鲜活的烟火气。\n笔墨淡润秀雅，浅赭轻施，以简约笔触勾勒屋舍坡岸，省去繁复皴擦，将禅居的清幽静寂，与江南水乡的鲜活日常糅合无间，把晚明文人梦寐的烟火雅居，晕染在纸幅之上。",[24,27,28,9133,95,31,32,7,96,97,33,30,76,35,1128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ca98128af99bcd4311e6d5f04b4bce8.jpg",[],{"id":12912,"slug":12913,"title":12914,"dynasty":18,"author":2519,"museum":135,"description":12915,"tags":12916,"thumbUrl":12917,"material":142,"size":142,"collection":142,"collections":12918,"showCount":12750,"zanCount":54,"manualWeight":54,"mainColor":55},228287,"za-hua-tu-ce-8-kai-chen-hong-shou-228287","杂画图册8开","此作用平远法铺展景致，山峦层叠迤逦，以圆润苍劲的皴笔勾勒石体质感，淡赭敷色晕染出暖调山光，清润柔和。水面留白尽显空濛烟波之意，不着一笔却漾漾有水气流动。山石间点缀青绿苔点，冷色调打破赭石的厚重，为静穆山水晕染出鲜活生机。\n整幅简淡清旷，以复古笔致意摹古贤意趣，无繁复刻画，只以极简的点染铺陈，将江南水畔温软沉静的山光凝于尺幅，悠悠透出文人沉湎林泉的静穆襟怀，淡远清和，尽显含蓄内敛的古典诗意。",[23,24,64,332,27,99,119,95,199,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbac4124007a9a2c95659e7ef43ddff79.jpg",[],{"id":12920,"slug":12921,"title":3096,"dynasty":150,"author":1622,"museum":135,"description":12922,"tags":12923,"thumbUrl":12924,"material":142,"size":142,"collection":142,"collections":12925,"showCount":12750,"zanCount":54,"manualWeight":54,"mainColor":109},228248,"jiang-cun-yu-le-tu-zhao-meng-fu-228248","《元·赵孟頫法书选:行书杜甫秋兴诗四首》是历代法书真迹萃编系列之一。\n元代对书法的重视不亚于前代，书法得到一定的发展。\n探索和认真的临学，在学习古人的传统基础上“托古改制”，使晋、唐的传统法度得以恢复和发展，扭转了南宋以来由于士大夫多“趋时贵书”形成的所谓“恶札流饰”的积习,开启了元代的书法风格。\n久之已成为在社会上流行最普遍，在日常生活中最切实用的字体。\n在应用价值上来说，算得是最伟大的。\n故能自后汉相传至今，历久而弥新。\n《元·赵孟頫法书选——行书杜甫秋兴诗四首》为其中代表作。\n《元·赵孟頫法书选:行书杜甫秋兴诗四首》由黄山书社出版。\n赵孟頫（1254-122年），元代书画家、文学家。\n字子昂，号松雪道人、水精宫道人，中年曾作孟俯。\n湖州（今属浙江）人杨维，宋宗室。\n宋亡，归里闸居。\n元世祖忽必烈搜访“遣逸”，经程巨夫荐举，始任兵部郎中，仁宗爱育黎拔力八连朝（111-12年），官至翰林学士承旨，封魏圃公，谨文敏。\n精通音乐，善鉴定古器物，于书法绘画成就尤高。\n山水取法董源、李成，人物、鞍马师法李公麟和唐人；工墨竹、花鸟，皆以笔墨圆润苍秀见长，以飞白法昼石，以书法用笔写竹。\n力主变革南宋院体格调，自谓“作画卖有古意，若无古意，虽工无益”，遥追迫五代、北宋法度，论者谓：“有唐人之致去其鳞，有北宋人之雄去其犷。\n”开创了元代新画凰。\n能诗文，风格和婉。\n兼工篆刻，以“圆朱文”著称。\n传世书迹较多，传世画作有《鹊华秋色图》、《红衣罗汉图》、《幼舆丘壑图》、《秋郊饮马图》、《江村渔乐图》等。\n着有《松雪斋文集》十卷（附外集一卷）。",[23,24,64,1551,94,27,95,256,7,96,33,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96766e1c56502a11ade3361e84a7bffe.jpg",[],{"id":12927,"slug":12928,"title":12929,"dynasty":59,"author":399,"museum":135,"description":4912,"tags":12930,"thumbUrl":12931,"material":142,"size":142,"collection":142,"collections":12932,"showCount":12750,"zanCount":54,"manualWeight":54,"mainColor":55},227773,"song-yin-xiu-qi-tu-ye-li-tang-227773","松荫休憩图页",[23,117,24,64,332,27,95,30,271,7,199,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ae2c819f22354f91624b8b982a41c2a.jpg",[],{"id":12934,"slug":12935,"title":12936,"dynasty":59,"author":2899,"museum":135,"description":12937,"tags":12938,"thumbUrl":12939,"material":142,"size":142,"collection":142,"collections":12940,"showCount":12750,"zanCount":11,"manualWeight":54,"mainColor":55},227613,"shan-shui-tu-ye-zhao-ling-rang-227613","山水图页","赵令穰(北宋)字大年，汴京(今河南开封市)人，生卒年不详，宋太祖赵匡胤五世孙。官至光州防御使﹑崇信军观察留后，卒赠开府仪同三司，追封荣国公。其子赵伯驹宋代著名画家，官至浙东兵马钤辖。工画山水、花果、翎毛，笔致秀丽，尤长金碧山水。远师李思训父子。\n赵令穰幼时即爱书画﹐富于文学修养﹐家藏有晋唐以来法书名画。他与画家文人时相往来。赵佶(宋徽宗)为端王时亦与他交游﹐切磋画艺。",[23,24,117,64,332,27,99,95,140,4875,98,7,6332],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F069c533c496616b5bcf7a2d34a2002ef.jpg",[],{"id":12942,"slug":12943,"title":12944,"dynasty":344,"author":808,"museum":135,"description":12945,"tags":12946,"thumbUrl":12947,"material":142,"size":142,"collection":142,"collections":12948,"showCount":12750,"zanCount":54,"manualWeight":54,"mainColor":109},224502,"shan-shui-ce-kai-wu-shi-tao-224502","山水冊开(五)","此作用笔简括空灵，以淡赭、花青晕染山峦，干湿墨色相生，晕开江南水乡的清润秀雅。近岸枯槎疏枝带着残冬清寂，零星墨叶点缀出些许生机，板桥卧波，黛林掩映村舍，浅渚渔舟悠然随波，渔人安坐其中，自在松弛。\n\n远景山峦淡逸朦胧，与留白水面相映，铺展出萧散淡远的意境。题画诗与景致相融，将寄迹林泉、脱却尘俗的幽怀藏于笔墨丘壑间，以画言情，尽显隐逸文人心境，淡墨轻岚间晕染出闲逸野趣。",[23,24,94,27,99,332,95,32,7,96,140,98,76,33,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf60ae206638ff7c579a55431223839b.jpg",[],{"id":12950,"slug":12951,"title":12952,"dynasty":344,"author":1527,"museum":152,"description":12953,"tags":12954,"thumbUrl":12955,"material":213,"size":12956,"collection":142,"collections":12957,"showCount":12750,"zanCount":11,"manualWeight":54,"mainColor":109},224484,"ni-fan-hua-yuan-qiu-lin-xiao-si-tu-wang-jian-224484","拟范华原秋林萧寺图","此作用高远、平远之法铺展景致，主峰奇崛陡立，古寺隐于层峦间，飞瀑穿石而下。前景林木蓊郁，板桥通幽，山居人家藏于松荫，江畔苍松虬劲，渔翁垂竿秋水之上，远景江天寥廓，浅墨晕染远山，清寂萧疏之意漫溢画面。\n\n以浅绛糅合青绿晕染山石，皴法朴厚，兼得雄健风骨与秀雅笔致，将秋山野林的空阔萧远与幽居闲趣相融，把秋林萧寺的冷寂清旷之境铺陈开来，尽显林泉幽致。",[23,117,24,866,27,99,4658,29,867,4728,32,7,98,33,31,97,173,348],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06aa02d6c0b4b3f68794b7c75b2799f2.jpg","本幅 52.5x27.4公分、全幅 59.2x82公分",[],{"id":12959,"slug":12960,"title":12961,"dynasty":344,"author":1527,"museum":135,"description":12962,"tags":12963,"thumbUrl":12964,"material":142,"size":142,"collection":142,"collections":12965,"showCount":12750,"zanCount":54,"manualWeight":54,"mainColor":109},224477,"fang-mei-dao-ren-shan-shui-tu-wang-jian-224477","仿梅道人山水图","此作用笔苍浑沉厚，取法梅道人山水意趣，层峦叠嶂铺陈高远之境，主峰巍峨雄峙，矾头苔点繁密，晕染出江南山峦郁茂华滋的温润质感。\n\n山坳村居错落，板桥卧波、溪流蜿蜒穿梭林麓间，林木疏密交织，将林泉幽居的隐逸意趣缓缓铺展。以披麻皴写山体肌理，湿墨点苔晕染空濛氛围，恪守古法的同时融入自身秀逸笔性，于苍劲间不失温润，既复刻出荒寒清寂的古雅意境，又暗含自家风骨，是师古能化的仿古佳作。",[23,24,94,99,29,225,95,98,76,33,7,32,119,140,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F007451ec2d4ea6bc6dbcfc06f0197dab.jpg",[],{"id":12967,"slug":12968,"title":12969,"dynasty":2023,"author":292,"museum":2659,"description":12970,"tags":12971,"thumbUrl":12972,"material":469,"size":12973,"collection":142,"collections":12974,"showCount":12750,"zanCount":54,"manualWeight":54,"mainColor":55},223391,"tong-nian-yin-yan-tu-zhou-yi-ming-223391","同年饮宴图轴","以淡墨晕染出空濛秋山，飞瀑穿云，江流宛转，枯笔皴擦山峦肌理，苍浑朴拙。画面上下分境，山巅高远清寂，江畔林下定坐宴饮，士人们围坐把酒，将林泉幽致与文会雅兴相融。淡墨轻岚间，萧疏古木衬出雅集闲逸，左上题诗呼应知己情谊，笔墨简淡却意韵悠长，尽显文人寄情山水、酬唱为乐的林下风流，将水墨山水的清旷与雅集的温煦意趣揉合一处，自有冲淡恬和的古雅气韵。",[23,117,24,64,225,27,95,30,168,7,171,33,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc6632dbe6c038a2d36128d0dfee1a52.jpg","纵98厘米，横52厘米",[],{"id":12976,"slug":12977,"title":12978,"dynasty":344,"author":292,"museum":135,"description":12979,"tags":12980,"thumbUrl":12981,"material":142,"size":12982,"collection":142,"collections":12983,"showCount":12750,"zanCount":54,"manualWeight":54,"mainColor":55},223331,"san-shan-wu-yuan-tu-yi-ming-223331","三山五园图","在北京西郊的西山脚下，有一片泉泽遍野，群峰叠翠的地方，从公元11世纪起，这里就开始营建皇家园林，到800年后清朝结束时，园林总面积达到了1000多公顷。在这些皇家园林中，最著名的就要数“三山五园”了。\n“三山五园”中的三山是指香山、玉泉山和万寿山。这三座山上分别有静宜园、静明园、清漪园，再加上东边的畅春园和圆明园，就是所谓的五园。如此集中的皇家园林为世所罕见。这主要还是得力于这里优美的自然环境，以及北京作为京城的人文优势。\n在北京的西北郊，素有神京右臂之称的西山，峰峦连绵，自南趋北，余脉在香山的部位兜转而东，远远拱列于北京的西北面。在它的腹心地带，两座小山岗双双平地突起，这就是玉泉山和万寿山。它们附近泉水丰沛，湖泊密布，形成有如江南的优美自然景观，这在华北地区是不多见的。\n早在辽、金时期，香山、玉泉山就有了皇家行宫别苑的建置。但金、元、明三代的主要精力都放在在修建北京的城池和城内的皇宫。这里真正成为皇家独占的宫廷园囿，还是清王朝兴起以后的事。\n清朝的皇帝们十分热衷于园林的建设，尤其是康熙、雍正、乾隆三朝，基本奠定了京城皇家园林的建设格局和规模，“三山五园”就是其中的核心部分。\n三山五园中建造最早的是畅春园，它于康熙二十九年（即公元1691年）建成，位于今天的北京大学一带，是在明代私家园林的旧址上修建的。今天我们在北京大学的校园里，还依稀可以找到一些旧日园林的痕迹。",[23,27,28,26,95,31,7,2921,38,8270,2074],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf339820c8e9c1373d7b74bcee1b035e.jpg","51x88",[],{"id":12985,"slug":12986,"title":12987,"dynasty":344,"author":6611,"museum":152,"description":8125,"tags":12988,"thumbUrl":12989,"material":2665,"size":12990,"collection":105,"collections":12991,"showCount":12750,"zanCount":54,"manualWeight":54,"mainColor":109},223122,"shuang-lin-xiao-si-tu-zhou-dong-bang-da-223122","霜林萧寺图轴",[23,24,225,27,99,95,98,33,4728,32,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02e95f112757ec9a532d663ea2c1066f.jpg","79.1x36.8",[105,83],{"id":12993,"slug":12994,"title":12995,"dynasty":344,"author":6590,"museum":1308,"description":6591,"tags":12996,"thumbUrl":12997,"material":188,"size":6596,"collection":142,"collections":12998,"showCount":12750,"zanCount":54,"manualWeight":54,"mainColor":55},223023,"hong-lou-meng-148-sun-wen-223023","红楼梦148",[23,24,26,27,95,30,31,32,97,7,854,2097,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f0cacb77d3ba2f18dc3c0c17699474e.jpg",[],{"id":13000,"slug":13001,"title":13002,"dynasty":59,"author":4206,"museum":20,"description":13003,"tags":13004,"thumbUrl":13005,"material":188,"size":13006,"collection":81,"collections":13007,"showCount":12750,"zanCount":11,"manualWeight":54,"mainColor":109},221425,"qiu-shan-xiao-si-tu-yan-wen-gui-221425","秋山萧寺图","作品开卷处图绘远山溪岸，继而群峰叠起大壑飞瀑，颇为壮观，再次又转入平川冈阜秋树远山，渐成清远之境，布局变化错落有致。\n全卷以水墨为主，间以简淡之赋色，山石皴纹笔墨苍劲，林木结构系出于 传派，与传世 作品之风格有出入，似应为南宋画家的手笔。\n卷上有燕文贵小字款，乃后人所加。",[23,117,24,64,25,94,27,99,95,1497,4728,33,98,169,170,1397,140,351,7,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb3bb3f7fd9c75615971c67aad3349df.jpg","32.5x321",[81,105,83],{"id":13009,"slug":13010,"title":13011,"dynasty":18,"author":13012,"museum":1308,"description":13013,"tags":13014,"thumbUrl":13015,"material":47,"size":13016,"collection":105,"collections":13017,"showCount":12750,"zanCount":54,"manualWeight":54,"mainColor":55},220040,"xi-shan-fei-pu-tu-zhu-shou-fu-220040","溪山飞瀑图","朱受甫","此作用蜿蜒灵动的披麻皴绘就群峰，山石似随波流转，奇崛又带着秀润意趣。画面以平远铺陈左岸烟波，远山澹澹如墨痕晕染，空濛悠远；右岸峰峦错落层叠，巉岩间点缀村居林木，隐逸烟火气融在山水间。\n\n淡墨晕开薄雾，衬出山峦的通透层次，草木萧疏却意态清雅，将江南溪山的灵秀幽寂晕染开来。简淡笔墨里藏着悠游林泉的雅致心境，尽显山水间空寂淡远的文人意趣。",[23,117,24,64,25,94,95,99,240,168,4612,33,38,169,171,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac40c200bd39a1f83f4cc800733c7076.jpg","23x147厘米",[105],{"id":13019,"slug":13020,"title":13021,"dynasty":344,"author":1916,"museum":91,"description":1917,"tags":13022,"thumbUrl":13023,"material":335,"size":1920,"collection":142,"collections":13024,"showCount":12750,"zanCount":11,"manualWeight":54,"mainColor":109},219856,"ba-jing-shan-shui-tu-2-gong-xian-219856","八景山水图-2",[24,94,99,95,96,32,7,306],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc456411e76e601da956e5ada940eb00f.jpg",[],{"id":13026,"slug":13027,"title":13028,"dynasty":2023,"author":292,"museum":152,"description":13029,"tags":13030,"thumbUrl":13031,"material":188,"size":13032,"collection":105,"collections":13033,"showCount":12750,"zanCount":54,"manualWeight":54,"mainColor":55},219368,"wu-kuan-xi-shan-shu-wu-zhou-yi-ming-219368","无款溪山书屋轴","绢色沉古，墨痕淡远。近岸老木扶疏，枝干如铁，叶影婆娑间漏下天光；溪石横卧，水纹隐现，似有泠泠声在耳。中麓书屋半掩，窗内人影悄坐，或展卷，或凝思，与林泉为邻，得山水之趣。远岫层叠，云气轻飘，将天地拉得悠远。笔致工细却含野逸，皴擦点染皆见匠心，无一处不藏着对自然的敬畏与对闲居的向往。置身画前，仿佛能踏过溪石，走近书屋，与画中人共沐山风，静听溪语，忘了尘嚣。",[24,64,117,225,95,94,99,241,98,7,609,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36f9e3df3cb8b48d6cea0818948aa5a4.jpg","148.6x74.5",[105],{"id":13035,"slug":13036,"title":13037,"dynasty":59,"author":292,"museum":152,"description":13038,"tags":13039,"thumbUrl":13040,"material":47,"size":13041,"collection":105,"collections":13042,"showCount":12750,"zanCount":54,"manualWeight":54,"mainColor":55},218988,"pin-quan-tu-yi-ming-218988","品泉图","这幅画描绘了一个在峡谷中的有学问的人和一个提供茶水的童仆，而他摇着扇子喝茶。这幅画没有标记，以前被认为是宋代的作品，但宋代没有这种画风，动荡的笔法更接近明代的山水画风格。",[23,24,117,27,99,95,33,171,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04bddcec30d211866d234b9bd05fadd1.jpg","27.5x57.4",[105],{"id":13044,"slug":13045,"title":13046,"dynasty":150,"author":292,"museum":152,"description":13047,"tags":13048,"thumbUrl":13049,"material":47,"size":142,"collection":105,"collections":13050,"showCount":12750,"zanCount":54,"manualWeight":54,"mainColor":109},218656,"xi-shan-ji-yu-yi-ming-218656","溪山积玉","雪覆层峦如积玉，淡墨晕染出远山的温软轮廓，却藏着冬日清寂。坡岸老柳垂丝，枝条似淡烟轻笼，笔意疏朗间见自然生趣。林间茅舍隐现，仿佛有暖意暗涌，与天地素净相映成趣。\n\n画面无喧嚣，只余山水静穆与生机暗涌——雪的冷、树的疏、屋的暖，在对比里藏着文人对山水的眷恋、对闲居的向往。笔墨不刻意求工，简淡中见深致，恰是元人山水意韵：以心观物，以笔写情，每一寸雪色都浸着悠然禅意，让观者于静谧中触到自然与人心的共鸣。",[23,24,64,332,94,27,95,241,97,7,99,140,5410,348,609,2700],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ae9bfc8cfcf642803d8d009b93b445d.jpg",[105],{"id":13052,"slug":13053,"title":13054,"dynasty":59,"author":292,"museum":91,"description":13055,"tags":13056,"thumbUrl":13058,"material":273,"size":13059,"collection":49,"collections":13060,"showCount":12750,"zanCount":11,"manualWeight":54,"mainColor":55},218597,"lian-she-tu-yi-ming-218597","莲社图","图绘东晋高僧慧远（334-416）于庐山结社故事，无作者款印，为南宋人据李公麟《莲社图》所作的摹本。画分九段，次序井然：一、乘舆者陶渊明，肩舆者其子、门生，童子一人；二、骑马者谢灵运，随侍两人；三、虎溪三笑，捉手相对者慧远、陆修静，旁立辟蛇行者，童子一人；四、设文殊金像赞颂佛事者三人，昙常、道昺、周续之；五、梵僧两人，旁立一耶舍；六、校经五人，刘程之、张诠、惠叡、惠持、惠永，手捧经笈者一人，童子一人，烹茶三人，汲水一人；七、游山两人，宗炳、昙顺。八、经筵会讲，讲说者道生，听讲者雷次宗、道敬、昙诜等；九、濯足者张野，童子一人。",[23,24,64,25,138,598,30,95,32,7,33,171,13057],"洞窟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F227278cacb67723b82fe796fc37d2573.jpg","纵28.1厘米，横459.8厘米",[49],{"id":13062,"slug":13063,"title":13064,"dynasty":18,"author":292,"museum":316,"description":13065,"tags":13066,"thumbUrl":13067,"material":47,"size":13068,"collection":49,"collections":13069,"showCount":12750,"zanCount":54,"manualWeight":54,"mainColor":55},218512,"shu-xia-du-shu-tu-yi-ming-218512","树下读书图","这幅画描绘了一个坐在树下溪边读书的高士，这种风格在明代的浙江画派、戴进和吴伟中很流行，但这幅画的笔法与吴伟相似，略显疲软。",[23,24,64,225,27,30,33,7,12771],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F385b9aeb644037ac90a0878724f211a4.jpg","127.5x77.8",[49],{"id":13071,"slug":13072,"title":13073,"dynasty":344,"author":13074,"museum":2900,"description":13075,"tags":13076,"thumbUrl":13077,"material":404,"size":13078,"collection":105,"collections":13079,"showCount":12750,"zanCount":54,"manualWeight":54,"mainColor":55},218268,"shan-ting-dui-zuo-tu-jin-kan-218268","山亭对坐图","金侃","寒雪裹峰峦，雾霭轻缠远岫，如淡墨晕开的笺纸。岩畔山亭内，二人对坐，或谈诗或品茗？桥下冰溪暗淌，枯树老枝覆银，疏密间藏着冬日的疏朗。近坡屋舍隐于林麓，似在静待归人。笔墨清润，皴擦间见山石肌理，留白处显天地空寂。整幅画浸着清冷，却又透着文人的雅趣——于皑皑雪景里，觅得一份心之恬淡，让观者也随这山水，沉进那份寂静的安然中。",[23,24,866,94,99,240,97,32,7,33,76,30,98,4257,7030,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f4a4c77db794fd25064cded2ea813b8.jpg","189.9x85.7cm",[105],{"id":13081,"slug":13082,"title":606,"dynasty":344,"author":6611,"museum":316,"description":13083,"tags":13084,"thumbUrl":13085,"material":273,"size":13086,"collection":105,"collections":13087,"showCount":12750,"zanCount":11,"manualWeight":54,"mainColor":109},217886,"shan-shui-tu-dong-bang-da-217886","董邦达是中国清朝时期著名的画家，他以其精湛的山水画而闻名。他的山水画通常被认为是清朝山水画史上的里程碑式的作品。\n\n董邦达的山水画风格独特，他追求自然的写实，同时又注重画面的艺术性。他的山水画中通常会出现大量的细节，比如山的形态、树的形态、云的形态等。他善于运用技法，比如水墨描边、油墨浓淡等，使得他的山水画看起来栩栩如生。\n\n董邦达的山水画中通常会出现许多动物和人物，他善于捕捉动物和人物的形态和神态。他的山水画中常常会出现小溪流动、水鸟飞翔、山鹿奔跑等场景。\n\n董邦达的山水画对后来的中国山水画产生了很大的影响，他的作品被认为是中国山水画史上的经典之作。",[23,24,94,99,225,95,32,7,97,122,199,33,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6d68ad231b9d749214643923db64fec.jpg","70.8x36cm",[105],{"id":13089,"slug":13090,"title":13091,"dynasty":18,"author":9223,"museum":91,"description":9224,"tags":13092,"thumbUrl":13093,"material":103,"size":9227,"collection":142,"collections":13094,"showCount":12750,"zanCount":11,"manualWeight":54,"mainColor":109},214666,"san-jue-tu-6-yao-shou-214666","三绝图-6",[24,64,95,27,332,32,7,33,76,348,96,1177,120,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78e731b862b74bacfca285005df0c0ca.jpg",[],{"id":13096,"slug":13097,"title":13098,"dynasty":344,"author":2071,"museum":281,"description":12463,"tags":13099,"thumbUrl":13100,"material":103,"size":142,"collection":142,"collections":13101,"showCount":12750,"zanCount":54,"manualWeight":54,"mainColor":109},214597,"fang-gu-shan-shui-ce-7-wang-hui-214597","仿古山水册-7",[117,24,64,332,94,95,255,76,32,7,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67024a0a82abbb02f727849af7897c51.jpg",[],{"id":13103,"slug":13104,"title":13105,"dynasty":18,"author":13106,"museum":91,"description":13107,"tags":13108,"thumbUrl":13109,"material":142,"size":142,"collection":105,"collections":13110,"showCount":12750,"zanCount":54,"manualWeight":54,"mainColor":13111},202173,"wan-xi-diao-yin-tu-juan-chen-he-202173","宛溪钓隐图卷","陈鹤","画面以水墨皴染铺展宛溪山水之姿，峰峦起伏间林木错落，溪流蜿蜒穿绕于丘壑。孤舟泛波，渔翁垂纶，尽显钓隐之趣；山间茅舍亭台或隐于树荫、或傍水而建，偶有行人穿梭，添几分生活意韵。笔墨灵动，山石以皴法勾斫肌理，树木枝干苍劲、叶色浓淡相宜，整体意境清幽淡远，传递出文人向往的闲适山居之乐。",[24,25,95,94,99,7,96,256,97,33,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f63764c2f6574dd9dbd8ce1ca9f4cee.jpg",[105],"92846d",{"id":13113,"slug":13114,"title":13115,"dynasty":150,"author":6223,"museum":152,"description":13116,"tags":13117,"thumbUrl":13118,"material":273,"size":13119,"collection":142,"collections":13120,"showCount":13121,"zanCount":54,"manualWeight":54,"mainColor":109},290954,"zhen-song-bai-xue-xuan-tu-cao-zhi-bai-290954","贞松白雪轩图","曹知白（1272～1355），元代画家，藏书家。字又玄，贞素，号云西，人称贞素先生，松江华亭（今上海青浦）人。从小机敏颖悟，很有见识，爱读书，好黄老之学。家有藏书数千卷，也喜蓄字画。曾被荐为昆山教谕，不久辞去。结交赵孟頫、邓文原、虞集、王冕等名流，与倪瓒、黄公望交往最密，常以书画相唱和。 咸淳八年 （1272年）三月廿八日出生。至元三十一年 (1294年)曹知白在开凿吴淞江中功绩居多。大德八年(1304年)提出填阏成堤之法，取得良好效果。至正十五年 乙未 (1355年)二月五日，曹知白逝世。三月，葬于松江修竹乡干山之源。",[117,24,64,225,94,95,390,255,609,32,7,98,122,100,119,2567],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cc9328cd8f464761861cb541b87a36e.jpg","125.9x49.7",[],25,{"id":13123,"slug":13124,"title":13125,"dynasty":150,"author":710,"museum":135,"description":1457,"tags":13126,"thumbUrl":13127,"material":229,"size":637,"collection":142,"collections":13128,"showCount":13121,"zanCount":54,"manualWeight":54,"mainColor":109},290835,"zhu-shi-liu-quan-zhou-wang-meng-290835","竹石流泉轴",[117,24,64,225,94,543,199,7,100,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7cc9dde7a77c5181c25b63abcfb092b.jpg",[],{"id":13130,"slug":13131,"title":10507,"dynasty":18,"author":4835,"museum":135,"description":13132,"tags":13133,"thumbUrl":13138,"material":229,"size":637,"collection":142,"collections":13139,"showCount":13121,"zanCount":54,"manualWeight":54,"mainColor":55},290783,"chun-quan-xiao-yin-tu-juan-zhou-chen-290783","画面起首以裴君的草堂为中心展开，草堂轩敞明亮，陈设简洁，堂外古松盘曲。主人正伏案假寐，堂外一童子持帚清扫。其后，板桥连岸，春水潺湲，远处青山逶迤，平湖无涯。 画中环境清静美，确为理想的隐居之处。该图布局疏密有序，人物景致描写严谨准确，色调富于变化",[23,24,25,27,94,95,30,32,7,350,390,98,348,13134,13135,119,13136,13137],"湖水","隐居","伏案","洒扫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63e5dc319d728780ab969bd3b16b9003.jpg",[],{"id":13141,"slug":13142,"title":13143,"dynasty":150,"author":292,"museum":135,"description":13144,"tags":13145,"thumbUrl":13146,"material":229,"size":637,"collection":142,"collections":13147,"showCount":13121,"zanCount":54,"manualWeight":54,"mainColor":55},290404,"hu-zhuang-xiao-xia-tu-yi-ming-290404","湖庄消夏图","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。",[117,24,866,27,97,31,33,7,98,9005,30,1244,3784],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb576252f9e30b64717f3be53b9d92f1.jpg",[],{"id":13149,"slug":13150,"title":13151,"dynasty":59,"author":4206,"museum":135,"description":13152,"tags":13153,"thumbUrl":13154,"material":229,"size":637,"collection":142,"collections":13155,"showCount":13121,"zanCount":54,"manualWeight":54,"mainColor":55},290335,"qiu-shan-lin-yu-tu-zhou-yan-wen-gui-290335","秋山琳宇图轴","燕文贵（约公元十一世纪），浙江吴兴人。少时曾流落京师（河南开封）为商贩，后来才华被画院待诏高益所赏识，得以进入画院任祇候之职。山水、人物均佳，尤善於描绘四季景物，清雅可爱。画院中人称其画为“燕家景”。",[24,117,225,95,94,99,598,31,255,168,7,169,98,1758,100,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa06ad292210ef9b12e3c03a7583042bc.jpg",[],{"id":13157,"slug":13158,"title":13159,"dynasty":150,"author":710,"museum":135,"description":1457,"tags":13160,"thumbUrl":13161,"material":229,"size":637,"collection":142,"collections":13162,"showCount":13121,"zanCount":54,"manualWeight":54,"mainColor":55},289553,"dan-ya-cui-he-tu-wang-meng-289553","丹崖翠壑图",[117,24,94,225,95,30,140,98,7,100,119,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6df6912bf26fb9204081cf98fa372225.jpg",[],{"id":13164,"slug":13165,"title":13166,"dynasty":344,"author":1474,"museum":135,"description":13167,"tags":13168,"thumbUrl":13169,"material":229,"size":637,"collection":142,"collections":13170,"showCount":13121,"zanCount":54,"manualWeight":54,"mainColor":109},287689,"han-gong-chun-xiao-tu-zhou-yuan-yao-287689","汉宫春晓图轴","此图名为汉代宫殿之景，实际上表现的是作者想像中的仙山琼阁，宫阙殿宇富有装饰趣味而不具写实性。图中山石形貌奇异，繁皴与密斫浑然一体，其灵动的点染不仅显现出石质的坚硬，同时增强了画面的动势，与工整精巧的宫阙楼阁形成粗放与华美、活泼与整齐的鲜明对比。",[24,64,117,225,28,26,27,95,31,32,7,97,169,33,348],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71777f03d1a1f477faee4e4e8089f117.jpg",[],{"id":13172,"slug":13173,"title":13174,"dynasty":18,"author":2928,"museum":135,"description":13175,"tags":13176,"thumbUrl":13177,"material":142,"size":142,"collection":142,"collections":13178,"showCount":13121,"zanCount":54,"manualWeight":54,"mainColor":55},239508,"jiang-nan-qiu-se-tu-zhou-wen-jia-239508","江南秋色图轴","此作用淡墨轻赭晕染出江南秋意，上部山峦清润秀雅，苔点错落点缀林麓，林木疏密有致，萧疏中带着静穆生机。下部水泽蜿蜒萦回，旅人策马缓行于汀岸，衣袂悠然，将羁旅闲情融于清秋烟景之中。\n\n整幅画作笔致松秀平和，以平远、高远构图铺展秋江山水，吴门画派的文人雅趣尽显其中。题诗与画面呼应，把怀乡之思寄于江南秋色，淡逸清灵的笔墨间，尽显秋日萧淡雅致的意境，将山水之美与诗意情怀相融，尽显清雅文人意韵。",[24,64,225,27,95,99,30,66,33,227,7,140,1397],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb264b32edebbf4b6fad5f761cbd88b0d.jpg",[],{"id":13180,"slug":13181,"title":4655,"dynasty":344,"author":2071,"museum":135,"description":4656,"tags":13182,"thumbUrl":13183,"material":142,"size":142,"collection":142,"collections":13184,"showCount":13121,"zanCount":54,"manualWeight":54,"mainColor":109},237584,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237584",[24,64,332,94,27,99,2880,95,255,96,7,98,97,32,199,1397,140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffde38f8e39039eeb81895aa4915e1f49.jpg",[],{"id":13186,"slug":13187,"title":13188,"dynasty":18,"author":10360,"museum":135,"description":13189,"tags":13190,"thumbUrl":13191,"material":142,"size":142,"collection":105,"collections":13192,"showCount":13121,"zanCount":54,"manualWeight":54,"mainColor":109},236629,"song-mao-jin-jiang-nan-ming-sheng-tu-ce-song-mao-jin-236629","宋懋晋江南名胜图册","宋懋晋（？—1620年后）明代画家。字明之，松江（今属上海市）人。\n幼见牧童躯牛，从壁上图之辄神似。既长，不乐为经生言，去而学画。穷日夜临摹古迹，从宋旭受业，参以宋、元遗法，富有丘壑，与赵左抗衡。其气韵间与刘珏相埒。仙山楼阁，位置得当，为时所称，深受董其昌、邹迪光等推重，为“松江派”名家之一。兼善写松，题跋尤奕奕有风韵。万历十三年（1585）作山水扇，泰昌元年（1620）作山水图。其《金陵廿四景》图册，现藏南京博物院。作于万历四十四年（1616）的《汉宫春晓图》扇面（藏上海博物馆）等。",[24,27,95,99,332,31,32,7,96,97,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1133beead4f63e32f0f91d3e2528fba0.jpg",[105,51],{"id":13194,"slug":13195,"title":13196,"dynasty":344,"author":13197,"museum":61,"description":13198,"tags":13199,"thumbUrl":13200,"material":355,"size":142,"collection":105,"collections":13201,"showCount":13121,"zanCount":54,"manualWeight":54,"mainColor":55},236140,"fang-yuan-ren-shan-shui-ce-he-yi-236140","仿元人山水册","赫奕","赫奕 [清]一作颐(？-1744年)，字澹士，号南谷，别号碧岩箫史，一作碧箫外史，姓赫舍里氏，满州正黄旗人。清朝大臣、文人。内弘文院大学士希福之孙，工部尚书帅颜保之子，辅政大臣公索尼堂侄。\n侍卫入仕，后任总管内务府大臣。康熙五十二年十二月己卯，接替满笃，担任工部尚书。\n性澹泊，琴书之外专事于画。初学黄鼎，继为王原祁弟子。山水宗法元人，而独开生面，迥异时流。时有南王北赫之称。康熙五十五年（一七一六）作辋川诗意图。参见《国[清]朝画徵录、桐阴论画、读画辑略、宋元明清书画家年表》 等书。\n赫奕著有诗集《青霭山房诗集》。\n赫奕出身名门望族，是赫舍里氏家族的第六代子孙，亲族中的不乏名臣，赫奕作为内弘文院大学士希福之孙，礼部尚书帅颜保之子，在康熙年间任内务府主管，并兼任工部尚书，核定全国屯田、水利、工程、交通事项，以刚正闻名朝野。\n赫奕的绘画作为南宗正脉，在清代画坛地位崇高。但翻看有关这幅画作的“履历”足以发现它的命运多舛。在收录清朝内府藏画的《石渠宝笈》初篇中，《烟树山亭》被记录在案，画上钤盖着乾隆、嘉庆、宣统三位皇帝的“御览之宝”印章，足以说明它被几位皇帝珍视。赫奕所画的这幅《烟树山亭》以2530万元的天价拿下匡时秋拍古画专场的第一名，这含金量与康熙帝的御题字不无关系。赫奕所作《烟树山亭》上手书：“士人作画，当以草隶奇字之法为之。树如屈铁，山如画沙，脱去甜俗蹊径，乃为士气。不尔，纵俨然入格，已落画师魔界，不复可救药矣。若能解脱绳束，便是透网鳞也。”这是康熙帝亲笔御题的《临董其昌论画》。康熙帝将这段话题在赫奕的画上，正是他对这幅画的肯定与褒奖，康熙非常崇尚明代书画大家董其昌的画风，在赏过这幅《烟树山亭》，便题字称赞赫奕的这幅画颇有董其昌画作遗风。更为难得的是，和乾隆帝比，康熙从不轻易在别人的画作上留下痕迹，也就是说，能得到康熙墨宝的“他人画作”简直是凤毛麟角。据记载，虽然康熙御题字的画作不多，但赫奕一人独得数件。",[24,64,332,29,95,99,94,241,7,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38fc6046312eb9e183e0137504ff4f40.jpg",[105,83],{"id":13203,"slug":13204,"title":13205,"dynasty":344,"author":13206,"museum":61,"description":13207,"tags":13208,"thumbUrl":13209,"material":258,"size":13210,"collection":105,"collections":13211,"showCount":13121,"zanCount":54,"manualWeight":54,"mainColor":109},236127,"song-xi-shu-wu-tu-zhou-lu-zun-shu-236127","松溪书屋图轴","陆遵书","陆授诗、陆遵书兄弟是清朝宫廷内的兄弟画家，下面介绍一下。陆授诗、陆遵书这两位宫廷兄弟画家的姓名，都见于胡敬所著的《国朝院画录》。\n陆氏兄弟的作品流布并不很广，《石渠宝笈》一书中陆授诗的作品只有一件册页被收入，陆遵书的作品也只有三件册页收录在其中，二人都属于作品进入《石渠宝笈》数量很少很少的宫廷画家，尤其是哥哥陆授诗。",[24,64,225,94,95,99,271,7,4057,98,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa366e0c0db1f68c15306c566b60c3904.jpg","纵173.2厘米 横51厘米",[105,83],{"id":13213,"slug":13214,"title":13215,"dynasty":344,"author":5786,"museum":61,"description":13216,"tags":13217,"thumbUrl":13218,"material":258,"size":13219,"collection":105,"collections":13220,"showCount":13121,"zanCount":11,"manualWeight":54,"mainColor":109},236110,"zhang-zong-cang-shan-shui-zhou-zhang-zong-cang-236110","张宗苍山水轴","此图是张宗苍担任宫廷画师期间精心创作的山水画。图中山石反复以线条皴染，再以焦墨点苔，多遍始成，令繁复的林壑不失明爽之致，笔情墨韵间不失苍郁秀雅之气，反映了画家成熟期的典型风格。乾隆皇帝对此图赞赏有加，将它收贮于塞外最重要的行宫避暑山庄，并且在画上题诗三首，以示恩宠。",[24,94,99,95,7,140,199,348,169,33,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F946aacb8352879e4db037849980e60c1.jpg","纵143厘米，横75.6厘米",[105,83],{"id":13222,"slug":13223,"title":13224,"dynasty":18,"author":6953,"museum":135,"description":13225,"tags":13226,"thumbUrl":13227,"material":142,"size":142,"collection":142,"collections":13228,"showCount":13121,"zanCount":54,"manualWeight":54,"mainColor":109},235088,"ren-wu-tu-zhou-you-qiu-235088","人物图轴","此作用白描绘就林泉雅集，古木流云之下，蕉石映带，流淙婉转。居中高士端坐抚琴，眉宇端凝，指尖落处似有清籁漫溢；左右二人或支颐沉听、或侧身倾神，尽皆沉醉在泠泠弦歌之中。下方童子躬身临流，正掬取清涧活水，一派安然恬和。\n线条挺秀匀净，衣袂宛转灵动，将人物情态刻画入微，草木泉石晕染清浅淡远，尽得吴门雅韵，把文人林下忘机的风流襟怀铺陈开来，笔墨简淡却意蕴悠长，尽显雅致出尘的林下意趣。",[24,225,94,138,26,30,1691,98,7,33,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a50788ae659eef5e08be9d901d33ca7.jpg",[],{"id":13230,"slug":13231,"title":13232,"dynasty":344,"author":3047,"museum":61,"description":13233,"tags":13234,"thumbUrl":13235,"material":12620,"size":13236,"collection":142,"collections":13237,"showCount":13121,"zanCount":11,"manualWeight":54,"mainColor":109},233217,"kong-shan-jie-wu-tu-zhou-cha-shi-biao-233217","空山结屋图轴","查士标作为明代的遗民画家，持消极遁世的人生观。他在怡情于山水间结交了许多隐士。此图是他68岁时画赠好友玉峰道长的精心之作。构图注重远、中、近三景间物象聚、散的呼应统一关系。近、中景因表现杂木、小桥、独舟、孤亭等细碎物象而为“散状”。远景厚实的山体聚成石壁，它的整体性凝聚了散落的近、中景；而散落的近、中景又打破了远景的平整、呆板，活跃了画面。山石的形体，先以直线勾出轮廓，再以侧锋作疏朗而清晰的竖式皴擦，然后以清淡古朴的赭石等色晕染。树叶的表现方法丰富，或以长短线条表现，或以笔尖戳点，其灵活多变的形态，令本为点景的树木成为全画中不可或缺的一部分。",[24,117,225,94,27,95,99,240,76,33,427,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec4469afa6f7c931f51956a8040ea8a7.jpg","纵98.7厘米，横53.3厘米",[],{"id":13239,"slug":13240,"title":12626,"dynasty":18,"author":1948,"museum":61,"description":12627,"tags":13241,"thumbUrl":13242,"material":335,"size":12630,"collection":142,"collections":13243,"showCount":13121,"zanCount":54,"manualWeight":54,"mainColor":109},232955,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232955",[24,64,332,94,95,31,7,33,199,101,119,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8693310f9c6f226c8fad57d3764ba076.jpg",[],{"id":13245,"slug":13246,"title":13247,"dynasty":344,"author":6420,"museum":135,"description":13248,"tags":13249,"thumbUrl":13250,"material":142,"size":142,"collection":142,"collections":13251,"showCount":13121,"zanCount":54,"manualWeight":54,"mainColor":109},231015,"long-tan-ting-pu-tu-mei-qing-231015","龙潭听瀑图","此作用高远式构图，以龙潭飞瀑为绝对视觉中心。危崖峭壁以灵动写意的笔墨写就，干湿皴擦并用，苍劲松活。古木虬枝斜出、繁叶层叠，朴拙的点叶技法晕染出山林深秀。\n右下角茅庐内幽人对坐，静聆瀑声喧豗，以幽居之静衬飞泉之动，动静相生尽显林泉雅意。左上题诗与画境呼应，将山川灵秀与文人隐逸襟怀相融，尽显新安画派以画为诗的清雅逸韵，把皖南山水的奇绝藏进笔墨丘壑里。",[23,24,64,225,94,99,95,168,98,33,97,7,119,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5be7c7ad00a8eb1f86f60fec81e552e6.jpg",[],{"id":13253,"slug":13254,"title":13255,"dynasty":18,"author":1254,"museum":135,"description":13256,"tags":13257,"thumbUrl":13258,"material":142,"size":142,"collection":142,"collections":13259,"showCount":13121,"zanCount":54,"manualWeight":54,"mainColor":109},230905,"fang-huang-zi-jiu-jiang-shan-qiu-ji-tu-dong-qi-chang-230905","仿黄子久 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名款，旧传为元人之作。",[24,117,225,95,99,94,31,32,7,96,255,76,98,13489],"沽酒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e785ff33fa89f38077ee412c9e6c097.jpg","57x36.7",[105],{"id":13494,"slug":13495,"title":13496,"dynasty":344,"author":11571,"museum":135,"description":13497,"tags":13498,"thumbUrl":13499,"material":229,"size":637,"collection":142,"collections":13500,"showCount":145,"zanCount":54,"manualWeight":54,"mainColor":109},290591,"zhen-hai-si-xue-jing-zhou-zhang-ruo-ai-290591","镇海寺雪景轴","张若霭[清]（1713—1746）字晴岚（读画辑略作字景采，号晴岚），室名藕香书屋，安徽桐城人。张若霭有家学，祖父张英，父亲张廷玉为雍正、乾隆朝大学士。 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画风中年秀润，晚年苍浑。与王时敏、王鉴、王翬合称“清初四王”。王原祁做为“四王”中最年轻的一位画家，秉承家学，追摹古法，在不懈创作的同时，以同样方法再授弟子，对山水画的发展及“娄东派”的形成起到重要作用。其对绘画的影响一直延续到清中、后期“小四王”（王昱、王愫、王宸、王玫）、“后四王”（王三锡、王廷之、王廷国、王鸣韶）。“四王”的绘画创作继承明末董其昌的绘画理论和实践，力图集古人之大成，被确立为正统画派。追随王原祁的画家众多，形成“娄东派”，几乎独占了当时的画坛。著有《雨窗漫笔》、《扫花庵题跋》等。",[24,64,225,94,99,29,95,98,33,76,7,169,2567],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13acb79db4605b2491661e613a2d3b51.jpg","纵47cm，横30cm",[105,51,625],{"id":13565,"slug":13566,"title":13567,"dynasty":150,"author":1032,"museum":61,"description":13568,"tags":13569,"thumbUrl":13570,"material":258,"size":1036,"collection":142,"collections":13571,"showCount":145,"zanCount":54,"manualWeight":54,"mainColor":55},233408,"shan-ju-tu-juan-qian-xuan-233408","山居图卷","作者以自己的隐居生活为题材创作此图。细劲柔韧的笔致勾勒出山石林木的轮廓，施青绿重彩，并以金粉点缀，画面绚丽清雅，富装饰意味，于工致精巧中又不失古拙秀逸之气，是钱选继承唐宋“金碧山水”画法并用以体现文人意兴的代表作。",[117,24,64,25,27,95,94,99,100,101,295,119,32,7,96,97,33,256,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F987744740f1b031a82f445c16be438f2.jpg",[],{"id":13573,"slug":13574,"title":386,"dynasty":18,"author":13575,"museum":152,"description":13576,"tags":13577,"thumbUrl":13579,"material":335,"size":13580,"collection":142,"collections":13581,"showCount":145,"zanCount":54,"manualWeight":54,"mainColor":109},232694,"pin-cha-tu-ju-jie-232694","居节","居节，明代吴门画家，文徵明弟子。在文门子弟、门生当中，居节的声名不若文彭、文嘉、王榖祥、周天球、陆治、钱榖等人显赫，但却能克绍恩师艺风，善画能诗，有着相当高的艺术水平。",[24,64,225,94,27,95,30,33,7,100,101,119,97,689,13578,2700],"题款","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeb09016bd62c010c7b21fc206e650aa.jpg","本幅 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52.5公分",[],{"id":13583,"slug":13584,"title":13585,"dynasty":18,"author":292,"museum":2478,"description":13586,"tags":13587,"thumbUrl":13588,"material":142,"size":142,"collection":142,"collections":13589,"showCount":145,"zanCount":54,"manualWeight":54,"mainColor":55},231510,"yue-ye-gui-zhuang-tu-yi-ming-231510","月夜归庄图","这一张明代不知名画家的作品，一张月夜归庄图，如今这一张作品被珍藏在了美国弗利尔美术馆之中，普通人想要见它一眼还真的不容易。\n这一张作品被研究古画的专家给出价格超过1500万，甚至更高。而给出高价的原因也比较有意思，那就是这一张画太有意境感了，画的是古人月夜下主人骑马晚归的场景，如李白诗句里面的场景一样。\n且不说一模一样吧，但看到这一种距今已经超过600多年的山水与人物写意作品，肯定是给一个高价没有错，另外看这一张作品是谁画的？时代背景如何，如果真的是出自名家之手，那就是真正的精品好作品了。\n仔细看这一张作品，其实它应该算是当时的一个赝品，为什么这么说呢？首先从作品的笔法与绘画的水墨风格来讲，这是属于当时浙派的全面模仿风格。因为在当时那一个时代范围内，这一类的绘画作品出现太多，而且是同一时间出现的。\n所以专家说这一张作品并不是真迹，但它对于现代人来讲，却是距今600多年的真迹，不管管是谁画的，作品是好作品，而且是到代的作品，很不错。\n这一幅画的原题取名是：唐卢浩然月夜归庄图真迹。但研究者表示这是古人的信口之说，应该是明代画家所画，但不是出自当时的名家之手，仅仅只是属于当时一个没有名气的画家之手。\n但尽管是没有多少名气，可仔细看作品，主人骑在一匹马的身上，然后由一个童子牵着这一匹马，马儿比较累的样子，但很壮实。另外前面的空地上还放着一个古代的担子，一个穷苦的农人正在开门。\n既然是夜归，马儿的累，主人的归意，都写在了作品之中，真不愧是一张好作品。",[23,24,94,27,95,99,530,390,98,30,66,350,7,169,33,351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66ac5f742455c4c915baf05cc2a8e766.jpg",[],{"id":13591,"slug":13592,"title":13593,"dynasty":59,"author":292,"museum":152,"description":13594,"tags":13595,"thumbUrl":13600,"material":335,"size":13601,"collection":142,"collections":13602,"showCount":145,"zanCount":54,"manualWeight":54,"mainColor":55},231344,"shan-shui-tu-shen-shan-si-he-tu-yi-ming-231344","山水图（深山饲鹤图）","此幅绘山岭复叠，村落参差，茅亭敞榭，作荷塘泛舟，竹院饲鹤诸景。本图深得高远之势，又用郭熙笔法画山石，老树。细观之又与传荆浩的庐山图有一定的图式联系，当是南宋人的山水作品。",[117,24,64,95,225,94,99,13596,635,13597,1613,13598,13599,1287,98,140,32,7,97],"山岭","茅亭","泛舟","竹院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc88982fae3a7fc957b3ec9227a4bfe95.jpg","172.7x81.4",[],{"id":13604,"slug":13605,"title":13606,"dynasty":344,"author":2071,"museum":135,"description":13607,"tags":13608,"thumbUrl":13609,"material":142,"size":142,"collection":142,"collections":13610,"showCount":145,"zanCount":54,"manualWeight":54,"mainColor":109},230960,"guan-mei-tu-wang-hui-230960","观梅图","观梅图卷，清代，王翠作画。\n纸本，画心纵28.8，横7.厘米。\n浅设色，写峰峦幽深，飞瀑流泉，半山高台处筑一草亭，亭内盘坐一人，倾身仰望溪流边芬芳吐艳的红梅。\n用笔虽简，但人物的神态竟被捕捉无遗。\n草亭四周翠竹环绕与远处的密林构成一种清幽的环境。\n山石多用干笔皴擦，配以浓墨苔点，古朴苍劲，款署“耕烟散人王翚画于天潭邃谷”，钤“耕烟散人时年七十有四”。\n此图当为康熙四十五年(176)所作。\n鉴赏章有“乾隆御览之宝”、“宣统鉴赏”等章。\n原为清内府所藏，现藏旅顺博物馆。",[24,64,94,99,95,2301,97,168,7,98,33,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c8a2eb106bca04ce73a4b61fc1f9cf4.jpg",[],{"id":13612,"slug":13613,"title":13614,"dynasty":150,"author":11981,"museum":135,"description":13615,"tags":13616,"thumbUrl":13617,"material":142,"size":142,"collection":142,"collections":13618,"showCount":145,"zanCount":54,"manualWeight":54,"mainColor":55},228034,"xi-qiao-ce-zhang-tu-luo-zhi-chuan-228034","溪桥策杖图","画作以枯木为视觉重心，双木虬曲苍劲，枝条如倒挂蟹爪，皴笔老辣简练，尽显岁寒枯槁之态。近岸山石以淡墨晕染，勾勒寥寥便见嶙峋质感，远景山峦以淡墨轻扫，晕染出空濛悠远的秋山暮色。\n\n溪桥横卧寒波，策杖行人缓步桥上，三两相伴，为冷寂天地添上些许烟火暖意，动静之间，将荒寒萧索与悠然意趣相融。全作用笔简淡空灵，以水墨写尽隐逸幽怀，枯淡之中暗藏生机，尽显文人超脱尘俗的林下襟怀，是元人尚意山水的逸格之作。",[23,24,64,1551,94,95,99,140,32,7,30,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8663ca638f193764ba17f57c5396ca4c.jpg",[],{"id":13620,"slug":13621,"title":13622,"dynasty":150,"author":1032,"museum":135,"description":13623,"tags":13624,"thumbUrl":13625,"material":142,"size":142,"collection":142,"collections":13626,"showCount":145,"zanCount":54,"manualWeight":54,"mainColor":262},228017,"shan-ju-tu-quan-juan-qian-xuan-228017","山居图全卷","《山居图》是元代画家钱选创作的一幅纸本设色画。\n卷尾作者自题：“山居惟爱静，日午掩柴门。\n寡合人多忌，无求道自尊。\n鷃鹏俱有志，兰艾不同根。\n安得蒙庄叟，相逢与细论。\n吴兴钱选舜举画并题。\n”钤“舜举印章”、“舜举”、“钱选之印”三方。\n卷后隔水有明人俞贞木、刘敏、周传等题记。\n作者以自己的隐居生活为题材创作此图。\n细劲柔韧的笔致勾勒出山石林木的轮廓，施青绿重彩，并以金粉点缀，画面绚丽清雅，富装饰意味，于工致精巧中又不失古拙秀逸之气，是钱选继承唐宋“金碧山水”画法并用以体现文人意兴的代表作。\n《庚子销夏记》著录。\n钱选，字舜举，号玉潭、清癯老人、巽峰，晚年更号溪翁，吴兴（今浙江省湖州市）人。\n生卒不详，主要活动在1世纪中后期至14世纪初。\n南宋景定（126—1264年）年间的进士，入元不仕，遂寄情山水，流连诗酒，隐于绘事，终其一生。\n他是一位技法全面的画家，花鸟、山水、人物、鞍马无一不擅，且造诣颇深，时人有“老钱丹青当世无”的赞誉。\n元初，与赵孟頫、王子中、陈式等人并称“吴兴八俊”。",[23,24,64,25,27,95,99,101,33,76,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2e6a316c87208793db9c136df079a22.jpg",[],{"id":13628,"slug":13629,"title":13630,"dynasty":59,"author":3135,"museum":135,"description":13631,"tags":13632,"thumbUrl":13633,"material":142,"size":142,"collection":142,"collections":13634,"showCount":145,"zanCount":54,"manualWeight":54,"mainColor":55},227984,"lin-luan-ji-cui-tu-juan-jiang-can-227984","林峦积翠图卷","《中国历代绘画鉴赏》收录了从战国一直到民国初年的著名传世绘画多幅。\n每幅画作附有简明的阐释文字，包括创作年代、质地、尺寸、图版名称、作者简介以及2字左右的赏析文字。\n赏析文字从审美和史学的视角比较全面地展示了每一幅画作的艺术特色和史学价值。\n《中国历代绘画鉴赏》由 出版。\n赵启斌，1968年出生于山东省滕州市，1997年毕业于 ，2年进入南京博物院古代艺术研究所，从事书画艺术研究工作。\n先后参与完成《江苏历代书画精选》、《南京博物院珍藏系列一明清肖像画》、《河山在目一傅抱石百年纪念画集》、《中国美术分类全集·其他地区画像砖》、《南京博物院藏—陈之佛家族捐·陈之佛绘画作品集》、《南京博物院藏·傅抱石家族捐·傅抱石绘画作品集》、《雨花石志》等书的编撰工作，或执笔完成理论部分。\n先后在专业期刊上发表研究论文8余篇，同时致力于古体诗词、现代诗词和书画创作。\n序 人物龙凤图\u002F佚名 人物御龙图\u002F佚名 一号汉墓帛画\u002F佚名 洛神赋图\u002F顾恺之 女史箴图\u002F顾皑之 列女图\u002F顾恺之 职贡图\u002F萧绎 北齐校书图\u002F杨子华创稿阎立本再稿 游春图\u002F展子虔 步辇图\u002F阎立本 历代帝王图\u002F阎立本 江帆楼阁图\u002F李思训 明皇幸蜀图\u002F李昭道（传） 五星二十八神形图\u002F梁令瓒（传） 捣练图\u002F张萱 送子天王图\u002F吴道子 长江积雪图\u002F王维 辋川图\u002F王维（传） 伏生授经图\u002F王维（传） 八公图\u002F陈闳（传） 文苑图\u002F韩混（传） 五牛图\u002F韩洗（传） 簪花仕女图\u002F周防 真言七祖·不空像\u002F李真 \u002F佚名 \u002F佚名 二观世音菩萨像\u002F佚名 高逸图\u002F孙位 雪景行旅图\u002F荆浩（传） 琉璃堂人物图\u002F周文矩 后主观棋图\u002F周文矩 宫中图卷\u002F周文矩 十六罗汉图\u002F贯休（传） 夏景山口待渡图\u002F董源 龙宿郊民图\u002F董源 潇湘图\u002F董源 二祖调心图\u002F石恪 晴峦萧寺图\u002F李成 读碑窠石图\u002F李成 寒林骑驴图\u002F李成（传） 明皇避暑宫图\u002F郭忠恕（传） 渔父图\u002F许道宁 聚猿图\u002F易元吉 调马图\u002F郝澄 窠石平远图\u002F郭熙 湖庄消夏图\u002F赵令穰 \u002F李公麟（传） 文会图\u002F赵佶 五色鹦鹉图\u002F赵佶 翠竹双禽图\u002F赵佶 听琴图\u002F赵佶 清明上河图\u002F张择端 睢阳五老图\u002F侠名 晋文公复国图\u002F李唐（传） 山水图（二幅）\u002F李唐 潇湘奇观图\u002F米友仁 林峦积翠图\u002F江参 前赤壁图\u002F杨士贤（传） 四季牧牛图\u002F阎次平 ……",[23,24,117,64,25,94,99,95,33,32,7,96,98,97,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97db37cffb87548402a787e2be5270f2.jpg",[],{"id":13636,"slug":13637,"title":13638,"dynasty":344,"author":808,"museum":135,"description":13639,"tags":13640,"thumbUrl":13641,"material":142,"size":142,"collection":142,"collections":13642,"showCount":145,"zanCount":54,"manualWeight":54,"mainColor":109},224512,"shan-shui-tu-ce-8-kai-2-zhang-da-qian-jiu-cang-shi-tao-224512","山水图册8开-2-张大千旧藏","这幅山水以留白铺就江天空寂，右侧危崖飞瀑直落，笔墨苍莽朴拙，尽显山石嶙峋质感。左侧崖巅孤松斜曳，茅舍孑立，归雁成阵掠过长空，远江帆影悠悠往来。\n\n简淡设色晕染山石松枝，寥寥数笔便勾勒出山野清寂之境。题款朱印错落于崖侧，与水墨相映成趣，以写意之笔铺陈出天人相融的幽远意趣，尽显简淡疏朗的林下之风，将江乡山居的空阔自在藏于尺幅之中。",[23,117,24,64,3658,94,99,3016,95,96,390,6944,168,122,98,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcffdcba7a6958b40f93316c1d03b2b96.jpg",[],{"id":13644,"slug":13645,"title":13646,"dynasty":344,"author":6352,"museum":553,"description":13647,"tags":13648,"thumbUrl":13649,"material":335,"size":13650,"collection":105,"collections":13651,"showCount":145,"zanCount":11,"manualWeight":54,"mainColor":55},224164,"shan-shui-lou-ge-tu-liu-du-224164","山水楼阁图","该作品写冈峦叠起、山石林立、峭崖绝壁、云雾蒸腾。画作正中，主峰高耸、陡峭的崖壁处有瀑布飞流直下，在迷雾笼罩的山腰间汇成湍湍溪水。溪水沿着凹凸不平的石道蜿蜒而下，泻入碧水涟漪、明净清澈的湖中。画中主峰峥嵘突兀，烟霭弥漫，山间楼宇若隐若现，画面虚实相生、宁静空灵。山石轮廓线刻画曲折有力，皴法用笔细密工致，极为精严。山下水榭、楼阁依水而建，亭内和湖中舟上点缀以人物。近处古树高耸，黄叶灿然。看此幽山、绿崖、白云、古树，如同进入清新怡人的脱俗之境。\n《山水楼阁图》画法工细，色调明快，具有较强的装饰美。山间的白云不是用勾的方法表现，而是运用了晕染和留白的方法，墨色浓淡变化丰富，颇有韵味。古树苍茂，树叶或填以黄色、或点以绿色、或红绿相杂，树干双勾后均用淡墨兼赭色填涂。掩映于山间的楼阁亭台与水边的回廊水榭安排得错落有致，勾描工细而不僵滞。它们在山水的环抱中显得格外幽雅、别致。画中人物造型准确，临水亭台中的坐观者神态怡然，舟中收网的渔人也忙而不乱、轻松自在。此画无半点甜俗之气，让人有一种远离尘嚣的脱俗感。\n能在如此小的册页上绘出这般大的气象，可见刘度绘画水平的高超。",[23,24,117,64,27,28,99,95,31,7,96,98,168,33,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafa71146b215b69f0608d84fc286be05.jpg","纵28.8厘米，横15.2厘米",[105],{"id":13653,"slug":13654,"title":13655,"dynasty":344,"author":13656,"museum":3048,"description":13657,"tags":13658,"thumbUrl":13659,"material":335,"size":13660,"collection":142,"collections":13661,"showCount":145,"zanCount":54,"manualWeight":54,"mainColor":109},223132,"shen-zhu-you-ju-tu-cheng-sui-223132","深竹幽居图","程邃","图一描绘山峰连绵，林木苍茫，一望无际； 一条河湖将两岸隔开，湖水完全自成一体。 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于山腰处。整幅图画描绘出郁郁葱葱的青山峻岭，清幽静谧的山居茅舍，传达了绝意仕途的士大夫情系山水之间悠然自得的意趣，此图实为作者托物言志之作。\n王鉴的作品有三种面目，即水墨、青绿设色、浅绛设色。浅绛山水创自五代董源，成于黄公望，元末王蒙又略加变化，在水墨的基础上以赭石勾填于局部，风神独具。王鉴此作正是师法王蒙，在树干、屋宇、山石、坡脚等处微染赭石，使画面的层次丰富，也增添了灵秀的韵味。题款中言“仿叔明”，画幅上不只在设色方面模仿王蒙，从构图、山石皴法中亦能看到王蒙的影响。如图中采用王氏惯用的重山复岭的构图形式，气势浑厚雄奇。再如山石多施王氏擅长的解索皴，把山石的质感刻划得细致入微。同时，画面也表现了王鉴的个人风貌，他那恬淡平缓的风格，雅致松秀的气韵，使观者静意自生。\n此图是王鉴晚年浅绛山水画的一幅精妙作品。",[24,225,94,99,95,390,98,33,7,13898],"馆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4f7b2e3736315f79037ba03c6678939.jpg","纵138.2厘米，横54.5厘米",[],{"id":13903,"slug":13904,"title":13905,"dynasty":344,"author":5161,"museum":61,"description":13906,"tags":13907,"thumbUrl":13908,"material":2665,"size":13909,"collection":142,"collections":13910,"showCount":13746,"zanCount":54,"manualWeight":54,"mainColor":109},233410,"ren-song-yun-xiang-zhou-ren-yi-233410","任淞云像轴","任伯年乃是处于中国古代社会与近现代交界线上的一位人物，而他的绘画在清末画坛犹如奇峰崛起，代表着传统艺术的一个新的高度。\n他的人物画既具有总结性，又富有前瞻性。上接陈洪绶、八大山人、华嵒、闵贞、费丹旭、任渭长、任阜长之衣钵，下启徐悲鸿及蒋兆和之新一代画风。他不仅是“海派”中的佼佼者，而且也是中国绘画史上的一位大师。",[24,64,225,27,94,30,255,98,724,390,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb450c7a206e3c836cbe9cd017f905d9d.jpg","173.1cm×47.3cm",[],{"id":13912,"slug":13913,"title":13914,"dynasty":344,"author":1527,"museum":135,"description":13915,"tags":13916,"thumbUrl":13917,"material":142,"size":142,"collection":142,"collections":13918,"showCount":13746,"zanCount":54,"manualWeight":54,"mainColor":109},230194,"yun-he-song-yin-tu-wang-jian-230194","云壑松阴图","清王鉴云壑松荫图轴是清代时期的文物，现收藏于上海博物馆。\n王鉴（1598-1677），字元照，号湘碧、染香庵主，有“王廉州”之称，太仓（今江苏）人。\n山水以元四家为宗，用墨浓润，风格沉雄，“清初六家”之一。\n此图作于康熙乙卯(1675)，时年七十八岁。\n布局转折多姿，笔法细密灵活，画面显得滋润、整洁而明净。",[23,24,64,225,94,95,99,390,7,171,33,821],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd7dcd1f06106fa7ea0da3e5cfff9089.jpg",[],{"id":13920,"slug":13921,"title":13922,"dynasty":18,"author":4146,"museum":135,"description":13923,"tags":13924,"thumbUrl":13925,"material":142,"size":142,"collection":142,"collections":13926,"showCount":13746,"zanCount":54,"manualWeight":54,"mainColor":55},228748,"e-mei-xue-tu-xie-shi-chen-228748","峨嵋雪图","此作笔墨兼具工致与写意，以留白淡晕铺就雪色，尽显峨眉雪岭的荒寒厚重。层叠峰峦覆着蓬松积雪，墨笔勾勒出山岩棱线，衬出雪景清寂辽远。山寺错落隐于雪岭寒林，古木虬枝仍带冬意生机。下方溪桥之上，驮队徐行，为冷绝天地晕开一抹人间暖意。\n\n整幅画将蜀地冬山的磅礴大气与羁旅意境相融，既有山川壮伟之态，又藏细腻生活意趣，绘就雪后峨眉空蒙萧寒的独特意境，是明代雪景山水的精妙之作。",[23,24,64,225,95,27,99,3445,390,31,32,7,227,30,66,98,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33a28ce0b8585d7df837cf6392eac40f.jpg",[],{"id":13928,"slug":13929,"title":13930,"dynasty":150,"author":13931,"museum":152,"description":13932,"tags":13933,"thumbUrl":13934,"material":404,"size":13935,"collection":142,"collections":13936,"showCount":13746,"zanCount":54,"manualWeight":54,"mainColor":55},228160,"song-ting-hui-you-tu-zhou-wang-yuan-228160","松亭会友图轴","王渊","图绘松峙岸边，亭安水上，其中一主一客，另五舟泛于江面。用笔老辣而含蓄，笔笔札实，无一犹豫之处，似可直接宋人。在画面主要位置上画有两棵松树，作者表现了它们间紧密相倚之形姿，并拉长了它们的比例，显得挺拔高巍，苍劲古雅，可看出这是作者借松而喻画中双友之意图。背景以江水相衬，近处轻舟荡桨，远方风帆数起，江水不尽，空旷无边。既成功地衬托了双松，亦为画面上文人之心境作了渲染。画面不直接表现文友交杯等场面，而是刻画了宴请文友前的忙碌情景，这是作者取意之高妙处。",[23,117,24,64,225,94,99,271,97,30,32,7,96,95,140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb1fc5cbb064b917c31407c47375fc3a.jpg","纵86.9厘米，横49.3厘米",[],{"id":13938,"slug":13939,"title":13940,"dynasty":59,"author":292,"museum":135,"description":13941,"tags":13942,"thumbUrl":13943,"material":142,"size":142,"collection":142,"collections":13944,"showCount":13746,"zanCount":54,"manualWeight":54,"mainColor":55},227833,"lin-liu-fu-qin-tu-yi-ming-227833","临流抚琴图","画面以边角取势，古松虬曲苍劲，垂藤萦绕，将崖岸的荒古野逸晕开。临流石上，隐士安然抚琴，襟怀自适。远处汀渚隐现于烟岚薄雾之间，水色空蒙，淡墨轻皴尽绘江天寥廓。\n笔墨简淡却意韵悠长，以苍劲勾勒写松之老态，晕染铺就江天虚静，将林下幽居、寄情山水的文人意趣藏于尺幅间，尽显尚简求雅的禅寂风骨，静穆之中，似有琴音随波远逝，恍若带人走入物我两忘的幽远之境。",[23,24,94,99,1551,95,30,7,33,199,1702,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F525e8494d45cb369b9a329292fc78b89.jpg",[],{"id":13946,"slug":13947,"title":13948,"dynasty":344,"author":435,"museum":135,"description":13949,"tags":13950,"thumbUrl":13951,"material":142,"size":142,"collection":142,"collections":13952,"showCount":13746,"zanCount":54,"manualWeight":54,"mainColor":109},224387,"fang-huang-zi-jiu-she-se-shan-shui-wang-yuan-qi-224387","仿黄子久设色山水","《王原祁仿黄子久设色山水轴》，清代山水画，现藏于辽宁省博物馆。\n绢本，设色。\n画心纵122.71，横52.8厘米。\n山峦俊秀，双峰突起，白云迷漫的远山，似起伏的海浪。\n山上山下屋宇排列整齐有绪，泉水沿岩石款款而下，汇成山角下半湖碧水。\n水天相处缀以小汀洲渚，板桥旁又有水榭数楹。\n山石繁密，草木葱茏，山下的几株大树掩映溪水，构成了山山相连的效果。\n高崖峻壑，采用纵线的披麻皴，平林打上横卧点子叶，这种纵横交错的用笔，形成一种强烈的节奏感；重施石青、石绿，色艳明快，山峦显得像碧玉一样温润，给人以清新洁爽之感。\n右上角自识：“康熙癸末(17)春日仿黄子久似恺翁老先生麓台，娄东王原祁。\n”旁钤“王原祁印”、“麓台”二印。",[23,24,64,225,27,95,170,33,76,32,7,169,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d4a9513c5762e39dce7925cea01d4a8.jpg",[],{"id":13954,"slug":13955,"title":13956,"dynasty":344,"author":6420,"museum":135,"description":13957,"tags":13958,"thumbUrl":13959,"material":142,"size":142,"collection":105,"collections":13960,"showCount":13746,"zanCount":54,"manualWeight":54,"mainColor":55},224341,"ming-quan-tu-mei-qing-224341","鸣泉图","此作用高远取景，层叠飞瀑自云山深处奔涌而下，跌水层层相续，水雾漫过山峦，将空山的幽寂尽数铺展。崖巅红衣旅人持杖伫立，凝听泉音，以人物的静，衬出飞瀑轰鸣，一动一静间，山野清绝之趣尽显。\n\n笔墨糅合纵逸与温润，山石以皴擦晕染写出苍莽质感，虬松古木点染灵动苔痕，浅赭淡晕晕开幽渺空蒙的氛围。题诗与山水相映，诗画交融，将观泉听涛的林泉雅志藏入尺幅，尽显出世幽怀与山水禅意。",[23,24,64,225,27,95,7,240,241,30,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1af8d90ec82816cfa1ccb2770015b814.jpg",[105],{"id":13962,"slug":13963,"title":13964,"dynasty":59,"author":292,"museum":135,"description":13965,"tags":13966,"thumbUrl":13967,"material":229,"size":637,"collection":142,"collections":13968,"showCount":13746,"zanCount":54,"manualWeight":54,"mainColor":55},223553,"shen-shan-hui-qi-tu-yi-ming-223553","深山会棋图","该画青绿设色，主要表现一士人策杖而行，身后跟随二童仆，一仆携琴，另一仆则肩扛巨大的葫芦，暗示道教的“壶中天”；主仆三人正走向山洞洞门，门后高山耸立，山后却别有天地，象征道教中的“洞天”；“洞天”内则琼楼玉宇，二仙人正在弈棋。\n此类画作，无款无印，是专于墓葬的使用而创作，喻示死者能够仙化，从而进入人所仰慕的神仙世界。此画是中国古代“洞天”和“仙弈”等思想观念的体现。",[23,24,64,95,94,99,27,98,390,31,30,7,8865],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30288ef13f2034087c552c24805539d6.jpg",[],{"id":13970,"slug":13971,"title":13972,"dynasty":59,"author":292,"museum":61,"description":13973,"tags":13974,"thumbUrl":13975,"material":335,"size":13976,"collection":105,"collections":13977,"showCount":13746,"zanCount":54,"manualWeight":54,"mainColor":55},223479,"mo-lu-hong-cao-tang-shi-zhi-tu-juan-quan-juan-yi-ming-223479","摹卢鸿草堂十志图卷全卷","《草堂十志》相传是卢鸿所撰的十段文字，描写他隐居处所附近的十个景点，画者即是根据他的文字绘制成图卷，故称《卢鸿草堂十志图》。后来的人因为误将卢鸿当作是画卷的作者，所以出现真伪的争议。实则，原画者并没有署名。传世三种《草堂十志图》卷，虽然都不是卢鸿的画作，却可以看到它们之间有很多相似之处，证明它们同出一源。其中品质及艺术水准以台北故宫博物院本《草堂十志图》卷为最高，至于对后世书画家的影响也最大。\n全卷水墨画十景，每景自成一段，每段前有褚、颜、柳等书写之 〈草堂十志〉 词，与十景相间。所绘皆为自然园林景致，其配置乃注重与周围自然环境相结合，树石造型古拙，用笔方硬，水墨渲染颇工。此作无名款，旧传为卢鸿之作。学界对此幅的断代，虽无定论，然时代应非为唐。虽非唐代画作，然有研究者订为五代十世纪，可能是与唐代卢鸿原本最为接近之摹本，为早期文人隐居山水的重要祖型，对中国历代隐居山水的图像表现，影响深远。",[23,24,64,25,29,94,99,95,241,168,171,97,7,30,199,32,255,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ea4dd01e44e803413f2814c10d58aa2.jpg","纵25.6cm，横711.6cm",[105,83],{"id":13979,"slug":13980,"title":2671,"dynasty":344,"author":9326,"museum":152,"description":9327,"tags":13981,"thumbUrl":13982,"material":142,"size":13983,"collection":105,"collections":13984,"showCount":13746,"zanCount":54,"manualWeight":54,"mainColor":109},222850,"hua-shan-shui-zhou-ai-xin-jue-luo-yong-rong-222850",[23,24,64,225,94,27,99,95,7,33,97,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8920c3dc2166da7d6d9ab54681a80f5.jpg","12.2x13.9 公分",[105,51],{"id":13986,"slug":13987,"title":13988,"dynasty":18,"author":90,"museum":553,"description":13989,"tags":13990,"thumbUrl":13991,"material":258,"size":13992,"collection":142,"collections":13993,"showCount":13746,"zanCount":54,"manualWeight":54,"mainColor":109},222120,"pen-ju-you-shang-tu-quan-juan-shen-zhou-222120","盆菊幽赏图全卷","图中平坦幽静之处立一小亭，亭四周树木蓊郁；亭两侧摆放数盆菊花，盆中菊花绽放，红白花朵，煞是好看；亭内三人对饮，一僮持壶侍立，一派秋高气爽的意境。",[23,117,24,64,25,94,27,101,100,119,99,689,97,241,32,7,30,6344,98,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dae7349998c775da2fdf56e74c90c5f.jpg","23.4×86cm",[],{"id":13995,"slug":13996,"title":13997,"dynasty":150,"author":2084,"museum":20,"description":13998,"tags":13999,"thumbUrl":14000,"material":79,"size":14001,"collection":142,"collections":14002,"showCount":13746,"zanCount":54,"manualWeight":54,"mainColor":55},221758,"qiu-lin-yu-yin-tu-sheng-mao-221758","秋林渔隐图","《传世名画题诗品赏》是26年 出版的图书。\n本书以“一图一文”的组合形式构成，为每幅名画配上一篇品赏文字，内容包括画幅收藏处，画家、诗人生平简介，画幅技巧、布局、意境的评述，诗篇词语典故的诠释，技巧、诗境的阐发等。\n开本: 2开 ISBN: 72224564 条形码: 978722245644 尺寸: 21 14.2 4.2 cm 重量: 721 g 绘画艺术品受战乱兵燹等社会因素和风化水蚀等自然因素的损毁和破坏，大量散佚，很难传留。\n因此，传世名画更显名贵，成为我国文化遗产宝库中的重要部分，值得珍视。\n画上题诗，是诗画艺术结合的产物，“诗书画”三绝，构成一件艺术珍品，使图像、线条、色彩、笔情、墨趣、诗境、画意，和谐地融合在一起，形成东方民族美学的独特艺术形态，集中反映和体现华夏民族的审美观念和文化精神，足以屹立于世界艺术之林。\n为帮助爱好诗画艺术的朋友们欣赏传世名画上的题画诗，笔者特意从海内外各大博物馆（院）以及私家收藏的传世名画中，遴选出若干幅作品，品赏评析画上题诗，编撰成这本《传世名画题诗品赏》，并就题画诗的艺术特质和艺术功能，题画诗的发展轨迹，以及本书的编写体例等问题，详作阐述，以说明笔者的编撰意图。\n上篇 两宋 第一图 赵佶《蜡梅山禽图》 第二图 徐禹功《雪中梅竹图》 第三图 马远《踏歌图轴》 第四图 梁楷《泼墨仙人图》 第五图 马麟《层叠冰绡图》 第六图 马麟《漳冷梅康馨图页》 第七图 赵孟坚《墨兰图》 第八图 龚开《骏骨图》 元代 第九图 玉涧《庐山瀑布图》 第十图 陆文圭《扁舟傲睨图》 第一一图 钱选《归去来辞图》 第一二图 钱选《 》 第一三图 钱选《山居图卷》 第一四图 钱选 《牡丹图》 第一五图 高克恭《黑竹坡石图》 第一六图 赵孟頫《人骑图卷》 第一七图 赵孟頫《秀石疏林图》 第一八图 黄公望《天池石壁图》 第一九图 曹知白《疏松幽岫图轴》 第二十图 吴镇《松石图》 第二一图 吴镇《芦花寒雁图轴》 第二二图 吴镇《草亭诗意图》 第二三图 吴镇《多福图轴》 第二四图 吴镇《松泉图》 第二五图 吴镇《芦滩的艇图》 第二六图 吴镇《渔父图》 第二七图 张渥《竹西草堂图》 第二八图 王渊《牡丹图卷》 第二九图 盛懋《秋江待渡图》 第三十图 盛懋《秋林渔隐图》 第三一图 王冕《墨梅图》 第三二图 王冕《墨梅图卷》 第三三图 王冕《寒梅图》 第三四图 王冕《南枝春早图》 第三五图 倪瓒《古木幽篁图》 第三六图 倪瓒《江岸望山图》 第三七图 倪瓒《虞山林壑图》 第三八图 倪瓒《梧竹秀石图》 第三九图 倪瓒《琪树秋风图》 第四十图 倪瓒《六君子图》 第四一图 倪瓒《幽涧寒松图》 第四二图 倪瓒《秋林新兴图》 第四三图 倪瓒《水竹居图》 第四四图 倪瓒《秋亭嘉树图》 第四五图 倪瓒《雨后空林图》 第四六图 倪瓒《渔庄秋霁图》 …… 明代 下篇 清代 下册",[23,24,1551,94,99,95,867,96,122,256,241,98,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F264a3578244bd0799ebe3b6cf74625e3.jpg","26.7×33.7cm",[],{"id":14004,"slug":14005,"title":14006,"dynasty":344,"author":2309,"museum":61,"description":8570,"tags":14007,"thumbUrl":14008,"material":335,"size":8573,"collection":142,"collections":14009,"showCount":13746,"zanCount":54,"manualWeight":54,"mainColor":109},220318,"huang-shan-tu-ce-11-hong-ren-220318","黄山图册-11",[23,24,64,332,94,99,95,240,32,7,271],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d8da9dac501fd5659eee07e6c4e5d31.jpg",[],{"id":14011,"slug":14012,"title":14013,"dynasty":344,"author":2309,"museum":61,"description":8570,"tags":14014,"thumbUrl":14015,"material":335,"size":8573,"collection":142,"collections":14016,"showCount":13746,"zanCount":54,"manualWeight":54,"mainColor":109},220300,"huang-shan-tu-ce-26-hong-ren-220300","黄山图册-26",[23,24,64,332,94,95,98,33,7,168,1357,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33296ed6c8f1aa652e3297eebc981cad.jpg",[],{"id":14018,"slug":14019,"title":14020,"dynasty":150,"author":5329,"museum":281,"description":14021,"tags":14022,"thumbUrl":14023,"material":404,"size":142,"collection":105,"collections":14024,"showCount":13746,"zanCount":54,"manualWeight":54,"mainColor":55},220094,"jin-biao-tu-wang-zhen-peng-220094","锦标图","该画作描绘了北宋宫廷金明池的龙舟竞渡活动，一方面显示夺标争锦之意，另一方面又有君民同乐的太平盛世意涵。",[23,117,24,64,25,28,27,30,31,32,7,5064,9741,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a6c7809bff9a5428579d2095a8cda8f.jpg",[105],{"id":14026,"slug":14027,"title":14028,"dynasty":59,"author":292,"museum":152,"description":14029,"tags":14030,"thumbUrl":14032,"material":47,"size":14033,"collection":49,"collections":14034,"showCount":13746,"zanCount":54,"manualWeight":54,"mainColor":109},218722,"mian-qin-zhu-ming-tu-yi-ming-218722","眠琴煮茗图","图中描绘的是一个有学问的人在溪流上拿着一把琴，而一个孩子在打水泡茶。使用圆润的笔触，没有任何大的顿挫，也是这幅画的特点。",[23,24,1551,26,27,30,1702,7,100,119,95,14031],"茶事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52b812228f88e00200e5a176dd1aa5a7.jpg","26.7x25.7",[49],{"id":14036,"slug":14037,"title":14038,"dynasty":18,"author":292,"museum":14039,"description":14040,"tags":14041,"thumbUrl":14042,"material":47,"size":142,"collection":105,"collections":14043,"showCount":13746,"zanCount":54,"manualWeight":54,"mainColor":109},217983,"lin-liu-guan-qiu-tu-yi-ming-217983","临流观秋图","布里斯托尔博物馆","临流观秋图是明朝时期佚名所作的一幅著名图画。这幅图画描绘了一个秋天的景象，主要内容是一条清澈见底的河流，周围是绿树成荫的山坡。在河对岸，可以看到一座小山丘，上面建有一座庙宇。\n\n在河流中，可以看到许多游鱼，它们在水面上跃起，似乎在欢迎秋天的到来。此外，还可以看到许多水鸟在河上飞翔，整幅画面非常宁静而美丽。\n\n临流观秋图被认为是明朝时期中国绘画史上的杰作之一，其中融合了自然风景和人文景观，使得画面更加丰富多彩。该图画被认为是明朝绘画的一个典型代表，其中体现了明朝时期中国文人画的特点。",[24,94,27,95,7,97,255,199,122,99,1758,348,4896,3016,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff11e058cdac214e74ff20a01c13c4c98.jpg",[105],{"id":14045,"slug":14046,"title":14047,"dynasty":18,"author":292,"museum":316,"description":8389,"tags":14048,"thumbUrl":14049,"material":103,"size":142,"collection":142,"collections":14050,"showCount":13746,"zanCount":54,"manualWeight":54,"mainColor":55},217937,"ming-ren-shan-shui-hua-ce-zhi-shi-er-yi-ming-217937","明人山水画册之(十二)",[23,24,64,94,99,332,95,30,241,7019,854,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c54ac9ee30e801bdac132949220f58a.jpg",[],{"id":14052,"slug":14053,"title":14054,"dynasty":18,"author":292,"museum":316,"description":8389,"tags":14055,"thumbUrl":14056,"material":103,"size":142,"collection":142,"collections":14057,"showCount":13746,"zanCount":54,"manualWeight":54,"mainColor":109},217930,"ming-ren-shan-shui-hua-ce-zhi-shi-san-yi-ming-217930","明人山水画册之(十三)",[24,64,332,94,99,95,98,33,76,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F780be1127cd53a2e7ddde869aa2a2399.jpg",[],{"id":14059,"slug":14060,"title":14061,"dynasty":344,"author":2071,"museum":316,"description":3026,"tags":14062,"thumbUrl":14063,"material":103,"size":3029,"collection":142,"collections":14064,"showCount":13746,"zanCount":54,"manualWeight":54,"mainColor":109},217210,"fang-gu-shan-shui-shi-er-kai-ba-wang-hui-217210","仿古山水十二开(八)",[24,27,332,99,95,32,7,76,33,98,348,2880],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F399ceb4a1b0e5b5fd39e5b685e40b3e9.jpg",[],{"id":14066,"slug":14067,"title":2164,"dynasty":344,"author":2407,"museum":281,"description":14068,"tags":14069,"thumbUrl":14070,"material":273,"size":142,"collection":142,"collections":14071,"showCount":13746,"zanCount":11,"manualWeight":54,"mainColor":109},214429,"shan-shui-tu-ce-2-zhu-da-214429","清代画家朱耷的山水图册是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了朱耷对自然的热爱和对传统文化的尊重。他运用了山水画的特点，使得整件作品显得舒缓而优美。\n\n朱耷是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在山水图册中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，朱耷的山水图册是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了朱耷对自然的热爱和对传统文化的尊重。",[23,24,64,94,332,99,95,122,140,98,7,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a4cf7726b542ef74bf52a253e399bd0.jpg",[],{"id":14073,"slug":14074,"title":5388,"dynasty":344,"author":14075,"museum":91,"description":14076,"tags":14077,"thumbUrl":14078,"material":142,"size":142,"collection":105,"collections":14079,"showCount":13746,"zanCount":11,"manualWeight":54,"mainColor":14080},201789,"xie-qin-fang-you-tu-zhou-zhou-hao-201789","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。",[95,99,32,7,31,1711,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F799b088374a09b1f5621d68a71992870.jpg",[105],"ae9d88",{"id":14082,"slug":14083,"title":14084,"dynasty":150,"author":151,"museum":135,"description":3529,"tags":14085,"thumbUrl":14086,"material":229,"size":637,"collection":142,"collections":14087,"showCount":14088,"zanCount":54,"manualWeight":54,"mainColor":109},290826,"xi-shan-cao-ge-zhou-huang-gong-wang-290826","溪山草阁轴",[24,225,94,866,99,98,33,4316,7,100,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54b69f05927997c87308aaa1a3a0b15f.jpg",[],22,{"id":14090,"slug":14091,"title":888,"dynasty":18,"author":9529,"museum":135,"description":14092,"tags":14093,"thumbUrl":14094,"material":229,"size":637,"collection":142,"collections":14095,"showCount":14088,"zanCount":54,"manualWeight":54,"mainColor":109},290551,"shan-shui-zhou-xu-ben-290551","徐贲（1335-1380年），字幼文，南直隶毗陵（今江苏常州市）人。后迁平江（今江苏苏州）城北，自号北郭生，元末明初画家、诗人。吴中四杰之一，明初十才子之一。\n张士诚抗元，招为僚属。张士诚死后，俆贲与张羽避居吴兴（今浙江省湖州市）。洪武七年（1374），被荐入朝，洪武九年（1376）春，奉使晋、冀，授给事中。历任御史、刑部主事、广西参议，官至河南左布政使。洪武十一年（1378），大军征讨洮岷，以军队过境，犒劳失时，下狱。洪武十三年（1380），以“犒师不周”处死。",[24,94,95,225,119,99,31,32,7,96,33,98,97,256],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fc1786958bb41a964d7d69070c1211b.jpg",[],{"id":14097,"slug":14098,"title":11958,"dynasty":150,"author":710,"museum":152,"description":1457,"tags":14099,"thumbUrl":14100,"material":273,"size":8620,"collection":142,"collections":14101,"showCount":14088,"zanCount":54,"manualWeight":54,"mainColor":55},290417,"hua-xi-yu-yin-zhou-wang-meng-290417",[117,24,225,94,95,99,7,96,33,98,76,256,119,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76a0acb529b0bc5c0c94798e81326b50.jpg",[],{"id":14103,"slug":14104,"title":14105,"dynasty":59,"author":164,"museum":135,"description":3361,"tags":14106,"thumbUrl":14107,"material":229,"size":637,"collection":142,"collections":14108,"showCount":14088,"zanCount":54,"manualWeight":54,"mainColor":55},290304,"yun-yan-lan-sheng-zhou-guo-xi-290304","云烟揽胜轴",[24,225,866,94,99,95,169,255,98,7,96,2831,319],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a8371c836a4c84acf0ffa9310d91859.jpg",[],{"id":14110,"slug":14111,"title":7456,"dynasty":59,"author":292,"museum":135,"description":14112,"tags":14113,"thumbUrl":14114,"material":229,"size":637,"collection":142,"collections":14115,"showCount":14088,"zanCount":54,"manualWeight":54,"mainColor":55},290229,"feng-yu-gui-zhou-tu-yi-ming-290229","该画描绘近处巨岗高树，中部为广漠的江河，并置沙渚、坡岸、板桥、行舟、人物等，远处山峦耸峙，景色具有江南水乡山崇水阔的特点。",[24,866,96,306,3087,170,7,33,94,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63f808637e953e29f61f9cc677ffd081.jpg",[],{"id":14117,"slug":14118,"title":14119,"dynasty":18,"author":7996,"museum":135,"description":14120,"tags":14121,"thumbUrl":14122,"material":229,"size":637,"collection":142,"collections":14123,"showCount":14088,"zanCount":11,"manualWeight":54,"mainColor":55},290158,"hou-chi-bi-tu-ding-yu-chuan-290158","后赤壁图","丁玉川（生卒年不详），明代中期画家。江右（今江西）人。山水宗马、夏。亦善人物，行笔草草，徒逞狂态，比于邪学。刘珝题其画云：“彼美玉川子，素慕青溪翁。远浓近淡不停手，神机所到天然工。”丁氏虽然出身江西，却主要活动于山东与北京两地，可能活到九十二岁以后。在晚明以后，丁氏被归为浙派画家之列，存世作品多被改款，以致今日难以辨识。",[117,24,64,225,94,95,199,96,122,7,30,99,119,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5736d6ab4b5a37a671ca41168a10c90e.jpg",[],{"id":14125,"slug":14126,"title":14127,"dynasty":59,"author":14128,"museum":135,"description":14129,"tags":14130,"thumbUrl":14131,"material":229,"size":637,"collection":142,"collections":14132,"showCount":14088,"zanCount":54,"manualWeight":54,"mainColor":55},290089,"yan-lan-shan-shui-tu-yu-jian-290089","烟岚山水图","玉涧","玉涧（生卒年不详），在宋末元初的画坛中，以“玉涧”为名号的僧人，有莹玉涧、若芬玉涧、彬玉涧和孟玉涧四人。其中彬玉涧生平不详；而莹玉涧根据《图绘宝鉴》的记载，为西湖净慈寺禅僧，师惠崇画山水；若芬玉涧根据《松斋梅谱》的记载，则为金华曹氏子，是天台宗僧人，曾任天竺寺书记，善画云山；孟玉涧作品传世较多，为元末画家。经过日本学者铃木敬的考证，现在学界多半认为若芬玉涧就是《庐山图》等作品的作者。若芬玉涧传世作品有《庐山图》（冈山县立美术馆蔵）、《庐山瀑布图》（冈山县立美术馆蔵）、《潇湘八景图》（现仅余三副，东京出光美术馆藏《山市晴岚图》、名古屋德川美术馆藏《远浦归帆图》、东京文化厅藏《洞庭秋月图》）等。",[117,24,95,94,225,99,31,32,7,30,2831,10592],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbf0cb6b2383adbc9e1c230ee15078a6.jpg",[],{"id":14134,"slug":14135,"title":14136,"dynasty":344,"author":2253,"museum":135,"description":8912,"tags":14137,"thumbUrl":14138,"material":229,"size":637,"collection":142,"collections":14139,"showCount":14088,"zanCount":54,"manualWeight":54,"mainColor":109},289968,"fang-ni-shan-shui-wang-shi-min-289968","仿倪山水",[117,24,64,225,94,95,29,140,122,32,7,199,119,100,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf804a5c772a5924000eff3f02dc044c.jpg",[],{"id":14141,"slug":14142,"title":1536,"dynasty":18,"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从他现存作品中即可见风格和用笔，既能放得开，又能收得住。他能诗文，擅书法，尤精绘画。陈淳与徐渭并称白阳、青藤。陈氏少年作画工细，中年后笔法放纵，自立门户。陈淳从师文徵明，在其门下声誉最高。擅长写意花卉，其作品虽表现一花半叶，却淋漓疏爽，深受当时文人士大夫的赞赏；他是继沈周、唐寅之后对水墨写意花鸟画的发展作出了重要贡献的画家。",[24,64,332,94,95,96,7,97,199,140,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc65850c37b4775f5d75358b0352c4b4.jpg",[105],{"id":14257,"slug":14258,"title":14259,"dynasty":18,"author":292,"museum":135,"description":14260,"tags":14261,"thumbUrl":14262,"material":142,"size":142,"collection":142,"collections":14263,"showCount":14088,"zanCount":11,"manualWeight":54,"mainColor":55},235681,"tao-cheng-chan-gong-yu-tu-tu-zhou-yi-ming-235681","陶成蟾宫玉兔图轴","此作图绘仙乡秘境，一轮素月悬于空濛天际，清辉铺洒四野。玉兔静伏于青竹之侧，茸毛细密柔润，红眸澄澈灵动，憨态可掬，为清冷画面晕开一抹柔温。\n\n青绿山石晕染雅致，水流蜿蜒有声，远山瀑布垂挂如练，浅绛淡青交织出幽谧空寂的氛围感。数竿修竹挺秀清疏，枯木虬枝添了几分古意，与题诗相映成趣，诗画相融，晕染出出尘的仙家意韵。\n\n笔墨兼工带写，设色古雅沉静，将缥缈蟾宫的清寂与鲜活生机揉和一处，尽显古典雅致的仙境意趣。",[24,225,27,26,95,543,6567,530,7,98,168,3834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F199c4e3ce8b760deb87b3e87847a32a2.jpg",[],{"id":14265,"slug":14266,"title":655,"dynasty":344,"author":6859,"museum":135,"description":14267,"tags":14268,"thumbUrl":14269,"material":229,"size":637,"collection":105,"collections":14270,"showCount":14088,"zanCount":54,"manualWeight":54,"mainColor":109},235546,"shan-shui-ce-zhu-chang-235546","祝昌[清]字山嘲，安徽广德人（一作安徽舒城人），居新安（今安徽歙县），又客汉上。顺治六年（一六四九）进士（清朝书画家笔录误入道光朝）。山水学渐江，后学元季诸家，画多逸致。性孤介，遇不以礼，虽饼金不售。《国[清]朝画徵录、图绘宝鉴续纂》",[24,64,332,94,99,95,32,7,96,98,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2ad5b2fa16ff516a5cdea7f7f52a564.jpg",[105],{"id":14272,"slug":14273,"title":6428,"dynasty":344,"author":14274,"museum":135,"description":14275,"tags":14276,"thumbUrl":14278,"material":229,"size":637,"collection":142,"collections":14279,"showCount":14088,"zanCount":54,"manualWeight":54,"mainColor":109},235281,"ren-wu-gu-shi-ce-fan-xue-yi-235281","范雪仪","女，本姓淑，嫁范氏为妻，江苏苏州人，生卒年不详。",[24,27,26,332,30,32,7,66,241,76,98,14277,1692],"草屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22f7d600f871e885662e72ac3a248c81.jpg",[],{"id":14281,"slug":14282,"title":14283,"dynasty":344,"author":3047,"museum":135,"description":14284,"tags":14285,"thumbUrl":14286,"material":142,"size":142,"collection":142,"collections":14287,"showCount":14088,"zanCount":54,"manualWeight":54,"mainColor":109},234692,"ri-zhang-shan-jing-tu-zhou-cha-shi-biao-234692","日长山静图轴","《查士标日长山静图轴》是清代的图轴。\n自题：“日长山静净无尘，风下松花满葛巾。\n自是人间清回处，辋川盘谷总天真。\n丙辰九月画。\n请象老道年翁教正。\n弟查士标。\n”钤“士标私印”白文印、“查二瞻”朱文印。\n款识中的“丙辰”为清康熙十五年（1676年），查士标时年62岁。\n图绘远景山峦高耸如壁。\n近水岸边，长松杂树。\n一高士携童子踱桥而至。\n布局以高远法取势，笔法轻快疏秀，墨气华润蕴藉，意境荒寒清旷，是作者在仿倪瓒的基础上的变体画，堪称其艺术成熟期的代表作。",[24,64,225,94,95,99,98,33,390,30,32,7,349,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23b3052f2ac3b856b3b70c157b198284.jpg",[],{"id":14289,"slug":14290,"title":14291,"dynasty":344,"author":14292,"museum":135,"description":11755,"tags":14293,"thumbUrl":14294,"material":142,"size":142,"collection":142,"collections":14295,"showCount":14088,"zanCount":54,"manualWeight":54,"mainColor":109},234621,"jian-fu-qin-wan-shan-li-yu-zhu-234621","涧抚琴纨扇","李育竹",[24,64,1551,27,26,543,30,199,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe6778a14dde5179000d3d8eb76e5893.jpg",[],{"id":14297,"slug":14298,"title":14299,"dynasty":18,"author":2928,"museum":61,"description":2930,"tags":14300,"thumbUrl":14301,"material":355,"size":142,"collection":142,"collections":14302,"showCount":14088,"zanCount":54,"manualWeight":54,"mainColor":109},234154,"wen-jia-bao-zhu-tu-juan-wen-jia-234154","文嘉保竹图卷",[23,24,64,25,94,101,119,100,543,95,199,33,30,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3523bbb22b15f36522d988a8763fc7f1.jpg",[],{"id":14304,"slug":14305,"title":655,"dynasty":18,"author":1254,"museum":61,"description":2766,"tags":14306,"thumbUrl":14307,"material":2769,"size":2770,"collection":142,"collections":14308,"showCount":14088,"zanCount":54,"manualWeight":54,"mainColor":109},234059,"shan-shui-ce-dong-qi-chang-234059",[117,24,64,332,27,94,99,95,32,7,97,140,1397,98,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17fe54937e35a0b7f230e28239b75157.jpg",[],{"id":14310,"slug":14311,"title":14312,"dynasty":344,"author":2253,"museum":135,"description":14313,"tags":14314,"thumbUrl":14315,"material":142,"size":142,"collection":142,"collections":14316,"showCount":14088,"zanCount":54,"manualWeight":54,"mainColor":109},230177,"fang-gu-tu-ce-wang-shi-min-230177","仿古图册","《清王翚仿古山水册》是清代 作者创作的画册。\n纸本设色。\n此册共二十开，是王石谷早期刻意继承古人传统画法的代表作。\n此册由苏州过云楼后人捐赠。\n现收藏于常熟博物馆。\n王翚作。\n纸本设色。\n此册共二十开，是王石谷早期刻意继承古人传统画法的代表作。\n其中，仿董源、范宽各二开，仿王维，关仝、高克明、李成、郭熙、王诜、宋徽宗、阎次平、李唐、刘松年、赵伯驹、赵大年、夏圭、黄公望、赵孟頫、王蒙各一开。\n此册由苏州过云楼后人捐 赠。\n21年， 与 强强联手，共同打造了数字化、立体化的权威知识普及平台： 之 。\n该数字馆通过陶瓷器馆、铜器馆、金银器等分馆，全方位展示了 的众多珍贵展品。\n【简介】 纸本，水墨，纵：25.6厘米，横：2.5厘米。\n《 》共计十二页，其中设色二页，水墨十页。\n仿董源、巨然、米芾、赵大年、赵孟頫、吴镇、倪瓒、王蒙、黄公望、管道升、曹知白、陈汝言等而作。\n每幅均自题七律一首，末开款署“壬寅六月王翚”，册尾有顾复初题跋。\n前选一图，系仿曹云西山水，写柳汀板桥、芦荻孤舟，晓风残月，雁影徘徊。\n笔墨疏秀，意境苍莽迷蒙。\n得名家传授，又博览古人佳作和游历真山实水，画艺日臻成熟，4岁时即名闻海内。\n王翚出生于绘画世家，他的曾祖王伯臣、祖父王载仕、父亲王云客都是画家，幼时即得到家学熏陶，初学画于同乡画家张珂。\n顺治年间王鉴游虞山时，见王翚画扇，极为赏识，赞其天资超人，收为弟子。\n后转师王时敏，得以临摹许多历代名家真迹，镕铸造南北画派于一炉，技艺大进。\n尝与王时敏遍游大江南北，广识著名收藏家，观摹宋、元真迹。\n其摹古功力极得王时敏赞赏：“（石谷）凡唐宋诸名家无不摹仿逼肖，偶一点染展卷即古色苍然，毋论位置溪径，宛然古人，而笔墨神韵一一夺真，且仿某家，则全是某家，不杂一他笔，使非题款，虽善鉴者，不能辨。\n”于是他在摹古仿古的基础上，综合诸家之长，晚年画风简练苍浑，有独到的艺术风格，在“四王”中，王翚的艺术成就最为显著，门生弟子很多，以杨晋较为著名，其山水画的影响极为深广。\n王翚（162—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。\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。\n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。\n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”。\n在王翚5岁到6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。\n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”。",[24,94,332,29,99,95,241,7,76,199,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c633d3f56a943ca1180e458ba8904cf.jpg",[],{"id":14318,"slug":14319,"title":7986,"dynasty":18,"author":7967,"museum":135,"description":14320,"tags":14321,"thumbUrl":14322,"material":142,"size":142,"collection":142,"collections":14323,"showCount":14088,"zanCount":54,"manualWeight":54,"mainColor":109},228967,"shan-shui-ce-ye-xiao-yun-cong-228967","这幅山水取高远、平远二法构景，右侧危崖层叠耸峙，以细劲皴笔刻绘山石嶙峋肌理，古松倚崛崖而生，姿态苍劲奇逸。左侧江流逶迤，洲渚之上林木错落，村居隐于坡岸林麓，野意悠然自生。\n\n设色清浅柔和，以赭石晕染山峦，墨色点苔绘木，淡润雅致间尽显清和。整体意境萧疏旷远，兼具皖南山水的灵秀，又饱含文人隐逸丘壑的静穆意趣，笔致秀雅工丽，将山水自然之美与林下幽居的雅怀相融，观之便如身临幽寂林泉，心神涤荡。",[24,64,117,332,94,27,99,95,98,33,7,96,30,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17fb76240c525618fdf974dbb6774f96.jpg",[],{"id":14325,"slug":14326,"title":14327,"dynasty":18,"author":267,"museum":135,"description":14328,"tags":14329,"thumbUrl":14331,"material":142,"size":142,"collection":142,"collections":14332,"showCount":14088,"zanCount":54,"manualWeight":54,"mainColor":55},228847,"xue-shan-lv-xing-tu-dai-jin-228847","雪山旅行图","以留白晕染苍山积雪，笔锋勾勒出山棱的硬挺苍劲，虬松如铁错落崖间，尽显冬山萧寒清旷之意。\n层叠山势铺展出高远纵深，山坳间山居错落，谷口行旅络绎，将冷寂雪景揉进人间烟火。水墨浓淡铺陈出雪色的虚实层次，枯涩笔触绘出松针遒劲，凛冽荒寒中晕开暖意，把羁旅匆匆、山居安闲藏在冰封山峦里，苍硬画风裹着细腻温情，落笔见苍劲风骨，于萧寒山水间晕染出鲜活的冬日山居意趣。",[23,24,64,117,94,95,99,240,390,31,32,66,76,2567,7,14330,990,2832],"旅人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a46623cccdb86806a1cec8ab50c3264.jpg",[],{"id":14334,"slug":14335,"title":655,"dynasty":18,"author":9403,"museum":135,"description":14336,"tags":14337,"thumbUrl":14338,"material":142,"size":142,"collection":142,"collections":14339,"showCount":14088,"zanCount":54,"manualWeight":54,"mainColor":109},228490,"shan-shui-ce-yun-xiang-228490","此作用笔苍浑松秀，右幅层岩叠壑间飞泉直下，涧水环石隐于葱郁杂木，板桥茅亭隐于一隅，野逸幽寂。以干笔皴擦晕染，尽显山川厚重质感，氤氲静穆古雅的山水气韵。左幅行书题跋笔力遒劲舒展，书画合璧，尽显文人意趣。\n画作以元人笔墨写江南丘壑，简淡苍劲脱去甜熟，将山川朴茂元气藏于构图之中，以画寄兴，褪去匠气直追古意，于简雅之间尽显山水生机，暗含画者胸中丘壑与沉静文人风骨。",[117,24,64,332,94,95,97,32,7,101,100,119,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89d53472a535054b50cf8412a73495aa.jpg",[],{"id":14341,"slug":14342,"title":14343,"dynasty":150,"author":2084,"museum":135,"description":14344,"tags":14345,"thumbUrl":14346,"material":142,"size":142,"collection":142,"collections":14347,"showCount":14088,"zanCount":54,"manualWeight":54,"mainColor":55},228042,"chun-shan-fang-you-tu-juan-sheng-mao-228042","春山访友图卷","此作用平远之法铺展春日江天，烟波澹澹横贯画面，晕染出空濛柔婉的山水意趣。左下角扁舟轻漾，舟中士人纵览春景，自在悠游；右侧山居隐于林木间，白墙黛瓦雅致静谧，暗合访友幽怀。\n\n远山以淡墨晕染，云雾缱绻萦绕峰峦，青绿浅施于山石林木间，温润雅致。笔致温婉细腻，皴染相辅，既绘出春山葱郁温润之态，亦将隐逸淡远的意韵融汇其间，藏着文人寄情林泉、悠游丘壑的雅趣。",[23,24,64,25,27,95,99,240,901,96,33,30,7,97,854],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F445fe68c4573e00d69802e2d95defe19.jpg",[],{"id":14349,"slug":14350,"title":12936,"dynasty":150,"author":2084,"museum":135,"description":14351,"tags":14352,"thumbUrl":14353,"material":142,"size":142,"collection":142,"collections":14354,"showCount":14088,"zanCount":54,"manualWeight":54,"mainColor":109},228039,"shan-shui-tu-ye-sheng-mao-228039","取半边崖岸入画，嶙峋石矶间苍松虬劲，层叠点叶凝萃出深林郁茂。淡墨晕开的远山横亘天际，汀渚隐于烟水间，虚实相生，将江南水岸的清寂铺陈开来。\n笔墨苍秀细密，皴笔勾勒出岩崖肌理，朴拙古雅的点染尽显草木生机，设色浅淡沉静，晕染出空濛的烟水之气。\n尺幅之间藏尽林泉幽致，萧散冷寂的氛围中暗藏澹泊意趣，如一卷袖珍的林泉雅集，邀人步入这方幽寂山水，静赏这份简淡悠远的林下清欢。",[23,24,64,332,94,99,27,95,33,96,32,7,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75acf187f7bc3f7c3c96d8b250e8c0ac.jpg",[],{"id":14356,"slug":14357,"title":14358,"dynasty":150,"author":14359,"museum":135,"description":14360,"tags":14361,"thumbUrl":14362,"material":142,"size":142,"collection":142,"collections":14363,"showCount":14088,"zanCount":11,"manualWeight":54,"mainColor":55},227991,"wan-song-tu-juan-gu-chao-227991","万松图卷","顾超","此作用笔松灵秀润，以披麻皴晕染山峦，淡墨铺就出氤氲山林清气。近景苍松虬曲苍劲，坡岸错落间村居掩映，野趣横生。中景湖水萦回柔婉，轻描水纹分割出虚实层次，让画面灵动不滞。远景层峦间万松层叠，与山色相融，烘托出萧散空寂的林下氛围。整体简淡中见苍润，脱却匠气，以文人意趣勾勒林泉高致，将隐逸之思藏在笔墨留白间，引观者步入静穆幽远的山林之境，尽显寄情丘壑的林下风流。",[23,24,64,117,25,94,99,95,390,98,7,32,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1128d13ce286d88d7dc81f940e410197.jpg",[],{"id":14365,"slug":14366,"title":14367,"dynasty":59,"author":6386,"museum":135,"description":14368,"tags":14369,"thumbUrl":14370,"material":142,"size":142,"collection":142,"collections":14371,"showCount":14088,"zanCount":54,"manualWeight":54,"mainColor":109},227944,"shan-yin-fang-dai-tu-ye-zhu-rui-227944","山阴访戴图页","危崖拔地而起，石质方硬皴法老辣，崖侧古松簇拥山居。下方寒波澹澹，汀渚间林木错落，临水高轩明敞，似有幽人凭栏远眺江天。一叶扁舟随波缓行，雪意覆于岸渚林梢，遍染清萧寒寂。\n\n整幅以简驭繁，淡墨轻敷晕出雪后空蒙。将兴尽而归的雅事藏于留白，笔致苍秀劲挺，设色沉凝淡雅。尺幅之间铺展萧疏冷寂的山水意境，把魏晋名士散淡旷达的林下风流融于萧寒景致中，尽显宋人山水留白藏意的高妙。",[23,117,24,64,332,27,28,99,95,96,31,1397,140,7,227,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62a1f47538b5198102dc40e3d860e237.jpg",[],{"id":14373,"slug":14374,"title":14375,"dynasty":59,"author":399,"museum":135,"description":14376,"tags":14377,"thumbUrl":14378,"material":142,"size":142,"collection":142,"collections":14379,"showCount":14088,"zanCount":54,"manualWeight":54,"mainColor":109},227772,"mo-fan-kuan-xi-shan-du-diao-tu-juan-li-tang-227772","摹范宽溪山独钓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卷末各附楷书图记一篇，无印鉴款识。图卷保存完整，画面洁净，曾作为《万寿图》原本多次展出、出版。",[24,64,25,27,26,28,30,31,32,7,97,66,33,505,506,1141,35,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dc7b4cce21ccd6b81c26de71e2b5f5c.jpg","纵45厘米，横3939 厘米",[],{"id":14705,"slug":14706,"title":14707,"dynasty":18,"author":1948,"museum":61,"description":9352,"tags":14708,"thumbUrl":14709,"material":714,"size":9355,"collection":142,"collections":14710,"showCount":159,"zanCount":54,"manualWeight":54,"mainColor":109},233820,"wen-zheng-ming-xi-qiao-ce-zhang-tu-zhou-wen-zheng-ming-233820","文徵明溪桥策杖图轴",[24,64,225,94,95,99,30,32,7,140,98,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F552fc7d9d84394f4ffb4d99f2e9e7dd7.jpg",[],{"id":14712,"slug":14713,"title":14714,"dynasty":150,"author":292,"museum":135,"description":14715,"tags":14716,"thumbUrl":14718,"material":142,"size":142,"collection":142,"collections":14719,"showCount":159,"zanCount":54,"manualWeight":54,"mainColor":55},232696,"song-yin-lun-dao-tu-zhou-yi-ming-232696","松荫论道图轴","画作以层叠飞瀑串起幽深山峦，古松虬曲苍劲，斜探山坳。松荫下二人对坐，一人垂耳静聆，一人挥袖长谈，雅意暗生。山石以斧劈皴勾勒晕染，尽显雄浑厚朴，山林以浓淡墨色分出虚实层次，铺就空寂清远的山野氛围。\n\n整幅以动衬静，飞瀑流泉的喧腾，更衬出松下晤谈的安谧超脱，将林下隐逸的雅趣融于丘壑间，尽显萧散简远的山水意韵，把出世林下的风流逸致，尽数绘于绢素之上。",[23,24,64,225,94,99,95,30,271,168,171,7,14717],"论道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a886a55177591ac8990b09ff254c510.jpg",[],{"id":14721,"slug":14722,"title":3431,"dynasty":344,"author":1527,"museum":281,"description":14723,"tags":14724,"thumbUrl":14725,"material":335,"size":14726,"collection":142,"collections":14727,"showCount":159,"zanCount":54,"manualWeight":54,"mainColor":109},231488,"xi-shan-xian-guan-tu-wang-jian-231488","《溪山仙馆图》作于“甲寅春暮”即康熙十三年（1674），时年王鉴76岁。因为王鉴77岁那一年春天，王翚曾携弟子杨晋一起来到太仓王鉴的染香庵拜访他，杨晋还为王鉴画了肖像，王翚为肖像作补景，王鉴本人也在画上题了跋语。这幅“写照入神，运笔飞动”的肖像画令王鉴欢喜，因为此时的王鉴已患中风，“备诸丑态，子鹤（杨晋，字子鹤）隐陋，曲貌形外之神”（王鉴画上跋语，见《吴越所见书画录》），将王鉴的精神面貌画出来了。王鉴寿高80，76、77岁之后作品较为少见，大约与其晚年曾患中风有关。此幅《溪山仙馆图》是王鉴中风之前所作，非常难得。\n王鉴万历二十六年（1598）出生在江苏太仓一个功名世宦之家，曾祖父王忬是嘉靖二十年进士，官至兵部左侍郎，蓟辽总督。祖父王世贞少年时即被视神童，嘉靖二十六年19岁时就考取进士，虽然仕途不畅，却是明代中后期的文坛盟主。父亲王士骐也是一位才子，万历十年南京乡试解元，万历十七年进士，幷曾官礼部、吏部。出身在如此显赫家庭，王鉴亦才华横溢，但是功名平平，36岁时才在乡试中考取举人，之后再无进展，而是受到祖荫照拂任左府事，继而出任广东廉州（今为广西合浦）太守。然而其天生一副文人性格，不合污流，上任不久即遭遇宦官们以开矿为名横征暴敛、鱼肉百姓的“粤中开采”之事，他挺身而出，以太守之力“力请上台得罢”，企图阻止“开矿恶政”，却险些引来牢狱之灾。两年后王鉴退隐原籍，再不出仕，一生都在诗文书法中度日。\n王鉴绘画受到董其昌影响，对于北宋董源、巨然深有研究，幷专注于元四家、尤其倾心黄公望。《溪山仙馆图》纸本设色，纵78厘米，横39厘米。所绘布局严谨，近景松树成林，但茂而有致，绝无繁芜之感，中景、远景绘山，丘壑深邃却层次井然，毫不琐碎，加以色墨交融，皴染幷施，绘出了华润气象。\n此画清代民国以来历经三位著名收藏家收藏：第一位是同治光绪年间的南京人李溥泉，此人眼力好，但是特别会做生意，故曾遭赵之谦等人的白眼，左下角“白门李氏珍藏”印即为其所钤。第二位是晚清时以盐业起家、并官至内阁学士的慈溪人严信厚，严信厚字小舫、筱舫，斋名小书画舫等，“小书画舫”收藏书画很有名，我们今天仍经常可见到一些古代书画上留有“小书画舫”所钤收藏印，此画在“白门李氏珍藏”印之上那方“小书画舫秘玩”印即为其所钤。第三位是现代大收藏家钱镜塘，此画“钱家样”的装裱，就是当年钱镜塘的专用裱画师严桂荣所为。此画钱镜塘曾请吴湖帆过目，包首签条即为吴湖帆所题。《溪山仙馆图》“文革”时被抄，“文革”结束后未归还，后流入市场。",[23,24,64,225,27,99,95,32,7,140,31,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36d42a5940438066fc2ad4b01874fd21.jpg","78×39cm",[],{"id":14729,"slug":14730,"title":14731,"dynasty":18,"author":14732,"museum":152,"description":14733,"tags":14734,"thumbUrl":14735,"material":335,"size":14736,"collection":142,"collections":14737,"showCount":159,"zanCount":54,"manualWeight":54,"mainColor":109},231416,"fang-wang-meng-ge-hong-yi-ju-tu-zheng-zhong-231416","仿王蒙葛洪移居图","郑重","明郑重仿王蒙葛洪移居图，中国古画，1612年（明神宗万历四十年）作。原属故宫博物院旧藏，现藏于台北故宫博物院。该幅作品描绘葛洪移居情景。布居窄长，用笔仿王蒙之焦墨來臫頭、渴樤苔，设色清雅。题材虽属道教故实，然人物比例远逊于山川林屋，观此画例，足证元明以降，山水画已蔚成国画作之主导。\n來臫頭《葛樤洪移居图》绘道教故事，晋代著名道士葛洪移居情景。葛洪为晋朝句容人，自号抱朴子，习炼丹术于郑隐，后闻交趾出丹砂，携子侄赴广东罗浮山炼丹。画中妻子鲍氏怀抱孩童，葛洪在后，俱骑牛。一童牵牛，一童担家具，一童捧鹅背药瓢。又有一羊二犬。画中山峦层层，用笔茂密，正是王蒙风格，点景人物，亦生动活泼。",[23,24,64,225,27,99,29,119,95,30,31,32,7,66,390,168,990,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb37d01a20b306b009a195204eafa7223.jpg","该幅135.8x29.1公分；全幅50.7公分",[],{"id":14739,"slug":14740,"title":163,"dynasty":18,"author":292,"museum":135,"description":14741,"tags":14742,"thumbUrl":14743,"material":142,"size":142,"collection":142,"collections":14744,"showCount":159,"zanCount":54,"manualWeight":54,"mainColor":55},228792,"zao-chun-tu-yi-ming-228792","此作用青绿晕染层叠翠峰，赭石铺展江天色底，将江南早春的温润灵秀尽纳卷中。苍松虬枝倚着黛色山峦，茂林吐翠，汀洲渔村、朱阁殿宇错落分布，烟波轻笼远山扁舟，晕开和煦澹宕的春日盛景。\n\n全卷兼工带写，界画工致严整，山水皴染细腻，设色妍雅沉静，既承袭宋青绿山水的富丽精工，又带着明文人山水的秀逸意趣。卷尾长题与朱印错落排布，丹青与纸墨交映，让山水清晖与传世文心相融，尽显春日江山的悠悠雅致。",[23,117,24,64,25,27,118,26,99,119,100,95,31,32,7,97,33,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb60605b4fe3e20e585065867ec31afa0.jpg",[],{"id":14746,"slug":14747,"title":2775,"dynasty":18,"author":2928,"museum":135,"description":14748,"tags":14749,"thumbUrl":14750,"material":142,"size":142,"collection":142,"collections":14751,"showCount":159,"zanCount":54,"manualWeight":54,"mainColor":262},228755,"shan-shui-tu-juan-wen-jia-228755","此卷以细笔绘就平远山水，起首林麓幽深，梵宇隐于松云之间，谷中云气萦回，衬出山峦层叠之致。中段湖面空阔，汀渚错落，村居藏于茂林，渔舟泛于烟波，尽展江南水泽的清和之态。后段重峦复岭，嘉木葱茏，山居错落嵌于岩岫间。\n笔墨承吴门清雅之风，山石以披麻皴写就，松枝虬劲秀挺，设色浅淡清逸，整体气息静谧淡远，将文人悠游林泉的雅趣寄于山水之间，尽显江南山水温婉诗意，是文人画萧散意境的绝佳体现。",[23,24,64,25,94,99,95,33,98,169,97,7,9250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59685d508ab0343fdec514458d694349.jpg",[],{"id":14753,"slug":14754,"title":11055,"dynasty":150,"author":11056,"museum":135,"description":14755,"tags":14756,"thumbUrl":14757,"material":142,"size":142,"collection":142,"collections":14758,"showCount":159,"zanCount":54,"manualWeight":54,"mainColor":55},228165,"qing-quan-qi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"title":14967,"dynasty":18,"author":2928,"museum":135,"description":14896,"tags":14968,"thumbUrl":14969,"material":229,"size":637,"collection":142,"collections":14970,"showCount":14900,"zanCount":54,"manualWeight":54,"mainColor":109},287724,"wei-xiang-yuan-bian-zuo-shan-shui-tu-wen-jia-287724","为项元汴作山水图",[24,117,64,225,94,27,95,30,140,7,199,119,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0343ce1632acf2dd3416832617f4359.jpg",[],{"id":14972,"slug":14973,"title":14974,"dynasty":344,"author":292,"museum":135,"description":14975,"tags":14976,"thumbUrl":14977,"material":229,"size":637,"collection":142,"collections":14978,"showCount":14900,"zanCount":54,"manualWeight":54,"mainColor":109},267355,"xiu-xian-ci-xi-yin-song-he-tu-zhou-yi-ming-267355","绣线慈禧印松鹤图轴","此作以绣为笔，将山水灵韵藏于针线之间。危崖奇崛高耸，古松虬枝横斜，松针层叠尽显苍劲高古，崖巅仙鹤独立，似在聆风望云；下方惊涛翻涌，汀渚之上又有仙鹤卓立，呼应松鹤延年的祥瑞寓意。\n\n绣线晕染柔和雅致，以淡紫与米白铺陈出山石松烟与流云之态，将水墨山水的晕染层次精妙复刻，针线藏于画意之中，不见匠气反倒尽显文人山水的清逸意境。搭配题印排布规整，让绣作兼具端雅礼制意蕴与文人书画审美意趣，是晚清融画入针的精妙绣作。",[24,225,64,7498,390,1287,95,7,98,169,119,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1872571a576ef6a2e5b4af6bf38695f1.jpg",[],{"id":14980,"slug":14981,"title":14982,"dynasty":344,"author":14983,"museum":135,"description":14984,"tags":14985,"thumbUrl":14986,"material":142,"size":142,"collection":368,"collections":14987,"showCount":14900,"zanCount":54,"manualWeight":54,"mainColor":55},239076,"jie-bao-tu-zhou-yin-shi-239076","捷报图轴","殷湜","此作以工笔绘就春日山居佳音之景。青绿晕染山石，皴擦间见苍润厚重，古木虬枝缀满白花，融融春意浸透林泉。宅邸回廊婉转延伸，窗内雅士围坐展卷，似正传阅捷报，庭中仆役步履轻捷，将得喜的雀跃藏于悠然日常。左下角策蹇缓行的旅人，让幽邃园林添了几分灵动生趣。全景构图将世俗喜事融入文人山居的清雅意趣，无张扬喜色，只在松弛闲雅的氛围里暗传佳音带来的慰藉与欣喜，细腻写实中尽显古典楼阁山水的清远意境，把日常雅事与俗世快意相融，晕染出平和又暗含暖意的春日图景。",[24,64,225,27,26,99,28,95,31,32,7,33,30,98,38,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08ce2d50abd7cdef7a350dd0aac9c8e0.jpg",[368,51],{"id":14989,"slug":14990,"title":14991,"dynasty":344,"author":7944,"museum":135,"description":7945,"tags":14992,"thumbUrl":14993,"material":142,"size":142,"collection":105,"collections":14994,"showCount":14900,"zanCount":54,"manualWeight":54,"mainColor":55},238783,"hua-shan-shui-bing-shu-shi-xiao-ce-dong-gao-238783","画山水并书诗小册",[24,64,332,27,28,95,31,32,7,5064,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd94eaa83bc9e80ed77f6908fc42b916.jpg",[105,51],{"id":14996,"slug":14997,"title":6096,"dynasty":18,"author":2605,"museum":135,"description":2606,"tags":14998,"thumbUrl":14999,"material":229,"size":637,"collection":142,"collections":15000,"showCount":14900,"zanCount":54,"manualWeight":54,"mainColor":109},237869,"shan-shui-shan-mian-wu-bin-237869",[24,1551,94,99,95,33,98,96,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c22e0115a9fdf45ed559e83e83397d8.jpg",[],{"id":15002,"slug":15003,"title":888,"dynasty":18,"author":7692,"museum":135,"description":15004,"tags":15005,"thumbUrl":15006,"material":335,"size":142,"collection":105,"collections":15007,"showCount":14900,"zanCount":54,"manualWeight":54,"mainColor":109},237576,"shan-shui-zhou-wang-wen-237576","王问（1497～1576）明代官员。字子裕，号仲山，江苏无锡人。嘉靖十一年进士，历官车驾郎中，擢广东按察佥事，因思念老父，未赴任，即弃官归家。书法类米芾，又似黄庭坚，点染山水、花鸟皆精。诗作萧闲疏放，冲然自得，有《仲山诗选》、《崇文馆稿》等。",[24,64,225,94,99,95,32,7,33,98,168,2206,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cefbf455b6e8d825dad7eb7a7b291de.jpg",[105,83],{"id":15009,"slug":15010,"title":655,"dynasty":344,"author":2710,"museum":2478,"description":15011,"tags":15012,"thumbUrl":15014,"material":142,"size":142,"collection":105,"collections":15015,"showCount":14900,"zanCount":54,"manualWeight":54,"mainColor":109},236731,"shan-shui-ce-hua-yan-236731","华嵒（1682～1756），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。华嵒是清康雍乾年间的著名画家，他笔下的鸟堪称一绝，最负盛名。\n华喦就是我们所熟知的新罗山人，但我相信这一套山水画册，大部分人都不是熟悉，这山水画册页并没有藏在国内，而是藏在美国的弗利尔美术馆，其可称为华喦非常精致的一套山水册页。",[24,94,332,100,119,95,96,199,7,15013,99],"丛树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc43d5f7e219be9710dcb9f942f6ea8a7.jpg",[105,51],{"id":15017,"slug":15018,"title":15019,"dynasty":18,"author":292,"museum":135,"description":15020,"tags":15021,"thumbUrl":15022,"material":142,"size":142,"collection":142,"collections":15023,"showCount":14900,"zanCount":54,"manualWeight":54,"mainColor":109},235841,"lu-zhi-tian-ping-shan-tu-ye-yi-ming-235841","陆治天平山图页","此作左文右图，诗画合璧。右侧绘层岩峻耸，浅绛设色清润柔和，山石勾勒苍秀兼具，山脚水陂萦回，隐见村舍错落其间，远山晕染朦胧杳霭，尽显江南丘壑灵秀清旷之意。远景山峦淡抹轻皴，近景林木屋舍细致清雅，于工写之间晕染出山林幽寂野趣。\n左侧行书题跋笔意舒展流畅，以文述景，将山川形胜娓娓铺陈，把实景奇崛与人文底蕴融于一卷，笔墨间晕开清雅意趣，将江南名山的形神与文人情思相融，淡远空灵，古意悠然。",[24,64,332,27,95,240,854,33,7,97,100,101,119,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff31993646a95510e802b9f5b7f7282af.jpg",[],{"id":15025,"slug":15026,"title":15027,"dynasty":344,"author":292,"museum":135,"description":15028,"tags":15029,"thumbUrl":15030,"material":142,"size":142,"collection":142,"collections":15031,"showCount":14900,"zanCount":54,"manualWeight":54,"mainColor":109},235159,"hong-ren-shan-shui-ce-yi-ming-235159","弘仁山水册","此作诗书合璧，意韵清寂淡远。画面中山石以淡墨轻勾慢皴，简劲利落，危崖垂瀑，涧水泠泠仿佛可闻，旁侧古木疏朗，枝叶简净，留白铺就出悠远天地，尽显萧疏空灵。\n\n题笔书法清隽挺秀，与山水意趣相融，暗合林泉幽怀。整幅以极简笔墨写尽山川风骨，冷静出尘的禅意溢满尺幅，将山野间苍岩古渡的幽寂之境凝于纸面，尽显文人山水寄情丘壑的雅逸，藏着独与天地精神往来的林下襟怀。",[24,64,332,94,99,100,119,95,168,33,171,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35e7428e9559f5e031d87ab5bba48b8a.jpg",[],{"id":15033,"slug":15034,"title":15035,"dynasty":344,"author":3047,"museum":135,"description":15036,"tags":15037,"thumbUrl":15038,"material":142,"size":142,"collection":142,"collections":15039,"showCount":14900,"zanCount":54,"manualWeight":54,"mainColor":109},235136,"shuang-feng-lan-re-tu-zhou-cha-shi-biao-235136","双峰兰若图轴","此作用笔简率松秀，以干笔淡墨绘就林泉丘壑。构图兼具高远、深远之致，上部平湖远山，轻舟泛波，空寂悠然；中部危崖矗立，山居隐于幽谷林麓；下部溪桥蜿蜒，长松杂木苍润清隽。\n画风承袭倪瓒遗意，意境荒寒清旷，题诗与山水交融，将暮色归舟、倦鸟投林的幽寂禅意晕开，尽显江南山水的雅逸空灵，把遗民文人孤寂淡远的心境，寄寓于萧散淡远的林泉之间，是逸笔山水的上乘之作。",[24,64,225,94,99,95,3454,199,32,140,7,96,38,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9077b316f660c1c5318a901885a06687.jpg",[],{"id":15041,"slug":15042,"title":15043,"dynasty":18,"author":1254,"museum":135,"description":15044,"tags":15045,"thumbUrl":15046,"material":142,"size":142,"collection":142,"collections":15047,"showCount":14900,"zanCount":54,"manualWeight":54,"mainColor":109},234977,"dong-qi-chang-shan-shui-ce-dong-qi-chang-234977","董其昌山水册","此册尺幅虽小，但笔墨极精。董其昌只书款而未钤印，是其当日自留收藏的得意之笔。册后有王时敏、笪重光二跋。从王时敏跋可知，此册为他的旧藏，后赠予王翚。佳作已在二跋文字中尽言，特录出跋文：\n“文敏于短笺小册作残山剩水，笔墨酣放，烟云灭没，俨然具万里势。真得简淡高人之致。余购藏之已二十余年。适石谷兄过小斋，见之叹赏不置，遂以诒之。非但高山流水得遇赏音，其气韵正相类也。戊申夏王时敏题。”\n“文敏每过京口，必馆于张氏园亭。所作小幅戏墨最多。余时从友人则之借观，爱其题跋，蝇头细书，未忍释手。即文敏当日亦殊自为珍重也。此册墨法天真幽淡，与张氏收藏极相类，烟客石谷两公之争赏，有以也夫。江上外史笪在辛漫识。”",[24,94,99,332,95,241,32,7,98,348,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3eaf428da4b947634930dd08ae3803a.jpg",[],{"id":15049,"slug":15050,"title":15051,"dynasty":18,"author":15052,"museum":135,"description":15053,"tags":15054,"thumbUrl":15055,"material":229,"size":637,"collection":142,"collections":15056,"showCount":14900,"zanCount":54,"manualWeight":54,"mainColor":109},234826,"jiang-nan-chun-se-tu-shan-wen-cong-jian-234826","江南春色图扇","文从简","文从简（1574年—1648年）字彦可，号枕烟老人，南直隶苏州府长洲（今江苏苏州）人。大书画家文徵明曾孙，明末清初画家。\n崇祯十三年（1640年）拔贡，入清后退居林下，以书画自娱。",[1551,24,64,95,27,7,96,378,97,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9775cd52498585ad3bd8ab52b20e0ceb.jpg",[],{"id":15058,"slug":15059,"title":15060,"dynasty":150,"author":2084,"museum":61,"description":15061,"tags":15062,"thumbUrl":15063,"material":469,"size":15064,"collection":142,"collections":15065,"showCount":14900,"zanCount":54,"manualWeight":54,"mainColor":109},234081,"yu-qiao-wen-da-tu-dan-ye-sheng-mao-234081","渔樵问答图单页","图中绘江水涛涛，远处山峦起伏，江中蓬船上一渔人垂杆而钓，坡岸树阴下樵夫踞坐，与舟中人对语，身旁置柴一担。笔墨精到，设色谈雅，营造出静谧祥和的氛围。渔樵问答是常见的表现隐逸文人的题材。",[24,64,94,95,30,33,96,306,100,119,99,7,140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d70c5c72cefda0f9a15b291e9a86fa3.jpg","纵29.1厘米磺20.3厘米",[],{"id":15067,"slug":15068,"title":11117,"dynasty":59,"author":209,"museum":61,"description":15069,"tags":15070,"thumbUrl":15072,"material":188,"size":11122,"collection":142,"collections":15073,"showCount":14900,"zanCount":54,"manualWeight":54,"mainColor":55},234035,"wu-zhu-xi-tang-tu-ye-xia-gui-234035","此画设色画修竹、梧桐、茅屋、远山。这是一幅近似正方构图的小品山水画面。画中主要突出近景，近景描绘细致而写真，远景则粗淡而画虚，又是一幅虚实结合的山水风景画。近景是高大而扭曲的夹叶梧桐树，及挺立而柔姿的翠竹，在微风中摆动，互相交映，茅屋及草堂在树荫下显露。在这幽静的环境里，一位隐士在草堂中，面对高山溪水观景赋诗，敞开胸怀，歌颂大自然的美景。在茅屋与草堂前有护栏同着的院庭，主人在庭院里闲散时，可以听到溪水潺潺声，树叶的沙沙声，以及远处山风的呼啸声，同时可以怀诗朗颂；远景朦胧中有山峰映显，是山溪水的升腾，使山峰尤如在云雾中飘移。这水声、风声及诗人在山水问的朗渎声，可以组成人间大自然美好交响乐章，这就是夏圭山水中的具笔墨淋漓、云烟变态，饶有士大夫风骨的画面。\n此画设色画梧桐、修竹、茅屋、远山。构图上采用“一角”画法。画竹、树疏朗简洁，布局巧妙。全画笔法苍老劲健，下笔疾速果断。画中茅屋随手勾出，显得严谨而活泼。整幅画面层次鲜明，用浓墨写近景，再用淡墨画栏杆，远山则用花青略加渲染，使画面产生了强烈的空间感。\n构图上采用所谓“一角”、“半边”之法，主要景色都集中在画面下部，左侧取其大自然中真实一角，与右旁渺无人烟的画面，只有山影在茫茫的雾气中浮动，构成了意境深远的山水画。所画竹、树疏朗简洁，布局巧妙，作者以粗笔浓墨勾出梧桐树干及叶丛，用中锋画竹竿，以楷书写竹叶，堂宇、栏杆画得破有成规，近处山石棱焦清晰，并有青苔点簇，树林中蕴现的秀石以浅墨勾出，又以淡水墨染之，与装饰性的梧竹，形成色差的对比。画中茅屋，不用界尺，随手勾出，显得严谨而活泼。远远的山形与天色几乎相混，只见有一笔勾之，远山用花青略加渲染，造成的深远景色，只能让观者在意境中识别，这是夏画中的意取胜的展现。在此幅画中，见到了作者较富装饰性的山水画。以自识“夏圭”款二字于左方树干上。\n《梧竹溪堂图》画面简明地分成虚实两块，正是典型的“夏半边”构图。画中树木干枝曲折多弯，亦与马远树法相同。惟其用笔苍润含蓄，不似马远瘦硬刚劲，这大概与夏圭好用秃笔有关。建筑物也是用毛笔信手勾勒出来的，透视、比例都很合理，虽不及马远的界画法工细，却也别有韵味。若再细看，不难看到房柱、栏杆之类建筑构件是以较严谨、沉稳的线条组成，画屋顶茅草的线条则显得疏松、随意，这一细节透露出画家信手勾勒时仍很有分寸。由于画小景物不多，夏圭善用墨色的特点在《梧竹溪堂图》中表现得不是非常充分，然其墨色浓淡相济，足以将画面空间交待得层次分明，使景物密集处也有了几分空灵感。",[24,117,332,101,94,27,99,95,543,4799,15071,32,7,241,854,1692,38,100],"堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0eaba403757890198eedd65e6a3143f.jpg",[],{"id":15075,"slug":15076,"title":15077,"dynasty":344,"author":808,"museum":61,"description":15078,"tags":15079,"thumbUrl":15080,"material":335,"size":12582,"collection":142,"collections":15081,"showCount":14900,"zanCount":54,"manualWeight":54,"mainColor":109},233124,"yuan-ji-shan-shui-ce-shi-tao-233124","原济山水册","本册共八开。设色画山水小景。\n原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[24,94,27,99,332,95,31,32,7,96,97,33,76,348,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c602cd77091e21913fd0d6ad29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Lang Freer）。\n此幅作品林庭珪用精确的轮廓和明亮、不透明的颜色画出了六个人物。画面中，五罗汉和他们的仆人正在洗衣服，并把衣服晾在外面晾干。右下角有几乎完全看不清的艺术家签名，用金粉题写。",[23,117,24,64,225,598,27,26,30,255,7,171,15088],"衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d9932e8b6df250624925fe2c5bd5f4f.jpg","112.3×53.5cm",[],{"id":15093,"slug":15094,"title":15095,"dynasty":2023,"author":15096,"museum":135,"description":15097,"tags":15098,"thumbUrl":15099,"material":229,"size":637,"collection":142,"collections":15100,"showCount":14900,"zanCount":54,"manualWeight":54,"mainColor":109},231741,"an-tu-tao-shan-shi-dai-gui-tu-ping-feng-shou-ye-yong-de-231741","安土桃山时代 桧图屏风","狩野永德","狩野永德（1543年～1590年），日本画家。名州信，通称源四郎。1543年1月13日生于山越国（今京都），卒于1590年9月14日。他的传世作品还有《唐狮子屏风》、《桧图屏风》及《洛中洛外图屏风》等。",[23,117,24,64,866,27,95,241,7,98,821,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40c0049bfcdc4c1a73a70e15f916753b.jpg",[],{"id":15102,"slug":15103,"title":15104,"dynasty":344,"author":292,"museum":135,"description":15105,"tags":15106,"thumbUrl":15107,"material":229,"size":637,"collection":142,"collections":15108,"showCount":14900,"zanCount":54,"manualWeight":54,"mainColor":109},230341,"zi-hang-zhou-xing-gong-you-xi-hu-dao-li-tu-shuo-yi-ming-230341","自杭州行宫游西湖道里图说","以淡赭晕开烟水，用青绿点染丘峦，将舆图的实用意趣融在山水画卷之中。黄线牵起驿路，串起沿线错落的村舍亭台，标注清晰明了，既是游湖道里的详实指引，亦是江南烟景的诗意描摹。\n它跳出枯燥的测绘范式，以文人山水的笔致铺陈湖山乡野，层叠的浅山、漾开的水色晕染出江南灵秀温婉的气韵，让行路的日常图景，化作一卷可赏可游的丹青小品，雅俗共赏，尽显江南风物的清润雅致。",[24,27,26,99,25,95,31,32,7,227,97,33,76,43,8270,344],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae723b32fd6bb667dfdb29e532f9c00b.jpg",[],{"id":15110,"slug":15111,"title":15112,"dynasty":344,"author":2710,"museum":135,"description":15113,"tags":15114,"thumbUrl":15115,"material":142,"size":142,"collection":142,"collections":15116,"showCount":14900,"zanCount":54,"manualWeight":54,"mainColor":109},230169,"shan-shui-shi-er-kai-hua-ce-hua-yan-230169","山水十二开画册","此作青绿设色清润雅致，山石以皴染晕开，糅合苍劲与秀润。古松虬枝横斜，蟠曲苍劲，松针攒簇尽显古拙生机。飞瀑层叠跌落，汇入山下溪涧，浅滩空舟系岸，不见钓者，愈衬出秋山清寂。\n\n右上角题诗与画境相契，以白鸥、钓舟点出幽居隐逸的闲趣。诗画交融，将秋日溪山的萧疏淡远，和寄情林泉的雅意融为一体，笔底兼具文人画的简淡诗意与灵动生气，无繁复堆砌，尽是悠然出世的林下之风，观之令人沉静忘俗。",[117,24,64,332,94,118,27,95,390,98,33,7,32,96,1288,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa515902d2b222c91f48162a7d0369c12.jpg",[],{"id":15118,"slug":15119,"title":15120,"dynasty":18,"author":1948,"museum":135,"description":8181,"tags":15121,"thumbUrl":15122,"material":229,"size":637,"collection":142,"collections":15123,"showCount":14900,"zanCount":54,"manualWeight":54,"mainColor":109},228878,"shan-mian-16-kai-wen-zheng-ming-228878","扇面16开",[23,24,64,1551,27,94,95,390,76,30,5799,33,98,351,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68c9a8fe894a74a812bf08326153bd60.jpg",[],{"id":15125,"slug":15126,"title":15127,"dynasty":18,"author":251,"museum":135,"description":15128,"tags":15129,"thumbUrl":15134,"material":142,"size":142,"collection":142,"collections":15135,"showCount":14900,"zanCount":54,"manualWeight":54,"mainColor":55},228425,"shan-shui-shi-kai-lan-ying-228425","山水十开","此作用笔苍秀兼具，远景层峦叠嶂，云气轻笼，山寺浮屠隐现烟岚间，漾出幽寂禅意。近水岸洲渚错落，虬松杂木姿态夭矫，茅庐临水静立，板桥横卧浅流，野逸之趣扑面而来。以斧劈皴写山石，轮廓爽利劲健，墨色浓淡铺陈拉开远近空间层次，将林壑清旷冷寂与山居闲适安然相融，把林泉高致的隐逸向往寄寓寻常丘壑间，简淡尺幅里尽显苍润格调，是意韵悠然的山水小品佳构。",[24,117,64,95,94,99,332,15130,333,15131,32,7,390,15132,11292,5009,15133],"山寺","茅庐","洲渚","小品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdd7732be2a59ff5b0e60ffc6785e38c.jpg",[],{"id":15137,"slug":15138,"title":15139,"dynasty":59,"author":7578,"museum":135,"description":15140,"tags":15141,"thumbUrl":15144,"material":142,"size":142,"collection":142,"collections":15145,"showCount":14900,"zanCount":54,"manualWeight":54,"mainColor":55},227755,"jiang-di-fang-mu-tu-yan-ci-ping-227755","江堤放牧图","《四季牧牛图》是南宋画家阎次平创作的绢本浅设色画，现藏于南京博物院。\n\n此画共四幅。春牧绘春野柳坡，细草如茵，一童牧二牛于其间。夏牧绘高树浓荫，芦池夏草，二童跨牛浮水而渡。秋牧绘霜叶满地，幼犊依偎于牝牛，牡牛缓步于傍，牝牛坐弄蟾蜍。冬牧绘雪地残草，寒风呼号，牧童牵牛而归。全图画树木用笔粗简，画牛则精细勾描，人物尤为生动。",[23,24,64,1551,27,95,99,26,67,15142,33,348,199,7,15143],"堤岸","放牧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3a261f44b092c6d8d8542f432afd33d.jpg",[],{"id":15147,"slug":15148,"title":15149,"dynasty":59,"author":164,"museum":135,"description":15150,"tags":15151,"thumbUrl":15152,"material":142,"size":142,"collection":142,"collections":15153,"showCount":14900,"zanCount":54,"manualWeight":54,"mainColor":55},227542,"qiu-shan-ce-zhang-tu-guo-xi-227542","秋山策杖图","郭熙（约1000～约1090年），北宋杰出画家、绘画理论家。字淳夫，河阳府温县（今属河南）人。他出身平民，早年信奉道教，游于方外，以画闻名。熙宁元年召入画院，后任翰林待诏直长。山水师法李成，山石创为状如卷云的皴笔，后人称为“卷云皴”。 他画山水注重深入体察生活，能真实、细致、微妙地表现出不同地区、季节、气候的特点，得“远近浅深，四时朝暮，风雨明晦之不同”，创造出极其丰富优美动人的意境，另外他还长于影塑，在墙壁上用泥堆塑浮雕式的山水，别具情趣。\n\n郭熙有《早春图》《关山春雪图》《窠石平远图》《幽谷图》《古木遥山图》等传世。其中《早春图》成功地表现出冬去春来、大地复苏、万物甦醒的细致季节变化。在绘画理论上郭熙亦有很高建树，其理论集中反映在他的《林泉高致》一书中。",[23,24,1551,95,30,33,7,98,99,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F301e81485e068c4f080628a129182f75.jpg",[],{"id":15155,"slug":15156,"title":15157,"dynasty":59,"author":292,"museum":135,"description":15158,"tags":15159,"thumbUrl":15160,"material":142,"size":142,"collection":142,"collections":15161,"showCount":14900,"zanCount":54,"manualWeight":54,"mainColor":109},227417,"jiang-shan-xing-lv-tu-juan-yi-ming-227417","江山行旅图卷","金代，太古遗民《江山行旅图》素笺本墨笔，手卷，纵40厘米，横449厘米，现藏美国纳尔逊美术馆。\n\n江山行旅图画艺精湛，保存完好，并且流传有绪，实为金代山水画的珍品。 依据款署“太古遗民”推断，此画作者应为一位北宋遗民画家，他隐姓埋名，深居简出，不忘大宋，不愿屈服而甘当遗民。另根据“东皋”钤印判断，这位画家有可能籍贯为东皋 (今山西河津)，而从画面描绘的北方山川风物景色来看也与此地域相近，也可能借此怀念前朝往事。",[23,24,64,25,94,99,95,30,31,32,7,96,97,122,1397,140,119,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37b7a6e166095eda52c8ee30b92608df.jpg",[],{"id":15163,"slug":15164,"title":15165,"dynasty":2023,"author":15166,"museum":135,"description":15167,"tags":15168,"thumbUrl":15169,"material":142,"size":142,"collection":142,"collections":15170,"showCount":14900,"zanCount":54,"manualWeight":54,"mainColor":55},226652,"qiu-dong-shan-shui-tu-er-qiu-jing-xue-zhou-226652","秋冬山水图二（秋景）","雪舟","雪舟等杨是日本绘画史上“汉画派”的开创者和集大成者，他的绘画代表着日本汉画的最高成就，他所处的时代是汉画的全盛期。雪舟等杨，12岁入相国寺为僧，热衷于绘画，曾师从日本的山水画大师学习绘画，兼容并蓄临摹了大量的中国宋元的水墨画样式。为了探究中国画之真谛，1467年，他作为画僧随日本遣明使节来到中国，历览中国名山大川，创作了大量的山水画，并向各方绘画大师交流绘画技艺。他领悟到中国画的根源在于中国的自然风物，中国的自然风物是最好的老师。",[23,24,64,94,225,95,31,96,98,7,99,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62940e9c2c67e15be413e65dd353aee4.jpg",[],{"id":15172,"slug":15173,"title":15174,"dynasty":344,"author":6097,"museum":135,"description":15175,"tags":15176,"thumbUrl":15177,"material":142,"size":142,"collection":142,"collections":15178,"showCount":14900,"zanCount":54,"manualWeight":54,"mainColor":109},226633,"si-shi-shan-shui-06-pu-ru-226633","四时山水06","溥儒(1895-1963)，满族，北京人。近代国画大师，出身清皇族，姓爱新觉罗，字心畲，又号羲皇上人﹑西山逸士。曾留学德国，笃嗜诗文、书画，皆有成就。画工山水、兼擅人物、花卉及书法，昔时与张大千有“南张北溥”之誉，又与吴湖帆并称“南吴北溥”。",[23,24,64,332,94,99,95,2256,33,171,7,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a07a1da90f3721a821c6ce420630cd0.jpg",[],{"id":15180,"slug":15181,"title":15182,"dynasty":344,"author":3047,"museum":135,"description":15183,"tags":15184,"thumbUrl":15185,"material":142,"size":142,"collection":142,"collections":15186,"showCount":14900,"zanCount":54,"manualWeight":54,"mainColor":109},224259,"qing-shan-bian-ju-zhou-cha-shi-biao-224259","青山卞居轴","此作用笔简淡松灵，枯笔皴擦绘就远山，留白晕染出烟水空濛。近岸茅亭孑然独立，疏柳杂木错落萧疏，淡墨轻写出浅滩陂陀，处处漫溢着清寂冷逸。\n\n整幅师法云林笔意，删去俗冗细节，以极简线条勾勒物象，铺陈出江南水村的静穆清旷。无浓墨重彩，只以干笔淡墨写尽荒寒淡远，隔绝尘嚣的幽居之景跃然纸上，寄寓着幽隐世外的襟怀，尽显简淡清逸的文人风神，将空寂淡远融于尺幅之间，观之如临无人之境，心绪随烟水一同沉静。",[23,24,225,94,99,138,95,97,255,1177,98,7,348],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F006ae7f50b438d9d6964e4b663017571.jpg",[],{"id":15188,"slug":15189,"title":15190,"dynasty":344,"author":6590,"museum":1308,"description":6591,"tags":15191,"thumbUrl":15192,"material":188,"size":6596,"collection":142,"collections":15193,"showCount":14900,"zanCount":54,"manualWeight":54,"mainColor":109},223000,"hong-lou-meng-125-sun-wen-223000","红楼梦125",[23,24,26,27,25,30,6431,31,32,7,97,120,2921,95,1068],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcac58242e2054c8fba0b1a1f2c176f5e.jpg",[],{"id":15195,"slug":15196,"title":15197,"dynasty":344,"author":6590,"museum":1308,"description":6591,"tags":15198,"thumbUrl":15199,"material":188,"size":6596,"collection":142,"collections":15200,"showCount":14900,"zanCount":54,"manualWeight":54,"mainColor":109},222975,"hong-lou-meng-100-sun-wen-222975","红楼梦100",[23,24,26,27,30,32,7,31,33,98,139,95,1692],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc02cea595cc9e460aa38cbb1a814dd9e.jpg",[],{"id":15202,"slug":15203,"title":15204,"dynasty":344,"author":6590,"museum":1308,"description":6591,"tags":15205,"thumbUrl":15206,"material":188,"size":6596,"collection":142,"collections":15207,"showCount":14900,"zanCount":54,"manualWeight":54,"mainColor":109},222958,"hong-lou-meng-83-sun-wen-222958","红楼梦83",[23,24,64,26,27,30,31,32,7,97,95,378,1692,39,1288],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7403ace2ce41dd5ba217ead338cf78bf.jpg",[],{"id":15209,"slug":15210,"title":15211,"dynasty":18,"author":90,"museum":91,"description":15212,"tags":15213,"thumbUrl":15214,"material":469,"size":15215,"collection":142,"collections":15216,"showCount":14900,"zanCount":54,"manualWeight":54,"mainColor":109},222132,"yu-jiang-ming-sheng-tu-ce-shen-zhou-222132","雨江名胜图册","此图是描绘长江淮河两岸名胜风景的册页，共十幅，每幅对页有沈周自题七绝一首，并有友人文嘉、王穉登等人题和诗。画面皆剪裁简明，情景融合，却构成诗意盎然的境界。用笔质朴、凝重，山峦的 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title":15488,"dynasty":18,"author":15489,"museum":135,"description":15490,"tags":15491,"thumbUrl":15492,"material":142,"size":142,"collection":142,"collections":15493,"showCount":217,"zanCount":11,"manualWeight":54,"mainColor":109},234221,"an-mo-bi-lan-ting-tu-juan-wang-yun-234221","安墨笔兰亭图卷","王允","《王允安墨笔兰亭图卷》是明代画家王允安创作的一幅画。\n《墨笔兰亭图》卷，明，王允安绘，纵21.7cm，横44cm。",[23,24,25,94,138,95,30,33,98,32,7,97,2321],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85b51d88b8f0e32cb20a94bceb55ed39.jpg",[],{"id":15495,"slug":15496,"title":15497,"dynasty":344,"author":2489,"museum":61,"description":15498,"tags":15499,"thumbUrl":15500,"material":258,"size":15501,"collection":142,"collections":15502,"showCount":217,"zanCount":54,"manualWeight":54,"mainColor":109},234178,"wo-you-tu-juan-kun-can-234178","卧游图卷","髡残字介邱，号石溪，又号白秃、电住道人、壤残道者，武陵人。工人物、花卉，尤精山水。此图笔墨苍润，结构繁简得宜，虚实相生，气脉连贯，粗放中苍润沉郁而物象毕现。",[23,117,24,64,25,94,99,101,7872,100,119,95,240,901,241,97,76,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae89608ed6536f95368216b186364913.jpg","28.1×375厘米",[],{"id":15504,"slug":15505,"title":15506,"dynasty":18,"author":1254,"museum":61,"description":15507,"tags":15508,"thumbUrl":15509,"material":714,"size":15510,"collection":142,"collections":15511,"showCount":217,"zanCount":54,"manualWeight":54,"mainColor":109},233713,"gao-yi-tu-zhou-dong-qi-chang-233713","高逸图轴","明万历四十四年(1616年)三月，董其昌正赋闲居家。由于其子与乡民发生冲突，导致其宅被焚，家资尽丧，此即著名的“民抄董宦”事件。董其昌被迫避祸他乡，惶惶往来于吴兴、镇江之间。虽然半年后事态逐渐平息，但董似乎心有余悸，仍旧频频四出游历、访友。此图即为第二年董氏去镇江、太湖间的练湖畔访其旧友蒋道枢，与蒋氏泛舟荆溪时的即兴之作，颇似当年倪瓒弃家隐居太湖时的心境。董其昌此图采用了倪氏典型的笔墨技法，湖滨两岸的浅坡及山丘皆以干笔淡墨施以折带皴，行笔以侧锋为主，笔墨苍逸，极好地表达出倪画中萧散简远的意境，同时也反映了作者晚年身历劫乱后的苍凉心绪。但作者又非简单地仿古，近岸数株盘屈虬结的古木就充分体现了作者独特的艺术创造。董氏画树有其独到的见解，他在《画禅室随笔》中写道：“画树之法，须专以转折为主……如写字之于转笔用力，更不可往而不收……但画一尺树，更不可令有半寸之直，须笔笔转去。此秘诀也。”树过于直，不免枯燥、呆板，有曲折才见变化、生意。观此图之树，确实起到了点醒画面的作用。近景之树，不仅是连接两岸的桥梁，填补了湖面的大片空白，同时也是作者刻意表现的另一主要物象，它们攲侧的走势以及相互之间纠结牵引的姿态，都使冷寂空阔的景色趋于活跃，表现了董其昌多方面的笔墨技巧。",[24,64,225,94,95,99,101,33,98,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f9d36af4fbafa00368ece3a1a18dc03.jpg","纵89.5厘米，横51.6厘米",[],{"id":15513,"slug":15514,"title":5636,"dynasty":59,"author":6998,"museum":152,"description":15515,"tags":15516,"thumbUrl":15517,"material":659,"size":15518,"collection":142,"collections":15519,"showCount":217,"zanCount":54,"manualWeight":54,"mainColor":640},232600,"shan-shui-tu-zhou-zhao-bo-ju-232600","此作无名款，以细笔描绘沿溪风光，空间绵延，物象丰富，甚得乾隆皇帝喜爱。根据乾隆二十二年的题跋，乾隆皇帝 “观其风神笔力”，故称为赵伯驹之作。本幅画山水晴云，游骑寻春，村家桃柳，水亭茶话。通幅以青绿为主调，生动地表现出春日触目皆绿的景致",[23,117,24,64,225,27,95,31,32,7,96,26,99,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e7c6c4658758839cef52e467585382b.jpg","纵89.5cm，横32.3cm",[],{"id":15521,"slug":15522,"title":15523,"dynasty":2023,"author":292,"museum":135,"description":15524,"tags":15525,"thumbUrl":15526,"material":229,"size":637,"collection":142,"collections":15527,"showCount":217,"zanCount":54,"manualWeight":54,"mainColor":55},231709,"lian-cang-shi-dai-tian-gou-cao-zhi-hua-juan-dong-si-ti-hu-si-juan-yi-ming-231709","镰仓时代 天狗草纸画卷-东寺醍醐寺卷","这幅淡彩界画长卷以平远视角铺展古寺全景，工致勾勒出朱红深褐的殿宇院墙，与青绿浅赭的丘林水色相融，古雅清寂。苍松错落点缀寺畔林麓，桥宇台阁排布严整，尽显伽蓝规制的肃穆雅致。配题书法端稳沉静，与界画的工细营造呼应，将古寺的清幽禅意与山林水景织为一卷，还原出古寺隐于林泉的澹然风貌，晕染出沉静古朴的宗教绘卷质感。",[23,24,64,25,27,28,26,598,31,32,7,97,95,33,98,10314,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86233f6d563f2506979f6ec094ee2458.jpg",[],{"id":15529,"slug":15530,"title":4870,"dynasty":150,"author":292,"museum":152,"description":15531,"tags":15532,"thumbUrl":15533,"material":7825,"size":15534,"collection":142,"collections":15535,"showCount":217,"zanCount":54,"manualWeight":54,"mainColor":55},231399,"qiu-shan-tu-yi-ming-231399","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。",[24,64,95,99,94,27,240,241,7,98,1758,171,1711,173,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95db5f648889bd0b3227e7193ab2e761.jpg","46.3x57.1厘米",[],{"id":15537,"slug":15538,"title":15539,"dynasty":344,"author":2804,"museum":152,"description":15540,"tags":15541,"thumbUrl":15542,"material":2637,"size":15543,"collection":142,"collections":15544,"showCount":217,"zanCount":54,"manualWeight":54,"mainColor":55},231370,"bai-ying-tu-lang-shi-ning-231370","白鹰图","《白鹰图》创作于乾隆十六年（1751年），是郎世宁中西画法完美结合的最杰出作品之一。\n画面主体中的白鹰以白粉精细描绘，传承欧洲绘画技法，注重物象的解剖结构、光影效果及立体感，把翘首殷望的白鹰刻画的形神逼真；而背景中的松石则全然采用中国写意笔墨，清涧石岩，傲松凌立。\n此图绘江南雨后的芭蕉竹石，笔墨粗简，构图也十分简括。画幅上方，留出大面积空白，显得更加深邃清旷。这种“知白守黑”的处理，使画意更加完整而富于张力，给观者以无限的想象空间，正所谓“于无画处，皆成妙境”。整幅作品充满着一种自省的内在精神，耐人寻味。\n《白鹰图》以独特的艺术构思、隽永的表现手法和浑然天成的情景交融给观者以极大的艺术享受，意境深远，令人思绪万千。\n这幅《白鹰图》虽然有着明显欧洲画法的因素，但是画中所含的内容却完全是传统中国的风格。图中白鹰、松树、巨石、流水等均是中国绘画中习见的物象，喻意中象征着强壮、长寿、平安、吉祥等等。根据画上的署款，此图是根据乾隆十六年五月初十日，大学士忠勇公傅恒所进献的白鹰所画，相传皇太后生日即在五月，乾隆大孝，号称“以天下养”，即用天下最美好的财富来侍奉母亲，因此，《白鹰图》也是一幅极为贵重的祝寿图。",[24,64,225,26,27,122,3834,95,140,7,199,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F991122f93eaf082fff4079d1c96c94cd.jpg","122.25x64.79",[],{"id":15546,"slug":15547,"title":15548,"dynasty":344,"author":3047,"museum":135,"description":15549,"tags":15550,"thumbUrl":15551,"material":142,"size":142,"collection":142,"collections":15552,"showCount":217,"zanCount":11,"manualWeight":54,"mainColor":109},231017,"qing-xi-fang-ting-tu-cha-shi-biao-231017","清溪放艇图","《馆藏精品选（天津艺术博物馆1共4张）\u002F东方画谱》是218年文物出版社出版的图书，作者是（清）查士标，弘仁，[清] 龚贤，王时敏，[元] 边鲁。\n本书突破传统意义的画谱、画册形式，以八开折叠的方式，原色、原迹、高清的面貌呈现，整体全面且完整，局部精彩而丰富。\n收录了以下作品：《清溪放艇图松溪石壁图》《山楼客话图》《起居平安图》《挂壁飞泉图》。\n《清溪放艇图松溪石壁图》收录了2幅代表作。\n《清溪放艇图》为大写意山水画，描绘的是秋日山水风景。\n查士标以简率的浓淡两色笔墨，夹以枯笔，画出一派静寂空寥的秋江意象。\n画中一叶扁舟，渔夫垂钓于上，江面微波仅以几根简单的线条勾勒，生动形象。\n放眼望去山脉连绵，远处天空盘旋着几只寒鸦，令人生出孤冷寂寥之感。\n《松溪石壁图》采用高远构图法，描绘了壮丽的山林景色。\n画中兀立的山体几乎充满画面，画上方的空白处更显得透气爽朗，也衬托了天地之大。\n峦头峰顶时用“鼠足小点”苔点法，使画面疏密节奏异常鲜明。\n近景古松茂密，仰对山峦，其间溪水盘迁，似有山风穿涧而过。\n远景高峰耸立，气象宏大，一道飞泉直泄，气势奔放。\n屋宇或小舍，掩于远处的山脚或坡岸，显示了人与自然的和谐之境。\n《山楼客话图》采用深远构图法，描绘了雄伟壮丽的山水风景。\n画面山峦层叠，溪流深壑，茂林密布，水阁散立其间。\n此画以赭墨为主，深厚而单纯，清脱而滋润。\n山石大量使用披麻皴，细劲有力，丝丝入扣。\n点苔用墨，浓淡相杂，疏落有致。\n该画作于康熙十四年（1675年），是王时敏晚年作品。\n《起居平安图》作品画一巨石上立一锦鸡，扬尾低头张喙呜叫。\n石旁有竹枝、枸杞、兰草之属。\n锦鸡刻画细微，石勾皴结合，其他形象刻画得也十分精细，双勾加淡墨染。\n有宋画精密不苟的韵致。\n画左上角自识：“魏郡边鲁制。\n”此图的寓意是采用民间艺术以谐音方法来表达，雉为“誓”的谐音，雉石画在一起暗指意志坚定，画枸杞取的是“苟”的谐音，暗指不苟且偷生，即“不屈不挠，宁誓死而不苟活”的坚定信念。\n《一道飞泉图挂壁飞泉图》收录龚贤2幅画作。\n《一道飞泉图》采用高远构图法，描绘了江南山水雄伟壮丽的景色。\n画面崇山峻岭，山上树木丛生，枝繁叶茂，几间茅屋掩映于丛林之中，寂静的山林更增添了幽邃之感。\n一道清泉顺山而下，明快优雅。\n整幅画面笔酣墨润，气韵十足，真实生动地表现出江南山水的浑厚和苍秀，给人以清新自然之感。\n《挂壁飞泉图》采用深远构图法，描绘了崇山峻岭，树木繁盛，一道飞瀑从山崖间顺势直泻，气势奔放。\n画面主峰成尖塔形，雄奇而安稳，披麻皴层层叠加，线条短促，略似范宽雨点皴法。\n龚贤墨法焦湿并用，层层积染，用笔雄浑厚重，风标独特。\n整幅作品构图严谨，画格寂静、空旷，禅意浓厚，是龚贤画作精品。\n《清溪放艇图松溪石壁图》 《山楼客话图》 《起居平安图》 《挂壁飞泉图》",[23,24,64,225,94,99,95,96,122,140,7,199,256,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87bec418d6de53416cd6e98304cd5b6f.jpg",[],{"id":15554,"slug":15555,"title":15556,"dynasty":344,"author":3589,"museum":135,"description":15557,"tags":15558,"thumbUrl":15560,"material":142,"size":142,"collection":142,"collections":15561,"showCount":217,"zanCount":11,"manualWeight":54,"mainColor":55},230857,"jiang-xiang-qing-xiao-tu-yu-zhi-ding-230857","江乡清晓图","《江乡清晓图》是清代画家禹之鼎创作的一幅绢本设色画，现藏于旅顺博物馆。\n两棵老柳垂条，掩映溪桥田野，远处山麓桃花盛 开、一派江南水乡春色。\n柳畔屋前，妇携幼童，望老翁坐 在矶石上垂钓。\n笔 墨工秀，设色浓丽， 刻划精细，如屋内 纺车、老翁戴的无 顶草笠、带有线轮 的钓竿，均一丝不 苟。\n自题“戊子首春 仿赵大年江乡清晓 图”。\n戊子为康熙四 十七年(178)，乃晚 年手笔。\n禹之鼎（1647—1716年），字尚吉，号慎斋，江都(今江苏扬州)人。\n清康熙二十年(1681年)官鸿胪寺序班，以画供奉入畅春园。\n善画人物、山水，尤精写真。\n初师蓝瑛，兼学宋元诸家。\n肖像画面貌多样，对白描法、墨骨法、江南法都有研究，所绘人物形神兼备，独具一格，一时名公小像多出其手，其肖像画在清代中期有“当代第一”之誉。",[23,24,64,27,26,99,95,30,32,7,378,120,350,4365,5133,15559,8000],"妇人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa80bad0a4e7b08769098da0f127b7e6.jpg",[],{"id":15563,"slug":15564,"title":4284,"dynasty":344,"author":11528,"museum":135,"description":11529,"tags":15565,"thumbUrl":15566,"material":229,"size":637,"collection":142,"collections":15567,"showCount":217,"zanCount":54,"manualWeight":54,"mainColor":109},230355,"lan-ting-xiu-xi-tu-juan-fan-qi-230355",[23,24,64,25,27,26,95,97,30,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5707e8f94ee1c363234026c2a717d008.jpg",[],{"id":15569,"slug":15570,"title":15571,"dynasty":344,"author":15572,"museum":135,"description":15573,"tags":15574,"thumbUrl":15575,"material":142,"size":142,"collection":142,"collections":15576,"showCount":217,"zanCount":54,"manualWeight":54,"mainColor":109},230216,"fang-gu-shan-shui-ce-ye-8-kai-gu-kui-230216","仿古山水册页8开","顾逵","此作用淡墨晕染出烟雨江南的朦胧意趣，山峦以浅皴轻苔点出温润质感，如被薄雾轻笼。水面留白衔接着远天近岸，一叶扁舟随波缓行，载着晚归的闲散意趣。\n\n林间茅舍隐于枝叶之间，不见喧嚣，唯余清寂。简笔点染的林木不带繁饰，却将风雨初歇的湿润淋漓尽数藏于墨色层次里。通篇以水墨铺陈，无一处浓艳设色，把平和冲淡的林下之思晕在烟岚雾霭中，将人轻轻拉入这幅水墨长卷，静看波痕微动，坐听晚风穿林，尽得古典山水空灵澹远的禅意。",[24,94,332,99,2880,95,96,7,199,33,348],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ab22a74172d9c0fa0f97e6463ea3e86.jpg",[],{"id":15578,"slug":15579,"title":15580,"dynasty":344,"author":2071,"museum":135,"description":15581,"tags":15582,"thumbUrl":15583,"material":142,"size":142,"collection":142,"collections":15584,"showCount":217,"zanCount":54,"manualWeight":54,"mainColor":109},229020,"song-qiao-tang-tu-juan-wang-hui-229020","松乔堂图卷","此作为全景山水长卷，以平远章法铺展丘园山居。山峦以披麻皴晕染，墨色温雅清润，层叠峰峦间林木蓊郁，村居茅舍错落隐于松石溪畔，漾出江南山居的幽寂雅致。\n\n画作糅合元人笔墨逸趣与宋人丘壑之美，笔致秀逸温婉，将林泉高致的隐逸意趣藏于尺幅。卷后长题与绘境相映，文墨与画韵相得益彰，尽显清雅出尘的文人画格调，是兼具写景抒情的山水佳构。",[23,24,64,25,27,95,99,390,98,76,348,33,97,7,119,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15c561e116abb11fa5628ec40e21a60a.jpg",[],{"id":15586,"slug":15587,"title":15588,"dynasty":18,"author":15589,"museum":135,"description":15590,"tags":15591,"thumbUrl":15593,"material":142,"size":142,"collection":142,"collections":15594,"showCount":217,"zanCount":11,"manualWeight":54,"mainColor":109},228888,"lan-ting-tu-bing-shu-xu-juan-xu-guang-zuo-228888","兰亭图并书序卷","许光祚","《兰亭图并书序》为中国明代 创作的绫本书画作品，现藏于 。\n卷后有 书《兰亭序》，落款曰：“辛亥暮春摹于长水之玉瑛堂。\n关西许光祚。\n”下钤“灵长氏”朱文印。\n辛亥为1611年（明万历三十九年）。\n画心无款，有“永安沈氏藏书画印”朱文鉴藏印一方。\n许光祚，活跃于明代万历年间，字灵长，陕西人。\n与汤焕同郡，得其书法，时人号曰汤许。\n举于乡，知太平县，著有《许灵长集》。\n有书法作品传世，但文献没有记载他能绘画。\n此卷以山水为背景，表现兰亭修禊故事。\n卷首山脚下二文士携三童子而来，往前溪水边有一亭，亭中间置一桌，一文士在桌上挥毫，一文士坐于侧，另有一文士坐长凳上倚栏观鹅。\n溪流两岸边绘众文士及童子，文士们分组而坐，或凝思或交谈，或观摩或挥毫，其中有一人袒胸盘坐，双手上举似为养气，另有两文士在喝交杯酒，形态生动。\n溪流间有荷叶托着酒杯顺流而下。\n该图虽然大体继承了宋元以来兰亭雅集图亭中观鹅、岸边赋诗的构图方式，但从图中人物的服饰、动态及人数等来看，画家表现的更像是明代文人模仿王羲之等兰亭雅集时的情形，而不是真实地再现当时的原貌。\n人物线条简洁严谨，设色淡雅，山石轮廓以侧笔皴擦，工整柔和。",[23,24,64,25,27,26,30,95,32,7,97,390,1177,120,531,15592,2808,101],"赋诗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F140767863d6e7de949761cc86cc06bd4.jpg",[],{"id":15596,"slug":15597,"title":15598,"dynasty":18,"author":90,"museum":135,"description":15599,"tags":15600,"thumbUrl":15601,"material":229,"size":637,"collection":142,"collections":15602,"showCount":217,"zanCount":54,"manualWeight":54,"mainColor":109},228832,"zhi-xing-yu-you-tu-juan-shen-zhou-228832","支硎遇友图卷","沈周（1427～1509）字启南，号石田、白石翁等，长洲（今江苏苏州）人。生於明宣德二年，卒於明正德四年，享年八十三岁。不应科举，专事诗文、书画，是明代中期文人画“吴派”的开创者，与文徵明、唐寅、仇英并称“明四家”。",[23,24,64,25,95,27,94,99,101,119,240,241,350,96,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1aeef33843a62e33d32642d607f6d0b8.jpg",[],{"id":15604,"slug":15605,"title":15606,"dynasty":18,"author":4947,"museum":135,"description":15607,"tags":15608,"thumbUrl":15609,"material":142,"size":142,"collection":142,"collections":15610,"showCount":217,"zanCount":54,"manualWeight":54,"mainColor":109},228464,"liu-pu-yu-le-tu-qian-gu-228464","柳浦渔乐图","此作用长卷铺展江南水居意趣，烟波江上渔舟星散，渔人或垂纶闲坐，或收网归棹，鲜活尽显水乡生计日常。两岸柔柳拂波，杂树错落，茅舍隐于林薮，鸥鸟翔集天水之际，淡墨轻晕出空濛烟岚，将野逸清寂的乡野意趣与寻常烟火相融。笔墨秀雅松灵，设色浅澹柔和，把文人心向往之的渔樵隐逸之乐，藏在一水一木、一渔一舟间，实景鲜活与雅逸诗意兼具，尽显温润雅致的笔墨情致。",[23,24,64,25,94,27,95,934,7,96,122,2042,30,256,33,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4627df9684f8bd39579529eacfef4b9a.jpg",[],{"id":15612,"slug":15613,"title":12523,"dynasty":344,"author":6352,"museum":135,"description":15614,"tags":15615,"thumbUrl":15616,"material":142,"size":142,"collection":142,"collections":15617,"showCount":217,"zanCount":54,"manualWeight":54,"mainColor":55},228397,"fang-ju-ran-shan-shui-liu-du-228397","此作用披麻皴晕染山石肌理，层叠山峦似含江南烟岚，氤氲着湿润朦胧的空寂质感。近岸苍松杂木蓊郁，山居屋舍掩映林间，汀渚蜿蜒入水，清波澹澹漾开涟漪，将幽居野逸之趣藏于丘壑之间。\n\n笔墨追摹古意，苍润兼具，把山林幽寂、溪声松涛的林下之思铺陈开来，恍如引观者踏入避世桃源，静赏林泉烟霞，尽得山水寄情的悠远意韵。",[23,24,95,29,99,94,170,33,7,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a8672297878af1e9fe4bc94a8e35ae8.jpg",[],{"id":15619,"slug":15620,"title":15621,"dynasty":18,"author":15622,"museum":135,"description":15623,"tags":15624,"thumbUrl":15625,"material":142,"size":142,"collection":142,"collections":15626,"showCount":217,"zanCount":54,"manualWeight":54,"mainColor":109},228356,"wan-zhu-tu-juan-song-ke-228356","万竹图卷","宋克","此作用淡墨白描绘就溪岸幽篁，坡石以简淡皴擦带出肌理，丛竹错落生于岩畔，疏密有致，满卷清寂萧散。以草书法度入画，笔致瘦硬爽利，竹叶萧洒灵动，将行草的跌宕意趣融于竹间，笔墨苍秀，兼具法度与文人雅韵。\n整卷画书合璧，晴川修竹间尽显江南林下清旷之致，暗合文人寄情林泉、澄怀观道的襟怀，是笔墨意趣与林下雅志完美相融的佳构。",[23,24,64,25,94,95,543,33,7,119,101,7872,99,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fc7f485e2b2663e38e2c02ace4472a1.jpg",[],{"id":15628,"slug":15629,"title":15630,"dynasty":18,"author":11863,"museum":135,"description":15631,"tags":15632,"thumbUrl":15633,"material":229,"size":637,"collection":142,"collections":15634,"showCount":217,"zanCount":54,"manualWeight":54,"mainColor":55},228344,"song-yin-shu-wu-tu-wang-shi-chang-228344","松荫书屋图","王世昌（生卒年不详），明代画家，字时雍（又作畴雍），号历山，山东人，李开先在《中麓画品》（1541年成书）中即对他有评论记载。他工画山水人物，画法出于院体浙派，山水笔墨苍劲雄浑，人物用笔劲捷，骨力凝重，造型生动。传世作品有《高士访隐图》、《高士吟秋图》、《高士春山图》、《山水图》、《松荫书屋图》等。见《图绘宝鉴续纂》、《无声诗史》。",[23,117,24,64,225,866,94,27,99,271,98,7,504,30,33,348,169,4057],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05b8e35ce302f74142791093945b3c13.jpg",[],{"id":15636,"slug":15637,"title":11287,"dynasty":59,"author":954,"museum":135,"description":15638,"tags":15639,"thumbUrl":15640,"material":142,"size":142,"collection":142,"collections":15641,"showCount":217,"zanCount":54,"manualWeight":54,"mainColor":55},227830,"yuan-yang-tu-ye-ma-yuan-227830","此作用边角取景，以对角构图拉开悠远意境。劲挺的墨笔写竹枝，竹叶攒聚有致，清健爽利尽显竹之风骨。溪岸山石以大斧劈皴挥扫，棱角方硬苍劲，带着冷峭的质感。\n婉转的细线勾出溪间波涡，将水流的迂回急缓藏于笔底，澄澈空明的水色晕染出幽寂氛围。石上鸳鸯恬然依偎，柔婉的情态和冷硬的景致刚柔相济，以小见大，在尺幅之间铺展出水乡清寂的诗意，将精工写实与空灵禅意相融，尽显幽隽雅致的山水情致。",[23,24,64,332,27,26,543,7,3755,199,788,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97ebd908d08df5f45d3c4cabb273658b.jpg",[],{"id":15643,"slug":15644,"title":15645,"dynasty":344,"author":6097,"museum":135,"description":15175,"tags":15646,"thumbUrl":15647,"material":142,"size":142,"collection":142,"collections":15648,"showCount":217,"zanCount":54,"manualWeight":54,"mainColor":109},226628,"si-shi-shan-shui-01-pu-ru-226628","四时山水01",[24,94,27,99,332,95,98,390,7,97,122,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb30c764ce4c7a82085c37e224fd507c9.jpg",[],{"id":15650,"slug":15651,"title":15652,"dynasty":344,"author":808,"museum":135,"description":15653,"tags":15654,"thumbUrl":15655,"material":142,"size":142,"collection":142,"collections":15656,"showCount":217,"zanCount":54,"manualWeight":54,"mainColor":109},224504,"shan-shui-ce-kai-liu-shi-tao-224504","山水冊开(六)","此作用淡赭轻晕山峦，焦墨点染林木，笔意纵肆苍秀。近观村舍错落溪畔，渔翁独棹扁舟泛于清波，丹崖翠岫间松柯虬劲，墨色苍润见层次。远景峰岫隐在烟岚留白中，晕出水气空濛的夏夕凉意。\n\n页首题诗与画境浑然相融，将山畔闲居、横塘晚风的清寂悠然铺展开来，以尺幅写尽江南水乡的淡远萧散，借山水寄寓胸中丘壑，尽显文人画幽淡旷达的意趣。",[24,64,332,94,27,99,95,96,33,76,170,7,1078],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee7ed3d690ac35d0a82eb7f20090f30a.jpg",[],{"id":15658,"slug":15659,"title":15660,"dynasty":344,"author":808,"museum":135,"description":15661,"tags":15662,"thumbUrl":15663,"material":142,"size":142,"collection":142,"collections":15664,"showCount":217,"zanCount":54,"manualWeight":54,"mainColor":109},224499,"shan-shui-ce-kai-san-shi-tao-224499","山水冊开(三)","石涛（1642—177）名原济，号大涤子、清湘老人、苦瓜和尚、济山僧、瞎尊者等。\n石涛原名朱若极，明代藩靖江王后裔，父朱享嘉于南明隆武时在广西自称“监国”，遭俘杀。\n石涛便隐匿起来，后出家为僧。\n石涛曾游历过许多名山大川，有“搜尽奇峰打草稿”、“笔墨当随时代”名言。\n石涛晚年寓居扬州，卖画为业。\n这里介绍的石涛山水，是藏于故宫博物院、以唐代王维、李白、张说等人诗意创作的八开册页中的一页。\n每开册页纵2.厘米，横16.5厘米，纸本，水墨淡设色。\n石涛擅山水、花卉，师宋、元诸家，参以造化，自创一格，笔墨清新多变、天真烂漫，对后世影响极大。\n石涛与石溪并称“二石”，再加朱耷、弘仁，便称“清初四画僧”。\n石涛存世作品尚多，著述则有《苦瓜和尚画语录》、《 》。\n这开画表现李白的千古名篇“静夜思”。\n月光在画面上并没有出现，只画一人倚于窗前做望月状，这就足够了。\n屋后的灌木以白粉掺色画出，再加上屋后的山以隐隐约约的笔触写出，迷迷朦朦，霜意表现的极佳。\n册页左上以隶书题写，古拙可爱。\n唯“床前明月光”之“前、明”写作“头、看”，这是因为版本不同的缘故。",[23,24,94,27,99,332,95,96,140,76,98,33,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fde1928ce926a554338cf76be73ab55.jpg",[],{"id":15666,"slug":15667,"title":12003,"dynasty":344,"author":2710,"museum":135,"description":15668,"tags":15669,"thumbUrl":15670,"material":142,"size":142,"collection":142,"collections":15671,"showCount":217,"zanCount":54,"manualWeight":54,"mainColor":55},224190,"guan-quan-tu-hua-yan-224190","此作画境清逸古雅，右上角古木盘曲，垂藤轻曳，飞泉自崖间潺潺而下。崖下雅士踞石观泉，仰首凝神，似将身心融于泉声林色之中，旁侧童子携囊持壶，静立相随，愈衬画面幽寂。\n\n笔墨苍润秀灵，淡赭铺底晕出春日空濛，浓墨点染木叶，山石勾勒皴擦结合，写意中不失细腻。题诗与画境相得益彰，将草青花初的春景与泉鸣相融，尽显文人寄情林泉、静赏山水的闲逸襟怀，清隽淡远，观之如临其境，恍闻泉声松风。",[23,24,225,94,27,30,95,33,171,168,7,3662,4447,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9455ed575cfebe4bc1c8c2a52961e950.jpg",[],{"id":15673,"slug":15674,"title":15675,"dynasty":59,"author":292,"museum":61,"description":15676,"tags":15677,"thumbUrl":15678,"material":946,"size":15679,"collection":142,"collections":15680,"showCount":217,"zanCount":54,"manualWeight":54,"mainColor":109},223495,"chun-xi-shui-zu-tu-ye-yi-ming-223495","春溪水族图页","此图是现存宋画中游鱼类题材画的一幅佳作。春暖花开，群鱼戏藻。鲢鱼摆尾漫游，鲶鱼回身在后，鳜鱼则迎头向上，隐喻了“连年有贵”的吉祥含义。画家通过鱼儿欢快游动时自由弯转的体态和藻类植物在游鱼冲击下漂浮不定的形状，巧妙地暗示出流水的动势以及春水的清洌透明感。3尾大鱼均施以工笔重彩，用笔沉稳工致，片片鱼鳞描绘得一丝不苟；而衬景的小鱼、小虾和水藻则纯用没骨法渍染，将鱼虾的灵动和水藻的轻盈表现得恰到好处。\n对幅有清乾隆御题七言诗一首：“庄惠曾论知弗知，传为奇语却无奇。试如驳曰我非子，便是答云彼岂斯。春水初生具春意，文鳞群泳爱文漪。漫訾意浅色鲜耳，颇类濠梁博辩时。戊申仲秋御题。”“戊申”为乾隆五十三年（1788年）。钤“古稀天子之宝”、“犹日孜孜”印。",[23,24,117,64,332,26,27,119,5123,426,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F859ddf48b1c91ddef47588963053a15e.jpg","纵24.3cm，横25.5cm",[],{"id":15682,"slug":15683,"title":15684,"dynasty":344,"author":6590,"museum":1308,"description":6591,"tags":15685,"thumbUrl":15686,"material":188,"size":6596,"collection":142,"collections":15687,"showCount":217,"zanCount":54,"manualWeight":54,"mainColor":55},223043,"hong-lou-meng-168-sun-wen-223043","红楼梦168",[23,26,27,28,30,31,7,33,98,32,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41abc7f44aa86979aad1c46d2d31962f.jpg",[],{"id":15689,"slug":15690,"title":15691,"dynasty":18,"author":4786,"museum":15692,"description":15693,"tags":15694,"thumbUrl":15695,"material":946,"size":15696,"collection":142,"collections":15697,"showCount":217,"zanCount":54,"manualWeight":54,"mainColor":55},222860,"song-he-you-wu-song-xu-222860","松壑幽屋","山东省博物馆","彩绘山峰、流水、小桥、绿树、桃花，一派春意盎然",[23,24,64,225,94,99,26,95,271,6332,32,7,98,33,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a048a58ed78444f5f47630c6a4faa40.jpg","141×63cm",[],{"id":15699,"slug":15700,"title":15701,"dynasty":344,"author":13197,"museum":152,"description":15702,"tags":15703,"thumbUrl":15704,"material":2637,"size":15705,"collection":105,"collections":15706,"showCount":217,"zanCount":54,"manualWeight":54,"mainColor":109},222805,"qiu-shan-ping-yuan-zhou-he-yi-222805","秋山平原轴","赫奕，赫舍里氏，字澹士，号南谷，别号碧岩箫史，一作碧箫外史，满洲正黄旗人，开国名臣希福之孙，工部尚书帅颜保之子。清朝政治人物、清朝工部尚书。\n以侍卫入仕，任内务府总管。康熙五十二年十二月己卯，接替满笃，担任清朝工部尚书，后革。由孙渣济接任。雍正十三年再任总管内务府大臣。乾隆八年，尚书衔总管内务府大臣赫奕病故。\n性澹泊，琴书之外专事于画。初学黄鼎，继为王原祁弟子。山水宗法元人，而独开生面，迥异时流。时有南王北赫之称。",[23,24,64,225,27,95,99,101,119,1497,8461,33,96,97,98,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d919660f9b59c4912c5a9f1ee3b3bc8.jpg","99.4x48.3cm",[105,51],{"id":15708,"slug":15709,"title":15710,"dynasty":18,"author":251,"museum":61,"description":15711,"tags":15712,"thumbUrl":15713,"material":659,"size":15714,"collection":142,"collections":15715,"showCount":217,"zanCount":54,"manualWeight":54,"mainColor":109},222598,"cheng-guan-tu-ce-he-juan-lan-ying-222598","澄观图册合卷","“澄观”一语出自六朝山水画家、画论家宗炳《画山水叙》。宗炳认为山水画的功用在于“澄怀观道”，即通过欣赏山水画以滌除心胸之垢，进入平和无我的高尚境界，这也是蓝瑛69岁时精绘此册的初衷。\n蓝瑛一生游历甚广，明代韩昂在《图绘宝鉴续纂》中记载他到过福建、广东、湖北、陕西、河南等地，对长江南北的名山大川有着细致的观察和深切的感悟。因此，在这本图册中，他凭藉深厚的艺术功底准确地表现出江南水乡的秀美和北方山岳的壮丽。由于画家遵循“外师造化，中得心源”的创作原则，在创作过程中达到“澄观”的目的，所以在此图册中无法找到任何与自然界相对应的具体景观。蓝瑛在师法自然的基础上又对自然山水的某些形式结构及色彩等进行了分解和重新组合，使之化作自己的“胸中丘壑”再加以表现。这种典型的文人山水画创作方法与西方注重写实的风景画迥异其趣。",[23,24,64,332,27,94,99,100,95,98,33,122,7,96,97,169,32,609,1288],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71e687a33ee9379b8def8f1d91a5d46e.jpg","纵42.5cm，横23.2cm",[],{"id":15717,"slug":15718,"title":15719,"dynasty":18,"author":251,"museum":152,"description":9119,"tags":15720,"thumbUrl":15721,"material":659,"size":15722,"collection":142,"collections":15723,"showCount":217,"zanCount":54,"manualWeight":54,"mainColor":109},222590,"shan-xi-chui-diao-lan-ying-222590","山溪垂钓",[23,24,94,99,332,95,96,7,98,33,256,306,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb1348f20030503526ea86f64463499e.jpg","72.1x44",[],{"id":15725,"slug":15726,"title":15727,"dynasty":18,"author":4146,"museum":553,"description":15728,"tags":15729,"thumbUrl":15730,"material":8108,"size":15731,"collection":142,"collections":15732,"showCount":217,"zanCount":11,"manualWeight":54,"mainColor":55},222078,"hu-fu-chun-qing-tu-xie-shi-chen-222078","虎阜春晴图","《明谢时臣虎阜春晴图》是明代画家谢时臣的作品，此画虚实结合，层次分明，笔墨稳健，湿墨渲染，衬托出江南春日胜迹的润郁宜人之色。此图为作者晚年对虎丘写生之作。\n谢时臣的作品笔法酣畅，墨色稳健，气势恢弘，与他同时期的吴门画派诸家的画则气格相对狭小，这更显出谢时臣绘画的魄力之大。但是，如果把他的作品和沈周、文徵明的作品做一比较，就会发现他的作品略显匠气。正如清代姜绍书在《无声诗史》中对谢时臣画的评价：“长卷巨幛，纵横自如，气势有余，韵秀不足。”\n《虎阜春晴》的布局来看，此图既有王蒙层峦叠嶂、构图紧密的绘画特点，又有谢时臣自己的绘画特征。曲折的山间小路和弯曲的流水给画面平添了无限的意趣。这样，欣赏者的目光就可以随之缓缓上移。远处江面开阔，云气缭绕。画面轻灵生动，意境开阔，于大幅之中透露出精致、典雅的格调。\n《图绘宝鉴续纂》称谢时臣的山水画“人物点缀，极其潇洒”。点景人物虽然只是山水画的点缀，不是独立的一种艺术表现形式，但它作为一种特殊的情感表现载体，赋予了山水画更多的思想色彩。它是山水画中必不可少的组成部分，常常具有“点睛”的作用。能否表现好点景人物，是衡量画家艺术水平高低的一个重要因素。由《虎阜春晴》来看，谢时臣不愧为绘制点景人物的能手。全图有近三十个点景人物，虽寥寥数笔，但都神态毕现、栩栩如生。譬如，近景船头有一人，手捧杂物，双腿微曲，正等船靠岸。画家把他等船的专注神情很好地刻画出来。更让人叫绝的是，画家仅用两笔就把远景舟船中的艄公和船客生动地表现出来。",[23,24,94,99,28,225,95,31,32,7,96,97,30,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf5a2216ff13e70d6b7a9c5d0713dc22.jpg","纵162.4厘米，横39.2厘米",[],{"id":15734,"slug":15735,"title":15736,"dynasty":150,"author":5944,"museum":135,"description":15737,"tags":15738,"thumbUrl":15739,"material":8704,"size":15740,"collection":142,"collections":15741,"showCount":217,"zanCount":54,"manualWeight":54,"mainColor":109},221693,"xia-shan-guo-yu-tu-gao-ke-gong-221693","夏山过雨图","画上绘近处树木葱郁，水面波纹忽隐忽现，一蓑翁架着小舟悠然荡于河上，远处山峦起伏，云雾缭绕，画家绘出一幅雨后山青水秀的美景。高克恭，字彦敬，号房山，其所作的《云横秀岭图》精妙绝伦描绘出烟雨林峦的景色。",[23,24,1551,94,27,95,96,7,33,170,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fc38d444bf3717efb9f2d5f10e4e3b9.jpg","纵25.3公分横26.0公分",[],{"id":15743,"slug":15744,"title":15745,"dynasty":18,"author":1254,"museum":1841,"description":15746,"tags":15747,"thumbUrl":15748,"material":332,"size":1845,"collection":142,"collections":15749,"showCount":217,"zanCount":54,"manualWeight":54,"mainColor":142},220752,"fang-ge-jia-shan-shui-4-dong-qi-chang-220752","仿各家山水-4","此作用笔松秀空灵，以干笔淡墨铺展秋山幽居之境。近坡枯木疏林姿态萧散，村居隐于林木间，坡岸错落尽显野逸之趣。中远景山峦层叠，主峰奇崛高耸，以淡墨皴擦轻勾山石肌理，留白晕出水色烟岚的空濛悠远。\n\n全画以书入画，线条温润秀雅，不执着实景摹写，重在以笔墨传递清旷简远之意，寥寥数笔便将深秋林泉的幽寂淡远铺陈开来。以简驭繁，虚实相生间尽显文人画尚意重韵的特质，观之如临静谧山林，涤荡尘心。",[23,24,64,94,29,99,332,95,140,199,7,98,33,348,1045,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F523a359e05e61b220785e0e20211602f.jpg",[],{"id":15751,"slug":15752,"title":15753,"dynasty":18,"author":1254,"museum":1841,"description":15754,"tags":15755,"thumbUrl":15756,"material":332,"size":1845,"collection":142,"collections":15757,"showCount":217,"zanCount":54,"manualWeight":54,"mainColor":142},220751,"fang-ge-jia-shan-shui-5-dong-qi-chang-220751","仿各家山水-5","此作用笔松秀虚灵，以干笔淡墨勾勒皴擦，写尽山峦苍润肌理，简淡皴法藏尽丘壑深致。溪岸佳木繁荫，苍松挺劲蓊郁，与层叠远山相映成趣。画面留白清寂，水色空明，野桥横卧浅溪，弥散出萧散淡远的静穆雅韵。\n以书法意趣入画，笔墨简练脱略，不重实景描摹，尽显文人画超然出尘的林下之风。于简淡中藏雄浑，浅墨间见苍润，将山川静穆生机与文人幽怀相融，观之如坐林泉，悄然揽得山水清旷之趣。",[23,24,64,94,99,95,32,7,241,199,332],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb8bcdaa85562a81f6a4956e87ec107b.jpg",[],{"id":15759,"slug":15760,"title":15761,"dynasty":344,"author":2309,"museum":61,"description":8570,"tags":15762,"thumbUrl":15763,"material":335,"size":8573,"collection":142,"collections":15764,"showCount":217,"zanCount":54,"manualWeight":54,"mainColor":109},220311,"huang-shan-tu-ce-16-hong-ren-220311","黄山图册-16",[23,24,94,99,332,95,98,33,76,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb77342e70150517872aaa63595c94682.jpg",[],{"id":15766,"slug":15767,"title":15768,"dynasty":344,"author":15769,"museum":1164,"description":15770,"tags":15771,"thumbUrl":15772,"material":273,"size":15773,"collection":105,"collections":15774,"showCount":217,"zanCount":54,"manualWeight":54,"mainColor":55},220079,"yao-feng-sheng-jing-tu-jiang-shi-jie-220079","尧峰胜景图","姜实节","姜实节（1647～1709）字学在，号鹤涧，山东莱阳人，居吴中（今江苏苏州），姜埰子。有孝行，笃友谊。明礼科给事中，入清隐遁，不入城市，布衣终老。晚岁于虎邱筑谏草楼，吴人谥之曰孝正。\n善书，笔势如篆籀。画山水法云林（倪瓒），峯峦简淡，林木萧竦，备清旷之致。落笔不甚谨严，处处有荒率态，盖荒率本是其所长，亦是其所短也。工诗，有焚余草，卒年六十三。《苏州府志》、《国[清]朝画徵续录、桐阴论画》、《国[清]朝别裁诗传》、《朴庵文集》、《樊榭山房集》、《清朝书画家笔录》",[23,24,94,99,100,119,95,32,7,76,33,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdab0b0cc5bcabba13a8d147817ed15e5.jpg","54.0X24.2",[105],{"id":15776,"slug":15777,"title":15778,"dynasty":59,"author":292,"museum":152,"description":15779,"tags":15780,"thumbUrl":15781,"material":404,"size":15782,"collection":105,"collections":15783,"showCount":217,"zanCount":54,"manualWeight":54,"mainColor":55},218985,"han-lin-dai-du-tu-yi-ming-218985","寒林待渡图","河岸边的岩石上有两棵松树，它们伸出手指和爪子，像虬龙在跳跃，后面是枯枝和其他树木。在空地之间有一个简单的小屋，另一边是停泊在岸边的船，一个人拿着杖，另一个人推着驴子过去。场景中间有一个平坦的斜坡，一直蜿蜒到远方，在一个角落里，有一个带着篱笆的院子的小屋，两个人在一起喝酒。山丘消失在远方，远处山峰的轮廓在烟和雾中飘荡。整幅画，除了前景的松树和石头比较厚重和紧凑外，都是一个闲适而简单的场景，表达了冬天的寒冷和寂静的情绪。",[23,24,94,99,225,95,1397,140,199,7,2043],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d10dfa682a87984e0bffc7b101e7596.jpg","136.8x99.7",[105],{"id":15785,"slug":15786,"title":15787,"dynasty":59,"author":292,"museum":152,"description":15788,"tags":15789,"thumbUrl":15790,"material":47,"size":15791,"collection":105,"collections":15792,"showCount":217,"zanCount":54,"manualWeight":54,"mainColor":109},218817,"feng-xi-gui-zhao-tu-yi-ming-218817","风溪归棹图","树木随着风和天空的音乐起舞。石头下的竹子里藏着一个家，一个船夫正在水流中起航。这幅画中的水墨技法是马远传下来的，树叶都是双钩的，雕工精细，让人仿佛置身于风和浪之中。",[23,24,64,117,332,94,27,95,99,96,7,241,199],"https:\u002F\u002Foss.chuangqi.sto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奇崛山石为主体，细劲勾勒山石轮廓，淡墨皴擦晕染，尽显岩壁嶙峋质感。古松虬曲苍劲，枝干舒张如铁，松针层叠错落，饱经风霜之态跃然纸面。\n\n山谷间隐现村居茅舍，远景以淡墨轻施，留白晕染出朦胧空茫，将山野的幽寂悠远铺陈开来。笔墨简淡清逸，摒却繁复堆砌，以简驭繁，尽显清雅意趣，于方寸册页间，将林泉隐逸的恬淡山居诗意徐徐铺展，藏着寄情山水的幽远心境。",[24,64,332,94,99,95,390,98,32,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe8abcdf9bd8980b8e21497c06feca20.jpg",[105,83],{"id":15945,"slug":15946,"title":888,"dynasty":344,"author":15947,"museum":61,"description":15948,"tags":15949,"thumbUrl":15950,"material":7034,"size":15951,"collection":105,"collections":15952,"showCount":246,"zanCount":54,"manualWeight":54,"mainColor":109},236309,"shan-shui-zhou-weng-song-nian-236309","翁嵩年","翁嵩年（1648—1730年），字康饴，号萝轩,钱塘（今浙江杭州）人。清康熙年间进士，官户部主事，善画山水，气质古雅疏拙。著有《天香书屋稿》、《白云山房集》、《友石居集》。",[117,24,64,225,94,99,95,98,7,255,33,171,556],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b0b59a3b52a3e78c6027049e7430e8c.jpg","纵102.7cm，横47.5cm",[105,83,625],{"id":15954,"slug":15955,"title":15956,"dynasty":344,"author":13206,"museum":135,"description":13207,"tags":15957,"thumbUrl":15958,"material":142,"size":15959,"collection":105,"collections":15960,"showCount":246,"zanCount":54,"manualWeight":54,"mainColor":109},236128,"qiu-yan-jin-zhang-tu-zhou-lu-zun-shu-236128","秋岩锦嶂图轴",[117,24,64,225,27,99,95,98,33,724,7,32,76,96,3454,518],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc29a9573c7805174b3ec58547f426b5d.jpg","纵84.6厘米，横26.5厘米",[105,83],{"id":15962,"slug":15963,"title":4655,"dynasty":344,"author":292,"museum":135,"description":15964,"tags":15965,"thumbUrl":15966,"material":142,"size":142,"collection":105,"collections":15967,"showCount":246,"zanCount":54,"manualWeight":54,"mainColor":109},236056,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236056","此作以水墨晕染铺就冬日丘林雪色，山峦皆素雪覆身，轮廓圆柔温润，尽数褪去嶙峋锐气，好似天地初敛锋芒的清寂时刻。枯木错落挺劲，枝桠疏朗，屋舍山居藏于林麓溪谷间，板桥跨溪，山道盘桓，将幽居烟火融于清寂雪景。\n\n浅皴轻擦勾勒山石肌理，以留白尽显雪意空濛，无繁复设色，只以水墨层次烘托萧寒清旷。冷寂的山野间藏着隐世悠然的栖居意趣，简淡笔墨里晕开悠长的文人山水情致，将冬日山林的幽宁静穆娓娓铺陈。",[24,64,332,27,99,29,95,240,241,32,7,76,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad0c42948774d9c91db514caf3db0343.jpg",[105],{"id":15969,"slug":15970,"title":9714,"dynasty":18,"author":15971,"museum":135,"description":15972,"tags":15973,"thumbUrl":15974,"material":142,"size":142,"collection":142,"collections":15975,"showCount":246,"zanCount":54,"manualWeight":54,"mainColor":109},235679,"shan-shui-juan-chen-xun-235679","陈询","淡墨晕开清寂底色，绘就郊野幽居之景。茅庐错落隐于林木间，屋中对坐似有清谈，篱扉板桥、寒林浅水环合铺展闲逸天地。用笔松秀简淡，枯笔勾勒林木枝桠，湿墨晕染坡岸水汽，淡赭轻敷晕出冬春之交的萧疏温软。取景平远，以留白衬出水意空濛，将林下幽居、诗友酬唱的雅寂日常融于山水，淡远清和，尽显文人画以景抒怀的意趣，晕开不沾尘俗的隐逸襟怀。",[23,117,24,64,25,94,99,95,97,32,7,33,350,30,119,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0931146f0a33287e31b9de1c97b00a55.jpg",[],{"id":15977,"slug":15978,"title":15979,"dynasty":344,"author":15980,"museum":135,"description":15981,"tags":15982,"thumbUrl":15983,"material":142,"size":142,"collection":142,"collections":15984,"showCount":246,"zanCount":54,"manualWeight":54,"mainColor":55},235677,"qing-shan-hong-shu-tu-zhou-chen-zi-235677","青山红树图轴","陈字","此作用笔苍劲工致，以重墨勾勒山石肌理，皴染结合尽显岩岳雄浑厚重，流云如练缠绕峰腰，将崇山衬得愈发灵秀高古。山间丹枫红树层层叠叠，艳色破开深褐山石的沉郁，撞出深秋浓烈鲜活的意趣。\n右侧江天豁然开朗，波光澹澹间渔翁撑舟徐行，远山含黛，汀洲茅亭隐逸一隅，添就萧散悠然的野趣。整体布局左实右虚，将秋山的浓艳高旷与江湖的清远闲和相融，兼具北派山水的雄强与南宗山水的温婉意境，笔底尽是秋日林泉的静美诗意。",[24,64,225,27,95,99,1812,1813,96,7,97,98,33,169,2961,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d14541ecf43948d98b6bf7cc947723c.jpg",[],{"id":15986,"slug":15987,"title":15043,"dynasty":18,"author":1254,"museum":135,"description":15044,"tags":15988,"thumbUrl":15989,"material":142,"size":142,"collection":142,"collections":15990,"showCount":246,"zanCount":54,"manualWeight":54,"mainColor":109},234976,"dong-qi-chang-shan-shui-ce-dong-qi-chang-234976",[24,64,332,94,95,99,33,98,122,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb35669f9a6c064ad0c4e3ef80e9ba71b.jpg",[],{"id":15992,"slug":15993,"title":15994,"dynasty":344,"author":15995,"museum":61,"description":15996,"tags":15997,"thumbUrl":15998,"material":258,"size":15999,"collection":142,"collections":16000,"showCount":246,"zanCount":54,"manualWeight":54,"mainColor":109},234243,"yu-jia-le-shi-tu-juan-zhang-ruo-cheng-234243","渔家乐事图卷","张若澄","张若澄（1721-1770），字镜壑，号默耕，安徽桐城人。是清代名臣张英之孙、张廷玉次子、张若霭之弟。乾隆十年（1745）进士，改庶吉士，授编修，入直南书房。三充乡、会试同考官，一主湖南乡试，矢公矢慎，士论翕然。历官内阁学士，兼礼部侍郎衔。卒于官。国史附传。著有《潇碧轩诗》四卷。\n人物 简介张若澄从小饱读诗书，书画皆工。乾隆十年（公元1745年），24岁的他考中乙丑科殿试二甲第十六名进士，第二年奉命入值南书房，陪伴乾隆左右，成为炙手可热的天子近臣。乾隆十一年，其兄张若霭在一次扈从皇帝西巡途中，不幸感染风寒，英年早逝，年仅34岁。张若霭21岁中进士，后官至内阁学士，曾是乾隆最为倚重的英才之一。长兄早逝，对张若澄打击很大，他奉旨在懋勤殿行走，“上知其工于绘事，尝命临摹古人图画”，这样他有机会遍观内廷所藏历代名人书画，在潜心临摹、作画中，他平复了心中伤痛，绘画技艺也得到提升，并形成独具特色的绘画风格。他的画风工整细致，笔墨丰润，构图平和，观其画，“有令人于春风侍坐时矜平而躁释”，其画设色富丽，颇有皇家气息，因而极受皇室喜爱。乾隆皇帝大加赞赏，在一次给张若澄的画作题咏中，写有“炼雪斋中弟继兄”之句，肯定了张若澄的绘画成就，张若澄也就逐渐成为乾隆时期与董邦达、钱维诚等齐名的宫廷画家。他的画作除了《兴安岭图轴》入选《石渠宝笈》外，还有《阿弥陀经》等被载入《熙朝名画续集》，广为流传，成为后世学画者临摹的蓝本。\n张若澄能写墨花，工山水，善画梅。兼长翎毛。传世作品有《塞花二十四种图册》，纸本，墨笔，描绘塞外花卉二十四幅，细枝柔叶，别逞异姿，现藏故宫博物院；《山水图》轴，纸本，墨笔，描绘御制“僧敲月下门”诗意，构图严谨，意境深邃，左上题识：“月上惊栖鸟，山僧归自邻。应门乏五尺，叩扇借孤筠。小立莓苔滑，低临松竹匀。上人权在外，守者未生嗔。讵湿袈裟露，凭参响寐尘。维摩不二法，司户有前因。剥琢原无碍，形容直逼真。本来敲绝好，推字想欺人。御制赋得僧敲月下门。臣张若澄敬写并书。”\n现藏安徽省桐城县博物馆；《丹凤朝阳》立轴，工笔，墨，此画本意为希望得到乾隆赏识，委以重任，其所画丹凤，气宇轩昂，雄霸一方，大有一飞冲天之势，笔法线条分明，刚劲有力，左上题识：“丹羽圗成势欲飞，梧桐百尺已多围，露生碧汉流文彩，日出沧溟覧朝晖，盛代鸣时原是瑞，高岗立处自成威。”现已流落于民间；著有《绣碧轩集》。《香树斋文集、熙朝名画录、读画辑略》。",[23,24,25,94,26,138,119,30,1561,7,33,2042,122,256,95,42,4365,9251,8017,378,306,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab7aeee336cf4e5b6127f0b8addd15c6.jpg","纵23厘米，横352.2厘米",[],{"id":16002,"slug":16003,"title":16004,"dynasty":18,"author":251,"museum":61,"description":16005,"tags":16006,"thumbUrl":16007,"material":16008,"size":16009,"collection":142,"collections":16010,"showCount":246,"zanCount":54,"manualWeight":54,"mainColor":109},234050,"qing-shan-hong-shu-tu-shan-ye-lan-ying-234050","青山红树图扇页","此图以“没骨重彩法”绘青山、红树、白云等景致。作者自言拟张僧繇（传为没骨山水画的肇始者）的弟子范长寿法，虽然属托古之词，但是，他在创作中还是显示出对色彩极强的掌控力。图中冷暖色调和谐，石青、石绿、朱砂等矿物质颜料的运用独具特色，于争妍斗丽中营造出明媚亮丽的秋景，富有强烈的视觉冲击力和感染力。 他是继董其昌之后较早创作“没骨山水”的画家并具有新意。",[1551,24,118,27,95,1812,1813,32,7,98,33,31,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedbfe4f7e30d09a06ff49125af3fe8c4.jpg","金笺，设色","纵17.3厘米，横49.5厘米",[],{"id":16012,"slug":16013,"title":16014,"dynasty":150,"author":8518,"museum":61,"description":16015,"tags":16016,"thumbUrl":16017,"material":355,"size":16018,"collection":142,"collections":16019,"showCount":246,"zanCount":54,"manualWeight":54,"mainColor":55},233753,"xi-qiao-you-xing-tu-fang-cong-yi-233753","溪桥幽兴图","此图是元代道士画家方从义所作，山水画。图绘山水一区，高山云锁，溪水自山间流淌，草桥横架，一人策杖前行，远山隐现，茅舍隐于林木之中，意境清谧静逸。笔墨酣畅，多用染法，用笔多横向。树木点染之笔疏率，以墨之浓淡分远近。图中景物都集中于画面下部，上部则非常空旷，使画面显得深邃幽远。",[24,64,117,94,95,32,7,33,98,99,101,119,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2a07ffc8543e2c18834f837374b8bda.jpg","纵63.3厘米，横35厘米",[],{"id":16021,"slug":16022,"title":4275,"dynasty":18,"author":645,"museum":152,"description":16023,"tags":16024,"thumbUrl":16025,"material":188,"size":4279,"collection":142,"collections":16026,"showCount":246,"zanCount":11,"manualWeight":54,"mainColor":55},232667,"shan-lu-song-sheng-tu-tang-yin-232667","唐寅此图绘层岩邃壑，飞瀑流泉。山腰苍松葱郁，虬枝老干，掩映画面。山下平湖一湾，清澈见底。一条崎岖不平的野路，蜿蜒通向山间，以增加画面的幽深感。一隐者凭眺倚栏，静听松风，侍者囊琴随后。该图用笔清润、缜密而有韵味。\n图绘一山高耸，有一泉水自山腰拾级而上，汇入河中。山脚有一小桥跨泉连接山路，桥上两人，老者仰首侧耳，似听泉流松声，一童携琴随后。泉畔是茂密的松林，枝干虬曲，藤蔓缠身。一条崎岖不平的野路，蜿蜒通向山间。\n唐寅16岁中秀才，29岁在乡试中获第一名“解元”，30岁赴京赶考，大好的前途指日可待。岂料一同赶考的大地主徐经暗中贿赂主考官家的仆人从而得到试题，事情败落后，倒霉的唐寅也遭受牵连，甚至经受刑拷凌辱。一向恃才傲物的他经受如此大的打击后，对官场产生了强烈的反感，从此放荡不羁。失意后的唐寅游遍名山大川，千山万水了然于心，因此他的山水画中充满了吴地山水的景象，《山路松声图》就是他山水画的代表作。\n图中描绘了一座高耸的山峰，一汪泉水从山腰处流下，汇入清澈见底的河中。泉水边是葱郁的松林，藤蔓环绕在曲曲折折的枝干上。山脚下有一座小桥横跨河水，桥上一老人仰着头，似乎在倾听泉声，又好像在欣赏阵阵松涛，其后有一少年抱着琴跟随。唐伯虎在画上题诗道：“女几山前野路横，松声偏解合泉声。试从静里闲倾耳，便觉冲然道气生。”表达了他向往与世无争、闲淡自然生活的理想。\n图中松树枝叶的画法，从夏圭中来，但远比之繁盛、写实。以细劲的中锋勾勒，转折顿挫，不乏法度。山石硬朗，棱角分明，显然是李、郭的画法，但不师郭熙的卷云皴，也不施马、夏的斧劈皴，而是一种带有唐寅个人风格的线皴，较之许道宁的直线皴更为随意、疏松。勾笔较浓，而皴笔较淡，以浓点分出石的构成和层次，墨色通透而儒雅。用笔顿挫转折，遒劲飞舞，巧妙地点出了松声之意境。山的结体，错落盘桓，层次清晰，景致优美，而且真实感很强，有北宋全景山水的韵致。背景的处理极为简括，炕炕洛藩，给人以空旷萧瑟、冷漠寂寥的感受。\n此画构图简明，高低呼应，使画面呈现一种空灵润泽的感觉。",[24,866,225,94,99,27,240,271,7,168,199,227,97,140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a9b8101070ee6720dcb0d5f2a0f287e.jpg",[],{"id":16028,"slug":16029,"title":16030,"dynasty":18,"author":1254,"museum":61,"description":16031,"tags":16032,"thumbUrl":16034,"material":273,"size":16035,"collection":142,"collections":16036,"showCount":246,"zanCount":54,"manualWeight":54,"mainColor":109},231373,"xia-mu-chui-yin-tu-dong-qi-chang-231373","夏木垂阴图","此图截取山坡一角，其上有柳树、松柏，共三株。树木主干苍劲高耸，枝叶繁茂蓊郁。构图简洁饱满，用笔老辣迅疾，墨色浓淡得宜，生动地表现出林木枝叶纷披的景象。又以长披麻皴皴染山石，皴与染相结合，加上浓重的苔点，使得长满青苔的山石因而具有湿润的质感。在墨色的运用上，整幅画面主要以浓墨与留白相对比，黑、白、灰关系明确，营造出清爽明丽之氛围，使观者似乎感受到夏日树荫之中的凉爽清幽。",[24,866,94,225,64,99,33,98,7,169,97,390,240,868,16033],"夏天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0a4e197fbf86433996158956bce8f26.jpg","纵91.3厘米，横44厘米",[],{"id":16038,"slug":16039,"title":16040,"dynasty":344,"author":11528,"museum":135,"description":11529,"tags":16041,"thumbUrl":16042,"material":229,"size":637,"collection":142,"collections":16043,"showCount":246,"zanCount":54,"manualWeight":54,"mainColor":109},230356,"shan-shui-ce-ba-kai-fan-qi-230356","山水册八开",[24,64,117,332,27,99,119,95,199,140,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95306f468bab19553397d0d062d40e68.jpg",[],{"id":16045,"slug":16046,"title":16047,"dynasty":18,"author":267,"museum":135,"description":16048,"tags":16049,"thumbUrl":16052,"material":142,"size":142,"collection":142,"collections":16053,"showCount":246,"zanCount":54,"manualWeight":54,"mainColor":55},228844,"yan-shui-sheng-ya-tu-juan-dai-jin-228844","烟水生涯图卷","此作以长卷铺展江南烟水之致，淡赭晕开汀洲烟波，墨色劲爽勾勒江岸山石，斧劈皴意苍劲利落。芦荻萧萧覆岸，林麓间茅舍错落，水面渔舟星列，渔人或垂纶放流，或泊舟炊煮，将渔家烟火日常尽纳卷中。\n\n画作兼融笔墨刚健与文人清雅意趣，以淡墨轻岚晕染空濛水汽，把江湖野逸的隐逸之思，和渔家乐的世俗生机相融。远山近渚虚实相生，苍郁林木与澹澹烟水相映，将江南水乡的静谧闲适，绘成世外烟霞，淡远空灵间满是鲜活的烟火意趣。",[23,24,25,94,99,26,95,7,96,306,30,122,33,97,256,2042,16050,16051,1561,12705,635],"岸芷","汀草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2883f5aa258e7dba7014124bd5e0a60.jpg",[],{"id":16055,"slug":16056,"title":16057,"dynasty":18,"author":90,"museum":135,"description":16058,"tags":16059,"thumbUrl":16060,"material":142,"size":142,"collection":142,"collections":16061,"showCount":246,"zanCount":54,"manualWeight":54,"mainColor":109},228827,"jing-jiang-song-bie-tu-juan-quan-juan-shen-zhou-228827","京江送别图卷全卷","《京江送别图》是明代画家 创作的纸本设色画，现收藏于北京故宫博物院。\n图卷绘沈周与友人长汀送别的情景，大刀夺阔，远山起伏，汀岸有板桥、杨柳、桃花，崖上草色青青，十人拜揖道别，一人立于船上还礼，依依不舍。\n该画笔法苍劲，墨色浑厚，远山川用粗笔披麻皴画成。\n该画描绘的是沈周等人在京江送别叙州太守吴愈赴任的情景。\n画面以横卷形式展开由右向左，依次是近景的丛树、板桥，坡岸，一片杨柳依依桃花烂漫的江南春色。\n及至中部也是作品的中心。\n众人在岸边长揖作别，江面上一叶小舟，主人正乘乘舟远去，水色苍茫。\n远景是逶迤连绵的群山。\n画首有清王时敏跋书“名迹贻薇”四字，后幅为明文林书“送吴叙州之任序”、祝允明书“叙州太守吴公诗序”，及沈周等人跋。\n钤“启南”朱方一印。\n引首清，王时敏隶书“名迹贻征”四字。\n后纸有明，文林“送吴叙州之任序州府太守伍公诗序”，沈周、陈琦、吴瑄、张习、都穆、朱存理、刘嘉囗题诗，以及清代顾开增、顾济乾、吴云题记。\n鉴藏印记有【吴云平生珍藏】等七十五方。\n明弘治时期，南京刑部郎中吴惟谦小任叙州（今属四川省）太守，顷途过家，亲朋好友闻之，欢喜若狂，多作诗歌赞颂：其婿请沈周作画，复请祝允明作序相送。\n此图画成于弘治四年（1491）三月，沈周时年六十五岁。\n京江，当是镇江口的长江段，叙州相当今之四川宜宾。\n吴是苏州府太仓州人。\n如果从家中赴任，在苏州稍事逗留，即可乘舟沿古运河到镇江，由此向西直溯蜀地。\n这里对岸即是瓜洲古渡，正如长安的灞桥一样，常为古人惜别之地。\n这是沈周中晚年的代表作。\n从这幅画中可见沈周既有传统笔法。\n充分体现书卷气，又根据自然风貌，设置一定情节引人入胜，展现自己的面目。\n《京江送别图》构图简洁，水天一色。\n因受南宋画家构图的影响，此幅显得具有分外寥廓、无垠之意，对面的远山用披麻皴画出，多矾头和黑色苔点。\n显然是受董源、吴镇等画法影响，表现了关山重重和征途悠远：近处的树丛杨柳依依、槐桧掩映，用笔在郭熙和黄子久间，树下的泥石用笔豪放，这样就将它向观者拉近了距离。\n此图画面布景得宜，疏密有致，近处长林巨嶂，远处青山叠翠，遥相呼应。\n近景桃花，杏花点缀，春意盎然。\n图的内容虽然描绘的是真人真事，但却没有刻板的描绘送别的场面，而以背景衬托，船舱内着官服的人，当为吴惟谦，寥寥数笔，形象逼真，生动传神，表示一副十分谦恭的神态，岸边四人拜揖告别，神情真切，双方的情感真切虔诚，这正是文人画的特点。\n此图画法有宋、元诸家笔意而有所创造。\n该画曾经陆恭、孙煜峰、翁嵩年、顾开增、张珩等收藏 ，现藏于北京故宫博物院。\n212年11月—21年1月，《京江送别图》在苏州博物馆举办的“石田大穰——吴门画派之沈周特展”展览中展出。\n沈周（1427年—159年），明代画家。\n字启南、号石田、白石翁、玉田生、有居竹居主人等，是明中叶画坛上四大艺术家（另三人为文徵明、唐寅、仇英）之一，人称江南“吴门画派”的班首，在画史上影响深远。\n沈家世代隐居吴门，居苏州相城，故里和墓在今相城区阳澄湖镇。\n沈周的曾祖父是王蒙的好友，父亲恒吉，又是杜琼的学生，书画乃家学渊源。\n父亲、伯父都以诗文书画闻名乡里。",[23,24,64,25,94,95,32,7,96,97,122,33,100,101,119,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3050617f0de18f29fed07db854e6eea5.jpg",[],{"id":16063,"slug":16064,"title":16065,"dynasty":59,"author":292,"museum":135,"description":16066,"tags":16067,"thumbUrl":16068,"material":142,"size":142,"collection":142,"collections":16069,"showCount":246,"zanCount":54,"manualWeight":54,"mainColor":109},227876,"liu-xi-chun-se-tu-yi-ming-227876","柳溪春色图","画面取景清隽雅致，以一角之景铺展春日闲情。苍松虬曲斜伸，松石旁廊下侍者俯身煎茶，对岸柳色氤氲，春水漾漾，远山含翠晕染如黛。衣袂轻扬的文人静坐在松下，凭览溪山春色，将幽居赏景的澹然意趣融于尺幅间。\n\n设色清润雅致，勾勒皴染细腻温婉，山水林人相映成趣，把林下雅兴、寄情林泉的幽怀铺陈开来，虽咫尺小帧，却晕染出舒展悠远的春日静境，尽显含蓄诗意与雅致情致。",[23,1551,24,64,27,99,95,30,378,7,199,33,1759],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8afb44f2205239bed4a2bbdc94d9cd7c.jpg",[],{"id":16071,"slug":16072,"title":8469,"dynasty":59,"author":292,"museum":135,"description":16073,"tags":16074,"thumbUrl":16078,"material":142,"size":142,"collection":142,"collections":16079,"showCount":246,"zanCount":54,"manualWeight":54,"mainColor":55},227858,"dai-du-tu-yi-ming-227858","这幅小品以淡墨晕染远山，将烟岚与水色晕成一片朦胧，远山如卧，隐在暮色薄雾之间，铺展出空濛悠远的天地格局。\n\n水岸柳丝垂柔，依依拂过浅滩，石畔扁舟系泊，艄公立于船头静立等候。右侧山居檐角轻挑，轩下有人凭栏眺望，有人缓步阶前，皆引颈望向江面，将待渡的期盼藏在松弛的神态里。\n\n整幅设色清润淡雅，以虚衬实，将江南暮色里的闲寂悠然揉进烟水间。咫尺圆帧之中，把等候的怅惘与静谧尽数铺陈，留白处尽是诗意余韵，尽显山水小品的雅致意境。",[23,117,24,16075,1551,27,94,95,30,31,7,96,378,348,10592,1357,199,16076,3999,5769,16077],"山水小品","闲寂悠然","江南暮色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15adff5cce028e04ac85a7f12eb420ea.jpg",[],{"id":16081,"slug":16082,"title":16083,"dynasty":2023,"author":292,"museum":135,"description":16084,"tags":16085,"thumbUrl":16087,"material":142,"size":142,"collection":142,"collections":16088,"showCount":246,"zanCount":54,"manualWeight":54,"mainColor":109},225302,"fu-shi-hui-26-yi-ming-225302","浮世绘26","清月垂悬远山之巅，将夜色晕成柔润水色。暖黄沙洲缓缓铺展，与幽蓝河湾错落相拥。石拱桥静卧水面，行人缓行其上，把清寂夜色揉进浅淡烟火气。\n\n右侧山坞间的屋舍藏在深翠林木中，檐角轻挑月色，几艘渔船系在浅滩，随波轻晃。画面冷暖色调交织碰撞，晕开静谧诗意，将水乡月夜的闲趣铺陈开来，带着日式风物独有的侘寂清宁，把寻常烟火揉进朦胧月色里，绘就一方松弛悠然的夜泊小景。",[16086,27,95,32,7,530,31,33,35,30],"浮世绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41a1b573bd1eedc319d19e2075a3be6b.jpg",[],{"id":16090,"slug":16091,"title":16092,"dynasty":344,"author":808,"museum":135,"description":16093,"tags":16094,"thumbUrl":16095,"material":142,"size":142,"collection":142,"collections":16096,"showCount":246,"zanCount":54,"manualWeight":54,"mainColor":109},224501,"shan-shui-ce-kai-er-shi-tao-224501","山水冊开(二)","此作以水墨淡彩写就江南水乡之景，构图虚实相生，上部题诗留空疏朗开阔，下部绘景层次分明。近岸坡石上孤屋临水，旁植古松垂柳，枝条轻拂水面，野意悠然。中景水村错落，粉墙黛瓦隐于林木间，渔舟漾波，渔人往来作业，鲜活尽显水乡日常烟火。\n\n笔墨简率松灵，山石林木多以点染而成，不重精描细摹，以写意之趣托出萧散淡远的意境。题画诗与画面浑然相融，诗画映发，尽显文人画清雅逸致，将江南渔隐的闲淡安宁娓娓道来，暗含画者寄情丘壑的隐逸襟怀。",[23,24,64,332,94,27,99,95,96,7,76,33,256,98,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3c8d79112bf34afe23e5983c9cb11e3.jpg",[],{"id":16098,"slug":16099,"title":16100,"dynasty":344,"author":2501,"museum":135,"description":16101,"tags":16102,"thumbUrl":16103,"material":142,"size":142,"collection":142,"collections":16104,"showCount":246,"zanCount":54,"manualWeight":54,"mainColor":109},224492,"ni-gu-tuo-gu-tu-zhou-wu-li-224492","拟古脱古图轴","《拟古脱古图》是清代吴历创作的纸本墨笔画。\n本幅右上吴历自题：“陶渊明‘采菊东篱下，悠然见南山’唐宋人和之者多，独韦应物‘采菊露未晞，举头见秋山’真为绝和。\n画之拟古亦如和陶，情景宛然更出新意，乃是脱胎能手。\n小重阳日墨井道人。\n”下钤“吴历之印”（白文）、“墨井”（朱文）。\n鉴藏印有“莱臣心赏”、“虚斋审定”2方。\n画家在自题中以唐宋人和（音hè）陶渊明“采菊东篱下”名句为例，说明了绘画创作中拟古与脱古即继承与发展关系，同时也为此幅画作的创作旨意作了诠释。\n此画仿元代王蒙山水，但在皴法上长条披麻皴的运用与王蒙的牛毛皴有所不同，构图也不似王蒙的绘画那么饱满，与王蒙的峰峦重叠相比，吴历的山水更接近真山实水，真实感较强。\n吴历将前人的绘画技法融会贯通，用笔严谨，厚朴沉着，笔意高淡，气韵深淳，体现出自己的风格特点，虽是仿古之作却有画家自己的面貌和新意。\n庞莱臣《虚斋名画录》著录。\n吴历（162—1718）清康熙间常熟人，字渔山，自号墨井道人，又号桃溪居士，学经于陈瑚，学诗于钱谦益，学画于王时敏、王鉴，学琴于陈岷，以山水画闻名于清初画坛。\n康熙十四年（1675）前后人天主教，教名西满沙勿略。\n二十一年（1682）在澳门入耶稣会，又取西姓雅古纳。\n二十七年（1688）任神父，其后在上海、嘉定等地传教。\n所撰《墨井诗抄》2卷《三巴集》1卷《画跋》1卷于卒后次年由弟子陆道淮刻印传世。",[23,24,64,225,94,99,95,32,7,33,76,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37fe265c9fc33d18c0b8c97edc2c07bd.jpg",[],{"id":16106,"slug":16107,"title":16108,"dynasty":344,"author":1527,"museum":135,"description":16109,"tags":16110,"thumbUrl":16111,"material":142,"size":142,"collection":142,"collections":16112,"showCount":246,"zanCount":54,"manualWeight":54,"mainColor":109},224485,"fang-huang-gong-wang-yan-fu-yuan-xiu-tu-zhou-wang-jian-224485","倣黄公望烟浮远岫图轴","此展品为清代的书画，绢本设色。\n此图仿巨然山水，王鉴在此画中描绘夏秋山水景色，山多矾头而不作嶒崚奇峭之状。\n现收藏于 。\n绢本设色。\n此图仿巨然山水，王鉴在此画中描绘夏秋山水景色，山多矾头而不作嶒崚奇峭之状。\n画面中间有—溪流蜿蜒流过，山石上杂树丛生，山石多以长披麻皴写之，上有焦墨点苔。\n用墨浓润，骨重气轻，匠心独具，沉雄古逸。\n此图作于1674年，作者时年七十六岁，为其逝世前三年。\n款识：“甲寅九秋仿巨然烟浮远岫呈艾翁老祖台大词宗教正，王鉴” 钤印：“王鉴之印”白文方印，“湘碧”朱文方印。\n王鉴（1598-1677年），字元照，一字圆照，号湘碧，又号香庵主。\n江苏太仓人。\n擅长山水，远法董（源）、巨（然），近宗王蒙、黄公望。",[117,24,64,225,866,27,99,29,240,348,13742,390,378,168,7,76,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85222cb3dd78674b95fe037a0f88417e.jpg",[],{"id":16114,"slug":16115,"title":16116,"dynasty":344,"author":2071,"museum":135,"description":16117,"tags":16118,"thumbUrl":16119,"material":142,"size":142,"collection":142,"collections":16120,"showCount":246,"zanCount":54,"manualWeight":54,"mainColor":109},224440,"xian-shan-lou-guan-tu-wang-hui-224440","仙山楼观图","此作画境苍浑雅致，重岩峻岫拔地而起，皴笔磊落厚重，将山石嶙峋肌理尽皆铺展。古松虬劲横斜，间错排布，掩映起层叠楼阁，朱檐黛瓦隐于林壑间，似藏洞天秘境。\n\n山脚溪湾萦回，村居错落临水而建，渔舟泊于浅滩，烟火意趣晕开仙家清寂，将尘寰烟火与云山灵境相融。整幅画笔致兼具工细与苍茫，干湿墨色交织，既见峰峦雄奇之态，亦得林泉幽居之恬，恍若踏入可居可游的世外清境。",[23,24,64,225,95,31,1397,140,7,98,99,27,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb079ccf42f95315b2b3056257b58765c.jpg",[],{"id":16122,"slug":16123,"title":9110,"dynasty":150,"author":292,"museum":135,"description":16124,"tags":16125,"thumbUrl":16126,"material":659,"size":16127,"collection":142,"collections":16128,"showCount":246,"zanCount":11,"manualWeight":54,"mainColor":55},223355,"fang-ju-ran-shan-shui-tu-yi-ming-223355","是图以高远法出之,山峦清旷,落英缤纷。近景陂陀杂树,渔舟归樵;中景夹谷深壑,流水湍湍,桥舍掩映;远景山峰耸峻,苍翠欲滴,烟岚奕奕。正是暮霞景明、秋意正浓之时,令人有如入武陵桃源忘返向路之感。在画法上,是图以长披麻皴为主,笔致清晰中见浑融,用笔枯而不涩,意境蓊秀萧疏。点苔疏密有致,很好地表现了草木华滋的气象。设色借鉴了黄公望浅绛法,明洁滋润,妍而不甜。此种画风,明显受到了其挚友王鉴的影响。然而,在萧疏简远的气息追求上,比之王鉴是有过之而无不及的。",[23,24,866,27,99,98,33,32,7,97,518,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bbd8eba0f37ff5d86d70dba3540da1a.jpg","170x85.26cm",[],{"id":16130,"slug":16131,"title":16132,"dynasty":344,"author":15995,"museum":135,"description":16133,"tags":16134,"thumbUrl":16136,"material":469,"size":16137,"collection":105,"collections":16138,"showCount":246,"zanCount":11,"manualWeight":54,"mainColor":109},223254,"yan-shan-ba-jing-tu-qiong-dao-chun-yin-zhang-ruo-cheng-223254","燕山八景图-琼岛春荫","此册以北京城著名的“燕京八景”为题而画。燕京八景一说始自金《明昌遗事》，当时金章宗完颜璟将燕京的八处风光名胜选定为燕京八景，即“居庸叠翠”、“玉泉垂虹”、“太液秋风”、“琼岛春荫”、“蓟门飞雨”、“西山积雪”、“卢沟晓月”和“金台夕照”。“燕京八景”历金、元、明、清四代，又有称“燕台八景”、“燕山八景”、“京师八景”、“京畿八景”者，虽景点相同，八景的名称在不同时期则有所变化。乾隆十六年（1751年），乾隆曾御制《燕山八景诗》，将八景定名为“琼岛春荫”、“太液秋风”、“玉泉趵突”、“西山晴雪”、“蓟门烟树”、“卢沟晓月”、“金台夕照”、“居庸叠翠”，沿用至今。该画册中建筑的刻画不用界尺，但是对建筑的特征却描绘得生动准确，表现手法活泼而不失稳重，是画家对景写实的佳作。",[23,117,24,64,27,28,119,95,31,333,32,7,33,98,9564,16135,43,1692],"园林建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99e64bf8b756daf54e558d61066d3f36.jpg","34.7cm，横40.3cm",[105,51],{"id":16140,"slug":16141,"title":16142,"dynasty":344,"author":6590,"museum":1308,"description":6591,"tags":16143,"thumbUrl":16145,"material":188,"size":6596,"collection":142,"collections":16146,"showCount":246,"zanCount":54,"manualWeight":54,"mainColor":109},223005,"hong-lou-meng-130-sun-wen-223005","红楼梦130",[23,24,26,27,118,25,8819,30,139,31,32,3226,1691,2921,504,7,28,16144],"珍禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5977ba55925ddfb890fab98b4c30ea9.jpg",[],{"id":16148,"slug":16149,"title":16150,"dynasty":344,"author":6590,"museum":1308,"description":6591,"tags":16151,"thumbUrl":16152,"material":188,"size":6596,"collection":142,"collections":16153,"showCount":246,"zanCount":54,"manualWeight":54,"mainColor":109},222966,"hong-lou-meng-91-sun-wen-222966","红楼梦91",[23,24,64,25,27,26,28,30,3855,7,33,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cb39e4fc09e1e3bc62862b5c2e0b2c8.jpg",[],{"id":16155,"slug":16156,"title":16157,"dynasty":344,"author":11082,"museum":152,"description":16158,"tags":16159,"thumbUrl":16160,"material":142,"size":16161,"collection":105,"collections":16162,"showCount":246,"zanCount":54,"manualWeight":54,"mainColor":109},222845,"wan-qing-qing-yin-hong-wu-222845","万顷清阴","弘旿（1743年－1811年），爱新觉罗氏，是清朝康熙帝二十四子允秘的次子，画家。字卓亭，号恕斋，一号醉迂，别号瑶华道人，又号一如居士。生母为允秘的侧福晋殷氏，殷大成之女。他在乾隆八年癸亥九月三十日寅时生，乾隆二十八年（公元1763年）封二等镇国将军，乾隆三十九年（公元1774年）晋贝子，乾隆四十三年（公元1778年）因事革退，乾隆五十九年（公元1794年）封奉恩将军，嘉庆四年（公元1799年）又革退，嘉庆十四年（公元1809年）复封奉恩将军。《石渠宝笈》著录弘旿画计有三十多件，内府收藏的估计还有不少。可见弘旿作画之勤，亦可见乾隆帝对他笔墨的赞许。其《自题山水画册》诗，有疏朗、清越之韵律。工于书画，书兼四体，其山水画作得董邦达之妙谛，花木具有古朴陈香；治石印有元、明篆刻的风格。有《听泉图》、《板桥僧舍图》、《江山拱翠图》、《仿唐寅山水图》、《素濑松吟》等。乾隆五十七年（1792）和阮元、铁保等人游万寿寺，写《七松图扇》等。家富于藏书，藏书楼名“静寄轩”，嘉庆十六年（公元1811年）薨，享年68岁，有子7人。由第五子永松袭封奉恩将军。",[23,24,27,99,332,95,97,7,33,98,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6e86d17ce180690e506b45cdbf2ef30.jpg","32x38",[105,51],{"id":16164,"slug":16165,"title":16166,"dynasty":18,"author":12173,"museum":61,"description":16167,"tags":16168,"thumbUrl":16169,"material":258,"size":16170,"collection":142,"collections":16171,"showCount":246,"zanCount":54,"manualWeight":54,"mainColor":55},222088,"qiu-zhi-yuan-tu-juan-qian-gu-222088","求志园图卷","在明代吴门画家的作品中，有许多以他人的室名别号为题，这类作品被张丑称之为“别号图”，如推而广之，还应包括以庄园、庭院为题材的作品。它们在描绘人造园林真实性的基础上，力图表现园林主人的生活理想，反映他们身居闹市，却追求“与深山野水为友”的操守与志向，这类作品成为吴门画派所表现的一种突出的艺术现象，而钱穀的《求志园图》正是其中颇具代表性的一件。\n此卷是钱穀应友人张凤翼之请，描绘其家园春夏之间的景色，卷首有文徵明题“文鱼馆”三字，卷后有王世贞行书《求志园记》。画家从右侧园门画起，以怡旷轩、风木堂、尚友斋为中心，前有庭，后有园，渐次展开，王世贞所撰《求志园记》中采芳径、文鱼馆、香雪廊皆按图可索，抚记展图，这座“旦而旭、夕而月、风于春、雪于冬”的甲第名园中当年文人云集、清谈雅会的盛景似乎随着手卷展开历历在目。虽写实景，却不是简单的再现，更注意了人造景观与湖渚山色的自然风光的谐调与结合，突出了中国古代“虽由人造，宛自天成”的造园理念，用修篁古木、冬梅花篱、白鹅紫鸳表现画主人对归隐生活的向往，是托物言志的再创造。事实上，由于画家与画主人在情感、思想、旨趣上的相通，图中寄寓的对天地灵秀、淡泊胸襟的意趣追求，同样是画家本人的内心写照。",[23,24,25,27,26,64,101,2523,119,31,33,6944,32,7,76,39,1177,271,934,2921,38,4449],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66742fa1af93fb6e7fea758c370c8f5a.jpg","纵29.8厘米，横190.2厘米",[],{"id":16173,"slug":16174,"title":16175,"dynasty":18,"author":1948,"museum":152,"description":16176,"tags":16177,"thumbUrl":16178,"material":16179,"size":16180,"collection":105,"collections":16181,"showCount":246,"zanCount":54,"manualWeight":54,"mainColor":109},222003,"pan-gu-xu-zhang-ruo-ai-tu-wen-zheng-ming-222003","盘谷叙（张若霭图）","张若霭[清]（1713—1746）字晴岚（读画辑略作字景采，号晴岚），室名藕香书屋，安徽桐城人。张若霭有家学，祖父张英、父亲张廷玉均为雍正、乾隆朝大学士。雍正十一年（1733）癸丑科殿试金榜中二甲一名进士，未散馆特授编修，后帝亲授内阁学士、礼部侍郎，入直南书房，官至礼部尚书，袭伯爵。",[23,24,7,95,240,901,241,13385,94,3016,25,335],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b650b4925f0f0747575859ea9d269c6.jpg","纸本长卷","纵15.8厘米，横129.7厘米",[105,83],{"id":16183,"slug":16184,"title":16185,"dynasty":59,"author":16186,"museum":20,"description":16187,"tags":16188,"thumbUrl":16189,"material":946,"size":16190,"collection":142,"collections":16191,"showCount":246,"zanCount":54,"manualWeight":54,"mainColor":16192},221471,"xi-sai-yu-she-tu-juan-li-jie-221471","西塞渔舍图卷","李结","此图为画家李结归隐湖州苕霅西塞山居的理想生活之景。绘丘岭起伏，水碧山青，草木葱茸，沟壑清晰，坡脚石块高低起休，溪水围岸而流。庄园依山傍水，高士放怀得失。李结，字次山，善诗文绘画。",[23,24,64,25,95,256,96,306,7,32,27,99,97,122,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d95a85cebca99604ce1166ce014ea99.jpg","40.2*135.5CM",[],"FDD835",{"id":16194,"slug":16195,"title":16196,"dynasty":344,"author":2309,"museum":61,"description":8570,"tags":16197,"thumbUrl":16198,"material":335,"size":8573,"collection":142,"collections":16199,"showCount":246,"zanCount":54,"manualWeight":54,"mainColor":109},220307,"huang-shan-tu-ce-20-hong-ren-220307","黄山图册-20",[23,24,64,332,94,99,95,199,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa431a49a8cdec6605db78b8ba51f6287.jpg",[],{"id":16201,"slug":16202,"title":606,"dynasty":344,"author":11392,"museum":281,"description":16203,"tags":16204,"thumbUrl":16205,"material":404,"size":16206,"collection":105,"collections":16207,"showCount":246,"zanCount":54,"manualWeight":54,"mainColor":55},220066,"shan-shui-tu-zha-shi-biao-220066","查士标，字二瞻，号梅壑、懒老、梅壑散人，安徽休宁人。后寓扬州。工书画，精鉴别。用笔不多，惜墨如金。与弘仁、孙逸、汪之瑞称“新安四大家”。",[24,64,225,94,99,95,32,7,97,122,33,171,271,140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d0361e879716fd117dcac527202ca88.jpg","193×47.5cm",[105],{"id":16209,"slug":16210,"title":16211,"dynasty":344,"author":7263,"museum":152,"description":16212,"tags":16213,"thumbUrl":16214,"material":103,"size":16215,"collection":142,"collections":16216,"showCount":246,"zanCount":11,"manualWeight":54,"mainColor":109},219486,"qiu-ri-shan-ju-zhou-huang-ding-219486","秋日山居轴","此作用笔沉厚细腻，主峰雄峙云端，斧劈皴刻画出山石冷峻筋骨，两道飞瀑垂挂崖间，为沉静山林注入灵动生机。苍松虬枝舒展如盖，丹叶秋林点染暖意，晕开融融秋意。山坳间屋舍错落，板桥横卧浅溪，溪石隐现似漾着潺潺水音，将幽寂山林与闲淡山居揉合一处。远景峰峦叠嶂渐隐烟岚，留白晕染出空濛悠远的诗意。\n画作兼取先贤笔墨意趣，融苍郁繁复与秀润简淡于一体，设色雅致清和，铺展出秋日山居的安闲静谧，将文人寄情林泉、归卧丘山的隐逸之思藏入每一处勾勒晕染中。",[24,64,117,225,95,27,99,98,33,271,724,32,7,168,1357,76,173,10623,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff442355ddacad4cede5834c399118b29.jpg","64.5x38",[],{"id":16218,"slug":16219,"title":16220,"dynasty":344,"author":1474,"museum":61,"description":16221,"tags":16222,"thumbUrl":16224,"material":47,"size":16225,"collection":142,"collections":16226,"showCount":246,"zanCount":11,"manualWeight":54,"mainColor":55},219137,"yang-zhou-si-jing-tu-chun-tai-ming-yue-yuan-yao-219137","扬州四景图-春台明月","这组画屏是袁耀晚年的佳作，所绘为南京北郊的到处名胜景区，均为写生之作。 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之如临江南寂寂山野，尘俗烦扰尽皆涤荡，尽显山水淡远出尘之美。",[24,64,332,94,95,99,100,101,119,240,901,33,390,1001,227,97,199,7,16509],"曲路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5772aa239819d308c2c0d814fad933b.jpg",[],{"id":16513,"slug":16514,"title":655,"dynasty":344,"author":435,"museum":135,"description":16515,"tags":16516,"thumbUrl":16517,"material":142,"size":142,"collection":105,"collections":16518,"showCount":180,"zanCount":54,"manualWeight":54,"mainColor":109},235104,"shan-shui-ce-wang-yuan-qi-235104","此作用笔苍厚老辣，以干笔积墨反复皴擦，将山石的嶙峋质感晕染得浑厚苍润。远景峰峦以浅赭淡墨轻勾，烟岚留白晕出空濛山意，虚实间铺展悠远天际。近景茂林环拥山居，飞瀑穿林漱石，汇入平湖，鲜活灵动的水色消解了山林的沉郁。\n设色清淡雅致，浅施赭石敷色，一派江南山居的闲静气象。画中藏着文人胸中丘壑，将林泉高致凝于尺幅间，观之如临幽林，可听泉声、揽山云，沉浸式体味出世闲逸的林下雅趣。",[24,64,332,94,27,99,95,33,98,7,76,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1db070a5ca5283865350fec66c9915b.jpg",[105],{"id":16520,"slug":16521,"title":4588,"dynasty":344,"author":4589,"museum":61,"description":4590,"tags":16522,"thumbUrl":16523,"material":4594,"size":4595,"collection":142,"collections":16524,"showCount":180,"zanCount":11,"manualWeight":54,"mainColor":109},233401,"shan-shui-ren-wu-ce-jin-nong-233401",[24,64,117,332,27,94,95,30,122,33,7,119,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c812a5aeb034b109fa0e234d163af6b.jpg",[],{"id":16526,"slug":16527,"title":2866,"dynasty":344,"author":808,"museum":135,"description":2867,"tags":16528,"thumbUrl":16529,"material":335,"size":2871,"collection":142,"collections":16530,"showCount":180,"zanCount":54,"manualWeight":54,"mainColor":109},233384,"yuan-ji-jin-shan-long-you-si-shi-yi-ce-shi-tao-233384",[24,94,99,332,119,95,76,33,3454,7,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6d3a4c8528fd2d713c7fc6167e55db4.jpg",[],{"id":16532,"slug":16533,"title":2866,"dynasty":344,"author":808,"museum":135,"description":2867,"tags":16534,"thumbUrl":16535,"material":335,"size":2871,"collection":142,"collections":16536,"showCount":180,"zanCount":54,"manualWeight":54,"mainColor":109},233380,"yuan-ji-jin-shan-long-you-si-shi-yi-ce-shi-tao-233380",[24,94,99,332,119,95,390,98,351,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0bbd7d92c80a69a6c6a4f2a0813882f.jpg",[],{"id":16538,"slug":16539,"title":16540,"dynasty":18,"author":16541,"museum":135,"description":16542,"tags":16543,"thumbUrl":16544,"material":142,"size":142,"collection":368,"collections":16545,"showCount":180,"zanCount":54,"manualWeight":54,"mainColor":109},233235,"shi-zhu-zhai-pu-ce-hu-ri-cong-233235","十竹斋谱册","胡日从","《十竹斋书画谱》，融诗、书、画、印艺术为一体，是木版水印史上的巨制鸿构，有“画苑之白眉，绘林之赤帜”之誉。凡书画、竹、墨华、石、翎毛、梅、兰、果八谱，每谱两册，全帙共十六册，蝴蝶装。\n一为书画册。花卉竹石、翎毛蔬果二十幅，均有对题。谱前有醒天居士《题十竹斋画册小引》和芒砀山人王三德《胡曰从书画谱引》。\n二为竹谱。卷首有《梨云馆竹谱》，分“写竹要语”，“写竹括”和“写竹法”。前半为一画一题，凡竹图二十幅，分作“廻风”、“喜霁”、“带雨”、“凝露”、“贮云”、“笼烟”、“快雪”、“印月”、“怡老”、“启新”、“飞白”、“聚翠”、“紫蓧”、“朱帔”、“崖影”、“石床”、“飨松”、“访菊”、“友梅”、“佩兰”等。后半则为画竹“起手式”。\n三为墨华册。谱中图呈圆光型，对题有绿色“十竹斋琅干笺”竹纹边框。画、题各有二十幅，画面着色细润，气韵生动。谱前有语水乘槎子《十竹斋墨花题辞》。\n四为石谱。画、题各二十幅，谱前有序两篇，一为王三德《阅石谱题言》，一为米芾后人米万钟《石谱题辞》。谱中二十幅画皆为高阳所作。高阳，字秋甫，善花鸟，为万历间写生名手。高阳画奇石尤精，石谱中作品是临摹上版，王三德观后评价极高，以为“天划神缕之巧，嵌空玲珑之致，半幅冰茧，宛具层岩叠嶂、峰峦洞穴，真可以对杨次公矣。”图有墨石、彩石，但均以套版为之，每画都有对应的题赞。\n五为翎毛谱。画、题各二十幅，有杨文骢于“天启丁卯立秋日”所题《翎毛谱小序》，非常精彩地评介了胡氏所施饾版之法：“胡曰从氏巧心妙手，超越前代，以铁笔作颖生，以梨枣代绢素，而其中皴法、染法、点法，及着色之轻重、浅深、远近、离合无不呈妍曲致，穷巧极工。即当行作手观之，定以为写生妙品，不敢作刻画观。”此翎毛谱二十图，画上无名款，从印鉴来看，应全为凌云翰一人所作。凌云翰，字五云，万历、崇祯时人。《明画录》说他善画山水，其实上凌氏花鸟亦善，尤工画石，为胡正言所推许。\n六为梅谱。由玉山进士董继周作序。此册胡正言以“芳信先传”、“飘飘欲仙”、“冰壶掩映”、“暖谷回阳”、“君子之交”、“铁干支春”、“暗香浮动”、“拾翠为钿”、“黄惹蜂腰”、“额上玄功”、“东邻窥宋”、“盟坚寒素”、“香梦沉酣”、“水妃写照”、“玉骨同妍”、“疏影横斜”、“幽人赠佩”、“调脂梅粉”、“宫锦清班”、“寿阳点妆”等二十画题，分别写早梅、风梅、雪梅、枯梅、竹梅、老梅、月梅、松梅、蜡梅、墨梅、过墙梅、倚石梅、烟梅、临水梅、水仙梅、疏梅、兰花梅、茶花梅、杏花梅和落梅，或水墨，或设色，意境、造型与章法，则穷尽变化之能事。每幅画都有对应的题赞。\n七为兰谱。前有涂日昌“兰谱序”和画兰“起手执笔式”，此谱图解兰花，并附小注，颇为详尽，但无题赞。多为墨印，间有彩版，此谱可为之初学之范本。图二十幅，多是临摹赵孟頫等名家之作。\n八为果谱。画、题各二十幅，有西京韩文镜作序。其中“三元”、“朱橘”等图，雕版设计巧妙，可谓匠心独运。\n《十竹斋书画谱》自万历己未（1619年）第一谱《书画册》起，至崇祯癸酉（1633年）第八谱《果谱》止，梓印时间长达十五年之久。每谱有序言，除《竹谱》附写竹诀，《兰谱》附起手式，其余各谱均四十幅，一图一文，以书配画，交相辉映。\n胡正言辑印《十竹斋书画谱》，广交名人时贤，亦自作书画付梓。全谱序、画、诗作者或书法题写者，多达一百五十余人。谱中所辑作品大多是由当时名家如吴彬、倪瑛、魏之克、米万钟、吴士冠、文震亨、高阳、高友等创作的，也有二十多幅画稿是临摹自赵孟頫、唐寅、沈周、文征明、陆治、陈道复等著名书画家的；胡正言自己也曾为谱画稿、题诗，画有“白莲”、“墨梅”、“芝草”三图，诗有“题梅花”、“题兰竹”两首。画谱中所题诗句，笔调清新，咏物抒情，不同程度地反映了诗人们喜爱画谱的心情。题诗大部分都是书写者自己所作，也有借用前人诗句题咏的，如胡正言用唐释无可的咏兰诗题《兰竹图》，西湖仙郎何伟然用徐渭咏榴诗题《石榴图》，竹冠道人应麟用刘禹锡题开元寺枸杞诗书《枸杞诗图》等等。全谱书法篆、隶、行、楷诸体皆备，最多的还是晚明文人流行的行草。这些书迹，大都兼有晋、唐、宋书家的风韵，亦可为后人临池所借鉴。\n醒天居士的《题十竹斋画册小引》把胡正言的爱好、特长及画谱刊印的初衷和艺术水平都进行了叙述：\n“王宰十日一山，五日一石，岂肖形之难哉？山有情，石有态，磅礴得之为难耳。近代画手，千临百摹，如里媪捧心，不揜儿寝，而目食者争售之，大轴小图，祗为壁疥。新安胡曰从氏，清姿博学，既精六书，尤擅众巧。所制隃糜硾茧与所镌法语名言，皆出新裁，赏鉴家多宝爱之。乃竹斋多暇，复创画册。所选皆花果竹石，有关于幽人韵士之癖好者。而写形既妙，设色尤工，至于翠瓣丹柎，葩分蕊折，花之情，竹之姿，与禽虫飞懦之态，奇石云烟之气，展册淋漓，宛然在目。盖淡淡浓浓，篇篇神采；疏疏密密，幅幅乱真，诚画苑之白眉，绘林之赤帜也。然王宰之画妙出毫锥，胡君之画妙出梨枣，是磅礴之心，较王宰更难；而成功之捷，较王宰更简更易，岂不尤奇哉！余故喜而叙之，愿与好事者同赏，仍俟具眼者定价焉。时癸酉年中秋前二日，醒天居士书于十竹斋。”\n《十竹斋书画谱》“绘刻精而奇，谱则巧而该”，在画谱刊行后不久就引起广泛的注意，开始有人仿刻了，以至胡氏声明道“原板珍藏，素遐真赏，近有效颦，恐混鱼目，善价沽者，勿虚藻鉴。”历代重印、翻刻者达二十余种。清代李渔等人辑印的《芥子园画传》也是在它的启发下产生的。",[24,64,332,94,199,7,119,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc29304ad26117c88366b592ace23b072.jpg",[368,51],{"id":16547,"slug":16548,"title":16549,"dynasty":150,"author":2084,"museum":61,"description":16550,"tags":16551,"thumb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厩图屏风第1屏","左侧林园寒梅绽雪，仙鹤临水伫立，石畔流泉衬出幽寂古雅的闲趣。右侧厩房内，仕女团坐低语，栏中骏马昂首腾跃，仆从正打理鞍辔，将宅邸日常的烟火气静静铺展。\n\n古旧柔和的色调晕开岁月的质感，细腻线条勾勒出骏马的矫健昂扬与仕女的温婉神态，将林泉雅致与俗世日常相融，动静交织，晕染出旧日宅邸里平和悠然的浮生图景，藏着沉缓静谧的古韵意趣。",[24,27,26,14837,66,30,1287,2301,7,32,38,39,33,821,4238,3834,5234,10314,1759],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bdcb98befae1e2d016d8577385a6c21.jpg",[],{"id":16601,"slug":16602,"title":16603,"dynasty":344,"author":16604,"museum":135,"description":16605,"tags":16606,"thumbUrl":16607,"material":142,"size":16608,"collection":142,"collections":16609,"showCount":180,"zanCount":54,"manualWeight":54,"mainColor":55},231377,"yi-yuan-tu-ce-shen-cang-231377","怡园图册","沈苍","顾沄，字若波，号云壶、壶隐等。吴县（江苏苏州）人。工画山水，清丽疏古，得“清初六家”之长。怡园位于苏州，同治十三年（1874年）时任浙江宁绍道台的顾文彬购得此地，兴建怡园。由于顾文彬当时在外地任官，营造事宜由其子顾承主持，顾文彬特地嘱咐他多与画家商议。三年后园林建成，顾沄为绘怡园十六景，后又补绘四景。在苏州园林中，怡园是建造较晚的一座，顾文彬希望能荟萃诸园之长，从顾沄图中可以看到，《松籁阁》的画舫效法拙政园的香洲，《南雪亭》的石幢有似留园的经幢，《绛霞洞》的假山则模仿狮子林，其他如网师园的水池、沧浪亭的复廊等等都能在怡园找到痕迹。顾沄的《怡园图册》将观者带入园中，近距离地游赏各景。\n对研究怡园而言，最重要的是顾沄的十六景图和顾文彬的“词并序”。顾文彬的《怡园十六景词并序》共有十六段，前面有小序介绍园景，后面一阕小词阐发意蕴，与《十六景图》一一对应。这组景致按游览顺序展开，各景为先后关系，而非主次关系。怡园有幸留存至今，提供了将园图与实景对照的机会，从中可发现这套册页的写实程度之高。值得注意的是，传统山水画往往在明山秀水间点缀人物，提示观者应如何欣赏风景，但《怡园十六景图》则未画任何人物。这从侧面证明，顾沄和顾承的主要目的是再现景致。在《怡园图》中，园景成为重点，少了人物的干扰，观者反而可以更专注地投入其中，享受这一片天然的“无我之境”。",[23,24,28,27,26,95,31,97,33,98,7,4637],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58131b67127eeb79a8a1cfa85c6f53b7.jpg","33.3×42.4×26",[],{"id":16611,"slug":16612,"title":3025,"dynasty":344,"author":5207,"museum":135,"description":16613,"tags":16614,"thumbUrl":16615,"material":142,"size":142,"collection":142,"collections":16616,"showCount":180,"zanCount":54,"manualWeight":54,"mainColor":55},230226,"fang-gu-shan-shui-shi-er-kai-yang-jin-230226","此作以淡彩晕染江南春岸晓景，堤岸垂柳柔丝拂水，水汽清润朦胧，晕开浅淡氤氲的晨雾。戴笠行旅骑牛缓行于田埂，为乡野添上鲜活意趣。远景山峦以淡墨轻扫，林麓含烟，归雁掠过长空，将平远山水的空阔疏朗铺陈开来。笔墨秀雅工致，设色明洁温润，把江南水乡的恬静诗意融于尺幅之中，尽显平淡天真的文人画韵致，将春日郊野的闲适悠然娓娓铺展，晕染出一派生机盎然的田园雅景。",[24,27,95,332,99,2880,119,30,122,67,227,97,7,348,33,140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F387a052644e1585c611187534130e0d3.jpg",[],{"id":16618,"slug":16619,"title":16620,"dynasty":344,"author":16621,"museum":135,"description":16622,"tags":16623,"thumbUrl":16624,"material":142,"size":142,"collection":142,"collections":16625,"showCount":180,"zanCount":54,"manualWeight":54,"mainColor":109},230186,"shan-shui-li-zhou-zhang-yin-230186","山水立轴","张崟","淡墨晕染远山，烟岚轻笼，浑茫清寂。苍松虬劲横斜，松下茅舍内文士围坐，佐着满枝寒花暗香清谈。溪涧穿林而过，板桥通幽，行人缓步野径，漾出悠然野趣。\n\n此作用浅绛设色衬水墨皴擦，山石敷淡赭打底，墨苔点醒草木生机，温润雅致。疏密排布自然妥帖，将冬山清寒与文人心底雅趣相融，笔底晕开静穆闲逸，把幽居赏景、围炉晤谈的清冷快意藏在烟水林泉间，尽显寄情丘壑的悠然意韵。",[23,24,27,99,225,95,390,32,7,76,30,98,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb643fca24d4aa77796b788a14b21b290.jpg",[],{"id":16627,"slug":16628,"title":16629,"dynasty":344,"author":16630,"museum":135,"description":16631,"tags":16632,"thumbUrl":16633,"material":142,"size":142,"collection":142,"collections":16634,"showCount":180,"zanCount":54,"manualWeight":54,"mainColor":109},228937,"fang-gu-shan-shui-tu-ce-8-zhen-lu-han-228937","仿古山水图册8帧","陆汉","此作用浅绛糅合青绿晕染山峦，远山以淡墨轻笼云气，晕开幽谷空濛之态。近坡苍松虬曲，桃枝缀花，点染出春日融融生机。溪桥田舍错落排布，渔人操舟、乡人行聚，将武陵桃源的恬适日常铺陈开来。\n\n线条细劲秀雅，皴染柔和，将山水清润与村居和乐融为一体，笔墨间藏着对隐逸田园的向往，把出世之思揉进烟火日常的描摹里，恬淡悠然，意趣绵长。",[24,27,118,95,332,99,32,7,96,97,122,241,76,120,543,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1d30e9ffc96d3a4b2b4aa3622ccefd3.jpg",[],{"id":16636,"slug":16637,"title":16638,"dynasty":18,"author":292,"museum":135,"description":16639,"tags":16640,"thumbUrl":16641,"material":142,"size":142,"collection":142,"collections":16642,"showCount":180,"zanCount":54,"manualWeight":54,"mainColor":55},228779,"fang-li-tang-hao-pu-tu-juan-yi-ming-228779","仿李唐濠濮图卷","此作用斧劈皴写山石，棱角方硬苍劲，两岸危崖叠峙、古木盘根虬曲，浓墨点染的林木蓊郁深秀，暗带秋意。溪谷水面留白晕出浅波，汀渚碎石错落，衬出涧谷幽寂空远。右侧平石之上，雅士简笔勾勒，凭坐观流，恬淡静穆，尽显林泉遁世的悠然意趣。画作兼取北派山水的雄劲与文人画的萧散，将山水之胜与林下雅兴相融，把秋日溪畔的幽寂雅情绘得淋漓尽致，尽显古意山水里的文人心境。",[23,24,25,29,99,27,95,241,171,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fcd1d7c4fadcfa69c00bdc8807b573b.jpg",[],{"id":16644,"slug":16645,"title":16646,"dynasty":18,"author":251,"museum":135,"description":16647,"tags":16648,"thumbUrl":16649,"material":142,"size":142,"collection":142,"collections":16650,"showCount":180,"zanCount":54,"manualWeight":54,"mainColor":109},228426,"zhi-xu-qing-yan-tu-lan-ying-228426","支许清言图","此作用笔刚柔相济，右崖奇崛厚重，以浓墨皴擦堆垒出山岩苍莽质感，左侧淡墨晕染平湖远峰，虚实相映间铺展出空濛悠远的湖山胜境。\n\n古松虬曲苍劲，针叶攒簇见笔力，尽显老松凌寒之姿。松下幽渚上二人对坐晤谈，衣袂简括，神态悠然，暗合魏晋林下雅集的高逸襟怀。\n\n笔墨干湿互融，既有刚劲风骨，又揉入写意萧散淡远的意趣，将林泉清谈的幽旷襟怀藏在松涛湖烟之中，尽现山居雅集的绝尘之味。",[23,117,24,64,225,94,99,95,30,271,98,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d387a521088c5ae100f06c610991a65.jpg",[],{"id":16652,"slug":16653,"title":16654,"dynasty":18,"author":4786,"museum":135,"description":16655,"tags":16656,"thumbUrl":16657,"material":142,"size":142,"collection":142,"collections":16658,"showCount":180,"zanCount":54,"manualWeight":54,"mainColor":55},228352,"hu-zhou-shi-ba-jing-xian-ding-song-xu-228352","湖州十八景－仙顶","此作用高远、深远法铺展丘壑，以干笔皴擦勾勒山峦筋骨，石体质朴苍拙，遍山松针攒簇，蓊郁深秀。蜿蜒山道盘绕幽谷，引视线拾级而上，崖顶朱红楼阁隐于翠色间，恍若世外梵宫。山坳茅舍幽藏，溪涧穿谷而过，山脚田亩横陈，将林泉野趣与山居烟火相融。笔墨苍劲老辣，设色淡雅清和，兼融浙派刚健与吴门文秀，既绘尽峰峦奇崛之态，又暗合仙境幽绝尘寰的逸韵，把出世高怀与俗世雅趣揉为一体，尽显明代文人心中的林泉雅志。",[23,24,64,332,27,99,95,31,33,98,7,227,119,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9a8a320b1a8a8144d6247b75f4a65f5.jpg",[],{"id":16660,"slug":16661,"title":16662,"dynasty":150,"author":5944,"museum":135,"description":16663,"tags":16664,"thumbUrl":16665,"material":142,"size":142,"collection":142,"collections":16666,"showCount":180,"zanCount":54,"manualWeight":54,"mainColor":109},227988,"shan-shui-shi-hua-tu-ye-gao-ke-gong-227988","山水诗画图页","此作用水墨淡设色晕染江南烟景，以留白铺陈云气，山峦如青螺浮沉雾海，似隐似现，尽显雨后初霁的空濛柔润。下方汀洲萦回，村居隐于深林，板桥跨水连岸，扁舟系于浅滩，草木苍润秀雅，处处浸透着湿润清和的初夏意韵。\n\n画面配题诗，诗画交融，将山野村居的幽寂闲适娓娓道来。笔致简淡松灵，墨色层次柔和，淡赭轻敷晕染，褪去浓丽，只留清远悠然，尽显寄情丘壑的隐逸意趣，于简淡间铺展出悠远禅意，将自然清旷与林下闲情融为一体。",[23,24,64,332,94,27,95,32,7,96,33,76,169,348,100,101,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F250879626c2381a1366ce09a71bf0f75.jpg",[],{"id":16668,"slug":16669,"title":16670,"dynasty":59,"author":292,"museum":135,"description":16671,"tags":16672,"thumbUrl":16673,"material":142,"size":142,"collection":142,"collections":16674,"showCount":180,"zanCount":54,"manualWeight":54,"mainColor":55},227864,"chun-shan-yu-ting-ye-yi-ming-227864","春山渔艇页","这幅团扇以平远之法铺陈春景，淡晕的山峦柔缓舒展，烟霭轻笼水岸，晕开朦胧的春日清氛。陂陀石岸旁，林木枯荣交错，带着早春初醒的疏懒意态，青绿与赭石轻扫山石水岸，晕染出江南春山的温润水汽。\n\n一叶渔艇静浮水面，独钓的渔翁将幽寂闲散的隐逸意趣揉入空阔水色中。整作无繁复刻画，以简淡笔触晕开春日水滨的清寂淡然，将宋人娴静雅致的山水心境藏在尺幅之间，淡而弥远，静中生境，把江南早春的疏朗与幽隐心绪融成一缕绵长余韵。",[23,24,64,1551,27,95,96,140,7,256,99,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcce57e3ac98b56a84f84c690afbf0f9b.jpg",[],{"id":16676,"slug":16677,"title":95,"dynasty":344,"author":6097,"museum":135,"description":6098,"tags":16678,"thumbUrl":16679,"material":142,"size":142,"collection":142,"collections":16680,"showCount":180,"zanCount":54,"manualWeight":54,"mainColor":109},226637,"shan-shui-pu-ru-226637",[23,117,24,64,225,27,99,95,32,7,30,33,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dfafb3f4a22295b4ee5698a9d0333c4.jpg",[],{"id":16682,"slug":16683,"title":16684,"dynasty":2023,"author":292,"museum":135,"description":16685,"tags":16686,"thumbUrl":16689,"material":142,"size":142,"collection":142,"collections":16690,"showCount":180,"zanCount":54,"manualWeight":54,"mainColor":109},225305,"fu-shi-hui-32-yi-ming-225305","浮世绘32","这幅山水绘以平远视角铺展幽寂景致，澄澈湖水切割出错落洲渚，岩崖间白练飞瀑垂落，晕开一汪幽潭清涟。苍劲虬曲的古松或孤植洲头，或茂生崖畔，隐在云霭间的山居添了悠然野趣。\n\n远景淡青山峦托着朱色浅丘，与靛蓝湖水相映，留白如轻烟岚雾层层推开空间，糅合装饰性与写意感。明快柔和的石青、草绿晕染出温润生机，凝练利落的线条勾勒林泉肌理，将幽寂禅意融于湖光山色，尽显日式山水绘的空灵悠远，复刻出侘寂闲静的自然之趣。",[16086,16687,27,95,7,390,168,169,76,8270,171,16688],"木刻","山丘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77cc601009e26987e67a465c679f8627.jpg",[],{"id":16692,"slug":16693,"title":16694,"dynasty":344,"author":435,"museum":135,"description":16695,"tags":16696,"thumbUrl":16697,"material":142,"size":142,"collection":142,"collections":16698,"showCount":180,"zanCount":54,"manualWeight":54,"mainColor":109},224401,"xi-hu-shi-jing-tu-juan-wang-yuan-qi-224401","西湖十景图卷","此作以全景长卷铺陈湖山胜景，浅绛设色清润雅致。峰峦以干笔积墨皴擦勾勒，层叠苍秀，兼具浑厚古朴与秀润之气。湖面浩渺空阔，洲渚星罗，烟柳桃林、亭台梵塔错落点缀，渔舟轻泛波心，将西湖温婉灵韵尽数铺展。\n\n既承娄东画派笔墨法度，又以细腻写实还原十景雅致意境，将江南山水的旖旎柔媚与文人山水的书卷气相融。静穆苍劲的山峦与明秀澄澈的湖光交织，晕染出晴日西湖的通透明丽，于淡逸间藏深秀，是实景山水画中的上乘佳制。",[23,24,25,27,95,99,97,31,32,7,122,33,35,9564,1388],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F718e976d8d85dc8f898d2ea2d0f8eb5b.jpg",[],{"id":16700,"slug":16701,"title":16702,"dynasty":344,"author":3047,"museum":135,"description":16703,"tags":16704,"thumbUrl":16706,"material":335,"size":142,"collection":105,"collections":16707,"showCount":180,"zanCount":54,"manualWeight":54,"mainColor":55},224258,"zhuo-se-shan-shui-tu-cha-shi-biao-224258","着色山水图","查士标(1615--1698)，字二瞻，号梅壑散人，懒老。新安(今安徽歙县、休宁)人，流寓江苏扬州。明末生员，家富收藏，故精鉴别，擅画山水，为海阳四家之一。清初著名画家，书法家和诗人。与孙逸、汪之瑞、僧弘仁等书画家一起被称为'新安四家'。专事书画，家多鼎彝，及宋元人真迹，遂精鉴别。画初学倪高士，后春梅华道人、董文敏笔法。用笔不多，惜墨如金，风神飘散，气韵荒寒，逸品也。与同里孙逸、汪之瑞、僧弘仁合称四大家。晚年画益超迈，直窥元人之奥。朱漫堂不轻许可人，独以得其狮子林画册为快。说者谓其晓起最迟，凡应酬，临池挥洒，必于深夜，不以为苦，八十余，尚童颜。商丘宋漫堂牵为之立传，并序行其诗。书法襄阳，极似董文敏。艺舟双揖评其行书为佳品上。",[23,24,64,27,95,99,240,241,97,32,7,518,98,173,504,33,16705],"山间路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cfc9de1d2902bcb919c9edfaed550ab.jpg",[105],{"id":16709,"slug":16710,"title":16711,"dynasty":344,"author":3047,"museum":135,"description":16712,"tags":16713,"thumbUrl":16714,"material":142,"size":142,"collection":142,"collections":16715,"showCount":180,"zanCount":54,"manualWeight":54,"mainColor":109},224257,"xi-ting-du-tiao-tu-cha-shi-biao-224257","溪亭独眺图","《新安画派·查士标-中国古代画派大图范本-二》是212年 出版的图书，作者是査士标。\n中国古代画派大图范本·新安画派二：溪亭独眺图，ISBN：97875481188，作者：杨东胜",[23,24,94,225,95,97,241,32,7,199,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57e830b7b27daf04d27a64ae0f32cc68.jpg",[],{"id":16717,"slug":16718,"title":16719,"dynasty":59,"author":292,"museum":135,"description":16720,"tags":16721,"thumbUrl":16722,"material":142,"size":142,"collection":142,"collections":16723,"showCount":180,"zanCount":54,"manualWeight":54,"mainColor":55},223657,"jin-ming-chi-zheng-biao-tu-yi-ming-223657","金明池争标图","此作用精工界画描摹池苑盛景，朱红飞檐沿水铺展，虹桥凌波串联洲屿，殿台廊榭的斗拱榫卯分毫毕现。\n\n水面之上楼船列阵、彩旗微漾，竞渡健儿挥棹如飞，争标嬉水的喧闹仿佛冲破古绢。城垣垂柳轻拂水岸，往来小艇点缀烟波，将皇家游赏的闲逸与赛事的紧张相融，定格下汴京春日的鲜活盛景。\n\n设色调和古雅，笔致细腻写实，带着宋画特有的雅致沉静，让千年前的升平跃然眼前，将彼时的游观雅趣与竞技热络尽数藏在绢素方寸间，尽显入微观察力与写实传神的宋画魅力。",[23,24,117,28,27,26,31,32,7,42,30,122,33,504,38,8006,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd85e658915ce503fbd031386625d9a8.jpg",[],{"id":16725,"slug":16726,"title":221,"dynasty":59,"author":292,"museum":152,"description":16727,"tags":16728,"thumbUrl":16729,"material":79,"size":16730,"collection":142,"collections":16731,"showCount":180,"zanCount":54,"manualWeight":54,"mainColor":109},223569,"xi-shan-xing-lv-tu-yi-ming-223569","图上重山迭峰，雄深苍莽。山头茂林丛密，两峰相交处一白色飞瀑如银线飞流而下在严肃、静穆的气氛中增加了一分动意。近处怪石箕居，大石横卧于冈丘，其间杂树从生，亭台楼阁露于树颠，溪水奔腾着向远处流去，石径斜坡透迤于密林荫底。",[23,24,64,1551,94,99,100,101,119,95,199,33,32,7,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbce1a8b5a603f292840b46f377d5eb9e.jpg","28.6 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同吴昌硕尤为密切。蒲华长吴昌硕十二岁，昌硕幼时便闻蒲华画名，关系在师友之间，互取所长，风貌因之相近。\n善用湿笔，水墨淋漓，光彩照人。善花卉、山水，尤擅画竹，有“蒲竹”之誉。\n吴昌硕作十二友诗，记蒲华曰：“蒲作英善草书、画竹，自云学天台傅啸生，仓莽驰骤、脱尽畦畛。家贫，鬻画自给，时或升斗不继，陶然自得。余赠诗云：蒲老竹叶大于掌，画壁古寺苍涯琏。墨汁翻衣吟犹着，天涯作客才可怜。朔风鲁酒助野哭，拔剑斫地歌当筵。柴门日午叩不响，鸡犬一屋同高眠”。\n吴昌硕为蒲华所作《芙蓉庵燹馀草》作序言：“作英蒲君为余五十年前之老友也，晨夕过从，风趣可挹。尝于夏月间，衣粗葛，橐笔两三枝，诣缶庐，汗背如雨，喘息未定，即搦管写竹，墨沈淋漓。竹叶如掌，萧萧飒飒，如疾风振林，听之有声，思之成咏。其襟怀磊落，逾恒人也如斯。”\n谢稚柳论言：“蒲华的画竹与李复堂、李方膺是同声相应的，吴昌硕的墨竹，其体制正是从蒲华而来”。\n蒲华中年尤勤书学，寝馈旭、素，斗墨千纸，数日而尽。至于元明各家书帖，也常把玩临摹。以书入画，酣畅恣肆。\n蒲华晚年，笔老墨精。其书法，淳厚多姿；其绘画，燥润兼施，苍劲妩媚。尤喜画大幅巨幛，莽莽苍苍，蔚为大观。所作山水大轴或册页，虽多为山居、读书等传统题材，但布局新颖，风韵清隽。\n蒲吴两家粗豪奔放的画风，使因袭纤巧之时风大为逊色，一新画派崛起于沪上画坛。\n癖好古琴，遇即购藏，视为心爱之物，名其居屋为“九琴十砚楼”。",[23,24,64,225,94,27,99,95,271,97,98,7,350,1177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aa36173f62b89aaa10373bf91171f17.jpg",[105,83],{"id":16749,"slug":16750,"title":16751,"dynasty":344,"author":6590,"museum":1308,"description":6591,"tags":16752,"thumbUrl":16753,"material":188,"size":6596,"collection":142,"collections":16754,"showCount":180,"zanCount":54,"manualWeight":54,"mainColor":109},223004,"hong-lou-meng-129-sun-wen-223004","红楼梦129",[23,24,26,27,25,30,31,39,33,98,32,7,1691,390,8006,504],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f8e8af6fbf9804e896431718aac1927.jpg",[],{"id":16756,"slug":16757,"title":16758,"dynasty":344,"author":6590,"museum":1308,"description":6591,"tags":16759,"thumbUrl":16761,"material":188,"size":6596,"collection":142,"collections":16762,"showCount":180,"zanCount":54,"manualWeight":54,"mainColor":55},222997,"hong-lou-meng-122-sun-wen-222997","红楼梦122",[23,24,64,26,27,118,30,31,32,7,98,33,39,1287,1692,16760,97,1068],"门","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaa92f071f885b8f9db68fa56e69a963.jpg",[],{"id":16764,"slug":16765,"title":16766,"dynasty":344,"author":6590,"museum":1308,"description":6591,"tags":16767,"thumbUrl":16769,"material":188,"size":6596,"collection":142,"collections":16770,"showCount":180,"zanCount":54,"manualWeight":54,"mainColor":109},222981,"hong-lou-meng-106-sun-wen-222981","红楼梦106",[23,24,26,27,95,30,32,7,31,33,16768,5534,854,4096],"家禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F023d8c11c694a1cead3245a34ef7bf56.jpg",[],{"id":16772,"slug":16773,"title":16774,"dynasty":344,"author":6590,"museum":1308,"description":6591,"tags":16775,"thumbUrl":16776,"material":188,"size":6596,"collection":142,"collections":16777,"showCount":180,"zanCount":11,"manualWeight":54,"mainColor":109},222915,"hong-lou-meng-40-sun-wen-222915","红楼梦40",[23,117,24,64,26,27,28,30,31,32,7,33,1691,35,39,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3f172211be0327e73b3aba472fcf1de.jpg",[],{"id":16779,"slug":16780,"title":16781,"dynasty":344,"author":6590,"museum":1308,"description":6591,"tags":16782,"thumbUrl":16783,"material":188,"size":6596,"collection":142,"collections":16784,"showCount":180,"zanCount":54,"manualWeight":54,"mainColor":109},222890,"hong-lou-meng-15-sun-wen-222890","红楼梦15",[23,26,27,28,97,32,7,95,30,33,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49b51568512f7d88d3f05bdc7a896282.jpg",[],{"id":16786,"slug":16787,"title":16788,"dynasty":344,"author":6590,"museum":1308,"description":6591,"tags":16789,"thumbUrl":16791,"material":188,"size":6596,"collection":142,"collections":16792,"showCount":180,"zanCount":54,"manualWeight":54,"mainColor":109},222888,"hong-lou-meng-13-sun-wen-222888","红楼梦13",[23,26,27,28,30,97,31,7,1242,33,1692,39,16790,1613,7956],"中式建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F049e5f0fe63988faa3ef346a8cff10e0.jpg",[],{"id":16794,"slug":16795,"title":16796,"dynasty":18,"author":4601,"museum":61,"description":16797,"tags":16798,"thumbUrl":16801,"material":659,"size":16802,"collection":142,"collections":16803,"showCount":180,"zanCount":11,"manualWeight":54,"mainColor":109},222222,"ping-qiao-yuan-shui-tu-juan-wen-bo-ren-222222","平桥远水图卷","此卷为文伯仁仿元赵孟頫《水村图卷》之作，亦称《平桥远水图卷》。作者用水墨之笔，轻渲淡染，以近景为主，远处则略加留白，以示水光苍茫。此图意境萧疏清旷，从容深秀，深得赵孟頫《水村图》之神韵。\n全卷层峦叠谳，岗岭蜿蜒，起伏不断。江面空旷，波光激荡，舟帆点点，远山朦胧。野色桥边，树石掩映，露出茅屋草亭，人物幽闲。青山高耸，俯临秋水，草木茂密，掩映楼阁。此图兼工带写，构图严密，既继承家法，又追宗王蒙， 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　擅人物、花鸟、山水，其人物画取材广泛，作品能反映现实生活，针砭社会，寄托个人情怀，具有一定思想性。造型简练、准确，生动传神，手法多变。他的花鸟画师法陈淳、徐渭、石涛、恽寿平、华喦及北宋诸家。博采众长，转益多师，成为集工笔、写意、勾勒、没骨于一身的画家。他于传统的笔墨之中掺以水彩画法，淡墨与色彩相交溶，风格明快、温馨、清新、活泼，极富创造性。山水画虽不多作，但也构图布局变化多端，笔墨技巧能跳出传统窠臼，别具一格。任颐的绘画在当时及现当代具有极大影响。有《苏武牧羊》《女娲炼石》《关河一望萧索》《树荫观刀》《群仙祝寿》及大量的花鸟、山水等作品传世，后人出版有多种画册、画集。\n任颐是我国近代杰出画家，在“四任”之中成就最为突出，是海上画派中的佼佼者。他的杰出艺术成就受到世人瞩目。\n任颐初名润，字小楼，后字伯年，浙江山阴（今杭州市萧山区瓜沥镇）人。生于鸦片战争的清道光十九年（1840年），卒于光绪二十二年（1896年）。父亲任声鹤是民间画像师，大伯任熊，二伯任熏，已是名声显赫的画家。少时受家庭的熏染，已能绘画。十来岁时，一次家中来客，坐了片刻就告辞了，父亲回来问是谁来，伯年答不上姓名，便拿起纸来，把来访者画出，父亲看了，便知是谁了。这说明任伯年幼年就掌握了写真画技巧。\n任伯年曾在十几岁青年时期，在太平天国的军中“掌大旗”，当时军旗较大，“战时麾之，以为前驱”。直到天京沦陷，任伯年才回家乡，后至上海随任熊、任熏学画。以后长期在上海以卖画为生。任伯年为人率真，不修边幅，学画时近30岁，画多而名声渐大，但其身心深受鸦片之害，损伤元气，这也是他年仅56岁就过早去世的原因。 任伯年的绘画发轫于民间艺术，他重视继承传统，融汇诸家之长，吸收了西画的速写、设色诸法，形成自己丰姿多采、新颖生动的独特画风。\n工细的仕女画近费晓楼，夸张奇伟的人物画法陈洪绶，装饰性强的街头描则学自任熏，后练习铅笔速写，变得较为奔逸，晚年吸收华岩笔意。\n就任伯年的个人艺术造诣来看，花鸟画的本领比较高，若以当时画坛的情况而言，他的人物影响比较大，原因是当时画人物画家少，成就高者更少，象任伯年这样造诣，自然推至旁首。\n作者早期的仕女画多较工细。此图中仕女以手支颐，眼望春柳，惆怅若失。构图虽简单，用笔却十分细致。以细笔描绘青丝盘头，淡墨写面部、手指；衣纹线条流畅，起笔多顿点，用富有装饰性的钉头鼠尾描形成有节奏的白描效果。",[23,117,24,64,94,95,99,98,7,33,30,29,100,119,16923],"镜心","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b242dc98ba13ddac83e86adb8a5c7d6.jpg",[],{"id":16927,"slug":16928,"title":16929,"dynasty":150,"author":1897,"museum":135,"description":16930,"tags":16931,"thumbUrl":16932,"material":229,"size":637,"collection":142,"collections":16933,"showCount":16871,"zanCount":54,"manualWeight":54,"mainColor":109},290253,"shan-xi-yun-shu-tu-zhao-yuan-290253","剡溪云树图","画江浙一带溪山平远之境，丘陵蜿蜒，草木丰茸，云蒸霞蔚，笔墨圆厚华滋，淳雅文秀有书卷气，画法与元人马文璧同调。本幅及卷后有陆友、奂祖明、陈方、仇远、张天英等多人题跋，本幅更有乾隆御书七古长诗，以为乃写会稽山水，故有“剡溪云树”之标识。诗中有句云：“传神犹在烟霞外，肯让董源第一流?”推崇可谓备之。故《石渠宝笈•初编》定为上等，可见钟爱之深也。卷后有近人萱晖堂主程伯奋多次考识，以元人张伯英诗题“画山水歌题赵宜之卷”而定为金代赵元字宜之者。因赵元后来几乎失明，宜之画世无第二本，此或许是孤本了。",[23,24,25,866,94,99,170,33,169,7,635,32,76,101,119,5009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0afad2ea03fa3328ac2e549f14dc8804.jpg",[],{"id":16935,"slug":16936,"title":16937,"dynasty":59,"author":292,"museum":135,"description":16938,"tags":16939,"thumbUrl":16941,"material":229,"size":637,"collection":142,"collections":16942,"showCount":16871,"zanCount":54,"manualWeight":54,"mainColor":55},289456,"feng-yu-gui-yu-tu-yi-ming-289456","风雨归渔图","近岸苍松虬曲扎根崖石，枝梢垂曳自带野逸之姿，坡坳间茅舍隐现，暗合村居幽寂。阔远江面烟波轻笼，两位渔翁策杖徐行浅滩，似趁风雨初收，踏浪而归。远景山峦晕在空濛烟霭中，与水色交融成一片淡墨朦胧，天际群雁振翅南飞，更衬江天寥廓清寂。\n\n全作用墨简淡空灵，以皴擦晕染绘就江南水泽的烟雨诗意，将渔人晚归的闲逸野趣融于山水空蒙间，笔简意丰，尽显山水以景抒情的含蓄禅味，藏着悠然江湖的澹远况味。",[24,866,94,99,122,96,306,140,7,3087,16940,119],"渔归","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0d3f50e0cdd0cba0d145687dd5f0552.jpg",[],{"id":16944,"slug":16945,"title":16946,"dynasty":18,"author":7587,"museum":135,"description":16947,"tags":16948,"thumbUrl":16950,"material":229,"size":637,"collection":142,"collections":16951,"showCount":16871,"zanCount":54,"manualWeight":54,"mainColor":109},287949,"ping-sha-luo-yan-tu-ye-sheng-mao-ye-287949","平沙落雁图页","盛茂烨，生卒年不详。明画家。号念庵、一作研庵，长洲（今江苏苏州）人，善山水，有烟林清旷之概。",[23,24,64,332,94,100,101,95,122,7,255,16949,30,119],"平沙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4367d0d7660d7cc5c1cfaf29d53a369.jpg",[],{"id":16953,"slug":16954,"title":16955,"dynasty":150,"author":412,"museum":152,"description":16956,"tags":16957,"thumbUrl":16959,"material":273,"size":16960,"collection":105,"collections":16961,"showCount":16871,"zanCount":54,"manualWeight":54,"mainColor":109},287761,"yu-hou-kong-lin-zhou-ni-zan-287761","雨后空林轴","画中山石多用披麻、折带皴，干笔淡墨，浓墨点苔，敷色清淡温和。整个画面布局充实饱满，平稳而有变，景象开阔，意境清淡萧疏，雨霁林空之景，宛然目前。而且，倪瓒的多数作品，写景极简，而这件作品则写高大山川，景物丰富。",[117,24,64,225,94,27,95,99,16958,32,7,140,97,100,101,119],"空林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb29f3553e93f9b3a86dddb9e78143330.jpg","63.5x37.6",[105],{"id":16963,"slug":16964,"title":16965,"dynasty":344,"author":292,"museum":135,"description":2576,"tags":16966,"thumbUrl":16968,"material":229,"size":637,"collection":142,"collections":16969,"showCount":16871,"zanCount":11,"manualWeight":54,"mainColor":109},263650,"ke-si-jia-xiu-qian-long-yu-ti-san-xing-tu-zhou-yi-ming-263650","缂丝加绣乾隆御题三星图轴",[225,64,24,9259,27,26,30,16967,4447,1287,5135,95,390,120,6446,98,7,1068,1070,100,119],"福禄寿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41adb2dde5dde60b84a10ab4ad9f8997.jpg",[],{"id":16971,"slug":16972,"title":16973,"dynasty":344,"author":16974,"museum":135,"description":16975,"tags":16976,"thumbUrl":16977,"material":229,"size":637,"collection":105,"collections":16978,"showCount":16871,"zanCount":54,"manualWeight":54,"mainColor":109},239467,"qing-chu-shi-si-jia-shu-hua-ji-jin-ce-fang-jing-hao-shan-shui-ye-wu-chong-239467","清初十四家书画集锦册-仿荆浩山水页","吴宠","吴宏（1615 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创作的一幅画。\n图绘群山巍峨、叠嶂攀升、峡谷溪涧曲转迂回之景，山腰处的古刹及林谷间隐现的屋舍均表明此山此景是士人希冀向往的隐居之所。\n全幅为高远式构图，重点描绘了中远之景。\n其景致充盈，繁而不乱，令人有望之所见、遐所不见之思。\n图中的物象被施以各种技法加以表现，山石以短线条皴擦，山脊以落茄点横向点染，苔草以焦墨擢点，醒目灵动。\n树叶以墨晕、双圈设色逸笔绘出。\n全图以青、绿、赭石兼墨色皴擦渲染，使山林呈现郁郁明净之气，既得黄公望画格的精髓，又有超逸之趣。\n本图是作者步入中年时仿黄公望浅绛山水笔意精心绘制之作，用以祝王时敏之子王揆5岁寿辰，并祝贺王揆之子王原祁29岁登进士第之禧。\n本幅款署：“岁己酉，芝翁先生春秋五十，翬寄迹金陵，阙跻堂称祝之礼。\n今年春，令嗣茂京先生南宫高捷，余方倦游归，闻报雀跃，亟图此幅为先生寿，并以致茂京得隽之贺云。\n庚戌闰月既望，虞山石谷子王翚。\n”钤“王翚之印”朱文印。\n“庚戌”即清康熙九年（167年），作者时年9岁。\n鉴藏印有“金黼廷瘦仙氏收藏”、“固始张氏收藏金石文字”等诸方。",[24,64,225,94,99,95,98,33,76,7,199,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5185714d6608092df8218c1174e80ce5.jpg",[],{"id":17099,"slug":17100,"title":17101,"dynasty":344,"author":2489,"museum":61,"description":17102,"tags":17103,"thumbUrl":17104,"material":7171,"size":17105,"collection":142,"collections":17106,"showCount":16871,"zanCount":54,"manualWeight":54,"mainColor":109},234967,"wu-wai-tian-yuan-tu-ce-kun-can-234967","物外田园图册","引首二开清汪洪度行书“物外田园”四大字。画六开，各附长篇对题。末开款识：“余半年来弄此，樵者归：留此册，强余涂之。卧起点缀如此，云中鸡犬，僬者亦能亦点头否。石道人。”后钤“石谷”(白文)。余五开无款识，有钤印。\n据列题可知此册作于壬寅，即康熙元年(1662)，髡残时年五十一岁。其时他正隐居于南京牛首山。",[24,94,99,332,100,101,95,98,33,32,97,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26de27a970adfeee45dad7edbe20f4fb.jpg","纵21.5cm，横16.9cm",[],{"id":17108,"slug":17109,"title":17110,"dynasty":18,"author":17111,"museum":61,"description":17112,"tags":17113,"thumbUrl":17114,"material":258,"size":142,"collection":142,"collections":17115,"showCount":16871,"zanCount":54,"manualWeight":54,"mainColor":109},234238,"jiang-nan-sheng-gai-tu-juan-zhu-zong-ru-234238","江南胜概图卷","朱宗儒","朱宗儒如字忆云。秀水（今嘉兴）人。善画山水人物。为人放浪不羁，弃诸生而游江湖，同邑戴泾曾为之传。",[23,24,64,25,94,95,30,76,33,99,32,7,635,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95681a81d2439f3a780c79ee72315848.jpg",[],{"id":17117,"slug":17118,"title":17119,"dynasty":18,"author":17120,"museum":61,"description":13189,"tags":17121,"thumbUrl":17122,"material":258,"size":142,"collection":142,"collections":17123,"showCount":16871,"zanCount":54,"manualWeight":54,"mainColor":55},234182,"song-mao-jin-xi-shan-chun-xin-tu-juan-song-mao-234182","宋懋晋溪山春信图卷","宋懋",[23,117,24,64,25,27,95,99,98,390,31,32,7,76,40,2320,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ba1a74833b25ec1416d17e54393026e.jpg",[],{"id":17125,"slug":17126,"title":15497,"dynasty":344,"author":345,"museum":61,"description":17127,"tags":17128,"thumbUrl":17129,"material":258,"size":17130,"collection":142,"collections":17131,"showCount":16871,"zanCount":54,"manualWeight":54,"mainColor":109},234139,"wo-you-tu-juan-cheng-zheng-kui-234139","“卧游”一语出自南朝刘宋时期（420—479年）的画家宗炳，他平生喜好出游，后因病而隐居，于是他将自己游历过的地方画成图画，悬于室内观赏，自谓“卧以游之”。1642年， 39岁的程正揆决意创作《江山卧游图》卷，至死，共画了500卷之多，集中了他一生所作山水画中的精华。此卷是其中第435卷，绘自然山川之胜景。画家截取了山体的中部进行描写，营造出一种独特的狭长视角，将人物置于山腰行走，俯瞰江水，仰眺长空，平视可见山涧自上而下的流泉。景随步迁，生动写实。笔法朴拙放逸，设色淡雅。在当时摹古风气笼罩下的画坛，程正揆堪称是一位具有新意的画家。",[23,24,64,25,94,95,99,100,101,119,240,901,33,97,32,7,96,171,76,518],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcf86b6a2adc5b5fb26bc60b95856116.jpg","纵23.8厘米，横210厘米",[],{"id":17133,"slug":17134,"title":17135,"dynasty":18,"author":17136,"museum":135,"description":17137,"tags":17138,"thumbUrl":17139,"material":142,"size":142,"collection":142,"collections":17140,"showCount":16871,"zanCount":54,"manualWeight":54,"mainColor":109},234131,"xue-ye-mu-gui-juan-huang-chang-yan-234131","雪夜暮归卷","黄昌言","黄景明，字可文，福建晋江县人，明末清初政治人物。同进士出身。\n崇祯七年，登甲戌进士，选长乐县知县，擢礼部仪制司郎，督学粤西。迁浙江三衢副使",[23,24,64,25,94,26,95,32,7,31,97,140,227,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d1eff41757c4a05ff903d7cf006d215.jpg",[],{"id":17142,"slug":17143,"title":17144,"dynasty":18,"author":1948,"museum":61,"description":17145,"tags":17146,"thumbUrl":17147,"material":17148,"size":17149,"collection":142,"collections":17150,"showCount":16871,"zanCount":54,"manualWeight":54,"mainColor":109},234130,"wen-zheng-ming-za-hua-si-duan-juan-wen-zheng-ming-234130","文徵明杂画四段卷","一、兰花小鸟。款识：[征明]钤印：[文征明印]白方、[征仲]朱方\n二、花鸟 款识：[落叶萧萧苦竹深，茆檐斜日唤双禽。棘丛岂是棲身地，三月春风满上林。征明。]钤印：[文征明印]白鞍钢、[征仲]朱方\n三、观瀑 款识[征明]钤印：[文征明印]白方、[征仲]朱方\n四、柏石 自题：[古石棱竞玄玉，乔柯偃蹇苍虬。着个修篁带雨，分明铁网琳球。征明。]钤印：[文征明印]白方、[征仲]朱谠",[23,24,64,25,94,138,101,119,95,788,30,271,543,854,4096,4238,2301,10175,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf293294d9a450f075036e4b99807eab.jpg","纸本 墨笔","每段 纵32.6厘米 横50.8厘米",[],{"id":17152,"slug":17153,"title":17154,"dynasty":18,"author":2928,"museum":61,"description":17155,"tags":17156,"thumbUrl":17157,"material":335,"size":142,"collection":142,"collections":17158,"showCount":16871,"zanCount":54,"manualWeight":54,"mainColor":109},234123,"shao-xi-chun-se-tu-juan-wen-jia-234123","苕溪春色图卷","本作品体裁是五言律诗，作者是弘历。弘历即爱新觉罗·弘历，清朝的乾隆皇帝。\n吏隐薄青纶（嘉此卷在乌程官舍所作），消闲只合闲。晓岚迷野坞，春色满江关。玉磬参承处，洼尊点缀间。云烟生湿润，活脱米家山。\n爱新觉罗·弘历（1711—1799），清朝乾隆皇帝。乾隆帝是中国历史上实际执掌国家最高权力时间最长的皇帝，在位六十年，期间社会稳定，经济发展，文化繁荣，其文治武功颇为后世称誉。乾隆帝热衷诗词，据说一生作诗4万多首。",[24,64,25,94,95,99,100,119,101,33,32,7,97,122,350,348,1562,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e66541a7ebd7c5075034cb06a0ac1b.jpg",[],{"id":17160,"slug":17161,"title":17162,"dynasty":344,"author":5786,"museum":61,"description":17163,"tags":17164,"thumbUrl":17165,"material":188,"size":142,"collection":142,"collections":17166,"showCount":16871,"zanCount":54,"manualWeight":54,"mainColor":55},234109,"hua-hong-li-wan-song-ling-shi-yi-juan-zhang-zong-cang-234109","画弘历万松岭诗意卷","张宗苍（1686-1756），字默存，江苏苏州人，画家。师承清代娄东画派的传人黄鼎。擅山水画，代表作有《吴中十六景》。\n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\u2028 《石渠宝笈》收录了他的116幅作品，很多作品上都有乾隆皇帝的题诗。 初以主簿理河工事。善画，山水出黄鼎之门，用笔沈著，山石皴法多以乾笔积累，林木间亦用淡墨，乾擦凑合，神气颇觉葱蔚可观。乾隆十六年（一七五一）高宗南巡，以吴中十六景画册进呈，称旨。命入都祗候内廷。十九年（一七五四）授户部主事。年七十一卒於家。",[117,24,64,25,94,27,95,390,31,32,7,96,97,119,33,76,35,348,2750,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4e6f470f53c443f97923402c2688b6d.jpg",[],{"id":17168,"slug":17169,"title":17170,"dynasty":18,"author":2519,"museum":61,"description":17171,"tags":17172,"thumbUrl":17173,"material":16008,"size":17174,"collection":142,"collections":17175,"showCount":16871,"zanCount":54,"manualWeight":54,"mainColor":109},234045,"qiu-xi-fan-ting-tu-shan-ye-chen-hong-shou-234045","秋溪泛艇图扇页","此图通过木叶丹黄的秋天景色和人物悠闲划艇的活动，展现出一种宁静清逸的意境，给人远离尘俗之感。清初期，陈洪绶面对明为清所灭、友人相继殉国的情境，深感亡国离乱之痛，产生了隐遁避世的情致。此图绘成后的第二年六月，他就在云门寺剃发为僧，改号“悔迟”、“悔僧”、“秃翁”，亦号“云门僧”、“迟和尚”等。图中山石、树木法自蓝瑛，多以中锋行笔，笔致粗犷，点染生动，于雄浑中见朴拙蕴藉，加强了画面的视觉效果。",[1551,24,64,94,99,95,96,255,98,7,30,119,100,140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcca0bc4fcdb1b635c63e0a0c2219a288.jpg","纵16.3厘米，横51.8厘米",[],{"id":17177,"slug":17178,"title":17179,"dynasty":59,"author":292,"museum":61,"description":17180,"tags":17181,"thumbUrl":17182,"material":188,"size":17183,"collection":142,"collections":17184,"showCount":16871,"zanCount":54,"manualWeight":54,"mainColor":109},234003,"feng-yu-gui-zhou-ye-yi-ming-234003","风雨归舟页","此图描绘风雨中江边的景象。 风和水在河面上升起，泛起涟漪和波浪。 一叶孤舟在风浪中前行，船舱里的一位乘客抬起头看向河岸。 近岸的芦苇、树枝、藤蔓在狂风暴雨中剧烈摇曳，与逆风行进的小船相呼应。 破石匆匆用笔，掀起狂风暴雨。 远处，天与水同色，云与山遥遥相望。 全天的浓烈和浓重都恰到好处，水墨是典型的南宋风格。",[24,64,332,94,27,99,95,96,33,98,7,306],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F090650b9f7490bc6479d959f1e649073.jpg","25.6×25.3cm",[],{"id":17186,"slug":17187,"title":17188,"dynasty":59,"author":292,"museum":61,"description":17189,"tags":17190,"thumbUrl":17192,"material":17193,"size":17194,"collection":142,"collections":17195,"showCount":16871,"zanCount":54,"manualWeight":54,"mainColor":55},233207,"liu-xi-chun-se-tu-ye-yi-ming-233207","柳溪春色图页","此画又名《柳溪春色图》，无名款，从其风格判断应属南宋时期作品。图绘一处屋宇依山傍水，四周柳树环绕，此时正值春天，微风吹拂柳叶飞动，整幅画面洋溢着春日气息。庭院中一群仕女似乎在排演着歌舞，屋前有一大片空地可能类似如今的广场。此画构图十分特别，不似传统「三远法」中任何一种，画面的组织皆围绕着建筑展开平铺直叙。其画法属工细一路，用笔精致，设色淡雅。画中前景用斧劈皴画一巨石，茂林密柳以「胡椒点」为之，有别于常见的人、个、介字的排列画法；屋宇平直处用界画成，曲折处稍用笔有放逸；远山勾画简略，几乎是平涂而成，意在衬托出前面繁密的景物。作者在马夏风格一统画坛的南宋时期，仍可另辟蹊径创出一种新面貌，故此画当属难得的宋人佳作。",[24,1551,3658,26,27,94,99,95,934,4612,821,241,7,17191],"春色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fa316a638cfd655a3d2997055ce7f48.jpg","绢本淡设色","纵23.4厘米，横24厘米",[],{"id":17197,"slug":17198,"title":17199,"dynasty":150,"author":412,"museum":135,"description":17200,"tags":17201,"thumbUrl":17202,"material":335,"size":17203,"collection":142,"collections":17204,"showCount":16871,"zanCount":54,"manualWeight":54,"mainColor":109},232777,"jiu-long-shan-ju-tu-ni-zan-232777","九龙山居图","图中高峰耸立，草木秀润，山下苍松挺立，远山连绵。\n水畔平坡，隐者正立于枯枝下，观赏山色。\n画法取于王蒙，并带有盛懋皴法的特点。\n线条多用中锋，并以水墨渲染，笔法转折灵活，墨色苍润，气韵浑厚。\n该图大体可分为远景、中景、近景三段式：远景为高山峻岭，悬崖峭壁，主峰巍峨，形势十分险峻；中景为山腰，和悬崖峭壁夹江对岸的平缓山坡，期间树木和杂草丛生；近景为山坡和平地，长有几棵树干粗大的苍松和杂树，有的盘根虬曲，枝叶茂密，树荫下的茅亭座落期间，弯树下有一位长者，站在水畔平坡上，作回首之状，观赏山色，后有一僮子携琴随后。\n画面的右侧为开阔湖面，湖水平如镜，平湖滩渚参差。",[23,24,64,25,94,99,101,100,117,95,199,33,32,7,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F379cd8c73503fa9cc5d8274d05b2de7f.jpg","27.9×146.1cm",[],{"id":17206,"slug":17207,"title":17208,"dynasty":18,"author":1948,"museum":400,"description":17209,"tags":17210,"thumbUrl":17211,"material":335,"size":17212,"collection":142,"collections":17213,"showCount":16871,"zanCount":54,"manualWeight":54,"mainColor":109},232643,"you-he-ming-qin-wen-zheng-ming-232643","幽壑鸣琴","此画题诗：“万千层峦叠翠，千丈飞瀑洗尘心。愿我红弦的和声，是对松风古老的卑微回答。歌曲。” 这幅画存在不同的版本。学者们认为，这里看到的岩体的实体效果图和体积山体的构造更像是文征明的学生陆治（1496-1576）的特征。\n文徵明（1470年11月28日－1559年3月28日），原名壁（或作璧），字征明，四十二岁起，以字行，更字征仲。因先世为衡山人，故号衡山居士，世称“文衡山”。南直隶苏州府长洲县（今江苏苏州）人。明代画家、书法家、文学家、鉴藏家。",[117,24,64,225,27,99,95,98,168,33,173,7,1328],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb01cc776866ad354558b4fa54af76059.jpg","132 x 50.5 厘米",[],{"id":17215,"slug":17216,"title":17217,"dynasty":344,"author":2071,"museum":281,"description":17218,"tags":17219,"thumbUrl":17220,"material":335,"size":17221,"collection":142,"collections":17222,"showCount":16871,"zanCount":11,"manualWeight":54,"mainColor":109},232267,"geng-yan-shan-shui-tu-ce-wang-hui-232267","耕烟山水图册","王翚在王时敏等人的指导下进行学习和创作的生涯达二十年。他广泛学习宋元以来的各种流浓和山水画名迹。为他最终达到“集大成”打下了深厚的基础。相对于其它三王来说。王翚的家境是较贫寒的。在青年时代就做到“仿临宋元人无微不肖”因此当时有人便“倩其作装璜作伪，以愚好古者，虽老于鉴别亦不知为近人笔”〔清·周亮工《读画全录》。今天我们偶尔还能见到王翚的“作伪”的一些假，宋元古画。〕后人广泛称道王翚的画为集古之“大成”，此语原为石谷自道：“以元人笔墨。运宋人丘壑，而泽以唐人气韵，乃为大成”〔《清晖画跋》〕。而他说的另一段话中道得更为透彻：“翚自龉时搦管，仡仡穷年，为俗流派拘牵，无繇自拔……临颖茫然，识微难洞，已从师得指法，复于东南收藏好事家纵览右丞，思训，荆，董，胜国诸贤，上下千余年，名迹数二万种，然后知事理之精微，画学之博大如此，而非区区一家一派之所能尽也，由是潜神苦志，静心救之，每下笔落墨，辄思故人用心处……于是涵泳于心，练之于手，自喜不复为流派所感，而稍稍可以自信矣”（《清晖画跋》）。可见，王翚早年曾经“为世俗流派拘毫，无繇自拔”一味地广泛临摹，学习古人各种不同的的画法之然“然后知画理之精……非区区一家一派之所能尽也”。夜间他从世俗流派的不同门户偏见的羁伴中解脱出来，当然包括所谓“南北宗”山水画的区分。清盛大士说得好“耕烟贡性超俊，学习深邃，能含南北宗为一手”（《溪山卧游录》卷一），清张庚也指出：“画有南北宗，至石谷而合焉”（《国朝画征全录》）。中国的傅统山水画，其中最主要的一种审美要素便是和式化的”皴法；而所谓“南北宗”之别亦在“披麻皴”和“斧劈皴”的不同。但二者长期的对立状态却被王翚加以解化了。正如恽寿平所说“古来之笔至龃龉不能相入者，石谷则罗而置之笔端，融洽以出，神哉技手”（《瓯香馆画跋》） 。",[24,64,332,94,99,95,140,199,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94bb574f4feb8802ab4baafc960bf456.jpg","29×29cm×10",[],{"id":17224,"slug":17225,"title":17226,"dynasty":2023,"author":17227,"museum":135,"description":17228,"tags":17229,"thumbUrl":17230,"material":229,"size":637,"collection":142,"collections":17231,"showCount":16871,"zanCount":11,"manualWeight":54,"mainColor":55},231738,"shi-ting-shi-dai-si-ji-shan-shui-tu-ping-feng-er-ping-yang-yue-231738","室町时代 四季山水图屏风-二屏","杨月","这幅山水以淡墨晕染空濛烟岚，远近山境层次尽显。近景烟波之上，渔翁撑舟而行，舱内隐者安坐，江湖野趣扑面而来。半山栈道上行人独行，山腰楼阁藏于松荫叠嶂之间，山居雅意自生。\n山石以简劲斧劈皴写就，林木点染苍秀，干湿墨色相互映衬，将幽寂山景晕染出朦胧空寂的禅意，把江湖隐逸之思与山居闲趣融为一体，萧散淡远间尽显东方山水留白余韵，悠悠勾勒出侘寂悠然的世外清境。",[23,24,64,94,27,95,31,96,7,98,33,32,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79061f8926eabe2c2bff2a6fa4b3debc.jpg",[],{"id":17233,"slug":17234,"title":17235,"dynasty":59,"author":292,"museum":152,"description":17236,"tags":17237,"thumbUrl":17240,"material":142,"size":16915,"collection":81,"collections":17241,"showCount":16871,"zanCount":11,"manualWeight":54,"mainColor":109},231083,"qing-xi-wan-mu-tu-yi-ming-231083","清溪晚牧图","画面铺陈出悠然的乡野暮色，清溪浅流舒缓漫过滩涂。一头水牛浸在水中，半隐于苇草间，抬首斜睨，慵懒消暑；另一头负着戴斗笠的牧童，踏水登上岸坡，牧童持杆闲坐，不见丝毫匆忙。侧畔老树盘根虬曲，坡岸蒹葭随风轻摆，两只水鸟振翅掠过天际，为静谧图景添上灵动生机。\n\n笔墨清润秀雅，以淡墨晕染出水色空濛的氛围感，将晚牧时分的松弛乡趣娓娓道来，把日常放牧的寻常景致，晕染成了意韵悠长的诗意画卷，尽显乡野间的自在野趣。",[117,24,64,979,27,26,94,67,17238,122,7,33,2042,98,121,17239,95,3572],"牧童","牧歌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc81e794353e50d88ea22a19584279e31.jpg",[81],{"id":17243,"slug":17244,"title":5407,"dynasty":59,"author":292,"museum":135,"description":17245,"tags":17246,"thumbUrl":17247,"material":142,"size":142,"collection":142,"collections":17248,"showCount":16871,"zanCount":54,"manualWeight":54,"mainColor":55},231055,"song-quan-pan-shi-tu-yi-ming-231055","画面以古松为骨，老干蟠曲遒劲，松针攒簇如凝墨团块，旁侧枯木枝桠如铁戟横斜，与长松相生，野意盎然。飞瀑自层岩间破壁而出，垂落撞碎成银浪，卷入涧中，湍流拍击磐石，似能耳闻泉声淙淙。层岩以浓淡墨色勾勒皴擦，块垒沉凝尽显山野荒寒。\n\n全作用水墨晕染皴擦，干湿浓淡交替，将幽寂清冷的林泉之境铺陈于绢素，静穆萧散的林下雅趣跃然眼前，尽显寄情林泉的隐逸襟怀。",[23,24,64,117,225,94,27,99,390,7,168,2984,98,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76784386c4b2ee1e768841b7f9de1bc8.jpg",[],{"id":17250,"slug":17251,"title":17252,"dynasty":344,"author":17253,"museum":135,"description":17254,"tags":17255,"thumbUrl":17256,"material":142,"size":142,"collection":142,"collections":17257,"showCount":16871,"zanCount":11,"manualWeight":54,"mainColor":55},230919,"shu-feng-zhan-dao-tu-ye-liu-long-230919","蜀峰栈道图","叶六隆","整作以水墨铺陈层叠山川，奇崛危崖间栈道盘绕，飞瀑穿林而下，古松虬曲扎根绝壁，尽绘山川雄荒之态。\n行旅之人或驱驴缓行于险道，或驻足观瀑稍作休憩，寸尺人物却神态宛然，将蜀道行路的艰涩与山川壮景相融，把奇险之境具象于笔底，又暗蕴羁旅行人的幽远意趣。笔墨苍劲古朴，皴擦勾勒间尽显山石肌理，山水之雄与行旅之幽浑然一体，尽显传统山水叙事的悠远意境。",[23,24,64,225,94,99,95,1960,30,66,240,854,241,168,227,31,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5adb14969e212e22fafe642e5a5551c7.jpg",[],{"id":17259,"slug":17260,"title":17261,"dynasty":2023,"author":292,"museum":135,"description":17262,"tags":17263,"thumbUrl":17265,"material":142,"size":142,"collection":142,"collections":17266,"showCount":16871,"zanCount":54,"manualWeight":54,"mainColor":109},230531,"tang-hua-fen-ben-shan-shui-hua-hui-tu-juan-yi-ming-230531","唐画粉本-山水花卉图卷","此作四段分绘雅景与人世行旅：首段烟波浩渺，渔翁垂竿扁舟，三两棹影浮沉沧溟，尽显江湖散逸之趣。次段江干松下，执戟侍者侍立，士人临水话别，林风簌簌似作离歌。三段云海拥卫都门，朱衣仪仗簇拥策官走马，金阙飞甍隐于云涛，尽显仪制煊赫。末段秋山丹枫灼灼，飞瀑漱石，幽居枕流，空山寥寂见林泉高致。通卷以淡彩写形，笔墨清隽，以诗画相映的分段小景，铺陈出江湖林泉到都邑行旅的万象闲情。",[23,24,64,25,27,26,28,95,30,31,96,306,66,241,821,17264,7,256,32,97],"红日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1baa70be8acd15b6541e2270d885e01e.jpg",[],{"id":17268,"slug":17269,"title":9402,"dynasty":344,"author":2253,"museum":135,"description":17270,"tags":17271,"thumbUrl":17272,"material":142,"size":142,"collection":142,"collections":17273,"showCount":16871,"zanCount":54,"manualWeight":54,"mainColor":109},230178,"fang-gu-shan-shui-ce-wang-shi-min-230178","水雾轻笼远岫，淡墨晕开江乡初夏的朦胧底色。柳丝垂曳拂过浅溪，田埂蜿蜒牵起篱舍人家，浓荫将村居温柔包裹。水渚间汀草错落，小巧板桥横卧溪上，连起幽僻乡路。\n\n浅绛设色调清润柔和，笔触松秀温婉，远山以虚笔淡墨晕染，留白铺就空濛水汽，将溽热化作悠悠闲意。近林点染疏密相宜，把江南村居的日常烟火，晕成了悠然冲淡的诗意，藏着文人归田园居的清梦，尽显江乡夏日的静穆安闲。",[24,64,2880,27,95,99,76,33,7,98,378],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b30a7edaa0aac1a21f11cf6e484343d.jpg",[],{"id":17275,"slug":17276,"title":17277,"dynasty":344,"author":435,"museum":152,"description":10517,"tags":17278,"thumbUrl":17279,"material":213,"size":17280,"collection":142,"collections":17281,"showCount":16871,"zanCount":54,"manualWeight":54,"mainColor":109},229029,"lu-hong-cao-tang-shi-zhi-tu-ce-wang-yuan-qi-229029","卢鸿草堂十志图册",[24,64,332,27,95,99,170,33,7,168,98,169,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b855412011780d4faf10c5428332274.jpg","约纵：29cm，横：29.5cm",[],{"id":17283,"slug":17284,"title":17285,"dynasty":18,"author":251,"museum":135,"description":17286,"tags":17287,"thumbUrl":17288,"material":142,"size":142,"collection":142,"collections":17289,"showCount":16871,"zanCount":54,"manualWeight":54,"mainColor":55},228429,"fa-zhao-ling-rang-hu-zhuang-yan-liu-bi-yi-lan-ying-228429","法赵令穰湖庄烟柳笔意","此作用淡墨晕染出空濛湖烟，枯柳虬枝错落披拂，将水乡早春的氤氲柔霭铺陈开来。水岸茅庐幽敞，隐者凭窗闲坐，滩头策杖人彳亍独行，湖面轻舟随波缓漾，处处浸着江南水村的清寂闲雅。\n画师以简淡清润的笔意，褪去繁饰，将幽居澹泊的文人心境融于烟水寒林之中，萧散诗意漫溢画面，尽显文人寄情丘壑的悠远意趣，是一帧极具抒情性的山水小品佳构。",[23,24,64,225,94,27,95,1397,140,96,7,97,29,99,256],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ca318bcb9c27742b74afc59762c66ca.jpg",[],{"id":17291,"slug":17292,"title":3732,"dynasty":150,"author":5329,"museum":135,"description":17293,"tags":17294,"thumbUrl":17295,"material":142,"size":142,"collection":142,"collections":17296,"showCount":16871,"zanCount":54,"manualWeight":54,"mainColor":55},228055,"qiu-shan-xing-lv-tu-wang-zhen-peng-228055","此作用色沉郁苍润，虽经年色泽淡褪，青绿晕染的层叠山峦依旧幽邃厚重，尽显秋山沉静萧疏之态。边角处板桥茅舍隐现，策杖旅人徐行于郊野，将行旅清寂融于林山空寂之间。咫尺扇面以山林为骨，把山居行旅的闲逸藏于一隅，以简淡笔墨铺展山野深幽，暗合文人林泉高致的寄怀，晕染出空灵淡远的山水意韵。",[23,24,64,1551,27,95,30,33,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aa5a9693bc3afcdabe1cdbda25bf66e.jpg",[],{"id":17298,"slug":17299,"title":17300,"dynasty":59,"author":292,"museum":135,"description":17301,"tags":17302,"thumbUrl":17303,"material":142,"size":142,"collection":142,"collections":17304,"showCount":16871,"zanCount":54,"manualWeight":54,"mainColor":109},227926,"xi-hu-chun-xiao-tu-ye-yi-ming-227926","西湖春晓图页","这幅小品以淡墨晕染出江南春晓的空濛诗意。柳丝垂岸，水乡村居错落掩映在烟树之间，黛瓦茅舍伴着新绿，尽是闲雅野逸的栖居意趣。湖面波色澹澹，渔翁摇橹泛于水上，寥寥数笔便将春日清晨的慵懒闲淡勾勒尽致。远景山峦隐在薄雾轻岚之中，佛塔尖顶刺破烟霭，晕染出悠远空寂的氛围感。整幅画作以简淡笔墨铺陈开西湖春晓的湿润清宁，不见繁复着色，全凭水墨层次晕开江南烟雨的朦胧诗意，将春日湖山的幽微之美藏于尺幅之间，尽显雅致禅意。",[23,24,64,3658,94,27,95,96,33,38,7,348,306,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9efff2dd90e43563a3a2ba33dc58941d.jpg",[],{"id":17306,"slug":17307,"title":17308,"dynasty":59,"author":292,"museum":135,"description":17309,"tags":17310,"thumbUrl":17311,"material":142,"size":142,"collection":142,"collections":17312,"showCount":16871,"zanCount":11,"manualWeight":54,"mainColor":55},227918,"geng-huo-tu-ye-yi-ming-227918","耕获图页","它将江南农耕的收种全序铺展在团扇尺幅间，陂塘田垄错落交织，揉成鲜活的郊野劳作长卷。水畔有人俯身插秧，田埂上乡人肩挑饱满稻穗，场院间众人打谷堆粮，连跨水板桥、茅舍林木都晕染出江南乡野的温润烟火。\n\n构图疏密相宜，把忙而不紊的农忙日常拆解入微，小人物身形虽小却鲜活灵动，或挥汗劳作，或歇憩闲谈，尽显田家夏耘秋收的质朴暖意。以淡墨轻晕远山近树，褪去繁复设色，将纪实的乡居劳作绘成充满生机的风物小诗，藏着对烟火日常的细致体察，把辛劳又鲜活的田家日常定格为隽永的乡野图景。",[23,24,64,1551,26,27,30,67,3560,32,7,33,95,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f946904c60ad2b0f73b01e183f9e3ae.jpg",[],{"id":17314,"slug":17315,"title":17316,"dynasty":59,"author":292,"museum":135,"description":17317,"tags":17318,"thumbUrl":17319,"material":142,"size":142,"collection":142,"collections":17320,"showCount":16871,"zanCount":54,"manualWeight":54,"mainColor":55},227388,"guan-pu-tu-ye-yi-ming-227388","观瀑图页","史载王羲之曾在团扇上画小人物；其子王献之的《为桓温书并画乌牸驳牛扇》。《历代名画记》中载：梁·肖贲“曾于扇上画山水，咫尺内万里可知”。到了宋代，随着绘画艺术的蓬勃发展，特别是山水画、花鸟画在唐末、五代基础上得到空前的提高。文人与绘画的关系越来越密切，形成了文人画创作高潮。加上皇帝对扇面艺术的重视，书画扇面相应得到飞速发展，臻于顶峰。《书继》中载：“政和间，徽宗每有画扇，则六宫诸邸竞皆临仿一样，或至数百本。”两宋盛极一时的画扇，创作了大批不朽之作，流传至今为人们饱览了两宋绘画的高尚艺术。小至花鸟画中的野草闲花，昆虫禽鱼，都运以精心，出以妙笔。",[23,117,24,64,3658,27,95,99,30,168,33,171,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01b16031931e91f7aed2413780f1bd06.jpg",[],{"id":17322,"slug":17323,"title":17324,"dynasty":59,"author":292,"museum":135,"description":17325,"tags":17326,"thumbUrl":17328,"material":142,"size":142,"collection":142,"collections":17329,"showCount":16871,"zanCount":54,"manualWeight":54,"mainColor":55},227361,"lou-guan-sha-ting-chui-diao-tu-yi-ming-227361","楼观沙汀垂钓图","在文人画里，一切都在情不自禁地轻轻飘动着。宋画是广阔的，岂止在视觉感受上，从题材、内容到形式都在自由组合中与审美达成了会心一笑似的默契和经典。宋画是现实的，就像刚刚从老庄的思想里走出，又误入了风景或花鸟的旋律。",[23,24,64,225,27,95,30,26,99,96,306,122,98,17327,7,256],"沙汀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F437e8c42c3072d6bf3d4366c3df1f44c.jpg",[],{"id":17331,"slug":17332,"title":7619,"dynasty":698,"author":292,"museum":135,"description":17333,"tags":17334,"thumbUrl":17335,"material":142,"size":142,"collection":142,"collections":17336,"showCount":16871,"zanCount":54,"manualWeight":54,"mainColor":55},227129,"gong-yuan-tu-juan-yi-ming-227129","《宫苑图》绘青山碧水之间，殿宇壮丽巍峨、行人络绎不绝的繁华盛景。画面以潺潺流水串联起星罗棋布的亭台楼阁，营造出一座精致华美的山水之城。该图“青绿为质，金碧为文”的笔法特色，以及在处理景物关系时的娴熟技巧，都是了解中国古代宫苑画如何走向成熟的重要参考。",[23,24,64,25,27,28,26,95,31,32,7,30,504],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb131de98f8b7428d587a3235aa38356b.jpg",[],{"id":17338,"slug":17339,"title":17340,"dynasty":344,"author":808,"museum":135,"description":17341,"tags":17342,"thumbUrl":17343,"material":142,"size":142,"collection":142,"collections":17344,"showCount":16871,"zanCount":54,"manualWeight":54,"mainColor":109},224503,"shan-shui-ce-kai-ba-shi-tao-224503","山水冊开(八)","此作用笔清润秀雅，以淡墨晕染远山，将春山笼在烟岚薄雾之中。江岸村落隐于林莽间，江渚渔舟系泊静卧，近岸茅舍错落，柔柳轻拂堤岸，浅赭淡绿敷色晕染，晕开春日融融暖意。\n\n右上题诗与画面相生，将江畔春景揉进诗意之中，简淡空灵间尽显田园意趣。笔墨简而意足，淡而弥厚，把江南春日的缱绻春深藏在浅淡晕染里，将乡野间恬然闲静的春日氛围铺陈开来，让观者仿若踏入这烟柳春江，沉醉在这份闲寂又充满生机的乡野春光中。",[23,24,64,332,94,27,99,100,119,95,96,7,76,33,348],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5e7cb140b5bf9176162a92b4b69e5d7.jpg",[],{"id":17346,"slug":17347,"title":17348,"dynasty":344,"author":2071,"museum":135,"description":17349,"tags":17350,"thumbUrl":17351,"material":142,"size":142,"collection":142,"collections":17352,"showCount":16871,"zanCount":54,"manualWeight":54,"mainColor":109},224465,"fang-li-ying-qiu-jiang-gan-qi-shu-tu-zhou-wang-hui-224465","倣李营丘江干七树图轴","此作用笔苍秀兼具，以枯淡之墨绘就寒林古木，虬枝如蟹爪舒张，苍松挺拔卓立，近景瀑流涓涓，旅人策蹇徐行，野意悠然。远景江水浩渺，远山以淡墨晕染，轻岚笼山，平远之境清旷空灵。\n画作师法前贤，糅合北派山水的雄浑与南宗温润雅致，将冬日江干的荒寒萧疏铺陈开来，萧寒之气与空阔江天相融，摹古却自出机杼，尽显平远山水的幽渺意境。",[23,24,64,95,225,29,99,94,98,140,390,7,96,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb2b6e269a01d7966da987a19da3ed77.jpg",[],{"id":17354,"slug":17355,"title":17356,"dynasty":344,"author":17357,"museum":135,"description":17358,"tags":17359,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“春台明月”绘一派怡人春色，湖岸枝头新绿，垂柳依依，用笔细润秀媚，设色淡雅。“平流涌瀑”画夏日高树浓荫，茂茂森森，以浓厚的墨色点染，华滋苍润。“万松叠翠”写秋时萧瑟之意，构图平远、空明，远景山石以简笔勾勒，林木萧疏，只有常青的松树依然叠翠。“平岗艳雪” 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、乞丐、流氓、渔民等下层人民的形象，这在古代的画家当中是十分难得的。康熙间至扬州卖画，人争客之。是中国清代杰出书画家，为“扬州八怪”之一。与郑燮友善。擅草书，后以狂草笔法作画。亦能诗。有《蛟湖诗钞》。\n黄慎14岁时，父亲客死湖南，两妹相继夭折，家境十分穷困，为生计，母亲命其学画，为人写真。16岁时，离家从师，他勤奋苦学，悉心钻研，画艺日进。",[23,24,225,94,30,95,140,199,7,1702,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe68e29611b387c6a662fb3dbadc9ec9a.jpg",[],{"id":17620,"slug":17621,"title":12936,"dynasty":18,"author":1571,"museum":135,"description":17622,"tags":17623,"thumbUrl":17624,"material":229,"size":637,"collection":142,"collections":17625,"showCount":17538,"zanCount":54,"manualWeight":54,"mainColor":55},287861,"shan-shui-tu-ye-zhang-hong-287861","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。",[23,117,24,95,7,170,33,99,27,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feda5fe75184c121f92c524d109737692.jpg",[],{"id":17627,"slug":17628,"title":17629,"dynasty":150,"author":17630,"museum":152,"description":17631,"tags":17632,"thumbUrl":17634,"material":273,"size":17635,"collection":142,"collections":17636,"showCount":17538,"zanCount":54,"manualWeight":54,"mainColor":109},287534,"qiu-lin-xiao-yin-zhou-tao-fu-chu-287534","秋林小隐轴","陶复初","陶复初，字明本，号介轩，元中叶石曲人。",[24,117,64,225,94,99,95,867,98,33,17633,7,13135,119],"草亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F048eda2176d397062069842db746f8cb.jpg","70x28.7",[],{"id":17638,"slug":17639,"title":17640,"dynasty":344,"author":292,"museum":135,"description":2576,"tags":17641,"thumbUrl":17642,"material":229,"size":637,"collection":142,"collections":17643,"showCount":17538,"zanCount":54,"manualWeight":54,"mainColor":55},263681,"ke-si-qiu-tao-shou-dai-tu-zhou-yi-ming-263681","缂丝秋桃绶带图轴",[24,64,225,2578,788,27,26,122,2269,2996,199,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b6711d2ba142659702743237925acf7.jpg",[],{"id":17645,"slug":17646,"title":17647,"dynasty":344,"author":808,"museum":61,"description":17648,"tags":17649,"thumbUrl":17654,"material":142,"size":142,"collection":625,"collections":17655,"showCount":17538,"zanCount":54,"manualWeight":54,"mainColor":109},240034,"yuan-ji-guan-lian-hua-feng-shi-shi-tao-240034","原济观莲花峰诗","原济(1642一1707)，俗姓朱。名若极，字石涛，号大涤子，广西全州人。明藩靖江王朱守谦后裔，父亲在明末被追杀，时若极五岁，削发为僧得以存活。法名原济，一作元济，自称苦瓜和尚。与弘仁、髡残、朱耷合称“四僧”。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。对后来扬州画派和近代画风，影响极大。",[64,100,101,94,119,12376,821,17650,1812,17651,17652,17653,530,7],"楼","洲","树影","落日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc75ac02d4b3bcace5ae32d3549fb30ff.jpg",[625],{"id":17657,"slug":17658,"title":655,"dynasty":344,"author":17659,"museum":135,"description":17660,"tags":17661,"thumbUrl":17662,"material":142,"size":142,"collection":105,"collections":17663,"showCount":17538,"zanCount":54,"manualWeight":54,"mainColor":55},239005,"shan-shui-ce-li-dong-239005","李栋","康熙四十一年（一七o二）中顺天乡榜，授内阁中书。工诗文，善篆隶，兼画山水，尤工小李将军法，名震江、淮间。著自怡堂稿、楚游杂记。《图绘宝鉴续纂》、《高邮州志》、《兴化县志》。",[24,64,332,27,94,99,95,32,7,97,33,98,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56aa001791b78be3d3dbb1d84c29775c.jpg",[105,51],{"id":17665,"slug":17666,"title":17667,"dynasty":59,"author":1354,"museum":135,"description":17668,"tags":17669,"thumbUrl":17670,"material":142,"size":142,"collection":142,"collections":17671,"showCount":17538,"zanCount":54,"manualWeight":54,"mainColor":55},238957,"guan-shan-ji-xue-tu-ye-yan-su-238957","关山积雪图页","层峦素雪覆裹，棱脉以淡墨皴擦晕染，将隆冬山巅的萧寒厚重尽显。枯木虬枝错落山间，褪去芳华尽显遒劲风骨，山坳茅舍隐现板桥通途，车马徐行于雪径，为冷寂天地晕开些许烟火暖意。\n\n右上林峦间佛塔藏幽，左上危崖栈道飞桥凌虚，为山水添出世清寂。整作设色古雅简澹，以赭石托出积雪留白，融全景山势的辽远与边角意趣于一体，在荒寒冬景里暗渡生息，尽显于萧寒中暗藏温柔生机的山水意韵。",[24,27,99,3658,95,240,5711,255,32,7,97,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f78e16e9053b9cf2cbd0db2de712553.jpg",[],{"id":17673,"slug":17674,"title":17675,"dynasty":344,"author":2071,"museum":135,"description":17676,"tags":17677,"thumbUrl":17678,"material":142,"size":142,"collection":105,"collections":17679,"showCount":17538,"zanCount":54,"manualWeight":54,"mainColor":109},238947,"shan-shui-ye-wang-hui-238947","山水页","图绘万壑千岩、草木葱茏、瀑布高悬直泻的江南风光。王翚约16岁师从同邑张珂学画时，就以元黄公望（号井西道人）的笔墨为宗，刻苦摹学始终不怠。此图是他早年学黄氏画法的代表作。图中山石以赭色和绿色交替晕染，学黄氏用纵线的披麻皴皴擦石面，笔势潇洒而秀润。其石边缘上的苔点要比黄氏的更为繁密，排列整齐的苔点，给高崖峻壑增添了青绿之美，同时，它与以卧笔横点表现的树叶，形成点与点的呼应，全图在“点”的统一下，具有湿润华滋的艺术效果。",[24,64,94,27,99,332,95,33,32,7,122,98,7019],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f8241595b412879fd3462585f1b6fb1.jpg",[105,51],{"id":17681,"slug":17682,"title":7943,"dynasty":344,"author":7944,"museum":135,"description":7945,"tags":17683,"thumbUrl":17684,"material":142,"size":142,"collection":142,"collections":17685,"showCount":17538,"zanCount":54,"manualWeight":54,"mainColor":109},238828,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238828",[24,117,64,27,99,332,95,7,120,33,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ffddea088478d06d513f1a02eba3dd2.jpg",[],{"id":17687,"slug":17688,"title":17689,"dynasty":344,"author":7944,"museum":135,"description":7945,"tags":17690,"thumbUrl":17691,"materia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，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。\n山水得黄公望法，人以为文徵明后身。淡而神旺，简而意足。尝画歙山二十四图。亦工花卉。传世作品有崇祯十二年（1639）与李永昌、汪度、弘仁、刘上延为李生白联作《冈陵图》合卷，每人画一段依次相接，孙逸所画第四段，墨色变化层次分明，质朴洁静，萧疏清逸，现藏上海博物馆；十六年（1643）作《茅屋长松图》轴藏故宫博物院；《仿云林山水图》扇页，自题：“云林不是人间笔，胸次无尘腕下仙，摹得东冈草堂法，两三株树小亭边。旋吉词兄属涂并题，正。孙逸。”藏安徽省博物馆；顺治十一年（1654）作《秋山图》轴、十四年作《仿黄公望山水图》扇页、康熙十九年（1680）作《山水》册页著录于《中国书画家印鉴款识》。从艺活动约于康熙前期。",[24,64,225,94,99,95,241,543,271,76,98,32,7,348],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08dd0626551da2c6ee84d50acbd958e6.jpg",[105],{"id":17701,"slug":17702,"title":17703,"dynasty":344,"author":17704,"museum":135,"description":17705,"tags":17706,"thumbUrl":17708,"material":142,"size":142,"collection":105,"collections":17709,"showCount":17538,"zanCount":54,"manualWeight":54,"mainColor":109},237140,"tao-li-yuan-tu-zhou-wu-chao-237140","桃李园图轴","吴焯","吴焯（1676年--1733年），男，字尺凫，号绣谷，晚号绣谷老人，清钱塘（今杭州）人（一说安徽歙县人）。以家有古藤，花开时垂如璎珞，遂构亭名“绣谷”。\n仿晁公武、陈振孙书目体例，所辑《薰习录》（一作《绣谷亭薰习录》），是其专记所藏秘册、叙述原委、购书、读书记，与《读书敏求记》颇为相似，但篇幅较小，仅经部1卷，集部2卷。又有《瓶花斋书目》今已不传。精校勘，手自丹黄，每购一书，必兼数本，相互参比，如有考证心得，辄书诸卷首。小山堂赵昱回忆与吴焯的交往时曾说“绣谷藏书颇矜惜，不轻借人，独许予抄，予所藏多绣谷亭本。予偶得善册，先生见之亦必取以勘定。”乾隆三十八年（1773），诏开四库馆，采访天下遗书，次子吴玉墀以古书百余种进呈朝廷，与鲍廷博“知不足斋”、汪宪“振绮堂”、孙宗濂“寿松斋”、汪启淑“飞鸿堂”，各整比所藏，踊跃呈献，获赐《佩文韵府》1部及书数种。藏书印有“绣谷手典”、“疏雨薰习”、“流传勿污损”、“性命以之”等多枚。刻书甚富，达50余种，数千卷。与厉鹗、赵昱等往来极密，每得一秘本，彼此互相抄录，抄书用纸印墨格或绿格，版心刻有“绣谷亭”三字，有的左栏外刻有“西泠吴氏绣谷亭抄书”或“绣谷亭抄书”等字样。所藏书身后大多归于汪宪“振绮堂”、许宗彦“鉴止水斋”及马氏兄弟等家。藏书印有“绣谷所藏”、“绣谷薰习”、“尺凫”、“愿流传勿损污”等。著有《绣谷杂抄》、《药园诗稿》、《陆渚飞鸿集》、《玲珑帘词》、《经山游草》等。与厉鹗、赵昱合撰《南宋杂事诗》。",[24,64,225,27,26,99,95,30,31,32,97,2269,17707,33,7],"李","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F632fa63692d7afa3a89ed69ddf696e28.jpg",[105,625],{"id":17711,"slug":17712,"title":888,"dynasty":18,"author":17713,"museum":135,"description":17714,"tags":17715,"thumbUrl":17716,"material":229,"size":637,"collection":142,"collections":17717,"showCount":17538,"zanCount":54,"manualWeight":54,"mainColor":109},236017,"shan-shui-zhou-fang-yi-zhi-236017","方以智","方以智（1611年－1671年11月9日），字密之，号曼公，又号鹿起，别号龙眠愚者，出家后改名大智，字无可，别号弘智，人称药地和尚。南直隶安庆府桐城（今安徽桐城）人。",[24,64,225,94,99,95,98,390,32,7,97,348,1045],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef511a540cd7c362a9bfeac870dc8c0a.jpg",[],{"id":17719,"slug":17720,"title":17721,"dynasty":18,"author":2519,"museum":135,"description":6403,"tags":17722,"thumbUrl":17723,"material":229,"size":637,"collection":142,"collections":17724,"showCount":17538,"zanCount":54,"manualWeight":54,"mainColor":109},235834,"qiu-jiang-fan-ting-tu-shan-ye-chen-hong-shou-235834","秋江泛艇图扇页",[24,1551,27,95,33,7,96,98,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F594d35bd690e97efc840ff5ab3451139.jpg",[],{"id":17726,"slug":17727,"title":17093,"dynasty":344,"author":2071,"museum":135,"description":17728,"tags":17729,"thumbUrl":17730,"material":142,"size":142,"collection":142,"collections":17731,"showCount":17538,"zanCount":11,"manualWeight":54,"mainColor":109},235606,"fang-huang-gong-wang-shan-shui-tu-zhou-wang-hui-235606","此作以高远兼深远之法写就，层峦叠嶂自右上逶迤铺展，山势雄秀兼具，留白晕染仿出初雪覆山的清润寒意。干笔皴擦间点缀湿墨晕染，勾勒出岩体质朴苍劲的纹理。\n\n林木疏密错落，枯荣交织，挺劲枝干带着摇曳之姿，涧水潺潺穿林绕石，掩映处的山居茅舍，衬出林泉幽寂的林下之致。右上角题诗补白，笔墨与文心相融，既得元人萧散简远的林下意境，又不失清丽秀润的自家风骨，师法前人却不泥古，将山川林壑的静穆生机晕染开来，尽显山水笔墨的隽永意趣。",[24,64,225,94,27,99,95,33,98,7,169,504,171,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12ebab63a5fd626204d87b2f599add4a.jpg",[],{"id":17733,"slug":17734,"title":17735,"dynasty":344,"author":17736,"museum":135,"description":17737,"tags":17738,"thumbUrl":17739,"material":229,"size":637,"collection":142,"collections":17740,"showCount":17538,"zanCount":54,"manualWeight":54,"mainColor":109},235365,"qun-feng-ji-cui-tu-zhou-liu-yan-chong-235365","群峰积翠图轴","刘彦冲","刘彦冲（1807～1847）清代画家、诗人。初名荣，字咏之，四川铜梁（今重庆铜梁）人，侨寓吴门（今江苏苏州），朱昂之弟子。家贫事母孝，不妄干人。工诗文，善绘事，山水、人物、花卉，一意师古，深造自得。山水初从朱昂之游，心得其秘。复肆力于古，临摹各家，无不得其精髓。泼墨作小米云山，亦翁郁可观。惜中年殁。",[24,117,225,866,27,99,2740,33,31,1357,96,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb09b0faca13edb8b101856f7129f43a9.jpg",[],{"id":17742,"slug":17743,"title":17744,"dynasty":18,"author":292,"museum":135,"description":17745,"tags":17746,"thumbUrl":17747,"material":142,"size":142,"collection":142,"collections":17748,"showCount":17538,"zanCount":54,"manualWeight":54,"mainColor":55},235054,"shen-shi-lan-ting-xiu-xie-tu-juan-yi-ming-235054","沈时兰亭修褉图卷","此作用青绿设色铺陈林泉雅集，苍松茂柳环合掩映，青绿山石古雅沉静，将林下幽境晕染得清旷悠然。左侧文士或围坐清谈，或凭石闲憩，神态萧散清和，衣袂舒展自带林下风流，暗合流觞曲水之雅意。林间隐着简雅亭台，衬出集会的雅致氛围。右侧水扁舟轻泛，对岸轩阁凭栏，将林泉之景延展得悠远空灵。\n\n画作工写兼具，古旧绢色晕染出温润古意，将文会吟咏唱和的悠然光景复刻于卷上，漫溢出文人集会的从容风雅，尽显林泉雅集的清逸意趣。",[24,64,25,27,26,30,97,7,96,241,98,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F455cd376df096daa4f2307bb08f68e66.jpg",[],{"id":17750,"slug":17751,"title":655,"dynasty":344,"author":2501,"museum":61,"description":17752,"tags":17753,"thumbUrl":17754,"material":714,"size":17755,"collection":142,"collections":17756,"showCount":17538,"zanCount":54,"manualWeight":54,"mainColor":109},235026,"shan-shui-ce-wu-li-235026","此图册布局饱满，笔墨苍拙，文人画气息浓郁，具有作者所追求的“神逸”韵味。无年款，从书画笔法来看，应为吴氏晚年画作精品。\n第一开：自识：“月中疏处最秋多，叶叶斜斜映浅波。曾折长条赠行客，只今黄落未归何。予秋柳诗也，并书。墨井道人。”钤“延陵”、“墨井” 朱文印二方。\n第二开：自识：“远岫接烟光，斜阳在钓航。众渔归已尽，独自过横塘。东楼暑薄写此。墨井。”钤“渔山”朱文印二方。\n第三开：自识：“林鸠唤雨不成雨，山鹊呼晴亦未晴。尽日声声是何意，欲催泼墨米图成。梅雨乍霁。延陵历。”钤“吴历”朱文印、“吴历之印”白文印。\n第四开：自识：“春事已云莫，落花门外无。何为井上树，四月尚如枯。渔山子。”钤“渔山”、“墨井”朱文印二方。\n第五开：自识：“墨井道人雨窗拟古，竹醉日。”钤“延陵”、“墨井” 朱文印二方。\n第六开：自识：“萧萧踈踈，木落草枯。空山无人，夜吼於菟。墨井道人。”钤“吴历之印”白文印、“延陵”朱文印。\n第七开：自识：“写元人画，大抵要简澹趣多，曲折有韵。五月小尽日，墨井历。”钤“吴历”、“渔山” 朱文印二方。\n第八开：自识：“石激水流处，天寒松色间。墨井道人。”钤“渔山”、“墨井” 朱文印二方。\n第九开：自识：“前人草草涂抹，自然天真绚烂。小重阳后一日，渔山子。”钤“延陵”朱文印、“吴历之印”白文印。\n第十开：自识：“不是看山定画山，的应娱老不知还。商量水阔云多处，随意茆茨着两间。墨井道人从上洋归，写于东楼。”钤“吴历之印”白文印、“延陵”朱文印、“墨井”朱文印。\n鉴藏印有“虚斋审定”、“莱臣心赏”等17方。",[24,64,332,94,95,96,140,7,199,101,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bc84bebdcb3c8a0368bf20a1a97b797.jpg","23.2厘米，横28厘米",[],{"id":17758,"slug":17759,"title":4655,"dynasty":344,"author":2071,"museum":135,"description":9086,"tags":17760,"thumbUrl":17761,"material":229,"size":637,"collection":142,"collections":17762,"showCount":17538,"zanCount":54,"manualWeight":54,"mainColor":109},234957,"wang-hui-fang-gu-shan-shui-ce-wang-hui-234957",[24,64,332,94,95,99,29,98,140,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff61f73b655bbfc97bf1e7e8187d098a3.jpg",[],{"id":17764,"slug":17765,"title":14674,"dynasty":18,"author":251,"museum":61,"description":17766,"tags":17767,"thumbUrl":17768,"material":142,"size":142,"collection":142,"collections":17769,"showCount":17538,"zanCount":54,"manualWeight":54,"mainColor":55},234477,"shan-shui-shan-ye-lan-ying-234477","蓝瑛（1585-1664），一说（1585-约1666），明代画家。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。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 ，与文征明、沈周并重。",[1551,24,95,94,27,99,98,33,7,96,256],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee5eef4e9e844dc82ec6dd66dffe0f98.jpg",[],{"id":17771,"slug":17772,"title":17773,"dynasty":18,"author":7435,"museum":135,"description":17774,"tags":17775,"thumbUrl":17776,"material":142,"size":142,"collection":142,"collections":17777,"showCount":17538,"zanCount":54,"manualWeight":54,"mainColor":109},234209,"shu-hua-he-bi-juan-liu-jue-234209","书画合璧卷","刘珏（1410—1472）字廷美，号完庵，南直隶苏州府长洲（今江苏苏州）人。宣德中，苏州知府况钟举为吏，不就，得补生员，正统三年（1438）中举人，授刑部主事，迁山西按察司佥事，年五十弃官归。卒年六十三。\n老而嗜学不衰，为诗清丽可咏，景泰、天顺间，为吴中诗人之最，京师号为刘八句。书正、行出赵孟頫，山水出王蒙，行草学李邕，各极其妙。写山水林谷泉深，石乱木秀，云生绵密，幽媚风流，蔼然高者，攀鳞巨老，庶乎升堂，特未入室耳。天顺（1457—1464）间与杜琼、徐有贞、马愈、沈贞吉、恒吉并能，写山水，近世莫及。",[23,117,24,64,25,100,101,94,99,95,97,33,98,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2727e34c1088f093d9673232a8eced1b.jpg",[],{"id":17779,"slug":17780,"title":17781,"dynasty":18,"author":1948,"museum":135,"description":17782,"tags":17783,"thumbUrl":17784,"material":142,"size":142,"collection":142,"collections":17785,"showCount":17538,"zanCount":54,"manualWeight":54,"mainColor":109},234207,"wen-zheng-ming-quan-nong-tu-juan-wen-zheng-ming-234207","文徵明劝农图卷","文徵明（1470年11月28日－1559年3月28日），原名壁（或作璧），字徵明，四十二岁起，以字行，更字徵仲。因先世为衡山人，故号衡山居士，世称“文衡山”。南直隶苏州府长洲县（今江苏苏州）人。明代画家、书法家、文学家、鉴藏家。\n文徵明曾学文于吴宽，学书法于李应祯，学画于沈周，生平九次参加乡试均不中。嘉靖二年（1523年），以岁贡生参加吏部考试，被授予翰林院待诏之职。嘉靖五年（1526年），文徵明辞官归乡，专事创作。 [1]\n嘉靖三十八年（1559年）二月二十，文徵明去世，享年九十。其弟子私谥贞献。\n文徵明诗、文、书、画无一不精，人称“四绝”，其与沈周共创“吴派”。在画史上与沈周、唐寅、仇英合称“明四家”。在文学上，与祝允明、唐寅、徐祯卿并称“吴中四才子”。",[23,24,64,25,94,101,100,119,95,30,32,7,97,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b09253d9d58e272bdeb6f3bee99f795.jpg",[],{"id":17787,"slug":17788,"title":655,"dynasty":18,"author":1254,"museum":61,"description":2766,"tags":17789,"thumbUrl":17790,"material":2769,"size":2770,"collection":142,"collections":17791,"showCount":17538,"zanCount":54,"manualWeight":54,"mainColor":109},234061,"shan-shui-ce-dong-qi-chang-234061",[24,64,332,94,99,95,7,199,33,2280,97,348],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa091a7ca4982bd9068ee0a650b07f502.jpg",[],{"id":17793,"slug":17794,"title":655,"dynasty":18,"author":1254,"museum":61,"description":2766,"tags":17795,"thumbUrl":17796,"material":2769,"size":2770,"collection":142,"collections":17797,"showCount":17538,"zanCount":54,"manualWeight":54,"mainColor":109},234060,"shan-shui-ce-dong-qi-chang-234060",[24,64,332,94,99,95,390,98,7,348,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f30ce9ddfaf2159f725103c9460f248.jpg",[],{"id":17799,"slug":17800,"title":655,"dynasty":18,"author":251,"museum":61,"description":17801,"tags":17802,"thumbUrl":17803,"material":659,"size":17804,"collection":142,"collections":17805,"showCount":17538,"zanCount":54,"manualWeight":54,"mainColor":109},233968,"shan-shui-ce-lan-ying-233968","蓝瑛（1585—约1666年），字田叔，号蜨叟、石头陀、西湖山民等，钱塘（今浙江杭州）人。擅画山水，早年以摹古为主，宗法唐宋元诸家，尤以习元黄公望、明沈周最有心得，笔致工整细润，墨色清淡妍静。中年于传统的绘画基础上形成自己的绘画面貌，笔墨苍劲雄浑，于疏简粗旷的线条组合中表现高峻突兀的江南葱郁之景。钱塘又称武林，后人将蓝瑛和从其学画的刘度、蓝孟、蓝深等合称“武林画派”。",[24,64,332,94,99,95,97,7,98,33,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7defdc594b8dc33e1658736fecc8c865.jpg","57×39 公分",[],{"id":17807,"slug":17808,"title":17809,"dynasty":344,"author":808,"museum":61,"description":17810,"tags":17811,"thumbUrl":17812,"material":258,"size":17813,"collection":142,"collections":17814,"showCount":17538,"zanCount":54,"manualWeight":54,"mainColor":109},233773,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233773","原济陶渊明诗意册","本图册是作者根据东晋著名诗人陶渊明诗句而创作。陶渊明是中国田园诗的创始者，他的诗不仅反映出田园生活的美好与自然，更流露出他徘徊于出仕与归隐之间的矛盾。绘画者显然非常赞赏这种避身独处、与世无争、乐天安命的人生哲学，通过描绘回归自然、淡于荣禄、不与统治者合作的隐士陶渊明来表现自己美好的理想。\n这里择两开赏析。\n第二开《悠然见南山》：陶渊明的许多诗篇中都有关于菊花的诗句：“采菊东篱下，悠然见南山”、“秋菊有佳色，裛露掇其英”均写出了他远离世俗的心境和陶醉于自然的乐趣。他常以菊自喻，借菊花凌秋傲霜的品质表达自己清高的节操和情怀。石涛仰慕陶渊明的高尚情操，故此图借陶渊明爱菊寄寓了画家自己的思想感情。画中篱笆院中菊花盛开，一高士手持菊花观赏，悠然之态可见。此图结构精巧，人物用笔细密。远山以墨笔烘染，山腰云雾密布，不见山脚，以此表现烟云飘渺的动态和气势。这种中锋、细勾、渍染相结合的画法使画面有动有静，虚实结合，意趣无穷。\n第六开《遥遥望白云 怀古一何深》：描绘一位着布衣宽袍的老者临溪而立。老者远望青山，脚下溪水流淌。面对满目凄凉、空无一人的山水，主人公似思绪万千，发思古之幽情。画家借此图深刻而恰当地表达了自己零丁孤苦、怀才不遇之情。构图采用一水两岸的自然分疆法。画面上只见弥漫的云山、层山断处的房舍和半露的松林而不见山脚，山顶则似露非露地隐现。树木用水墨渍出，以衬托山腰白云的动感。",[24,64,332,94,27,95,33,2206,7,98,30,101,119,99,97,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facfe15b15dd27ffce25b8a5334ea64a4.jpg","纵27厘米，横21.3厘米",[],{"id":17816,"slug":17817,"title":4588,"dynasty":344,"author":4589,"museum":61,"description":4590,"tags":17818,"thumbUrl":17819,"material":4594,"size":4595,"collection":142,"collections":17820,"showCount":17538,"zanCount":54,"manualWeight":54,"mainColor":109},233400,"shan-shui-ren-wu-ce-jin-nong-233400",[24,64,332,94,27,138,95,30,96,7,307,140,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F719bb0fb0ca34e2f5d64acbe64f13589.jpg",[],{"id":17822,"slug":17823,"title":2866,"dynasty":344,"author":808,"museum":135,"description":2867,"tags":17824,"thumbUrl":17825,"material":335,"size":2871,"collection":142,"collections":17826,"showCount":17538,"zanCount":54,"manualWeight":54,"mainColor":109},233383,"yuan-ji-jin-shan-long-you-si-shi-yi-ce-shi-tao-233383",[24,64,94,99,332,95,32,7,98,30,38,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6a2cb0bf3c261545bb9cb2f6d60a55a.jpg",[],{"id":17828,"slug":17829,"title":17830,"dynasty":18,"author":1948,"museum":61,"description":17831,"tags":17832,"thumbUrl":17833,"material":714,"size":17834,"collection":142,"collections":17835,"showCount":17538,"zanCount":54,"manualWeight":54,"mainColor":109},233118,"lin-xi-you-shang-tu-zhou-wen-zheng-ming-233118","临溪幽赏图轴","图中山坡上松柏、杂树高耸茂密，绿荫下溪水蜿蜒，溪上横卧小桥，桥上一老者临溪赏景，其后有童子侍立。用笔细谨，着墨精巧，意境清幽。",[24,64,225,94,99,95,33,1397,140,7,30,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf0989418a5c49480611f009704cb440.jpg","纵127.3厘米 横50厘米",[],{"id":17837,"slug":17838,"title":17839,"dynasty":18,"author":17840,"museum":152,"description":17841,"tags":17842,"thumbUrl":17843,"material":103,"size":17844,"collection":105,"collections":17845,"showCount":17538,"zanCount":54,"manualWeight":54,"mainColor":109},232693,"qiu-du-shu-le-tu-ju-mao-shi-232693","秋读书乐图","居懋时","居懋时［明］吴县（今江苏苏州）人。\n节子。亦善画。《苏州志》",[23,24,64,225,94,95,99,98,168,33,76,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc44755deef3b0cac993c0c25db5625a1.jpg","147.7x37.2厘米",[105],{"id":17847,"slug":17848,"title":17849,"dynasty":18,"author":17850,"museum":400,"description":17851,"tags":17852,"thumbUrl":17855,"material":335,"size":17856,"collection":142,"collections":17857,"showCount":17538,"zanCount":54,"manualWeight":54,"mainColor":55},231936,"fang-gao-ke-gong-shan-shui-tu-tao-hong-231936","仿高克恭山水图","陶泓","图绘云山峻岭，大气磅礴，山林滃郁，流泉潺湲。一高士过桥而回首观水，喻”智者乐水“之意。全幅用高尚书笔意而润密过之。 陶泓，字士泉，号砚山，生平无考。",[23,24,64,117,225,94,95,12866,17853,7468,7,32,30,29,99,17854],"峻岭","智者乐水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cbbee98cf491d6f7fe862b5d64e4bf5.jpg","53x89cm",[],{"id":17859,"slug":17860,"title":17861,"dynasty":18,"author":7291,"museum":152,"description":17862,"tags":17863,"thumbUrl":17864,"material":335,"size":17865,"collection":142,"collections":17866,"showCount":17538,"zanCount":54,"manualWeight":54,"mainColor":109},231887,"zhao-yin-tu-xiang-sheng-mo-231887","招隐图","《三招隐图》是项圣谟创作的一幅绢本绘画作品。\n项圣谟（1597-1658年），初字逸，后字孔彰，号易庵，别号胥山樵等浙江嘉兴人。收藏家和画家元汴之孙。善于画人物、花卉，尤其以山水见长，笔法秀逸，富于变化。特别喜欢画松树，有“项松之名满东南”之誉。代表作有《郞云堂集》。",[23,24,25,94,95,99,100,101,119,98,33,7,32,97,30,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F092d3a5e44efe229ec1b333761924ffd.jpg","该幅32.4x772.5公分",[],{"id":17868,"slug":17869,"title":17870,"dynasty":18,"author":1948,"museum":135,"description":8181,"tags":17871,"thumbUrl":17872,"material":142,"size":142,"collection":142,"collections":17873,"showCount":17538,"zanCount":54,"manualWeight":54,"mainColor":109},231836,"xi-shan-ting-pu-tu-wen-zheng-ming-231836","溪山听瀑图",[23,24,64,25,94,99,101,119,95,168,33,98,97,96,7,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc9db7b6cabe2afe187e7acca740168f.jpg",[],{"id":17875,"slug":17876,"title":17877,"dynasty":18,"author":17878,"museum":400,"description":17879,"tags":17880,"thumbUrl":17881,"material":335,"size":17882,"collection":142,"collections":17883,"showCount":17538,"zanCount":11,"manualWeight":54,"mainColor":55},231545,"xu-ting-fei-pu-tu-zhang-ning-231545","虚亭飞瀑图","张宁","在中国绘画史上，张宁的名字并没有像沈周、文徵明那样引人注目。甚至于当人们讨论明代绘画的时候，张宁也很少被提及。作为一朝大臣的张宁并不是一位职业画家，但也绝不是一个票友，他的诗文、书法和绘画在当时就名动一时。如果注意到他的吴人身份，把他和王绂、刘珏等吴门先驱放在一起，便不难发现他在绘画史上是应该有一席之地的。无奈目前能够找到的张宁作品和资料并不是很多，史籍上关于他的记载也大多是他的政绩而非艺术，故这里对张宁的讨论也只能是抛砖引玉。\n张宁（1426—1496），字靖之，号方洲，一作芳洲，海盐(今属浙江)人；一作嘉兴(今属浙江)人；又作吴(今苏州)人。明朝中期大臣。景泰五年进士，授礼科给事中。丰采甚着，与岳正齐名，英宗尝称为“我张宁”云。成化中出知汀州，先教后刑，境内利病悉罢行之。后为大臣所忌，弃官归，公卿交荐，不起。能诗画、善书法，才思敏捷，诗文书画皆有名。性喜绘事，工人物山水。抒写烟月，点染林丘，为艺苑所珍。曾奉旨出使朝鲜，化解了朝鲜王室内部纷争。画兰竹赠朝鲜王李扶。张宁才高志大，英宗意欲重用。但他久居谏坛，直言无忌，为朝中权贵所恶。给事中王徽因弹劾大学士李贤而获罪，张宁率六科论救，由是渐与内阁相忤。后出为汀州知府，抑郁不得志，遂以病免职。家居30年，屡次被荐，终不复召。在家乡筑方洲草堂（为海盐著名的园林，今不存），以琴书自娱。张宁为文遵古法，才思敏捷，兼善画，著有《读史录》、《删改史论》、《方洲集》等。\n张宁首先是明朝中期见诸史载的一位大臣，同时也是一位卓有成就的诗人和画家。清徐沁《明画录》：“张宁字静之，吴人，画山水有声。”明朱谋垔《画史会要》：“张宁，字靖之，号芳洲，海盐人。景泰进士，官汀州知府。书画皆有名。”可见作为朝中大臣的张宁在当时书法绘画就很有名。\n明中叶以后，以沈周、文徵明为代表的吴门派取代浙派而盛极一时。沈周、文徵明都是吴（苏州）人，因此被称为吴门派。在沈周、文徵明之前的赵源、王绂、徐贲、陈汝言、刘珏、张宁等同样是吴人的画家，对沈周、文徵明等后来的吴门画派都有重要的影响，画法也有近似之处。只是当时还没有“吴门派”的说法。\n张宁同时具有双重身份，既是官僚，又是书画家。从他的文章里不难发现，他与同时代的画家有着密切的交往。米芾以喜欢奇石而闻名，明代画家谢环也喜欢奇石，张宁在他的《方洲杂言》提到：“观音寺衙衕寺僧所收谢廷循一石，方广三四寸，中劈为二，内函鱼骨一具，首尾皆全。”由此可见他与谢环的交情非同一般，他还曾为友人徐溥（时用）所收藏的谢环（廷循）的画上题过诗。\n张宁在中国画发展史上处于吴门画派形成之前，他和王绂、徐贲、陈汝言、刘珏等吴门画派的先行者对沈周和文徵明的影响在绘画史研究中已经引起了学者的注意。或许是因为未被列入职业画家的行列，他的作品见诸著录及馆藏极少。尽管可能绘画对张宁的“余事”，但其艺术水平丝毫不逊色于职业画家。张宁的绘画技法有着很明显的元代传统特征，尤其是元四家之一王蒙的影响。但张宁似乎不太喜欢王蒙那种凝重，他的作品并没有元人那种浑厚苍茫，而更多地倾向于表现秀雅和清旷的意境。",[23,24,27,99,225,95,168,97,33,98,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff32ef3f130d45e39b134d17480d98bae.jpg","109.8 x 38.1cm",[],{"id":17885,"slug":17886,"title":17887,"dynasty":344,"author":17888,"museum":1308,"description":17889,"tags":17890,"thumbUrl":17891,"material":6083,"size":17892,"collection":142,"collections":17893,"showCount":17538,"zanCount":54,"manualWeight":54,"mainColor":109},231350,"fang-gao-fang-shan-shan-shui-tu-wang-fang-231350","仿高房山山水图","汪昉","清代绘画,在同时期的政治、经济、思想、文化诸因素的影响下,呈现出特定的时代风貌。它承接元、明以来的趋势发展,士大夫文人画日益占据画坛主流,在明代后期形成的诸画派,到此时更是分支繁衍。清代历朝皇帝,大多爱好绘画艺术,倡导社会风气,使更多的人热心投入画家的行列。全清有史可稽的画家,多至近六千人,可谓繁盛。总的看来,以山水画、花鸟画比较发达,成绩较好,人物画次之。其发展大致可分为前、中、后三个时期。\n前期(顺治至康熙中),受皇室扶植的 四王 画派,以王时敏、王鉴、王翚、王原祁为代表,成为画坛的正统派,他们以摹古为主旨,崇尚董其昌和元四家,讲究笔墨趣味,技巧功力超卓,但缺少鲜活的生趣。他们的山水画风影响到整个有清一代。同时的江南地区,却出现了一批反正统的画家,他们大多是明末遗民,政治上不与清统治者合作,艺术上反对陈陈相因,主张抒发个性,所以作品往往感情真挚强烈,风格独特新颖。代表画家有弘仁、髠残、朱耷、石涛合称的 四僧 ,以龚贤为首的 金陵八家 ,以弘仁、查士标、梅清为代表的 新安派 等。其中 四僧 的成就最为突出,给后世的有益影响也更大。中期(康熙晚年至乾隆、嘉庆年间),随着政权的巩固、疆域的统一、社会的安定,经济的繁荣,出现了 康、乾盛世.此时宫廷绘画在皇室扶植下活跃一时,内容和形式都比较多样,人物画的成就显著。而经济发达的扬州出现以 扬州八怪 为代表的 扬州画派 ,他们接过石涛、朱耷 反正统 的旗帜,以革新的面貌出现于画坛,用绘画抒发自己郁懑愤激的情怀,表达心灵高洁的向往,形式上意到笔随,狂放怪异,不拘一格,作品具有鲜明的个性,对近代和现代的花鸟画都产生深远的影响。\n后期(道光至宣统),中国逐渐沦为半封建半殖民地的社会,画坛也发生了急剧变化。怡情养性的士大夫文人画日见衰微,而在辟为通商口岸的商业城市上海、广州,分别出现了以赵之谦、任颐、吴昌硕为代表的 海上画派 和由居巢、居廉首创的 岭南画派 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-mei-yang-zheng-tu-shu-he-ce-zhang-ruo-ai-236155","冷枚养正图书合册","此套册页共十开，画面内容皆为历代贤明君主的故事。绘画部分由宫廷画家冷枚绘制，对题由张若蔼书写对应故事情节的文字。两者配合，图文并茂，能够起到以史为鉴、以图育人的教育目的。皇子们观摩此册，意在学习为君之道。\n之后，康熙皇帝带领皇太子（胤礽）、皇长子（胤禔）、皇三子（胤祉）、皇四子（胤禛）、皇五子（胤祺）、皇七子（胤祐）、皇八子（胤禩）一同来到无逸斋，命尹泰、德格勒传谕：「朕宫中从无不读书之子，今诸皇子虽非大有学问之人，所教然已俱能读书。朕非好名之主，故向来太子及诸皇子读书之处未尝有意使人知之，所以外廷容有未晓然者。今特诏诸皇子至前讲诵，汝等试观之。」\n康熙皇帝随即取下十余本经书授予汤斌，让他「信手拈出，令诸皇子诵读」。汤斌随揭经书，皇三子、皇四子、皇七子、皇八子依次进前，各读数篇，纯熟舒徐，声音朗朗。\n康熙皇帝又命皇长子讲「格物致知」一节，皇三子讲《论语》「乡党」首章，皆逐字疏解又能融贯大义。而一向在宫中被皇太后亲自抚养、不谙汉文的皇五子也不逊色，他虽不曾读汉书，但对满文却是精通，康熙皇帝命他当场诵读满文，读的「段落清楚，句句明亮」。\n当时，皇长子十六岁，皇太子十一岁，皇三子十一岁，皇四子十岁，皇五子九岁，皇七子八岁，皇八子七岁，诸皇子的表现无疑是很出色的。但康熙皇帝绝不夸赞，也不允许别人称赞，「诸皇子在宫中从无人敢赞好者，若有人赞好，朕即非之」。",[24,64,332,27,26,2523,100,30,7,33,98,38,18233,1128,4528],"草垛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F596a76848924f127315379a1b60f6cb6.jpg","纵三二·二厘米 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-1767）字士撰。乌程（今浙江吴兴）人，其父金鸿亦为小有名声的画家，廷标能绍父艺，擅画白描人物，亦善写真（肖像），兼能花卉、山水、乾隆二十二年（1757），乾隆帝第二次南巡时，金廷标进献《白描罗汉图》，得乾隆“称旨”，遂得以入宫供职，成为当时的一名宫廷画家。\n金廷标所作画，极得乾隆欣赏，御题诗句甚多，赞美之意溢于言表，如题其《放鹤图》云：“是谓善写照，传神在阿堵。”题其《江村图》云：”七情写毕皆得神，顾陆以后今几人。”又在他《临唐寅琵琶行图》后如此题道：“内府藏弆唐寅画琵琶行于江边扁舟直写一女抱琵琶，廷标此图不画琵琶女，而画居易等属耳之情，便觉高出其上。此与宋人画‘踏花归去马蹄香’以数蝶随骑意同。向未题句，兹偶见之，因拈其妙，然画院中能作如此解者实少也。”对金廷标能高出当时的宫廷画家，给予肯定。\n金廷标死后，乾隆在翻阅他的画作时又一再叹息，有诗这样写道：“去年命写寻常事，今日谁知珍惜加。”“足称世画无双画，可惜斯人作古人。”对金廷标的去世，表示无限的惋惜。一个自命“古稀天子”的帝王，能对一名宫廷画师如此的眷顾，极为难能，于此亦可见金廷标画艺的超群。\n清代未见有“书院”之称，（文献记载仅见“书院处”一词），更不像宋代书画院中设有具体的“待诏”、“艺学”等明确的官职。清代宫廷中供职的画家，一般情况均需有人举荐，有的还需要经过考核。文献记述金廷标只是自己进献作品以自荐，即得乾隆帝的“称旨”，可见他的画艺不凡。从本文介绍的这件作品来看，他也可以称得是当时画院中具有代表性的人物画家。\n传世作品有《拜石图》，图录于《故宫书画集》；《碧桃图》《孟母移居图》《枫林晚坐图》《萱花寿石图》册页图录于《中国历代名画集》；《高贤遇隐图》轴图录于《中国绘画史图录》下册；《春元瑞兆图》轴藏日本大阪市立美术馆；乾隆二十六年(1761)作《观音大士像》轴现藏沈阳故宫博物院；《婕妤挡熊图》轴、《瞎子说唱图》轴、《罗汉图》轴、《莲塘纳凉图》轴等藏故宫博物院。",[24,27,94,99,3658,119,95,390,3227,98,7,97,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8386cfaad20e26fd82e317e8e3a5b140.jpg",[],{"id":18297,"slug":18298,"title":18299,"dynasty":18,"author":18300,"museum":61,"description":18301,"tags":18302,"thumbUrl":18303,"material":946,"size":18304,"collection":142,"collections":18305,"showCount":18091,"zanCount":11,"manualWeight":54,"mainColor":109},234251,"gui-fen-tu-deng-fu-234251","归汾图","邓韨","图绘山西汾河流域风景。垂柳成行，百姓生活点缀其间。景色疏旷清远，线条细劲简练，笔法在刻意中见疏放，可见赵孟頫、文徵明画法的影响。",[23,24,64,25,27,99,100,95,32,7,97,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb4f326f594cb4f73d23597696bfe00b.jpg","纵26.9厘米，横124厘米",[],{"id":18307,"slug":18308,"title":18309,"dynasty":344,"author":2071,"museum":61,"description":8365,"tags":18310,"thumbUrl":18312,"material":946,"size":18313,"collection":142,"collections":18314,"showCount":18091,"zanCount":54,"manualWeight":54,"mainColor":109},234193,"bai-di-ye-yue-tu-juan-wang-hui-234193","白堤夜月图卷",[23,24,64,117,25,27,95,99,530,32,7,503,33,31,97,390,378,76,18311],"岸堤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24027dcacd6db83d61b7db7fb396350b.jpg","纵39厘米，横219.5厘米",[],{"id":18316,"slug":18317,"title":8560,"dynasty":344,"author":18318,"museum":135,"description":18319,"tags":18320,"thumbUrl":18321,"material":142,"size":142,"collection":142,"collections":18322,"showCount":18091,"zanCount":54,"manualWeight":54,"mainColor":109},234150,"shan-shui-he-juan-liu-ru-shi-234150","柳如是","此卷以淡墨轻皴写江岸丘壑，林木萧疏、汀洲隐现，水墨晕染出江南烟水空蒙之态，简淡天真，尽得文人画简远逸趣。\n\n通篇题跋行书秀逸灵动，笔致清劲温婉，墨色浓淡参差，与画作的淡远意境相融，诗、书、画三者浑融无间。笔墨里交织江南山水的静雅与文人情致，长卷铺展出悠悠林下之风，将澹澹愁思与清雅襟怀藏入点染挥毫间，尽显灵秀才思与林下襟期。",[23,24,64,25,94,138,99,101,119,95,32,7,97,33,98,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca11af530f678f1b3f4c15b1e5ac59a6.jpg",[],{"id":18324,"slug":18325,"title":18326,"dynasty":18,"author":5358,"museum":61,"description":14675,"tags":18327,"thumbUrl":18330,"material":335,"size":142,"collection":142,"collections":18331,"showCount":18091,"zanCount":54,"manualWeight":54,"mainColor":109},234143,"jiang-nan-bie-yi-juan-lu-zhi-234143","江南别意卷",[23,18328,25,94,27,101,18329,95,504,33,32,7,30],"吴门画派","书画合璧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7318ab2ac09bf9c15a1e91c7c9ced007.jpg",[],{"id":18333,"slug":18334,"title":18335,"dynasty":18,"author":1948,"museum":61,"description":18336,"tags":18337,"thumbUrl":18338,"material":469,"size":18339,"collection":142,"collections":18340,"showCount":18091,"zanCount":54,"manualWeight":54,"mainColor":109},234134,"wen-zheng-ming-cang-xi-tu-juan-wen-zheng-ming-234134","文徵明沧溪图卷","文徵明《沧溪图卷\u002F沧谿图卷》，75岁为宜兴吴俦作（嘉靖二十三年），绢本设色，尺寸31.7厘米×139.8厘米，故宫博物院藏。王文治书法题跋：文衡山沧谿图并记。\n《沧谿记》；嘉靖二十三年（1544年），岁在甲辰二月既望前，翰林待诏将仕佐郎兼修国史，长洲文徵明书。",[23,24,64,25,27,26,99,101,100,95,97,32,7,98,33,76,1428],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0dda54a1515fc400167e23cfd822052.jpg","31.7×139.8厘米",[],{"id":18342,"slug":18343,"title":18344,"dynasty":59,"author":18345,"museum":61,"description":18346,"tags":18347,"thumbUrl":18348,"material":188,"size":18349,"collection":142,"collections":18350,"showCount":18091,"zanCount":54,"manualWeight":54,"mainColor":109},233851,"he-quan-cao-tang-ke-hua-tu-ye-he-quan-233851","何荃草堂客话图页","何筌","《草堂客话图》为南宋画家何荃所作。画左方松树干上署“辛卯何筌制”五字款。裱边题签“何荃草堂客话图”。对幅李佐贤跋云：“此幅旧题‘何筌《草堂客话》’，系梁蕉林相国笔迹。按筌名画谱无徵，不知此题何所据，然画笔细入毫芒，无微不到而一丝不乱，工雅兼长，洵属宋人真实本领，元以后无此画境矣。”\n图绘乡间草堂两间，绿柳、青松、翠竹环绕其间。左侧屋内两人对坐，一童子侍立院中。右侧亭内一人侧躺，神态悠闲。乡间小路上孩童三三两两，嬉戏游玩。\n何荃，南宋画家，生卒年不详。",[24,64,332,94,27,95,31,32,7,30,33,97,99,100,101,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4373cb59dd54263cc79e2110d7f29cec.jpg","24x23cm",[],{"id":18352,"slug":18353,"title":2866,"dynasty":344,"author":808,"museum":135,"description":2867,"tags":18354,"thumbUrl":18355,"material":335,"size":2871,"collection":142,"collections":18356,"showCount":18091,"zanCount":54,"manualWeight":54,"mainColor":109},233388,"yuan-ji-jin-shan-long-you-si-shi-yi-ce-shi-tao-233388",[24,64,117,332,94,99,95,97,33,98,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfadec0df955c224faf8b25ed405b4d4.jpg",[],{"id":18358,"slug":18359,"title":2866,"dynasty":344,"author":808,"museum":135,"description":2867,"tags":18360,"thumbUrl":18361,"material":335,"size":2871,"collection":142,"collections":18362,"showCount":18091,"zanCount":54,"manualWeight":54,"mainColor":109},233382,"yuan-ji-jin-shan-long-you-si-shi-yi-ce-shi-tao-233382",[24,94,99,332,95,96,122,33,76,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fd5561b8af9b8a8f168bf1d305d0bda.jpg",[],{"id":18364,"slug":18365,"title":18366,"dynasty":18,"author":1948,"museum":61,"description":18367,"tags":18368,"thumbUrl":18369,"material":4790,"size":18370,"collection":142,"collections":18371,"showCount":18091,"zanCount":54,"manualWeight":54,"mainColor":109},233140,"ming-ren-xi-shan-sheng-jing-he-bi-ce-wen-zheng-ming-heng-tang-tu-ye-wen-zheng-ming-233140","明人西山胜景合壁册-文徵明横塘图页","此册又名《明人西山胜景书画合璧册》（见《故宫博物馆藏文物珍品大系：吴门绘画》），著录于《墨缘汇观》，合题跋共计十四页，依次为：刘钰《踞湖山图》、沈周《茶磨屿图》、《新郭图》（对页陈淳题诗一首）、唐寅《越来溪图》、《行春桥图》、《饶稼桥图》（对页自题诗一首）、文徵明《横塘图》、《石湖图》（对页自题诗一首）和陈淳《桃花坞图》、《紫薇村图》，后页徐朗白题。\n颇为吊诡的是这套册页似乎从未完整发表过，就目前所见，《中国古代书画目录》是分开著录，其中刘钰一页、唐寅《饶稼桥图》以及四页题诗都未著录，而《中国古代书画图目》则只选印了沈周和陈淳的四页。《文徵明精品集》发表了两画及一页题诗，《唐寅绘画集》也只发表了《越来溪图》、《行春桥图》两页，《故宫博物馆藏文物珍品大系：吴门绘画》刊印了沈周、文徵明、唐寅各两页，陈淳《桃花坞图》一页，略去了四页题跋。刘钰《踞湖山图》、唐寅《饶稼桥图》及另外三页题跋始终未见，其中或有伪作吧（文徵明的两页画曾于去年苏博特展展出，未见图录，不知是否有完整发表）。但学术乃天下之公器，国内许多博物馆的出版态度素来可恶，很多作品在各类出版物中情况不一，往往“有头无尾”，以致研究一件作品需“东拼西凑”。\n吴门诸家歌咏、描绘吴中名胜之风颇盛，与平日游踪所及和地域意识渐起有关，留存于世的风景名胜图极多，甚至祝寿、官员离任，也以吴中风景图册为赠。值得注意的是，此册中沈周、文徵明、唐寅、陈淳的作品都是早年笔，集三代才人妙墨，想来这套作品的收藏者花了不少心思。末页崇祯五年徐朗白题云：“我朝画法变宋化元，正嘉间吴中诸先进一时杰出、擅采争奇，直使静庵而下皆瞠乎其后矣，此十册俱西山胜景，首为完庵次石田次六如衡山白阳，景虽未尽，人已才难，不特片羽之吉光抑且狐裘之集腋也。什袭见珍，援毫见重。”并题一歌，语涉浮夸无足取。",[24,64,332,94,27,101,95,32,7,33,170,76,72],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40f4f684ec7589408ab32df01c94c253.jpg","纵22.8cm，横33.2cm",[],{"id":18373,"slug":18374,"title":12626,"dynasty":18,"author":1948,"museum":61,"description":12627,"tags":18375,"thumbUrl":18376,"material":335,"size":12630,"collection":142,"collections":18377,"showCount":18091,"zanCount":54,"manualWeight":54,"mainColor":109},232965,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232965",[24,64,332,94,27,95,543,7,96,100,119,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35734c7c6d672b6f5eefefc86eaa12a5.jpg",[],{"id":18379,"slug":18380,"title":12626,"dynasty":18,"author":1948,"museum":61,"description":12627,"tags":18381,"thumbUrl":18382,"material":335,"size":12630,"collection":142,"collections":18383,"showCount":18091,"zanCount":54,"manualWeight":54,"mainColor":109},232962,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232962",[24,64,332,94,27,99,101,100,119,95,241,98,31,32,7,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb74cf6574391d8f609ec56377466c02c.jpg",[],{"id":18385,"slug":18386,"title":18387,"dynasty":18,"author":4786,"museum":135,"description":18388,"tags":18389,"thumbUrl":18390,"material":335,"size":18391,"collection":142,"collections":18392,"showCount":18091,"zanCount":54,"manualWeight":54,"mainColor":55},231599,"da-mo-mian-bi-tu-song-xu-231599","达摩面壁图","此图所绘达摩形象古朴而虔诚，四周是野草蒙茸的岩洞，达摩身着红衣， 端坐于蒲团之上，正在修行。画心题“问法金銮不顺情，折盖潜向少林行。 若无断臂来承受，辜负如来十万程。”署款“庚子新春写于云间超果精舍。”押 “宋旭之印”、“石门山人”二印。",[23,24,64,225,27,99,598,30,199,7,4449,119,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1fe66a812dbe56cfccf70204e699ab7.jpg","纵121.3横32.2厘米",[],{"id":18394,"slug":18395,"title":18396,"dynasty":344,"author":2071,"museum":281,"description":18397,"tags":18398,"thumbUrl":18399,"material":335,"size":18400,"collection":142,"collections":18401,"showCount":18091,"zanCount":54,"manualWeight":54,"mainColor":109},231490,"mei-xi-gao-yin-tu-wang-hui-231490","梅溪高隐图","王翚(1632-1717)，字石谷、象文，号耕烟散人、乌目山人、剑门樵客、天放闲人、雪笠道人、海虞山樵，晚号清晖主人、清晖老人等，常熟(今江苏)人。\n他出身于世代文人家庭，据记载，他的祖上四代皆善画，且皆有名气。明代著名画家沈周，就曾称道过他的四世祖王伯臣的画。其祖父王载仕、伯父王豢鳌、父亲王云客均擅绘画，有秀雅之称。\n王石谷秉承家学，自幼酷嗜绘画，据说他在六、七岁时便能以芦荻画壁，入学私塾，喜弄纸笔，随意点染，有生动之意。同县的张珂，擅长山水，学黄公望一体，王石谷曾一度向他学画。\n青年时的王石谷就崭露头角，表现出非凡的艺术才能。正当他需要扩大眼界和名师指导时，正巧太仓大画家王鉴游览常熟虞山，一日见壁间悬挂一山水小幅，大为惊叹，一问方知是王石谷所画，即派人将他找来。\n王石谷久闻王鉴画名，便呈上画扇，请王鉴过目。王鉴见画艺精湛，遂与王石谷交谈，谈话中，尤觉这位年方二十的年轻人聪颖而富有才华，不禁赞扬道：你的才学，已可与古人相比。当即收为弟子，并携其返回太仓，亲自指授。王石谷画艺遂大进。\n后来王鉴欲离家远行，便把这位高足弟子引荐给王时敏。王时敏询其所学，惊异地说：“此烟客师也，乃师烟客耶。”也就是说，王石谷简直可以当我王时敏的老师了，怎么还作我王时敏的弟子呢！于是取家藏宋元名迹供王石谷学习，并带着他游览长江南北，观摹诸位藏家所珍藏的历代秘本名迹。\n王石谷潜神一志，细心揣摩，“尽得其法，仿临宋元人，无微不肖”。王时敏曾感慨地说：“气韵位置，何生动天然如古人竟乃尔耶！吾年垂暮，何幸得见石谷，又恨石谷不及为董宗伯(其昌)见也”。\n当时著名书画鉴赏家、王石谷的挚友周亮工在《读画录》中也盛赞云：“予所见摹古者，赵雪江(清画家赵澄)与石谷两人耳，雪江太拘绳墨，无自得之趣：石谷天资高，年力富，下笔便可与古人齐驱，百年以来，第一人也”。\n据说当时人以王石谷临仿古人之作，加以装裱，冒充古画，即便是精于鉴赏的行家，也很难看出是近人手笔。",[23,24,94,99,95,271,33,98,168,7,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f8ce70988e77ff1074fb05c84cc2026.jpg","138x63",[],{"id":18403,"slug":18404,"title":18405,"dynasty":18,"author":18406,"museum":152,"description":18407,"tags":18408,"thumbUrl":18409,"material":335,"size":18410,"collection":105,"collections":18411,"showCount":18091,"zanCount":11,"manualWeight":54,"mainColor":109},231414,"bai-yue-tu-leng-qian-231414","白岳图","冷谦","此图近处是溪流、坡石、茅亭、古松；中间有丛树、竹林、板桥、人家；上部峰峦起伏，云霞映带。此图笔墨秀润，清丽萧疏，山石作披麻皴，皴擦并用，刚柔相济，不见奇峭之笔。画中景物的高低晕淡深浅，都很自然，树枝树叶，勾点结合，石上苔点恰到好处.\n此画可分为远景、中景、近景三段式。远景画面上层峦叠嶂，悬岩峭壁，古木衰草，幽深险绝；中景为崇山脚下，一片阔广平坦之地，左侧为林木丛生，密密麻麻的一片；右侧为翠竹林立，竹竿瘦劲挺拔，竹叶茂密，相互交错，互相映辉，在林木和翠竹荫下，坐落着几间屋宇茅舍，翠竹旁溪水潺潺流动，有一座高架的板桥接岸，近景为坡石堤岸，乱石横卧，山石奇特，山石间有几棵杂树，有的树干挺拔，有的盘根露土，有的枝干虬曲向左右弯斜。\n从此画题识看，该图是强余模写之作，作者对所熟悉的环境加以提炼、概括。 由自题可知，该图作元至正三年（1343年）。\n该图中，山头、山脊与怪石交织互抱，盘亘而上，变为一大平原，而从山腰到山顶，却有折搭、转换、穿插种种奇趣。凡此均非庸手所能。纯用于笔，浓墨淡墨兼施，轮廓与皴擦融为一体，尤其是善用空白，把山顶、山背、岩际、石尖，甚至山径，都表现出来。不加渲淡，不作苔点，更见笔墨凝重和骨力之美。在线条的组织与结构上，似乎十分紧密，然而石罅飞泉，山间停云，质实中还见虚灵。另一方面，作为全图的主峰却不嫌孤单，它的背后远岫罗列，它的腰际和云层里露出几个小山头，彼此之间如相揖让。这样的艺术想象、艺术构思与艺术手法，反映了大自然的节奏与生命，以及画家活泼泼的审美感情，而且和道家修养分不开。至于行笔坚硬朴实，则从传统中来。山石不以苔点修饰，乃唐人画法。明王铎题关仝《秋山晚翠》：“结撰深峭，骨苍力厚，婉转生发，又细又老，磅礴之气行于笔墨外，大家体度固如此。”冷谦此图庶几近之。而荆浩自许笔墨俱胜，米芾指出其山水特征在于“云中山顶，四面峻厚”，此图似乎兼而有之。",[24,64,225,94,95,99,98,33,32,7,38,119,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99888b1ef6398d1704122c6248807861.jpg","纵84.4厘米，横41.4厘米",[105],{"id":18413,"slug":18414,"title":18415,"dynasty":18,"author":1948,"museum":152,"description":18416,"tags":18417,"thumbUrl":18418,"material":335,"size":18419,"collection":142,"collections":18420,"showCount":18091,"zanCount":54,"manualWeight":54,"mainColor":109},231374,"song-xia-guan-quan-tu-wen-zheng-ming-231374","松下观泉图","本幅画高士二人，隔溪闲话，一童携琴，自松间来。近景松林，笔墨细淡，结顶一山，却粗重如奔云，命意堪称奇绝。文征明个性谨饬，工画精细小幅，此帧属高头巨制，于文画中极为罕见。\n白云盤滞山腰，飞泉来自重巖深处。溪谷一人临流，坐听松风，眼观飞泉。款题「文壁」，旧传文氏四十岁前名「壁」，四十岁后改「徵明」。据此名款与其画风，约为四十岁左右之作。",[24,94,99,26,225,271,7,30,95,98,140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c15d5fad3064f8f1718c21a27d80b1a.jpg","纵348.2cm，横104.6cm",[],{"id":18422,"slug":18423,"title":18424,"dynasty":18,"author":292,"museum":135,"description":18425,"tags":18426,"thumbUrl":18427,"material":142,"size":142,"collection":142,"collections":18428,"showCount":18091,"zanCount":54,"manualWeight":54,"mainColor":55},228800,"jiang-shang-du-diao-tu-yi-ming-228800","江上独钓图","烟波江上，渔翁卧于苇席，持杯把盏，斜置钓竿，将垂钓沽酒的闲逸写尽。手边酒坛缀着青芽，野趣横生。汀洲苇草轻摇，仙鹤掠空，水纹层层晕染，晕开一江清寂。\n\n题画诗点出幽居江湖、寄意烟波的襟怀，不求鱼获，只守自在本心。设色古雅温润，线条简淡松弛，将文人遁世忘机的隐逸意趣铺陈开来，无半点尘俗喧嚣，只剩江风裹着酒意漫开，把东方文人的闲旷之思融在尺幅间，淡而有味，静里生情，尽显出世忘机的林下之风。",[23,24,64,27,30,95,7,122,256],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c530002aa4f2cfc6f7ca3789b17bf70.jpg",[],{"id":18430,"slug":18431,"title":18432,"dynasty":18,"author":292,"museum":135,"description":18433,"tags":18434,"thumbUrl":18435,"material":142,"size":142,"collection":142,"collections":18436,"showCount":18091,"zanCount":54,"manualWeight":54,"mainColor":55},228780,"fang-li-tang-bai-niu-tu-yi-ming-228780","仿李唐百牛图","此作以长卷铺展郊野牧歌，百头水牛形神各异，或缓步山径、或卧息林麓、或就水嬉游，尽显野性生机。村童三两，或骑牛徐行、或滩间闲坐，稚态可掬。平远山水间，枯木疏林、浅坡村居晕染出淡远乡野意趣。笔墨朴雅清润，勾勒皴擦简淡灵秀，于苍旧绢色里晕开田园闲逸，将牧放日常的悠然意致尽数铺陈，写生状物精妙，尽显古雅的山野生机之美。",[23,24,64,25,27,29,67,95,33,30,32,7,199,99,3834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84587f45aecfd3e120826fe52fe1e9fc.jpg",[],{"id":18438,"slug":18439,"title":18440,"dynasty":18,"author":18441,"museum":135,"description":18442,"tags":18443,"thumbUrl":18444,"material":142,"size":142,"collection":142,"collections":18445,"showCount":18091,"zanCount":11,"manualWeight":54,"mainColor":640},228436,"chun-shan-ben-quan-tu-wei-zhi-huang-228436","春山奔泉图","魏之璜","此作以高远取景，主峰奇崛通透，洞天别具一格。山石勾勒皴擦，尽显雄浑苍厚质感，奔泉辗转穿流于丘壑之间，暗涌的水势让纸面生机暗藏。\n\n松翠掩映间楼阁隐现，晕染出林泉幽居的雅意。左下角临流高士凭栏观涛，以人衬景，将山林隐逸之趣铺展开来。笔墨苍润朴拙，淡墨晕染出春日山岚的氤氲氛围，把自然丘壑的野趣与文人寄情山水的襟怀相融，尽显雅致沉静的山水意境。",[23,24,64,225,94,95,99,98,33,7,504,30,390,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c21c776318bf0149469bc3d6a7a4db2.jpg",[],{"id":18447,"slug":18448,"title":606,"dynasty":150,"author":18449,"museum":135,"description":18450,"tags":18451,"thumbUrl":18452,"material":142,"size":142,"collection":142,"collections":18453,"showCount":18091,"zanCount":11,"manualWeight":54,"mainColor":55},228170,"shan-shui-tu-cao-xing-228170","曹兴","这幅山水小品以留白云雾切割山峦，将平远、高远之景相融，铺展出空濛幽深的山水意境。山石以短皴点苔，笔墨苍劲朴拙，林木简括灵动，尽显简淡萧疏的气质。山脚板桥连起村居野渡，行旅缓步其上，将山林清寂与烟火日常相融，消解了丘壑荒寒，晕染出悠然安闲的意趣。淡墨晕染烟岚，浅设色晕衬古雅基调，以留白凸显虚空之境，把文人寄情林泉的隐逸诗意与田园安和揉为一体，笔简意足，尽显小品山水的隽永意韵。",[23,24,64,1551,94,27,95,99,32,7,33,98,169,38,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F742d2d75db062a93d851a095a2564c3b.jpg",[],{"id":18455,"slug":18456,"title":9528,"dynasty":59,"author":292,"museum":135,"description":18457,"tags":18458,"thumbUrl":18459,"material":229,"size":637,"collection":142,"collections":18460,"showCount":18091,"zanCount":54,"manualWeight":54,"mainColor":109},227426,"xi-shan-wu-jin-tu-quan-juan-yi-ming-227426","以水墨浅绛写江南四季景色，布局多取近景，突出崖岸，山石作大斧劈皴，方硬有棱角。山峰林立，峭壁悬崖间有流泉飞瀑，松柏蓊郁、云雾弥漫、长桥石栏、渔舟帆客、楼观村庄，清幽秀俊的江南景色成为一个整体，有着诗意般的意境。此卷画风当属南宋马远。构图布景与《溪山秋爽图》有异曲同工之妙。此卷绘于宋笺纸上，山石为马远典型的斧劈皴，乔松远树，皆用拖枝法，柳林含风，千笔万笔，笔笔不乱。画幅中间，数株红树，点缀溪山丛莽间，有画龙点睛之妙。而纸寿千年，其完好程度与绢本不可同日而语。此卷创作年代当稍晚于绢本，水法两卷亦有不同，此卷水的画法更接近马远《水图》。",[23,117,24,64,25,94,27,95,98,33,32,7,99,100,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2183e53c5ef5d0f52c06cae5adadc2d.jpg",[],{"id":18462,"slug":18463,"title":18464,"dynasty":2023,"author":11299,"museum":135,"description":11300,"tags":18465,"thumbUrl":18467,"material":229,"size":637,"collection":11305,"collections":18468,"showCount":18091,"zanCount":54,"manualWeight":54,"mainColor":109},225831,"the-langlois-bridge-march-fan-gao-225831","The Langlois bridge (March - 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与当时岭南文坛画苑的陈子壮、王邦畿、陈恭尹、张穆等交朋友。明朝亡，不愿“ 颜事贼”，是一个具有民族气节的文人。",[117,24,64,225,94,95,168,7,33,255,97,30,98,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc764d0b30f2bda069eac4e527320714b.jpg","175x38",[105],{"id":18564,"slug":18565,"title":18566,"dynasty":18,"author":292,"museum":316,"description":18567,"tags":18568,"thumbUrl":18569,"material":47,"size":18570,"collection":105,"collections":18571,"showCount":18091,"zanCount":54,"manualWeight":54,"mainColor":55},218376,"shui-xie-xian-ju-tu-yi-ming-218376","水榭闲居图","古绢的暖褐底色里，山水林泉静静铺展。左侧老树枝干虬曲，翠叶间漏下天光，掩映着临水而建的水榭——榭中虽无人物，却似残留着茶烟淡影，待归人闲坐。右侧山峦层叠，墨色由深及浅晕开云雾，溪涧在石间隐现，岸边细草疏疏，带着几分野趣。\n\n线条细劲却不刻板，山石皴法、树木枝桠皆透着文人雅致。没有喧嚣，只有林泉清寂与水榭悠然，仿佛把“闲居”二字揉进笔墨里。观者似能听见山风掠叶、流水拍岸，跟着慢下来，坠入那片林泉栖居的诗意中。\n\n笔墨间藏着的，是文人心中对尘外之境的向往——不必车马喧，只需与林泉为伴，看山听水，便得浮生清欢。",[23,24,64,1551,94,95,31,33,7,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F278fcf01356ba5c87193942a159c15eb.jpg","23.7x23.7cm",[105],{"id":18573,"slug":18574,"title":18575,"dynasty":344,"author":292,"museum":15270,"description":18576,"tags":18577,"thumbUrl":18578,"material":335,"size":142,"collection":142,"collections":18579,"showCount":18091,"zanCount":54,"manualWeight":54,"mainColor":640},216850,"xi-xiang-ji-tu-ce-28-yi-ming-216850","西厢记图册-28","月辉轻笼草舍，薄雪覆檐，疏枝横斜间缀着几点红，似把秋冬清寒揉进暖意。屋内案前，人影静对笔墨，一室幽寂里藏着未言的心事。溪边石上，素衣女子执花伫立，眸光落向水面，衣袂与青丝随微风轻漾，手中花枝如诉如慕。\n\n笔触细腻温润，淡彩晕染出朦胧月夜。人物眉间的轻蹙、指尖的微滞，都藏着西厢故事里的缱绻怅惘。风过枝叶的轻响、溪水的低吟似在耳畔，将古典情愫里的含蓄温柔，静静铺展成一幅可感可触的诗画——每一处细节都在低语，把千年前的幽微心绪，凝在这方纸页上。",[24,332,27,26,139,32,7,30,530,140,6332,33,1288],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F760d951c02b48612d921e06a314b57f4.jpg",[],{"id":18581,"slug":18582,"title":18583,"dynasty":18,"author":18584,"museum":3432,"description":18585,"tags":18586,"thumbUrl":18587,"material":335,"size":18588,"collection":142,"collections":18589,"showCount":18091,"zanCount":54,"manualWeight":54,"mainColor":55},216745,"ri-ben-zu-shi-tu-4-shou-ye-yuan-xin-216745","日本· 祖师图-4","狩野元信","室町后期画家，称大炊助。受父亲正信水墨画风的影响，加入浓彩的技巧，从而集狩野派新风格之大成。后世称其为古法眼。",[23,24,598,27,30,95,99,390,171,7,821,1080,4096],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ec277c4b4c7f9b087d5e51db3709512.jpg","176.0x91.8",[],{"id":18591,"slug":18592,"title":18593,"dynasty":344,"author":10042,"museum":268,"description":18594,"tags":18595,"thumbUrl":18596,"material":103,"size":142,"collection":142,"collections":18597,"showCount":18091,"zanCount":11,"manualWeight":54,"mainColor":109},214813,"shan-shui-hua-hui-tu-ce-6-gao-feng-han-214813","山水花卉图册-6","高凤翰（1762-1843）是一位著名的清代画家，他的主要作品是山水花卉图册。高凤翰生于江苏省的吴县，他曾在杭州学习画画，后来进入了江南画派。他的画风独特，被称为“高氏画法”，以其精细、细腻的线条和浓郁的色彩闻名。\n\n高凤翰的山水花卉图册是他的代表作之一，包括了许多精美的山水画作品。这些作品描绘了自然风光，包括山峦、河流、湖泊、树木、花草等。高凤翰的山水画作品经常带有浓厚的写意气息，表现出自然之美。他的画作还常常加入人物、建筑、动物等元素，使得作品更加丰富多彩。\n\n高凤翰的山水花卉图册在当时颇受欢迎，并且被视为江南画派的杰出代表作。他的作品被认为是清代山水画发展的重要贡献，对后世的山水画家也产生了很大的影响。",[23,117,24,94,27,332,99,255,32,7,350,199,140,2567,95,1068,306],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c5645da02a8b8b4685060ad00c3bc0b.jpg",[],{"id":18599,"slug":18600,"title":5636,"dynasty":11929,"author":18601,"museum":91,"description":18602,"tags":18603,"thumbUrl":18604,"material":142,"size":142,"collection":105,"collections":18605,"showCount":18091,"zanCount":54,"manualWeight":54,"mainColor":18606},203008,"shan-shui-tu-zhou-he-xiang-ning-203008","何香凝","画面山峦层叠，皴笔皴染山石肌理，墨色浓淡相间，显丘壑之幽深。近景林木葱郁，竹影摇曳，流水绕石潺潺，小桥卧波连岸；中景山居隐于青霭间，似藏林泉逸趣；远景峰峦渐隐，云雾氤氲，添悠远之韵。笔墨苍劲秀润，融自然清幽与文人意趣，尽显山水静谧雅致之态。",[24,225,94,99,95,32,7,543,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F417419313b5ce415991668ffe076c511.jpg",[105],"cac6b8",{"id":18608,"slug":18609,"title":18610,"dynasty":18,"author":18611,"museum":91,"description":18612,"tags":18613,"thumbUrl":18614,"material":142,"size":142,"collection":105,"collections":18615,"showCount":18091,"zanCount":54,"manualWeight":54,"mainColor":18616},202167,"shang-qiu-tu-zhou-chen-guan-202167","赏秋图轴","陈祼","画面开篇巨岩巍峨，皴法勾勒出苍劲肌理。中部林木交织，红叶点染秋韵，枯树与松竹相映，层次鲜活。坡岸巨石卧波，亭榭隐于竹丛，小径蜿蜒。左侧江面开阔，孤舟泛流，远树烟蒙，尽显秋江闲逸。笔墨细腻，设色淡雅，文人赏秋的悠然心境与山水交融，意境清寂诗意盎然。",[24,95,27,99,140,96,97,543,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59ca8d0480d79946e619e9deba9bfadd.jpg",[105],"928067",{"id":18618,"slug":18619,"title":9674,"dynasty":344,"author":18620,"museum":91,"description":18621,"tags":18622,"thumbUrl":18623,"material":142,"size":142,"collection":105,"collections":18624,"showCount":18091,"zanCount":54,"manualWeight":54,"mainColor":18625},202117,"xue-jing-shan-shui-zhou-qian-shu-202117","钱恕","画面铺展一派素净雪境，远山如银砌，淡墨晕染出雪的层叠厚重；近景枯树虬枝裹雪，山石以皴擦显肌理，屋舍隐于皑皑间，小桥横卧流水，水面泊着归舟，似有行人踏雪，静谧中藏着生活气息。水墨为底，皴染相济，留白与墨色相映成趣，线条简练却勾勒传神，将冬日清寒悠远的意境渲染得淋漓尽致，尽显传统山水的雅致韵味。",[24,94,95,99,32,7,255,76,35,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2555af5beb68adb6ad9849ab11e9590b.jpg",[105],"b49c81",{"id":18627,"slug":18628,"title":18629,"dynasty":344,"author":18630,"museum":91,"description":18631,"tags":18632,"thumbUrl":18633,"material":142,"size":142,"collection":105,"collections":18634,"showCount":18091,"zanCount":54,"manualWeight":54,"mainColor":18635},202100,"wu-shan-wan-gui-tu-zhou-ma-zhong-li-202100","吴山晚归图轴","马中立","层岩错落，林木参差，溪流穿石蜿蜒，小桥横卧其上，一人策杖缓行，似赴晚归之途。山石以皴笔写就，纹理苍劲，兼施淡彩晕染，笔墨温润雅致。远处山峦隐于云雾，近景树木枯荣相衬，姿态各异。构图疏密得宜，虚实相生，将山野的清幽与晚归的静谧悄然融合，尽显传统山水的悠然意趣。",[24,64,225,95,94,27,99,32,7,140,199,30,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee5b274cb3ab4c05a947697030d527f2.jpg",[105],"a4917d",{"id":18637,"slug":18638,"title":18639,"dynasty":344,"author":5786,"museum":91,"description":18640,"tags":18641,"thumbUrl":18642,"material":142,"size":142,"collection":105,"collections":18643,"showCount":18091,"zanCount":54,"manualWeight":54,"mainColor":18644},201952,"xian-guan-tan-jing-tu-zhou-zhang-zong-cang-201952","仙馆谭经图轴","画面层峦叠嶂，以细腻皴法勾勒山石肌理，设色清雅晕染出淡远意境。山间仙馆隐于林麓，瀑布悬垂幽谷，溪流蜿蜒过小桥，近景枯树疏朗，尽显山林静谧之趣。笔墨苍劲中见秀润，构图疏密有致，将文人理想的栖居谭经之境融于山水间，传递出悠然恬淡的哲思与禅意。",[24,95,99,27,31,32,7,255,98,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2281f9d8e271941e3bf901c5ce33c13f.jpg",[105],"b0997f",{"id":18646,"slug":18647,"title":18648,"dynasty":18,"author":90,"museum":91,"description":18649,"tags":18650,"thumbUrl":18651,"material":142,"size":142,"collection":105,"collections":18652,"showCount":18091,"zanCount":54,"manualWeight":54,"mainColor":18653},201558,"jiang-nan-feng-jing-tu-juan-shen-zhou-201558","江南风景图卷","画面以水墨皴染铺展江南景致，峰峦用披麻皴勾勒，线条苍劲灵动，林木点染秀润有致。溪流蜿蜒穿涧，小桥横卧波上，孤舟泛于清涟，屋舍隐于烟树间，亭台点缀山麓，尽显江南水乡的温婉静谧与田园生机。笔墨兼具雄浑与秀雅，意境淡远清幽，似将烟雨江南的朦胧诗意融于一卷，观之如沐春风，可感文人画的雅致意趣与山水灵韵。",[24,25,95,94,99,32,7,96,97,33,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb52a795e39b7a021c8b1c516c684b2e.jpg",[105],"b6b0a5",{"id":18655,"slug":18656,"title":18657,"dynasty":150,"author":8171,"museum":152,"description":18658,"tags":18659,"thumbUrl":18660,"material":273,"size":18661,"collection":142,"collections":18662,"showCount":233,"zanCount":54,"manualWeight":54,"mainColor":109},290939,"qiu-lin-diao-ting-tu-ma-wan-290939","秋林钓艇图","该幅画秋林钓艇，马琬以章草题款，笔法工整。幅上另有陶宗仪隶书题识，正方结字与方笔折刀法，显见魏晋隶书影响。马氏章草与陶氏隶书均以规矩均整见长，充分反映元代之复古书风，与明初云间书家之于古法中求变，颇异其趣。 释文：柔兆涒滩八月望。余侍原实孙先生过杨翁。留饮竟日。焚香啜茗。雅论清事。酒余。翁出扶风马文壁氏所画树石一幅。上有臧祥卿沤鸟。求孙先生题咏。翌日诗成。命予作篆。乃书于上。姑此以识岁月云。南村陶九成",[117,24,64,225,94,95,867,96,7,7019,7853,1758,100,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F034c21b2cf2060d651f01a28ac02e451.jpg","92x38",[],{"id":18664,"slug":18665,"title":18666,"dynasty":150,"author":18667,"museum":152,"description":18668,"tags":18669,"thumbUrl":18670,"material":273,"size":18671,"collection":142,"collections":18672,"showCount":233,"zanCount":54,"manualWeight":54,"mainColor":55},290733,"xi-ting-shan-se-tu-zhou-ke-jiu-si-290733","溪亭山色图轴","柯九思","柯九思，元书画家、鉴藏家。江浙行省儒学提举柯谦子，受其父的影响，自幼爱好书画，天历元年（1328），游学建康经人引荐结识了怀王图帖睦尔，不久怀王继位称帝，是为文宗，被授予正七品典瑞院都事，翌年，迁升为正五品奎章阁鉴书博士，专门负责宫廷所藏的金石书画的鉴定。文宗去世后，束装南归，退居吴寓松江姻脂桥。博学能文，擅写墨竹，长于画山水、人物、花卉。一生好文物，富收藏，精鉴赏。",[117,24,94,225,95,97,140,7,119,100,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5599533abc3f93415e3489adb2d0e751.jpg","63x34",[],{"id":18674,"slug":18675,"title":18676,"dynasty":344,"author":552,"museum":135,"description":15864,"tags":18677,"thumbUrl":18678,"material":229,"size":637,"collection":142,"collections":18679,"showCount":233,"zanCount":11,"manualWeight":54,"mainColor":109},290559,"yu-jing-zhou-xu-yang-290559","雨景轴",[24,64,117,225,94,27,95,30,32,7,31,33,98,11463,119,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f5a2b57a8a61a33a6e3b8f169374c0f.jpg",[],{"id":18681,"slug":18682,"title":17550,"dynasty":150,"author":412,"museum":135,"description":18683,"tags":18684,"thumbUrl":18685,"material":229,"size":637,"collection":142,"collections":18686,"showCount":233,"zanCount":54,"manualWeight":54,"mainColor":55},290399,"shan-shui-tu-ke-luo-ban-ni-zan-290399","倪瓒（1301年－1374年），初名倪珽，字泰宇，别字元镇，号云林子、荆蛮民、幻霞子，江苏无锡人，元末明初画家、诗人。\n倪瓒擅画山水和墨竹，师法董源，受赵孟頫影响。早年画风清润，晚年变法，平淡天真。疏林坡岸，幽秀旷逸，笔简意远，惜墨如金。以侧锋干笔作皴，名为“折带皴”。墨竹偃仰有姿，寥寥数笔，逸气横生。书法从隶书入，有晋人风度，亦擅诗文。洪武七年卒，时年七十四岁。\n倪瓒与黄公望、王蒙、吴镇合称“元四家”。倪瓒家中富有，博学好古，四方名士常至其门。元顺帝至正初年，散尽家财，浪迹太湖。存世作品有《渔庄秋霁图》《六君子图》《容膝斋图》《清閟阁集》。",[23,24,117,94,866,100,119,99,140,170,7,199,122,5009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd388e9b163af066519eb6f9234c22b13.jpg",[],{"id":18688,"slug":18689,"title":888,"dynasty":18,"author":18690,"museum":135,"description":18691,"tags":18692,"thumbUrl":18693,"material":229,"size":637,"collection":142,"collections":18694,"showCount":233,"zanCount":54,"manualWeight":54,"mainColor":109},290356,"shan-shui-zhou-gu-zheng-yi-290356","顾正谊","顾正谊 ， 明代画家、诗人。字仲方，号亭林。华亭（今上海松江）人。父中立，官至参知政事。正谊以父荫，于万历时由太学生官中书舍人。晚年筑小亭园于江畔以终老，故号亭林。工画，早年即以诗画驰名江南，后游长安，名声大噪。董其昌曾记云：“吾郡画家，顾仲方中舍最著。其游长安，四方士大夫求者填委，几欲作铁门限以却之，得者如获拱璧。",[24,225,94,95,99,2831,98,7,76,169,119,1357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c18bdacdfc802b4d0c4f82866a078d5.jpg",[],{"id":18696,"slug":18697,"title":18698,"dynasty":344,"author":7944,"museum":135,"description":18699,"tags":18700,"thumbUrl":18701,"material":229,"size":637,"collection":142,"collections":18702,"showCount":233,"zanCount":54,"manualWeight":54,"mainColor":109},289908,"shan-shui-ce-ye-12-kai-shan-shui-ce-ye-dong-gao-289908","山水册页12开-山水册页","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”。",[24,3658,27,95,271,32,7,1357,98,33,100,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0ad83cff15c87a280334ef33beaac0f.jpg",[],{"id":18704,"slug":18705,"title":5934,"dynasty":59,"author":954,"museum":135,"description":2317,"tags":18706,"thumbUrl":18707,"material":229,"size":637,"collection":142,"collections":18708,"showCount":233,"zanCount":54,"manualWeight":54,"mainColor":109},289844,"song-quan-shuang-niao-tu-ma-yuan-289844",[117,24,64,332,94,27,95,30,271,7,122,199,5009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F907448da9b810fec8225fe3e1a09aff8.jpg",[],{"id":18710,"slug":18711,"title":18712,"dynasty":59,"author":4351,"museum":152,"description":18713,"tags":18714,"thumbUrl":18715,"material":47,"size":18716,"collection":142,"collections":18717,"showCount":233,"zanCount":54,"manualWeight":54,"mainColor":55},289378,"liu-xi-chun-fang-tu-ma-he-zhi-289378","柳溪春舫图","图绘崖壁柳荫，溪水垂柳，船坞码头，湖水盈盈，舂舫一艘，高士独游，妙诗新间，赞喻河山。这是马和之的一幅传世山水画代表作。款署“和之”。钤印一，模糊不可识。收传印记，有“朱之赤鉴赏”、“晴窗宝玩”、“子京”、“墨林山人”、“蕉林”及清乾隆诸玺等。\n这幅《柳溪春舫图》的特点是“简逸”而神旷，图中的山只画悬崖峭壁一面，只见山势高大，而毫无挺拔之感；画柳，不管是峭壁上的柳荫，还是溪边的垂柳，同样感到有随风飘逸之感；画水，水波纹轻轻波动，也有飘逸之感；画舫，在水上也显得轻快飘逸；画人，高士独自游览，轻松愉快；船工轻轻摇橹，船只就能随水推进。总之，这是作者在此画中体现了他的运笔使转灵活无一直经的板重之笔，这是作者来自于仿吴道子法，谓“蚂蝗描”的笔法，这种画法上的“简逸”，其实不仅仅可以理解为技巧的外形描述，还可以理解为一种新的技法意识观念的开始。图为当时南宋初，画家都以繁密写实为多见，所以不足为奇。要是像马和之那样简逸倒是一奇，如果简逸而又意趣，那就更是奇怪之至了。这幅可算是他的“简逸”画风的一作吧。",[24,117,866,27,307,7,96,30,31,98,119,1109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9657dea8e4aeb1713baaff8a6dca12c9.jpg","36.7x51.4",[],{"id":18719,"slug":18720,"title":4891,"dynasty":344,"author":435,"museum":135,"description":10983,"tags":18721,"thumbUrl":18722,"material":229,"size":637,"collection":142,"collections":18723,"showCount":233,"zanCount":54,"manualWeight":54,"mainColor":109},288392,"fang-huang-gong-wang-shan-shui-tu-wang-yuan-qi-288392",[23,117,24,64,225,95,29,27,118,99,32,7,31,33,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6347cfccc589f6a028cefbc8cc2ea79f.jpg",[],{"id":18725,"slug":18726,"title":18727,"dynasty":59,"author":3135,"museum":135,"description":11437,"tags":18728,"thumbUrl":18729,"material":229,"size":637,"collection":142,"collections":18730,"showCount":233,"zanCount":54,"manualWeight":54,"mainColor":55},288228,"yin-yan-fei-pu-tu-jiang-can-288228","阴岩飞瀑图",[23,117,24,64,225,94,95,7,199,255,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F181a7d40b09d85f02f77d6c7241e2f97.jpg",[],{"id":18732,"slug":18733,"title":18734,"dynasty":344,"author":18735,"museum":135,"description":18736,"tags":18737,"thumbUrl":18738,"material":229,"size":637,"collection":142,"collections":18739,"showCount":233,"zanCount":54,"manualWeight":54,"mainColor":109},288143,"cao-shu-li-zhou-deng-shi-ru-288143","草书立轴","邓石如","邓石如（1743—1805年），初名琰，因避清仁宗讳，遂以字行，更字顽伯，号完白山人、笈游道人等，怀宁（今安徽安庆）人。清代乾、嘉时期著名碑学大师。少好刻石，弱冠谒江宁梅镠，梅家多藏金石善本，尽出与石如，使专摹习。客梅氏八年，学既成，又客于两江总督毕沅幕府。三年后辞归。工书法、篆刻。书工各体，以篆、隶为最精，颇得古法，兼融各家之长，形成独特风格。清李兆洛谓其书“真气弥满，楷则俱备，其手之所运，心之所追，绝去时俗，同符古初，津梁后生，一代宗仰。”对清代中、后期书坛有巨大影响。著有《完白山人篆刻偶存》等书行世，《清史稿》有传。",[94,100,7872,225,119,3227,530,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef818dceb705e9d54ca012acd3179626.jpg",[],{"id":18741,"slug":18742,"title":18743,"dynasty":18,"author":18744,"museum":135,"description":18745,"tags":18746,"thumbUrl":18747,"material":229,"size":637,"collection":142,"collections":18748,"showCount":233,"zanCount":54,"manualWeight":54,"mainColor":55},288072,"xia-shan-yu-yu-liu-yu-288072","夏山欲雨","刘钰","刘珏(1410—1472)字廷美,号完庵,南直隶苏州府长洲(今江苏苏州)人。宣德中,苏州知府况钟举为吏,不就,得补生员,正统三年(1438)中举人,授刑部主事,迁山西按察司佥事,年五十弃官归。",[23,117,24,225,95,27,99,170,32,7,168,31,33,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd380e4f1b122124cca601af28dc7c21.jpg",[],{"id":18750,"slug":18751,"title":18752,"dynasty":344,"author":5786,"museum":135,"description":18753,"tags":18754,"thumbUrl":18755,"material":229,"size":637,"collection":142,"collections":18756,"showCount":233,"zanCount":54,"manualWeight":54,"mainColor":109},288029,"shan-shui-tu-lin-quan-gao-shi-zha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野溪居之境，开篇题墨淋漓，笔意苍劲朴拙。继而峰峦层叠，以干笔皴擦写尽山石肌理，苔点错落，尽显丘壑深邃。溪岸蜿蜒，洲渚间林木蓊郁，村居萧寺错落隐现于林泉之间，野意悠然。\n全作用墨清润淡雅，勾勒皴擦间尽显文人水墨的简淡意趣，将江南山野的清寂萧散缓缓铺陈，带着温润散逸的吴门意韵，在长卷间绘就林泉高致，尽显幽居林下的雅致情怀。",[23,117,24,64,25,94,27,99,95,31,32,7,97,122,1397,140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e026addd26e1c769617a191992a01c8.jpg",[],{"id":18847,"slug":18848,"title":18849,"dynasty":18,"author":292,"museum":61,"description":18850,"tags":18851,"thumbUrl":18852,"material":258,"size":142,"collection":142,"collections":18853,"showCount":233,"zanCount":54,"manualWeight":54,"mainColor":109},234148,"qian-gu-xiao-yao-you-tu-juan-yi-ming-234148","钱榖逍遥游图卷","钱榖（1508—1579）字叔宝，自号罄室，吴县（今江苏苏州）人，明代画家。\n少孤贫，失学，迨壮始知读书。家无典籍，游文徵明门下，日取架上书读之，以其余功点染水墨，便觉心通。山水爽朗可爱，兰竹兼妙，翩翩不名其师学，而自腾踔于艺苑名公间。手录古文金石书几万卷。善书，行法苏，篆法二李，小楷法虞、欧，每得其妙於法外，识者以为真有渴骥奔猊、漏痕折钗之势。然为画掩，世罕知者。按明史附文徵明传作壬申（一五七二）六十五卒。考故宫博物院藏有万历六年（一五七八）客金陵王氏修竹馆作兰竹卷，时年七十一。",[23,24,64,25,94,95,30,101,7872,100,119,33,7,96,97,122,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F599973daa6e861823a66c4c21576ad86.jpg",[],{"id":18855,"slug":18856,"title":17809,"dynasty":344,"author":808,"museum":61,"description":17810,"tags":18857,"thumbUrl":18858,"material":258,"size":17813,"collection":142,"collections":18859,"showCount":233,"zanCount":54,"manualWeight":54,"mainColor":109},233779,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233779",[24,95,27,99,101,119,98,7,33,350,1207,32,378,390],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08499dfe7a18b26f6177db834ea5c8ca.jpg",[],{"id":18861,"slug":18862,"title":18863,"dynasty":150,"author":8844,"museum":135,"description":18864,"tags":18865,"thumbUrl":18866,"material":17193,"size":18867,"collection":142,"collections":18868,"showCount":233,"zanCount":54,"manualWeight":54,"mainColor":55},233700,"shan-ju-shuo-ting-tu-ye-tang-di-233700","山居说听图页","《山居说听图页》绘山水之景，远处山峦起伏，近处山石陡峭，树木苍翠；山脚下凉亭数间，亭内两人对坐饮茶，一童子执长扇一边伺侯；亭前溪水流淌，泛起层层水纹。唐棣（1296-1364年)，字子华，号遁斋,祖籍今浙江杭州，因先世在吴兴做官，迁徙今浙江湖州。唐棣父唐清，元初赠承务郎，任归安县令。唐棣幼聪颖好学，文思敏慧，能诗善画，有“奇童”之称，为赵孟頫、马煦赏识，弱冠时便拜赵孟頫为师，常出入赵府，交往益深，不久马煦升为刑部尚书，遂携唐棣至京，延佑初进荐仁宗，以绘画侍奉宫廷，在嘉熙殿画屏风“挥洒立就，天子称赏”，待诏集贤院，因而有机会遍览历代书法名画。此时赵孟頫也奉召至京，任翰林侍读学士。唐棣在朝廷中与文臣交往，诗文、书画得到虞集、偈傒斯、赵孟頫指授，技艺更趋成熟。元文宗天历二年应诏在南京龙翔寺绘制画壁，至顺四年第二次北上大都，奉诏在宫廷作画。在郴州、处州、江阴、嘉兴、休宁、兰溪州、吴江等地均做过官，有政绩。工山水，近学赵孟頫，远师李成、郭熙，亦工诗文，晚年返乡埋头读书作画，生活较凄苦。",[24,64,3658,27,95,241,98,76,7,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F967792a94d3373becb0b178e35ab2182.jpg","纵24厘米，横24.8厘米",[],{"id":18870,"slug":18871,"title":5290,"dynasty":344,"author":5291,"museum":61,"description":5292,"tags":18872,"thumbUrl":18873,"material":258,"size":5295,"collection":142,"collections":18874,"showCount":233,"zanCount":11,"manualWeight":54,"mainColor":109},233449,"ren-wu-shan-shui-ce-luo-pin-233449",[24,64,117,332,94,138,30,96,530,7,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e8b8187910c9fca863f3381a4450720.jpg",[],{"id":18876,"slug":18877,"title":18878,"dynasty":150,"author":10333,"museum":61,"description":18879,"tags":18880,"thumbUrl":18881,"material":188,"size":18882,"collection":142,"collections":18883,"showCount":233,"zanCount":54,"manualWeight":54,"mainColor":55},233201,"qiu-lin-yuan-xiu-tu-ye-zhao-yong-233201","秋林远岫图页","赵武灵王（约公元前340年—前295年），中国战国中后期赵国君主，嬴姓，赵氏，名雍。（先秦时期男子称氏不称姓，故当称为赵雍，不叫嬴雍。）赵武灵王在位时，推行的“胡服骑射”政策，赵国因而得以强盛，灭中山国，败林胡、楼烦二族，辟云中、雁门、代三郡，并修筑了“赵长城”。武灵王本人在前296年的沙丘之乱中被幽禁饿死，谥号为武灵王（“灵”为贬义谥号，表示“乱而不损”，赵国君主称王，自武灵王谥号始）。",[24,64,117,3658,1551,94,27,99,95,1397,140,348,199,122,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b7e5b742b617c523f43b90f6a163971.jpg","68X77cm",[],{"id":18885,"slug":18886,"title":18887,"dynasty":150,"author":292,"museum":18888,"description":18889,"tags":18890,"thumbUrl":18895,"material":335,"size":18896,"collection":142,"collections":18897,"showCount":233,"zanCount":54,"manualWeight":54,"mainColor":55},232804,"xi-luan-cong-xiao-tu-juan-yi-ming-232804","溪峦丛笑图卷","芝加哥艺术博物馆","以全景长卷铺展乡野嬉游盛景，浅溪漾波晕开两岸烟火。左畔村姑骑牛安坐，身侧稚童相随嬉闹；溪水中赤身孩童或逐犬泅水，或呼伴作乐，村人潮间呼喝相和，憨态尽显。右岸坡上乡老士人驻足笑望，眉眼舒展满是欣然。\n\n画师以淡墨晕染溪山底色，铁线白描勾勒身形，将众生欢悦鲜活尽数铺陈，无庙堂端肃，唯存乡野间的自在热络，将村野里乐天肆意的日常意趣定格绢素，尽显民间生活的淳朴真淳。",[23,24,25,27,94,26,30,5133,18891,67,7,33,171,18892,8006,18893,8017,18894],"成人","溪岸","嬉戏","水中活动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62ae0bc4fce28f14af3c4a14d32f99bc.jpg","29x130cm",[],{"id":18899,"slug":18900,"title":18901,"dynasty":18,"author":18902,"museum":135,"description":18903,"tags":18904,"thumbUrl":18905,"material":335,"size":18906,"collection":142,"collections":18907,"showCount":233,"zanCount":54,"manualWeight":54,"mainColor":109},231832,"gao-feng-ke-yi-tu-wan-shou-qi-231832","高风可挹图","万寿祺","万寿祺（1603-1652），明末清初文学家、书画家。字年少，又字介若、内景，入清衣僧服，改名慧寿，又名明志道人、寿道人、寿若、若若，世称年少先生，祖籍河北沧州，出生地江苏徐州人，与陈子龙乡试同年，与沛县阎尔梅是同乡。曾参加抗清活动，兵败後隐居江淮一带。代表作有《秋江别思图》、《松石图》、《山水图》等等。万寿祺为人风流倜傥，工书画，精於六书，癖嗜印章，辑有《沙门慧寿印谱》一册。其後裔第十六代後人万中华，在当今书画中也享有很大的盛誉。",[23,24,64,25,94,138,99,119,100,101,95,199,33,255,76,2008,348,171,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40910babbfaf965a65c971e5bbc73be1.jpg","21×76 厘米",[],{"id":18909,"slug":18910,"title":18911,"dynasty":2023,"author":292,"museum":135,"description":18912,"tags":18913,"thumbUrl":18914,"material":142,"size":142,"collection":142,"collections":18915,"showCount":233,"zanCount":54,"manualWeight":54,"mainColor":55},231650,"mu-gui-tu-li-zhou-yi-ming-231650","牧归图立轴","这幅《归牧图》刻画细致生动，人、牛形神毕具",[23,24,64,117,225,27,26,99,67,30,378,95,199,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc63ecd8f1f45323c17e46719497b70e4.jpg",[],{"id":18917,"slug":18918,"title":18919,"dynasty":344,"author":2071,"museum":135,"description":18920,"tags":18921,"thumbUrl":18922,"material":142,"size":142,"collection":142,"collections":18923,"showCount":233,"zanCount":54,"manualWeight":54,"mainColor":262},230959,"jiang-shan-qiu-se-tu-wang-hui-230959","江山秋色图","此作开合有度，近景流泉穿林而过，丹枫缀枝暗染秋意，山居幽舍藏于崖畔林樾之中，野趣悠然。中层平湖如镜，远山澹澹含烟，铺展出清旷秋山的辽远意境。\n\n笔墨枯润相生，以干笔皴擦写山石肌理，湿笔晕染出山岚空濛，披麻皴裹挟解索皴带出苍浑质感，兼得宋元山水的古雅厚重，又透出灵动秀逸之气。将秋山萧疏清寂与幽居之冶融为一体，师古而不泥古，把秋江林泉的静穆与生机娓娓铺陈，尽显寄兴林泉的文人意韵。",[24,94,99,27,95,32,7,98,33,168,97,119,2700],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43cf446816c3e98846bde399ef42c87e.jpg",[],{"id":18925,"slug":18926,"title":18927,"dynasty":344,"author":4937,"museum":135,"description":18928,"tags":18929,"thumbUrl":18930,"material":142,"size":142,"collection":142,"collections":18931,"showCount":233,"zanCount":54,"manualWeight":54,"mainColor":109},230921,"wei-ying-nian-zuo-shan-shui-tu-gao-jian-230921","为迎年作山水图","层岩峻壑以枯笔皴擦勾勒，尽显山石嶙峋古拙之态，苍劲老辣的笔墨晕染出北派山水的雄浑厚重。近岸枯木虬曲疏朗，枝桠间透着清寂萧寒，侧畔草堂幽居隐于林麓，涧水蜿蜒浅流，野意悠然。远景峰峦以淡墨晕染，虚实相生晕化开朦胧秀逸的南派意趣。右上角题字墨韵雅致，与山水相得益彰。整幅画作苍润笔墨相生相融，将林泉高致的文人雅趣藏于清寂出尘的山居意境里，尽显冲淡幽远的林下之风。",[23,24,64,225,94,99,95,98,255,7,76,348,351,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3f7b769732c9efdb2ed772605377ecb.jpg",[],{"id":18933,"slug":18934,"title":18935,"dynasty":344,"author":18936,"museum":135,"description":18937,"tags":18938,"thumbUrl":18939,"material":142,"size":142,"collection":142,"collections":18940,"showCount":233,"zanCount":11,"manualWeight":54,"mainColor":55},230895,"qiu-lin-yi-ju-tu-lan-meng-230895","秋林逸居图","蓝孟","《秋林逸居图》是中国清代画家 的国画作品。\n该画为立轴绢本，纵217.米，横68.厘米现藏于旅顺博物馆。\n蓝孟，生卒年不详，清代画家。\n字次公、亦舆，又字鸾，钱塘(今浙江杭州)人。\n著名画家蓝瑛之子。\n善画山水，师法宋元诸家。\n笔法疏秀，能传家法。\n约活动于顺治至康熙年间。\n《秋林逸居图》以鸟瞰手法写山水，具有立体感和空间感。\n山石多作矶头，磊落灵秀，树法朴拙，高拔劲挺，与山势相协调，村舍有曲径板桥可通，益增纵深感，溪边碎石大小相间，颇多奇趣，可谓匠心独运。\n全图笔墨苍润，一气呵成，是一幅丰富多彩的小青绿山水佳作。",[23,24,64,225,94,27,26,99,95,867,76,33,98,32,7,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7bd02babbd73a0bb4302e9b8ccc3806.jpg",[],{"id":18942,"slug":18943,"title":18944,"dynasty":344,"author":2071,"museum":135,"description":18945,"tags":18946,"thumbUrl":18947,"material":142,"size":142,"collection":142,"collections":18948,"showCount":233,"zanCount":54,"manualWeight":54,"mainColor":109},230851,"lu-cun-gao-yi-tu-wang-hui-230851","麓村高逸图","画面以平远之法铺展幽居盛景，近处方林下，高士安坐，侍童静立旁侧，溪桥丹顶鹤独立顾盼。芭蕉修竹环合掩映，屋舍隐于烟林，远景以淡墨晕染，水雾空濛，将江南丘壑的温润清寂尽数铺陈。\n画作兼工带写，设色浅雅柔润，笔致秀逸灵和，把林下高逸散淡的襟怀融在咫尺山水间，环周题跋与画意呼应，书画合璧，尽显文人雅流出世的襟抱，悠悠林下风致扑面而来。",[23,24,27,95,30,1177,1691,1287,33,7,98,344,25,26,94,788],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfb7e72fa79915f2446b59af3c56c8c6.jpg",[],{"id":18950,"slug":18951,"title":18952,"dynasty":2023,"author":292,"museum":135,"description":18953,"tags":18954,"thumbUrl":18959,"material":229,"size":637,"collection":142,"collections":18960,"showCount":233,"zanCount":54,"manualWeight":54,"mainColor":55},230545,"shi-ting-shi-dai-bang-song-tu-ping-feng-di-er-ping-yi-ming-230545","室町时代 浜松图屏风-第二屏","苍劲古松盘虬扎根沙洲，枝干舒展如翠盖层叠，松下茅舍掩映，渔樵往来于烟波之间，晕染出悠然野逸的山居意趣。层叠浪涛带着灵动韵律，将画面割裂又串联，近岸石畔姹紫花卉葳蕤盛放，野禽栖于苔石，生机盎然。金箔底色晕开朦胧柔美的氛围感，将俗世渔樵烟火与林下幽情相融，把四时生机与闲静禅意揉为一处，尽显和风绘卷温润雅致的侘寂之美，藏着东方古典里独有的悠然意境。",[23,27,18955,26,95,788,390,140,18956,7,96,30,350,122,18957,18958,98,17984],"金碧","海浪","红花","蓝花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8426675663adcf6258597ace11c316e8.jpg",[],{"id":18962,"slug":18963,"title":18964,"dynasty":344,"author":6464,"museum":135,"description":18965,"tags":18966,"thumbUrl":18967,"material":142,"size":142,"collection":142,"collections":18968,"showCount":233,"zanCount":54,"manualWeight":54,"mainColor":55},228925,"gu-dai-jing-guan-ce-ye-shan-shui-ce-ye-gao-cen-228925","古代景观册页（山水册页）","此作用淡墨晕染烟岚，远山沉郁隐现于云气间，似浸着朝暮的湿润清寒。近岸苍松劲挺，修林攒簇，浓淡墨色梳开林木高低层次。坡上屋舍静立，柴门虚掩，似在等候晚归之人。板桥横卧浅溪，仿佛能听见流水带着清响缓缓淌过，将山野的幽寂轻轻漾开。\n\n画作兼取高远与平远构图，笔力苍秀相融，以朦胧墨色铺展江南山水的空濛灵秀。不着繁复皴擦，却将林泉隐逸的静穆之气藏在烟树水色里，观之如踏入无人山境，暂忘尘嚣纷扰。",[23,24,64,332,94,99,95,33,32,76,169,98,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcdad96f547d3a59a538c7965794404c.jpg",[],{"id":18970,"slug":18971,"title":18972,"dynasty":18,"author":292,"museum":135,"description":18973,"tags":18974,"thumbUrl":18975,"material":229,"size":637,"collection":142,"collections":18976,"showCount":233,"zanCount":11,"manualWeight":54,"mainColor":55},228805,"luo-han-xiang-long-tu-yi-ming-228805","罗汉降龙图","画面高远错落，祥云缭绕出清寂禅意。红袍虬髯的罗汉怒目圆睁，正施法定住惊涛中翻腾的蛟龙，鳞爪张舞的蛟龙满是桀骜，与罗汉的沉凝威势碰撞出强烈张力。上方禅坐的尊者宝相安然，将下方的奔波动势收束于静谧禅机之内。\n\n周遭僧众神态各异，或垂目静思，或注目凝神，层层烘托出伏魔场面的庄严肃穆。石青朱砂的古雅敷色，晕染出佛绘特有的厚重威仪，细腻笔触将人物神态、蛟龙肌理刻画入微，把禅门降伏神通的玄妙意境铺陈开来，尽显工笔佛画的精湛造诣。",[23,24,64,9133,598,26,27,30,9741,98,7,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e7b08be8a42e4de886d90750e888424.jpg",[],{"id":18978,"slug":18979,"title":5590,"dynasty":344,"author":18980,"museum":135,"description":18981,"tags":18982,"thumbUrl":18983,"material":142,"size":142,"collection":142,"collections":18984,"showCount":233,"zanCount":54,"manualWeight":54,"mainColor":109},228484,"mu-niu-tu-zhang-mu-228484","张穆","此作以水墨铺就郊野溪谷之景，虬曲老木扎根荒滩，崖间飞瀑漱石，溪水蜿蜒漫过浅渚。群水牛或缓步就溪啜饮，或抵角相嬉，或蜷卧青草地休憩，神态憨然自在，将耕牛卸轭后的松弛尽显。笔墨朴拙写实，勾勒皴擦间，林石苍古荒率的野趣、水牛肌理的厚重质感一一浮现，似能闻得水草清腥，听哞哞牛鸣回荡溪山，将郊野牧歌式的闲逸悠然融于尺幅间，把山野生趣与静谧氛围揉合，于平淡笔墨中尽显自然真意。",[23,24,94,25,99,67,95,140,7,168,171,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0eca3394d51ce6da7ee2a9c0b498ddd.jpg",[],{"id":18986,"slug":18987,"title":18988,"dynasty":18,"author":4947,"museum":135,"description":18989,"tags":18990,"thumbUrl":18991,"material":142,"size":142,"collection":142,"collections":18992,"showCount":233,"zanCount":54,"manualWeight":54,"mainColor":109},228330,"jing-shan-xiao-zhong-tu-ye-qian-gu-228330","荆山晓钟图页","远景山峦以青绿轻晕，烟岚浮动于峰岫之间，晕染出空濛迷蒙的晓色。中景古寺隐于霜林之中，振翅惊飞的鸦群，将无形的晓钟化为可见的灵动画面，暗合钟声穿林、山乡初醒的意境。近野板桥逶迤，行旅徐行，林木枯荣相间，皴笔细劲，淡彩轻敷。\n整幅画作以虚写实，将听觉意象融于视觉画面，清逸雅致的色调晕开拂晓的清冷静谧，把乡山清晨的幽寂灵动尽数铺展，尽显诗意淡远的文人山水意趣。",[23,24,64,332,27,94,95,99,170,169,7,32,31,33,122,97,98,351,30,140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7d8940f47b0cc7d935c99acc7d337dc.jpg",[],{"id":18994,"slug":18995,"title":8411,"dynasty":150,"author":10333,"museum":135,"description":18996,"tags":18997,"thumbUrl":18998,"material":142,"size":142,"collection":142,"collections":18999,"showCount":233,"zanCount":54,"manualWeight":54,"mainColor":640},228029,"fang-you-tu-zhao-yong-228029","此作以俯瞰视角铺展山林逸景，苍褐主调晕出秋山幽寂氛围，枯木茂林错杂交织，将山居隐于浓荫深处，屋中似有故友晤谈，山径上访客策杖徐行，为深林添了几分温然生机。\n\n笔墨融宋人之丘壑写实与元人之意韵疏淡，皴擦简括浑朴，敷色沉敛古雅，将林下访友的雅事晕染在荒寒深秀的山水间，把文人隔绝尘嚣的林下之思，与访旧晤谈的温情悄然揉合，隐逸静穆的意趣扑面而来，尽显幽淡萧散的文人画致。",[23,24,27,95,99,30,97,33,32,7,227,1397,140,122,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d375ca9715c4bf281934c0bedd64bd5.jpg",[],{"id":19001,"slug":19002,"title":19003,"dynasty":59,"author":11689,"museum":135,"description":19004,"tags":19005,"thumbUrl":19006,"material":142,"size":142,"collection":142,"collections":19007,"showCount":233,"zanCount":54,"manualWeight":54,"mainColor":55},227975,"yan-cun-qiu-ai-tu-li-an-zhong-227975","烟村秋霭图","这幅画以淡墨轻晕铺就烟霭秋郊，虚实相生间尽显幽远意境。左侧茂林攒聚，细密点染出秋叶苍润的质感，林梢掩映隐约村舍，藏着乡野的静谧烟火。右侧枯木斜倚水岸，孤清萧疏，与左侧的苍林形成疏密对照。\n\n画师以留白晕染烟水空濛，墨色浓淡自然过渡，将暮秋薄霭浮动的氛围感烘托得恰到好处，把秋日郊野的冷寂清旷尽数铺展。带着独有的平和疏淡意趣，将乡野秋日的萧散之美藏在朦胧烟色中，尽显淡远幽微的山水诗意。",[23,117,24,64,95,94,27,99,33,2075,6945,7,255,1758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2756c4f10a3cf56a3d7eba886bd268cd.jpg",[],{"id":19009,"slug":19010,"title":19011,"dynasty":344,"author":1527,"museum":135,"description":19012,"tags":19013,"thumbUrl":19014,"material":229,"size":637,"collection":142,"collections":19015,"showCount":233,"zanCount":54,"manualWeight":54,"mainColor":55},224475,"jiu-feng-du-shu-tu-zhou-wang-jian-224475","九峰读书图轴","图绘崇山峻岭，苍松平溪，一高士在茅舍内读书。其展卷吟诵的细微举止点明了惬意“读书”的创作主题，寄托着画家的隐逸思想。本幅构图为高远法取势，山脚松木以工整的线条精心刻画，显现出作者以线造型的能力。山顶处以浓墨戳点，有浑点、破竹点、胡椒点、破墨点等，灵活多变的各种点法增强了江南山峦湿润华滋、沉郁深秀的气象。山石的脉络是以元人王叔明（即王蒙）典型的解索皴表现，其拖墨而下，屈曲密集的线条与山石的陡峭走向相一致，增强了山体的雄伟之势。此图堪称王鉴仿王叔明的佳作，全面地展示了其对王蒙画法得心应手的娴熟的运用程度。",[23,117,24,64,225,94,95,99,390,2256,98,2206,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee4c33a56f8a8f213d47350c092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创作的绢本设色画，现藏于南京博物馆。\n该画绘村前一座小桥，湖水绕村，树木绕斋，树林里楼台面水，宾主登楼安坐对谈，超然世外。\n笔墨挺健，景致平远，具有浓厚的写实风格。\n此画远处为较为平缓的山峦，山头仅露出水面。\n隐隐约约，烟雾蒙蒙，茫茫一片，山坡间新篁密密麻麻，白马湖东岸，在丛树掩映下的临水小村，一条清溪绕庄而行，竹树绕斋，楼台面小，并不华丽的庄园建筑，在苍松翠竹红枫的簇拥下显得古朴典雅；宾主登楼端坐其间，正在语笑风生，突然间一人回首远眺，似在观赏周围一片金秋美色，村边座落着一小板桥。\n一扁舟自远方来，泊于桥头，舟中一人捧物躬身而出，作献物状，岸上溪边另一人缓步走来作迎接状，神态自若。\n此图款署“壬子秋九月，拟李咸熙笔意，呈石翁先生教之，金溪吴宏、”钤印“吴宏私印”“远度”。\n画的裱边及玉池中有查士标，梁清标两人题诗，朱彝尊、程邃等七人题词。\n查士标题诗： 我爱白田好，来向白田去。\n白田城南有拓溪，闻是白田最佳处。\n溪边草堂称清幽，古木千章竹万头。\n奇石名花看不足，湖光更上东南楼。\n向年获识石林子，为言别业正在此。\n太公九十瑞人间，早岁弃官遂知止。\n闲来倚石手一编，倦即抛书石上眠。\n华发萧萧眸炯炯，无人知是地行仙。\n石林先生行最少，能读父书得其要。\n芥拾荣名自等闲，翰墨声诗兼众妙。\n命余为作草堂图，佳句传来幻有无。\n伸纸踌躇笔不下，俨如咫尺貌蓬壶。\n名园胜地世多有，辋川吟咏视平泉，主者何人斯不朽。\n千载流传复谁久。\n柘溪之水清且涟，湖波万顷绕平田。\n太平乐事长如此，还为高人结大年。\n梁清标题诗： 侍御结庐溪水浔，万株桑柘昼阴阴。\n迤逦晴沙眠野鹭，高低灌木鸣春禽。\n编篱插槿蔽风雨，琴书北窗何萧森。\n门无车马惊铃索，中有幽人事苦吟。\n幽人为谁侍御是，直节当年山岳峙。\n正笏曾陈痛哭书，拂衣早办登山履。\n经纶袖手赋归来，白头高卧草堂里。\n海水扬尘岁月移，草堂无恙日舒迟。\n蒹葭秋色霜飞后，鸡犬村扉昼闭时。\n巾车野服临湖岸，载酒轻船泛射陂。\n屏居白眼向寥廓，闻说先生犹健在。\n令子忻看傍凤池，闲身不羡图麟阁。\n倚杖频耕万亩云，延年岂假千金药。\n遥望伊人水一方，客来独拜德公床。\n疑是李愿住盘谷，不然种柳如柴桑。\n我欲从之问丹诀，放歌散发濯沧浪。\n《柘溪草堂图》作于康熙十一年（1672），此图为应宝应乔莱之请，画其父可聘居处柘溪草堂秋景。\n此画采用以实写虚的方法，借湖水、古木、草堂，以写云烟变幻，求得“有限中出无限，无画处成妙境”的艺术境地。\n此图中的物象并无高山峻岭，而只是湖天淼茫，属于通常所说的“平远”之景。\n但在吴氏的笔下却显示出“高远”的意境。\n画法不拘泥于前人，落笔大胆而收拾严整。\n笔墨苍秀，厚重劲健。\n板桥和山石等的勾勒，也皆是顿挫雄壮的阳刚之风。\n山石以乱柴皴间杂斧劈皴画之，水墨晕染，树木画法工细，繁而不乱，人物、房舍、扁舟表现自然，敷色清雅明亮。\n此画面有较大的空白，不仅体现了艺术家想象的本领，而且可以引起读者丰富的审美想象。\n教授张长虹：尽管带有应酬性质，吴宏此画仍属成功之作，这可能与其豪迈性格有关。\n吴宏，生卒年未详、清代画家。\n宏，一作弘，字远度，号竹史，江西金溪人，寓江苏汀宁（今南京）。\n诗书均精。\n幼好绘事，自辟蹊径。\n顺治十年（165）曾渡黄河，游雪苑，归而笔墨一变，纵横放逸，得诸家之长而能出己意。\n偶作竹石，亦有水墨淋漓之致。\n与樊圻、邹喆、叶欣、胡慥、谢荪、高岑、龚贤为“金陵八家”。",[23,117,24,64,225,27,99,95,76,33,32,7,96,140,1397],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F860319e9f372ae1d7066ef3c43aeaa92.jpg",[],{"id":19043,"slug":19044,"title":19045,"dynasty":344,"author":2710,"museum":135,"description":19046,"tags":19047,"thumbUrl":19048,"material":142,"size":142,"collection":142,"collections":19049,"showCount":233,"zanCount":54,"manualWeight":54,"mainColor":109},224192,"ge-shui-yin-chuang-tu-zhou-hua-yan-224192","隔水吟窗图轴","《馆藏精品选（上海博物馆4共张）\u002F东方画谱》是218年文物出版社出版的图书，作者是（元）张中，[清] 高岑，华喦。\n本书共收录了部画作，包括：《隔水吟窗图轴》《芙蓉鸳鸯图》《江山无尽图》。\n《隔水吟窗图轴》采用平远构图法，画法运用没骨法，描绘了秀美的江南山水景色。\n远山用云海烘托，宽广的江面用留白法来衬托。\n近景树木高挺，枝繁叶茂。\n江岸上有茅屋几间，隐逸者于舍内休憩，观赏院中的丹顶鹤，此情此景，给人心旷神怡如入仙境之美感。\n《芙蓉鸳鸯图》描绘了鸳鸯戏水的情景。\n画中溪水缓缓而流，一对鸳鸯在清波中嬉游。\n雄鸟低头弄波，雌鸟仰头鸣叫。\n岸边野花丛生，与水草交错其间，石旁长着一棵枝繁叶茂、花开争艳的芙蓉树，整幅画面显得唯美秀雅。\n张中用笔细致圆柔，以淡墨勾出芙蓉花瓣，再稍作晕染，用笔简括，显得活灵活现，生动清艳。\n再用浓墨描绘芙蓉叶之向背，有没骨之韵，叶脉清晰可见。\n山石略以苔点修饰，具有唐代画风。\n《江山无尽图》兼用多种构图法绘制而成，有马远“一角式”构图法和郭熙的“三远法”构图法。\n描绘了江南山清水秀、风和日丽的美景。\n画面群山连绵，树木繁茂，百草复苏，一派春意盎然之景象。\n高山流水、水村人家、茅屋楼阁、渔舟泛江，所有景致，无不生动。\n设色淡雅，用笔圆润，无尽之江山景色，尽收眼底。\n《隔水吟窗图轴》 《芙蓉鸳鸯图》 《江山无尽图》 华喦（1682—1756），一作华岩，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、白沙道人、离垢居士等。",[23,24,64,225,27,26,95,33,76,32,7,96,169,2256,390,1177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F249d982ffce7384142d527b785ca8c69.jpg",[],{"id":19051,"slug":19052,"title":19053,"dynasty":344,"author":2710,"museum":135,"description":19054,"tags":19055,"thumbUrl":19056,"material":142,"size":142,"collection":142,"collections":19057,"showCount":233,"zanCount":54,"manualWeight":54,"mainColor":55},224173,"xun-chun-tu-hua-yan-224173","寻春图","此作用高远章法铺展丘壑，石色苍浑松色沉郁，青绿设色带着古雅厚重的质感。近景老松虬曲盘绕，松下雅士晤言，溪石旁幽人闲坐，野趣盎然。中景村居错落隐于林麓，板桥之上一人策杖徐行，将山野居处的悠然缓缓铺陈。远景危崖如屏，林岚轻笼，山溪蜿蜒藏起春山秀色。右上角题诗呼应雅意，笔墨秀逸灵润，以山水清嘉承载文人雅怀，把春日山乡的清寂生机与林下逸致相融，尽显静穆悠远的山居春兴。",[23,24,64,225,27,26,99,95,30,32,7,97,76,390,98,5799,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22c8a1e8dc6a5f030b51069951c9769f.jpg",[],{"id":19059,"slug":19060,"title":19061,"dynasty":59,"author":292,"museum":2478,"description":19062,"tags":19063,"thumbUrl":19064,"material":142,"size":142,"collection":142,"collections":19065,"showCount":233,"zanCount":54,"manualWeight":54,"mainColor":55},223571,"xi-pan-gui-mu-tu-yi-ming-223571","溪畔归牧图","柳溪边，一牧童骑牛渡水，一牛隔岸嘶鸣，作欲渡而又畏渡之态，具有浓郁的乡村生活气息。\n牧童用简笔描绘，柳、牛则用细笔勾描，笔法精工。",[23,24,64,27,26,99,95,7,67,30,140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5951ff9e84033a61bc0d4c305cb17153.jpg",[],{"id":19067,"slug":19068,"title":19069,"dynasty":59,"author":292,"museum":135,"description":19070,"tags":19071,"thumbUrl":19072,"material":335,"size":19073,"collection":142,"collections":19074,"showCount":233,"zanCount":54,"manualWeight":54,"mainColor":55},223568,"xi-shan-xing-tu-zhou-yi-ming-223568","溪山行图轴","深深地描绘了秋天的景色。 绿图已枯，枫红团，山脚下长长的行人匆匆而过； 飞瀑流泻而下，水底已雾蒙蒙； 几间房屋隐藏在山谷中，或者寺庙是高大的殿堂，它们是住宅。 依山傍水，是一处修身养性的美丽之地； 山峰可能隐高，峰顶怪异，山脊稳定。",[23,24,117,225,27,99,95,240,2097,168,33,32,7,31,30,66,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcce883a4d1591955ca3a0ac56dd2079.jpg","130x37",[],{"id":19076,"slug":19077,"title":19078,"dynasty":344,"author":19079,"museum":135,"description":19080,"tags":19081,"thumbUrl":19082,"material":27,"size":142,"collection":142,"collections":19083,"showCount":233,"zanCount":54,"manualWeight":54,"mainColor":109},223131,"qun-xian-tu-ren-xun-223131","群仙图","任薰","任薰（1835年—1893年），字舜琴，又字阜长，其父任椿，兄任熊都是画家。少丧父，从兄学画，青年时在宁波卖画为生，1868年与任颐去苏州，后寓居苏州、上海。任颐、任预均从其习画。人物与其兄同师陈洪绶，常用高古游丝、铁线、行云流水、兰叶几种描法。任薰治学严谨，在写生、临摹上均下了苦功夫。任薰兼工人物、花鸟、山水、肖像、仕女，画法博采众长，面貌多样，富有新意。 与顾文彬子顾承相友善，曾为设计怡园。1888年54岁时双目失明，后病卒于苏州。与任熊、任颐时称“三任”，合任预为“四任”，并为海上画派代表画家之一。\n任薰作画题材广泛，对人物、山水、花卉、翎毛、走兽（马、羊等）无所不能，更擅长花鸟、人物。粗写意、细双勾。技法初学其兄谓长，后吸取陈老莲的传统技法。用笔沉着力。\n在构图上有其特长，在大小不同的画面上，创作出许多新颖、宽广、意境深远的作品，尤其适应扇面上的表现技法，能笔随意转，在极小的团扇、折扇画面上，开拓出广阔、妙趣盎然的意境。\n任薰作品在结构上比较严谨，很重视疏密虚实的主从关系，无论一人、一花、一鸟的主从关系都能巧心安排得体。平淡中亦能出奇，宁静中又能生动。画面上给人一种空灵明快之感。\n他的另一特点是工于着色，浓淡相宜，清新可爱，绝无柔媚习气。\n他尤长于使用重彩着色，能把对比鲜明的色彩调和统一起来，使画面上的景色更显壮丽，又能从鲜艳色彩中透出古朴的意趣。任薰人物画，线条遒劲圆韧。尤其晚年人物衣褶，运笔如同书法中行草，似有行云流水之感，形态多奇伟的身躯，出乎 寻常容貌，带有性格的神态，别出心匠。\n任薰作品在香港拍卖较多，1986年即有作品参加拍卖，1986年5月一件《双钩花鸟册》（共十二张）卖到45000港元。1989年5月又拍卖过两幅作品，一幅扇面《钟馗》以24200港元成交，另一幅《秋景山水》轴也是24000港元。1990年11月拍卖的一件《花卉草虫画集》册页价格偏低，只有17600港元，第二年9月是一件册页则达到12万港元，这是一件八开山水人物册页，山水人物比他的花卉草虫要珍贵得多。\n任薰作品也在纽约拍卖，1989年拍卖的《人物》四屏立轴卖到18700美元，1990年11月拍卖的一幅《仕女》扇面是1540美元。1992年6月纽约苏富比公司又推出两幅任薰作品，一为山水轴（128.6*60.3），作于1876年，估价不高，为1200－1500美元，以1700美元成交。另一幅人物轴（92.7*41.3公分）由于起价太高而未拍出。",[23,24,64,27,26,30,95,31,33,3834,821,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a6b02a2a93b694310e08a39e6c70fa4.jpg",[],{"id":19085,"slug":19086,"title":19087,"dynasty":18,"author":5358,"museum":252,"description":12136,"tags":19088,"thumbUrl":19089,"material":335,"size":19090,"collection":142,"collections":19091,"showCount":233,"zanCount":54,"manualWeight":54,"mainColor":109},222181,"xue-hou-fang-mei-tu-zhou-lu-zhi-222181","雪后访梅图轴",[23,24,64,117,225,94,99,95,2097,2301,31,96,98,7,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7aaf80233eb812f5038cd4b1c54a09f2.jpg","76x40cm",[],{"id":19093,"slug":19094,"title":19095,"dynasty":18,"author":2605,"museum":152,"description":19096,"tags":19097,"thumbUrl":19098,"material":659,"size":19099,"collection":49,"collections":19100,"showCount":233,"zanCount":54,"manualWeight":54,"mainColor":109},222071,"ba-tuo-luo-wu-bin-222071","跋陀罗","十六罗汉，主要依据唐玄奘翻译的《大阿罗汉难提密多罗所说法住记》，他们是：一宾度啰跋罗惰阇、二迦诺迦伐蹉、三迦诺迦跋厘堕阇、四苏频陀、五诺距罗、六跋陀罗、七迦理迦、八伐阇罗弗多罗、九戍博迦、十半托迦、十一啰怙罗、十二那伽犀那、十三因揭陀、十四伐那婆斯、十五阿氏多、十六注荼半托迦。十六罗汉是释迦牟尼佛的弟子。据经典说，他们受了佛的嘱咐，不入涅盘，常住世间，受世人的供养而为众生作福田。此外，另有十八罗汉之说。此系于十六罗汉加上二位尊者。关于所加的二尊有多种说法。",[23,24,64,27,26,30,598,7,171,33,332],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F755968993a8a52ca5f45fdf52ffeb308.jpg","62.3x35.3",[49,51],{"id":19102,"slug":19103,"title":19104,"dynasty":150,"author":292,"museum":61,"description":19105,"tags":19106,"thumbUrl":19110,"material":335,"size":19111,"collection":105,"collections":19112,"showCount":233,"zanCount":54,"manualWeight":54,"mainColor":109},221778,"di-ba-ga-na-ga-ba-ha-la-zhui-za-zun-zhe-zhou-yi-ming-221778","第八嘎纳嘎拔哈剌錣杂尊者轴","《元人画第八嘎纳嘎拔哈剌錣杂尊者轴》是创作于元代的一幅画。",[23,24,18164,225,94,26,138,30,95,168,18165,19107,19108,19109,171,7,119],"坐像","衣纹","光晕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad290dab85e6c127be5e1cb6be2a8059.jpg","114.4x66.8",[105,83],{"id":19114,"slug":19115,"title":19116,"dynasty":18,"author":7711,"museum":252,"description":7712,"tags":19117,"thumbUrl":19118,"material":103,"size":7715,"collection":142,"collections":19119,"showCount":233,"zanCount":54,"manualWeight":54,"mainColor":55},219065,"xiao-xiang-ba-jing-ce-6-zhang-fu-219065","潇湘八景册-6",[23,24,94,95,543,32,7,96,332,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8edfcd85b61aa66bca1a2e3c15aa591b.jpg",[],{"id":19121,"slug":19122,"title":19123,"dynasty":344,"author":2071,"museum":316,"description":3026,"tags":19124,"thumbUrl":19125,"material":103,"size":3029,"collection":142,"collections":19126,"showCount":233,"zanCount":54,"manualWeight":54,"mainColor":109},217209,"fang-gu-shan-shui-shi-er-kai-jiu-wang-hui-217209","仿古山水十二开(九)",[24,332,94,95,99,96,306,97,33,170,7,256,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09a728094980b72bfbfe1b0b26043764.jpg",[],{"id":19128,"slug":19129,"title":19130,"dynasty":344,"author":292,"museum":15270,"description":19131,"tags":19132,"thumbUrl":19133,"material":335,"size":142,"collection":142,"collections":19134,"showCount":233,"zanCount":54,"manualWeight":54,"mainColor":640},216860,"xi-xiang-ji-tu-ce-14-yi-ming-216860","西厢记图册-14","画面铺展一方雅致庭院，朱红栏杆蜿蜒勾连亭台，古树荫蔽下，山石错落生姿，几丛花草点缀其间，愈显清幽。人物衣袂轻扬，一立一跪间藏着西厢故事的婉转心事——站立者身姿温婉，似在俯身相询；跪拜者手持物件，神情恳切。工笔设色细腻，衣纹线条流畅，青绿草木与朱红栏杆相映成趣，将古典园林的静谧与人物互动的张力巧妙融合，仿佛能窥见西厢记中那段缠绵故事的一隅，笔墨间尽是对古典情韵的细腻描摹。",[24,64,332,27,28,30,31,7,199,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F720652a38329f92eef957d18fe25b055.jpg",[],{"id":19136,"slug":19137,"title":14484,"dynasty":344,"author":1527,"museum":281,"description":15814,"tags":19138,"thumbUrl":19140,"material":103,"size":142,"collection":142,"collections":19141,"showCount":233,"zanCount":54,"manualWeight":54,"mainColor":109},215028,"fang-gu-shan-shui-ce-3-wang-jian-215028",[24,64,933,2880,99,3658,95,98,33,32,7,76,19139],"树林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf51937c7fa8c49c5ec3f6019215bc8d.jpg",[],{"id":19143,"slug":19144,"title":19145,"dynasty":344,"author":10042,"museum":268,"description":19146,"tags":19147,"thumbUrl":19148,"material":103,"size":142,"collection":142,"collections":19149,"showCount":233,"zanCount":54,"manualWeight":54,"mainColor":109},214819,"shan-shui-hua-hui-tu-ce-2-gao-feng-han-214819","山水花卉图册-2","高凤翰是一位清代著名的画家，他最著名的作品之一是山水花卉图册。这本图册包含了许多精美的山水和花卉画作，描绘了中国传统山水风景的美丽景色。高凤翰以其独特的画风和精湛的技巧著称，他的作品在当时颇受欢迎，并被广泛收藏。\n\n高凤翰的山水花卉图册对中国山水画的发展有着巨大的影响。他的作品描绘了中国传统山水风景，但又不拘泥于传统，注重自然与艺术的结合。他运用了自然的色彩和线条，使画面生动而富有感染力。同时，他也注重写实，力求将自然界的细节再现在画面中。高凤翰的山水花卉图册是中国山水画发展史上的一部重要作品，其中蕴含了许多独特的艺术成就。",[24,64,332,94,27,95,32,122,33,76,2008,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16a60e84bf06c1ef5e8e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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。",[19353,19354,6294,19355,4592,95,96,32,7,97,33,30,170],"青花","陶瓷","插屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ed00e7621d03287f1ae29c4fb16db2f.jpg",[],{"id":19359,"slug":19360,"title":19361,"dynasty":18,"author":292,"museum":135,"description":19362,"tags":19363,"thumbUrl":19367,"material":229,"size":637,"collection":142,"collections":19368,"showCount":324,"zanCount":11,"manualWeight":54,"mainColor":55},269049,"ke-si-yao-chi-ji-qing-tu-zhou-yi-ming-269049","缂丝瑶池吉庆图轴","祥云萦绕苍松翠岭，青鸟穿掠林岫。执莲仙子静立高台，环伺仙娥或捧礼相贺，或拨弦奏乐，衣袂翩跹如随流云舒展。青绿晕染层叠峰峦，金线勾勒衣袍光华，水波萦回、松石错落，将瑶池的清灵仙气揉入吉庆盛景中。\n\n整作走线细密匀整，配色古雅沉稳，以缂丝之工将群仙赴会的悠然盛景定格丝帛。既工笔描摹出仙娥衣饰的纤巧纹理，又晕染出仙境缥缈出尘的氛围感，把仙家盛会的祥和安乐尽显于此，气韵华贵古雅，尽显仙乡的清宁吉庆。",[24,117,225,2578,27,30,19364,19365,95,98,7,33,1068,3226,6446,6568,19366],"仙女","瑶池","吉庆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05c7fdd20e3da758f38f4a40dd86956d.jpg",[],{"id":19370,"slug":19371,"title":19372,"dynasty":150,"author":19373,"museum":61,"description":19374,"tags":19375,"thumbUrl":19378,"material":142,"size":142,"collection":625,"collections":19379,"showCount":324,"zanCount":54,"manualWeight":54,"mainColor":109},239567,"xing-fang-cao-tie-ce-ye-deng-wen-yuan-239567","行芳草帖册页","邓文原","邓文原（1258年—1328年），字善之，一字匪石，人称素履先生，绵州（今四川绵阳）人，又因绵州古属巴西郡，人称邓文原为“邓巴西”。其父早年避兵入杭，遂迁寓浙江杭州，或称杭州人。\n历官江浙儒学提举、江南浙西道肃政廉访司事、集贤直学士兼国子监祭酒、翰林侍讲学士，卒谥文肃。其政绩卓著，为一代廉吏，其文章出众，也堪称元初文坛泰斗，《元史》有传。著述有《巴西文集》《内制集》《素履斋稿》等。\n邓文原擅行、草书。传世书迹有《临急就章卷》等。与赵孟頫、鲜于枢齐名，号称“元初三大书法家”，尤以擅章草而闻名。",[100,101,96,7,19376,19377,1288,119],"暮烟","鸥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc9f44f03c82473d486a19d389c5da98.jpg",[625],{"id":19381,"slug":19382,"title":19383,"dynasty":18,"author":19384,"museum":135,"description":19385,"tags":19386,"thumbUrl":19387,"material":142,"size":142,"collection":142,"collections":19388,"showCount":324,"zanCount":54,"manualWeight":54,"mainColor":55},239221,"song-xi-gao-shi-shan-mian-zhao-yi-239221","松溪高士扇面","赵伊","此作以细笔轻皴写山石肌理，敷色清润雅致。古松虬曲苍劲，荫蔽松溪之畔，两位高士凭栏对语，衣袂飘然，尽得林下晤谈的悠然意趣。峡谷环溪，栈道萦回，咫尺扇面铺展出山林丘壑的深幽，构图疏密相宜，将江南山水的温润灵秀与文人隐逸襟怀相融。笔墨兼具元人山水的简淡萧散，暗合文人画崇尚的林泉雅韵，于尺幅之间，写尽林泉高致的悠悠况味。",[24,64,1551,94,27,95,30,271,7,98,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb73d6c753cea02e3db1f54368f02b0d.jpg",[],{"id":19390,"slug":19391,"title":7943,"dynasty":344,"author":7944,"museum":135,"description":7945,"tags":19392,"thumbUrl":19393,"material":142,"size":142,"collection":142,"collections":19394,"showCount":324,"zanCount":54,"manualWeight":54,"mainColor":109},238830,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238830",[24,64,332,27,95,33,7,2206,99,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5706309f6fd33bb74c27c1cde65221ba.jpg",[],{"id":19396,"slug":19397,"title":7943,"dynasty":344,"author":7944,"museum":135,"description":7945,"tags":19398,"thumbUrl":19399,"material":142,"size":142,"collection":142,"collections":19400,"showCount":324,"zanCount":54,"manualWeight":54,"mainColor":109},238825,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238825",[24,64,332,27,118,94,95,98,33,255,97,7,119,101,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe20f4b4295b749a2cf96304df748a5cf.jpg",[],{"id":19402,"slug":19403,"title":17689,"dynasty":344,"author":7944,"museum":135,"description":7945,"tags":19404,"thumbUrl":19405,"material":142,"size":142,"collection":142,"collections":19406,"showCount":324,"zanCount":54,"manualWeight":54,"mainColor":109},238415,"dong-gao-peng-hu-hui-sheng-tu-ce-dong-gao-238415",[24,64,332,27,99,95,33,7,168,30,171,3812,351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb58ceac15855ab05632228fe81ee6374.jpg",[],{"id":19408,"slug":19409,"title":19410,"dynasty":344,"author":13206,"museum":135,"description":19411,"tags":19412,"thumbUrl":19413,"material":142,"size":142,"collection":142,"collections":19414,"showCount":324,"zanCount":54,"manualWeight":54,"mainColor":109},238273,"song-he-ming-quan-tu-zhou-lu-zun-shu-238273","松鹤鸣泉图轴","此作用全景式布局铺展山林胜境，山峦层叠延绵，以细密温婉的皴笔写尽岩壑肌理，苍松林立挺拔，松针刻画劲挺细致，尽显古松郁然深秀之姿。\n山居茅舍错落隐于林麓溪畔，飞泉流于山谷之间，似能闻声。淡墨晕染出清润空蒙的山林气韵，将幽寂清旷的林下雅境铺陈眼前。整画笔法秀雅工致，以静穆的笔调写就林泉幽居之趣，尽显文人山水萧散淡远的隐逸意致，藏着画者寄情林泉的山居雅怀。",[24,225,94,99,95,271,240,7,38,33,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21312d10a315f6756d858f716f06e8a2.jpg",[],{"id":19416,"slug":19417,"title":888,"dynasty":344,"author":7788,"museum":135,"description":19418,"tags":19419,"thumbUrl":19420,"material":8704,"size":142,"collection":105,"collections":19421,"showCount":324,"zanCount":54,"manualWeight":54,"mainColor":109},237970,"shan-shui-zhou-li-jian-237970","黎简（1747年6月30日～1799年12月3日），字简民，一字未裁。号二樵，又号石鼎道人、百花村夫子，广东顺德县弼教村人，清代乾嘉年间岭南著名诗人、书画家。乾隆五十四年拔贡。诗画书称三绝，诗学李贺、黄庭坚，刻求新颖，书得晋人意。性喜山水，与张如芝、谢兰生、罗天池并称为粤东四大家。有《五百四峰草堂诗文钞》《药烟阁词钞》等\n黎简号称诗、书、画、印四绝，对岭南诗歌的发展起过积极的作用，且影响至中原。他一生虽然足迹未出岭南，但中年时诗画名气已远播中原。其诗以境新、句奇、意深、情真而独树一帜。但是，这位出色的诗人在中国文学史上长期没有位置，直到改革开放后才引起权威文学研究者的注意，收入《中国文学史》中。 著有《五百四峰堂诗钞》《五百四峰堂续集》《药烟阁词钞》，戏曲《芙蓉亭》等。\n诗从学李贺、黄庭坚入手，刻意求新，极“峻拔清峭”（王昶《湖海诗传》）之致，能自树一格。张维屏《国朝诗人征略》称：“其诗由山谷（黄庭坚）入杜，而取炼于大谢（灵运），取劲于昌黎（韩愈），取幽于长吉（李贺），取艳于玉溪（李商隐），取瘦于东野（孟郊），取僻于阆仙（贾岛）。锤焉凿焉，雕焉琢焉，于是成为其二樵之诗”。他的记游、题赠之作较多。不少诗描绘了两广山水风光、名胜古迹，如《藤县》《白马角》《龙门滩》《邕州》《白鹤观登五龙潭上玉女峰》《冲虚观至朱明洞》《浴日亭》《江南岸蕉园歌》等。也有少数篇章，反映民间疾苦，如《田中歌》，反映少数民族的风习，如《歌节》《大排三十八韵》等。\n其书法，意志追晋人，中年兼学李北海，晚年写苏黄两家为多，隶书真追《礼器》《熹平石经》，传世书法作品甚丰，显示了他在书法上的不断追求。肇庆七星岩石室岩洞内有他的《南服陨石》刻石，隶书体，秀劲舒放，纵横跌宕，属黎书上品。\n黎简工山水，早年粗犷、率意的用笔，侧重写生的表现，则多属效法明末清初的广东先哲。中年临摹倪云林、石涛作品，几可达到与真迹无异的境地。由近及远地求索，融古汇今地创新，师自前人，不囿于前人，始终是黎简所遵循的山水画创作主线。在这种意识指导下，创作出来的作品，自然会有一种清新、活泼的感觉。而且，由于他是以绝无“甜赖”气的元人、“搜尽奇峰打草稿”的石涛的技法，作为其创法的基调，又兼具乾隆盛世艺术所惯有的平稳、温润，对曾被扬州八怪个性化花鸟画震撼过的人们来说，黎简这种挑战主流派的山水画，又是一次新的震撼。\n黎简的篆刻，虽然属他诗书画的“余事”，但他有深厚的传统文化基础，才思敏捷。他的篆刻，得汉人神髓，参以己意，作品淳厚苍雄，意格甚高，自成面目。自刻图章曰“小子狂简”，刀法峻傥。又能治铜印。1962年，麦华三等辑成《二樵山人篆刻佚存》1册。",[24,64,225,94,27,99,95,33,390,98,169,350,30,351,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F682aee1e09b037e88fe4860d9478e6a0.jpg",[105,51],{"id":19423,"slug":19424,"title":5439,"dynasty":344,"author":6544,"museum":135,"description":19425,"tags":19426,"thumbUrl":19427,"material":142,"size":142,"collection":105,"collections":19428,"showCount":324,"zanCount":54,"manualWeight":54,"mainColor":109},237946,"shan-shui-tu-ce-liu-yu-237946","此作用笔苍秀松灵，水墨晕染细腻柔和。近岸古木扶苏，枝桠虬曲，掩映草庐幽居，野意盎然。水面开阔澹澹，远山以淡墨轻勾慢染，云气留白氤氲萦绕，将山水融于空濛烟岚之中，尽显林泉高致。\n左侧题字笔意萧散俊朗，文辞雅致，书画相映，尽显文人画以境抒怀的意趣，藏着寄情丘壑、静享林泉的隐逸之思，整幅清和淡远，悠悠古韵漫溢其间。",[24,64,332,94,99,100,119,95,33,98,7,169,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce52f527ef696f31244a5464d7952c1f.jpg",[105,368],{"id":19430,"slug":19431,"title":5439,"dynasty":344,"author":15459,"museum":135,"description":19432,"tags":19433,"thumbUrl":19434,"material":142,"size":142,"collection":105,"collections":19435,"showCount":324,"zanCount":54,"manualWeight":54,"mainColor":55},237773,"shan-shui-tu-ce-ye-xin-237773","此作以青绿晕染湖山，近岸花树沿陂陀错落，山坳幽居藏于林木间，空阔湖面一叶扁舟随波缓行，远岫含晕，漾起空濛淡荡之致。设色秀雅温润，笔致简净松灵，不事繁饰，将林泉幽居的闲散意绪尽数铺展。左侧题诗与画境相映成趣，诗画合璧，把文人耽恋泉石、寄迹烟水的雅怀融于尺幅间。观之如临江南水畔，可感湖风轻拂，坐忘于萧疏清寂的闲淡之中，尽显小品山水的隽雅意韵。",[24,64,332,27,95,96,97,33,98,7,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad576d6b1c3c42c220f6545a8771fde7.jpg",[105],{"id":19437,"slug":19438,"title":655,"dynasty":344,"author":3211,"museum":61,"description":3212,"tags":19439,"thumbUrl":19440,"material":258,"size":142,"collection":142,"collections":19441,"showCount":324,"zanCount":54,"manualWeight":54,"mainColor":109},237194,"shan-shui-ce-sun-yi-237194",[117,24,64,94,99,332,95,33,98,76,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc0fa1be76a14ec377d2bcc7648a0aaa.jpg",[],{"id":19443,"slug":19444,"title":655,"dynasty":344,"author":19445,"museum":135,"description":19446,"tags":19447,"thumbUrl":19448,"material":229,"size":637,"collection":105,"collections":19449,"showCount":324,"zanCount":54,"manualWeight":54,"mainColor":109},236989,"shan-shui-ce-zhang-xi-236989","张晞","画风豪放、磊落，所画山水景色构图大胆新颖，笔墨多变。",[24,64,332,27,94,99,100,101,119,95,32,7,96,122,33,98,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a52e9365afa6a8bd693900aeb0cf10b.jpg",[105],{"id":19451,"slug":19452,"title":18828,"dynasty":18,"author":19453,"museum":135,"description":19454,"tags":19455,"thumbUrl":19456,"material":229,"size":637,"collection":142,"collections":19457,"showCount":324,"zanCount":54,"manualWeight":54,"mainColor":55},236682,"shan-shui-shan-jiang-qian-236682","蒋乾","蒋乾（1525—？）明代画家。字子健，金陵（今江苏南京）人。\n嵩子，隐居吴郡（今江苏苏州）虹桥，困以为号。破屋半间，一介不苟。八十年如一日。江盈科为长洲宰，表其庐曰“东海冥鸿”。善山水，清拔古雅，过於乃父。嘉靖四十二年（1563）仿王蒙山水图。",[24,933,1551,95,255,98,7,96,99,33,3921,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a4dd3c710ef5cd3dbc82276a1c1a9b4.jpg",[],{"id":19459,"slug":19460,"title":19461,"dynasty":18,"author":292,"museum":135,"description":19462,"tags":19463,"thumbUrl":19464,"material":142,"size":142,"collection":105,"collections":19465,"showCount":324,"zanCount":54,"manualWeight":54,"mainColor":109},236428,"shu-zhi-shan-shui-ce-yi-ming-236428","殳执山水册","此作以淡墨晕染萧寒冬日，留白铺陈天地素雪，远山如裹素衾，棱线隐在氤氲灰雾中，愈显清寂辽远。近岸双松孑然挺立，虬枝错落，虽针叶落尽，仍带着苍劲意气。溪石隐于薄雪之下，寒水曲折蜿蜒，牵起林麓间山居茅舍。屋舍隐在枯木之后，淡笔勾出檐角，似有幽居之人避世于此。左侧题字朱印点缀，添就文人情致。\n\n整幅用墨清润简淡，以虚带实，将冬日山野的空静萧疏尽数铺展，素白清冷间藏着淡远悠长的隐逸之趣，尽显传统山水的空灵意境。",[117,24,64,332,94,99,95,241,76,98,2567,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe695c61998a56f0f49ab8e14dab8f8f.jpg",[105,83],{"id":19467,"slug":19468,"title":19469,"dynasty":18,"author":13281,"museum":135,"description":19470,"tags":19471,"thumbUrl":19472,"material":142,"size":142,"collection":142,"collections":19473,"showCount":324,"zanCount":54,"manualWeight":54,"mainColor":109},235839,"yu-nv-tan-tu-ye-zhu-lang-235839","玉女潭图页","此作用笔温润雅致，右侧幽谷深潭静卧山坳，苍岩皴笔朴拙苍劲，潭水以淡墨晕染出澄澈空濛之态。临潭水榭半隐于松荫翠色中，隐约有人凭栏观览，将林泉雅意收于咫尺画幅。\n\n左侧题咏行书笔致清逸舒展，诗画相映，衬出潭水的仙灵意境。整幅工写兼施，将江南山水的温婉秀润与文人幽居雅兴相融，以细腻笔墨勾勒出涤净尘俗的林泉胜境，尽显寄情山水的抒情意趣。",[24,64,27,95,101,99,119,97,33,7,98,38,169,351,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa612ad865fbda0ae6c6443e63e8c7ad5.jpg",[],{"id":19475,"slug":19476,"title":19477,"dynasty":344,"author":292,"museum":135,"description":19478,"tags":19479,"thumbUrl":19480,"material":142,"size":142,"collection":142,"collections":19481,"showCount":324,"zanCount":54,"manualWeight":54,"mainColor":55},235669,"yuan-yao-shan-shui-ping-wan-song-die-cui-yi-ming-235669","袁耀山水屏-万松叠翠","此作以平远之法铺展意境，烟波浩渺的水中央渔舟错落，漾出鲜活的烟火意趣。近岸孤亭翼然矗立，凭栏可尽览春水汤汤。层叠山峦渐次抬升，古松苍劲蟠虬遍布崖间，粉花点缀在青绿间晕开春日暖意，山坳间云烟漫溢，柔化了山石嶙峋棱角。\n\n笔墨清润雅致，皴染兼具，既勾勒出山峦肌理脉络，又以淡色晕染出江南山水的氤氲温润。静穆丘壑与渔家日常相映相融，将春日江南的安闲悠然藏入尺幅，融写景之真与写意之柔，尽显清润平和的山水意韵。",[24,64,27,26,99,95,271,31,5064,98,33,169,97,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F647fdf8eda29f8f9c0689b73a349e40c.jpg",[],{"id":19483,"slug":19484,"title":19485,"dynasty":18,"author":4786,"museum":135,"description":19486,"tags":19487,"thumbUrl":19488,"material":229,"size":637,"collection":142,"collections":19489,"showCount":324,"zanCount":54,"manualWeight":54,"mainColor":109},235579,"lin-tang-ye-xing-tu-shan-ye-song-xu-235579","林塘野兴图扇页","此图仿佛是从一幅大画上截下的局部，其树林、稻田、坡地以及水域的画意均不完整，如此的构图，反而增强了想像空间，达到了“画外有画”的特殊效果。画面用笔粗旷，不求形似，唯求达意，颇得沈周晚年画作沉郁苍茫的风韵。",[24,1551,94,95,33,98,350,32,7,518,30,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa033729b0f39343c16511a93fc209eff.jpg",[],{"id":19491,"slug":19492,"title":9065,"dynasty":344,"author":1527,"museum":135,"description":7684,"tags":19493,"thumbUrl":19494,"material":229,"size":637,"collection":142,"collections":19495,"showCount":324,"zanCount":54,"manualWeight":54,"mainColor":109},235339,"fang-gu-shu-hua-ce-wang-jian-235339",[24,64,332,2880,27,95,101,119,32,7,33,348,76,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9d51a7dc9bebbb0aff7ced8be3699e6.jpg",[],{"id":19497,"slug":19498,"title":655,"dynasty":344,"author":2501,"museum":61,"description":17752,"tags":19499,"thumbUrl":19500,"material":714,"size":17755,"collection":142,"collections":19501,"showCount":324,"zanCount":54,"manualWeight":54,"mainColor":109},235023,"shan-shui-ce-wu-li-235023",[24,94,99,332,95,98,7,168,33,2869],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa663103a3f1d07138a071d3f921f0598.jpg",[],{"id":19503,"slug":19504,"title":14674,"dynasty":18,"author":251,"museum":135,"description":17600,"tags":19505,"thumbUrl":19506,"material":229,"size":637,"collection":142,"collections":19507,"showCount":324,"zanCount":54,"manualWeight":54,"mainColor":55},234774,"shan-shui-shan-ye-lan-ying-234774",[1551,94,99,95,96,33,76,98,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75f143f8608502a52ea91be63a03f0c3.jpg",[],{"id":19509,"slug":19510,"title":19511,"dynasty":344,"author":19512,"museum":135,"description":19513,"tags":19514,"thumbUrl":19515,"material":142,"size":142,"collection":142,"collections":19516,"showCount":324,"zanCount":54,"manualWeight":54,"mainColor":109},234614,"lan-cui-du-shu-wan-shan-yuan-xu-234614","览翠读书纨扇","袁煦","袁煦（约为1764年前后生人），乾隆五十九年（1794年）举人，清代济南府长山县人，礼部尚书、协办大学士纪昀女婿。清朝中期画家，工山水，官至内阁中书、军机章京。注：出生时间参照其中举时间（1794年）与纪昀三子纪汝似（1766年生人）的出生时间。",[24,64,1551,27,95,98,7,33,76,348,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98a43fe28f1dab8cfc0a33bfb1cc98a4.jpg",[],{"id":19518,"slug":19519,"title":7986,"dynasty":344,"author":19520,"museum":61,"description":19521,"tags":19522,"thumbUrl":19523,"material":142,"size":142,"collection":142,"collections":19524,"showCount":324,"zanCount":54,"manualWeight":54,"mainColor":109},234516,"shan-shui-ce-ye-liu-yu-234516","柳遇","柳遇，字仙期，清朝吴县（今江苏苏州）人。\n工人物，精密生动，布置树石栏廊，点缀幽花细草，以及玩物器皿色色佳妙，不亚于仇英。宋荦抚吴时曾延其摹南唐顾闳中所画韩熙载夜宴图，及所画东坡与佛印谈禅像均为艺林称赏。《国[清]朝画徵录、在亭丛稿、读画辑略、画传编韵》。",[24,27,332,95,140,32,7,30,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81d1afa33742324cc1ab319f7c56e75e.jpg",[],{"id":19526,"slug":19527,"title":19528,"dynasty":344,"author":19529,"museum":135,"description":19530,"tags":19531,"thumbUrl":19532,"material":142,"size":142,"collection":142,"collections":19533,"showCount":324,"zanCount":54,"manualWeight":54,"mainColor":55},234489,"fan-zhou-gui-cun-shan-ye-gu-sheng-234489","泛舟归村扇页","顾升","顾升,原名峒，字虞东，因生而掌文有升字，改名升，更字隅东，号斗山，又号石帆，仁和(今杭州)人。\n顾升，原名峒，字虞东，因生而掌文有升字，改名升，更字隅东，号斗山，又号石帆，仁和(今杭州)人。国子生，以子贵封承德郎翰林院庶吉士。书、画、篆、隶俱工，又善画大人物，松石大幅尤佳。康熙四十四年(1705)南巡，进诗画册。著写山楼并题画诗",[24,1551,94,95,96,33,32,7,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c18aedc0239552953e824f8f99ceb25.jpg",[],{"id":19535,"slug":19536,"title":4655,"dynasty":344,"author":2071,"museum":61,"description":19537,"tags":19538,"thumbUrl":19539,"material":355,"size":142,"collection":142,"collections":19540,"showCount":324,"zanCount":54,"manualWeight":54,"mainColor":109},234305,"wang-hui-fang-gu-shan-shui-ce-wang-hui-234305","王翚（1632－1717），字石谷，号象文，一号臞樵、乌目山人、耕烟散人、耕烟外史、清晖主人、清晖老人、剑门樵客、耕烟野老、耕烟老人、天放闲人、雪笠道人、海虞山樵等。江苏常熟人。一代山水大家，开创“虞山画派”，有“画圣”之誉。与王时敏、王鉴、王原祁并称“四王”；合吴历、恽寿平，世称“清六家”。其画在清代极负盛名，康熙三十年奉诏绘制《康熙南巡图》，3年完成，得到皇帝的褒奖，被视为画之正宗，追随者甚众，为“虞山派”之首。",[24,64,332,27,99,2880,95,240,901,33,98,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F246786c908a5af84ff097e5edaba0cbb.jpg",[],{"id":19542,"slug":19543,"title":19544,"dynasty":59,"author":13784,"museum":61,"d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《缩本兰亭玉：枕兰亭序》，还有一种将字体放大五、六倍的临本，明初书家宋克曾经见之，称之为笔法位置全然相似，亦当世之名迹也。可见，这种或放大、或缩小的临摹，可能是赵氏练习手眼的一种方式，也可能是勤学苦练过程中放松精神的一种游戏。但赵孟頫是落笔便作千古想的，所以 虽戏写亦如欲刻金石，绝不会有丝毫懈怠。事事认真，正是他获得大成的原因之一。",[101,100,29,7031,19601,19602,19603,19604,19605,19606,19607,19608,19609,19610,19611,19612,533,19613,19614,19615,353,7,19616,19617],"笔法流畅","结构严谨","章法自然","山阴","茂林","修竹","清流激湍","曲水","流觞","惠风","和风","朗气","暮春","初会","崇山峻岭","天朗气清","惠风和畅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F103a8a40a8658fb27cde43d28fa23fc0.jpg","13.8X32厘米",[],{"id":19622,"slug":19623,"title":19624,"dynasty":2023,"author":292,"museum":2659,"description":19625,"tags":19626,"thumbUrl":19628,"material":335,"size":19629,"collection":142,"collections":19630,"showCount":324,"zanCount":54,"manualWeight":54,"mainColor":109},231579,"hua-yan-wu-shi-wu-suo-hua-juan-yi-ming-231579","华严五十五所画卷","此作描述了《华严经》中记录的善财童子遍参善知识的经历。故事讲述的是善财童子心地纯洁，如天空般明净，听从文殊菩萨的规劝，遍参了55位善知识（才德兼备而能指引他人的高人），终于修成正果的美丽故事。这个表现主题在大陆（即中国）、日本自古就被造型化，此绘卷继承日本的传统，于镰仓时代中期临摹了制作于平安时代至镰仓时代初期的东大寺本（分藏于东大寺及他处。东大寺所藏为国宝，其他处所藏为重要文物）中的5段。原本凭借其柔和流畅的线条及宁静的色彩，展现了极高的思想性，本临摹本虽无法媲美原本，但也可以说具有原本的余韵。各段上书有的文字，为各位善知识的位阶及姓名，以及以各段内容为主题的诗文画赞。画赞采用的是与北宋时期著名文人苏东坡等相交甚密的杨杰的作品。",[23,24,25,27,26,30,33,95,7,31,32,98,1288,6431,19627,19107,122],"僧侣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbca48a1d5a23cbaab71ad1178b785161.jpg","31.7×196.6cm",[],{"id":19632,"slug":19633,"title":13655,"dynasty":344,"author":13656,"museum":135,"description":19634,"tags":19635,"thumbUrl":19636,"material":229,"size":637,"collection":142,"collections":19637,"showCount":324,"zanCount":54,"manualWeight":54,"mainColor":109},231049,"shen-zhu-you-ju-tu-cheng-sui-231049","程邃（1607年—1692年），字穆倩、朽民，号垢区、青溪，明末清初篆刻家、书画家。 歙县（今属安徽）人，生于松江华亭（今上海松江）。",[24,94,99,64,225,95,32,7,96,76,33,170,543,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36ac9ac3c05eaead2a85ddd28c5c67b9.jpg",[],{"id":19639,"slug":19640,"title":19641,"dynasty":2023,"author":292,"museum":135,"description":19642,"tags":19643,"thumbUrl":19644,"material":229,"size":637,"collection":142,"collections":19645,"showCount":324,"zanCount":11,"manualWeight":54,"mainColor":109},230521,"fang-gu-shan-shui-ren-wu-fen-ben-shou-ye-jia-cang-tu-juan-yi-ming-230521","仿古山水人物粉本(狩野家藏图卷)","此作用笔清灵秀润，远景山峦以淡墨晕染烟岚，虚实相映，漾着空濛出尘的诗意。近岸急流翻涌，山石皴擦朴拙苍劲，野舟闲泊浅滩，衬出林野的幽寂清旷。\n\n崖畔山居窗内，二人对坐晤谈，为清冷山水晕开一抹人间暖意。作者以淡彩轻点秋树，将隐逸栖居的雅趣融于尺幅间。整卷动静相生，水墨为骨，淡彩辅之，把文人寄情林泉的理想缓缓铺展，笔简意长，尽显萧疏淡远的古典山水意韵。",[23,24,64,25,27,2880,119,95,30,7,33,169,98,97,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a7a50f0e0e083ec39fc14796d667cb7.jpg",[],{"id":19647,"slug":19648,"title":19649,"dynasty":2023,"author":15166,"museum":135,"description":19650,"tags":19651,"thumbUrl":19652,"material":229,"size":637,"collection":142,"collections":19653,"showCount":324,"zanCount":54,"manualWeight":54,"mainColor":55},230501,"shi-ting-shi-dai-si-ji-shan-shui-tu-xia-xue-zhou-230501","室町时代 四季山水图（夏）","雪舟（1420～1506） Sesshū 日本画家。名等杨，又称雪舟等杨。生于备中赤浜（今冈山县总社市）。曾入相国寺为僧，可能随同寺的山水画家周文学过画。作品广泛吸收中国宋元及唐代绘画风范。后被维也纳世界和平大会通过决定公认他为世界文化名人。",[23,24,64,225,94,99,95,98,390,97,7,67,3855,140,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e5c2ade0bff3d25429ac2e9dbccb1f0.jpg",[],{"id":19655,"slug":19656,"title":19657,"dynasty":18,"author":292,"museum":135,"description":19658,"tags":19659,"thumbUrl":19660,"material":142,"size":142,"collection":142,"collections":19661,"showCount":324,"zanCount":11,"manualWeight":54,"mainColor":55},228783,"ru-bi-tu-yi-ming-228783","入跸图","这卷长卷铺陈开帝王出巡的浩大阵仗，从郊野山林延伸至朱宫红墙。仪仗扈从前呼后拥、严整有序，各色人等衣冠鲜明、各司其职，禁军甲胄明辉，百官朝服鲜妍，沿途乡野屋舍皴染细致入微。\n\n画面叙事连贯，将宏大行进场面拆解为无数鲜活细节，疏密有致地铺展于绢本之上，尽显皇家仪典的肃穆庄重。工致细腻的笔力，精准拿捏了皇家銮驾的威仪气度，将皇权巡行的恢宏气象定格于绢素间，是描摹古代皇家礼制的经典之作。",[23,24,64,117,25,26,27,30,31,32,7,97,66,95,33,98,65,4638],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec87f2e8b6cac5ea3f2c8d328bc10eda.jpg",[],{"id":19663,"slug":19664,"title":19665,"dynasty":18,"author":1907,"museum":135,"description":19666,"tags":19667,"thumbUrl":19668,"material":142,"size":142,"collection":142,"collections":19669,"showCount":324,"zanCount":11,"manualWeight":54,"mainColor":109},228329,"lan-ting-shi-xu-tu-juan-qian-gong-228329","兰亭诗序图卷","此作以长卷铺展，左幅行书长题呼应雅集意韵，卷中山水苍润清雅，茂林修竹环绕曲溪，将雅集盛景尽藏其间。画中雅士或临流待觞，或围坐清谈，或凭栏观山，人物意态从容散逸，尽显林下风流。\n\n笔墨以淡墨皴染山峦林泉，勾勒松筠奇石尽显苍秀灵润，把诗文意境融入山水人物，以静雅水墨晕染出雅集的清旷高致，让千年前的文会雅韵宛在眼前，尽显追慕古贤的文人意趣。",[23,24,64,25,94,26,101,95,30,97,32,7,33,171,353],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37fce7c7c1d0fbf13a0cc677d54615b4.jpg",[],{"id":19671,"slug":19672,"title":19673,"dynasty":18,"author":19674,"museum":135,"description":19675,"tags":19676,"thumbUrl":19677,"material":229,"size":637,"collection":142,"collections":19678,"showCount":324,"zanCount":54,"manualWeight":54,"mainColor":55},228277,"da-mo-yi-wei-du-jiang-tu-chen-ji-ru-228277","达摩一苇渡江图","陈继儒","一苇渡江是达摩祖师的宗教故事。达摩传说渡过长江时，并不是坐船，而是在江岸折了一根芦苇，立在苇上过江的。",[23,24,64,225,598,27,30,101,119,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c0240dfce7c73589d32eb17587517aa.jpg",[],{"id":19680,"slug":19681,"title":19682,"dynasty":59,"author":292,"museum":135,"description":19683,"tags":19684,"thumbUrl":19685,"material":142,"size":142,"collection":142,"collections":19686,"showCount":324,"zanCount":54,"manualWeight":54,"mainColor":55},227911,"zhu-jian-yuan-yang-tu-yi-ming-227911","竹涧鸳鸯图","这幅小品以边角取景，将幽寂山涧铺陈于尺幅之间。右侧崖壁古木斜出，新篁附石抽梢，苔痕历历；崖下茅舍半隐，野径蜿蜒，慢慢没入淡远平芜。\n\n画面左侧清空之上，禽鸟振翅穿空，将山涧的静气轻轻划破。淡墨晕染烟岚，远景虚渺朦胧，近景的竹、木、石以细劲勾勒间施皴擦，质感宛然。全作以简驭繁，不着浓艳，仅以水墨层次区分远近虚实，把江南山隅无人惊扰的闲逸尽数凝住，似可听闻涧水轻响、林风穿叶，将宋人寄情林泉的幽淡襟怀融在尺幅之中，余韵悠悠。",[23,24,1551,26,27,95,543,7,3755,788,122,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc68574cd4486c08d626211cf6dab797a.jpg",[],{"id":19688,"slug":19689,"title":19690,"dynasty":59,"author":292,"museum":135,"description":19691,"tags":19692,"thumbUrl":19693,"material":142,"size":142,"collection":142,"collections":19694,"showCount":324,"zanCount":54,"manualWeight":54,"mainColor":55},227885,"shui-cun-lou-ge-tu-ye-yi-ming-227885","水村楼阁图页","此作以平远之法铺陈水村之景，水墨晕染间漫开烟霭濛濛的空寂氛围。近岸浅滩林木错落，村阁隐于繁荫之中，扁舟系于汀渚，渔人偶见，野趣自生。远景山峦在淡墨晕染里渐隐于烟岚，虚实相生，尽显江南水乡湿润清润的暮色闲情。笔墨简淡松灵，不刻意雕琢细节，以氤氲水墨烘托出悠远超脱的隐逸意趣，将水村的静谧安闲融在烟水空濛之中，尽显山水小品尚简尚意的审美意趣，观之如身临水乡，忘却尘俗喧嚣。",[23,24,64,94,27,95,28,332,99,31,33,7,635,348,169,1593],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed4a8c6f80550372908613f813f541d8.jpg",[],{"id":19696,"slug":19697,"title":19698,"dynasty":59,"author":292,"museum":135,"description":19699,"tags":19700,"thumbUrl":19701,"material":142,"size":142,"collection":142,"collections":19702,"showCount":324,"zanCount":54,"manualWeight":54,"mainColor":55},227878,"liu-ge-feng-fan-tu-yi-ming-227878","柳阁风帆图","水岸垂柳如烟似雾，柔条轻拂水面，将满幅晕开融融绿意。右侧高阁临水而立，凭栏之人悠然远眺，将闲逸心绪融浸在湖光里。湖面轻舟扬帆趁风缓行，波光漾开静穆氛围，把远水近岸织作一卷清和夏景。\n\n画家以没骨晕染柳色，晕出江南水泽的湿润氤氲，人物虽形微却神态宛然，留白处暗写烟波浩渺。将寻常水乡日常定格在团扇之上，尽显宋人观照日常、寄情山水的审美意趣，淡墨轻岚里，尽是江南水乡的温柔况味，简淡悠长，余韵悠悠。",[23,24,1551,27,95,934,31,32,7,8292,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F392a3f08216ede90bf6be33b7dbee93e.jpg",[],{"id":19704,"slug":19705,"title":19706,"dynasty":2023,"author":19707,"museum":135,"description":19708,"tags":19709,"thumbUrl":19715,"material":229,"size":637,"collection":11305,"collections":19716,"showCount":324,"zanCount":54,"manualWeight":54,"mainColor":55},226080,"the-japanese-footbridge-1920-22-mo-nai-226080","The Japanese Footbridge, 1920-22","莫奈","奥斯卡-克劳德·莫奈（法文：Oscar-Claude Monet，1840年11月14日-1926年12月5日），法国画家，被誉为“印象派领导者”，是印象派代表人物和创始人之一。\n莫奈是法国最重要的画家之一，印象派的理论和实践大部分都有他的推广。莫奈擅长光与影的实验与表现技法。他最重要的风格是改变了阴影和轮廓线的画法，在莫奈的画作中看不到非常明确的阴影，也看不到突显或平涂式的轮廓线。光和影的色彩描绘是莫奈绘画的最大特色。\n2019年5月14日，法国印象派画家克劳德·莫奈的作品《干草堆》在纽约苏富比拍卖行以破纪录的1.107亿美元（当时1美元约合人民币6.87元）高价拍出。这是莫奈作品拍卖价格的最高纪录，也是印象派画作拍卖最高纪录。",[19710,2027,18466,19711,19712,19713,32,7,33,3921,4449,1142,19714],"印象派","光影捕捉","色彩浓烈","倒影","户外场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d821bdc237cb738e8fdd058a4846293.jpg",[11305],{"id":19718,"slug":19719,"title":19720,"dynasty":344,"author":2253,"museum":135,"description":19721,"tags":19722,"thumbUrl":19723,"material":229,"size":637,"collection":142,"collections":19724,"showCount":324,"zanCount":54,"manualWeight":54,"mainColor":55},224425,"yun-feng-shu-se-tu-zhou-zhuang-biao-wang-shi-min-224425","云峰树色图轴（装裱）","王时敏（1592年－1680年），初名赞虞，字逊之，号烟客，晚号西庐老人，直隶太仓州（今江苏太仓市）人，明末清初重要画家。万历首辅王锡爵孙，翰林王衡独子。崇祯初年荫官为太常寺少卿，入清后不仕。\n王时敏擅画山水，少时学董其昌，并临摹家藏宋元名作，以黄公望为宗，笔墨含蓄，浑厚清逸，唯构图略少变化。王时敏开创了山水画的“娄东派”，对清代画坛影响很大。他与王鉴、王翚、王原祁并称“四王”，加上恽寿平和吴历，合称“清六家”。王翚、吴历皆出其门下，孙王原祁亦得其指授。",[23,24,64,225,27,118,99,95,29,240,821,241,271,854,7,38,868],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb013ea1a092bbe1e7b0683866b99698e.jpg",[],{"id":19726,"slug":19727,"title":19728,"dynasty":344,"author":3589,"museum":135,"description":19729,"tags":19730,"thumbUrl":19731,"material":142,"size":142,"collection":142,"collections":19732,"showCount":324,"zanCount":54,"manualWeight":54,"mainColor":55},224359,"yi-ju-tu-juan-yu-zhi-ding-224359","移居图卷","《移居图》是清代画家 创作的一幅绢本设色画。\n此画现藏于 。\n本幅自题：“甲申初冬广陵禹之鼎写。\n”钤“禹之鼎”白文印，“慎斋”朱文印，右下角钤“逢佳”朱文印。\n甲申为清康熙四十三年（174年），禹之鼎时年58岁。\n禹氏5岁以后寓居京城，此时正是他画史上的盛年，其技法博采众家之长，融会贯通，予以己用。\n此幅像主待考。\n图中送行人临岸伫立，面目温和，含笑颔首；出行人当船而立，面容消瘦坚毅，神情惆怅。\n人物面部刻画精准细腻，用墨骨法勾勒出五官，使面部有凹凸感，再以赭色晕染，使之气血精神跃然纸上。\n僮仆们的面部均采用较传统的勾勒晕染的画法，立体感不强，水润有余，表现出朴实无华和稚嫩活泼的神情。\n人物衣纹线条的画法也因人而定，其中，船首仆人的衣纹完全为北宋马和之的“蚂蝗描”技法，流露出马氏“衣带松散，柔婉隽逸”的画风。\n树的画法宗北宋郭熙的“蟹爪”枝。\n牛马的画法有唐韵，牛之骨骼清晰，马圆臀，斑花用淡墨晕染，颇具光泽，活灵活现。\n冷瑟静谧的氛围烘托了离别送行的亲切和感伤。\n行船、马车上的美酒、书籍、酒葫芦、弓剑等被画家巧妙地安排在移居送行的场景里，赋予了画面鲜活的生活气息，同时表现出文人儒士们高逸洒脱的气质 。\n禹之鼎（1647—1716年），字尚吉，号慎斋，江都(今江苏扬州)人。\n清康熙二十年(1681年)官鸿胪寺序班，以画供奉入畅春园。\n善画人物、山水，尤精写真。\n初师蓝瑛，兼学宋元诸家。\n肖像画面貌多样，对白描法、墨骨法、江南法都有研究，所绘人物形神兼备，独具一格，一时名公小像多出其手，其肖像画在清代中期有“当代第一”之誉 。",[23,24,25,27,138,30,95,5064,67,71,140,1397,31,7,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34ab4323da58d84b6f2b3bce05df9028.jpg",[],{"id":19734,"slug":19735,"title":19736,"dynasty":59,"author":292,"museum":135,"description":19737,"tags":19738,"thumbUrl":19739,"material":142,"size":142,"collection":142,"collections":19740,"showCount":324,"zanCount":54,"manualWeight":54,"mainColor":55},223670,"xue-yu-tu-juan-yi-ming-223670","雪渔图卷","《历代名家绘画:雪渔图》由中国五代中国画作品集。\n由曹彦伟编著。\n中国画是精神绘画，外师造化，中得心源是最高境界。\n一笔一墨，一点构思，都会反映出画者的学问和修养，因此提高画家自身的素质和文化修养便是第一位的事情。\n此外，作品质量的高下，还在于它所承载的文化内涵，这其中就包括了历尽千年传承至今的传统笔墨技巧。\n现今，笔墨早已成为中国画艺术的文化符号。\n有人想舍弃它，另起炉灶，显然是不智的。\n因此，要不断学习、不断锤炼自已的基本功，包括造型、构图、构思，甚至营造中国式的意境也是可以反复练习的。\n《历代名家绘画:雪渔图》由 出版。\n作者:(宋)佚名 编者:曹彦伟",[23,24,64,25,117,27,26,99,2097,256,95,96,306,32,7,140,30,122,199,1080,1561],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe774b2042f18b3d6124d857164b9550b.jpg",[],{"id":19742,"slug":19743,"title":19744,"dynasty":344,"author":292,"museum":135,"description":19745,"tags":19746,"thumbUrl":19747,"material":142,"size":142,"collection":142,"collections":19748,"showCount":324,"zanCount":54,"manualWeight":54,"mainColor":109},223530,"wu-yi-shan-shi-ba-jing-tu-5-yi-ming-223530","武夷山十八景图5","图题《武夷山十八景图》系依其内容拟定；武夷山在福建建宁府「崇安县南30 里，……周围凡120 里，东抵崇溪，北为黄龙溪，西至将村里，南至蓝原。四面皆壑，不与外山连」（乾隆辛未《武夷山志》，卷四，〈形势〉）；全境「溪九曲，大峰三十六」（《武夷山志》，卷二，〈总志（中）〉）。图中以山水画笔触将武夷山一带的形胜细腻描绘；其中包括山岩、岩壑、溪流、渡桥、村舍、书院、道观、茶园、渡头、客舟及建宁府城、府属崇安县及江西广信府的铅山县城等城池，均一一入画；图中各项动、静态的描绘，流畅生动，全幅宛如一幅山水行舟图。全图描述各处地貌事物均注记文字标示名称。全图笔触甚为工整，惟不落作画题署，难以确切断其绘制年代。但图中若干寺观、津渡的存废，或可推断绘图的相对时代。图中「一曲」的「问津亭：宋名趋真亭，明名入隹亭，……岁久倾圯，康熙戊戌（57年，1718）崇令陆廷灿（生卒不详，字扶照，又字幔亭）又重建，今废」（《武夷山志》，卷五，〈一曲上．溪北〉）；图中问津亭尚存全貌。另「五曲」的「武夷精舍又名文公祠，隐屏峰下。宋淳熙十年（1183）朱文公（1130-1200）卜筑于此。……顺治16 年（1659）邑令韩士望（生卒不详，顺治九年（1652）进士）又修饰之。次年春，大风拔木，祠尽圯，仅存二门。……康熙26 年（1687），御赐「学达性天」额，因复创修，未能宏敞。……康熙56 年（1717）闽浙总督满公保（1673-1725）捐俸倡修轮奂一新」（《武夷山志》卷十，〈五曲上．溪北〉）；图中文公书院院落至为完善。因此，大致可断全图绘制年代为康熙57 年至乾隆16年间。",[23,24,64,94,27,95,96,7,98,33,97,256,332],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff1c84bfbc9bf9a7a54e09f8f17c57e1.jpg",[],{"id":19750,"slug":19751,"title":19752,"dynasty":344,"author":6590,"museum":1308,"description":6591,"tags":19753,"thumbUrl":19754,"material":188,"size":6596,"collection":142,"collections":19755,"showCount":324,"zanCount":54,"manualWeight":54,"mainColor":109},222969,"hong-lou-meng-94-sun-wen-222969","红楼梦94",[23,24,26,27,4257,30,32,7,98,33,31,39,1692,6593,1288],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e2cb4edc6fdd04ef5d3c4b9df4d44de.jpg",[],{"id":19757,"slug":19758,"title":19759,"dynasty":344,"author":6590,"museum":1308,"description":6591,"tags":19760,"thumbUrl":19761,"material":188,"size":6596,"collection":142,"collections":19762,"showCount":324,"zanCount":54,"manualWeight":54,"mainColor":109},222924,"hong-lou-meng-49-sun-wen-222924","红楼梦49",[23,26,27,30,31,33,7,1242,8036,98,39,4745,378,13360],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa157efabf61a32a02f8a26e2a8bc10fc.jpg",[],{"id":19764,"slug":19765,"title":19766,"dynasty":344,"author":1916,"museum":91,"description":14431,"tags":19767,"thumbUrl":19768,"material":3678,"size":19769,"collection":142,"collections":19770,"showCount":324,"zanCount":54,"manualWeight":54,"mainColor":109},222618,"shan-shui-ba-jing-8-gong-xian-222618","山水八景-8",[23,24,64,332,94,99,95,240,241,140,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F767dc9c30cf5c0bb08d7677bfa84cf4e.jpg","纵24.4 厘米 横49.7 厘米",[],{"id":19772,"slug":19773,"title":19774,"dynasty":18,"author":2519,"museum":61,"description":5051,"tags":19775,"thumbUrl":19776,"material":5054,"size":18027,"collection":142,"collections":19777,"showCount":324,"zanCount":54,"manualWeight":54,"mainColor":55},221891,"za-hua-tu-ce-xi-shi-tu-ye-chen-hong-shou-221891","杂画图册-溪石图页",[23,24,64,117,332,27,99,95,32,7,98,30,33,168,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1898512a53945eaeb81e5c56068af5f9.jpg",[],{"id":19779,"slug":19780,"title":19781,"dynasty":150,"author":19782,"museum":61,"description":19783,"tags":19784,"thumbUrl":19785,"material":881,"size":19786,"collection":142,"collections":19787,"showCount":324,"zanCount":54,"manualWeight":54,"mainColor":55},221821,"ying-shui-lou-tai-tu-ye-xia-yong-221821","映水楼台图页","夏永","因元代另一位界画大师王振鹏曾绘过大明宫，在乾隆的题诗中又有“下临无地上凌空，磅礴精神想象中。此日未详平乐馆，早年曾写大明宫”的语句，所以此幅曾被误定为王振鹏所绘。事实上，夏永的画法虽出自王振鹏，但以小幅见长。此图在艺术性上稍逊于王振鹏，但线描的精整工细似尤过之。正如熊之缙《花间笑语》评价他的画作“细若蚊睫，侔于鬼工”。\n《石渠宝笈续编·乾清宫》著录。",[23,24,64,117,332,28,138,94,31,7,32,95,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c9ebc71fe2e34aada53e92454ae807c.jpg","纵23.9厘米，横25.3厘米",[],{"id":19789,"slug":19790,"title":19791,"dynasty":344,"author":19792,"museum":1841,"description":19793,"tags":19794,"thumbUrl":19798,"material":19799,"size":19800,"collection":142,"collections":19801,"showCount":324,"zanCount":54,"manualWeight":54,"mainColor":142},220708,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220708","凤阿山房图册","吴历,朱彝尊,陆遵等","吴历 ，字渔仙，号桃溪居士，后号墨井道人，江苏常熟人。曾笃信天主教，并往澳门逗留。工诗、善画山水，师事王时敏 (1592-1680)与王鉴 (1598-1677) ，连同王翚 (1632-1717)、王原祁 (1642-1715)和恽寿平 (1633-1690) 合称「四王吴恽」或称「清初六家」，为清代正统派绘画代表。\n\n该画为吴历应友人侯大年（约1641-约1710）之命所作，并以友人之号「凤阿」命名，绘于康熙十六年（1677）之后，为吴氏中晚年之作。画面山峦起伏，高树竹丛、屋舍数间，屋前小桥流水，一人策杖过桥。整幅作品尺幅虽不大，却构图繁密，墨色苍润，流露对笔墨的追求与讲究，是吴历的精品。事实上，吴历与侯大年交谊深厚，曾应命绘制多幅《凤阿山房图》，以表达侯氏「述祖德，守先业」并归隐的志向，然而凤阿山房终未建成。据记载，侯大年在吴历绘制完立轴后，另请他绘制小册并请诸友题咏，正是此册。全册共分上、下两册，引首朱彝尊　(1629-1709) 书「凤阿山房」，后有吴历、朱彝尊、姜宸英、梁佩兰、宋骏业、王撰、陆遵、梅庚、钱大昕等六十六家诗题，其中陆遵、梅庚补图并题诗。吴历此作无疑是全册点睛之笔，见证了他与侯大年的交谊。",[23,24,64,117,332,95,170,19795,2319,609,32,7,19796,94,19797],"高树","策杖行人","苍润","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbf36ccfeba247023e50d74a3a3b0b2d.jpg","水墨,设色,纸本,册页","18×34.5厘米",[],{"id":19803,"slug":19804,"title":19805,"dynasty":344,"author":2309,"museum":61,"description":8570,"tags":19806,"thumbUrl":19807,"material":335,"size":8573,"collection":142,"collections":19808,"showCount":324,"zanCount":54,"manualWeight":54,"mainColor":109},220298,"huang-shan-tu-ce-28-hong-ren-220298","黄山图册-28",[23,24,94,332,95,99,98,390,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0507c762bfe0f698ed4615fa06459f63.jpg",[],{"id":19810,"slug":19811,"title":19812,"dynasty":344,"author":292,"museum":281,"description":19813,"tags":19814,"thumbUrl":19815,"material":47,"size":142,"collection":142,"collections":19816,"showCount":324,"zanCount":54,"manualWeight":54,"mainColor":55},219271,"qun-hou-xi-shui-shuang-ping-er-yi-ming-219271","群猴戏水双屏(二)","松枝虬曲如铁，斜逸于空濛山影间，瀑布自崖巅倾泻而下，溅起碎玉似的水花。山石之上，群猴情态鲜活：或相偎亲昵，或探臂戏波，或追逐跃动，灵动身姿与潺潺流水相映成趣。墨色浓淡交错，细致勾勒出猴毛的蓬松纹理与山石的苍劲质感，流水则以婉转线条摹写奔腾之势。古雅绢本的暖棕底色，衬得画面静谧而富有生机，仿佛能闻猴啼与水声相和，尽显自然野趣与生命的鲜活意趣，将山林间的灵动瞬间凝于笔端。",[24,64,225,94,26,99,95,9598,7,168,171,390,3834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd01f16953ecc4f7107f745ae261e1887.jpg",[],{"id":19818,"slug":19819,"title":19820,"dynasty":344,"author":1527,"museum":281,"description":15814,"tags":19821,"thumbUrl":19822,"material":103,"size":142,"collection":142,"collections":19823,"showCount":324,"zanCount":54,"manualWeight":54,"mainColor":109},215015,"fang-gu-shan-shui-ce-14-wang-jian-215015","仿古山水册-14",[23,24,64,117,332,94,99,95,33,98,32,7,97,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b2efea2262a97f2f0a8dacae0339853.jpg",[],{"id":19825,"slug":19826,"title":19827,"dynasty":344,"author":808,"museum":1164,"description":1507,"tags":19828,"thumbUrl":19829,"material":103,"size":1510,"collection":142,"collections":19830,"showCount":324,"zanCount":54,"manualWeight":54,"mainColor":109},214526,"yi-jin-ling-ce-8-shi-tao-214526","忆金陵册-8",[24,64,332,94,99,95,97,7,199,119,100,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75951298d9f9cb463c2e3032e8fb2dd0.jpg",[],{"id":19832,"slug":19833,"title":19834,"dynasty":11929,"author":19835,"museum":91,"description":19836,"tags":19837,"thumbUrl":19838,"material":142,"size":142,"collection":105,"collections":19839,"showCount":324,"zanCount":54,"manualWeight":54,"mainColor":19840},202965,"liu-xi-yu-ying-tu-zhou-chen-shu-ren-202965","柳溪渔影图轴","陈树人","柳丝轻拂溪岸，淡绿晕染出春日柔媚。澄澈溪水间，孤舟一叶，渔人持竿静坐，影落清波，尽显悠然之趣。远处矮墙隐现，飞鸟点染天际，添几分空濛。笔墨灵动洒脱，设色清新雅致，融传统水墨意趣与明快格调，于简淡中藏生机，传递渔隐生活的恬淡自在。",[24,27,95,96,256,122,934,7,94,3016,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0015fab4bfa42fe85edf840c28623120.jpg",[105],"c5ad8f",{"id":19842,"slug":19843,"title":888,"dynasty":11929,"author":3510,"museum":91,"description":19844,"tags":19845,"thumbUrl":19846,"material":142,"size":142,"collection":105,"collections":19847,"showCount":324,"zanCount":54,"manualWeight":54,"mainColor":19848},202849,"shan-shui-zhou-huang-bin-hong-202849","此作笔墨苍劲浑厚，皴擦点染交织出山林幽致。远山以浓淡墨积染，云雾留白虚实相生，近景山居隐于古木间，亭台临流，溪水潺潺，一派静谧清旷。线条老辣，墨色层次丰富，传统皴法与文人意境相融，仿佛可居可游，尽显山水之灵秀与笔墨之韵味。",[95,94,99,97,7,140,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb29091f45e7b226ab300b5095e829a3.jpg",[105],"c2beb2",{"id":19850,"slug":19851,"title":19852,"dynasty":18,"author":1907,"museum":91,"description":19853,"tags":19854,"thumbUrl":19855,"material":142,"size":142,"collection":49,"collections":19856,"showCount":324,"zanCount":54,"manualWeight":54,"mainColor":19857},201669,"sui-han-tu-zhou-qian-gong-201669","岁寒图轴","画面铺展冬日庭院图景，屋舍错落有致，敞轩内文人围坐，或品茗论道，暖意氤氲。院外枯树虬枝交错，松针如簇凝翠，梅枝缀蕊含香，寒意中透着盎然生机。小桥横架溪畔，行人缓步其上，流水清浅，更添几分清幽。笔墨细腻雅致，建筑界画工稳精准，人物勾勒灵动传神，树木皴擦得法，设色淡逸温润，尽显明代文人画的闲逸之趣，于岁寒时节传递出文人雅聚的静谧与旷达心境。",[24,26,28,30,31,32,7,271,2301,27,99,225,2321,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe63a8b11eb2e6decdbe5927000eddb50.jpg",[49],"b1a89c",{"id":19859,"slug":19860,"title":19861,"dynasty":18,"author":4500,"museum":91,"description":19862,"tags":19863,"thumbUrl":19864,"material":142,"size":142,"collection":105,"collections":19865,"showCount":324,"zanCount":54,"manualWeight":54,"mainColor":19866},201574,"shan-ju-chun-yan-tu-zhou-bian-wen-yu-201574","山居春宴图轴","画面以淡墨晕染出春日烟霞，山峦用细腻皴笔勾勒肌理，峰峦错落间云雾缭绕。近景处老干新枝交织，几间茅舍隐于林麓，小桥卧波，流水映带。笔墨疏朗秀逸，意境清幽淡远，似藏文人雅集之趣，尽显山居春日的宁静生机。",[24,95,99,32,7,94,33,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadd4246a28a8e64158257034f511b32a.jpg",[105],"999482",{"id":19868,"slug":19869,"title":19870,"dynasty":18,"author":4786,"museum":135,"description":14936,"tags":19871,"thumbUrl":19872,"material":229,"size":637,"collection":142,"collections":19873,"showCount":204,"zanCount":54,"manualWeight":54,"mainColor":55},290975,"luo-han-zhou-song-xu-290975","罗汉轴",[24,117,64,225,598,27,30,18165,390,98,7],"https:\u002F\u002Fos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赫奕-山水图册现藏于旅顺博物馆。",[24,94,99,332,95,98,33,7,96,97,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ec31a4d716636ef879ba0054929c3de.jpg","34.6cmx25cm",[],{"id":20097,"slug":20098,"title":20099,"dynasty":344,"author":20100,"museum":61,"description":20101,"tags":20102,"thumbUrl":20103,"material":355,"size":142,"collection":142,"collections":20104,"showCount":204,"zanCount":54,"manualWeight":54,"mainColor":109},234197,"fu-chun-tu-juan-shen-zong-jing-234197","富春图卷","沈宗敬","沈宗敬（1669—1735）《清朝画徵录》作雍正三年（1725）卒，清朝书画家笔录从之。字恪庭、南季，号狮峰、狮峰道人、双鹤老人、双杏草堂主人、卧虚山人等，华亭（今松江属上海市）人，沈荃之子。今依历代画史汇传。",[23,24,25,94,95,99,98,33,168,173,97,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2aa965d8172e9441cd6e732859da4e7b.jpg",[],{"id":20106,"slug":20107,"title":20108,"dynasty":18,"author":2928,"museum":61,"description":20109,"tags":20110,"thumbUrl":20111,"material":335,"size":20112,"collection":142,"collections":20113,"showCount":204,"zanCount":54,"manualWeight":54,"mainColor":109},234155,"yun-shan-tu-juan-wen-jia-234155","云山图卷","此图描绘水村渔舟、寺庙山居、岩穴幽渺。图中画法略有元代吴镇、黄公望遗意，而参以黄氏的浅绛法设色。图中山石、树木行笔松秀稳健，施墨设色富于深浅浓淡的变化，区分出物象的层次；水纹细密，用笔流畅而不板滞；山间弥漫的云气以墨和滕黄两次勾线，近线条处以淡墨晕染，表现出云层的厚度，颇富装饰趣味。画面徐徐展开，步移景易，引观者悠游于吴中的山林胜境之中，反映了当时吴中文人隐居、游乐的生活情趣。",[23,24,64,25,94,99,101,100,95,12866,169,170,33,2075,76,32,7,96,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69e924840c6c6d0485a1f02db6bdb54f.jpg","纵21.3cm，横387.8cm",[],{"id":20115,"slug":20116,"title":2060,"dynasty":18,"author":1948,"museum":61,"description":20117,"tags":20118,"thumbUrl":20119,"material":5702,"size":4288,"collection":142,"collections":20120,"showCount":204,"zanCount":54,"manualWeight":54,"mainColor":109},234098,"lan-ting-xiu-xie-tu-wen-zheng-ming-234098","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。",[24,64,25,27,26,101,95,97,30,7,32,33,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F046d4095b1dc977863b6313fbbd424f8.jpg",[],{"id":20122,"slug":20123,"title":19877,"dynasty":59,"author":292,"museum":152,"description":20124,"tags":20125,"thumbUrl":20126,"material":2380,"size":20127,"collection":142,"collections":20128,"showCount":204,"zanCount":54,"manualWeight":54,"mainColor":55},234065,"xue-shan-xing-lv-tu-zhou-yi-ming-234065","寒山雪积，村肆沿溪而设，长桥跨岸，旅人、牛、马络绎於途，木筏顺流结集，一派赶集景致。远景幽壑，楼台掩映，寒鸦成阵，匝绕盤旋，通幅於热闹中不失雪天阴寒之气息。屋宇、舟车、拱桥，俱以界笔出之，线条略呈钉头鼠尾，有别於传统界画。近景人物，五官、表情历历可辨，愈远则愈简，屋宇、林木亦然，深合近大远小之理。",[24,866,225,94,99,3445,1110,171,255,518,7,30,990,33,170,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6d1451346fc5558d13e36afaebb3e3b.jpg","纵106厘米，横51.5厘米",[],{"id":20130,"slug":20131,"title":20132,"dynasty":150,"author":20133,"museum":61,"description":20134,"tags":20135,"thumbUrl":20136,"material":946,"size":20137,"collection":142,"collections":20138,"showCount":204,"zanCount":54,"manualWeight":54,"mainColor":109},234034,"long-gong-shui-fu-tu-ye-zhu-yu-234034","龙宫水府图页","朱玉","此图取材于唐人小说《柳毅传》中“柳毅传书”的情节，描述洞庭龙王之女饱受丈夫虐待，在泾河岸边牧羊，秀才柳毅偶遇龙女，仗义为之传书，终使龙女得救的故事。作者选取柳毅下马揖见、龙王率众侍从出门迎请的一瞬，大不盈尺的画面充满了情节性和戏剧性。龙王宫阙上下翻腾起伏的海浪交代出与凡间迥异的环境，柳毅的平静与龙王的恭谨成功地刻画出人物的性格和心态，而画面上端的一片空白，迷濛苍茫，似云似雾，延展了画意，营造了意境。宫阙的描绘虽然用直尺界笔，但造型简括准确，线条粗放有力，异于元代流行的工谨精细的白描建筑画之风。",[27,26,30,9741,66,7,31,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63a0f25b8472cb41c8abd15d643a6135.jpg","纵45.6厘米，横43.3厘米",[],{"id":20140,"slug":20141,"title":4588,"dynasty":344,"author":4589,"museum":61,"description":4590,"tags":20142,"thumbUrl":20143,"material":4594,"size":4595,"collection":142,"collections":20144,"showCount":204,"zanCount":54,"manualWeight":54,"mainColor":109},233393,"shan-shui-ren-wu-ce-jin-nong-233393",[24,64,332,94,27,95,169,33,101,119,199,7,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b508b39647df860015e33b12d744377.jpg",[],{"id":20146,"slug":20147,"title":11019,"dynasty":344,"author":6464,"museum":61,"description":11021,"tags":20148,"thumbUrl":20149,"material":142,"size":142,"collection":142,"collections":20150,"showCount":204,"zanCount":11,"manualWeight":54,"mainColor":109},233226,"jin-ling-zhu-jia-shan-shui-hua-hui-ce-shan-shui-ye-gao-cen-233226",[24,94,99,332,95,98,33,390,168,76,8270,348,255,32,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F449593877e596f876b9b25838d1ec1e9.jpg",[],{"id":20152,"slug":20153,"title":8354,"dynasty":150,"author":1622,"museum":61,"description":20154,"tags":20155,"thumbUrl":20156,"material":5790,"size":8359,"collection":142,"collections":20157,"showCount":204,"zanCount":54,"manualWeight":54,"mainColor":109},233142,"zi-hua-xiang-tu-ye-zhao-meng-fu-233142","赵孟頫（音fǔ）（1254—1322年），元代画家、书法家，字子昂，号松雪、水精宫道人，吴兴（今浙江省湖州市）人。宋宗室，14岁时以父荫补真州司户参军，入元出仕，曾任翰林侍读学士、荣禄大夫等职，卒赠魏国公，谥文敏。他对诗文音律无所不通，书画造诣极为精深，乃元代的画坛领袖。其绘画取材广泛，技法全面，山水、人物、花鸟无不擅长。他倡导复古，强调“书画同源”，主张师法自然。书法钟繇、二王、李邕、宋高宗赵构以及历代诸家，篆、隶、真、草各臻神妙。其绘画、书风和书学主张对当代及后世影响巨大而深远。",[24,64,332,27,30,543,199,7,101,100],"https: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　“山到衡阳尽，峰回雁影稀。应怜归路远，不忍更南飞。由干古人地理思维的局限性，误以为雁到衡阳不再南飞。当北方天气转冷，雁阵南行，南方则秋风送爽艳阳高照。旷野平沙，芦苇丛丛，常常引采雁阵栖宿。好一幅秋雁戏沙图。\n烟寺晚钟——衡山县城北清凉寺\n湘江又北行北公里，经过佛教胜地南岳衡山。晚来风急，万物入眠，唯寺内报时的古钟，不时敲出悠扬宏亮的声音。江舟中的旅者在这种钟声中系舟或者远行。\n山市晴岚——湘潭与长沙接壤处的昭山\n湘江由衡山北行150余公里到达昭山。紫气缭绕，岚烟袭人，云蒸霞蔚。一峰独立江边，秀美如刚出浴的仙子。\n江天暮雪——橘子洲\n橘子自古为长沙名胜，东望长沙，西瞻岳麓。当大雪纷飞，白雪江天浑然一色，世间万物寂寂无声，江中商船落帆泊岸，雪光上的暮色烟雾一样漂浮不定，人的心情也就格外地清冷，思想随着雪花飘舞，那种清凉的悠闲也许是最接近冬雪本质的悠闲。\n远浦归帆——湘阴县城江边\n从橘子沿江北去，约远70公里，便到湘阴。每当黄昏，远山含黛，岸柳似烟，归帆点点，渔歌阵阵，等待归船的渔妇和企盼宿客的青楼女子站在晚风斜阳中，衬托出一片温馨怅望的繁忙景象。\n洞庭秋月——洞庭湖\n由湘阴北去，便是一望无际的洞庭湖。秋天的夜晚，月色如银，天空不杂任何痕迹，八百里湖面，碧水如镜，风息浪静。天空和湖面相互映照，月光和湖光相互交融，泛舟湖上，则别有一番情趣，登上君山或者岳阳楼，想必又是另一种情怀。\n渔村夕照——西洞庭桃源武陵溪\n陶渊明在《桃花源记》中说“武陵人捕鱼为业”。武陵人因为捕鱼，而发现了桃花源，世人所居住的渔村也就成了文人墨客所憧憬的地方。白天，渔人撒网洞庭；傍晚，收拾渔网，提着肥美的鲜鱼，在夕阳的晚唱中踏着渔歌回家。",[23,24,64,332,94,27,99,95,30,31,96,7,98,33,348,1562,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5636fb7e82aaf37ee5a6e14482d51e7.jpg",[],{"id":20183,"slug":20184,"title":4844,"dynasty":344,"author":20185,"museum":135,"description":20186,"tags":20187,"thumbUrl":20188,"material":142,"size":142,"collection":142,"collections":20189,"showCount":204,"zanCount":11,"manualWeight":54,"mainColor":55},230918,"bi-hu-zhu-shu-tu-shang-guan-zhou-230918","上官周","此作用高远之法铺展画面，主峰奇崛危耸，皴笔苍劲老辣，勾勒出山岩瘦硬嶙峋的风骨，烟云轻笼山间，衬出幽谷空寂。下方山居隐于松竹之间，堂内文人凭窗凝思，沉心著述，周遭流泉、奇石环合，将幽居雅静之境铺陈开来。\n\n右上角题诗呼应幽隐主题，笔意苍秀兼具，把山林雄浑气象与闭门潜修的文人意趣相融，尽显出世忘俗的林下风流，是文人寄情林泉、醉心笔墨的心境写照。",[23,24,64,225,27,99,95,390,98,168,7,31,609,30,33,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F687ba4930841677cb3b5816f725bdc2f.jpg",[],{"id":20191,"slug":20192,"title":20193,"dynasty":2023,"author":292,"museum":135,"description":20194,"tags":20195,"thumbUrl":20202,"material":229,"size":637,"collection":142,"collections":20203,"showCount":204,"zanCount":54,"manualWeight":54,"mainColor":109},230488,"fu-shi-hui-125-yi-ming-230488","浮世绘125","浮世绘，也就是日本的风俗画，版画。它是日本江户时代（1603～1867年间，也叫德川幕府时代）兴起的一种独特的民族艺术，是典型的花街柳巷艺术。主要描绘人们日常生活、风景和演剧。浮世绘常被认为专指彩色印刷的木版画（日语称为锦绘），但事实上也有手绘的作品。\n从其绘画素材看，70%以上内容是妓画（暂称为“美人画”）和伎画（暂称为“艺人画”），也就是说，作品主角是娼妓和艺伎，女性，裸体，性感美，色情是其标志性特征。用现代艺术眼光看，可算“人体绘画艺术”，其中的大胆的性爱题材引起注意，成为古代东方一种人本主义的新研究方向。在日本，存在着对这类作品的争议，也有的认为是乐而不淫，肯定其价值。\n浮世绘的艺术渊源，一来自绘画，师承了中国的“春画”，房中术绘画也；二来自文学，浸染了“浮世草子”（草子：小说），西鹤《好色一代女》、《好色一代男》和近松《曾根崎情死》、《情死天网岛》等等，是文学“浮世写”直接彰显，主题和题材无非色情和妓女（当然，文学价值与作品题材并非正比例关系）。\n因此，“浮世绘”是一个绘画艺术的专有名词，有其特定的内涵外延。印象派大师如德加等也受到浮世绘的感染，模仿当时日本的出口商品的包装的风格创作了不少绘画。近现代西方人体绘画艺术借鉴了日本“浮世绘”主题和技法，这是积极的方面，有着艺术审美的价值。\n望文生义的理解“浮世绘”，想当然的以为就是关于尘世风俗的绘画，类似于《清明上河图》那种风俗画。再扩大到文学领域运用这个专有名词，泛化为关于尘世风俗的描写，则偏离约定俗成的语义越来越远，差不多等于是错别字了。搞绘画的人很难接受这样的定义，日本人当诧异一个日本词汇出口到中国以后居然发生了那么大的歧义。",[16086,16687,27,168,33,98,7,30,38,2206,8006,20196,4449,20197,6413,20198,1142,20199,20200,20201],"浴场场景","山石景观","传统建筑","彩色版画","线条勾勒","色彩渲染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadb8451450e532362118b932c616a263.jpg",[],{"id":20205,"slug":20206,"title":20207,"dynasty":344,"author":20208,"museum":135,"description":20209,"tags":20210,"thumbUrl":20213,"material":142,"size":142,"collection":142,"collections":20214,"showCount":204,"zanCount":54,"manualWeight":54,"mainColor":55},228936,"jin-jian-shan-shui-si-ping-lu-yuan-228936","金笺山水四屏","陆远","平远构图层层铺陈，淡墨晕染的远山衔着隐约山居，渐次拉近，中景茅舍里士人对坐晤谈，小童负物行于林畔，野居意趣悠然尽显。近岸怪石嶙峋，古木虬曲苍劲，红叶枝桠点染出清秋意韵，秋水蜿蜒迂回，澄澈空明。\n笔墨利落，山石以小斧劈皴写就，苍劲硬朗；林木点染兼工带写，意态生动。金笺底色衬得画面古雅温润，整体意境萧疏淡远，将文人寄情林泉、安享幽居的雅怀尽数铺展。",[23,24,64,20211,20212,95,27,99,98,33,76,7],"金笺","四屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee574fd14a42eb307f4d37ff819902cb.jpg",[],{"id":20216,"slug":20217,"title":20218,"dynasty":18,"author":5268,"museum":135,"description":20219,"tags":20220,"thumbUrl":20221,"material":142,"size":142,"collection":142,"collections":20222,"showCount":204,"zanCount":54,"manualWeight":54,"mainColor":109},228910,"tian-dou-xiao-ri-tu-ding-yun-peng-228910","天都晓日图","此作全景铺展山岳胜境，远景群峰刺破晓雾，朝日晕染出暖红云色，嶙峋峰峦间银瀑垂落，汇入翻涌云海。中下部以苍劲笔法绘虬松怪石，古松盘曲交错，松针层叠蓊郁，谷中流云如浪，晕出缥缈仙气。溪涧蜿蜒穿林，文士临流闲坐，幽意悠然。\n\n画作工写兼备，设色清雅沉稳，山石勾勒皴擦尽显苍朴质感，云霞以卷云法绘就柔润灵动，既撷取黄山奇崛之态，又融入文人隐逸山居的雅趣，是明代山水画里实景写生与抒情写意相融的精妙之作。",[23,24,225,95,27,26,99,240,168,821,390,173,30,33,169,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10a01ea600daad7995372d79e13f6114.jpg",[],{"id":20224,"slug":20225,"title":20226,"dynasty":18,"author":292,"museum":135,"description":20227,"tags":20228,"thumbUrl":20229,"material":142,"size":142,"collection":142,"collections":20230,"showCount":204,"zanCount":54,"manualWeight":54,"mainColor":55},228782,"fang-dong-yuan-xia-shan-tu-yi-ming-228782","仿董源夏山图","此作以长卷铺展全景江南夏山，烟波平湖与层叠丘壑相映，尽显董源山水平淡天真之致。山峦以披麻皴缓笔写就，层层晕染，尽显丘壑深秀。洲渚间林木扶苏，村舍错落于山麓水滨，渔舟静泊浅滩，处处流露江南水乡的悠然野趣。\n\n用墨温润苍厚，设色古雅沉静，复刻出原作浑厚华滋的质感，将盛夏山林的蓊郁葱茏、水色天光的澹澹交融尽皆铺陈，整体意境清和悠远，带着宋初山水的平和生机，虽为摹古之作，却得江南山水的闲逸真味，尽显文人山水的雅淡风神。",[23,24,64,25,95,29,27,99,170,33,72,8461,32,7,504,122,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb17443e12643edb2c4b0c7baa318363d.jpg",[],{"id":20232,"slug":20233,"title":6631,"dynasty":59,"author":677,"museum":135,"description":14383,"tags":20234,"thumbUrl":20235,"material":142,"size":142,"collection":142,"collections":20236,"showCount":204,"zanCount":54,"manualWeight":54,"mainColor":55},227612,"tao-yuan-ming-yin-gui-tu-quan-juan-li-gong-lin-227612",[23,24,64,25,138,94,30,95,96,97,122,7,100,101,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fada9312dd485017bc4fab757eba67b6c.jpg",[],{"id":20238,"slug":20239,"title":20240,"dynasty":59,"author":4206,"museum":135,"description":20241,"tags":20242,"thumbUrl":20243,"material":142,"size":142,"collection":142,"collections":20244,"showCount":204,"zanCount":54,"manualWeight":54,"mainColor":109},227523,"jiang-cun-tu-yan-wen-gui-227523","江邨图","淡墨晕开浩渺寒江，远山隐在烟霭之中，只剩浅淡轮廓，留白铺就冬江的空寂清寒。近岸枯木虬曲苍劲，枝桠带着萧寒肆意舒展，坡岸茅舍半掩，水畔小舟静泊，似候归人。\n\n整幅画色调清润冷寂，以留白晕染出空濛辽远意境，将江村冬日的荒寒淡远勾勒尽致。取景极简却意蕴悠长，淡墨皴擦与留白相映，把江天冬景的静穆萧寒藏于笔底，寥寥数笔烘托出幽寂澹泊的隐逸氛围，尽显山水以简驭繁，于淡远间见深致的隽永意趣。",[23,24,64,1551,94,99,95,96,97,140,199,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b7d2658158078a79f9c64679dd76f46.jpg",[],{"id":20246,"slug":20247,"title":655,"dynasty":344,"author":10960,"museum":135,"description":20248,"tags":20249,"thumbUrl":20250,"material":142,"size":142,"collection":142,"collections":20251,"showCount":204,"zanCount":54,"manualWeight":54,"mainColor":109},224597,"shan-shui-ce-yuan-ying-224597","此作铺陈出一卷悠然水乡山居图。远景山峦以淡墨晕染，轻烟笼岫，漾着空濛悠远的澹宕诗意。中景青绿重峦上，丹枫翠柏蓊郁成荫，山居院落沿溪错落排布，黛瓦飞檐掩映在枝叶间，将雅致烟火揉进山野清趣里。\n浅滩碎石漱着清流，近水扁舟随波徐行，渔翁垂竿独钓，把闲逸静穆揉进涟漪里。设色妍雅柔和，皴笔细腻勾勒山石肌理，淡墨晕染出烟岚轻笼的朦胧质感，将江南水乡温润灵秀的意趣尽数铺展，把幽居闲隐的雅韵凝在尺幅之中，观之如踏入这静美悠然的世外山居。",[23,24,27,99,332,95,32,7,96,31,33,98,426],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcde5044ef41523288de68520c6e9bca9.jpg",[],{"id":20253,"slug":20254,"title":20255,"dynasty":344,"author":2253,"museum":135,"description":20256,"tags":20257,"thumbUrl":20258,"material":142,"size":142,"collection":142,"collections":20259,"showCount":204,"zanCount":54,"manualWeight":54,"mainColor":55},224418,"shu-hua-shi-liu-kai-4-wang-shi-min-224418","书画十六开-4","此作用笔苍浑秀润，追摹元人萧散意趣。层岩叠岫间古松虬曲，苔点皴染遍覆崖身，青绿敷色沉静古雅，恍若旧时光晕晕染纸面。飞泉漱石，流云出岫，将山巅晕出空濛仙气。澄江如练，渔翁独棹扁舟欸乃行于江心，静澜载闲，把江湖幽寂融于笔底。林麓间隐见山居茅亭，石径通幽暗合林下隐逸之思。整幅画将山林深秀与江湖闲逸织为一体，于青绿妍秀中藏文人淡远襟怀，尽显寄情林泉的雅逸意趣。",[23,24,64,27,118,99,95,96,7,32,33,98,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc562462de56224602031cb4887c257ca.jpg",[],{"id":20261,"slug":20262,"title":20263,"dynasty":344,"author":5786,"museum":135,"description":20264,"tags":20265,"thumbUrl":20266,"material":142,"size":142,"collection":142,"collections":20267,"showCount":204,"zanCount":54,"manualWeight":54,"mainColor":109},224264,"hua-wan-hu-chao-tian-zhou-zhang-zong-cang-224264","画万笏朝天轴","群峰如笏攒立，拔地参天，以干笔皴擦勾勒山石肌理，苍浑厚重，尽显雄奇壮阔之势。山坳溪畔，林舍错落，浅滩回溪萦绕村居，杂木疏密有致，枯荣相映，晕染出江南山野的温润清宁。\n\n整幅笔墨兼具精整法度与文人雅致，皴擦点染层次分明，将峰岳的沉雄高旷与乡居的悠然意趣相融，左上题诗呼应画境，把自然山川的形神与林泉雅怀合为一体，勾勒点染间尽显山水清旷高华之态。",[24,64,225,94,99,95,98,33,504,7,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66bff8c39fbab376a96a62831c8d9ff4.jpg",[],{"id":20269,"slug":20270,"title":20271,"dynasty":59,"author":292,"museum":20,"description":20272,"tags":20273,"thumbUrl":20274,"material":469,"size":20275,"collection":142,"collections":20276,"showCount":204,"zanCount":54,"manualWeight":54,"mainColor":55},223535,"jiang-cun-tu-yi-ming-223535","江村图","图绘江水平缓，江上一叶扁舟，舟子撑杆而行。两岸绿树成林，屋舍隐隐。",[23,117,24,64,95,27,99,7,96,140,256],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fb83e60ab9c09c2a0483f69fb55353f.jpg","24.1x25.4",[],{"id":20278,"slug":20279,"title":20280,"dynasty":59,"author":292,"museum":3673,"description":20281,"tags":20282,"thumbUrl":20283,"material":946,"size":20284,"collection":142,"collections":20285,"showCount":204,"zanCount":54,"manualWeight":54,"mainColor":55},223469,"gui-qu-lai-ci-shu-hua-juan-yi-ming-223469","归去来辞书画卷","此图出自东晋末陶渊明不愿为五斗米折腰，离开宦场而作的抒情小赋《归去来兮辞》。卷首是陶渊明像，后一图一文依次描绘了他辞官后，其归隐的生活情趣和内心轻松愉悦的感受。",[23,24,64,25,27,26,95,30,31,32,7,96,33,97,101,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d4c6140c5f57b11d67f190f51d137d6.jpg","30x438.6cm",[],{"id":20287,"slug":20288,"title":606,"dynasty":344,"author":292,"museum":152,"description":20289,"tags":20290,"thumbUrl":20291,"material":27,"size":20292,"collection":105,"collections":20293,"showCount":204,"zanCount":54,"manualWeight":54,"mainColor":109},223456,"shan-shui-tu-yi-ming-223456","此作用笔秀逸简淡，远近层次疏朗分明。近岸枯木虬枝错落，皴石朴拙苍劲，涧水隐于石间，暗写潺湲之态。中景扁舟一叶，幽人披氅凭舷，随波独往，水色以留白晕出烟霭空濛之境，将冬末春初的清寂弥散纸面。远景山峦轻勾淡染，与空茫水面相融，愈发衬出天地辽远。题诗与画意呼应，诗画相生，把文人寄迹林泉、避世悠游的隐逸襟怀铺陈尽致，整体气韵清冷淡远，尽显幽隽的古典山水文人意趣。",[23,24,94,99,27,100,119,95,96,30,1397,140,98,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe496c200c21a39d397d49e0d8fbb32c1.jpg","纵23厘米 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树栖带状鸟有明亮而腐烂的羽毛。 自制的图画和家禽文字，大多是在明媚的春光下。 这独特的画面与冬天的杀戮场景形成了鲜明的对比，极为巧妙。 树下溪流湍急，水花四溅，岸边的岩石上都被雪覆盖着。 画家以水墨染天空，以白粉表现雪，以白力描绘流水，气势磅礴。 河岸的独特表现是强大的。 岩石和水的侵蚀形成的蜂窝形状是另一种前所未有的创新方法。",[23,117,24,64,788,26,27,255,3572,7,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd2250b3999f22bfd04a74cdeb074f66.jpg","27.5x26.9厘米",[],{"id":20321,"slug":20322,"title":20323,"dynasty":344,"author":9738,"museum":10239,"description":20324,"tags":20325,"thumbUrl":20326,"material":258,"size":20327,"collection":142,"collections":20328,"showCount":204,"zanCount":54,"manualWeight":54,"mainColor":109},223320,"fa-jie-yuan-liu-tu-jing-pian-3-ding-guan-peng-223320","法界源流图镜片-3","此卷是丁观鹏奉乾隆之命于乾隆三十二年创作，是以宋代张胜温所画的《梵像图》摹成两卷，第一卷名为《蛮王礼佛图》，第二卷为《法界源流图卷》。图卷以释迦牟尼为中心，以对称的方式绘佛祖达几百人，人物神态丰富，栩栩如生。",[23,24,64,27,26,598,30,33,6446,7,122,98,4592],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8036ab112b4fe78ab2d095a7d737962d.jpg","全卷长33＊1635cm",[],{"id":20330,"slug":20331,"title":20332,"dynasty":344,"author":7944,"museum":152,"description":20333,"tags":20334,"thumbUrl":20336,"material":2665,"size":20337,"collection":142,"collections":20338,"showCount":204,"zanCount":54,"manualWeight":54,"mainColor":109},222854,"wan-tun-chun-mu-dong-gao-222854","万屯春牧","董誥（1740年－1818年），字雅倫，號蔗林，浙江省杭州府富陽縣（今浙江省杭州市）人，生於順天府（今北京市），清代大臣、書畫家。工部尚書董邦達長子，與其父有“大、小董”之稱。\n乾隆二十九年（1764）中舉，隔年會試，名列一甲第三，得中探花，乾隆帝將其改為二甲第一，作金殿傳臚，形降實升。嘉慶四年（1799），董誥六十歲，以從庶吉士、編修、工部侍郎、軍機大臣、東閣大學士等，擢為文華殿大學士（即宰相），欽賜“紫禁城騎馬”。直軍機先後四十年。董誥精書法，善繪畫，更通曉軍事。他五次歸還故里，生活簡樸，平易近人，從不倨傲，深為鄰里稱道。董誥卒於嘉慶二十三年（1818），終年七十九歲。\n董誥死後六天，嘉慶帝親臨祭奠，所寫哀詩中有“只有文章傳子侄，絕無貨幣置田莊”之句，並親自撥款建立“董公祠”。",[23,24,27,26,99,95,332,170,33,173,3834,66,1759,255,199,7,351,1109,20335,1207,172,2700],"牧畜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a982e7c4080b31bce2c30a9be63ca83.jpg","22.9x26厘米",[],{"id":20340,"slug":20341,"title":20342,"dynasty":344,"author":20343,"museum":553,"description":20344,"tags":20345,"thumbUrl":20346,"material":2637,"size":20347,"collection":142,"collections":20348,"showCount":204,"zanCount":54,"manualWeight":54,"mainColor":109},222841,"ji-en-tu-zhang-bo-long-222841","纪恩图","张伯龙","图绘清初大将杨捷之孙杨铸接受康熙帝赏赐，在热河避暑山庄御苑中乘舟观荷的情景。图绘山峦锦绣，景色宜人，池中荷花盛开，杨铸将军端坐御船中，眼神专注，神态安祥。",[23,24,27,26,99,95,96,30,1242,378,390,7,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff7238607ddf7a479257963b0034284e.jpg","横103cm，纵166.3cm",[],{"id":20350,"slug":20351,"title":20352,"dynasty":18,"author":7404,"museum":152,"description":7405,"tags":20353,"thumbUrl":20354,"material":27,"size":7408,"collection":142,"collections":20355,"showCount":204,"zanCount":54,"manualWeight":54,"mainColor":109},222320,"qian-li-jiang-cheng-tu-juan-1-zhou-long-222320","千里江程图卷-1",[117,24,64,25,94,99,95,33,168,98,169,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a5e82d606bd4790ed080e73a7e5d886.jpg",[],{"id":20357,"slug":20358,"title":20359,"dynasty":18,"author":90,"museum":91,"description":20360,"tags":20361,"thumbUrl":20362,"material":469,"size":20363,"collection":142,"collections":20364,"showCount":204,"zanCount":54,"manualWeight":54,"mainColor":109},222097,"liang-jiang-ming-sheng-tu-ce-9-shen-zhou-222097","两江名胜图册9","此图册描绘长江、准河两岸的山水景致和名胜古迹，表现的是江南水乡那种湿润清丽，明媚幽雅的风光。该图墨色富有变化，集中体现了沈周山水画风格。\n构图:纵观画册，画面剪裁简明、选取富有鲜明特点的景物，可以这样概括为图写真景，赋诗纪游，这与他一生与山林为伍，即有着他自己的生活的基础，才能描写出这些耐人寻味的景致。同时，又必须指出，其中不少构图为使人产生更多的联想、增加一些画外的意境，以此作背景来更加鲜明地衬托出每一画幅中的主题，构成诗意盎然的境界。\n技法:笔法上，只要细察，不难发现，在这十幅作品中，有的工密，有的疏简，布置或繁密谨严，或平凡简洁。用笔力、韵兼胜、不刻露，显得厚重凝炼。山石的繁笔勾皴和屋宇台阁的简笔勾勒，形成疏密对比。人物比例虽小，但那安然自得神态，极为生动，与整个自然融为一体。至于各画的墨色深浅、浓淡、干湿、轻重富有变化，使画面产生强烈的装饰美感。",[23,24,64,332,94,27,28,95,31,32,7,97,35,76,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf5c117a53f6aab2a924fb2e8282cc44.jpg","42.2×23.8厘米",[],{"id":20366,"slug":20367,"title":20368,"dynasty":18,"author":2519,"museum":61,"description":5051,"tags":20369,"thumbUrl":20370,"material":5054,"size":18027,"collection":142,"collections":20371,"showCount":204,"zanCount":54,"manualWeight":54,"mainColor":55},221892,"za-hua-tu-ce-yuan-pu-gui-fan-fang-zhao-da-nian-bi-yi-chen-hong-shou-221892","杂画图册-远浦归帆仿赵大年笔意",[23,24,64,332,27,29,95,8292,7,33,348,2042,35,5574,8006],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89652c7df9e003b24a0b39605e1aac93.jpg",[],{"id":20373,"slug":20374,"title":20375,"dynasty":344,"author":1474,"museum":61,"description":16221,"tags":20376,"thumbUrl":20377,"material":47,"size":16225,"collection":142,"collections":20378,"showCount":204,"zanCount":54,"manualWeight":54,"mainColor":55},219139,"yang-zhou-si-jing-tu-ping-liu-yong-pu-yuan-yao-219139","扬州四景图-平流涌瀑",[23,24,117,64,28,27,95,31,7,168,97,33,35,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc653a6bdb7a5f3f5ea8cd089f68aff1.jpg",[],{"id":20380,"slug":20381,"title":20382,"dynasty":59,"author":677,"museum":135,"description":20383,"tags":20384,"thumbUrl":20385,"material":335,"size":142,"collection":142,"collections":20386,"showCount":204,"zanCount":54,"manualWeight":54,"mainColor":109},218075,"bai-miao-luo-han-tu-ce-2-li-gong-lin-218075","白描罗汉图册-2","白描罗汉图册是宋朝画家李公麟所创作的一组绘画作品，收录了许多关于罗汉的故事和传说。罗汉是佛教中的圣人，象征着智慧和善良。李公麟在这一组作品中，以简洁明快的笔触和精细的工笔画风，为读者展现了罗汉的传奇人生。\n\n李公麟的白描罗汉图册是宋朝绘画中的一大杰作，因其精美的画风和细腻的内容而受到许多人的喜爱。他运用了一种独特的白描画法，在画面中展现出纯净和精细的质感。每幅画都描绘了一个生动的故事，让人们可以通过观看这些画作，了解到罗汉的传奇人生。\n\n总的来说，李公麟的白描罗汉图册是一部优秀的绘画作品，值得收藏和鉴赏。如果您对宋朝绘画或佛教传说感兴趣，不妨花一些时间来欣赏这一组美丽的画作。",[23,24,64,117,332,138,94,598,30,10242,3834,98,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F056df98bf4dfde0d8545d5a3d1022dd8.jpg",[],{"id":20388,"slug":20389,"title":20390,"dynasty":344,"author":292,"museum":15270,"description":20391,"tags":20392,"thumbUrl":20393,"material":335,"size":142,"collection":142,"collections":20394,"showCount":204,"zanCount":54,"manualWeight":54,"mainColor":640},216857,"xi-xiang-ji-tu-ce-22-yi-ming-216857","西厢记图册-22","墨色晕染的亭榭倚着清波，树影婆娑间，衣袂轻扬的女子立于廊桥，眉目温婉似含轻愁；亭中执扇的男子凝眸相望，衣袍素雅间藏着几分专注。花枝轻垂如低语，石畔苔痕似藏着时光的温柔，水面潋滟映着亭台的檐角，将古典的婉约静静铺展。\n\n画面以清雅设色晕开园林的静谧，格子窗棂漏出细碎光影，草木的淡彩与水墨的浓淡交织，似把西厢记里含蓄的情愫揉进了景物里。人物的姿态流转着脉脉情思，没有直白的诉说，却让园林的每一处角落都浸着古典爱情的温婉与朦胧。整幅画如一首浅吟的诗，将中式园林的雅致与人物的细腻心绪融于笔端，在恬淡的笔墨间，晕开一段千古流传的温柔片段。",[24,27,26,332,97,32,7,30,139,241,1288,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bd8dabc6fad39c7b5cffd01ab2b6583.jpg",[],{"id":20396,"slug":20397,"title":20398,"dynasty":18,"author":387,"museum":61,"description":20399,"tags":20400,"thumbUrl":20401,"material":273,"size":20402,"collection":142,"collections":20403,"showCount":204,"zanCount":54,"manualWeight":54,"mainColor":109},214865,"shan-shui-ce-14-wen-zheng-ming-214865","山水册-14","文徵明（1313年－1370年）是明朝开国皇帝朱元璋的兄弟，在位时间为1341年-1368年。他是中国历史上著名的文人，被称为“文王”。他创作了许多著名的诗词、书法作品，其中包括《山水册》。\n\n《山水册》是文徵明的著名书法作品之一，共包含了十一幅图画。每幅图画都描绘了不同的山水风光，并配以文徵明的诗词。文徵明的书法风格具有流畅、柔和的特点，《山水册》的笔墨非常优美，被视为中国书法史上的经典之作。",[23,24,64,332,94,27,95,98,33,76,7,100,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2984bfa718d497db1938983e3d3621ba.jpg","28.5x15.7cm",[],{"id":20405,"slug":20406,"title":20407,"dynasty":18,"author":20408,"museum":91,"description":20409,"tags":20410,"thumbUrl":20412,"material":142,"size":142,"collection":105,"collections":20413,"showCount":204,"zanCount":54,"manualWeight":54,"mainColor":20414},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。",[24,95,20411,99,94,27,32,7,96,271,98,174,1711,30,332,23],"摹仿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f367a4b1eb7d65a438518901e2838d3.jpg",[105],"988065",{"id":20416,"slug":20417,"title":20418,"dynasty":344,"author":20419,"museum":91,"description":20420,"tags":20421,"thumbUrl":20422,"material":142,"size":142,"collection":368,"collections":20423,"showCount":204,"zanCount":54,"manualWeight":54,"mainColor":20424},203268,"hua-niao-chong-yu-ce-jin-yue-203268","花鸟虫鱼册","金玥","画面以清雅设色铺展溪畔小景，嶙峋山石旁，水草丰茂，花叶点缀其间，色彩明丽却不失含蓄。流水波纹轻漾，似有游鱼隐现，生机暗藏。笔触细腻灵动，花叶勾勒精致入微，山石以淡墨皴染，兼融写意之趣与工笔之细。整体意境恬淡自然，于方寸册页间尽显江南水乡的清幽雅致，铺展出生动鲜活的自然意趣，引人驻足。",[27,26,99,98,1288,7,5123,332,788,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43f30a9a6a090c6d704b38ae355f3909.jpg",[368],"dbd5c8",{"id":20426,"slug":20427,"title":20428,"dynasty":11929,"author":3510,"museum":91,"description":20429,"tags":20430,"thumbUrl":20431,"material":142,"size":142,"collection":105,"collections":20432,"showCount":204,"zanCount":54,"manualWeight":54,"mainColor":20433},203240,"yang-shuo-shan-shui-zhou-huang-bin-hong-203240","阳朔山水轴","画面笔墨苍劲浑厚，以积墨法层层铺陈，山石皴擦交织，显峰峦嶙峋之态。山间云气氤氲，小径隐现于林麓间，溪流蜿蜒穿石而过。岸畔小亭朴拙，孤舟泛波，渔者悠然，尽得自然野趣。黄宾虹以浓淡干湿之墨，将阳朔喀斯特地貌的奇崛与灵秀融于一纸，笔意老辣却不失灵动，尽显山水精神。",[95,94,99,96,97,7,24,117,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07b9449d3682e9f60c5729acdb761d69.jpg",[105],"b0a99d",{"id":20435,"slug":20436,"title":20437,"dynasty":11929,"author":3510,"museum":91,"description":20438,"tags":20439,"thumbUrl":20440,"material":142,"size":142,"collection":105,"collections":20441,"showCount":204,"zanCount":11,"manualWeight":54,"mainColor":20442},203088,"dong-yu-chu-xie-tu-zhou-huang-bin-hong-203088","冻雨初歇图轴","雨后山岚轻笼，墨色晕染出层叠丘壑，草木带露含烟，尽显湿润之气。笔墨间皴擦点染交错，浓淡干湿互济，山石的厚重与流水的灵动相映成趣。近处小桥卧波，几椽村舍隐于林麓，远处孤舟泛于浅滩，舟子悠然，添得几分生趣。整幅画于清寂中藏生机，墨韵沉厚却不失空灵，尽显传统山水的笔墨意趣与自然之美。",[24,94,95,99,32,7,96,33,7031,8336,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77fd3c0331f2f189123ffbd7df224ea7.jpg",[105],"b4ada1",{"id":20444,"slug":20445,"title":20446,"dynasty":11929,"author":6097,"museum":91,"description":20447,"tags":20448,"thumbUrl":20449,"material":142,"size":142,"collection":49,"collections":20450,"showCount":204,"zanCount":54,"manualWeight":54,"mainColor":20451},202972,"song-xi-ting-sheng-tu-zhou-pu-ru-202972","松溪听声图轴","苍松虬枝横斜，松针层叠如翳，笔墨间见清劲古雅。老者宽袍倚石，静对溪流，似听水声潺潺；童子持杖侍侧，神态恭谨。设色浅淡温润，衣纹线条灵动，山石皴擦有致，尽显文人画的清幽意趣。构图疏朗，意境悠远，将林下听泉的闲适超然凝于尺幅。",[24,27,30,271,7,689,94,26,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1339b2e7124d0b83f3a7ad6feeeacfe9.jpg",[49],"cec6b2",{"id":20453,"slug":20454,"title":20455,"dynasty":344,"author":20456,"museum":91,"description":20457,"tags":20458,"thumbUrl":20459,"material":142,"size":142,"collection":105,"collections":20460,"showCount":204,"zanCount":54,"manualWeight":54,"mainColor":20461},202236,"fang-da-chi-shan-shui-zhou-zhao-xiao-202236","仿大痴山水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。",[24,64,225,94,95,29,170,2832,7,31,33,119,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd62a7fe3e02728d888882ee1773d23ff.jpg",[],{"id":20606,"slug":20607,"title":15365,"dynasty":344,"author":13549,"museum":135,"description":20608,"tags":20609,"thumbUrl":20610,"material":229,"size":637,"collection":142,"collections":20611,"showCount":277,"zanCount":54,"manualWeight":54,"mainColor":109},287727,"shan-shui-fang-gu-ce-fang-shi-shu-287727","方士庶（1692—1751）字循远，一作洵远，号环山，又号小狮道人，一作小师道人，新安（今安徽歙县）籍，家维扬（今江苏扬州）。清代画家。",[24,64,332,94,95,32,7,97,98,33,119,100,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8502a46d703fc1ee83d18e35b85691cd.jpg",[],{"id":20613,"slug":20614,"title":20615,"dynasty":18,"author":20616,"museum":135,"description":20617,"tags":20618,"thumbUrl":20619,"material":229,"size":637,"collection":142,"collections":20620,"showCount":277,"zanCount":54,"manualWeight":54,"mainColor":109},239355,"liu-xi-chui-diao-shan-ye-liu-mai-239355","柳溪垂钓扇页","刘迈","字种德，金陵（今南京）人。工花草。《金陵琐事》",[24,1551,94,138,378,7,96,256],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb45ddeb59e72a81aec32133a05fe8b72.jpg",[],{"id":20622,"slug":20623,"title":20624,"dynasty":344,"author":6660,"museum":135,"description":16991,"tags":20625,"thumbUrl":20626,"material":142,"size":142,"collection":105,"collections":20627,"showCount":277,"zanCount":11,"manualWeight":54,"mainColor":109},239274,"qing-luan-nuan-cui-tu-zhou-qin-bing-wen-239274","晴峦暖翠图轴",[24,225,27,99,95,170,169,33,32,7,97,76,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7590cf853fd8a92277c9d92aa1e34b94.jpg",[105,51],{"id":20629,"slug":20630,"title":7943,"dynasty":344,"author":7944,"museum":135,"description":7945,"tags":20631,"thumbUrl":20632,"material":142,"size":142,"collection":142,"collections":20633,"showCount":277,"zanCount":54,"manualWeight":54,"mainColor":109},238824,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238824",[117,24,64,332,27,99,95,97,7,378,98,33,348,169,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e4d66f1f31efc1cdd5c2818f8047037.jpg",[],{"id":20635,"slug":20636,"title":8450,"dynasty":344,"author":7944,"museum":135,"description":7945,"tags":20637,"thumbUrl":20638,"material":142,"size":142,"collection":142,"collections":20639,"showCount":277,"zanCount":54,"manualWeight":54,"mainColor":109},238822,"dong-gao-lv-xuan-shao-jing-ce-dong-gao-238822",[24,27,99,332,95,33,7,96,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8a6f655b16a7b16acf8ac16f45b69dc.jpg",[],{"id":20641,"slug":20642,"title":6987,"dynasty":344,"author":6988,"museum":135,"description":20643,"tags":20644,"thumbUrl":20645,"material":142,"size":142,"collection":142,"collections":20646,"showCount":277,"zanCount":54,"manualWeight":54,"mainColor":55},238238,"shan-jing-ri-zhang-tu-ce-zhang-yu-sen-238238","此作以青绿晕染峰岫，苍润厚重的远山托着空濛烟岚，留白将远近山水晕开淡远诗意。林麓间幽舍隐于繁枝，溪桥架于浅渚，山道逶迤，衬出山居阒寂。\n\n右下角旅人策驴缓行，僮仆挑担相随，鲜活的行旅意趣融在静穆山光里，动静相生。设色雅妍温润，皴法细腻，将幽居山野的清旷日常铺陈开来，把“山静日长”的悠然意境藏于笔底，尽显东方山水的澹泊美学。",[24,64,332,27,99,26,95,97,32,7,30,66,227,33,98,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20442350978cac3850c22182aaee49c0.jpg",[],{"id":20648,"slug":20649,"title":6987,"dynasty":344,"author":6988,"museum":135,"description":6989,"tags":20650,"thumbUrl":20651,"material":142,"size":142,"collection":142,"collections":20652,"showCount":277,"zanCount":54,"manualWeight":54,"mainColor":109},238235,"shan-jing-ri-zhang-tu-ce-zhang-yu-sen-238235",[24,27,99,332,95,97,543,7,30,241,168,171,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8eb87917cc8e4bd3c1e2cc295c8f548a.jpg",[],{"id":20654,"slug":20655,"title":6987,"dynasty":344,"author":6988,"museum":135,"description":6989,"tags":20656,"thumbUrl":20657,"material":142,"size":142,"collection":142,"collections":20658,"showCount":277,"zanCount":54,"manualWeight":54,"mainColor":262},238233,"shan-jing-ri-zhang-tu-ce-zhang-yu-sen-238233",[117,24,64,332,27,95,99,31,32,7,33,98,168,97,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dee0f1c9c19b2e448314352461182f0.jpg",[],{"id":20660,"slug":20661,"title":5439,"dynasty":344,"author":14682,"museum":135,"description":20662,"tags":20663,"thumbUrl":20664,"material":142,"size":142,"collection":142,"collections":20665,"showCount":277,"zanCount":54,"manualWeight":54,"mainColor":109},237868,"shan-shui-tu-ce-jin-xue-jian-237868","字成峰，秀水（今浙江嘉兴）人。王翚弟子，山水初宗元人，从参宋法，笔意古健，布局极为绵密。贫而能守，不为豪势所屈。《国[清]朝画征录》",[117,24,64,332,27,118,99,95,7,168,97,31,33,98,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64517cd7ee2952962838567eedf10546.jpg",[],{"id":20667,"slug":20668,"title":655,"dynasty":344,"author":3211,"museum":61,"description":3212,"tags":20669,"thumbUrl":20670,"material":258,"size":142,"collection":142,"collections":20671,"showCount":277,"zanCount":54,"manualWeight":54,"mainColor":109},237189,"shan-shui-ce-sun-yi-237189",[24,27,99,332,95,33,98,168,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc0a71d69b81b3eb593f0c14c2772351.jpg",[],{"id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[2]\n他是明末清初著名诗人，与钱谦益、龚鼎孳并称“江左三大家”，又为娄东诗派开创者。长于七言歌行，初学“长庆体”，后自成新吟，后人称之为“梅村体”。",[24,1551,95,99,94,240,241,76,7,5799,20734],"近林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc92477073469b42ac6c7ee701b34fa5.jpg",[],{"id":20738,"slug":20739,"title":655,"dynasty":344,"author":2501,"museum":61,"description":17752,"tags":20740,"thumbUrl":20741,"material":714,"size":17755,"collection":142,"collections":20742,"showCount":277,"zanCount":54,"manualWeight":54,"mainColor":109},235018,"shan-shui-ce-wu-li-235018",[24,64,332,94,99,95,32,7,33,98,168,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9497d85d651bdc314e42e380565f3109.jpg",[],{"id":20744,"slug":20745,"title":4655,"dynasty":344,"author":2071,"museum":135,"description":9086,"tags":20746,"thumbUrl":20747,"material":229,"size":637,"collection":142,"collections":20748,"showCount":277,"zanCount":54,"manualWeight":54,"mainColor":109},234962,"wang-hui-fang-gu-shan-shui-ce-wang-hui-234962",[24,64,332,94,2880,95,140,98,7,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3534e367be0773324be3fa6b4fef258.jpg",[],{"id":20750,"slug":20751,"title":20752,"dynasty":344,"author":292,"museum":61,"description":20753,"tags":20754,"thumbUrl":20755,"material":469,"size":20756,"collection":142,"collections":20757,"showCount":277,"zanCount":54,"manualWeight":54,"mainColor":55},234902,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234902","唐岱小园闲咏图册","唐岱（1673—1752后），字毓东，号静岩，又号默庄，满洲正蓝旗人。康熙中以荫官参领。从王原祁学画，丘壑似王原祁，远宗宋人，“泼墨淋漓，气韵生动”。康熙后期常将其召入宫中作画，品题其画为当时第一手，赐称“画状元”。\n第一开：曲径通幽。对开题：“为隔尘氛远，应怜曲径长。迂回山势抱，逦迤竹垣藏。鹤歩苔痕合，春归花气香。板桥流水外，别有读书堂。”\n第二开：芳屿围棋。对开题：“乘兴步芳屿，逍遥任所之。已看苔作席，最爱柳成帷。漫煮蒙溪茗，闲抛赌墅棋。东山称盛事，吟望寄遐思。”\n第三开：桃溪步履。对开题：“山桃开也未，杖策试探寻。好景春来遍，芳溪曲处深。明霞千树叠，傍水一枝临。何必武陵路，随缘物外心。”\n第四开：竹坞春深。对开题：“闲过山坞里，粉脱见新篁。劲节当春绿，踈竿泛籁长。萧骚寒雨夜，彷佛辋川庄。不肯裁为管，无劳引凤凰。”\n第五开：芳港闻莺。对开题：“春色堂堂去，莺声恰恰来。缗蛮听处涩，风景暗中催。长日慵摊饭，新缸喜拨醅。笙簧随分有，何必舞三台。”\n第六开：春湖涵碧。对开题：“碧水漾平湖，空明一镜铺。须眉应可鉴，尘壤杳然无。点点浮青荇，双双下白鳬。春风浴沂水，视此意何殊。”\n第七开：石坂烹云。对开题：“敲火乌卿炽，烹云玉液清。龙团曾未点，鱼目已旋生。漫说肠堪润，应知眼倍眀。披襟成小啜，孤鹤一声鸣。”\n第八开：广厦冰壶。对开题：“天伏三庚永，堂开六月凉。深深屏隔暑，叠叠簟含霜。底事挥纨扇，无劳问蔗浆。冰壶供坐卧，乐意自相忘。”\n第九开：镜水荷香。对开题：“半夜芙蓉雨，三间水月楼。清香随处度，风景一时收。干密妨鱼跃，花深隐鹭游。诗情频入座，不必问渔舟。”\n第十开：月楼夕幌。对开题：“雨洗尘氛静，天空花鸟闲。月楼开一面，夕幌卷千山。牧笛耳边过，征鸿眼里还。桂香依旧发，付与阿谁攀。”\n第十一开：兰桡独钓。对开题：“秋湖鱼怯饵，把钓事如何。绿水一竿竹，清风几领簑。蒹葭尘外老，星月个中多。夜静独归去，清光挂女萝。”\n第十二开：竹篱鹤歩。对开题：“结社松为宅，看家鹤守门。偏知人客至，不负稻粱恩。宿月精神古，梳风毛羽繁。由来好僮仆，不必贵乘轩。”\n第十三开：芦岸秋晴。对开题：“秋色知多少，芦花尽白头。战风摇夕浦，饮露亚寒洲。生意知将谢，随时未肯休。苍茫烟水里，好去弄扁舟。”\n第十四开：板桥霜迹。对开题：“隔溪亭子迥，为架板桥通。秋老碧天白，寒流枫叶红。卷帘吟夜月，着屐歩霜风。爱此双双迹，扶笻过水东。”\n第十五开：雪径梅姿。画心左下款署“唐岱恭画”。对开题：“四时花木足，最喜是园梅。傲雪三冬里，因风几朵开。清香流玉骨，冷润滴氷腮。独有幽人赏，巡檐杖策来。右《小园闲咏》十五首，雍正乙卯夏五月，宝亲王长春居士著”。梁诗正谨书。",[24,64,332,27,118,26,101,119,95,31,32,7,98,33,30,504],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffad5383086c2addf23d56ecae8eba42a.jpg","25.7×33厘米",[],{"id":20759,"slug":20760,"title":20761,"dynasty":344,"author":435,"museum":135,"description":20762,"tags":20763,"thumbUrl":20764,"material":335,"size":20765,"collection":142,"collections":20766,"showCount":277,"zanCount":54,"manualWeight":54,"mainColor":109},234895,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234895","王原祁仿古山水册","丁巳为康熙十六年（1677年），王原祁时年三十六岁。册前王时敏款署西庐八十七老人题，应为康熙十七年（1678年）所题，即王原祁创作该册后的次年所书。以丁巳下推至庚午，不足十五年，而自跋中今阅十五年，当是王原祁笔误。\n画前副页有王时敏隶书灵心自悟四大字。画册后跋纸为王原祁自题：此余丁巳春间往云间笔也。先奉常见之谓余为'可教'，题识四字。个阅十五年矣，于古人笔墨终未梦见，殊愧先大父指授，为之泫然。康熙庚午长夏观于毘陵舟次谨题，原祁。钤原祁之印（白文）、麓台（朱文）、兴与烟霞会（白文），画册首副页，尾纸只有庞元济藏印11方。\n该册仿古山水，是王原祁早期绘画的代表作品。所仿元六家山水各具形貌，笔墨或设色又颇具苍润、恬淡、秀丽等不同特点，所以王时敏以灵心自悟夸赞其孙王原祁在仿古的同时，边学习古人的画法，同时又寻求开创个人独特艺术特点的创作方向。该册是研究工原祁早期绘画的宝贵材料。",[24,64,332,27,99,29,101,119,95,32,7,33,31,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd041938481266e5261f5879a6dd0ddf8.jpg","纵21厘米，横27厘米",[],{"id":20768,"slug":20769,"title":20770,"dynasty":344,"author":292,"museum":135,"description":20771,"tags":20772,"thumbUrl":20774,"material":229,"size":637,"collection":142,"collections":20775,"showCount":277,"zanCount":54,"manualWeight":54,"mainColor":55},234446,"da-lai-la-ma-yuan-liu-sang-jie-gong-ba-tang-ka-yi-ming-234446","达赖喇嘛源流——桑结贡巴唐卡","唐卡（Thang-ga）也叫唐嘎，唐喀，系藏文音译，指用彩缎装裱后悬挂供奉的宗教卷轴画。唐卡是藏族文化中一种独具特色的绘画艺术形式，题材内容涉及藏族的历史、政治、文化和社会生活等诸多领域，传世唐卡大都是藏传佛教和本教作品。\n唐卡是藏族文化中一种独具特色的绘画艺术形式。具有鲜明的民族特点、浓郁的宗教色彩和独特的艺术风格，用明亮的色彩描绘出神圣的佛的世界；颜料传统上是全部采用金、银、珍珠、玛瑙、珊瑚、松石、孔雀石、朱砂等珍贵的矿物宝石和藏红花、大黄、蓝靛等植物为颜料以示其神圣。这些天然原料保证了所绘制的唐卡色泽鲜艳，璀璨夺目，虽经几百年的岁月，仍是色泽艳丽明亮。因此被誉为中国民族绘画艺术的珍品，被称为藏族的”百科全书”也是中华民族民间艺术中弥足珍贵的非物质文化遗产。\n传统唐卡的绘制要求严苛、程序极为复杂，必须按照经书中的仪轨及上师的要求进行，包括绘前仪式、制作画布、构图起稿、着色染色、勾线定型、铺金描银、开眼、缝裱开光等一整套工艺程序。制作一幅唐卡用时较长，短则半年完成，长则需要十余年。",[6445,598,4257,27,26,95,31,30,1068,6446,4636,7,122,20773,38,4449],"护法像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf8e2f08a901fdb378793604111aff49.jpg",[],{"id":20777,"slug":20778,"title":20779,"dynasty":344,"author":16380,"museum":135,"description":20780,"tags":20781,"thumbUrl":20782,"material":142,"size":142,"collection":105,"collections":20783,"showCount":277,"zanCount":54,"manualWeight":54,"mainColor":109},234351,"you-niao-shi-tu-ce-jin-kun-234351","有鸟诗图册","金昆，清朝画家，善画。康熙（1662至1722）时供奉内廷，有庆丰图、虎邱待月图均邀御题。\n乾隆五年（1740）尝与陈枚、孙祜、程志道、丁观鹏合作庆丰图册。《国[清]朝院画录》、《熙朝名画录》、《国[清]朝画徵录》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藏品编号;:724 文物类型:书法、绘画 实际数量:1 质量范围:.1-1 kg 文物级别:一般 文物来源:接受捐赠 完残程度:基本完整 入藏时间:1977-2 具体尺寸(cm):46×29.9",[23,24,64,225,94,27,99,95,240,33,7,97,169,5947],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43674fdebc1c117057ada1897856da4b.jpg",[],{"id":20919,"slug":20920,"title":20921,"dynasty":344,"author":2071,"museum":135,"description":20922,"tags":20923,"thumbUrl":20924,"material":142,"size":142,"collection":142,"collections":20925,"showCount":277,"zanCount":54,"manualWeight":54,"mainColor":109},224450,"xia-wu-yin-mei-wang-hui-224450","夏五吟梅","《王翚夏五吟梅图轴》是清代王翚创作的一幅画。\n此图画成时王翚已是8岁高龄，然而画面丝毫看不出有衰老的迹象，线条细若游丝，劲如屈铁，笔力老练纯熟，画风细润明快，融合了众家笔法之长。\n构图布景显示出画家胸有成竹，景物的配置自然写实，气度不凡。",[23,24,117,64,225,27,95,99,32,7,97,122,241,98,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F794bca20f35e023f5002c7199254ad74.jpg",[],{"id":20927,"slug":20928,"title":20929,"dynasty":344,"author":435,"museum":135,"description":20930,"tags":20931,"thumbUrl":20939,"material":142,"size":142,"collection":142,"collections":20940,"showCount":277,"zanCount":54,"manualWeight":54,"mainColor":109},224395,"cong-lin-lan-re-wang-yuan-qi-224395","丛林兰若","此作用笔苍润老辣，以干笔积墨皴擦山峦，层岩叠嶂浑厚苍劲。溪涧蜿蜒穿流于蓊郁林木间，山径隐现幽林深处，铺展出清寂悠然的林下胜境。画面氤氲静谧古雅的禅意，将山野林泉的幽旷之美尽数铺陈。\n\n左侧题诗与画作相映成趣，诗画合璧，把山居雅逸的意趣烘托得淋漓尽致，仿若将观者引入这世外林泉，于山光水色里涤荡尘俗之心，尽显文人山水的悠然意境与沉静风骨。",[23,24,64,95,27,99,100,119,33,98,7,170,97,20932,173,20933,8279,20934,20935,20936,20937,20938,8282],"丛林","山峦叠嶂","浅绛设色","山石勾勒","树木丛植","溪流蜿蜒","建筑掩映","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f5a2de7daf042bb44ee28e52239a0d9.jpg",[],{"id":20942,"slug":20943,"title":6868,"dynasty":344,"author":435,"museum":135,"description":20944,"tags":20945,"thumbUrl":20949,"material":142,"size":142,"collection":142,"collections":20950,"showCount":277,"zanCount":54,"manualWeight":54,"mainColor":109},224385,"fang-da-chi-shan-shui-tu-wang-yuan-qi-224385","此作取法大痴意趣，层峦从侧峰铺陈而下，逶迤溪水穿谷绕石，将山居屋舍、飞泉板桥藏于林壑之间，把江南山林的幽寂野趣铺展纸上。\n以干笔积墨反复皴擦，披麻皴写就山石肌理，墨色干湿浓淡交叠，苍厚生拙间带着萧散淡远的韵致。左上题跋朱印错落排布，文气晕染山水，让笔墨意境与文人意趣相融，整体清旷雅致，尽显山居林泉的静美逸致，师古而不泥古，于笔墨间氤氲出幽远的文人山水情致。",[23,24,117,64,866,94,27,98,7,32,609,3260,33,20946,99,1044,20947,689,10677,20948,119,8282],"林壑","干笔积墨","清旷雅致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbbf015ee390ff81a46e533be58fbb6c.jpg",[],{"id":20952,"slug":20953,"title":20954,"dynasty":344,"author":20955,"museum":135,"description":20956,"tags":20957,"thumbUrl":20958,"material":229,"size":637,"collection":142,"collections":20959,"showCount":277,"zanCount":54,"manualWeight":54,"mainColor":109},224252,"yu-zhuang-wan-ji-zhou-kun-224252","渔庄晚霁","周鲲","字天池，江苏常熟人。黄霆子。画承家学，工山水、人物，梅花亦佳。乾隆（一七三六至一七九五）时供奉如意馆。尝以闾阎疾苦情形托诸艺事，蒙御题，有：“监门遗故事，咨尔溯其踪”句。所作多藏石渠宝笈。《国[清]朝画徵续录、虞山画志、石渠宝笈、清画家诗史》",[23,24,64,332,27,95,256,7,96,122,1001,100,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafd1a0468a1001ba98444776ec3e12d7.jpg",[],{"id":20961,"slug":20962,"title":20963,"dynasty":344,"author":20522,"museum":135,"description":20964,"tags":20965,"thumbUrl":20966,"material":142,"size":142,"collection":142,"collections":20967,"showCount":277,"zanCount":54,"manualWeight":54,"mainColor":109},224126,"ke-si-xian-shan-lou-ge-tu-qian-long-224126","缂丝仙山楼阁图","《缂丝仙山楼阁图》是清乾隆时期的一幅画。\n此图在本色地上缂织仙山楼阁。\n殿宇亭台之间树木葱郁，小桥流水，彼岸远方有群山及山中楼阁。\n画面布局繁密，境界幽静旷远。\n此作品将缂丝与绘画有机地融合为一体，先缂织后添色。\n缂工主要用平缂织物象的轮廓，间用搭缂、长短戗手法，其上再用各种颜色绘出形象。\n画中的楼阁建筑以界尺画出，山石皴法使用了墨、石绿、赭石色，极似仇英的楼阁界画之风格。\n此缂丝画中楼阁工细，山青树茂，敷色古雅。",[23,24,64,2578,27,28,95,31,32,33,333,98,97,7,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53b8e0b7007bdd3d7e820ad8283e1056.jpg",[],{"id":20969,"slug":20970,"title":20971,"dynasty":59,"author":292,"museum":135,"description":20972,"tags":20973,"thumbUrl":20974,"material":142,"size":142,"collection":142,"collections":20975,"showCount":277,"zanCount":54,"manualWeight":54,"mainColor":262},223633,"lian-she-tu-shou-juan-quan-juan-yi-ming-223633","莲社图手卷全卷","此作以淡墨白描铺展雅集盛景，开篇台阁之上，高士凭栏凝睇林泉，随后次第铺陈林下雅聚：沙门与文人或围坐清谈，或横琴拨弦，或展卷品题，动静相生。茂林修竹、幽泉奇石错落点缀，线条圆劲秀逸，设色浅淡古雅，尽显宋画谨严清雅的笔意风神。\n\n留白疏密得宜，将林下高致晕染开来，长卷题跋与画作相映成趣，诗画合璧，把魏晋文人的超迈风雅具象呈现，古意盎然，尽显对前代名流雅事的精妙追摹。",[23,24,64,25,138,94,99,598,30,95,1177,390,171,168,504,32,7,66,122,119,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6eca59a9af4ab78ae9bd2f9989a1e28c.jpg",[],{"id":20977,"slug":20978,"title":20979,"dynasty":344,"author":292,"museum":135,"description":19745,"tags":20980,"thumbUrl":20981,"material":142,"size":142,"collection":142,"collections":20982,"showCount":277,"zanCount":54,"manualWeight":54,"mainColor":109},223528,"wu-yi-shan-shi-ba-jing-tu-3-yi-ming-223528","武夷山十八景图3",[23,24,64,332,94,27,99,95,10591,173,96,33,4316,348,1540,76,7,32,1045,9250,8003,635],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d03a27efeadb367d3380d727ec41cc7.jpg",[],{"id":20984,"slug":20985,"title":7860,"dynasty":59,"author":292,"museum":61,"description":20986,"tags":20987,"thumbUrl":20988,"material":946,"size":20989,"collection":142,"collections":20990,"showCount":277,"zanCount":54,"manualWeight":54,"mainColor":109},223509,"liu-xi-diao-ting-tu-yi-ming-223509","绘江南小景，坡岸垂柳杂树，茅舍隐然，河中渔舟横陈，船头一翁垂钓",[23,24,1551,94,95,119,378,96,7,348,8017],"htt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染，画中人物勾勒傅粉，神态宛然。",[23,24,27,95,99,332,5997,20997,32,7,33,30,98],"溪堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75ea6fdd85cb95cb5ff01fc824ad93a5.jpg","22.5*24.5CM",[],{"id":21002,"slug":21003,"title":21004,"dynasty":344,"author":9738,"museum":10239,"description":21005,"tags":21006,"thumbUrl":21013,"material":258,"size":21014,"collection":142,"collections":21015,"showCount":277,"zanCount":54,"manualWeight":54,"mainColor":109},223311,"fa-jie-yuan-liu-tu-juan-5-ding-guan-peng-223311","法界源流图卷-5","该作品的艺术价值堪与北宋名画《清明上河图》媲美，被誉为世界“佛文化、绘画”艺术颠峰之作，世界无价之宝。\n丁观鹏摹张胜温法界源流图卷，是中国艺术史上的一件瑰宝，规模宏伟，人物众多，用笔十分精细认真，如此长卷在世界的佛教绘画中是罕见的。面对这一人物众多，内容复杂，描绘精良的宏篇巨制，不能不令人信服地赞叹中国传统绘画刚健的生命力。由此引起世界上学术界和观赏者的深切关注，也就是非常自然的事情了。\n该卷中所描绘的形象非常繁多，既有佛界诸宗派的人物形象，也有各种动植物和各种佛具法器，均描绘精细，不仅比例准确，而且神态生动。这些形象的汇集与成功的描绘，不由地使人对该画的作者产生由衷敬佩。虽然他的生平事迹不见任何记载，他这件辉煌作品就足以使他在美术史乃至佛教史上永远放射着巨大的光芒。\n该作品用笔细致非凡，设色浓丽，端庄典雅，是清代画家丁观鹏精心创作杰作之一。",[23,26,27,25,598,138,30,21007,6446,33,7,21008,21009,7499,18165,21010,504,21011,21012,98],"莲花","动物","佛造像","护法神","法器","经卷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf1ab9da00eefabea7e3c33830c3033f.jpg","纵33厘米、横1635厘米",[],{"id":21017,"slug":21018,"title":21019,"dynasty":344,"author":7944,"museum":152,"description":20333,"tags":21020,"thumbUrl":21022,"material":142,"size":142,"collection":142,"collections":21023,"showCount":277,"zanCount":54,"manualWeight":54,"mainColor":109},222858,"xin-she-geng-ye-dong-gao-222858","新畬耕馌",[23,24,64,332,27,26,95,30,32,7,33,2195,350,10391,67,21021],"农事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62ba419991325a08174927ef62141683.jpg",[],{"id":21025,"slug":21026,"title":21027,"dynasty":344,"author":7944,"museum":152,"description":20333,"tags":21028,"thumbUrl":21030,"material":142,"size":142,"collection":142,"collections":21031,"showCount":277,"zanCount":54,"manualWeight":54,"mainColor":109},222857,"song-shou-yan-chun-dong-gao-222857","松寿延春",[23,24,64,332,27,99,95,390,98,7,33,21029,351],"山坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4fd3de4aee7878f6101fefa3c4df787.jpg",[],{"id":21033,"slug":21034,"title":21035,"dynasty":344,"author":4707,"museum":61,"description":21036,"tags":21037,"thumbUrl":21038,"material":258,"size":21039,"collection":142,"collections":21040,"showCount":277,"zanCount":54,"manualWeight":54,"mainColor":109},222703,"luo-han-tu-jin-ting-biao-222703","罗汉图","图中罗汉眉目清秀，披发，戴耳环，臂腕佩钏、镯，着袒右式袈裟，自在坐，手捧如意，系模仿了菩萨的形象。罗汉、童子衣纹分别运用了蚯蚓纹、钉头鼠尾描，造型工整，设色清雅。《秘殿珠林三编》著录。",[23,24,64,27,26,598,30,98,7,119,1197,21011,4447,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9a122d614244b360fb3f53afe93099a.jpg","纵99.5厘米，横53.2厘米",[],{"id":21042,"slug":21043,"title":21044,"dynasty":2224,"author":21045,"museum":21046,"description":21047,"tags":21048,"thumbUrl":21049,"material":142,"size":142,"collection":142,"collections":21050,"showCount":277,"zanCount":54,"manualWeight":54,"mainColor":109},220458,"shi-men-guan-liang-220458","石门","关良","龙美术馆西岸馆","关良，字良公，广东番禺人。长于中国画、油画。1917 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年回国，任上海美术专科学校教授。参加过北伐战争，任政治部艺术股长。三十至四十年代辗转于广州、上海、重庆等地的艺术院校任教，并于名山大川旅行写生。曾任浙江美术学院教授、上海中国画院画师。著有《关良艺事随谈》、《关良回忆录》。出版《关良京戏人物水墨画》、《关良油画集》等。",[24,27,95,349,7,97,65,241,427],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0ebef99d6af837be20ccb7bdc022a25.jpg",[],{"id":21052,"slug":21053,"title":21054,"dynasty":344,"author":2309,"museum":61,"description":8570,"tags":21055,"thumbUrl":21056,"material":335,"size":8573,"collection":142,"collections":21057,"showCount":277,"zanCount":54,"manualWeight":54,"mainColor":109},220288,"huang-shan-tu-ce-37-hong-ren-220288","黄山图册-37",[23,117,24,64,332,99,27,95,32,7,98,255,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb70e277b94dfe9c6eeb04e5a7b98c942.jpg",[],{"id":21059,"slug":21060,"title":21061,"dynasty":344,"author":2309,"museum":61,"description":8570,"tags":21062,"thumbUrl":21063,"material":335,"size":8573,"collection":142,"collections":21064,"showCount":277,"zanCount":54,"manualWeight":54,"mainColor":109},220277,"huang-shan-tu-ce-47-hong-ren-220277","黄山图册-47",[23,24,94,99,332,95,97,32,7,98,140,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba6cda6b166036c2ddff5b9d2083d9e2.jpg",[],{"id":21066,"slug":21067,"title":21068,"dynasty":344,"author":3202,"museum":14801,"description":21069,"tags":21070,"thumbUrl":21071,"material":47,"size":142,"collection":142,"collections":21072,"showCount":277,"zanCount":54,"manualWeight":54,"mainColor":109},216899,"qian-long-nan-xun-zhu-bi-tu-ye-4-qian-wei-cheng-216899","乾隆南巡驻跸图页-4","二十三帧中的每一帧都有一个标题，有些板块还有文字描述南行的时间、景观和内容。该作品的构图融合了传统的风景画，花、树和花园清新柔和，远处和近处的山形以皲裂的风格描绘，建筑物则以三维俯视的方式绘制。",[23,24,27,26,95,31,97,33,7,122,28,332],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2faf8b2694a019248be9c508b319d07b.jpg",[],{"id":21074,"slug":21075,"title":21076,"dynasty":18,"author":387,"museum":61,"description":20399,"tags":21077,"thumbUrl":21078,"material":273,"size":20402,"collection":142,"collections":21079,"showCount":277,"zanCount":54,"manualWeight":54,"mainColor":109},214876,"shan-shui-ce-5-wen-zheng-ming-214876","山水册-5",[23,24,64,332,94,27,95,7,33,30,171,100,101,119,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5384ecf516bd20d8446e1f53633fed62.jpg",[],{"id":21081,"slug":21082,"title":1222,"dynasty":18,"author":387,"museum":61,"description":20399,"tags":21083,"thumbUrl":21084,"material":273,"size":20402,"collection":142,"collections":21085,"showCount":277,"zanCount":54,"manualWeight":54,"mainColor":109},214870,"shan-shui-ce-10-wen-zheng-ming-214870",[23,24,64,332,94,27,95,241,98,7,97,99,100,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facd277b11b6610c2bd7c039c5093ab69.jpg",[],{"id":21087,"slug":21088,"title":21089,"dynasty":11929,"author":6097,"museum":91,"description":21090,"tags":21091,"thumbUrl":21092,"material":142,"size":142,"collection":105,"collections":21093,"showCount":277,"zanCount":54,"manualWeight":54,"mainColor":21094},203284,"qiu-shan-ting-quan-tu-zhou-pu-ru-203284","秋山听泉图轴","画面中，清泉漱石穿谷而过，秋林丹翠相间，亭台隐于岩麓，幽人凭栏凝听泉声潺潺。笔墨细腻清逸，山石以皴法写就，纹理毕现；设色淡雅，红叶点染秋意，与苍松青岩相映成趣。意境静谧悠远，融自然生机与文人雅趣，尽显山林隐逸之悠然。",[24,225,95,27,99,97,7,98,64,724,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd34d6b265ed2936549cc990d04e98591.jpg",[105],"ddd5c5",{"id":21096,"slug":21097,"title":21098,"dynasty":11929,"author":3510,"museum":91,"description":21099,"tags":21100,"thumbUrl":21101,"material":142,"size":142,"collection":105,"collections":21102,"showCount":277,"zanCount":54,"manualWeight":54,"mainColor":21103},202955,"huang-shan-ji-you-tu-zhou-huang-bin-hong-202955","黄山纪游图轴","墨色浓淡交错，皴笔勾勒山石筋骨，淡墨晕染云雾，山峦似隐似现。亭中独坐之人与周遭枯树、溪流相映，清寂雅致。画面以文人笔墨写黄山之景，意境悠远，尽显传统山水的笔墨意趣与深邃情怀。",[24,94,27,99,225,95,97,140,7,199,119,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F626bd145b267ba132a1f8aecd6ca5d4f.jpg",[105],"d7cebe",{"id":21105,"slug":21106,"title":21107,"dynasty":344,"author":4443,"museum":91,"description":21108,"tags":21109,"thumbUrl":21110,"material":142,"size":142,"collection":49,"collections":21111,"showCount":277,"zanCount":54,"manualWeight":54,"mainColor":21112},202225,"shi-nv-zhou-fei-dan-xu-202225","仕女轴","画面中仕女着素衣，蓝饰点缀，立于孤舟之上，手持长篙轻点水面，水波微漾。岸边垂柳依依，枝条如丝，晕染出朦胧诗意。人物神态温婉，衣袂轻飘，尽显闺阁娴静之态。笔墨细腻流畅，设色清新雅致，将江南水乡的柔媚与仕女的婉约融为一体，营造出空灵悠远的意境，尽显晚清仕女画的典型风貌。",[24,27,30,26,96,139,307,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe92ac23cb040180a87010f4240a05327.jpg",[49],"d4c4b2",{"id":21114,"slug":21115,"title":888,"dynasty":344,"author":21116,"museum":91,"description":21117,"tags":21118,"thumbUrl":21119,"material":142,"size":142,"collection":105,"collections":21120,"showCount":277,"zanCount":54,"manualWeight":54,"mainColor":21121},202099,"shan-shui-zhou-tao-qi-202099","陶淇","这幅山水轴笔墨雅致，山峦层叠间皴法细腻，勾勒出岩石苍劲质感；林木错落，或虬曲或挺拔，枝叶繁疏有致；溪流蜿蜒穿涧，小桥横跨其上，隐于林麓的屋舍添了几分烟火气。整体意境清幽悠远，笔墨灵动自然，将文人眼中的山水之趣尽显无遗，仿佛置身其间，可享林泉之乐。",[95,225,99,94,27,32,7,33,98,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F291eed53914507e271e2311f9a00edff.jpg",[105],"b9aea2",{"id":21123,"slug":21124,"title":21125,"dynasty":344,"autho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幽寂的湖山景致，缂丝走线平齐细密，将花叶的柔润舒展、翎羽的蓬松绒感一一还原，写实入微又带着独有的清雅意韵，把江南水畔初夏的清宁生机，定格在尺幅之间，尽显雅致隽永的造物匠心。",[117,24,64,225,2578,27,788,1068,21201,1242,3228,122,3226,7,6446],"翎毛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc807624a52470c46d64f6f596c381cd4.jpg",[],{"id":21205,"slug":21206,"title":21207,"dynasty":344,"author":8267,"museum":135,"description":21208,"tags":21209,"thumbUrl":21210,"material":229,"size":637,"collection":142,"collections":21211,"showCount":339,"zanCount":54,"manualWeight":54,"mainColor":109},290520,"qing-xi-fang-ting-yun-xi-290520","清溪放艇","爱新觉罗·胤禧（1711年2月27日—1758年6月26日），避雍正帝讳改名为允禧，字谦斋，号紫噊，别号紫琼崖道人、春浮居士。清朝宗室大臣，康熙帝第二十一子，书画家、诗人，母为熙嫔陈氏。\n九岁从幸塞外，雍正八年（1730年）二月，封固山贝子，晋封贝勒。雍正十一年（1733年），授镶黄旗满洲都统。雍正十三年（1735年），授宗人府左宗正、正黄旗汉军都统。乾隆帝即位后，封慎郡王。乾隆三年（1738年），擢为议政大臣。乾隆五年（1740年），授正白旗满洲都统。乾隆七年（1742年），充玉牒馆总裁。乾隆二十三年（1758年）五月，去世，享年四十八岁，谥号为靖。\n能诗善赋，书画兼长，著有《花间堂诗抄》8卷、《紫琼岩诗抄》3卷，诗词气韵高古，王室罕可匹俦。恭亲王府“天香庭院”匾额，为其手笔。",[24,64,95,332,96,7,98,33,99,119,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fba59fb50a5430b4c24d6daba636880.jpg",[],{"id":21213,"slug":21214,"title":21215,"dynasty":150,"author":4304,"museum":135,"description":21216,"tags":21217,"thumbUrl":21218,"material":229,"size":637,"collection":142,"collections":21219,"showCount":339,"zanCount":54,"manualWeight":54,"mainColor":55},290439,"dan-tai-chun-shang-tu-ke-luo-ban-lu-guang-290439","丹台春赏图（珂罗版）","此图绘远处层峦叠嶂，树木繁茂，山涧中房舍数问，炼丹石台一座；中景孤桥跨河两岸；近景松姿挺秀于溪岸。该图仿黄公望画风，笔苍墨健，境界缥悠。",[23,24,117,94,95,225,31,7,96,98,33,100,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06b2fe1a43f6f7452408d2f57ed3ba7d.jpg",[],{"id":21221,"slug":21222,"title":21223,"dynasty":150,"author":292,"museum":135,"description":13144,"tags":21224,"thumbUrl":21225,"material":229,"size":637,"collection":142,"collections":21226,"showCount":339,"zanCount":54,"manualWeight":54,"mainColor":55},290153,"xia-shan-gan-yu-tu-yi-ming-290153","夏山甘雨图",[24,95,94,225,7,96,67,11463,1711,98,256,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d181d3e90b756e1e1d386df91fa2fa8.jpg",[],{"id":21228,"slug":21229,"title":21230,"dynasty":344,"author":2071,"museum":135,"description":9086,"tags":21231,"thumbUrl":21232,"material":229,"size":637,"collection":142,"collections":21233,"showCount":339,"zanCount":54,"manualWeight":54,"mainColor":55},289933,"xia-wu-yin-mei-tu-zhou-wang-hui-289933","夏五吟梅图轴",[117,24,64,225,94,27,99,95,271,543,2301,32,7,97,122,98,100,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbb351758d9dedc7377576f498d8c508.jpg",[],{"id":21235,"slug":21236,"title":21237,"dynasty":18,"author":5268,"museum":135,"description":21238,"tags":21239,"thumbUrl":21241,"material":229,"size":637,"collection":142,"collections":21242,"showCount":339,"zanCount":54,"manualWeight":54,"mainColor":55},288042,"qun-xian-du-hai-tu-ye-ding-yun-peng-288042","群仙渡海图页","天启五年（1625）尚在作《白马驭经图》，瓒子，詹景凤门人。工书法，学钟繇、王羲之。画善白描人物、山水、佛像，无不精妙。白描酷似李公麟，设色学钱选。丝发之间而眉睫意态毕具，非笔端有神通者不能也。兼工山水、花卉。中年用笔细秀，略近文征明、仇英画法，晚年风格朴厚苍劲，自成一家。 [1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。",[23,24,117,138,94,30,95,10148,21240,10242,122,33,7,6568,119,3658],"渡海","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa756fff9ee608aeb8f33911396a94482.jpg",[],{"id":21244,"slug":21245,"title":21246,"dynasty":150,"author":3763,"museum":135,"description":18103,"tags":21247,"thumbUrl":21248,"material":229,"size":637,"collection":142,"collections":21249,"showCount":339,"zanCount":54,"manualWeight":54,"mainColor":109},287671,"fang-zheng-qian-lin-ting-qiu-shuang-tu-zhang-yu-287671","仿郑虔林亭秋爽图",[117,24,94,95,29,97,31,7,98,140,96,30,1758,1246,119,100,3784],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e9620ea01bc9dcbc4a772c93920f5a2.jpg",[],{"id":21251,"slug":21252,"title":21253,"dynasty":344,"author":2071,"museum":152,"description":9086,"tags":21254,"thumbUrl":21255,"material":103,"size":21256,"collection":142,"collections":21257,"showCount":339,"zanCount":54,"manualWeight":54,"mainColor":109},287446,"fang-li-ying-qiu-jiang-gan-qi-shu-tu-wang-hui-287446","仿李营丘江干七树图",[117,24,64,94,95,29,119,100,140,1397,7,96,170,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff309a0ed55d56fb2162e84b4c23405c5.jpg","96.4x54.6",[],{"id":21259,"slug":21260,"title":19978,"dynasty":18,"author":4786,"museum":135,"description":21261,"tags":21262,"thumbUrl":21263,"material":142,"size":142,"collection":142,"collections":21264,"showCount":339,"zanCount":54,"manualWeight":54,"mainColor":109},239195,"shan-chuan-ming-sheng-ce-song-xu-239195","这幅小品以淡设色铺展临江胜景，浅赭花青晕染远山，柔润山色裹挟朦胧雾气，黛墨点苔晕出山峦苍润肌理。雄踞矶头的楼阁层叠飞檐，丹楼黛瓦在烟水间格外醒目。江面上扁舟三两悠然泛波，细笔淡描水纹，晕开烟波浩渺之态。近岸村舍旌旗错落，晕开江畔烟火暖意，左侧山巅隐见层林古寺，与主楼遥遥呼应。\n\n画风清润淡雅，以平远构图铺展楚天开阔之境，将楼阁雄姿与烟江叠嶂相融，淡墨轻岚里晕开江汉间的灵动气韵，尽显潇湘烟水的空濛雅致，暗合文人山水的清远意趣。",[24,27,28,332,99,95,31,7,96,33,348,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1dc2c52a1351ba4ccb07944e50bdeb46.jpg",[],{"id":21266,"slug":21267,"title":21268,"dynasty":344,"author":16847,"museum":135,"description":21269,"tags":21270,"thumbUrl":21271,"material":142,"size":142,"collection":105,"collections":21272,"showCount":339,"zanCount":54,"manualWeight":54,"mainColor":109},238192,"shu-shan-guan-tu-zhou-li-shi-zhuo-238192","舒山馆图轴","李世倬[清]（1687―1770）字天章，一字汉章、天涛，别号十石居士、太平拙吏、伊祁山人、清在号谷斋，又号菉园、星厓，居士，奉天（今辽宁沈阳）人，一作三韩（今内蒙喀喇沁旗西南）人，隶籍汉军正黄旗。如龙子，高其佩（1672—1734）外甥。官至副都御史。曾任太常，人称李太常。\n善画山水、人物、花鸟、果品，各臻其妙。少随父宦游江南，见王翚（1632—1717）得其讲论，后与马逸游，故宗法纯正而笔亦秀隽。其人物，自言得吴道子水陆道场图而阅之，遂悟其法。其花鸟、果品各种写意，盖得诸舅氏之指墨而易以笔，故能各名一家。晚年喜用指墨作人物、花鸟小品，以焦墨细擦，颇得轻重浅深之致。年逾八旬犹能作画，书小楷。",[24,27,26,99,95,390,98,168,31,255,140,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97e170581d48db054aeb6b5322e7bd97.jpg",[105],{"id":21274,"slug":21275,"title":14674,"dynasty":18,"author":5389,"museum":135,"description":19324,"tags":21276,"thumbUrl":21277,"material":229,"size":637,"collection":142,"collections":21278,"showCount":339,"zanCount":54,"manualWeight":54,"mainColor":109},237967,"shan-shui-shan-ye-sun-zhi-237967",[24,64,1551,95,94,99,240,901,241,255,32,96,427,7,38,348,2662],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F547b5fb35dd83eb1ff533e6308387920.jpg",[],{"id":21280,"slug":21281,"title":21282,"dynasty":18,"author":20011,"museum":135,"description":20012,"tags":21283,"thumbUrl":21284,"material":229,"size":637,"collection":142,"collections":21285,"showCount":339,"zanCount":54,"manualWeight":54,"mainColor":109},237966,"he-tang-fan-zhou-tu-shan-liu-yuan-qi-237966","荷塘泛舟图扇",[24,64,1551,94,27,99,95,426,1242,96,31,7,33,934,256,3921],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0ea0ffcf3763bc718d1234df8dbfb2e.jpg",[],{"id":21287,"slug":21288,"title":5206,"dynasty":344,"author":5207,"museum":135,"description":5208,"tags":21289,"thumbUrl":21290,"material":142,"size":142,"collection":142,"collections":21291,"showCount":339,"zanCount":54,"manualWeight":54,"mainColor":109},237878,"yang-jin-fang-gu-shan-shui-ce-yang-jin-237878",[24,64,332,94,99,29,95,32,7,140,199,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9624ef0bbef52c8f0aaf71b18b601c96.jpg",[],{"id":21293,"slug":21294,"title":21295,"dynasty":18,"author":21296,"museum":135,"description":21297,"tags":21298,"thumbUrl":21299,"material":229,"size":637,"collection":142,"collections":21300,"showCount":339,"zanCount":54,"manualWeight":54,"mainColor":109},237844,"fang-huang-gong-wang-shan-shui-shan-sheng-dan-237844","仿黄公望山水扇","盛丹","盛丹，明代画家。字伯含，金陵（今南京）人。工画山水、花卉、兰竹等。山水得黄公望笔墨之法，萧疏风致。传世作品有《拟唐棣山水册页》等。",[24,64,1551,94,99,29,95,97,241,854,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1be4664a340f3b42f11f52ed49c37e5.jpg",[],{"id":21302,"slug":21303,"title":3580,"dynasty":344,"author":808,"museum":135,"description":1231,"tags":21304,"thumbUrl":21305,"material":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彦宗,又字子述",[24,94,332,99,95,96,255,199,97,7,256,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cf288a160fc81e09e1e83153a888f3a.jpg",[],{"id":21399,"slug":21400,"title":9065,"dynasty":344,"author":1527,"museum":135,"description":7684,"tags":21401,"thumbUrl":21402,"material":229,"size":637,"collection":142,"collections":21403,"showCount":339,"zanCount":54,"manualWeight":54,"mainColor":109},235344,"fang-gu-shu-hua-ce-wang-jian-235344",[24,64,332,27,94,95,32,7,97,33,98,76,100,119,99,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F802836747d6adab8d34e77331c97266c.jpg",[],{"id":21405,"slug":21406,"title":9065,"dynasty":344,"author":1527,"museum":135,"description":7684,"tags":21407,"thumbUrl":21408,"material":229,"size":637,"collection":142,"collections":21409,"showCount":339,"zanCount":54,"manualWeight":54,"mainColor":109},235338,"fang-gu-shu-hua-ce-wang-jian-235338",[24,117,64,332,27,94,99,101,100,95,32,7,140,170,33,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fc233811ed793ba119337b4d341e256.jpg",[],{"id":21411,"slug":21412,"title":21413,"dynasty":18,"author":7548,"museum":61,"description":21414,"tags":21415,"thumbUrl":21416,"material":142,"size":142,"collection":142,"collections":21417,"showCount":339,"zanCount":54,"manualWeight":54,"mainColor":109},235014,"le-zhi-lun-gui-qu-lai-ci-shu-hua-ce-zhang-rui-tu-235014","乐志论归去来辞书画册","该书画册为纸本，共11页，书及款7。页，墨笔画4页。\n题签：张二水书画合璧精品，渔隐题签。印文：骏叔。\n绘画部分题识：（一）白毫庵，瑞图作。印文：无画氏。（二）白毫庵，图。印文：张瑞图印。（三）白毫庵，图。印文：瑞图。（四）白毫庵，图。印文：瑞图。每页均有题句，其中两页录《归去来辞》句，其书分别为行书《乐志论》及“果亭山人瑞图”款；行书“归去来辞”。\n该作主要是以元代大画家黄公望的画法画出的，骨格苍劲，点染清逸，用笔颇有灵气，画面上山石、树木、楼阁、村舍皆刻划严谨，画境富于古意。其画皆山水，用笔秀逸，各有意境，颇得生机。\n第一幅绘雾松图，用的都是黄公望画法，第二幅溪桥雾霁图，画树法与王铎相仿，第三幅溪岸图，中锋行笔，超凡脱俗，落墨沉重，凛然生气，第四幅雪山寒松图，以偏锋笔力，劲健横撑，耸肩方折，风骨摇醉，恰似 他的那首诗句的境界：冻泉依细石，晴雪落长松。\n张瑞图（1570-1644），明代官员、书画家。字长公、无画，号二水、果亭山人、芥子、白毫庵主、白毫庵主道人等。汉族，晋江二十七都霞行乡人（今青阳镇莲屿下行）人。万历三十五年进士第三（探花），授翰林院编修，后以礼部尚书入阁，晋建极殿大学士，加少师。崇祯三年，因魏忠贤生祠碑文多其手书，被定为阉党获罪罢归。他以擅书名世，书法奇逸，峻峭劲利，笔势生动，奇姿横生，钟繇、王羲之之外另辟蹊径，为明代四大书法家之一，与董其昌、邢侗、米万钟齐名，有“南张北董”之号；又擅山水画，效法元代黄公望，苍劲有劲，作品传世极希。擅长行草书，书法奇逸，学钟、王。山水画学黄公望，苍劲有骨。与董其昌、邢侗、米万钟齐名，时称晚明四大家 。",[24,64,332,94,95,97,33,7,99,119,100,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9175b330d087781e104258966dc8b85d.jpg",[],{"id":21419,"slug":21420,"title":4655,"dynasty":344,"author":2071,"museum":135,"description":9086,"tags":21421,"thumbUrl":21422,"material":229,"size":637,"collection":142,"collections":21423,"showCount":339,"zanCount":54,"manualWeight":54,"mainColor":109},234963,"wang-hui-fang-gu-shan-shui-ce-wang-hui-234963",[24,64,332,94,99,29,95,241,32,7,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2c2256c7c79abd27570bee507128938.jpg",[],{"id":21425,"slug":21426,"title":4655,"dynasty":344,"author":2071,"museum":135,"description":9086,"tags":21427,"thumbUrl":21428,"material":229,"size":637,"collection":142,"collections":21429,"showCount":339,"zanCount":54,"manualWeight":54,"mainColor":109},234961,"wang-hui-fang-gu-shan-shui-ce-wang-hui-234961",[24,64,94,99,2880,332,95,33,98,32,7,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc97e93ee3df5c5120d255db227d823f.jpg",[],{"id":21431,"slug":21432,"title":21433,"dynasty":18,"author":251,"museum":135,"description":17600,"tags":21434,"thumbUrl":21435,"material":229,"size":637,"collection":142,"collections":21436,"showCount":339,"zanCount":54,"manualWeight":54,"mainColor":109},234840,"fang-bei-yuan-shan-shui-shan-ye-lan-ying-234840","仿北苑山水扇页",[1551,24,866,99,27,240,241,98,7,348,2662,140,351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f39de867eab103772580eacab4813bc.jpg",[],{"id":21438,"slug":21439,"title":21440,"dynasty":344,"author":2501,"museum":61,"description":21441,"tags":21442,"thumbUrl":21443,"material":142,"size":142,"collection":142,"collections":21444,"showCount":339,"zanCount":54,"manualWeight":54,"mainColor":109},234821,"qing-chu-liu-da-jia-ji-ce-shan-shui-ce-ye-wu-li-234821","清初六大家集册-山水册页","吴历（1632年—1718年），清代著名画家。本名启历，号渔山、桃溪居士。因所居有言子墨井，又号墨井道人。江苏常熟人。为“清初六家”之一。幼学画，稍长学琴。早年多与西人牧师、神父往来。1681年，吴历决意随柏应理神父赴罗马觐见教皇，原欲经澳门乘荷兰船赴欧洲，已至澳门，却未能成行，遂留居澳门约5个多月。1682年在澳门加入耶稣会，受洗名为西满·沙勿略，并遵习俗取葡式名雅古纳。常居圣保禄教堂，吟诗作画，有《渔山袖珍册》《白传湓江图卷》《秋山红叶图》等作品面世。此时他的绘画，明显有吸收西方绘画艺术之处。同时还著有《三巴集》，“三巴”即以其居地澳门圣保禄教堂之译音为名，其《澳门杂咏》30首，均与澳门有关，实为早期澳门重要的文学史料。1682年离澳，在江浙一带传教。卒于上海。",[24,64,332,94,95,96,7,99,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13d8c7036a760a53b283794514f30a12.jpg",[],{"id":21446,"slug":21447,"title":12048,"dynasty":344,"author":12049,"museum":61,"description":12050,"tags":21448,"thumbUrl":21449,"material":258,"size":142,"collection":142,"collections":21450,"showCount":339,"zanCount":54,"manualWeight":54,"mainColor":109},234766,"huang-shan-tu-ce-jiang-zhu-234766",[24,64,332,94,99,100,101,119,95,199,7,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5dea837a9d05ce0a8212a104026573d.jpg",[],{"id":21452,"slug":21453,"title":655,"dynasty":344,"author":3047,"museum":135,"description":21454,"tags":21455,"thumbUrl":21456,"material":142,"size":142,"collection":142,"collections":21457,"showCount":339,"zanCount":54,"manualWeight":54,"mainColor":109},234644,"shan-shui-ce-cha-shi-biao-234644","查士标（1615-1698），字二瞻，号梅壑散人，懒老。新安（今安徽休宁）人，流寓江苏扬州。明末秀才，入清后不应举，工研书画。精鉴赏，家藏多鼎彝及宋元人真迹。书法学董其昌，纵逸处近米芾。他的闲散情怀决定了他的绘画气质亦是风神懒散、气韵高逸。",[24,64,332,94,101,95,241,97,32,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7e9d06e411b9b13d70f95bc92270295.jpg",[],{"id":21459,"slug":21460,"title":20072,"dynasty":344,"author":21461,"museum":135,"description":21462,"tags":21463,"thumbUrl":21464,"material":142,"size":142,"collection":142,"collections":21465,"showCount":339,"zanCount":54,"manualWeight":54,"mainColor":109},234613,"shan-shui-wan-shan-zhang-zhi-wan-234613","张之万","张之万，字子青，直隶南皮人（今河北省南皮县人）。道光二十七年（１８４７）以一甲一名中进士，授翰林院修撰，咸丰二年（１８５２）出督河南学政，累迁内阁学士，擢礼部侍郎，兼署工部。尝与太常寺卿许彭寿等总结历代帝王及垂帘事迹，汇辑成《治平宝鉴》，以备帝王借鉴自省。同治元年（１８６２），署理河南巡抚，时捻军起义，张之万在河南汝洲、开封等地多次围剿捻军，捷报频传，赏头品顶戴、赐花翎。之后调任江苏巡抚、迁浙闽总督。光绪八年（１８８２）起兵部尚书，调刑部。光绪十年（１８８４）入军机，兼署吏部，光绪十五年（１８８９），授体仁阁大学士，转东阁，赐双眼花翎，并赐用紫缰（清代对于皇室近支和有功勋的官员，特许骑马用紫缰）。光绪丁酉年（１８９７）卒，年８７，赠太傅，谥文达。\n张之万生平襟怀旷远，不见欣戚之色；其在师中，临危制变，不动声色；善于择将，拔张曜、宋庆等于稠人之中，这些将领均以战功显明于世；居政府１３年，让功推能，人尤称其相度。\n世人或知张之万政绩卓著，战功显赫，然其生性儒雅，工书善画能诗也许少为人知。石家庄市博物馆收藏有张之万书画作品数幅，现择取有代表性的两幅与诸君共赏。",[24,64,117,1551,94,99,95,32,7,168,33,171,543,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4a8ec8604d5c6b10775e960b4391e4e.jpg",[],{"id":21467,"slug":21468,"title":21469,"dynasty":344,"author":21470,"museum":135,"description":21471,"tags":21472,"thumbUrl":21473,"material":142,"size":142,"collection":142,"collections":21474,"showCount":339,"zanCount":54,"manualWeight":54,"mainColor":109},234609,"chun-gou-ting-tu-wan-shan-yang-liu-gu-234609","春钩艇图纨扇","杨柳谷","杨柳谷清江苏常熟人。柳桥弟，画如其兄。\n按《韬养斋笔记》有杨念伯字柳谷，以字行。善画柳，设色参以西法，尤觉生动。山水清超绝俗，尤擅摹古。当为一人。嘉庆十八年（1813年）作山水图，现存北京故宫博物院。其一子，杨裕晖，字少古，善画，能续家法，稍逊乃翁。",[117,24,64,1551,27,99,95,378,120,96,7,2008,1109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d8acf6efc66be6f463452bc717e516a.jpg",[],{"id":21476,"slug":21477,"title":21478,"dynasty":344,"author":2071,"museum":61,"description":21479,"tags":21480,"thumbUrl":21481,"material":7171,"size":21482,"collection":142,"collections":21483,"showCount":339,"zanCount":54,"manualWeight":54,"mainColor":109},234497,"xiu-zhu-you-ting-zhou-wang-hui-234497","修竹幽亭轴","王翚（1632—1717），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江苏常熟人。清代著名画家，著有《清晖画跋》。其画法精能、风格多样，在清代极负盛名。尝于康熙三十年（1691）奉诏入京主持《康熙南巡图》的绘制，功成后受到皇太子胤礽召见。胤礽绘扇书以“山水清 晖”四字作为褒奖。时人目为画之正宗，尊称“画圣”。他与王时敏、王鉴、王原祁合称“四王”，又与吴历、恽寿平并称“清初六家”或“四王吴恽”。王翚追随者甚众，因常熟有虞山，故后人将他及其弟子一派称为“虞山画派”。\n王翚自幼嗜画，继承家学，很早便表现出非凡的绘画才能，师从王时敏、王鉴后，境界大进。一生画腊极长，精力旺盛，创作巨富。他笔墨功底深厚，长于摹古，几可乱真，又能不囿成法、师法自然。王翚虽然是职业画家，但与文人政要广泛交往，深受“文人画”精神影响，其山水力作往往构图多变、皴擦得法、格调明快，富有写生意趣及抒情性。王翚创作广采博览，集唐宋以来诸家之大成，于临仿中不断取舍，终能熔“南宗”“北宗”画法于一炉。在全面整理山水画传统技法的基础上，形成了具有个人风格的笔墨特点和概括性的构图法则，并提出“以元人笔墨，运宋人丘壑，而泽以唐人气韵”的论画主张，影响深远。但其晚年的程式化风格也颇为后人诟病，并为“虞山画派”后来的发展埋下了隐患。",[24,64,117,225,94,99,95,543,97,96,98,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbc40584b392379435fae2f0f0f1741e.jpg","纵129.5cm，横43.3cm",[],{"id":21485,"slug":21486,"title":21487,"dynasty":344,"author":292,"museum":135,"description":20771,"tags":21488,"thumbUrl":21489,"material":229,"size":637,"collection":142,"collections":21490,"showCount":339,"zanCount":54,"manualWeight":54,"mainColor":109},234438,"zhu-tu-ban-tuo-jia-zun-zhe-tang-ka-yi-ming-234438","注荼半托迦尊者唐卡",[6445,4257,598,27,26,30,31,7,33,1288,6446,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa25c49ce35e22f869389b92aec6bb4aa.jpg",[],{"id":21492,"slug":21493,"title":2775,"dynasty":18,"author":645,"museum":135,"description":3782,"tags":21494,"thumbUrl":21495,"material":142,"size":142,"collection":142,"collections":21496,"showCount":339,"zanCount":54,"manualWeight":54,"mainColor":109},234116,"shan-shui-tu-juan-tang-yin-234116",[24,64,25,27,99,101,100,119,95,96,7,97,122,140,199,32,256],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17c60faca73548e694ea110cd96edf3b.jpg",[],{"id":21498,"slug":21499,"title":21500,"dynasty":18,"author":21501,"museum":61,"description":21502,"tags":21503,"thumbUrl":21504,"material":335,"size":142,"collection":142,"collections":21505,"showCount":339,"zanCount":54,"manualWeight":54,"mainColor":109},233852,"shi-hua-he-bi-ce-zhou-yong-233852","诗画合璧册","周用","周用（1476—1547，一作1476-1548），字行之，号伯川，南直隶苏州府吴江县（今江苏省苏州市吴江区）人。弘治十五年（1502）进士，授行人。正德初，迁南京兵科给事中，进言谏迎佛事及镇守江西中官不法事，迁广东布政司参议。嘉靖中，历官南京工部、刑部尚书。九庙灾，自陈致仕。后以工部尚书总督河道，官至吏部尚书。\n周用，字行之，吴江人。弘治十五年进士。授行人。正德初，擢南京兵科给事中。父忧服阕，留补礼科。已，乞南。改南京兵科。谏迎佛乌斯藏及以中旨迁黜尚书、都给事中等官，且请治镇守江西中官黎安罪。出为广东参议，预平番禺盗，有功。历浙江、山东副使。擢福建按察使，改河南右布政使。代监司鞫南阳滞狱，狱为之空。嘉靖八年擢右副都御史，巡抚南、赣。召协理院事。历吏部左、右侍郎。以起废不当，尚书汪鋐委罪僚属，乃调用南京刑部。就迁右都御史，工、刑二部尚书。九庙灾，自陈致仕。用端亮有节概。既罢，中外皆惜之，频有推荐。久之，以工部尚书起督河道，数月，改漕运。未上，召拜左都御史。二品九年满，加太子少保。二十五年代唐龙为吏部尚书。明年卒官。赠太子太保，谥恭肃。曾孙宗建，自有传。\n用掌宪时，慎自持而已，无所献替。其后宋景、屠侨继之，大略皆廉洁，与用相似。景未久卒，而侨居职八年。属严嵩柄政，风纪不振。议丁汝夔狱，受杖不能去。",[24,94,27,99,332,30,95,168,98,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03965c72de7d999242405e95de2efc12.jpg",[],{"id":21507,"slug":21508,"title":21509,"dynasty":344,"author":21510,"museum":61,"description":21511,"tags":21512,"thumbUrl":21513,"material":258,"size":21514,"collection":142,"collections":21515,"showCount":339,"zanCount":54,"manualWeight":54,"mainColor":109},233377,"hua-shen-lin-yuan-feng-shan-diao-tu-zhou-xu-gu-233377","画沈麟元篈山钓徒轴","虚谷","图绘梅鹤双清之景。茁壮的梅树，其交错穿插的细枝和星星点点的花朵打破了画面的整体空间。作者着意在梅树干上绘两只仙鹤，它们淡然闲适的神态为画面增添了祥和的生趣，其平整的造型则统一了原本过于细碎的画面，由此可见作者巧于构思和化零为整的能力。",[24,64,225,94,27,30,95,199,7,306,119,100,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec751d2727b05081fc4bed5c706e39f4.jpg","纵248.7厘米，横121.1厘米",[],{"id":21517,"slug":21518,"title":21519,"dynasty":18,"author":90,"museum":61,"description":18367,"tags":21520,"thumbUrl":21521,"material":4790,"size":18370,"collection":142,"collections":21522,"showCount":339,"zanCount":54,"manualWeight":54,"mainColor":109},233137,"ming-ren-xi-shan-sheng-jing-he-bi-ce-xin-guo-tu-ye-shen-zhou-233137","明人西山胜景合壁册-新郭图页",[24,64,332,94,95,32,7,76,33,101,100,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55f3bdabed4bfe76d9c471868a7a47b2.jpg",[],{"id":21524,"slug":21525,"title":13655,"dynasty":344,"author":13656,"museum":135,"description":21526,"tags":21527,"thumbUrl":21529,"material":142,"size":142,"collection":142,"collections":21530,"showCount":339,"zanCount":54,"manualWeight":54,"mainColor":55},231045,"shen-zhu-you-ju-tu-cheng-sui-231045","以渴笔焦墨写就全篇，山峦以短皴密点层叠铺展，带着金石篆刻般的苍茫朴拙质感，苍郁厚重间尽显山野沉浑气象。\n\n溪湾错落，板桥连通山居，幽篁掩映着矮屋茅舍，暗涌村居烟火暖意。水面扁舟随波轻漾，滩头幽人独立凭眺，将林泉高致与乡野闲趣揉为一体。\n\n全作未施丹青，仅以枯涩墨色分出远近层次，简淡萧疏间烘托出荒寒静谧的幽居氛围，把文人遁世丘园的雅逸襟怀，藏在每一处皴擦点染之中。",[23,24,94,99,225,95,1177,76,32,7,96,98,33,351,21528],"渴墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04295a7113b02787af3ec000e8944c9e.jpg",[],{"id":21532,"slug":21533,"title":21534,"dynasty":344,"author":21535,"museum":135,"description":21536,"tags":21537,"thumbUrl":21538,"material":142,"size":142,"collection":142,"collections":21539,"showCount":339,"zanCount":54,"manualWeight":54,"mainColor":109},230173,"xi-shan-cun-zhuang-tu-cheng-si-li-230173","溪山村庄图","程嗣立","此作用焦墨干笔绘就山居之景。层峦错落铺展，长松下隐现数椽村居，清溪萦回，板桥轻跨，杂木萧疏生趣盎然。以枯淡劲挺的线条勾勒山石轮廓，皴擦简括老辣，全凭墨色浓淡分出丘壑层次，不施粉彩，尽显山野萧疏清寂之态。画面两侧题跋与山水相映，文气融于笔墨间，将幽居林下的澹泊襟怀寄寓其中，以清简之笔写尽林泉高致，尽显文人山水画简淡冲和的美学意趣。",[23,24,64,225,94,99,95,2075,32,7,33,98,76,119,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6c3fe4a576ada7779c6aaae7dbfd9bb.jpg",[],{"id":21541,"slug":21542,"title":21543,"dynasty":18,"author":292,"museum":135,"description":21544,"tags":21545,"thumbUrl":21546,"material":142,"size":142,"collection":142,"collections":21547,"showCount":339,"zanCount":54,"manualWeight":54,"mainColor":55},228796,"li-cong-xun-kuan-hua-zhao-zi-ang-shu-le-zhi-lun-juan-yi-ming-228796","李从训（款）画赵子昂书乐志论卷","此作用笔细劲工致，青绿设色调古雅沉静，以长卷铺展山居雅境。左幅松石苍古、塘生芙蕖，二雅士林泉晤谈，幽寂清远；中段院宇轩窗洞开，宾主围坐宴饮清谈，仆从侧立侍奉，人物情态鲜活灵动，尽显园居雅集意趣；右幅竹柳垂丝、回廊逶迤，衬出深宅清寂安闲。画面疏密得宜，移步换景，将文人寄兴丘园、乐志林泉的隐逸襟怀，融在花木亭台与日常闲趣之中，恬淡安和，尽显古典园居的雅致韵致。",[23,24,25,27,26,28,30,31,33,378,98,39,122,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F729837735001f587a250ddbc621c9924.jpg",[],{"id":21549,"slug":21550,"title":9402,"dynasty":18,"author":9403,"museum":135,"description":21551,"tags":21552,"thumbUrl":21553,"material":142,"size":142,"collection":142,"collections":21554,"showCount":339,"zanCount":54,"manualWeight":54,"mainColor":109},228489,"fang-gu-shan-shui-ce-yun-xiang-228489","此作用笔松秀简净，以浅淡青绿晕染远山，烟岚轻笼山峦，将春山晕化为朦胧柔美的黛色剪影，悠远空寂。近岸老树虬枝舒展，枯荣相衬，坡岸错落间水面静敛，渔舟横陈，村舍掩映在淡雾中，江南平畴的清寂春景宛在眼前。\n\n画作师法宋元古意，以淡墨浅彩营造出空灵简淡的意境，不着意雕琢刻画，将山水的静穆生机融于氤氲烟霭里，尽显文人画冲和淡远的审美意趣，悠悠古意随淡彩墨韵漫开，藏着文人寄情林泉的悠然意绪。",[24,64,332,27,118,95,29,99,96,140,98,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0d9cd7eb052e45097c71bd2f625593c.jpg",[],{"id":21556,"slug":21557,"title":21558,"dynasty":18,"author":1780,"museum":135,"description":21559,"tags":21560,"thumbUrl":21561,"material":142,"size":142,"collection":142,"collections":21562,"showCount":339,"zanCount":54,"manualWeight":54,"mainColor":109},228373,"yu-cun-xi-zhao-tu-ye-chen-huan-228373","渔村夕照图页","平远铺展水岸村居，淡墨轻岚晕染暮色朦胧，杨柳垂绦拂过漾漾水波，错落村舍隐在林烟之间，远山浅黛衔着晚日余晖，将江南渔村的恬然暮色晕染开来，处处漫着水乡暮归的松弛暖意。\n\n左侧题诗笔致隽秀飘逸，诗画相映，把渔樵待归的悠然意境烘托得愈发悠长，尽显文人画诗书画合一的雅致格调，将寻常村居的烟火诗意凝于尺幅间，淡朴温润，余韵悠悠。",[23,24,64,332,27,94,101,95,378,32,7,30,76,33,1001,2959],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff75cb1ac73c38c3615b0b45103e7c3ca.jpg",[],{"id":21564,"slug":21565,"title":21566,"dynasty":150,"author":292,"museum":135,"description":21567,"tags":21568,"thumbUrl":21569,"material":142,"size":142,"collection":142,"collections":21570,"showCount":339,"zanCount":54,"manualWeight":54,"mainColor":109},228192,"dong-jing-shan-shui-tu-tuan-shan-yi-ming-228192","冬景山水图团扇","此作以全景铺陈冬日丘壑，构图繁密却层次井然。山峦以苍劲的墨笔勾皴，浓淡晕染出山岩的嶙峋骨相，峰顶隐于淡墨烟霭之中，晕出隆冬空蒙萧寒的氛围。虬曲的枯木虬枝如铁，交错于山石林间，尽显冬日荒寒萧索。\n\n山坳间的幽居屋舍，为清寂山林晕开一丝暖意，将山野的静穆与山居的幽隐相融。全作用墨沉郁古雅，以浓淡变化区分山石阴阳向背，枯涩的笔意尽写冬日山林的清寥，暗合林泉高致的隐逸之思，把冬日山野的荒寒淡远与幽居意趣揉合，意境静雅清和。",[23,24,64,1551,95,99,27,1397,140,170,32,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F074e681fea99720c55e7ea2cf24efa41.jpg",[],{"id":21572,"slug":21573,"title":21574,"dynasty":59,"author":292,"museum":135,"description":21575,"tags":21576,"thumbUrl":21577,"material":142,"size":142,"collection":142,"collections":21578,"showCount":339,"zanCount":54,"manualWeight":54,"mainColor":55},227877,"liu-yin-zui-gui-tu-ye-yi-ming-227877","柳荫醉归图页","淡墨晕染出朦胧暮色，岸旁垂柳虬曲柔条拂垂，晕染出郊野空寂慵懒的氛围。画面里二人踉跄前行，袒胸老者脚步虚浮、眉眼惺忪，同伴侧身相挽，将酒后酣醉的神态描摹得鲜活传神。衣纹以简练折线勾勒，灵动写意，袒露的胸腹更添随性不羁之感。细笔点染的苔石杂草，衬出初夏郊野的闲散意趣。\n\n整幅小品以小见大，将市井酒徒的闲散意趣刻画入微，于淡墨轻岚间尽显宋人雅致的日常烟火，把酒后踉跄相依的鲜活模样定格，是极具生活意趣的风俗佳作。",[23,117,24,64,1551,94,27,138,30,934,241,7,8017],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb07731deb8fe6e8511dbfea680bcab0c.jpg",[],{"id":21580,"slug":21581,"title":9402,"dynasty":344,"author":2501,"museum":135,"description":21582,"tags":21583,"thumbUrl":21584,"material":142,"size":142,"collection":142,"collections":21585,"showCount":339,"zanCount":54,"manualWeight":54,"mainColor":55},224489,"fang-gu-shan-shui-ce-wu-li-224489","此作用墨苍润清逸，远景山峦以浓淡墨色层叠晕染，峰岫间留白作云气，晕出山影空濛悠远的层次感。近渚汀岸以干笔淡墨勾勒，间以浓墨点苔写林木，简笔轻描村居茅舍，错落隐于烟树之间。\n\n整幅构图疏密相宜，以留白衬出水乡的空阔静穆，干湿互用的笔墨带着松秀苍劲的质感，将江南水畔林泉栖居的闲淡意趣铺展开来，萧散静谧的古韵漫溢其间，仿若引人身临这山水幽居，共赴隐逸悠然的林下之境。",[117,24,64,332,94,99,95,32,7,33,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F753cd9e04c73c33b73d3d06de173f862.jpg",[],{"id":21587,"slug":21588,"title":21589,"dynasty":344,"author":8267,"museum":135,"description":21208,"tags":21590,"thumbUrl":21591,"material":229,"size":637,"collection":142,"collections":21592,"showCount":339,"zanCount":54,"manualWeight":54,"mainColor":109},224346,"yan-liu-fu-qing-yun-xi-224346","烟柳浮青",[23,24,64,27,95,934,76,32,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e304ac9be4b8cdba4fd199f703a2578.jpg",[],{"id":21594,"slug":21595,"title":606,"dynasty":344,"author":5786,"museum":135,"description":21596,"tags":21597,"thumbUrl":21598,"material":142,"size":142,"collection":142,"collections":21599,"showCount":339,"zanCount":54,"manualWeight":54,"mainColor":109},224263,"shan-shui-tu-zhang-zong-cang-224263","此作用笔苍劲老辣，山石以干笔皴擦，缀以浓墨点苔，尽显崖壁厚重雄浑。右侧危峰拔地而起，隐见飞瀑垂落，左侧林麓苍郁，杂木间晕染赭红花青，暗合秋意。\n\n溪泉蜿蜒穿谷，山居藏于幽林，水面扁舟轻泛，远景水天一色，构图兼取高远、平远，层次悠长。搭配题诗与朱印，诗书画印浑然一体，将秋山的清疏旷远与林下幽居的雅趣相融，兼具雄奇气象与秀润诗意，意境澹宕空灵。",[23,24,64,225,27,94,95,7,96,33,98,119,101,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ab82f87f0726486e943e9a0edd8c887.jpg",[],{"id":21601,"slug":21602,"title":21603,"dynasty":344,"author":292,"museum":152,"description":21604,"tags":21605,"thum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所以，英皇是寿宴。 官在12屏，候车总人数，百亭，小亭，流水，台桥。 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花鸟杂画，信手拈来，颇有奇趣。草虫书法工写兼备，其画风在明中期 别成一格。",[23,9133,24,64,117,94,138,3016,30,95,199,7,21630,119],"野草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6615cbc99ad94c1f93fcbe8e64ec18c4.jpg","纵28.5 厘米横46.5 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用陶瓷、竹木、等制成的筒形插笔器具。笔筒是搁放毛笔的专用器物，据文献记载，它的材质有镏金、翡翠、紫檀和乌木，现在我们能够见到的传世器物，大多是用瓷或者是竹木制作的。具有收藏价值。",[19354,21969,21970,2269,19334,543,98,7,21971,27],"粉彩","笔筒","文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cb2761a33b868b65f78b8c69049f1ef.jpg",[],{"id":21975,"slug":21976,"title":21977,"dynasty":344,"author":292,"museum":135,"description":21978,"tags":21979,"thumbUrl":21983,"material":229,"size":637,"collection":142,"collections":21984,"showCount":442,"zanCount":54,"manualWeight":54,"mainColor":55},258526,"qian-long-kuan-lv-di-fen-cai-chan-zhi-lian-kai-guang-ying-xi-tu-shuang-er-bian-ping-yi-ming-258526","乾隆款绿地粉彩缠枝莲开光婴戏图双耳扁瓶","陶瓷是陶器与瓷器的统称，同时也是我国的一种工艺美术品，远在新石器时代，我国已有风格粗犷、朴实的彩陶和黑陶。陶与瓷的质地不同，性质各异。陶，是以粘性较高、可塑性较强的粘土为主要原料制成的，不透明、有细微气孔和微弱的吸水性，击之声浊。瓷是以粘土、长石和石英制成，半透明，不吸水、抗腐蚀，胎质坚硬紧密，叩之声脆。我国传统的陶瓷工艺美术品，质高形美，具有高度的艺术价值，闻名于世界。",[19354,21969,27,4257,21980,21981,21982,9741,31,32,7,33,98,4592],"开光","缠枝莲","婴孩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8df19a7d6e624242738c45784dba91ce.jpg",[],{"id":21986,"slug":21987,"title":19978,"dynasty":18,"author":4786,"museum":135,"description":21988,"tags":21989,"thumbUrl":21990,"material":142,"size":142,"collection":142,"collections":21991,"showCount":442,"zanCount":54,"manualWeight":54,"mainColor":109},239196,"shan-chuan-ming-sheng-ce-song-xu-239196","此作以平远之法绘就江南水色，开阔湖面铺展画面，汀渚错落浮沉于烟波间，远山以淡墨轻扫，晕染出朦胧悠远的天际。近岸林木蓊郁，古木扶疏间隐现朱檐楼阁与临水廊榭，雅致静谧。水面之上渔舟泛波、飞鸟掠影，灵动点缀间漾开鲜活生机。\n\n笔墨简淡秀润，以赭色轻敷底色，整体设色清雅古朴，将江南水畔的悠然野趣尽数铺陈，笔墨间裹挟着文人心底的闲淡意绪，尽显空灵疏朗的山水意韵。",[24,27,332,95,99,33,31,32,7,96,122,348,1045,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F536f529cbe3ea7f7312d041f06ba0ec3.jpg",[],{"id":21993,"slug":21994,"title":19978,"dynasty":18,"author":4786,"museum":135,"description":14936,"tags":21995,"thumbUrl":21996,"material":142,"size":142,"collection":142,"collections":21997,"showCount":442,"zanCount":54,"manualWeight":54,"mainColor":55},239188,"shan-chuan-ming-sheng-ce-song-xu-239188",[24,64,332,27,95,96,122,97,33,171,7,1001,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4beed5e7c4bbda589082a4279bbfbf2b.jpg",[],{"id":21999,"slug":22000,"title":22001,"dynasty":344,"author":292,"museum":135,"description":22002,"tags":22003,"thumbUrl":22004,"material":142,"size":142,"collection":105,"collections":22005,"showCount":442,"zanCount":54,"manualWeight":54,"mainColor":262},238893,"dong-gao-chun-hua-ji-qing-ce-yi-ming-238893","董诰春华集庆册","这是诗画合璧的雅致册页，上下两开各揽一境。上开绘庭院春景，亭台依着花木错落，嫩色初绽的枝桠探入闲庭，将春日闲居的恬然藏在方寸之间。下开写汀渚泛舟，柳丝蘸着春水漾开涟漪，扁舟悠游，尽揽江野春柔。\n\n设色清妍秀润，勾勒温婉细腻，工致中带着写意松弛。配书小楷隽秀端丽，诗书画意相融，将文人情思寄寓春日景致里。浅淡笔墨晕开江南春日元气，静赏间便能触摸清和雅致的春日意趣，余韵悠长。",[24,64,332,27,26,95,97,32,7,788,2301,120,31,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbc3ea22d6afddc092a8d36cd92c6dd4.jpg",[105,83],{"id":22007,"slug":22008,"title":8450,"dynasty":344,"author":7944,"museum":135,"description":7945,"tags":22009,"thumbUrl":22010,"material":142,"size":142,"collection":142,"collections":22011,"showCount":442,"zanCount":54,"manualWeight":54,"mainColor":109},238818,"dong-gao-lv-xuan-shao-jing-ce-dong-gao-238818",[24,64,332,27,95,26,99,32,7,30,76,98,120,390,33,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0d45dcffa582ad09361b4fe6129d7e2.jpg",[],{"id":22013,"slug":22014,"title":5530,"dynasty":18,"author":292,"museum":135,"description":22015,"tags":22016,"thumbUrl":22017,"material":229,"size":637,"collection":142,"collections":22018,"showCount":442,"zanCount":54,"manualWeight":54,"mainColor":109},238573,"ming-ren-sheng-ping-yi-zan-tu-bing-shu-zan-ce-yi-ming-238573","画面左右泾渭分明，左侧仙官仪仗整肃，祥云缭绕间，仪卫甲胄鲜明、执仗拱卫，一派天界雍容端严之态；右侧山坳幽僻处，炮烙、水溺诸般酷刑森然罗列，受刑者形色凄楚哀苦，阴惨之气扑面而来。\n\n设色古雅妍丽，线条纤细遒劲，工笔描摹入微。以强烈视觉对比，将善恶果报的劝世意涵铺展于纸面，绘尽神佛威仪与地狱怖色，把传统因果教化具象成鲜活可观的图景，尽显精工质感，藏着醒世警俗的深沉内核。",[24,27,26,332,30,241,7,32,98,6446,4592],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb808f81ce39ea40ac92eccb169d40ce2.jpg",[],{"id":22020,"slug":22021,"title":655,"dynasty":344,"author":6611,"museum":135,"description":16414,"tags":22022,"thumbUrl":22023,"material":142,"size":142,"collection":105,"collections":22024,"showCount":442,"zanCount":54,"manualWeight":54,"mainColor":55},238312,"shan-shui-ce-dong-bang-da-238312",[24,94,99,332,95,32,7,96,33,76,170,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F401a8f7deacb8e6ea14fd07f3dd0895c.jpg",[105,83],{"id":22026,"slug":22027,"title":22028,"dynasty":344,"author":11082,"museum":135,"description":22029,"tags":22030,"thumbUrl":22031,"material":142,"size":142,"collection":142,"collections":22032,"showCount":442,"zanCount":54,"manualWeight":54,"mainColor":109},238103,"hong-wu-shan-shui-ce-hong-wu-238103","弘旿山水册","爱新觉罗·弘旿（1743-1811），清朝宗室、画家。字卓亭，号恕斋，一号醉迂，别号瑶华道人，又号一如居士。康熙帝爱新觉罗·玄烨孙，爱新觉罗·胤秘第二子。封固山贝子，两次缘事革退，复赏封奉恩将军。能诗，工书、画，以三绝称。弘旿工画，师董邦达，自署瑶华道人，名与紫琼道人胤禧并。论者称其“山水得董、黄之妙谛。”永珠既夺爵 [1] ，以弘旿孙绵勋袭贝子。子孙递降，以镇国公世袭。\n观其传世作品，似受董邦达影响为多。此卷笔墨秀润，细皴密擦，林麓滃郁华滋，功力不浅。卷末落“臣”字款，又自称“恭绘”，可见是进御之作。《石渠宝笈》著录弘旿画计有三十多件，内府收藏的估计还有不少。可见弘旿作画之勤，亦可见乾隆对这位同宗兄弟笔墨的赞许。但从流传的弘旿作品看，此卷却是其中极为精彩的一幅，且保存完好，值得珍视。",[24,94,99,100,119,332,95,240,7,97,122,140,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ea702a0b848736e7d8aabe7965edd89.jpg",[],{"id":22034,"slug":22035,"title":22036,"dynasty":18,"author":22037,"museum":135,"description":22038,"tags":22039,"thumbUrl":22040,"material":229,"size":637,"collection":142,"collections":22041,"showCount":442,"zanCount":54,"manualWeight":54,"mainColor":109},237378,"mo-chou-hu-shan-zhang-han-237378","莫愁湖扇","张瀚","张瀚（1510—1593），字子文，号元洲 ，谥恭懿。明朝仁和（今浙江杭州）人。嘉靖十四年（1535）进士，授南京工部主事，历任庐州、大名知府、陕西左布政使、右副都御史、大理寺卿、刑部右侍郎、兵部侍郎、南京右都御史、工部尚书、吏部尚书。\n因与张居正朝议多不合，辞归故里，把平生所见所闻著录成《松窗梦语》，记载了明代经济、社会、文化、民情风俗等方面资料，对研究明代社会经济、商业贸易有重要参考价值。",[24,64,1551,27,94,99,32,7,76,33,378,1388,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc84246136b7c834be2cf97455cb8398f.jpg",[],{"id":22043,"slug":22044,"title":22045,"dynasty":344,"author":22046,"museum":135,"description":22047,"tags":22048,"thumbUrl":22049,"material":142,"size":142,"collection":142,"collections":22050,"showCount":442,"zanCount":54,"manualWeight":54,"mainColor":109},237171,"tang-ren-shi-yi-shan-shui-ce-xiang-mu-zhi-237171","唐人诗意山水册","项穆之","项穆之［清·乾隆］，生卒年不详，字莘甫，南京人。适庵孙。善画山水，能继祖业。高宗南巡，诸大府延入画局，一切名胜图绘，皆其主裁。",[24,64,332,27,99,95,30,122,241,1242,7,199,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F739b27baa7d852c5ae0f2b5a8fe4270d.jpg",[],{"id":22052,"slug":22053,"title":22054,"dynasty":344,"author":22055,"museum":135,"description":22056,"tags":22057,"thumbUrl":22058,"material":335,"size":142,"collection":142,"collections":22059,"showCount":442,"zanCount":54,"manualWeight":54,"mainColor":109},237069,"bu-jing-gu-chen-song-mei-guan-he-tu-xiang-bing-fu-shan-shui-ce-xu-zuo-237069","补景古臣松梅观鹤图像并附山水册","徐佐","此作用笔简淡松灵，以浅绛轻敷山水。层峦温润苍秀，林木枯荣交错，村居隐于林麓，板桥横溪渡水，疏密相宜间铺展出清寂淡远的山居胜境。干笔皴擦摹写山石肌理，枯木枝桠苍劲老辣，尽显山野清旷之态。\n\n左侧行书题识与山水合璧，笔墨萧散简逸，将寄情林泉的隐逸诗意融于尺幅之中，尽显幽居林下、观物寄兴的文人雅怀，是文人画诗书画意相融的典型之作。",[24,64,332,94,99,95,32,97,33,98,31,100,119,7,38,8282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3408920150f75610ff68e341a6566a69.jpg",[],{"id":22061,"slug":22062,"title":655,"dynasty":18,"author":4786,"museum":61,"description":4787,"tags":22063,"thumbUrl":22064,"material":4790,"size":4791,"collection":142,"collections":22065,"showCount":442,"zanCount":54,"manualWeight":54,"mainColor":109},236908,"shan-shui-ce-song-xu-236908",[24,64,332,94,27,99,95,168,32,7,33,98,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2f50c72816fffe8cbf23304031d9beb.jpg",[],{"id":22067,"slug":22068,"title":7710,"dynasty":18,"author":2928,"museum":135,"description":21339,"tags":22069,"thumbUrl":22070,"material":142,"size":142,"collection":142,"collections":22071,"showCount":442,"zanCount":54,"manualWeight":54,"mainColor":109},236407,"xiao-xiang-ba-jing-ce-wen-jia-236407",[24,64,332,94,99,95,96,7,33,348,256],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17840496ebd71800766d5e7df5ecb21f.jpg",[],{"id":22073,"slug":22074,"title":7710,"dynasty":18,"author":2928,"museum":135,"description":21339,"tags":22075,"thumbUrl":22076,"material":142,"size":142,"collection":142,"collections":22077,"showCount":442,"zanCount":54,"manualWeight":54,"mainColor":109},236406,"xiao-xiang-ba-jing-ce-wen-jia-236406",[24,94,95,332,99,96,7,33,348,1045],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bde81821e696b755d18fe93ab41a32d.jpg",[],{"id":22079,"slug":22080,"title":888,"dynasty":18,"author":5268,"museum":135,"description":22081,"tags":22082,"thumbUrl":22083,"material":142,"size":142,"collection":105,"collections":22084,"showCount":442,"zanCount":54,"manualWeight":54,"mainColor":109},236390,"shan-shui-zhou-ding-yun-peng-236390","丁云鹏是中国明代画家，于1547年出生，字南羽，号圣华居士，安徽休宁人。\n天启五年（1625）尚在作《白马驭经图》，瓒子，詹景凤门人。工书法，学钟繇、王羲之。画善白描人物、山水、佛像，无不精妙。白描酷似李公麟，设色学钱选。丝发之间而眉睫意态毕具，非笔端有神通者不能也。兼工山水、花卉。中年用笔细秀，略近文征明、仇英画法，晚年风格朴厚苍劲，自成一家。 [1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。",[24,64,225,94,27,95,33,98,32,7,30,119,99,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25ec58e07d94572dafafeadfb20222cb.jpg",[105,83],{"id":22086,"slug":22087,"title":22088,"dynasty":344,"author":9964,"museum":61,"description":22089,"tags":22090,"thumbUrl":22091,"material":946,"size":22092,"collection":142,"collections":22093,"showCount":442,"zanCount":54,"manualWeight":54,"mainColor":109},236123,"shan-shui-lou-ge-ce-chen-mei-236123","山水楼阁册","陈枚在绘画上受到郎世宁的影响，运用了一些西洋的透视画法，表现出物象的立体感。他曾“以海西法于寸纸尺缣图群山万壑，峰峦林木，屋宇桥梁。”此册以中西合璧的绘画技法展现出圆明园中西融会的建筑与宫殿园林的完美结合，使人对这座“万园之园”产生无尽的遐想。咸丰十年（1860年），英法联军焚毁圆明园，因而该册的艺术价值弥足珍贵。",[24,64,332,27,95,31,98,33,7,28,101,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02cd7b8431d0b02358a7a258104d3b57.jpg","纵31厘米，横25.3厘米",[],{"id":22095,"slug":22096,"title":655,"dynasty":344,"author":20100,"museum":135,"description":22097,"tags":22098,"thumbUrl":22099,"material":142,"size":142,"collection":142,"collections":22100,"showCount":442,"zanCount":54,"manualWeight":54,"mainColor":109},236079,"shan-shui-ce-shen-zong-jing-236079","此作用笔苍秀温润，近景虬松挺峙，松针层叠如翠盖，坡岸缀苔点石，野意横生。山溪潺湲，板桥轻架，勾连起幽谧的山居意趣。中密林掩映茅庐数间，隐于深翠，暗合幽栖避世之雅。远景危峰峭拔，以干笔皴擦、淡墨晕染山石，将山峦浑朴苍厚的质感晕染开来。\n\n整体设色清和，淡赭铺底衬出山林温润气色。构图疏密相宜，近景幽致与远景浑融相映，铺展出林泉间静穆清寂的氛围，尽显寄情丘壑的文人雅趣，将林下幽居的闲淡意致娓娓道来。",[24,64,117,332,94,27,99,95,240,241,32,7,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6ae9af8aa5ff3b0f6caa53597504d00.jpg",[],{"id":22102,"slug":22103,"title":4655,"dynasty":344,"author":292,"museum":135,"description":22104,"tags":22105,"thumbUrl":22106,"material":142,"size":142,"collection":142,"collections":22107,"showCount":442,"zanCount":11,"manualWeight":54,"mainColor":109},236065,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236065","此作以淡墨晕染出清寂空濛的山居意趣。远景山峦以披麻皴写就，墨色由浓及淡铺展出层叠高远之势，天际留白隐现远汀归帆，将山野寥廓铺陈开来。中近景茂林环伺村居，石径随溪涧蜿蜒，林木枯荣交错，苍润兼具，藏着幽居山野的安然闲逸。\n\n右上角题跋朱印与画面相映，诗画相融。笔法秀逸温婉，墨色层次淡雅清和，未以泼墨造势，全以轻墨晕染烘托出江南冬末的萧寒清润，将文人山水疏淡静雅的意趣藏在留白与笔墨间，悠悠古意漫溢，尽显沉静淡远的山居诗意。",[24,64,332,94,99,95,7,241,348],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2bfd48f1008a0136a610b1e86f01286.jpg",[],{"id":22109,"slug":22110,"title":10974,"dynasty":18,"author":7291,"museum":135,"description":20592,"tags":22111,"thumbUrl":22112,"material":229,"size":637,"collection":142,"collections":22113,"showCount":442,"zanCount":54,"manualWeight":54,"mainColor":109},235691,"shan-shui-hua-hui-ce-xiang-sheng-mo-235691",[24,94,332,99,95,30,140,97,98,7,348,33,351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37d1280937be3d9c6e933102baa569e8.jpg",[],{"id":22115,"slug":22116,"title":5439,"dynasty":344,"author":2501,"museum":135,"description":22117,"tags":22118,"thumbUrl":22119,"material":142,"size":142,"collection":142,"collections":22120,"showCount":442,"zanCount":54,"manualWeight":54,"mainColor":109},235639,"shan-shui-tu-ce-wu-li-235639","此作以平远、高远铺陈开卷，近景山峦层叠，古木攒簇葱郁，山涧水榭人家错落，飞桥横溪，晕开几分烟火暖意。远景平湖波柔，村舍隐在轻烟黛色间，林泉幽寂里揉进日常闲趣。\n笔墨苍润兼具，以干笔皴擦写山石朴拙肌理，湿墨晕染出山岚空濛，树木枝桠以浓淡墨色区分层次，古秀苍劲。题画小诗与画面相映成趣，将江南水乡的温润雅致与林泉高致相融，恬淡悠然，尽显幽居林泉的安闲意趣，引人沉醉于这份寄情山水的自在恬和之中。",[24,64,332,94,99,95,32,7,33,98,38,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc33872b235202ac0bcfa5d4b755601ed.jpg",[],{"id":22122,"slug":22123,"title":22124,"dynasty":344,"author":2071,"museum":135,"description":22125,"tags":22126,"thumbUrl":22127,"material":142,"size":142,"collection":142,"collections":22128,"showCount":442,"zanCount":54,"manualWeight":54,"mainColor":109},235607,"yu-feng-kan-yue-tu-zhou-wang-hui-235607","玉峰看月图轴","干淡墨色晕染出萧疏冬景，修竹劲挺伴寒林，浅溪潺湲漫过板桥，林间隐着茅舍，远山轻笼在朦胧烟霭里，似与天相接。\n笔墨松秀简淡，以留白衬出月夜空寂清旷，将文人看月雅集的诗意融在山水间。画中人物凭桥而立，似在静候月色浸漫林野，处处尽显闲淡幽远的林下意趣，把江南冬日的清寂和文人心底的旷达雅致揉作一处，尽显水墨山水的含蓄余韵。",[24,64,225,94,99,95,543,140,32,7,97,530,119,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fe8fb01f05805753af11d11ec086684.jpg",[],{"id":22130,"slug":22131,"title":655,"dynasty":18,"author":22132,"museum":135,"description":22133,"tags":22134,"thumbUrl":22135,"material":229,"size":637,"collection":142,"collections":22136,"showCount":442,"zanCount":54,"manualWeight":54,"mainColor":109},235350,"shan-shui-ce-zhang-fu-yang-235350","张复阳","张复阳(约1403—1490)， 明代画家。名复， 以字行，号南山，浙江平湖人(一作秀水人)，道士，居浙江洞霄宫一枝堂。工书法，善画山水，师法吴镇，画风多作写意，水墨淋漓。",[24,64,332,94,95,96,30,140,7,100,101,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf6bccd8a382a7956cf80a248d5b9b31.jpg",[],{"id":22138,"slug":22139,"title":21626,"dynasty":344,"author":2710,"museum":135,"description":22140,"tags":22141,"thumbUrl":22142,"material":229,"size":637,"collection":142,"collections":22143,"showCount":442,"zanCount":54,"manualWeight":54,"mainColor":109},235063,"za-hua-ce-hua-yan-235063","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。",[24,64,332,27,95,96,33,98,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67881f22ca4c2cf54784e1d830233d13.jpg",[],{"id":22145,"slug":22146,"title":20752,"dynasty":344,"author":292,"museum":61,"description":20753,"tags":22147,"thumbUrl":22148,"material":469,"size":20756,"collection":142,"collections":22149,"showCount":442,"zanCount":54,"manualWeight":54,"mainColor":55},234910,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234910",[24,64,332,27,101,95,31,7,33,98,30,97,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44b8e1bad87b05d46979f6aefb01cfad.jpg",[],{"id":22151,"slug":22152,"title":9402,"dynasty":344,"author":2071,"museum":135,"description":12057,"tags":22153,"thumbUrl":22154,"material":355,"size":12060,"collection":142,"collections":22155,"showCount":442,"zanCount":54,"manualWeight":54,"mainColor":109},234714,"fang-gu-shan-shui-ce-wang-hui-234714",[24,94,99,2880,332,95,168,33,1177,2206,348,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49868da8cf21daec366c99bda4056446.jpg",[],{"id":22157,"slug":22158,"title":22159,"dynasty":344,"author":808,"museum":135,"description":1231,"tags":22160,"thumbUrl":22161,"material":142,"size":142,"collection":142,"collections":22162,"showCount":442,"zanCount":54,"manualWeight":54,"mainColor":109},234652,"yuan-ji-jin-ling-shi-jing-tu-ce-shi-tao-234652","原济金陵十景图册",[24,64,332,94,138,95,7,96,30,31,100,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fd166cb66c4d93605eac1451ef52090.jpg",[],{"id":22164,"slug":22165,"title":22166,"dynasty":18,"author":251,"museum":135,"description":17766,"tags":22167,"thumbUrl":22168,"material":142,"size":142,"collection":142,"collections":22169,"showCount":442,"zanCount":54,"manualWeight":54,"mainColor":109},234629,"fang-wu-zhen-shan-shui-shan-ye-lan-ying-234629","仿吴镇山水扇页",[24,117,1551,95,94,99,29,96,306,140,98,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf73c7eda271481e6185734fa3c895cd.jpg",[],{"id":22171,"slug":22172,"title":22173,"dynasty":344,"author":22174,"museum":135,"description":11755,"tags":22175,"thumbUrl":22176,"material":142,"size":142,"collection":142,"collections":22177,"showCount":442,"zanCount":54,"manualWeight":54,"mainColor":109},234610,"xi-hou-qiu-shuang-wan-shan-dai-zhao-chun-234610","溪后秋爽纨扇","戴兆春",[24,64,1551,27,95,33,76,7,96,119,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcdb187bcaee672d3d96a7cbb899d68a.jpg",[],{"id":22179,"slug":22180,"title":655,"dynasty":344,"author":435,"museum":61,"description":22181,"tags":22182,"thumbUrl":22183,"material":22184,"size":22185,"collection":142,"collections":22186,"showCount":442,"zanCount":54,"manualWeight":54,"mainColor":109},234304,"shan-shui-ce-wang-yuan-qi-234304","本幅共十二开，二、五、六、九、十、十二为墨笔，余均为设色。末开自识，款“康熙乙酉垂阳日王原祁题于彀治堂”。引首王撰书：“六法金针”，有董揆、董寿平等印多方。实系画12开，字12开，应以画为主，字作附件。\n王原祁（1642—1715年），字茂京，号麓台、石狮道人，江苏太仓人，王时敏之孙。清康熙九年（1670年）进士。因画艺，被召供奉内廷，深受皇室青睐，地位显赫，任书画总裁和《万寿盛典》总裁，官至户部侍郎，故称“王司农”。他擅画山水，其绘画艺术承绪家学，自幼得到祖父王时敏的刻意指导，一生倾注于笔墨施运的营求中，自称笔端有“金刚杵”, 画风中年秀润，晚年苍浑。与王时敏、王鉴、王翬合称“清初四王”。王原祁做为“四王”中最年轻的一位画家，秉承家学，追摹古法，在不懈创作的同时，以同样方法再授弟子，对山水画的发展及“娄东派”的形成起到重要作用。其对绘画的影响一直延续到清中、后期“小四王”（王昱、王愫、王宸、王玫）、“后四王”（王三锡、王廷之、王廷国、王鸣韶）。“四王”的绘画创作继承明末董其昌的绘画理论和实践，力图集古人之大成，被确立为正统画派。追随王原祁的画家众多，形成“娄东派”，几乎独占了当时的画坛。著有《雨窗漫笔》、《扫花庵题跋》等。",[24,64,332,94,99,95,98,33,119,97,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d0762a3eec0a65f59d303bfcfc56d44.jpg","纸本 ，设色\u002F墨笔","纵48.1cm，横32.4cm",[],{"id":22188,"slug":22189,"title":5439,"dynasty":344,"author":2710,"museum":2478,"description":22190,"tags":22191,"thumbUrl":22192,"material":659,"size":22193,"collection":142,"collections":22194,"showCount":442,"zanCount":54,"manualWeight":54,"mainColor":109},234299,"shan-shui-tu-ce-hua-yan-234299","华嵒的山水画转益多师，石涛的沉浑恣肆、恽寿平的松秀隽逸、北宗的峭利缜密、元人的深邃郁茂，都被他吸收融合。他没有泥古不化，在游览山河的过程中，不断的“师造化”，形成了晚年疏放、简率、冷峭、蕴藉的主流风格。华喦的山水画设色，多用浅绛或小青绿设色，承诸黄公望、王蒙和董其昌的传统，于统一中求对比，色调明洁淡雅。新罗山人在山水画设色上的创新是发展了青绿没骨山水。这种没骨山水是综合唐宋人、董玄宰和恽格没骨山水并参用清初四王笔法而形成的一种格制。华嵒的山水画从总体来看善于用色彩表达个人的情绪，用笔墨描绘悠远的意境，创造了独特的笔墨语言和表现技法，充分表达了其“刷尘”，“离垢”的理想。",[24,64,332,94,99,95,199,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd8d4d6b1b1d3c0b3e8b1f9bfb2fbe25.jpg","31.2x44.7cm",[],{"id":22196,"slug":22197,"title":22198,"dynasty":18,"author":1948,"museum":61,"description":22199,"tags":22200,"thumbUrl":22201,"material":946,"size":22202,"collection":142,"collections":22203,"showCount":442,"zanCount":54,"manualWeight":54,"mainColor":262},234234,"chui-hong-song-bie-tu-wen-zheng-ming-234234","垂虹送别图","此图卷首有王谷祥篆书引首：“垂虹送别。”画右起为吴江东门城垣、门楼，门下即垂虹桥，经文氏艺术剪裁，桥身只画三孔，桥上有一人，桥左坡底有二人，作话别状。坡左有楼宇一座，望之水天一色，客船扬帆，画左右上皆平林漠漠，远山如黛。左下款：“徵明”。卷后有文氏自题诗一首：“三载松陵重抚绥，忽随征诣向彤墀。一时目际明良会，百里方怀父母慈。岁歉具忧民乏食，政成还免众流簃。垂虹桥下棠千树，画属君侯去后思。”诗中谈到“三载松陵重抚绥”，可见，松陵垂虹桥向为送别之地。画中垂虹桥虽非对景实写，而送别之情，溢于笔墨之中。",[23,24,64,25,94,27,101,100,95,33,32,7,96,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8463e897713ca46c5ae853a46c5af9ca.jpg","纵29厘米，横109厘米",[],{"id":22205,"slug":22206,"title":22207,"dynasty":18,"author":5268,"museum":61,"description":22208,"tags":22209,"thumbUrl":22210,"material":258,"size":142,"collection":142,"collections":22211,"showCount":442,"zanCount":54,"manualWeight":54,"mainColor":109},234142,"yun-bai-shan-qing-tu-juan-ding-yun-peng-234142","云白山青图卷","丁云鹏是中国明代画家，于1547年出生，字南羽，号圣华居士，安徽休宁人。\n天启五年（1625）尚在作《白马驭经图》，瓒子，詹景凤门人。工书法，学钟繇、王羲之。画善白描人物、山水、佛像，无不精妙。白描酷似李公麟，设色学钱选。丝发之间而眉睫意态毕具，非笔端有神通者不能也。兼工山水、花卉。中年用笔细秀，略近文征明、仇英画法，晚年风格朴厚苍劲，自成一家。 [1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。\n丁云鹏是仇英之后最著名的人物画家，他工给的笔法不下仇英，而高古文雅似又过之。他最擅长的是佛教题材，佛祖、菩萨、罗汉在他笔下既栩栩如生，又庄严肃穆。此帧李公麟《维摩演教图》画人物五十三，动物数头，趁具法器、峰峦堂宇、树石祥云，皆精密工给，非费一两月之功不能为此。董其昌与丁云鹏为挚交，曾题丁氏所绘《五像观音图卷》云：“丁南羽写此时，在吾松为顾光禄正心所馆，年三十馀，故极工妙。自后不复能事，多老年漫应。”\n传世作品有《待朝图》轴，图录于《中国绘画史图录》下册；《伏虎尊者图》轴，现藏安徽省博物馆；《白马驭经图》轴，藏台北故宫博物院；《洗象图》轴，藏中国美术馆；罗浮花月图〉轴及《漉酒图》轴，藏上海博物馆；《龙王拜观音图》卷，藏中国美术馆；《溪山烟霭图》卷藏南京博物院；《丛山樵径图》轴，藏天津艺术博物馆；《达摩图》轴，藏沈阳故宫博物院；《煮茶图》轴，藏无锡市博物馆；《六祖像图》轴，藏荣宝斋。",[23,24,25,94,95,99,2256,169,33,32,7,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88fe8ffb55ad3c48f2bb14ff4bd9d273.jpg",[],{"id":22213,"slug":22214,"title":16670,"dynasty":59,"author":292,"museum":61,"description":22215,"tags":22216,"thumbUrl":22217,"material":469,"size":22218,"collection":142,"collections":22219,"showCount":442,"zanCount":54,"manualWeight":54,"mainColor":55},234005,"chun-shan-yu-ting-ye-yi-ming-234005","旧题张训礼《春山渔艇图》，著色青绿山水，洋溢着春天江山的迷人景色。小中见大，咫尺千里。",[24,117,64,332,27,99,95,96,256,140,7,98,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58925613d9d45dd69436ad5f30d253bc.jpg","纵29厘米横29.8厘米",[],{"id":22221,"slug":22222,"title":5290,"dynasty":344,"author":5291,"museum":61,"description":5292,"tags":22223,"thumbUrl":22224,"material":258,"size":5295,"collection":142,"collections":22225,"showCount":442,"zanCount":54,"manualWeight":54,"mainColor":109},233450,"ren-wu-shan-shui-ce-luo-pin-233450",[24,64,332,94,27,95,30,32,7,96,2042],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68d5594d240a86aa1bf6d518f9658760.jpg",[],{"id":22227,"slug":22228,"title":11019,"dynasty":344,"author":11528,"museum":61,"description":11021,"tags":22229,"thumbUrl":22230,"material":142,"size":142,"collection":142,"collections":22231,"showCount":442,"zanCount":54,"manualWeight":54,"mainColor":109},233224,"jin-ling-zhu-jia-shan-shui-hua-hui-ce-shan-shui-ye-fan-qi-233224",[117,24,94,27,332,95,7,255,98,76,122,119,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24c5190e81e68a4b580c0740a4267030.jpg",[],{"id":22233,"slug":22234,"title":22235,"dynasty":59,"author":292,"museum":61,"description":22236,"tags":22237,"thumbUrl":22239,"material":335,"size":22240,"collection":142,"collections":22241,"showCount":442,"zanCount":54,"manualWeight":54,"mainColor":55},233210,"song-jian-shan-qin-tu-ye-yi-ming-233210","松涧山禽图页","此图绘参天的古松下，山溪蜿蜒奔流，水花飞溅，四对山鹊姿态各异，或飞呜，或回旋，或啄食与山涧和树石之上，形象生动。图中用浓墨画松斡和松鳞，松针用墨线勾描后用石青渲染。竹叶用严谨的双钩填色法。山石则用墨线勾勒轮廓，进而用淡青色破染，使画面富有立体感。此图用笔苍劲，静中有劲，为南宋小幅花乌画中精秀之作。这幅作品曾经明黔宁王沐琳和项元汴收藏。",[24,117,64,332,26,27,788,95,390,7,122,22238,199,119],"山禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff97df25750b2d414d498c6d636769ceb.jpg","25.3*25.3厘米",[],{"id":22243,"slug":22244,"title":19690,"dynasty":59,"author":292,"museum":61,"description":22245,"tags":22246,"thumbUrl":22247,"material":188,"size":22248,"collection":142,"collections":22249,"showCount":442,"zanCount":54,"manualWeight":54,"mainColor":55},233209,"shui-cun-lou-ge-tu-ye-yi-ming-233209","宋代绘画是在中国宋代期间的绘画作品，中国宋朝延续300多年，其绘画在隋唐五代的基础上继续得到发展。民间绘画、宫廷绘画、士大夫绘画各自形成体系，彼此间又互相影响、吸收、渗透，构成宋代绘画丰富多彩的面貌。",[24,27,95,28,332,31,33,7,1939,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43a3f3afa6be7d60a148037319b48597.jpg","纵23.5cm，横23.5cm",[],{"id":22251,"slug":22252,"title":655,"dynasty":150,"author":6223,"museum":61,"description":22253,"tags":22254,"thumbUrl":22255,"material":258,"size":22256,"collection":142,"collections":22257,"showCount":442,"zanCount":54,"manualWeight":54,"mainColor":55},233172,"shan-shui-ce-cao-zhi-bai-233172","故宫博物院藏有曹知白《山水册》一套，共八幅山水小景，由明代董其昌题诗，经项元汴、刘恕等藏。纸本墨笔，纵33.1cm，横27.4cm。\n在这套画册中，曹知白巧妙地把北方山水中特有的萧瑟寒林融入进恬淡氤氲的南方地貌中，形成了柔美却不失凝重的风格，可谓刚柔相济。",[24,64,332,94,99,95,240,241,32,7,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F358988cca645453495c37e3807d5abeb.jpg","纵33.1cm，横27.4cm",[],{"id":22259,"slug":22260,"title":10516,"dynasty":344,"author":435,"museum":61,"description":10517,"tags":22261,"thumbUrl":22262,"material":4594,"size":10520,"collection":142,"collections":22263,"showCount":442,"zanCount":54,"manualWeight":54,"mainColor":109},233167,"cao-tang-shi-zhi-tu-ce-wang-yuan-qi-233167",[24,117,64,332,27,99,95,98,33,7,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff993efacc5c1ae5affddb96fb99508ff.jpg",[],{"id":22265,"slug":22266,"title":10516,"dynasty":344,"author":435,"museum":61,"description":10517,"tags":22267,"thumbUrl":22268,"material":4594,"size":10520,"collection":142,"collections":22269,"showCount":442,"zanCount":54,"manualWeight":54,"mainColor":109},233162,"cao-tang-shi-zhi-tu-ce-wang-yuan-qi-233162",[24,95,27,99,332,119,240,854,241,7,351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d16fc8d6f6d21d7a77d781c5c0e6642.jpg",[],{"id":222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[2] 珐琅依据具体加工工艺的不同，又可分为掐丝珐琅器、錾胎珐琅器、画珐琅器和透明珐琅器等几个品种。其中掐丝珐琅器就是俗称的“景泰蓝”，15世纪中期明代景泰年间的制品尤为著称，故有景泰蓝之称。\n清代，西洋珐琅从广州传入中国，广州生产的珐琅俗称“广珐琅”，是朝廷的贡品，其中最著名的是画珐琅 ，錾胎珐琅的制作中心也在广州，透明珐琅器也以广州出产的最为著名。",[22335,22336,22337,27,95,31,32,7,4592,22338],"铜胎","珐琅器","铜制","日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6789b67c5b48f626b73c2e9020820d3b.jpg",[],{"id":22342,"slug":22343,"title":22344,"dynasty":18,"author":18611,"museum":135,"description":22345,"tags":22346,"thumbUrl":22348,"material":142,"size":142,"collection":142,"collections":22349,"showCount":442,"zanCount":54,"manualWeight":54,"mainColor":55},228345,"jiao-lin-yi-qu-tu-chen-guan-228345","蕉林易趣图","此作以蕉林铺就幽凉底色，阔叶舒展扶苏，浓荫笼住一隅清境。近处方石上，高士坦卧枕臂静观书卷，旁侧茶盏轻置，将卧读忘忧的闲逸缓缓铺陈。右侧柴扉半掩，篱墙隐现，衬出幽居的静穆私密。远景山峦以淡墨晕染，朦胧悠远，与近景繁密蕉叶形成虚实对照，拉开疏密错落的空间层次。笔墨苍秀温润，线条清劲兼具柔润，点染间尽显园林小景的雅逸，将寄情林泉、耽于闲逸的心境融于尺幅之间，隐逸意趣悠长内敛。",[23,24,225,94,99,95,22347,33,350,7,98],"蕉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faad90adfea8e7ab7fd9c6c9596f3a350.jpg",[],{"id":22351,"slug":22352,"title":22353,"dynasty":150,"author":8844,"museum":135,"description":22354,"tags":22355,"thumbUrl":22356,"material":229,"size":637,"collection":142,"collections":22357,"showCount":442,"zanCount":54,"manualWeight":54,"mainColor":109},228268,"teng-wang-ge-tu-wei-ba-tang-di-228268","滕王阁图-尾跋","唐棣（1296-1364），字子华，号遁斋,祖籍钱塘（今浙江杭州），因先世在吴兴做官，迁徙归安（今浙江湖州）。父唐清，元初赠承务郎，任归安县令。唐棣幼聪颖好学，文思敏慧，能诗善画，有“奇童”之称，为赵孟頫、马煦赏识，弱冠时便拜赵孟頫为师，常出入赵府，交往益深，不久马煦升为刑部尚书，遂携唐棣至京，延佑初进荐仁宗，以绘画侍奉宫廷，在嘉熙殿画屏风“挥洒立就，天子称赏”，待诏集贤院，因而有机会遍览历代书法名画。此时赵孟頫也奉召至京，任翰林侍读学士。唐棣在朝廷中与文臣交往，诗文、书画得到虞集、偈傒斯、赵孟頫指授，技艺更趋成熟。元文宗天历二年（1329）应诏在南京龙翔寺绘制画壁，至顺四年（1333）第二次北上大都，奉诏在宫廷作画，晚年返乡埋头读书作画，生活较凄苦。",[24,64,100,101,28,94,27,95,31,7,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7f5f43a1f68f280907f5479996eaa37.jpg",[],{"id":22359,"slug":22360,"title":22361,"dynasty":150,"author":292,"museum":135,"description":22362,"tags":22363,"thumbUrl":22364,"material":142,"size":142,"collection":142,"collections":22365,"showCount":442,"zanCount":54,"manualWeight":54,"mainColor":262},228228,"xing-lv-tu-ye-yi-ming-228228","行旅图页","此作用笔简淡苍润，以水墨晕染出江南水岸的清寂之境。左畔危崖耸峙，古松斜出探向江面，崖腰古亭半掩，山道上旅人缓步徐行，衬出林泉丘壑的悠远空阔。汀洲上虬松错落，枝干古拙有姿，与崖岸松色遥相呼应。江面淡墨轻描，远帆与渔舟错落波上，寥寥笔意铺展水天空濛。\n\n整幅简而不空，淡而有味，以极简笔墨勾勒出山水行旅的幽闲意趣，尽显萧散淡远的文人意韵，将林泉高致与江湖野趣融于尺幅间，藏着幽寂闲淡的山水真味。",[23,24,94,95,99,332,30,31,96,122,98,7,119,1110,140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46616df25f9b51e1b52cfac683349316.jpg",[],{"id":22367,"slug":22368,"title":22369,"dynasty":150,"author":292,"museum":135,"description":22370,"tags":22371,"thumbUrl":22372,"material":142,"size":142,"collection":142,"collections":22373,"showCount":442,"zanCount":54,"manualWeight":54,"mainColor":55},228226,"mao-wu-yun-shan-tu-yi-ming-228226","茅屋云山图","此作用水墨晕染出空濛云山之境，远景山峦以淡墨轻皴间杂晕染，云雾如缕缠绕峰腰，将雄奇山势揉入烟霭，虚实相生间，拓开幽渺深远的天地。\n\n中景以留白代雾，让山与林隐没在烟岚之中，消融了实景的边界，恍如天地融于一片淡墨氤氲。近岸枯木虬劲，枝桠疏朗，坡脚茅舍三两，笔简意足，暗合山居清寂之趣。\n\n整幅画作尽显元画尚意之风，以简淡笔墨写尽萧散静穆的林下幽居之境，将文人隐逸的闲雅藏入烟峦疏木，观之便觉尘嚣尽褪，沉醉在这淡墨晕开的云山深寂里。",[23,24,94,99,225,64,117,95,350,241,32,7,821,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe77b80704d6df259ffd4d9ffeefb4eae.jpg",[],{"id":22375,"slug":22376,"title":15886,"dynasty":59,"author":15887,"museum":135,"description":22377,"tags":22378,"thumbUrl":22379,"material":142,"size":142,"collection":142,"collections":22380,"showCount":442,"zanCount":54,"manualWeight":54,"mainColor":109},227808,"cao-tang-ke-hua-tu-he-quan-227808","此作以淡墨晕染山石林木，晕开江南山野湿润清寂的氛围。临水草堂轩窗通透，堂内陈设隐约可见，屋外二人缓步闲话，将幽居雅会的闲淡意趣铺展开来。笔墨苍秀简逸，屋舍界画工致灵动，林木点染生机自现，以尺幅之境铺陈林泉高致的隐逸情怀，尽显宋人小品山水以小见大的妙处，将士人幽栖林下、寄情丘壑的心境藏于皴染点画之中，淡而有味，雅意悠长。",[23,24,64,1551,27,95,31,32,7,30,97,33,98,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9398f267cba5d2aa93e5525aecdb351.jpg",[],{"id":22382,"slug":22383,"title":22384,"dynasty":344,"author":2253,"museum":135,"description":19028,"tags":22385,"thumbUrl":22386,"material":19031,"size":19032,"collection":142,"collections":22387,"showCount":442,"zanCount":54,"manualWeight":54,"mainColor":55},224409,"shu-hua-shi-liu-kai-10-wang-shi-min-224409","书画十六开-10",[23,24,64,332,27,99,95,32,7,33,98,76,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6b1fffac4109daa74541bf9f3ca25d9.jpg",[],{"id":22389,"slug":22390,"title":22391,"dynasty":59,"author":292,"museum":135,"description":22392,"tags":22393,"thumbUrl":22394,"material":142,"size":142,"collection":142,"collections":22395,"showCount":442,"zanCount":54,"manualWeight":54,"mainColor":55},223674,"shuang-ke-zhu-jian-tu-ye-yi-ming-223674","霜柯竹涧图页","《霜柯竹涧图页》是南宋画家佚名创作的一幅绢本设色画。\n本幅无款。\n钤“义斋精玩”、“宋荦审定”收藏印2方。\n图绘山间冬季景色，天阴欲雪，霜柯临水，柯下溪涧奔流，水花飞溅，远处竹林葱茏。\n两只山鸟栖于枝头，眺望远方，将观赏者的目光引向画外，从而收到画尽而意无穷的艺术效果。\n图中老柯、丛竹用笔刚劲，水花、鸟羽笔触轻柔，流水奔腾不息，山石巍峨不动，使画面形成刚柔相济、动静对比的艺术效果。\n清《石渠宝笈三编》著录。",[23,117,24,64,332,26,27,255,543,7,122,98,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9c242fbd03b8dd4577b564ab01d95ef.jpg",[],{"id":22397,"slug":22398,"title":22399,"dynasty":150,"author":292,"museum":61,"description":22400,"tags":22401,"thumbUrl":22402,"material":659,"size":22403,"collection":142,"collections":22404,"showCount":442,"zanCount":54,"manualWeight":54,"mainColor":55},223583,"yao-cen-yu-shu-tu-yi-ming-223583","瑶岑玉树图","图为山势险峻，峰高崖壁，飞瀑如画，洁白如画； 附近树木高大翠绿，溪水汇成池，凸显奇石怪状，顺着扶手爬上楼梯，几座临水亭映入眼帘。亭中一人坐在窗前， 写了一部漫画。 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七子过关图》，均辑入《中国历代名画集》。",[24,64,225,598,3109,27,26,30,18165,95,7,1242,3228,119,1702],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe66941476659f3a33338acdaefcd8a57.jpg",[],{"id":22604,"slug":22605,"title":22606,"dynasty":344,"author":292,"museum":135,"description":22607,"tags":22608,"thumbUrl":22612,"material":229,"size":637,"collection":142,"collections":22613,"showCount":287,"zanCount":54,"manualWeight":54,"mainColor":109},272859,"nan-mu-bian-zuo-guang-xiu-qun-xian-zhu-shou-tu-cha-ping-yi-ming-272859","楠木边座广绣群仙祝寿图插屏","此作绣面之上，群仙履岩渡水，赴蟠桃寿宴。烟波浩渺间奇峰叠翠，古松虬劲苍然，仙禽掠空而过，一派灵秀缥缈的仙家景致。\n\n广绣工艺精妙雅致，用色清逸柔和，套色晕染自然匀净，针脚细密灵动，将仙人的出尘飘逸、山海的深邃灵秀尽数铺陈。楠木座框雕刻缠枝与博古纹样，线条婉转流畅，和绣面仙逸意境相得益彰。整体融刺绣工艺与木雕技艺于一体，尽显晚清岭南手工艺的极致考究，将群仙祝寿的祥瑞主题诠释得典雅隽永，是兼具陈设雅趣与收藏价值的工艺佳作。",[19355,6294,7498,22609,95,30,22610,1069,390,7,22611,122,27],"广绣","群仙","奇石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8dd0ca26ed75cacc3b7ea8b6f5cc7acf.jpg",[],{"id":22615,"slug":22616,"title":22617,"dynasty":18,"author":12065,"museum":135,"description":22618,"tags":22619,"thumbUrl":22620,"material":229,"size":637,"collection":142,"collections":22621,"showCount":287,"zanCount":54,"manualWeight":54,"mainColor":109},239476,"qu-jiang-xian-fang-shan-zhang-fu-239476","曲江仙舫扇","张复（1546年－？年），字元春，号苓石，江苏太仓人（一说中条山人）。明末著名山水画家。善于兼收并蓄，兼得五代北方山水画派荆浩、关仝，南宋画派马远、夏珪，元代黄公望以及明代沈周趣味，成为吴门画派的健将之一。",[1551,24,64,94,99,95,31,97,96,33,7,98,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40ab7bb7e7633b3bb346844f892a0546.jpg",[],{"id":22623,"slug":22624,"title":22625,"dynasty":344,"author":435,"museum":135,"description":22626,"tags":22627,"thumbUrl":22628,"material":142,"size":142,"collection":142,"collections":22629,"showCount":287,"zanCount":54,"manualWeight":54,"mainColor":109},239463,"qing-chu-liu-da-jia-ji-ce-xia-shan-tu-ce-ye-wang-yuan-qi-239463","清初六大家集册-夏山图册页","此作用笔苍浑老辣，以干笔积墨反复皴擦，山峦层叠间云气横生，将高远、深远之境相融，衬出山林空阔幽深。坡岸林木错落，或虬劲或葱郁，溪桥村居隐于林泉间，暗合题句里长夏山居的悠然意趣。\n\n画面笔墨沉厚苍秀，于繁密皴法中透出灵透，既得宋元山水的苍茫元气，又自具朴拙静穆的文人雅韵，将夏日山林的清寂悠长晕染开来，尽显静谧澹远的山居之美。",[24,64,332,27,99,95,240,7,32,241,171,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56b08c3e176452e8260dd64640da9e37.jpg",[],{"id":22631,"slug":22632,"title":655,"dynasty":344,"author":14643,"museum":135,"description":22633,"tags":22634,"thumbUrl":22635,"material":229,"size":637,"collection":142,"collections":22636,"showCount":287,"zanCount":54,"manualWeight":54,"mainColor":109},239367,"shan-shui-ce-wang-san-xi-239367","王三锡(1716—？) 太仓人。字怀邦，自号竹岭，清代画家。王昱从子，承家学，善山水，得其祖笔法，丘壑位置，不作寻常蹊径，运笔别致雅逸。",[24,94,99,332,95,543,199,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7d75387d275255b652e74a152a9ead9.jpg",[],{"id":22638,"slug":22639,"title":8450,"dynasty":344,"author":7944,"museum":135,"description":7945,"tags":22640,"thumbUrl":22641,"material":142,"size":142,"collection":142,"collections":22642,"showCount":287,"zanCount":54,"manualWeight":54,"mainColor":109},238820,"dong-gao-lv-xuan-shao-jing-ce-dong-gao-238820",[24,64,332,27,94,99,95,97,33,98,7,348,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3447afc150ba6c05ef584fdb9121a08b.jpg",[],{"id":22644,"slug":22645,"title":8450,"dynasty":344,"author":7944,"museum":135,"description":7945,"tags":22646,"thumbUrl":22647,"material":142,"size":142,"collection":142,"collections":22648,"showCount":287,"zanCount":54,"manualWeight":54,"mainColor":109},238816,"dong-gao-lv-xuan-shao-jing-ce-dong-gao-238816",[24,27,99,95,33,7,96,98,1759],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25528e66696459b7fdfd69c8a194a188.jpg",[],{"id":22650,"slug":22651,"title":22652,"dynasty":344,"author":6611,"museum":135,"description":22653,"tags":22654,"thumbUrl":22655,"material":142,"size":142,"collection":142,"collections":22656,"showCount":287,"zanCount":54,"manualWeight":54,"mainColor":109},238717,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238717","画弘历和江文通诗意图册","此作用笔清润秀雅，以虚实相生之法铺陈意境。右侧崖石苍劲，古木盘虬，大船泊于崖下，白帆半张，舱中文人凭舷观浪，似将趁长风远游。左侧水面以大片留白衬出烟波浩渺，远山以淡墨晕染，淡远朦胧。\n\n山石仅以简淡皴擦勾勒肌理，水波线条灵动婉转，将浪涛轻涌之态尽显。题诗与画境呼应，把乘舟访胜的隐逸快意融于水墨间，淡逸萧散的气韵里藏着寻仙向远的浪漫意趣，尽显文人山水小品悠然空灵之美。",[24,64,332,138,94,95,30,96,7,98,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40f36b9fc2fb48b1caf1402cc12ddc2f.jpg",[],{"id":22658,"slug":22659,"title":5530,"dynasty":18,"author":292,"museum":135,"description":22660,"tags":22661,"thumbUrl":22662,"material":229,"size":637,"collection":142,"collections":22663,"showCount":287,"zanCount":54,"manualWeight":54,"mainColor":109},238572,"ming-ren-sheng-ping-yi-zan-tu-bing-shu-zan-ce-yi-ming-238572","此作为工笔重彩道释佳制，以虹桥殿宇铺展天界朝贺盛景。祥云翻卷簇拥腾云而来的仪卫仙官，朱栏虹桥衔接殿庭，殿宇丹楹碧瓦，端庄巍峨。\n画面左右开合有序，朝贺仙僚神态端凝雍容，仪仗罗列森然，衣袂纹饰勾染精细，衣褶流转自然。石青石绿与赤金朱红交织晕染，色调浓妍富丽，将仙班翊赞升平的庄重祥瑞尽数铺陈，尽显工笔重彩的精工造诣，把天界朝会的肃穆仪轨与华贵意趣相融无间。",[9133,24,26,27,28,30,31,32,7,9741,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8024fa21f554e5c7921c4369ae0b80ba.jpg",[],{"id":22665,"slug":22666,"title":22667,"dynasty":344,"author":7944,"museum":135,"description":7945,"tags":22668,"thumbUrl":22669,"material":142,"size":142,"collection":142,"collections":22670,"showCount":287,"zanCount":54,"manualWeight":54,"mainColor":55},238341,"si-jing-shan-shui-xiao-ce-dong-gao-238341","四景山水小册",[24,64,332,27,95,99,32,7,140,350,170,2567,98,33,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1aafa6cb457ee62a69390a61343fb58d.jpg",[],{"id":22672,"slug":22673,"title":9285,"dynasty":344,"author":9286,"museum":61,"description":9287,"tags":22674,"thumbUrl":22675,"material":659,"size":9290,"collection":142,"collections":22676,"showCount":287,"zanCount":54,"manualWeight":54,"mainColor":109},238299,"shi-liu-luo-han-ce-jia-quan-238299",[24,27,26,30,199,33,7,4592],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F209df14bf79efea93fb2fc55410374f6.jpg",[],{"id":22678,"slug":22679,"title":22680,"dynasty":344,"author":552,"museum":135,"description":22681,"tags":22682,"thumbUrl":22684,"material":142,"size":142,"collection":142,"collections":22685,"showCount":287,"zanCount":54,"manualWeight":54,"mainColor":109},238210,"duan-yang-gu-shi-ce-zhi-cai-yao-cao-xu-yang-238210","端阳故事册之采药草","青绿山坳间，飞瀑流泉衬出林野幽寂。四人各循其处，将端午采药的日常铺展在丘壑间。松下负锄者提篮缓行，山道上背药疾走，溪滩幼童俯身撷取草木。\n\n笔墨工秀兼具，浅绛晕染山石肌理，苍松虬曲古拙，衣褶简练灵动，人物神态专注鲜活。将节令风俗融于林泉丘壑，以雅致设色晕染出清润山居图景，既有院体的精致工细，又饱含文人山水的悠远意境，细腻还原古人端午采药避秽的传统风貌，将俗常节令化作诗意悠然的田园意趣。",[117,24,64,332,27,26,30,95,7,33,98,306,22683],"草药","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcf8531b01438040ab03a629f24d6f8f.jpg",[],{"id":22687,"slug":22688,"title":655,"dynasty":344,"author":12039,"museum":135,"description":22689,"tags":22690,"thumbUrl":22691,"material":142,"size":142,"collection":142,"collections":22692,"showCount":287,"zanCount":54,"manualWeight":54,"mainColor":109},238205,"shan-shui-ce-tang-dai-238205","此作为青绿设色的江南夏景，山峦层叠以石青、石绿晕染，间以赭石提点坡岸，草木蓊郁的盛夏之意呼之欲出。近岸林木扶疏，屋舍隐于浓荫之下，开阔水面映着淡晕远山，将山居清旷闲适铺陈开来。\n\n搭配题诗书画合璧，诗句与画境两两呼应，把江南夏日水村的安谧悠然尽数定格。笔致秀雅清润，兼具院体画的精致妍丽与文人山水的澹远意趣，观之如沐熏风，恍若踏入这幽寂又充满生机的世外洲渚，尽览水乡闲逸之致。",[24,27,118,99,332,95,240,241,901,97,169,98,7,609],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89e8ef9ddf63f7acbc3c067569205b9a.jpg",[],{"id":22694,"slug":22695,"title":655,"dynasty":344,"author":8267,"museum":135,"description":8268,"tags":22696,"thumbUrl":22697,"material":142,"size":142,"collection":142,"collections":22698,"showCount":287,"zanCount":54,"manualWeight":54,"mainColor":109},238138,"shan-shui-ce-yun-xi-238138",[24,27,99,332,3016,95,97,32,33,98,7,348,169,1207],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd40d0087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的处理、点景的勾绘，均显欠缺。这样造成的结果就是画面气息显得粗野不羁，含蓄不足、刻露有余。",[23,24,64,25,94,27,95,99,101,100,96,122,7,33,2041],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ad59a6d18ac6f35d204cade1a297a76.jpg","纵23.2厘米，横83.3厘米",[],{"id":22887,"slug":22888,"title":22889,"dynasty":18,"author":22890,"museum":61,"description":22891,"tags":22892,"thumbUrl":22893,"material":335,"size":142,"collection":142,"collections":22894,"showCount":287,"zanCount":54,"manualWeight":54,"mainColor":109},234127,"feng-shan-tang-ji-yong-juan-chen-yi-234127","封山堂集咏卷","陈沂","陈沂（一四六九-一五三八）[明]，字号：宗鲁、鲁南、石亭、小坡 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明代著名画家文徵明之子文彭的玄孙。清初著名书画家。\n文点\n工诗文，善书、画。山水能传徵明家法，用笔细秀，染晕迷离，盖以墨者胜也。兼善人物，尤长松竹小品，笔墨及其文雅，松身好点苔，时人戏曰：“文点松，文也文，点也点。”清介不求闻誉。之京师，人欲以国子博士荐之不就。父殁，依墓田以居，弃举子业，以书、画自娱给衣食。卒年七十二。著南云集。《吴县志、长洲县志、文氏族谱续集、国[清]朝画徵续录、曝书亭集、桐阴论画、画传编韵》",[24,64,94,99,95,96,255,98,7,3658],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90033ac0889179072268967ec37842a1.jpg",[],{"id":23411,"slug":23412,"title":10974,"dynasty":18,"author":23413,"museum":135,"description":23414,"tags":23415,"thumbUrl":23416,"material":229,"size":637,"collection":142,"collections":23417,"showCount":358,"zanCount":54,"manualWeight":54,"mainColor":109},237517,"shan-shui-hua-hui-ce-jiang-shou-cheng-237517","蒋守成","蒋守成明代画家。字继之,号晓山。丹阳人。善画山水,师法宋元画家赵千里,赵子昂、吴仲圭。亦作花鸟、竹石,都很出色,可惜中年患有眼疾,传世作品甚少。",[24,64,332,27,95,390,30,98,7,348,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7eef257ec08d282c41cc0d537bdbdc8.jpg",[],{"id":23419,"slug":23420,"title":22045,"dynasty":344,"author":22046,"museum":135,"description":22047,"tags":23421,"thumbUrl":23422,"material":142,"size":142,"collection":142,"collections":23423,"showCount":358,"zanCount":54,"manualWeight":54,"mainColor":109},237168,"tang-ren-shi-yi-shan-shui-ce-xiang-mu-zhi-237168",[24,27,332,95,96,7,2042,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7f811e70bc49b42ec43c824b2107348.jpg",[],{"id":23425,"slug":23426,"title":22045,"dynasty":344,"author":22046,"museum":135,"description":22047,"tags":23427,"thumbUrl":23428,"material":142,"size":142,"collection":142,"collections":23429,"showCount":358,"zanCount":54,"manualWeight":54,"mainColor":109},237165,"tang-ren-shi-yi-shan-shui-ce-xiang-mu-zhi-237165",[24,64,332,27,95,30,241,854,7,97,122,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F873f87dd7dab04d94e7cf4557e1a2582.jpg",[],{"id":23431,"slug":23432,"title":23433,"dynasty":344,"author":20185,"museum":135,"description":23434,"tags":23435,"thumbUrl":23436,"material":142,"size":142,"collection":142,"collections":23437,"showCount":358,"zanCount":54,"manualWeight":54,"mainColor":109},237135,"shan-shui-ren-wu-ce-7-shang-guan-zhou-237135","山水人物册7","上官周（1665－1749后），福建长汀南山官坊人，原名世显，后改名周，字文佐，号竹庄，清代著名画家，终生布衣。1665年生于长汀南山官坊的一户农民家庭。山水和人物画造诣很高，门生有“扬州八怪”之一的黄慎。所著《晚笑堂画传》最为著名，成为后人临习人物画的范本，而其山水画谱长期流落民间，未见刊行。上官周自幼聪颖，治艺勤奋，学识渊博，擅长诗文、书法、篆刻，尤精于画。",[24,64,332,94,101,119,95,96,30,2301,348,7,306],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9939f8678e0e401c8bc09686555c5070.jpg",[],{"id":23439,"slug":23440,"title":23441,"dynasty":18,"author":23442,"museum":61,"description":23443,"tags":23444,"thumbUrl":23445,"material":335,"size":142,"collection":142,"collections":23446,"showCount":358,"zanCount":54,"manualWeight":54,"mainColor":109},237016,"xi-zhu-ce-zhu-ying-237016","西筑册","朱瑛","朱瑛《西筑》册（北京故宫博物院藏，蒙加斯列莫夫兄见告），号为十咏，止见其八，题曰“引泉”、“种竹”、 “负薪”、 “有客”、“坐石”、“步月”、“枕流”、“径行”（高景逸有《和西筑咏》八首，七题与同，无“径行”，而别有“卧雪”一题），迥然森秀，眼为一洗。\n《引泉》，高诗曰：“次第竹根来，相将得到家。鸟啼春雨后，流出满山华。”\n《负薪》，高诗曰：“采薪松岩下，日暮负盈肩。还思天际鹤，或恐避荼烟。”\n《径行》，高诗无之，另《卧雪》曰：“山上雪连屋，山僧拥褐眠。下方来往绝，身在几禅天。”\n《步月》，高诗曰：“独坐松堂下，参差静影来。西湖歌吹歇，推却小窗开。”\n《种竹》，高诗曰：“自将山竹种，岂望便成林。一竿明月里，聊尔步清阴。”\n《有客》，高诗曰：“偶随白云出，不掩白云扉。有客坐来久，山僧归未归。”\n《坐石》，高诗曰：“裴回涧边石，小憩一悠然。不知山月吐，已满竹窗前。”\n《枕流》，高诗曰：“春涧鸣幽鸟，春华欲满山。不知人世事，一枕石泉闲。”\n瑛姓名见汪玉水《珊瑚网》，玉水开檇李崇祯画社，戊辰（1628）广征诸家作《摩诘句图》，得百余帧，存录者廿七人，其三“清夜何悠悠，扣舷明月中。”署款“啸海朱瑛”，啸海其号也（《西筑》册钤印“山公”，当亦别号）。",[117,24,64,332,94,95,7,199,30,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a6391a2b3978865708fba12be746feb.jpg",[],{"id":23448,"slug":23449,"title":23441,"dynasty":18,"author":23442,"museum":61,"description":23443,"tags":23450,"thumbUrl":23451,"material":335,"size":142,"collection":142,"collections":23452,"showCount":358,"zanCount":54,"manualWeight":54,"mainColor":109},237010,"xi-zhu-ce-zhu-ying-237010",[24,64,332,94,95,543,241,32,7,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a1b34f36d3d366d7b85519eef1bbba0.jpg",[],{"id":23454,"slug":23455,"title":23441,"dynasty":18,"author":23442,"museum":61,"description":23443,"tags":23456,"thumbUrl":23457,"material":335,"size":142,"collection":142,"collections":23458,"showCount":358,"zanCount":54,"manualWeight":54,"mainColor":109},237009,"xi-zhu-ce-zhu-ying-237009",[24,64,332,94,99,95,33,98,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4842ec5a7eba20ed05c951a246792274.jpg",[],{"id":23460,"slug":23461,"title":23462,"dynasty":18,"author":292,"museum":135,"description":23463,"tags":23464,"thumbUrl":23465,"material":229,"size":637,"collection":142,"collections":23466,"showCount":358,"zanCount":54,"manualWeight":54,"mainColor":55},236698,"zhang-long-zhang-guan-quan-shan-yi-ming-236698","张龙章观泉扇","此水墨扇面小品以枯木湖石营构幽境，虬曲古木斜出，枝桠带叶，苍劲中隐有生机。玲珑湖石皴染兼具，朴拙奇崛。高士斜倚木下，衣纹清劲简练，神态悠然静穆，正观听眼前流泉。整体笔墨简逸秀雅，萧散淡远。左侧题字朱印与画面相映，融书画于一体，将文人遁世丘园、寄情林泉的闲淡襟怀藏于尺幅之间，尽显林下幽居的隐逸意趣，是文人写意画中寄畅山水的典型佳作。",[9133,24,64,1551,94,26,99,30,199,241,5612,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F404a2ba9065e81af3f80a09faa1b453c.jpg",[],{"id":23468,"slug":23469,"title":23470,"dynasty":18,"author":292,"museum":135,"description":23471,"tags":23472,"thumbUrl":23473,"material":229,"size":637,"collection":142,"collections":23474,"showCount":358,"zanCount":54,"manualWeight":54,"mainColor":55},236685,"shen-shi-shan-shui-shan-yi-ming-236685","沈仕山水扇","此作用泥金笺为底，以浅绛设色绘就林泉山居。近岸枯木虬枝、杂卉错落，中景山峦逶迤，松杉掩映间藏有村舍山居，远景云气轻笼峰巅，留白虚实相生，铺展出深远山水格局。笔墨秀润清逸，皴笔简括勾勒山石肌理，淡赭晕染铺就秋意，将幽寂散淡的文人意趣融于尺幅之间，把江南林泉的清寂悠然，收束于盈尺扇面之中，观之可品林泉高致，静悟山居闲雅之趣。",[24,64,1551,27,99,95,33,76,32,7,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8bb795d7931b95a82c97135d2c8d68e.jpg",[],{"id":23476,"slug":23477,"title":4588,"dynasty":18,"author":23478,"museum":61,"description":23479,"tags":23480,"thumbUrl":23481,"material":335,"size":23482,"collection":142,"collections":23483,"showCount":358,"zanCount":54,"manualWeight":54,"mainColor":109},236492,"shan-shui-ren-wu-ce-guo-fen-ya-236492","郭汾涯","郭汾涯（约公元15世纪），明初时人，生卒年不详。能诗，善画山水、人物，宗唐、宋人画法，取马远、夏圭笔意。关于其生平，画史记载甚少，现只能从仅有的几幅传世作品，以及明初时的画风嬗变，来了解这位画家。\n此套《山水人物册》，每页自题七言诗一首，落款“汾涯”。册页中人物形神刻画生动，线条挺劲酣畅；山水以斧劈皴随意勾写，笔力遒劲；画树出枝峭拔、点叶爽辣，得南宋山水画遗风。\n明代初期画院复兴，提倡以古硬、雄厚、峻峭的风格来振作笔墨精神。在元朝被压制了多年的李、刘、马、夏画风，此时又开始活跃起来。宫廷内外，宗法者甚多。画风变南宋苍劲荒率为浑壮雄厚。画家们将贵族艺术引入民间，注重功力又不死守法度，变精严为放逸，顺应通俗艺术发展的时代潮流。这股势力影响范围广大，成为明代初期画坛实力最雄厚的画派——浙派。\n从这套册页中看，郭汾涯也是身处这股巨浪之中，但从画面中依然能体会到画家自觉与主动的一面，笔墨并非一味地追求粗放与草率，而是劲拔精简，笔下流露出画家掩饰不住的率真天性。画面还成功地将自然环境和人物活动富有情趣地结合在一起，给观者以强烈的艺术感染力。",[24,94,332,95,30,96,7,31,33,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F531bc29f233ab34b88b9d7354b23cc57.jpg","纵38.8厘米，横60.4厘米",[],{"id":23485,"slug":23486,"title":22088,"dynasty":344,"author":9964,"museum":61,"description":22089,"tags":23487,"thumbUrl":23488,"material":946,"size":22092,"collection":142,"collections":23489,"showCount":358,"zanCount":54,"manualWeight":54,"mainColor":109},236122,"shan-shui-lou-ge-ce-chen-mei-236122",[24,64,332,27,28,101,119,95,31,7,96,33,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf6a606f121402f2bc390f06fb8ac3af.jpg",[],{"id":23491,"slug":23492,"title":23493,"dynasty":344,"author":292,"museum":135,"description":23494,"tags":23495,"thumbUrl":23496,"material":142,"size":142,"collection":142,"collections":23497,"showCount":358,"zanCount":54,"manualWeight":54,"mainColor":109},236072,"yun-xi-yu-zhuang-shan-she-tu-zhou-yi-ming-236072","允禧渔庄山舍图轴","此作全景式铺展山林丘壑，青绿设色温润雅致，晕染出古雅氛围感。层叠山峦以细腻皴法勾勒筋骨，苔点错落尽显草木丰茂，留白云气缠绕峰腰，将山势衬得愈发空灵悠远。\n\n溪泉穿谷绕村，山舍渔庄错落隐于林麓水畔，屋舍俨然、林木扶苏，将幽居野逸的闲情融于山水间。画作笔法秀润兼具，既得山川浑厚之态，又铺陈出文人梦寐的林泉高致，静穆中带着鲜活生机，尽显传统山水里寄情林泉的雅趣。",[24,27,95,99,225,170,33,7,32,76,96,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ba433d5ff3e91f793fb3c6d7c42d71b.jpg",[],{"id":23499,"slug":23500,"title":655,"dynasty":344,"author":435,"museum":135,"description":23501,"tags":23502,"thumbUrl":23503,"material":142,"size":142,"collection":142,"collections":23504,"showCount":358,"zanCount":54,"manualWeight":54,"mainColor":109},236047,"shan-shui-ce-wang-yuan-qi-236047","此作用笔苍浑老辣，以干笔积墨反复皴擦，山石纹理厚重苍润，元气内敛。画面取深远山居之景，右侧危崖高耸，苍松虬劲扎根崖间，山道蜿蜒盘桓。山坳间村居错落，隐于林木荫蔽之下，下方溪岸回环，水色空濛。整体气息静穆高古，将山川浑厚之态与文人幽居的萧散意趣融为一体，于细碎笔墨堆叠间，尽显山川郁勃生机与静谧禅意，以笔墨抒发胸中丘壑，淡去实景具象，尽显传统文人画的写意精神。",[24,64,332,94,99,95,33,76,98,518,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faeb61c8fd7f283af5cd3fc4529f64c10.jpg",[],{"id":23506,"slug":23507,"title":655,"dynasty":344,"author":435,"museum":135,"description":10983,"tags":23508,"thumbUrl":23509,"material":229,"size":637,"collection":142,"collections":23510,"showCount":358,"zanCount":54,"manualWeight":54,"mainColor":109},236046,"shan-shui-ce-wang-yuan-qi-236046",[24,332,94,27,95,98,33,1177,76,7,351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3e0082a6a6d52c9ed83adac98bc3098.jpg",[],{"id":23512,"slug":23513,"title":23514,"dynasty":18,"author":23515,"museum":135,"description":23516,"tags":23517,"thumbUrl":23518,"material":142,"size":142,"collection":142,"collections":23519,"showCount":358,"zanCount":54,"manualWeight":54,"mainColor":109},236020,"ren-wu-tu-ce-jie-qian-lv-ren-wen-nan-shou-mao-weng-236020","人物图册－阶前旅人","文柟寿茂翁","此作用笔松秀简淡，淡设晕染出乡野幽居之景。柴扉小屋静立坡岸，旅人临阶轻叩，将羁旅投宿的温软烟火气，揉进林木扶苏、苔石隐现的清寂山野里，动静之间，恰到好处。\n左侧题诗与画境相映成趣，隽雅书法配搭闲淡诗句，把杜诗中的酒意闲情融在笔墨之中。整体萧散疏朗，带着独有的简淡天真，于尺幅之间铺陈出悠远林下诗意，藏着旧时文人对幽居雅趣的追慕，诗画合璧，意境淡远悠长。",[24,64,332,27,101,119,95,30,33,98,7,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd13592dbc8d988fb7271b43340dd571.jpg",[],{"id":23521,"slug":23522,"title":23523,"dynasty":344,"author":23524,"museum":135,"description":23525,"tags":23526,"thumbUrl":23527,"material":142,"size":142,"collection":142,"collections":23528,"showCount":358,"zanCount":11,"manualWeight":54,"mainColor":109},235924,"hu-shan-fan-cha-tu-ce-pan-gong-shou-235924","湖山梵刹图册","潘恭寿","此作用浅设色晕染山峦，清润秀雅的青赭色调晕出柔婉的山势，烟岚轻笼，尽显江南丘壑的温润空灵。山寺藏于松壑之间，屋舍错落隐于虬松茂林之中，松枝苍劲盘曲，古意盎然。下层溪谷山居伴溪桥流水，林木葱茏静谧。\n\n诗画相衬，笔墨秀逸明净，将禅意融于湖山烟岚里，勾勒出萧散出尘的梵刹胜境，观之如临清净佛国，足以涤荡俗虑，尽显清寂雅致的世外意趣。",[24,64,117,332,27,99,95,31,32,7,140,227,97,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e938a92c09b488d00a732c47d06f0ca.jpg",[],{"id":23530,"slug":23531,"title":23532,"dynasty":344,"author":292,"museum":135,"description":23533,"tags":23534,"thumbUrl":23535,"material":229,"size":637,"collection":142,"collections":23536,"showCount":358,"zanCount":54,"manualWeight":54,"mainColor":109},235790,"wu-li-lin-tang-shi-si-tu-shan-ye-yi-ming-235790","吴历林塘诗思图扇页","此作用淡墨写就林塘秋景，取景清寂萧疏。近岸渔舟独棹，蓑翁垂纶，坡岸间疏林错落，茅庐隐于修竹茂树之下，远汀横斜，归雁掠过长天，淡墨晕开暮霭轻云，将秋日郊野的静谧寥廓尽数铺陈。\n笔墨松秀简淡，以干笔皴擦勾勒山石林木，墨色清润柔和，层次井然。题诗与画面相映成趣，将幽居闲眺、寄情林泉的隐逸诗意收束在尺幅之间，尽显萧散淡远的文人画意趣，静穆悠远，引人沉入秋日闲居的清宁遐思里。",[24,64,1551,94,99,101,119,95,241,1177,32,7,122,97,96,30,140,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c905d93c173e008f79cf2e820329ff4.jpg",[],{"id":23538,"slug":23539,"title":23540,"dynasty":344,"author":1385,"museum":135,"description":23541,"tags":23542,"thumbUrl":23543,"material":142,"size":142,"collection":142,"collections":23544,"showCount":358,"zanCount":54,"manualWeight":54,"mainColor":109},235774,"qing-chu-liu-da-jia-ji-ce-fang-huang-gong-wang-shan-shui-ye-yun-shou-ping-235774","清初六大家集册-仿黄公望山水页","此作用枯淡笔墨勾勒皴擦山峦，峰峦清拔却无迫人之态，线条松秀温雅，尽得元人山水萧散之致。近处坡岸杂木萧疏，枝桠错落间漫染清秋意趣，几处村居散落在水畔山坳，淡写闲淡烟火日常。\n\n画作追摹黄公望苍浑简远的气韵，舍弃浓墨重彩，以空灵留白晕染出江南丘壑的静穆淡远。笔底皴点看似疏简随性，实则藏着师古而不泥古的巧思，将文人画的雅洁淡远融于尺幅之间，尽显林下之风的平和逸趣。",[24,94,95,29,99,332,98,33,76,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1086554c4417a79cac04135f0425a476.jpg",[],{"id":23546,"slug":23547,"title":23548,"dynasty":18,"author":5358,"museum":135,"description":14675,"tags":23549,"thumbUrl":23550,"material":229,"size":637,"collection":142,"collections":23551,"showCount":358,"zanCount":54,"manualWeight":54,"mainColor":109},235770,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-bai-lian-jing-tu-ye-lu-zhi-235770","吴门诸家寿袁方斋三绝册-白莲泾图页",[24,64,332,94,95,7,33,348,1562,255],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e2e309fbe02004711f5f56e85083f44.jpg",[],{"id":23553,"slug":23554,"title":10974,"dynasty":18,"author":7291,"museum":135,"description":20592,"tags":23555,"thumbUrl":23556,"material":229,"size":637,"collection":142,"collections":23557,"showCount":358,"zanCount":11,"manualWeight":54,"mainColor":109},235689,"shan-shui-hua-hui-ce-xiang-sheng-mo-235689",[117,24,64,332,94,99,95,32,7,33,98,76,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b8ce76f18a440db12e15e7aac8a905f.jpg",[],{"id":23559,"slug":23560,"title":9402,"dynasty":18,"author":20408,"museum":135,"description":23561,"tags":23562,"thumbUrl":23563,"material":229,"size":637,"collection":142,"collections":23564,"showCount":358,"zanCount":54,"manualWeight":54,"mainColor":109},235632,"fang-gu-shan-shui-ce-shen-hao-235632","补博士弟子员。性豪放好奇。工诗文。书法真、草、隶、篆，无所不能。山水近沈周，晚年笔意挺秀，点色清妍，深于画理，“似而不似，不似而似”是他的创见。著有《画尘》及《枕瓢》、《焚砚诸集》。",[24,64,332,94,27,99,29,95,199,33,31,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa698f25ebf99871d4d9aff675b534aa9.jpg",[],{"id":23566,"slug":23567,"title":9402,"dynasty":18,"author":20408,"mus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清水寺缘起画卷(中)",[27,26,25,28,100,598,30,31,32,7,33,39,67,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc29a580c0d510cd600e0c22b55140b7c.jpg",[],{"id":23748,"slug":23749,"title":23750,"dynasty":2023,"author":18584,"museum":135,"description":23751,"tags":23752,"thumbUrl":23753,"material":229,"size":637,"collection":142,"collections":23754,"showCount":358,"zanCount":54,"manualWeight":54,"mainColor":55},231622,"shi-ting-shi-dai-zu-shi-da-man-song-da-zhi-tu-zhou-shou-ye-yuan-xin-231622","室町时代 祖师大满送大智图轴","狩野元信（1477～1559）同父亲正信一样，是足利幕府的御用画师，也为细川高国、大内义隆等幕府权贵所用，经常出入宫廷、幕府官邸画障屏画。他承袭了足利家所喜好的中国水墨画风格，但同时他又是提倡“大和画”的土佐派始祖土佐光信的义子。",[23,24,64,225,94,27,95,30,96,32,7,33,98,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2410f5a3214a93e64d7edcf5771d2a8b.jpg",[],{"id":23756,"slug":23757,"title":655,"dynasty":344,"author":23758,"museum":135,"description":23759,"tags":23760,"thumbUrl":23761,"material":142,"size":142,"collection":142,"collections":23762,"showCount":358,"zanCount":54,"manualWeight":54,"mainColor":109},230255,"shan-shui-ce-wang-su-230255","王愫","此作以淡赭轻染、花青敷缀，写就水滨冬景。江天色调清濛，岸旁柳芦枝叶疏柔，似含朔风之意，带着萧寒疏朗之态。近岸小舟系于枯木之下，篷顶暖意暗生；远江扁舟孤行，淡波载着舟影缓缓漾开，留白铺就空阔水天，晕开朦胧烟霭。\n题诗笔意清隽，和画面柔澹氛围相融。整幅无繁复皴擦，以简淡笔墨托出萧散空寂的意境，将冬日水畔的闲逸清和藏于浅淡设色之中，尽显文人画天真简淡的意趣，观之便如临幽寂江天，俗尘尽涤。",[24,64,332,94,27,96,378,2042,2206,7,122,1080,1428,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9591750a149d747d9b88fc296549bdcf.jpg",[],{"id":23764,"slug":23765,"title":23766,"dynasty":344,"author":292,"museum":135,"description":23767,"tags":23768,"thumbUrl":23769,"material":229,"size":637,"collection":142,"collections":23770,"showCount":358,"zanCount":54,"manualWeight":54,"mainColor":109},229530,"song-hua-shi-shan-shui-ren-wu-yan-yi-ming-229530","松花石山水人物砚","砚台历经秦汉、魏晋，至唐代起，各地相继发现适合制砚的石料，开始以石为主的砚台制作。其中采用甘肃岷县的洮河石、广东端州的端石、安徽歙州的歙石制作的砚台，被分别称作洮砚、端砚、歙砚。史书将洮、端、歙称作三大名砚。清末，又将河南洛阳的澄泥砚与洮、端、歙，并列为中国四大名砚。也有人主张，以天然砚石雕制的鲁砚中的红丝石砚代替澄泥砚，合称四大名砚。\n谈起砚的种类有许多种，从砚的材质可分为：玉砚、银砚、铜砚、铁砚、陶砚、瓷砚、石砚、漆砚等，其中石砚是最为普遍，也最实用的一种砚。砚台起源于新石器时代。最早的砚是半坡村遗址出土的研磨颜料的研磨器，在1980年，大陆考古学家曾在陕西省临潼县姜寨一处原始社会的遗址中，发现了一套原始人用以陶器彩绘的工具，其中有一方石砚，砚有盖，砚面微凹，凹处并有一根石质磨杵，砚旁留存数块黑色颜料。很显然，这是先民们借助磨杵研磨颜料的早期砚的形制。由于这处遗址归属于母系氏族时期的仰韶文化，故这方砚台的实际寿龄已超过了五千年了。\n清代端石砚要求因材施艺，因石构图，在题材、立意、构图、造型、利用何种雕法都要精心推敲，刻划得当。保持了端砚的古雅、朴实，古色古香、形态自然的特点。如北京故宫收藏的「端石双龙砚」、「猫蝶砚」是端砚中的佳品。",[3679,4592,23285,95,30,241,854,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1168d3b1400ba0a1f6e361f7038cd90.jpg",[],{"id":23772,"slug":23773,"title":7986,"dynasty":344,"author":435,"museum":135,"description":23774,"tags":23775,"thumbUrl":23776,"material":142,"size":142,"collection":142,"collections":23777,"showCount":358,"zanCount":54,"manualWeight":54,"mainColor":109},229030,"shan-shui-ce-ye-wang-yuan-qi-229030","此作以干渴焦墨反复皴擦堆叠山峦，笔力苍劲老辣，层层铺陈出浑厚华滋的质感，尽显山水苍莽深秀之态。近岸汀渚错落，虬曲杂木丛生，简笔点染枝叶，意态萧疏古雅。山坳间村舍隐于林木烟岚，晕开幽居野逸的闲趣。\n\n远景山峦逶迤，墨色由浓转淡，虚实相生间晕染出空濛悠远的意境。以书法意趣入画，笔墨裹挟沉静书卷气，层层皴染尽显山川厚重雄浑，将自然苍朴与文人意趣相融，静穆里藏着蓬勃生机，尽显传统山水的笔墨风骨与幽深远阔的林下襟怀。",[117,24,64,332,94,99,95,98,33,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad840bb8afc0736f39b85cebaefd8955.jpg",[],{"id":23779,"slug":23780,"title":23781,"dynasty":18,"author":4075,"museum":135,"description":23782,"tags":23783,"thumbUrl":23784,"material":142,"size":142,"collection":142,"collections":23785,"showCount":358,"zanCount":54,"manualWeight":54,"mainColor":109},228398,"chi-bi-sheng-you-tu-zhu-yun-ming-228398","赤壁胜游图","首段山水小景澹然悠远，江岸林峦苍润秀雅，晕染出赤壁夜游的清寂夜色。后接长篇书作，开篇行书秀逸灵动，笔锋舒卷间尽显从容；后段转为大草，纵横跌宕，墨色浓枯变幻强烈，将苏子赤壁怀古的旷达沉醉尽数抒发。笔墨随着文辞意境流转，文心与书意交融无间，把赤壁夜游的幽远意趣铺展于卷上，尽显吴门书家的放逸才情，让观者漫游翰墨山水间，重临其境感受千古名篇的悠然况味。",[23,117,24,64,25,101,100,94,27,95,96,33,7,32,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94288a4f33978c648f5941eb7a2c2bc4.jpg",[],{"id":23787,"slug":23788,"title":23789,"dynasty":18,"author":7692,"museum":135,"description":23790,"tags":23791,"thumbUrl":23792,"material":142,"size":142,"collection":142,"collections":23793,"showCount":358,"zanCount":54,"manualWeight":54,"mainColor":55},228337,"yin-bao-jie-shan-tu-zhou-wang-wen-228337","隐宝界山图轴","《隐宝界山图》是明朝王问所作名画，此图原藏清宫，后流落民间，故宫博物院考古学家顾铁符先生于1949年购于广州。\n1994年顾先生的家属根据他的遗愿将此图捐赠故宫博物院。\n画心左上自题：“宝界山，余读易庐在焉。\n嘉靖戊申始得辞岭南之命，寄傲其间，静志远交，可以寡过矣。\n诗曰：荒山雨雪暮寒时，碧树临湖橘柚垂。\n归棹复寻渔径入，幽居更向谷云移。\n鲈如张翰思偏早，酒为渊明酿已迟。\n木石久谙麇鹿性，野人相见莫相疑。\n仲山王问写并书。\n”钤“王问之印”、“进士”等印。\n据此图题跋，可知所画是王问在嘉靖戊申年（二十七年，1548年）隐居无锡宝界山读书时的情景，为画家5岁时所作。\n鉴赏印钤“石渠宝笈”、“乾隆御览之宝”、“乾隆鉴赏”、“三希堂精鉴玺”、“宜子孙”等印。\n画幅右下钤“无事对青山”白方印，左下钤“闲溪陈氏玉阶珍藏”朱长方印。\n画中所绘当为宝界山实景。\n筑于半山的房舍中，王问侧坐，正对景读书，屋前渔舟泊于岸边，充满生活气息。\n画家以浓墨绘杂树参差，纵横交错，不拘成法，茅屋数间则以工细的淡墨写出。\n用笔浑厚老健，笔墨轻重、浓淡、动静的对比与衬托都恰到好处。\n王问之作传世不多，得此盛年鼎绝作品实为不易。",[23,24,225,95,94,99,31,96,7,33,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8002608845fa1f1fb6a6f63a76f2c409.jpg",[],{"id":23795,"slug":23796,"title":23797,"dynasty":59,"author":292,"museum":135,"description":23798,"tags":23799,"thumbUrl":23800,"material":142,"size":142,"collection":142,"collections":23801,"showCount":358,"zanCount":54,"manualWeight":54,"mainColor":55},227923,"lian-tang-fan-ting-tu-yi-ming-227923","莲塘泛艇图","此作用水墨晕染铺就塘间幽趣，古木虬曲苍劲，浓墨点叶半掩水榭，凭栏二人对坐低语，檐下暗影浮动浸着凉意。扁舟缓行于烟水间，舱中三人敛衣静坐，淡墨晕开的烟霭晕化虚实界限，树影与水色融作一片朦胧，将暑夜荷塘的清宁雅致尽数铺展。\n\n全画以墨色浓淡区分层次，于尺幅团扇间营造出悠远空阔的幽居之境，尽显闲逸雅致的林下风流，寥寥笔墨便勾勒出淡远空灵的氛围感，将幽寂闲趣藏进晕染的烟水间，诗意漫溢其间。",[23,3139,117,24,64,1551,27,26,95,30,96,426,1242,97,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3772f4c64aa6c5f5f71e8800df047da4.jpg",[],{"id":23803,"slug":23804,"title":23805,"dynasty":2023,"author":292,"museum":135,"description":20194,"tags":23806,"thumbUrl":23807,"material":229,"size":637,"collection":142,"co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论画十则 麓台题画稿 沈楙德跋 题丹思画册仿叔明 仿黄子久笔 题仿大痴巨幅 烟峦秋爽仿荆关 仿梅道人笔 仿小米笔 仿黄子久 题仿大痴笔（一） 仿大痴秋山 仿大痴（一） 仿黄大痴长卷 仿大痴（二） 仿梅道人 仿大痴（三） 仿大痴《九峰雪霁》 仿大痴（四） 仿设色大痴 仿设色倪黄 题仿大痴笔（二） 送励南湖画册十幅仿宋元诸大家 题仿万壑松风丹思三十幅之一 题仿范华原三十幅之一 画设色高房山三十幅之一 仿松雪、大年笔意 题画仿王叔明长卷 题仿大痴手卷 题仿淡墨云林 题仿梅道人长卷 题学思翁仿子久法 题仿赵大年推篷四页之一 题仿董巨笔 题仿小米笔 仿大痴设色秋山 题仿梅道人 仿设色小米 仿大痴秋山 仿梅道人 仿大痴水墨长卷 画家总论题画呈八叔 仿设色大痴长卷 仿王叔明 题仿大痴没色秋山 为凯功掌宪写元季四家 仿黄子久设色 仿设色大痴秋山 仿大痴笔为轮美作 又仿大痴设色 仿设色倪黄 大横披仿设色大痴 拟设色云林小幅 仿倪黄设色小卷 仿黄鹤山樵巨幅山水 题仿董北苑 外三则 题跋广录 仿大痴笔 溪山高隐图卷 西窗消永图 为在陆策懒 仿大痴富春图 仿古山水卷 仿古山水册（一） 仿黄公望山水 仿大痴山水（一） 华山秋色图 会心大痴 仿倪瓒山水 山水（一） 为明吉作山水 仿黄鹤山樵《秋山读书图》 仿倪黄笔意 仿大痴山水（二） 意止斋图卷 沧浪亭诗意 仿黄大痴《秋山图》 仿王蒙《溪山仙馆图》 仿梅道人山水 富春山图 写大痴得力荆关 仿赵孟頫山水 仿古脱古图 夏山图 补云林《遂幽轩图》 仿王蒙山水 湖湘山水 仿倪瓒笔意 仿高尚《书云山图》 杜老诗意 四绝山水 溪山林屋图 万壑千崖卷 仿宋元六家卷 清泉白石图 仿倪黄山水 舟次所作 仿曹云西山水 倪黄笔意图 用高尚书法写少陵诗意 仿黄公望山水 仿元季六大家推篷册 仿大痴富春山笔意卷 山水为石谷 仿倪黄山水 胜弈图 仿大痴山水卷 竹溪渔浦松岭云岩卷 山水（二） 没色山水 仿山樵山水 山水（三） 仿古山水 仿倪瓒山水 仿董巨山水 仿古臣册 仿王蒙山水 为杨晋画山水 仿方方壶 仿梅道人《秋山图》 设色山水 仿大痴画法 仿王蒙山水 仿黄公望山水 仿大痴（五） 仿董巨山水 仿高克恭山水 仿山樵林泉清集丹台春晓二图意 仿黄公望笔意 仿黄公望《秋山图》 仿赵大年江南春参松雪笔意 西岭烟云卷 仿王蒙笔意 为拱辰作山水 仿米家云山 仿倪画笔意 仿惠崇江南春 仿倪黄山水 秋山图 仿大痴山水（三） 春山图 江山无尽图 山村雨景 仿黄公望《富春山色图》 仿黄公望山水 学董巨神完气足 仿诸家山水 赠王忍庵横幅二 仿云林山水 仿王蒙笔意 苍岩翠壁图 仿大痴《秋山图》 秋林叠巘图 红香夹岸图 仿黄公望《富春山居图》 仿大痴兼赵大年江南春意 远山叠嶂图 仿倪黄山水 九日适成卷 仿古 山水（四） 山水（五） 仿倪瓒山水 粤东山水 仿云林山水 夏山水阁图 高岭平川图 仿大痴山水（四） 为位凝作山水 云山罨画图卷 水墨山水 山水（六） 仿大痴山水（五） 仿黄公望笔意 山水（七） 仿大痴山水（六） 设色山水 危峰独秀图 大痴小幅 陡壁磐石图 远岫归云图 仿倪高士《滩声嘈嘈杂雨声图》 跋文徵明《石湖清胜图卷》 仿古山水册（二） 仿云林山水 附录",[23,24,64,225,27,99,95,240,23823,241,31,7,32],"平川","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5175b8b65826f681dca70b8cad442470.jpg",[],{"id":23827,"slug":23828,"title":23829,"dynasty":344,"author":435,"museum":135,"description":23830,"tags":23831,"thumbUrl":23833,"material":142,"size":142,"collection":142,"collections":23834,"showCount":358,"zanCount":54,"manualWeight":54,"mainColor":109},224396,"shan-jian-lin-lu-wang-yuan-qi-224396","山磵林庐","此作用笔沉厚老辣，以干笔积墨层层皴擦，山石苍润浑厚，草木华滋清隽。取景紧凑却丘壑幽深，巨岩洞天藏山光，飞瀑落溪撞碎林麓静谧，蜿蜒山径隐于苍林，板桥轻架溪上，暗合山居幽趣。\n\n画面融宋元古意与清时文心，将江南秋山的秀润与沉雄揉为一体，笔底晕开幽寂山居的雅兴，藏林下隐逸的文人情致于皴染点苔之间，整体气息浑朴雅致，尽显文人山水画的从容格调。",[23,24,64,94,27,99,332,95,240,171,168,7,32,33,2410,23832,119,518],"庐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F088ab1978204110c84f6a7f7d85c76ce.jpg",[],{"id":23836,"slug":23837,"title":23838,"dynasty":344,"author":13884,"museum":135,"description":23839,"tags":23840,"thumbUrl":23841,"material":142,"size":142,"collection":142,"collections":23842,"showCount":358,"zanCount":54,"manualWeight":54,"mainColor":109},224280,"shan-shui-hua-hui-ce-shi-er-fu-shan-224280","山水花卉冊(十二)","此作用笔简淡稚拙，以浅赭轻晕山峦，敷色清和柔润。近滩板桥轻横，浅渚疏林错落；中景红墙环绕，古寺隐现于茂林之间，城郭拱门洞开，晕开几分烟火清寂；远景峰峦平缓朦胧，晕染出空濛山意。全画无繁复皴擦，以简淡线条勾勒出幽寂山居，将林泉隐逸的萧散意趣融于尺幅之中。笔墨空灵简净，褪去雕琢之态，尽显超然出尘的林下之风，藏着寄情丘壑的文人雅怀，整体氛围静谧冲淡，意蕴悠远绵长。",[23,24,64,332,27,95,99,240,241,31,32,7,119,76,33,3921,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F532ed8a4cf428d9d61c7bc6b9cfbed48.jpg",[],{"id":23844,"slug":23845,"title":23846,"dynasty":344,"author":13884,"museum":135,"description":23847,"tags":23848,"thumbUrl":23849,"material":142,"size":142,"collection":142,"collections":23850,"showCount":358,"zanCount":54,"manualWeight":54,"mainColor":109},224275,"shan-shui-hua-hui-ce-ba-fu-shan-224275","山水花卉冊(八)","这幅小品以浅绛晕染出清旷秋山，层叠峰峦如瘦玉排云，淡赭轻敷，尽显清峭空灵。前景枯木虬枝盘错，苍劲如龙，带着深秋的荒寒古拙，将山野萧索之气铺展开来。溪涧蜿蜒穿林，板桥横卧浅流，似能听见潺潺水声，衬出空山幽寂。\n全画笔简意足，以淡墨勾勒形神，轻施淡彩不着浓艳，将文人山水的疏朗意趣藏于尺幅之间。静穆空寂中暗含生机，无繁复皴擦却将丘壑灵韵尽数托出，寄寓着林泉高致，淡而不薄，简而有味，尽显水墨小品的隽永余韵。",[23,24,27,95,32,7,1397,140,199,99,332],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ef01adc37194acb4634f850f7a504be.jpg",[],{"id":23852,"slug":23853,"title":23854,"dynasty":18,"author":292,"museum":135,"description":23855,"tags":23856,"thumbUrl":23857,"material":142,"size":142,"collection":142,"collections":23858,"showCount":358,"zanCount":54,"manualWeight":54,"mainColor":109},223681,"gu-xiu-shi-liu-ying-zhen-ce-9-yi-ming-223681","顾绣十六应真册9","此作用铁线白描写就，线条清劲圆转、洗练流畅。趺坐罗汉神态安然沉静，似于幽林静悟禅机，身旁侍者伏卧休憩，松弛自适，一动一静间尽显禅林悠然意趣。\n\n布景简括雅致，古木苍秀古拙，山石以淡墨轻皴，衬出坡岸幽寂清旷的氛围，将禅修的幽远意境烘托得恰到好处。整幅作品工细不失灵动，意韵简淡空灵，尽显清雅禅意，将出世幽居的静定之美尽显无余。",[23,117,24,64,332,138,27,30,33,98,122,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F237960864f0d11a4fe2af68155ef09a0.jpg",[],{"id":23860,"slug":23861,"title":23862,"dynasty":59,"author":292,"museum":152,"description":23863,"tags":23864,"thumbUrl":23865,"material":469,"size":23866,"collection":142,"collections":23867,"showCount":358,"zanCount":54,"manualWeight":54,"mainColor":109},223505,"song-hu-diao-yin-tu-yi-ming-223505","松湖钓隐图","叶小舟浮于湖上，一人独坐垂 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印。此图从画风多受马、夏影响这一点来看",[23,24,64,95,27,99,101,119,390,96,98,348,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c9d875e6692c9267b51e8524a861af6.jpg","25.3x25.8厘米",[],{"id":23869,"slug":23870,"title":23871,"dynasty":344,"author":13884,"museum":252,"description":9588,"tags":23872,"thumbUrl":23873,"material":23874,"size":23875,"collection":142,"collections":23876,"showCount":358,"zanCount":54,"manualWeight":54,"mainColor":109},223242,"shan-shui-hua-hui-ce-si-fu-shan-223242","山水花卉冊(四)",[23,24,27,332,95,99,31,7,33,98,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5e56da553bdde75a3abf53ea86e8c64.jpg","绢本纸本","纵25.7厘米，横25.2厘米",[],{"id":23878,"slug":23879,"title":23880,"dynasty":18,"author":9223,"museum":20,"description":23881,"tags":23882,"thumbUrl":23883,"material":18532,"size":23884,"collection":142,"collections":23885,"showCount":358,"zanCount":54,"manualWeight":54,"mainColor":109},222370,"wen-yin-tu-juan-yao-shou-222370","文饮图卷","姚绶（1422-1495年），字公绶，号穀庵、丹丘子、云东逸史等。明天顺八年（1464年）进士，官至广东道监察御史，因忤权贵被贬永宁知县，遂称病辞官归里，以诗文书画终老其生。其书法初学宋克，后宗张雨、赵孟俯，并参以黄庭坚；绘画方面，他继承了元代文人画传统，主要师法吴镇、王蒙、赵孟俯，可谓明代前期文人画家中的领军人物之一，在元代文人画与明代吴门画派之间起着承上启下的关键作用。",[23,117,24,64,25,94,101,100,119,3016,99,30,95,543,33,97,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59a051ea9fd252ec4da1dd0ba33659ff.jpg","23.3 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御制五律一章，以宠其行，行至山东临清以病卒。",[24,64,332,118,27,95,120,7,170,119,100,99,24079],"春日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03537bd56d92850b4b625849213589b2.jpg",[],{"id":24083,"slug":24084,"title":24085,"dynasty":344,"author":24086,"museum":135,"description":24087,"tags":24088,"thumbUrl":24089,"material":229,"size":637,"collection":142,"collections":24090,"showCount":370,"zanCount":54,"manualWeight":54,"mainColor":109},290569,"song-yin-ting-pu-zhou-xu-lai-chen-290569","松阴听瀑轴","徐来琛","此作用全景式构图铺展林壑幽境，层峦叠嶂渐次抬升，将高远与深远之趣相融。山岩以细劲皴笔写就肌理，敷色浅淡柔润，晕染出草木蓊郁的温润质感。飞瀑循着幽谷曲折而下，为静谧山林添了灵动生机。林麓山居藏于苍松茂林之间，松下雅士对坐观瀑，尽显林下清谈的隐逸雅兴。\n\n全作用笔秀雅，墨色干湿相济，将山林的深秀空寂与文人林泉高致的意趣融为一体，勾勒出可居可游的幽澹山水天地，尽显传统山水的静穆清逸之美。",[24,225,27,95,271,7,168,98,1357,30,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70fbba515d81ccc033cc6f7cc1a6e838.jpg",[],{"id":24092,"slug":24093,"title":24094,"dynasty":344,"author":292,"museum":135,"description":24095,"tags":24096,"thumbUrl":24099,"material":229,"size":637,"collection":142,"collections":24100,"showCount":370,"zanCount":54,"manualWeight":54,"mainColor":55},290465,"qiu-shui-feng-qiao-tu-yi-ming-290465","秋水枫桥图","此作以水墨绘就秋山胜景，近岸老木盘虬，扎根嶙峋危石，寒枝疏朗尽染秋意，板桥轻卧浅波，林麓深处隐见村居野舍。中远景峰峦峭拔，以淡墨晕染出烟雨空濛的虚实层次，群雁掠过长天，秋水澹澹，汀渚间疏苇摇曳生姿。画作以枯淡与浓墨相映，笔意简远秀润，将江南晚秋的清寂萧疏铺陈开来，带着林下隐逸的澹泊意趣，尽现空灵冷隽的文人山水意境，藏着独属于秋日的澹泊诗意。",[23,24,64,95,94,99,140,32,7,122,609,170,24097,24098],"秋水","枫桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35798ae6392615e12ec39cdfc4750e27.jpg",[],{"id":24102,"slug":24103,"title":606,"dynasty":59,"author":292,"museum":135,"description":15342,"tags":24104,"thumbUrl":24105,"material":229,"size":637,"collection":142,"collections":24106,"showCount":370,"zanCount":54,"manualWeight":54,"mainColor":55},290241,"shan-shui-tu-yi-ming-290241",[1551,24,117,95,96,97,140,98,7,348,99,94,27,5769,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2fe85393b9a268371e562b0ee58655e.jpg",[],{"id":24108,"slug":24109,"title":24110,"dynasty":59,"author":292,"museum":135,"description":15342,"tags":24111,"thumbUrl":24113,"material":229,"size":637,"collection":142,"collections":24114,"showCount":370,"zanCount":54,"manualWeight":54,"mainColor":55},290240,"dai-du-tu-ye-yi-ming-290240","待渡图页",[23,24,64,95,94,99,255,199,7,96,122,15897,24112],"待渡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f121a7110bd25d54a369b4fcbdf9a33.jpg",[],{"id":24116,"slug":24117,"title":24118,"dynasty":59,"author":292,"museum":135,"description":24119,"tags":24120,"thumbUrl":24122,"material":229,"size":637,"collection":142,"collections":24123,"showCount":370,"zanCount":54,"manualWeight":54,"mainColor":109},290016,"xi-yin-yu-mu-tu-yi-ming-290016","溪阴浴牧图","早秋的江南，依然残留著盛夏最後一丝的酷热。河岸上，近树犹见绿叶繁茂，远处则已是红叶片片。渺茫的烟波中，牧童两人骑著水牛，一边舒服地浸泡在水里消暑，一边又不放心地转头望向岸上。只见小牛落了单，但又不敢跟著下水去，只能焦急地在岸上，不断用它的鼻子去触碰那又凉又湿的河水，看起来苦恼极了。",[24,332,1551,27,26,95,33,7,96,67,24121],"浴牧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb125597050d41c7fa61ceca013d9ab5e.jpg",[],{"id":24125,"slug":24126,"title":24127,"dynasty":59,"author":292,"museum":135,"description":24128,"tags":24129,"thumbUrl":24130,"material":229,"size":637,"collection":142,"collections":24131,"showCount":370,"zanCount":54,"manualWeight":54,"mainColor":109},289954,"he-tang-xi-lai-tu-yi-ming-289954","荷塘鸂鵣图","淡墨晕染开江南初夏的水泽烟岚，汀岸疏林隐在濛濛水雾间，将幽寂的氛围感铺陈开来。水面之上，两只鸂鵣意态生动，一只垂首理羽，一只振翅欲落，粼粼水波轻漾微动，荷塘野趣呼之欲出。\n此作工写相宜，禽鸟刻画写实鲜活，林木水色却写意空濛，将细腻生机融于澹澹烟霭，把水畔闲静瞬间凝于绢素。诗画合璧间，尽显雅致闲淡，仿佛携着初夏水泽的清润水汽，将空灵悠远的江南意韵娓娓道来。",[23,117,24,64,332,788,1242,426,2545,27,26,119,100,101,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fdfa14d51ee6248c43a7847970c36c1.jpg",[],{"id":24133,"slug":24134,"title":24135,"dynasty":59,"author":292,"museum":135,"description":24136,"tags":24137,"thumbUrl":24138,"material":229,"size":637,"collection":142,"collections":24139,"showCount":370,"zanCount":54,"manualWeight":54,"mainColor":55},289354,"xue-lu-zao-xing-tu-yi-ming-289354","雪麓早行图","北宋的北方山水画有三个主要流派关仝、李成和范宽。《雪麓早行图》无款，乃属范宽一路。",[24,117,866,225,94,99,2097,170,33,31,227,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23ec087d1ee943bb0b328469b7cf93dc.jpg",[],{"id":24141,"slug":24142,"title":24143,"dynasty":344,"author":6590,"museum":135,"description":8904,"tags":24144,"thumbUrl":24146,"material":229,"size":637,"collection":142,"collections":24147,"showCount":370,"zanCount":54,"manualWeight":54,"mainColor":262},288383,"bu-liao-qing-zan-cuo-tu-wei-xiang-sun-wen-288383","不了情暂撮土为香",[23,24,26,27,30,66,31,32,7,95,378,39,28,24145],"伤情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfb37f28bb6ef67198e5ff91fae70edc.jpg",[],{"id":24149,"slug":24150,"title":24151,"dynasty":344,"author":292,"museum":135,"description":24152,"tags":24153,"thumbUrl":24156,"material":229,"size":637,"collection":142,"collections":24157,"showCount":370,"zanCount":54,"manualWeight":54,"mainColor":55},272891,"zi-tan-mu-bian-qian-fa-lang-nong-jia-le-tu-gua-ping-yi-ming-272891","紫檀木边嵌珐琅农家乐图挂屏","以珐琅彩料晕染青绿山峦，金底衬色愈显明净雅致，层叠峰峦间云气缭绕，晕开山居悠远意境。村落屋舍错落林间，乡人往来忙活，溪畔车舆缓行，彩叶林木点缀出秋意鲜活灵动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180","叶欣（生卒年未详，公元17—18世纪)，字荣木，华亭(今上海市松江)人，流寓江苏金陵(今南京)，书画家。善山水，学宋赵令穰法，复师明姚允在之意，能独抒性灵。山水画素以“工细幽淡”著称。",[24,64,332,94,138,95,97,378,122,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dc618dd7582868052682c2f1bd7f64a.jpg",[],{"id":24545,"slug":24546,"title":655,"dynasty":18,"author":11763,"museum":135,"description":24547,"tags":24548,"thumbUrl":24549,"material":142,"size":142,"collection":142,"collections":24550,"showCount":370,"zanCount":54,"manualWeight":54,"mainColor":55},235148,"shan-shui-ce-li-liu-fang-235148","此作用淡墨晕染秋山平湖，主峰以披麻皴写就，苔点错落，苍朴浑厚尽显山石肌理。岸上古木虬曲，浓墨点叶，明暗间漾着清寂生机。平湖扁舟轻泛，舟中高士凭舷远眺，寥寥数笔便勾勒出林下幽居的散淡意趣。\n右上角题字清雅隽秀，与笔墨山水相映成趣。整体画风简淡萧散，以笔意寄寓文人放怀林泉的雅逸襟怀，将实景山水与悠悠文思相融，淡而韵长，简而意足，把寄情山水的林下风雅藏在每一处勾勒晕染之中。",[24,64,332,94,99,95,96,7,33,98,2008,30,8847],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66d3bad1153dcc39c63479de92841051.jpg",[],{"id":24552,"slug":24553,"title":24554,"dynasty":18,"author":292,"museum":135,"description":24555,"tags":24556,"thumbUrl":24557,"material":229,"size":637,"collection":142,"collections":24558,"showCount":370,"zanCount":11,"manualWeight":54,"mainColor":109},234969,"qian-gu-shan-shui-shan-ye-yi-ming-234969","钱穀山水扇页","此作用平远章法铺展湖山小景，三段洲渚错落排布，留白勾画出空阔水色，尽显湖天寥廓。枯木虬曲苍劲，以简括折芦笔意写出古拙之态，远林以点染之法轻施笔墨，淡赭晕染秋山，花青敷色浅岸，轻烟隐于远峦间，浅绛设色清透雅致。村居藏在林间坡岸，野意闲静，将江南秋日萧疏淡远的隐逸之趣收于咫尺扇面。题钤朱印点缀边角，文气悠然，笔墨疏淡却意蕴悠长，尽显文人山水寄情丘壑的雅逸品格。",[24,64,1551,95,94,27,99,140,98,7,96,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F298d611f28db0ebf31aeb5ae6874a5be.jpg",[],{"id":24560,"slug":24561,"title":20761,"dynasty":344,"author":435,"museum":135,"description":20762,"tags":24562,"thumbUrl":24563,"material":335,"size":20765,"collection":142,"collections":24564,"showCount":370,"zanCount":54,"manualWeight":54,"mainColor":109},234882,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234882",[24,64,332,27,95,99,32,7,33,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2df1518a055839c665b21d179fa85aa8.jpg",[],{"id":24566,"slug":24567,"title":24568,"dynasty":344,"author":435,"museum":135,"description":24569,"tags":24570,"thumbUrl":24571,"material":142,"size":142,"collection":142,"collections":24572,"showCount":370,"zanCount":54,"manualWeight":54,"mainColor":109},234824,"zhu-jia-shu-hua-he-bi-ce-shan-shui-ye-wang-yuan-qi-234824","诸家书画合璧册-山水页","王原祁，明崇祯十五年（1642年）生，清康熙五十四年（1715年）卒。字茂京，号麓台、石师道人，江南省苏州府太仓人(今江苏太仓)，王时敏孙。康熙九年（1670年）进士，观政于吏部、任顺天乡试同考官，后任直隶顺德府任县（今河北省邢台市任县）知县，地当九河下流，滏漳诸水复久壅塞，腴田变为污渚，圪刘累泊等处，即古大陆泽为患，尤甚甲子乙丑秋雨连旬，水势陡发，堤岸尽壊，田莱俱成巨浸。\n原祁请照淮扬例，永免水荒田赋三千余金，民困以苏其余如，筑堤以防水宪，建桥以通水道，毙盗贼以安民命，明僎介以昭典礼，发仓储以救羸，着迹难以枚举。丙寅，奉命行取擢谏垣，改翰林，累官少司农，卒于位，赐祭葬如例，康熙五十九年入祀名宦。\n以画供奉内廷，康熙四十四年奉旨与孙岳颁、宋骏业等编《佩文斋书画谱》，五十六年主持绘《万寿盛典图》为康熙帝祝寿。擅画山水，继承家法，学元四家，以黄公望为宗，喜用干笔焦墨，层层皴擦，用笔沉着，自称笔端有金刚杵。与王时敏、王鉴、王翚并称“四王”，形成娄东画派，左右清代三百年画坛，成为正统派中坚人物。享年七十四。\n其所著画论有《雨窗漫笔》与《麓台题画稿》。擅长做诗，有《罨画楼集》3卷。\n晚清娄东画派代表人物秦祖永论王原祁画风：『中年秀润，晚年苍浑」；论其画曰：『沈雄验右，元气淋漓，笔端金刚杵之语不虚也」见《清史稿》、秦祖永《恫荫论画》。",[24,64,332,94,99,95,33,98,76,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e34c985b5fdde12bbbe44a7d1f7cc76.jpg",[],{"id":24574,"slug":24575,"title":655,"dynasty":18,"author":10975,"museum":135,"description":24576,"tags":24577,"thumbUrl":24578,"material":142,"size":142,"collection":142,"collections":24579,"showCount":370,"zanCount":54,"manualWeight":54,"mainColor":109},234665,"shan-shui-ce-shao-mi-234665","邵弥(1594-1642)，晚明时吴门人，字僧弥，号瓜畴，性孤僻，似贤云野鹤，不染尘氛。擅诗，尤喜书画，瘦冷清逸，一如其人，极为时人所重，与董其昌、王时敏等同为“画中九友”之一。亦好收藏，张丑《清河书画舫》尝记之。所收沈石田《湾东草堂图》为石田精品，可见目力不凡。此册拟古，或仿营丘，或仿北苑，或仿云林、黄鹤，或仿千里、大痴；或危岩层起泉落云飞，或山间小筑傍竹临水；或寻诗晚而忘归，或山间独居与朝云暮霭相伴。画笔俊秀精工而书卷之气满目，幅幅皆似诗中浸出，雨露中洗过，是他画中极精致品。对幅和后跋有金俊明、文柟、方夏、刘能始、周之文等诗题，其中文柟一开称其与友人丘令和晨夕相对，“兴至”则为点染，真所谓“五日一山十日一水之趣，简远秀逸自胚胎中来。”可见是在闲和恬适之时，与知己相对，兴来挥毫，不计时日的精心之作，故命意不凡，幅幅俱佳。极珍贵。",[117,24,64,332,94,99,95,199,140,7,96,97,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde1a6a24b24c48b15067832ea331eb98.jpg",[],{"id":24581,"slug":24582,"title":655,"dynasty":344,"author":3047,"museum":135,"description":21454,"tags":24583,"thumbUrl":24584,"material":142,"size":142,"collection":142,"collections":24585,"showCount":370,"zanCount":54,"manualWeight":54,"mainColor":109},234639,"shan-shui-ce-cha-shi-biao-234639",[24,64,332,94,27,95,255,96,122,7,199,101,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b4e5b7d54682fbdb90b8120d8bd186f.jpg",[],{"id":24587,"slug":24588,"title":24589,"dynasty":18,"author":24590,"museum":135,"description":24591,"tags":24592,"thumbUrl":24594,"material":142,"size":142,"collection":142,"collections":24595,"showCount":370,"zanCount":54,"manualWeight":54,"mainColor":55},234565,"liu-xi-you-ting-shan-mian-li-hang-zhi-234565","柳溪游艇扇面","李杭之","李杭之[明]（？―一六四四）字僧筏，流芳（一五七五―一六二九）子。\n年未四十，弃诸生放浪山水。好古彝器，然遇人困难辄赠之。诗文书画，酷似其父。有月泛图，张鸿磐题云：“小李风流继阿翁，萧疏笔墨见心胸。”崇祯十二年（一六三九）尝作山水扇，现藏故宫博物馆。《列朝诗集小传》、《小松圆阁书画跋》、《南翔志》",[1551,24,94,378,7,24593,30,95],"游艇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffda3064beb82c387670937152e02f920.jpg",[],{"id":24597,"slug":24598,"title":24599,"dynasty":18,"author":292,"museum":135,"description":24600,"tags":24601,"thumbUrl":24602,"material":229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明代书画家。字抑之，号华发仙人，人号 马清痴，嘉定（今属 上海市）人。其父 马轼曾以星占服务于军中，又是著名的院体画家。马愈于 明英宗天顺八年（1464年）中甲申科进士，后来官至刑部主事。马愈能诗，善书，工山水，登逸品。以诗文书画与江南士有广泛交游，著有 《马氏日抄》一卷。",[23,24,64,25,29,94,99,101,119,95,9007,98,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd053d0aa504c020ce53dd9906b558821.jpg",[],{"id":24614,"slug":24615,"title":5290,"dynasty":344,"author":5291,"museum":61,"description":5292,"tags":24616,"thumbUrl":24617,"material":258,"size":5295,"collection":142,"collections":24618,"showCount":370,"zanCount":54,"manualWeight":54,"mainColor":109},233446,"ren-wu-shan-shui-ce-luo-pin-233446",[24,27,332,95,30,32,7,96,120,140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20c10130c1a52d65085d434faa412416.jpg",[],{"id":24620,"slug":24621,"title":12048,"dynasty":344,"author":6420,"museum":61,"description":24622,"tags":24623,"thumbUrl":24624,"material":258,"size":24625,"collection":142,"collections":24626,"showCount":370,"zanCount":54,"manualWeight":54,"mainColor":109},233430,"huang-shan-tu-ce-mei-qing-233430","黄山位于安徽省南部，歙县西北，山脉绵延三百余里，拥有72峰，以奇松、怪石、云海、温泉“四绝”名闻于世。清初安徽地区的著名画家弘仁、梅清、石涛等多以黄山奇景入画，形成了“黄山画派”。其中，梅清笔下的黄山以气势取胜，不同凡响。\n这套《黄山图》册是梅清晚年的精心之作。全册共八开，分别绘天都峰、莲花峰等黄山８景，或孤峰千仞，或云海茫茫，或苍松蔽日，或雄关峻岭，景色各异，气象万千。梅清画黄山之法有三，一以线条勾勒为主，二以墨色渲染为重，三是融勾勒与渲染为一炉。此图册便是采用第三种方法绘制而成。\n梅清的山水画远承宋元诸家的遗绪，近学“元四家”和沈周的笔墨技法，又尝与石涛相互切磋画艺，故功力尤深。他的创作最重师法自然，他曾在燕、吴、齐、楚之地游历名山大川，终日面对青山描摹写生。黄山和家乡宣城是梅清绘画中最着力表现的题材。在《赠慕潭黄山十六景》册上，他自题“余游黄山，凡有笔墨，大半皆黄山矣。”可见他对黄山景色用功之勤。梅清图写黄山自写生入手，又加入自己的主观感受，再以豪放、泼辣的用笔，突出黄山奇、峻、险、秀的意境，独树一帜，别开生面。",[24,94,332,99,101,119,95,98,271,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F449f759d0c7814ce3563b05c336b9043.jpg","纵26厘米，横33厘米",[],{"id":24628,"slug":24629,"title":22391,"dynasty":59,"author":292,"museum":61,"description":24630,"tags":24631,"thumbUrl":24632,"material":946,"size":24633,"collection":142,"collections":24634,"showCount":370,"zanCount":11,"manualWeight":54,"mainColor":55},233001,"shuang-ke-zhu-jian-tu-ye-yi-ming-233001","图绘山间冬季景色，天阴欲雪，霜柯临水，柯下溪涧奔流，水花飞溅，远处竹林葱茏。两只山鸟栖于枝头，眺望远方，将观赏者的目光引向画外，从而收到画尽而意无穷的艺术效果。图中老柯、丛竹用笔刚劲，水花、鸟羽笔触轻柔，流水奔腾不息，山石巍峨不动，使画面形成刚柔相济、动静对比的艺术效果。",[24,26,27,332,255,1177,7,122,98,788,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a204c09fc7f7300ed08a4ffe8d3dc23.jpg","纵27.5厘米，横26.8厘米",[],{"id":24636,"slug":24637,"title":24638,"dynasty":2023,"author":292,"museum":135,"description":24639,"tags":24640,"thumbUrl":24642,"material":229,"size":637,"collection":142,"collections":24643,"showCount":370,"zanCount":54,"manualWeight":54,"mainColor":55},231734,"jiang-hu-shi-dai-luo-zhong-luo-wai-tu-ping-feng-er-ping-yi-ming-231734","江户时代 洛中洛外图屏风-二屏","以金箔为底，借云气划分场景，全景铺展往昔都城的鲜活世态。屋舍错落排布，仪仗穿街过巷，茶肆中宴饮正酣，林泉处雅士闲游。贩夫走卒与簪冠仕族各司其态，笔触细密勾勒出烟火日常与仪典盛事。冷金底色晕开雅致华贵，揉合俗世喧嚣与林下闲情，将浮生百相凝于尺幅之间，每一处细节都是鲜活的时代切片，铺就出一卷饱满生动的市井风华长卷。",[23,24641,27,28,26,30,31,32,7,33,76,66,390],"屏风画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb32431e1bd8f82df0dddc0ac69376e45.jpg",[],{"id":24645,"slug":24646,"title":24647,"dynasty":2023,"author":22931,"museum":135,"description":22932,"tags":24648,"thumbUrl":24649,"material":229,"size":637,"collection":142,"collections":24650,"showCount":370,"zanCount":54,"manualWeight":54,"mainColor":109},231606,"ju-zhen-hua-pu-shang-zhong-xia-ce-xia-shou-ye-tan-you-231606","聚珍画谱.上中下册（下）",[24,64,332,94,27,138,95,788,30,31,32,7,2301,10175,543,2996,199,97,122,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d3f0f3f9d209b31058c7b680bf600a6.jpg",[],{"id":24652,"slug":24653,"title":24654,"dynasty":2023,"author":24655,"museum":135,"description":24656,"tags":24657,"thumbUrl":24658,"material":142,"size":142,"collection":142,"collections":24659,"showCount":370,"zanCount":54,"manualWeight":54,"mainColor":109},231581,"jiang-hu-shi-dai-xiao-xiang-ba-jing-tu-juan-shou-ye-chang-xin-231581","江户时代萧湘八景图卷","狩野常信","此作用淡墨轻晕出空濛烟岚，山峦在水雾里迤逦起伏，或显或隐，晕染出悠远的纵深。江面烟波浩渺，归雁列队掠过长空，江渚间村居错落、渔舟泛波，林舍与茂树点缀水岸，将水乡闲逸日常藏进山水间。\n画家以极简笔墨勾勒物象，淡彩点染草木，把潇湘山水的清寂灵秀揉进温润雅致的笔墨意趣里，整体意境澹泊空灵，将烟波水乡的幽远禅意晕散开来，仿佛能闻见水畔林风，窥见渔樵往来的悠然日常，尽显山水间的澹然诗意。",[23,24,25,94,27,95,99,97,96,122,31,7,98,33,530,256,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcf1073186518574b343a552415ea54d.jpg",[],{"id":24661,"slug":24662,"title":5636,"dynasty":18,"author":292,"museum":135,"description":24663,"tags":24664,"thumbUrl":24665,"material":142,"size":142,"collection":142,"collections":24666,"showCount":370,"zanCount":54,"manualWeight":54,"mainColor":262},231361,"shan-shui-tu-zhou-yi-ming-231361","山水画，简称“山水”。中国画的一种。描写山川自然景色为主体的绘画。传统分法有水墨、青绿、金碧、没骨、浅绛、淡彩等形式。\n在魏晋、南北朝已逐渐发展，但仍附属于人物画，作为背景的居多；隋唐始独立，如展子虔的设色山水，李思训的金碧山水，王维的水墨山水，王洽的泼墨山水等；成为中国画中的一大画科；后蜀后主孟昶创设翰林图画院；元代山水画趋向写意，以虚带实，侧重笔墨神韵，开创新风；明清及近代，续有发展，亦出新貌。表现上讲究经营位置和表达意境。",[23,24,94,95,225,99,390,96,97,7,98,348,256],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32218520c64ca979c215b59b175d93c9.jpg",[],{"id":24668,"slug":24669,"title":24670,"dynasty":2023,"author":24671,"museum":135,"description":24672,"tags":24673,"thumbUrl":24675,"material":229,"size":637,"collection":142,"collections":24676,"showCount":370,"zanCount":54,"manualWeight":54,"mainColor":109},230580,"ming-qing-fang-gu-fen-ben-hua-niao-juan-1-tu-zuo-bing-guang-lin-feng-230580","明清仿古粉本花鸟卷1","土佐并光琳风","此作合装成卷，兼纳诸类绘事。起首工笔禽鸟，雄雉敷色秾丽，翎毛晕染细致，华彩毕现，雌雉朴雅写实，体态宛然，形神兼备。转而为扇面界画小品，屋宇勾描工致，人物市井排布错落，尽揽俗世烟火意趣。没骨花卉晕染柔和，枝头小雀灵动生姿。写意渡头行舟、寒林归鸦则笔墨简淡，晕开萧疏禅意。仕女图线条秀逸温婉，人物神态含蓄端丽，尽显古典闺秀韵致。卷尾花鸟与书法题跋相映成趣，整卷融工笔、写意、界画技法于一炉，兼取院体工致与文人写意意趣，尽显东方古典绘事雅致抒情的笔墨意韵。",[23,24,64,25,27,26,138,29,119,788,30,96,122,17018,3228,97,31,7,1551,1286,24674,5995,271,543,98,32,139,5123,65,1288,33,4238,101,295],"雉鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7baf0b9e253928a2066f618834c6172f.jpg",[],{"id":24678,"slug":24679,"title":24680,"dynasty":344,"author":292,"museum":135,"description":24681,"tags":24682,"thumbUrl":24683,"material":229,"size":637,"collection":142,"collections":24684,"showCount":370,"zanCount":54,"manualWeight":54,"mainColor":109},230336,"bai-miao-tu-miao-man-tu-shuo-si-yi-ming-230336","百苗图苗蛮图说(四)","这幅工笔设色小品，以灵动笔触铺展苗乡出行图景。木桥之上挑货汉子步履轻快，竹篮盛着满满烟火日常。盛装妇人身背长伞，衣襟纹饰雅致细腻，随行童子憨态可掬，稚犬蹦跳嬉闹鲜活灵动，持锄男子紧随其后，将山野劳作的松弛尽数勾勒。远景山峦晕染朦胧，飞瀑穿林而下，粉花缀在青崖，淡墨轻晕开山居清逸。画作未刻意猎奇民俗风情，而是以细腻视角定格苗家日常的恬淡鲜活，将乡野生计的烟火意趣与山水清灵融为一体，把苗岭日常的温柔生机藏在笔墨晕染间。",[24,27,26,332,30,95,32,7,122,120,7742],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9ce470f883074425eca78903e825a9a.jpg",[],{"id":24686,"slug":24687,"title":24688,"dynasty":344,"author":292,"museum":135,"description":24689,"tags":24690,"thumbUrl":24691,"material":142,"size":142,"collection":142,"collections":24692,"showCount":370,"zanCount":54,"manualWeight":54,"mainColor":55},230327,"lang-qiao-shan-shui-tu-yi-ming-230327","廊桥山水图","此作截取江岸一隅，崖壁以石青石绿晕染敷色，古雅厚重，间杂丹红秋叶，冷暖相映晕开深秋明丽。苍松杂木扎根崖间，笔墨点染间尽显葱郁生机。\n\n浅滩汀渚错落排布，水面留白尽显烟波空濛之态。滩头人物往来、牧放嬉游，纤毫小笔勾勒出鲜活烟火，将山居野逸与人间日常相融无间。\n\n笔法兼工带写，山石皴擦简练古拙，树木点染生动自然，承继青绿山水明丽设色的传统，又以生活化场景消解了古典山水的清冷疏离，尺幅间铺展出世外桃源般的悠然意韵。",[24,27,118,26,95,32,7,33,98,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6071decbc12190d4d9612207ecb3d76d.jpg",[],{"id":24694,"slug":24695,"title":24696,"dynasty":344,"author":11747,"museum":135,"description":24697,"tags":24698,"thumbUrl":24699,"material":142,"size":142,"collection":142,"collections":24700,"showCount":370,"zanCount":54,"manualWeight":54,"mainColor":109},230256,"hua-chun-tai-tong-le-ce-huang-yue-230256","画春台同乐册","此作以淡墨轻晕铺就月夜园林景致，题诗衬景，将清宵幽寂意趣娓娓道来。月上宵空，清光晕染水岸屋舍，错落庭园隐于林木间，竹树疏密相宜，水岸亭台凌波而立，垂柳轻拂水面，石岸错落点缀浅滩，铺展出江南私园的雅致闲静。\n\n笔致秀润简淡，留白尽显月色空濛，将文人耽于静夜闲读的隐逸心境融于笔墨。淡着色晕染出草木清润，屋舍朴雅简净，整体萧疏淡远，尽显文人山水小品悠然闲淡的意韵，把夜色里园林的静谧雅韵全然铺陈开来。",[24,64,332,94,97,31,33,1177,7,98,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf5f5de249117605e5d665e8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地，举头缈缈似瑶宫。”",[23,24,117,64,225,94,95,99,31,32,7,96,97,98,390,5576,1357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce127fb8d35aa9d318a679e90e4b8366.jpg",[],{"id":25082,"slug":25083,"title":25084,"dynasty":59,"author":292,"museum":135,"description":25085,"tags":25086,"thumbUrl":25088,"material":229,"size":637,"collection":142,"collections":25089,"showCount":311,"zanCount":54,"manualWeight":54,"mainColor":55},289786,"song-yan-xian-guan-tu-yi-ming-289786","松严仙馆图","采用全景式山水章法，将高远、平远景致相融。危崖之巅，楼阁隐于青松翠岫间，尽显出尘高逸。水畔台榭依崖而建，烟波浩渺间远山如黛，留白处晕染出空濛悠远的诗意。前景古木虬曲苍劲，坡岸山石皴擦细腻苍润，笔致严谨雅致，绢本晕染的古雅色调沉静悠然。\n整幅画铺展出林泉幽居之景，将仙馆清寂融于烟岚山水之中，尽显可观可游可居的山水意趣，暗合林泉高致的风雅，氤氲出静谧悠远的隐逸之美。",[23,24,95,28,27,99,31,390,98,7,348,96,25087],"亭馆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9c8cfd725c56d9836e02506697d5c1d.jpg",[],{"id":25091,"slug":25092,"title":25093,"dynasty":2023,"author":25094,"museum":135,"description":25095,"tags":25096,"thumbUrl":25097,"material":229,"size":637,"collection":142,"collections":25098,"showCount":311,"zanCount":54,"manualWeight":54,"mainColor":109},289367,"tu-dao-chao-tun-tu-qing-mu-mu-mi-289367","兔道朝暾图","青木木米","此作用笔兼具中日山水意趣，取景开合相生。远山以淡墨晕染出空濛烟岚，峰峦轮廓温润朴拙，暗合米家山水氤氲之态。近岸桃红柳翠，板桥通幽，山居藏于虬枝茂叶间，清溪蜿蜒穿谷，渔舟泛波划破春水静澜。\n\n右侧崖壁题笔古雅，笔墨干湿浓淡交叠，苍松怪石兼具苍劲秀逸之姿。将春日溪山的清寂生机揉为一处，渔樵幽隐之趣暗含其间，把文人寄兴林泉的澹然幽怀，晕染进烟柳春山之中，静穆又暗藏灵动意韵。",[23,24,866,27,94,99,95,32,7,96,97,120,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6b4914d50ec75112b683d1d423ddc33.jpg",[],{"id":25100,"slug":25101,"title":20314,"dynasty":59,"author":292,"museum":135,"description":25102,"tags":25103,"thumbUrl":25104,"material":229,"size":637,"collection":142,"collections":25105,"showCount":311,"zanCount":54,"manualWeight":54,"mainColor":55},288948,"wu-jiu-wen-qin-tu-yi-ming-288948","残雪覆着虬曲皴裂的老枝，瘦骨嶙峋的老树峙于寒溪之畔，将冬日荒寒铺陈开来。两只文禽相偎枝桠，翎毛晕染细腻柔和，软绒暖意破开周遭清寂。\n\n溪水流过覆雪矶石，浅淡墨色勾出缓缓波纹，带着清泠水汽漫开。远山以淡墨晕染留白，如笼烟霭，把辽远空濛揉进冷灰底色里。\n\n整作工写相融，禽鸟描摹写实生动，山水却写意空灵，萧寒中暗蕴脉脉温情，将冬日荒林里的幽淡诗意静静晕开，冷而不寂，静中生趣。",[23,24,26,788,122,255,7,98,2567,13786,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac8f467f9e57ea917f133b2b77c5e356.jpg",[],{"id":25107,"slug":25108,"title":25109,"dynasty":344,"author":292,"museum":135,"description":25110,"tags":25111,"thumbUrl":25112,"material":229,"size":637,"collection":142,"collections":25113,"showCount":311,"zanCount":54,"manualWeight":54,"mainColor":55},288186,"xia-ri-na-liang-tu-juan-ben-yi-ming-288186","夏日纳凉图绢本","这幅小品以青绿设色写就，晕染出幽然消暑意趣。水岸垂柳柔条拂波，汀岸浅绿晕开暑夏水汽，将溽热轻轻揉碎在烟水间。山畔高阁凭渊藏于林麓，不见纳凉之人，却自有一种幽闲空寂的松弛意韵。\n\n远山以石青石绿勾染，淡赭铺底衬出峰峦温润古雅，奇峰错落淡溶于朦胧暮色里，将天地晕染出沉静古拙的氛围感。水面空阔留白，扁舟缓行，似载着闲客趁晚风消暑。\n\n全图以景托情，把文人寄情山水、寻幽纳凉的隐逸雅趣藏在湖山烟柳间，带着唐宋青绿小品的遗韵，清寂雅致，尽显消暑闲情。",[23,24,866,118,27,31,96,7,307,504,170,18016,21891,3784],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39017a063b82ab63adc2028fc6edc752.jpg",[],{"id":25115,"slug":25116,"title":4579,"dynasty":18,"author":4835,"museum":135,"description":22308,"tags":25117,"thumbUrl":25118,"material":229,"size":637,"collection":142,"collections":25119,"showCount":311,"zanCount":54,"manualWeight":54,"mainColor":55},288068,"yu-le-tu-zhou-chen-288068",[23,24,25,94,27,30,95,96,7,256,7872,100,2959,390,353,503,3784],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d6016ca5fec09df5ebc518e20343612.jpg",[],{"id":25121,"slug":25122,"title":25123,"dynasty":18,"author":292,"museum":135,"description":25124,"tags":25125,"thumbUrl":25126,"material":229,"size":637,"collection":142,"collections":25127,"showCount":311,"zanCount":54,"manualWeight":54,"mainColor":55},287650,"fu-hui-xi-quan-tu-wu-se-cha-ban-yi-ming-287650","赴会西全图（无色差版）","此作画境分野分明，上部飞天凌于彩云之间，衣袂随云气舒卷，手托仙花缓行，祥云或如赤焰翻涌，或似棉絮轻漫，将赴会的悠然仙韵晕染尽致。\n\n下半部笔锋转向苍劲，危崖怪石间枯藤盘虬，山岩皴染沉郁古朴，下方水纹卷绕如缠丝，又与底部祥云相融，将仙凡两境自然衔接。\n\n整体设色沉厚古雅，朱砂石青历经岁月晕化出沉静古韵，线条刚柔并济，飞天身姿柔婉灵动，山石水纹苍劲拙朴，糅合仙意空灵与山海雄浑，尽显古拙灵动的庙堂雅韵。",[23,24,64,225,598,27,30,95,6446,7,255],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f4d53e20df1d861cf2bc0b89c87c64b.jpg",[],{"id":25129,"slug":25130,"title":25131,"dynasty":59,"author":292,"museum":135,"description":25132,"tags":25133,"thumbUrl":25134,"material":229,"size":637,"collection":142,"collections":25135,"showCount":311,"zanCount":54,"manualWeight":54,"mainColor":55},287558,"bu-hua-shan-shui-yi-ming-287558","布画山水","此作用全景式铺陈山林丘壑，淡墨皴擦出层叠山峦的温润质感，留白处引出水云萦回的空濛意境。苍松杂木错落生姿，枝叶用细笔点染，尽显清苍秀润之态。山坳间屋舍楼阁星罗，山道随溪岸蜿蜒，将山居日常悄然融于林泉烟岚间。\n\n整作笔墨简淡却意趣丰盈，未用浓艳设色，以水墨浓淡层次晕染出清寂山林气象，尽显寄情林泉、天人共生的隐逸意趣，将山水画可观可居可游的特质，藏在浅淡烟岚间娓娓道来。",[24,117,95,31,33,7,98,99,119,100,5551],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b95cc9d9b51fdb04a617f251e875252.jpg",[],{"id":25137,"slug":25138,"title":25139,"dynasty":344,"author":292,"museum":135,"description":25140,"tags":25141,"thumbUrl":25145,"material":229,"size":637,"collection":142,"collections":25146,"showCount":311,"zanCount":54,"manualWeight":54,"mainColor":55},273559,"hei-qi-miao-jin-shan-shui-wen-ding-gui-yi-ming-273559","黑漆描金山水纹顶柜","以乌漆为底，如沉夜天幕，描金绘就江南山居图景。峰峦迤逦叠翠，屋舍错落临渊而建，渔舟轻泛烟波，林树扶疏映带左右，将林泉隐逸之趣凝缩于柜体之上。边角枝蔓点缀，晕开雅致余韵，柜脚随形勾勒水色山光，上下景致呼应，浑然一体。描金走线细腻流畅，金辉于乌漆映衬下愈显雍容，将文人心间山水搬进日常起居，收纳器物之外更藏诗意，尽显沉静雅致的东方韵致。",[25142,25143,95,31,7,96,33,25144],"漆器","描金","家具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1b50249d908b203195c0be30e6900d2.jpg",[],{"id":25148,"slug":25149,"title":25150,"dynasty":344,"author":292,"museum":135,"description":25151,"tags":25152,"thumbUrl":25155,"material":229,"size":637,"collection":142,"collections":25156,"showCount":311,"zanCount":54,"manualWeight":54,"mainColor":640},272879,"zi-tan-mu-bian-qian-yu-shan-shui-tu-gua-ping-yi-ming-272879","紫檀木边嵌玉山水图挂屏","此挂屏以黑漆为底，取各色玉料巧作镶嵌，晕染出一方江南园林胜景。远景山峦叠翠，亭台隐于林麓，题字墨韵点衬风雅；近岸柳丝垂波，临水轩榭明丽雅致，舟船泛于湖面，桥上雅士晤谈晏晏，意态悠然。\n\n匠者借玉石天然色泽区分景致层次，深浅玉色晕开远近空间，将江南烟霭温润之美凝于屏中。紫檀边框沉稳内敛，把文人山水意趣与百宝嵌工艺相融，静赏间如身临水墨江南，尽显清代工造的精巧匠心与雅致审美。",[14636,25153,6294,25154,95,31,32,7,30,97,33,100,96],"玉石","镶嵌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78abdb89b00f3b0e9ae27403638350f2.jpg",[],{"id":25158,"slug":25159,"title":25160,"dynasty":344,"author":292,"museum":135,"description":25161,"tags":25162,"thumbUrl":25163,"material":229,"size":637,"collection":142,"collections":25164,"showCount":311,"zanCount":54,"manualWeight":54,"mainColor":55},272839,"zi-tan-mu-bian-zuo-qian-yu-ren-xi-chi-mu-shan-shui-tu-cha-ping-yi-ming-272839","紫檀木边座嵌玉人鸂鶒木山水图插屏","此插屏以硬木沉凝托举山水雅境，鸂鶒木随形皴刻出层叠山峦，古亭依林而立，石桥架于曲水之上，苔痕枝桠皆见匠心。莹白玉人伫于松下，素洁温润的玉色与沉郁木色相衬，将文人林下访友的闲雅意境收于屏间。青绿底衬铺陈开湖天色光，让山水更见空濛悠远。刀工细腻入微，将山林野趣与园林雅致融为一体，雕嵌相合静中藏动，把林泉高致缩于咫尺，尽显传统工艺的清韵雅致，是文人意趣与工艺巧思的精妙结合。",[19355,23285,6294,25153,95,31,32,7,30,4592],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F817d76c82158a26f03fc09ba74345fcd.jpg",[],{"id":25166,"slug":25167,"title":25168,"dynasty":344,"author":292,"museum":135,"description":19351,"tags":25169,"thumbUrl":25170,"material":229,"size":637,"collection":142,"collections":25171,"showCount":311,"zanCount":54,"manualWeight":54,"mainColor":640},260774,"qing-hua-yu-jia-le-tu-bi-tong-yi-ming-260774","青花渔家乐图笔筒",[19354,19353,21970,95,30,256,140,7,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d7817db7d1ee78ab38cddf12f6e8fd1.jpg",[],{"id":25173,"slug":25174,"title":25175,"dynasty":344,"author":292,"museum":135,"description":19351,"tags":25176,"thumbUrl":25177,"material":229,"size":637,"collection":142,"collections":25178,"showCount":311,"zanCount":54,"manualWeight":54,"mainColor":55},257906,"qing-hua-han-jiang-du-diao-tu-bi-yan-hu-yi-ming-257906","青花寒江独钓图鼻烟壶",[19354,4592,19353,95,96,256,32,7,306,1603],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff833b10396ab6031d530ca386313864e.jpg",[],{"id":25180,"slug":25181,"title":25182,"dynasty":344,"author":292,"museum":135,"description":25183,"tags":25184,"thumbUrl":25187,"material":229,"size":637,"collection":142,"collections":25188,"showCount":311,"zanCount":54,"manualWeight":54,"mainColor":109},256944,"yan-zhi-hong-di-kai-guang-fa-lang-cai-hua-niao-wen-wan-yi-ming-256944","胭脂红地开光珐琅彩花鸟纹碗","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。",[4257,25185,21980,27,19354,22336,788,98,7,122,21007,25186],"珐琅彩","胭脂红地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4564398b73fe226429e0469feb6ce424.jpg",[],{"id":25190,"slug":25191,"title":24190,"dynasty":344,"author":17025,"museum":135,"description":25192,"tags":25193,"thumbUrl":25194,"material":142,"size":142,"collection":142,"collections":25195,"showCount":311,"zanCount":54,"manualWeight":54,"mainColor":109},239413,"fang-gu-shan-shui-ping-qin-zu-yong-239413","此作用青绿浅绛晕染桃源春涧之景，层叠山峦以披麻皴勾勒，苔点错落晕出山峦苍润生机。山坳水畔村居错落排布，板桥飞泉萦纡林间，桃松杂木各含清姿，将世外山居的幽寂闲雅铺陈眼前。\n\n右上角题诗自叙追仿元人笔意，以笔墨复刻林泉雅趣，丘壑间既承古法意韵，又自含萧散出尘的静穆意境，尽显传统山水画里寄情山水的文人逸致。",[24,64,225,27,99,2880,95,32,7,33,168,76,271,240],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd31d7174efa971295b9e6bc389b44049.jpg",[],{"id":25197,"slug":25198,"title":25199,"dynasty":344,"author":292,"museum":135,"description":25200,"tags":25201,"thumbUrl":25202,"material":142,"size":142,"collection":142,"collections":25203,"showCount":311,"zanCount":54,"manualWeight":54,"mainColor":109},239369,"wang-su-yan-pan-chui-lun-tu-zhou-yi-ming-239369","王愫岩畔垂纶图轴","此作用笔苍润兼具，以淡墨晕染远山，留白衬出寒云漠漠的空濛清寂，近景枯木虬枝盘错，皴法简练老辣，尽显冬林萧疏之态。溪湾萦回，寒波澄澈，扁舟随水漾开，渔翁垂纶独钓，暗合题诗里逍遥世外的幽怀。行书题笔清逸流畅，书画相映成趣，尽显文人画诗书画合璧的雅趣。整幅画以荒寒之景写幽隐之心，淡远空寂的意境里，藏着林泉高致的文人意趣，笔简而意悠长。",[24,64,225,94,95,96,256,1397,140,99,119,101,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365095b142e809844ad3c19e6f68a954.jpg",[],{"id":25205,"slug":25206,"title":655,"dynasty":344,"author":3047,"museum":135,"description":15366,"tags":25207,"thumbUrl":25208,"material":229,"size":637,"collection":142,"collections":25209,"showCount":311,"zanCount":54,"manualWeight":54,"mainColor":109},239336,"shan-shui-ce-cha-shi-biao-239336",[24,64,332,94,101,99,95,32,7,140,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e8dff69e7110e34fb36fb8e410db69d.jpg",[],{"id":25211,"slug":25212,"title":5439,"dynasty":18,"author"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疏，铺陈出林泉雅境。\n诗画合璧，以留白晕染烟霞之致，将拟古诗意具象化。整体疏朗清寂，不着浓彩，以简练皴擦勾勒山石肌理，淡墨点染林木苍润，尽显江南园林的闲雅隐逸之趣，藏着文人士大夫悠游林泉、静赏烟霞的澹泊襟怀。",[24,64,332,94,95,32,7,97,33,98,76,100,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9beae70bf636e6e1c5680dd3f003c793.jpg",[],{"id":25273,"slug":25274,"title":25275,"dynasty":344,"author":3406,"museum":135,"description":25276,"tags":25277,"thumbUrl":25278,"material":229,"size":637,"collection":142,"collections":25279,"showCount":311,"zanCount":54,"manualWeight":54,"mainColor":109},238543,"hua-shou-pu-ce-yu-sheng-238543","画兽谱册","余省（1692年—1767年） 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。王宸中年的画，乾皴中尚有润泽之趣。到了晚年则枯而且秀 ，山石都在形似间。著有《绘林伐材》、《蓬心诗钞》，卒年七十八岁。与王玖、王愫、王昱合称小四王。",[23,24,64,25,94,99,101,100,95,96,33,8000,7,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde05bc6dbfab643b6def47925a554166.jpg",[],{"id":25738,"slug":25739,"title":25740,"dynasty":344,"author":15414,"museum":61,"description":25741,"tags":25742,"thumbUrl":25743,"material":7171,"size":25744,"collection":142,"collections":25745,"showCount":311,"zanCount":54,"manualWeight":54,"mainColor":109},234185,"xie-qin-fang-you-juan-huang-yi-234185","携琴访友卷","黄易（1744—1802年），书画家、篆刻家，字大易，号小松，又号秋庵主，浙江仁和（今杭州）人。监生，官山东兖州府、济宁运河同知。他的绘画笔墨流畅，潇洒隽永，以山水和花卉为题材的作品有着很高的艺术水平。书法则以隶书擅长。作为著名篆刻家丁敬的学生，他经过努力学习与刻苦钻研，并广泛借鉴书法、碑刻中的表现手法，形成了自己工稳生动的篆刻风格，有青出于蓝而胜于蓝之美誉。黄易一生致力于金石碑版的研究，曾经四处寻访存世的残碣断碑，并加以较为全面系统的整理与著录，对我国传统金石学的发展有着积极的意义。与众不同的是，他亲自用画笔将每次寻访古碑的过程都完整的记录下来，绘制成许多作品，当时的艺术家们广为称颂。终年59岁。著有《丁黄印谱》、《小蓬莱阁金石文字》等。",[23,24,64,25,94,27,101,119,95,30,33,199,32,7,97,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4af429963430d611c94223cadd68049.jpg","纵26.7cm，横90.1cm",[],{"id":25747,"slug":25748,"title":25749,"dynasty":18,"author":25750,"museum":135,"description":25751,"tags":25752,"thumbUrl":25753,"material":142,"size":142,"collection":142,"collections":25754,"showCount":311,"zanCount":54,"manualWeight":54,"mainColor":109},234170,"yun-guan-tu-juan-gao-ting-li-234170","云冠图卷","高廷礼","[明]（一三五o至一四二三）本宋尚书张镇后，出继高氏。初名棅，字彦恢，自号漫士（一作慢仕），福建长乐人。永乐（一四o三至一四二四）初自布衣召授翰林待诏，迁为典籍。博学能文，工书、画，世称三绝，为闽中十才子之一。书得汉隶法，画善山水。宗米芾、高克恭，笔力苍古，墨气秀润，自成一家。有木天清气集、啸台集。卒年七十四。《明史本传、明史艺文志、福建通志、板画记、明画录、无声诗史、名山藏、玉堂丛话、曝书亭集》",[23,24,64,25,94,101,99,95,7,96,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F458c9f96c3727df079f353f9302c1955.jpg",[],{"id":25756,"slug":25757,"title":25758,"dynasty":59,"author":292,"museum":61,"description":25759,"tags":25760,"thumbUrl":25762,"material":188,"size":17194,"collection":142,"collections":25763,"showCount":311,"zanCount":54,"manualWeight":54,"mainColor":109},234023,"liu-xi-gui-mu-tu-yi-ming-234023","柳溪归牧图","柳溪边，一牧童骑牛渡水，一牛隔岸嘶鸣，作欲渡而又畏渡之态，具有浓郁的乡村生活气息。牧童用简笔描绘，柳、牛则用细笔勾描，笔法精工。对幅有耿昭忠题记。",[117,24,64,1551,26,94,30,67,378,7,25761],"乡村生活","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e44131841627ed1853f9d6bfa165ecc.jpg",[],{"id":25765,"slug":25766,"title":655,"dynasty":344,"author":1916,"museum":61,"description":25767,"tags":25768,"thumbUrl":25769,"material":714,"size":25770,"collection":142,"collections":25771,"showCount":311,"zanCount":54,"manualWeight":54,"mainColor":109},233981,"shan-shui-ce-gong-xian-233981","此册作于乙卯年（清熙十四年，1675年）。现藏故宫博物院。本图册中第一四、八、十一、十三、十四开属于“白龚”，图中的山石、树木均以古、健、老、活的中锋勾勒轮廓线，物象具有方而不板，结而不滑的特点。本图册中第二、五、七、九、十二、十七、十九开属于“黑龚”。作者以灰墨勾出大体轮廓和经络，然后层层皴染和点染。其皴染取自宋人范觅的雨点皴而稍有变化，为头实尾虚的短笔皴。",[24,94,332,99,95,140,122,97,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F788f82add7533c77b92f81c6b225d8ac.jpg","纵22.2厘米，横33.2厘米",[],{"id":25773,"slug":25774,"title":25775,"dynasty":2023,"author":25776,"museum":135,"description":25777,"tags":25778,"thumbUrl":25782,"material":229,"size":637,"collection":142,"collections":25783,"showCount":311,"zanCount":54,"manualWeight":54,"mainColor":640},232282,"a-er-ma-9-lao-lun-si-a-er-ma-ta-de-ma-232282","阿尔玛9","劳伦斯·阿尔玛-塔德玛","劳伦斯·阿尔玛-塔德玛（Lawrence 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44,"author":292,"museum":135,"description":26175,"tags":26176,"thumbUrl":26177,"material":229,"size":637,"collection":142,"collections":26178,"showCount":589,"zanCount":54,"manualWeight":54,"mainColor":109},272669,"yu-zhi-yue-ling-qi-shi-er-hou-shi-se-mo-da-yu-shi-xing-huang-mo-yi-ming-272669","御制月令七十二候诗色墨-大雨时行黄墨","墨，中国传统文房用具之一，文房四宝之一，是书写、绘画的黑色颜料，后亦包括朱墨和各种彩色墨。\n墨的主要原料是煤烟、松烟、胶等，是碳元素以非晶质型态的存在。通过砚用水研磨可以产生用于毛笔书写的墨汁，在水中以胶体的溶液存在。古墨主要派别分徽墨、川墨。\n墨的水分及胶的成分不同，会影响到墨的黏度。在不同场合使用的墨，其黏度有所不同。另外，初制成的墨的水分亦较多。另有存放时间较长的墨，其致密度较高，并经过长年累月的干燥，使墨色的立体感更高。这种墨在日本被称为“古墨”。",[3677,23285,95,30,96,97,33,7,27,21971],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51f578d9ea7839b584d2e7f5acc10026.jpg",[],{"id":26180,"slug":26181,"title":26182,"dynasty":18,"author":292,"museum":135,"description":26183,"tags":26184,"thumbUrl":26185,"material":229,"size":637,"collection":142,"collections":26186,"showCount":589,"zanCount":54,"manualWeight":54,"mainColor":109},263686,"han-xi-meng-song-yuan-ming-ji-ce-hua-xi-yu-yin-tu-yi-ming-263686","《韩希孟宋元名迹册·花溪渔隐图》","此作为顾绣佳作，用工致针脚复刻古意。画面右侧柔柳垂溪，枝梢随风轻摆，花蹄骏马涉水徐行，骑乘的稚童安然惬意，水波漾着细碎涟漪，晕开郊野春日的悠然野趣。配题行书诗文与画面呼应，笔墨清逸雅致。整体设色浅淡清润，将宋画的空灵意境与刺绣工艺的精微相融，把溪岸牧马的闲恬童趣晕染得灵动鲜活，绣艺精细还原笔墨韵味，诗意与绣色交织，尽显古雅恬和的林下意境，复刻出宋元名迹的淡远意趣。",[24,64,332,26,27,66,30,378,7,100,101,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41f17af2d5b3434a457c4801a825a7b2.jpg",[],{"id":26188,"slug":26189,"title":26190,"dynasty":344,"author":292,"museum":135,"description":26191,"tags":26192,"thumbUrl":26196,"material":229,"size":637,"collection":142,"collections":26197,"showCount":589,"zanCount":54,"manualWeight":54,"mainColor":109},262007,"dou-cai-luo-hua-liu-shui-wen-bei-yi-ming-262007","斗彩落花流水纹杯","唐孙位《高逸图》中，酒樽旁托盘内放置杯，侍者手中亦持有杯。可见，唐代杯亦为常见的饮酒器具。因其用于饮酒较之碗更加含蓄、优雅，故文人雅士较为推崇。杜甫诗云“潦倒新停浊酒杯”，杜甫饮用“浊酒”亦用酒杯。\n除普通筒形杯外，唐代较为流行的一种杯式为高足杯，其执拿姿势为用拇指与食指捏住高足杯的杯把。瓷质高足杯唐代以前较少使用，唐代应用明显广泛。唐代的许多中小型墓葬中亦出土瓷质高足杯。说明此杯类已逐渐演变为一种较为常见的日用器具。此种杯式的使用，可能与此时葡萄酒的饮用有关。\n宋代酒质较低时饮酒器具较大，酒质提高，其形制自然缩小。宋代饮酒器具以杯为主。主要的酒杯类型有：圆口杯、花口杯、带把杯、高足杯。\n高足杯为元代典型饮酒器具。其与游牧民族马上饮酒生活习俗相适应。元代高足杯形制多样，有喇叭形、竹节形等。很多资料记载高足杯为蒙古人饮用马奶酒的器具。\n高足杯为直口、深腹。其杯形制与唐宋时候盏类的承载量基本一致，故其用于饮马奶酒是合理的。但元代尚酒，饮酒需求量大，除用于饮用马奶酒之外，高足杯亦可用于蒸馏酒的饮用。\n明朝由于喝茶方式的改变，出现了小茶壶，导致喝茶的盏变得精致小巧，如今天我们所使用的杯子。饮茶的杯子与饮酒的杯子就变得傻傻分不清楚。\n虽然出现了饮茶的杯子，但杯子还是饮酒器的主流。明代杯类形制多样，造型装饰精巧，功能明确。如制作专门用于皇室贵族使用的鸡缸杯、压手杯。\n亦有符合士人情趣的高士杯、菊花杯等。此外，明代高足杯形制多样，此时高足杯形制较小，适合蒸馏酒的饮用。较于元代高足杯，明代高足杯足部外撇，足成长喇叭形，器具稳定性加强。\n明朝以前杯壁较浅，到了清朝，杯壁开始加深，容量增加，有的被已经茶酒共用。18世纪受国外文化影响，杯子已经发展成为今天我们所见到的样子。\n虽然我国饮酒时有温酒的习惯，但酒温不高，而且宋以后开始饮用蒸馏酒，常温就可饮用。杯作为主要的饮酒器，自然不用考虑温度的问题，均是手握酒杯饮用，所以大多没有把。",[19354,21155,26193,26194,7,26195],"斗彩","落花","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F105f91510fa7c13613451640bedc93df.jpg",[],{"id":26199,"slug":26200,"title":26201,"dynasty":344,"author":292,"museum":135,"description":26202,"tags":26203,"thumbUrl":26205,"material":229,"size":637,"collection":142,"collections":26206,"showCount":589,"zanCount":54,"manualWeight":54,"mainColor":55},248752,"hei-qi-miao-jin-shan-shui-ren-wu-tu-he-yi-ming-248752","黑漆描金山水人物图盒","清代文物。旧时用于存放食物或饰品之用,根据材质价值不同。清宫旧藏",[4257,25142,26204,27,95,30,31,32,7],"黑漆描金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2d010bd5ce9c6ec185b65edea0143ea.jpg",[],{"id":26208,"slug":26209,"title":26210,"dynasty":344,"author":292,"museum":135,"description":26211,"tags":26212,"thumbUrl":26215,"material":229,"size":637,"collection":142,"collections":26216,"showCount":589,"zanCount":54,"manualWeight":54,"mainColor":109},248579,"kuan-cai-long-feng-shan-shui-ren-wu-tu-chang-fang-xiang-yi-ming-248579","款彩龙凤山水人物图长方箱","此件以款彩技法施艺，黑漆为底，刀笔勾勒间晕染出斑斓图景。顶面龙凤穿游于缠枝纹中，龙姿遒劲威严，凤形灵动雍容，瑞气盎然。箱体周身铺展山水人物长卷，亭台隐于林木，溪桥架过浅滩，野鹿闲游、禽鸟振翼，村人往来阡陌，宛若桃源胜境。\n漆色沉雅浓丽，走线细腻入微，将宫廷华贵与田园清趣融于一器，把祥瑞吉意和文人雅趣揉为一体，静穆底色托衬出鲜活图景，尽显匠作精工巧思，古雅耐看意蕴悠长。",[25142,26213,27,9741,26214,95,30,31,32,7,4592],"款彩","凤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb4b26ea71c20b5a15eabe3367d22980.jpg",[],{"id":26218,"slug":26219,"title":26220,"dynasty":344,"author":292,"museum":135,"description":26202,"tags":26221,"thumbUrl":26223,"material":229,"size":637,"collection":142,"collections":26224,"showCount":589,"zanCount":54,"manualWeight":54,"mainColor":109},248197,"ti-hong-luo-hua-liu-shui-wen-ru-yi-shi-he-yi-ming-248197","剔红落花流水纹如意式盒",[344,25142,23285,26222,26194,7,4592],"剔红","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc8370c1a6bdecc29eec644465d50447.jpg",[],{"id":26226,"slug":26227,"title":26228,"dynasty":18,"author":26229,"museum":135,"description":26230,"tags":26231,"thumbUrl":26233,"material":335,"size":142,"collection":625,"collections":26234,"showCount":589,"zanCount":54,"manualWeight":54,"mainColor":109},240121,"shi-ye-li-ben-long-240121","诗页","李本漋","这件小楷结体端稳秀雅，笔致清劲匀整，点画筋骨内含，收放合宜。字间排布疏朗齐整，通篇气息静穆安和，尽显雅致文人气韵。浅棕纸底衬得乌亮墨色愈发温润沉静，古雅氛围油然而生。\n\n用笔一丝不苟，起收转折皆恪守法度，既带着唐人小楷的谨严工整，又暗含明代书法特有的隽秀风神。诗书雅意融于笔端，每一字都如谦谦君子，风骨暗藏却不张扬，缓缓铺陈出旧时文人心底的缱绻意绪，尽显翰墨清韵。",[100,101,94,26232,32,7,66],"孤山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe11b33745d225533c5dcc646efc85ba9.jpg",[625],{"id":26236,"slug":26237,"titl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师承清代娄东画派的传人黄鼎。擅山水画，代表作有《吴中十六景》。",[24,64,332,94,99,95,97,543,255,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51769c9ca6acc7b93c0cf228380035a0.jpg",[],{"id":26279,"slug":26280,"title":26281,"dynasty":344,"author":26282,"museum":135,"description":26283,"tags":26284,"thumbUrl":26285,"material":229,"size":637,"collection":142,"collections":26286,"showCount":589,"zanCount":54,"manualWeight":54,"mainColor":109},239070,"chun-shan-wan-shan-niu-jia-yin-239070","春山纨扇","钮嘉荫","钮嘉荫（1857～1915），字叔文，号闻叔、夫椒山民，室名结古欢室，吴县（今苏州）人。精鉴别，工书及篆刻，金石考证，真草篆隶，均能入古。",[24,64,1551,27,94,99,95,32,7,96,30,33,170,350,100,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0770e76b1f3fca05524519016f581287.jpg",[],{"id":26288,"slug":26289,"title":26290,"dynasty":344,"author":26291,"museum":135,"description":26292,"tags":26293,"thumbUrl":26294,"material":229,"size":637,"collection":142,"collections":26295,"showCount":589,"zanCount":54,"manualWeight":54,"mainColor":109},239031,"xiao-xiang-zhou-na-yan-cheng-239031","肖像轴","那彦成","那彦成（1763年-1833年），章佳氏，字绎堂，号韶九、东甫，满洲正白旗人，大学士阿桂之孙，工部侍郎阿必达次子，清朝大臣。\n那彦成在乾隆五十四年（1789年）中进士，被选为翰林院庶吉士，随后不久担任翰林院编修。此后历任内阁学士、工部侍郎、户部侍郎、翰林院掌院学士、工部尚书、镶白旗汉军都统、礼部尚书、陕甘总督、直隶总督、理藩院尚书、吏部尚书、刑部尚书等职。\n道光十三年（1833年），那彦成去世，享年七十岁，谥号文毅。",[24,64,225,27,26,30,378,98,390,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3afb65518e83749aa19346142d8eec22.jpg",[],{"id":26297,"slug":26298,"title":26299,"dynasty":344,"author":292,"museum":135,"description":26300,"tags":26301,"thumbUrl":26304,"material":229,"size":637,"collection":142,"collections":26305,"showCount":589,"zanCount":54,"manualWeight":54,"mainColor":55},238885,"qing-ren-shan-ba-la-wang-pu-sa-xiang-zhou-yi-ming-238885","清人善巴拉王菩萨像轴","主尊面含慈悲，宝冠锦服加身，灵蛇盘绕周身，安坐须弥宝座之上，左手握持吐宝鼠，右手托举摩尼宝珠，尽显福德充盈的圆满气象。\n\n画面设色浓烈厚重，石青、石朱等矿物颜料晕染出鲜明厚重的质感，衣饰纹样细密华丽，线条婉转流畅，尽显藏地唐卡工艺特色。\n\n四周眷属、空行与上方祖师护法错落排布，青绿山水与流云屋宇铺陈出清净富足的财神净土，既有造像仪轨的规整肃穆，又兼具清代工致细腻的审美意趣，神性庄严与世俗意趣融为一体，是极具代表性的藏地绘画佳作。",[24,225,27,26,598,30,9741,6446,95,1068,26302,31,7,26303],"宝物","瑞兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d00e84286ff03fe6ed9b9d3a716e8b0.jpg",[],{"id":26307,"slug":26308,"title":26299,"dynasty":344,"author":292,"museum":135,"description":26309,"tags":26310,"thumbUrl":26313,"material":229,"size":637,"collection":142,"collections":26314,"showCount":589,"zanCount":54,"manualWeight":54,"mainColor":55},238882,"qing-ren-shan-ba-la-wang-pu-sa-xiang-zhou-yi-ming-238882","整幅画作构图饱满紧凑，主尊丰腴圆融，威容间带着慈悲，身饰琳琅珠宝璎珞，托摩尼宝、伴吐宝鼠，尽显富贵尊荣。\n上方六臂护法怒目镇邪，祖师安坐云间说法，诸佛护法错落排布。青绿晕染的山水间花果繁茂，下方亭台瑞泉相衬，用色浓烈饱满又层次分明，藏式唐卡的细腻工笔尽显匠心。将神圣法相与世俗盛景相融，既彰显出藏传佛教的庄严神性，也寄寓了圆满富足的祈愿，是兼具美学价值与宗教意涵的精品。",[225,26,27,598,30,3834,26311,6567,33,26312,3228,7,31,98,6446,26302],"老虎","花朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdaba69953c4292becd551158c09afb5.jpg",[],{"id":26316,"slug":26317,"title":15405,"dynasty":344,"author":7944,"museum":135,"description":26318,"tags":26319,"thumbUrl":26320,"material":142,"size":142,"collection":142,"collections":26321,"showCount":589,"zanCount":54,"manualWeight":54,"mainColor":109},238776,"shan-shui-ren-wu-xiao-ce-dong-gao-238776","此作以浅绛设色绘秋山幽居，淡墨皴写山石肌理，短披麻皴勾勒出危崖层叠的苍劲朴拙。左侧溪岸蜿蜒，板桥通幽，山居掩映在丹枫翠柏间，丹红枝叶点染出浓浓秋意，与苔点青绿相映，明丽雅致又不失沉静。屋舍简淡古朴，暗合林泉隐士幽居的意趣。远景留白空灵，孤雁掠空，衬出秋山清远空寂。笔墨兼具元人秀逸与宋人丘壑苍浑，以简驭繁，将林泉高致融于尺幅间，笔意萧散简远，尽显静穆淡远的林下雅韵。",[24,64,332,27,94,99,95,30,33,98,76,120,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b654fd89750bc0d986c0b366bf894f6.jpg",[],{"id":26323,"slug":26324,"title":15405,"dynasty":344,"author":7944,"museum":135,"description":26325,"tags":26326,"thumbUrl":26327,"material":142,"size":142,"collection":142,"collections":26328,"showCount":589,"zanCount":54,"manualWeight":54,"mainColor":109},238772,"shan-shui-ren-wu-xiao-ce-dong-gao-238772","此作以奇崛山石为骨架，留白虚写云气，虚实相映拉开空间层次。细笔勾勒山石肌理，以短皴复加点染，刻画出苍厚朴拙的质感。崖间点缀细碎丹叶，晕出清秋日色。左侧山道隐见行人，渺小身形衬出山岳雄奇，衬出林泉幽寂之境。\n\n淡墨轻晕山岚，空濛悠远，左上角题款小字融于画境，文气悠然。整体笔致松秀灵润，简淡清逸，将山林荒寒之美与幽居雅意相融，萧散意趣尽显，淡而有味，余韵悠长。",[24,64,332,94,27,99,95,30,199,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9f587cb90e7a12ac069befcffe5fbe5.jpg",[],{"id":26330,"slug":26331,"title":25267,"dynasty":344,"author":6611,"museum":135,"description":26332,"tags":26333,"thumbUrl":26334,"material":142,"size":142,"collection":142,"collections":26335,"showCount":589,"zanCount":54,"manualWeight":54,"mainColor":109},238757,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238757","此作用平远与深远构图相融，右侧层峦叠嶂，林木蓊郁苍润，以干笔皴擦勾勒山石肌理，兼具苍劲秀润之致；左侧汀洲延展，板桥轻架水面，亭台隐于烟柳间，晕染出江南水畔的空濛淡远。\n\n笔墨松灵厚重兼具，以水墨晕染铺就清和底色，将山林沉静与水乡温婉相融。题诗与绘景呼应，把观景抒怀的雅致心绪藏于尺幅间，尽显冲淡平和的文人意趣，铺展出悠然古雅的古典山水意境。",[24,64,332,94,95,31,32,7,97,33,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf66004e493c9b8ba5dce33cf664e8b8.jpg",[],{"id":26337,"slug":26338,"title":25267,"dynasty":344,"author":6611,"museum":135,"description":26339,"tags":26340,"thumbUrl":26341,"material":142,"size":142,"collection":142,"collections":26342,"showCount":589,"zanCount":54,"manualWeight":54,"mainColor":109},238751,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238751","此作用淡墨轻皴绘就村居春景，将耕稼闲居合为一卷。左侧田埂蜿蜒，农人驱牛犁地，远山以淡墨晕染留白，烟岚轻笼，野趣盎然。右侧柴扉半启，稚子倚门，幽柳下士人凭立，望向乡居屋舍，屋内人影隐约，尽显村居松弛安然。\n\n全画笔墨秀润清简，设色素净无华，题诗与绘景相映，将春日耕忙与林下闲思相融，铺展出平和冲淡的太平村居图，尽显文人心中的田园雅意，淡而有味，余韵悠长。",[24,64,332,94,27,95,30,67,32,140,7,100,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ecabb437ecea08ed69a8f675f78b324.jpg",[],{"id":26344,"slug":26345,"title":25267,"dynasty":344,"author":6611,"museum":135,"description":26346,"tags":26347,"thumbUrl":26348,"material":142,"size":142,"collection":142,"collections":26349,"showCount":589,"zanCount":54,"manualWeight":54,"mainColor":109},238741,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238741","这幅山水小品以淡墨晕染出空濛烟岚，远山如黛，含露带雾。临河村居疏朗错落，屋中宾主围坐闲话，溪上架木桥通幽，近岸嘉木扶疏，水色清浅映带林峦。\n笔墨简淡秀润，以干皴轻写山形，不着浓艳敷色，尽显萧散简远之趣。将幽居闲雅的诗意融于烟水村居间，疏密得宜的构图里，平和悠然的林下之致扑面而来，是诗画相映的佳制，把闲居寄兴的意韵化作了眼前静谧清远的江南村居图景。",[24,64,332,94,99,95,32,7,33,76,348,119,72],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad9bbb3fb5b2e5f9f373542fc3f5816f.jpg",[],{"id":26351,"slug":26352,"title":22652,"dynasty":344,"author":6611,"museum":135,"description":26353,"tags":26354,"thumbUrl":26355,"material":142,"size":142,"collection":142,"collections":26356,"showCount":589,"zanCount":54,"manualWeight":54,"mainColor":109},238725,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238725","此作以水墨晕开春日水居雅景，柳丝垂绦依依拂岸，二人临石闲坐，抬目遥览远汀。柔波萦回水畔，凫雁群游浅沙，远空禽鸟振翅列队掠过长天，将春日清和生机铺展卷上。淡墨晕出空濛水色，细笔勾出柳丝轻飏之态，人物意态萧散恬然，尽显闲居悠游之趣。题诗与绘景相生相融，笔墨简淡却意韵悠长，将春日水滨的澹澹清宁晕染尽致，把闲淡诗意铺展为眼前画卷。",[24,94,138,332,101,119,30,122,378,7,199,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcf25d862aa5bf02732ec2c8fdc99f40.jpg",[],{"id":26358,"slug":26359,"title":25275,"dynasty":344,"author":3406,"museum":135,"description":25276,"tags":26360,"thumbUrl":26361,"material":229,"size":637,"collection":142,"collections":26362,"showCount":589,"zanCount":54,"manualWeight":54,"mainColor":109},238542,"hua-shou-pu-ce-yu-sheng-238542",[24,64,332,27,26,3834,95,171,7,33,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1db720051215257bcef81ae67b3c1c94.jpg",[],{"id":26364,"slug":26365,"title":14223,"dynasty":344,"author":3202,"museum":135,"description":26366,"tags":26367,"thumbUrl":26368,"material":142,"size":142,"collection":142,"collections":26369,"showCount":589,"zanCount":54,"manualWeight":54,"mainColor":55},238533,"shan-shui-xiao-ce-qian-wei-cheng-238533","近渚浅滩遍生细草芦苇，几株老树错落排布，垂柳柔丝垂拂水面，枯木虬曲苍劲，侧旁小树抽萌新枝。林舍隐于林木之后，有人群围聚，晕开日常乡居烟火。淡墨晕染开薄霭云烟，漫过水村林梢，晕出空濛柔润的诗意。\n\n笔墨秀雅清润，以简淡设色勾勒江南水乡温润意趣，构图疏密相宜，将郊野水村的恬然静谧铺展于尺幅间。未作繁复皴擦，却把春日水乡的柔婉生机与村居烟火气相融，尽显文人水墨的写意雅致，悠悠乡野之趣淡而绵长。",[24,64,332,27,95,99,241,31,7,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80458ac29d641846f447fde997e9dbaa.jpg",[],{"id":26371,"slug":26372,"title":14223,"dynasty":344,"author":3202,"museum":135,"description":11311,"tags":26373,"thumbUrl":26374,"material":142,"size":142,"collection":142,"collections":26375,"showCount":589,"zanCount":54,"manualWeight":54,"mainColor":109},238523,"shan-shui-xiao-ce-qian-wei-cheng-238523",[24,64,332,94,99,95,32,33,98,7,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ae25243995859bfe1b4a03fd7cc7351.jpg",[],{"id":26377,"slug":26378,"title":4254,"dynasty":344,"author":25290,"museum":135,"description":25291,"tags":26379,"thumbUrl":26382,"material":229,"size":637,"collection":142,"collections":26383,"showCount":589,"zanCount":54,"manualWeight":54,"mainColor":109},238448,"geng-zhi-tu-ce-mian-yi-238448",[24,27,26,332,30,7,76,33,11280,26380,1128,1428,26381,5133,4448,10391],"劳作场景","木构建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ccc9938519cca123acc7ee48c279b3b.jpg",[],{"id":26385,"slug":26386,"title":4254,"dynasty":344,"author":25290,"museum":135,"description":25291,"tags":26387,"thumbUrl":26392,"material":229,"size":637,"collection":142,"collections":26393,"showCount":589,"zanCount":54,"manualWeight":54,"mainColor":109},238442,"geng-zhi-tu-ce-mian-yi-238442",[24,64,332,27,26,30,67,3560,33,76,7,16768,10391,26388,26389,5133,18891,26390,609,6333,26391,1128],"水田","耕作场景","鸡","犁具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52cfda1f0f66825fc704a39541b1935a.jpg",[],{"id":26395,"slug":26396,"title":4254,"dynasty":344,"author":25290,"museum":135,"description":25291,"tags":26397,"thumbUrl":26398,"material":229,"size":637,"collection":142,"collections":26399,"showCount":589,"zanCount":54,"manualWeight":54,"mainColor":109},238441,"geng-zhi-tu-ce-mian-yi-238441",[24,64,332,26,27,30,97,31,33,7,139,4592],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F408515db54e90680fe375e558b46f014.jpg",[],{"id":26401,"slug":26402,"title":26403,"dynasty":344,"author":15995,"museum":135,"description":26404,"tags":26405,"thumbUrl":26406,"material":142,"size":142,"collection":142,"collections":26407,"showCount":589,"zanCount":54,"manualWeight":54,"mainColor":109},238253,"yan-shan-ba-jing-tu-ce-zhang-ruo-cheng-238253","燕山八景图册","此作绘就秋晓清景，晓月初悬远空，薄雾柔化山棱，永定河如素练蜿蜒铺展，石桥静卧河面，桥畔村舍错落、林树疏朗。晨霭晕开天地边界，将清寂秋意漫染四方。浅淡赭石晕染坡岸，轻墨勾绘林木屋舍，不作繁冗皴擦，却将平远之境铺陈得悠远空寂。\n\n右侧题诗笔意秀雅舒展，诗画相映，把客行早发的羁旅清怀融进烟水晓色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距今已有六百多年",[24,27,26,598,95,30,33,168,6446,98,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F551142db7c47fedec8fd1af938298d3e.jpg",[],{"id":26824,"slug":26825,"title":26826,"dynasty":2023,"author":292,"museum":135,"description":20194,"tags":26827,"thumbUrl":26828,"material":229,"size":637,"collection":142,"collections":26829,"showCount":589,"zanCount":54,"manualWeight":54,"mainColor":109},225494,"fu-shi-hui-252-yi-ming-225494","浮世绘252",[16086,27,30,7,348,33,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22907b6f373c66150665059641941f9f.jpg",[],{"id":26831,"slug":26832,"title":26833,"dynasty":2023,"author":292,"museum":135,"description":20194,"tags":26834,"thumbUrl":26835,"material":229,"size":637,"collection":142,"collections":26836,"showCount":589,"zanCount":54,"manualWeight":54,"mainColor":109},225409,"fu-shi-hui-167-yi-ming-225409","浮世绘167",[16086,27,16687,30,139,1288,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb6271c2f9d56d399d675d56653762e9.jpg",[],{"id":26838,"slug":26839,"title":26840,"dynasty":2023,"author":292,"museum":135,"description":26841,"tags":26842,"thumbUrl":26843,"material":142,"size":142,"collection":142,"collections":26844,"showCount":589,"zanCount":54,"manualWeight":54,"mainColor":109},225341,"fu-shi-hui-94-yi-ming-225341","浮世绘94","这幅作品以飞瀑山林为幕布，青蓝飞瀑裹挟着白浪层叠奔涌，暖赭岩壁与苍翠绿林撞色交织，强烈的色块对比拉开视觉张力。浅滩中两名力士牵引骏马涉水洗濯，飞溅的水花衬得马匹鬃毛油亮顺滑。奔涌的水势与静立的人马形成动静反差，将山野雄奇与日常意趣相融。明艳浓烈的用色带着典型的浮世绘特色，把旅途中洗马的寻常小事，铺陈在幽深山景里，让烟火气裹挟着山林野趣扑面而来，尽显寄情山水的闲适意韵。",[16086,16687,27,95,66,7,171,33,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ef0b8116eea9d2a1925f737bd1c84a9.jpg",[],{"id":26846,"slug":26847,"title":26848,"dynasty":2023,"author":292,"museum":135,"description":26849,"tags":26850,"thumbUrl":26851,"material":142,"size":142,"collection":142,"collections":26852,"showCount":589,"zanCount":54,"manualWeight":54,"mainColor":55},225326,"fu-shi-hui-74-yi-ming-225326","浮世绘74","这幅以春樱湖山为景，石青铺就浩渺水天，柔粉樱花漫覆青绿丘峦，冷暖交织晕开清和春日。木桥山道串起村舍屋宇，山上游人比肩、岸边客聚成群，漾波舟船载着踏青之人，将江户时节的赏樱盛景铺陈眼前。明快雅致的配色晕染出松弛温婉的和风意趣，全景构图兼具开阔氛围感与细节鲜活度，把市井游春的闲逸日常融在湖樱盛景中，将春日舒展明媚的生机定格成诗意悠长的风物画卷。",[16086,27,16687,95,32,7,35,76,33,30,9564,72,1080],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd158e996809e261a9f0f984c1658ae84.jpg",[],{"id":26854,"slug":26855,"title":26856,"dynasty":344,"author":10024,"museum":135,"description":26857,"tags":26858,"thumbUrl":26859,"material":142,"size":142,"collection":142,"collections":26860,"showCount":589,"zanCount":54,"manualWeight":54,"mainColor":109},224571,"mao-shi-pin-wu-tu-kao-san-ce-qing-ren-224571","毛诗品物图考（三）册","此作以工细笔触绘就鹈鹕振翅凌于云水之上，禽鸟翎羽纤毫分明，绒羽蓬松、飞羽劲挺的质感被描摹尽致。淡赭与墨色晕染出水波层叠的柔润清透，清浅雅致。旁附蝇头小楷考证文字，图文相辅，将名物考据的严谨与花鸟写生的隽秀意趣相融，淡墨轻彩间兼具博物图鉴的详实与文人花鸟画的雅逸，尽显绘者考据与绘事兼备的雅致审美，把古典名物化为可感的生动图景，淡静悠然，意韵绵长。",[24,64,332,26,27,788,122,7,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffa1ae71bc472796975929b6209c7ee5.jpg",[],{"id":26862,"slug":26863,"title":26864,"dynasty":344,"author":13884,"museum":135,"description":26865,"tags":26866,"thumbUrl":26867,"material":142,"size":142,"collection":142,"collections":26868,"showCount":589,"zanCount":54,"manualWeight":54,"mainColor":109},224279,"shan-shui-hua-hui-ce-shi-san-fu-shan-224279","山水花卉冊(十三)","此作用色简淡古雅，浅赭为底，淡墨晕出山峦轮廓，谷间冷月斜悬，晕开朦胧清寂。层叠飞瀑以稚拙线条勾勒，无繁复皴擦，却藏水姿流动之意。两岸垂柳柔条披拂，轻垂于浅溪之上，朱红板桥卧于水面，冷调中一抹艳色点睛，衬出幽谧山居的灵动生机。\n构图空灵疏朗，以极简笔墨勾勒林泉山水，将文人林下隐逸的雅趣寄于其间，淡墨轻岚间静穆萧疏，尽显清寂出尘的林下之风，笔简意足，淡远悠长，尽显文人画寄情山水的意趣。",[23,24,64,332,27,94,95,32,7,530,33,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F204690b521a9d4e47796e1e04a8ee204.jpg",[],{"id":26870,"slug":26871,"title":26872,"dynasty":18,"author":292,"museum":135,"description":26873,"tags":26874,"thumbUrl":26878,"material":142,"size":142,"collection":142,"collections":26879,"showCount":589,"zanCount":54,"manualWeight":54,"mainColor":109},223641,"shi-ying-sheng-hui-tu-quan-juan-yi-ming-223641","蓍英盛会图全卷","此卷以朱丝栏界格小楷书就，用笔秀挺雅致，结体端稳匀净，尽得晋唐小楷遗韵，通篇气息连贯从容，无一笔苟且。\n\n文字详实记述洛中耆英雅集诸位贤达生平、雅集始末，将记事述人与书法精妙融合。既是记录宋代文人群贤雅聚的珍贵文献，亦是极具观赏性的书法佳作。笔墨间尽显沉静内敛的文人意趣，点画精微法度谨严，工整秀雅中藏有灵动意致，书写者深厚功底尽显其间，古雅隽永的书卷风神浸透全卷。",[23,24,64,25,27,26,30,97,31,32,7,788,100,101,2523,119,3676,3677,3678,3679,26875,15088,21155,26876,26877,6294,5551,2301,10175,543,2996,426,3228,4238,5123,67,66,3834],"礼器","饪食器","典籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ff2ab5fb781f6a9b46ac0a60e31de28.jpg",[],{"id":26881,"slug":26882,"title":26883,"dynasty":344,"author":15995,"museum":135,"description":16133,"tags":26884,"thumbUrl":26885,"material":469,"size":16137,"collection":142,"collections":26886,"showCount":589,"zanCount":54,"manualWeight":54,"mainColor":109},223255,"yan-shan-ba-jing-tu-2-tai-ye-qiu-feng-zhang-ruo-cheng-223255","燕山八景图-2-太液秋风",[23,24,64,95,27,28,31,97,96,255,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d3b62de7a2ab18ba86850270195a108.jpg",[],{"id":26888,"slug":26889,"title":4254,"dynasty":344,"author":4017,"museum":61,"description":24764,"tags":26890,"thumbUrl":26892,"material":142,"size":4261,"collection":142,"colle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传世作品有康熙二十一年作《雨气真寂图》及《林泉小亭图》二轴，现藏安徽省博物馆；《溪山泛舟图》轴藏浙江省博物馆；康熙十三年（1674）作《香烟诗意图》轴藏香港刘均量虚白斋；十二年（1673）作《九龙潭图》轴藏故宫博物院；同年作《山水图》轴藏上海博物馆。著有《拜经斋集》《致道堂集》《正己居集》等。",[24,64,332,94,95,33,98,32,7,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27ce34c5eaa9c3bf9f87d2ec3b9720b8.jpg",[],{"id":26921,"slug":26922,"title":26923,"dynasty":150,"author":292,"museum":152,"description":26924,"tags":26925,"thumbUrl":26926,"material":47,"size":142,"collection":142,"collections":26927,"showCount":589,"zanCount":54,"manualWeight":54,"mainColor":55},218183,"ying-zhen-xiang-zhou-6-yi-ming-218183","应真像轴-6","古木垂荫，枝叶如墨染丝绦，垂落间笼起一片幽寂。涧水潺潺绕石而过，浪纹轻卷似有无声梵音。画中应真跏趺而坐，衣袂如流云般舒展，粉褐相间的僧袍衬得神态愈发静定。他双目微阖，似在观照内心，双手轻拢于膝前，指尖沾着山涧清润。山石皴法古朴，流水笔触灵动，淡彩晕染出清雅禅意。整体画面静谧悠远，松风与水声仿佛交织耳畔，将观者引入澄明的禅境之中，心绪也随那淡墨轻彩缓缓沉淀。",[24,225,27,30,598,171,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c43e1f829f49a60469953a8e9aedcfd.jpg",[],{"id":26929,"slug":26930,"title":26931,"dynasty":344,"author":292,"museum":135,"description":26932,"tags":26933,"thumbUrl":26934,"material":47,"size":142,"collection":142,"collections":26935,"showCount":589,"zanCount":54,"manualWeight":54,"mainColor":640},218123,"fu-hua-luo-han-jiu-zhang-lao-xiang-3-yi-ming-218123","佛画·罗汉九长老像-3","佚名的佛画 罗汉九长老像 是一幅清朝时期的佛教画作，描绘了九位罗汉，这些罗汉是佛教中的超凡脱俗的人物，他们拥有超凡的智慧和慈悲之心，并且被视为佛教中的榜样。\n\n在这幅画中，佚名以精细的笔触描绘了九位罗汉的形象，每一位罗汉都面带慈祥的微笑，身着精致的法衣，体现出他们超凡的品德和修行的成果。画面中还有许多佛教的装饰元素，如佛像、佛经、菩提树等，为整幅画作增添了浓厚的佛教气息。\n\n总的来说，佚名的 罗汉九长老像 是一幅非常精美的佛教画作，其中所传达出的超凡慈悲和修行成果，对于追求佛道的人来说是一种极大的启发和鼓励。",[23,4257,24,598,30,27,26,98,33,7,1288,18165,19627],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6d43c375e41dbbe825f0e2847774d36.jpg",[],{"id":26937,"slug":26938,"title":26939,"dynasty":344,"author":292,"museum":61,"description":26940,"tags":26941,"thumbUrl":26942,"material":27,"size":142,"collection":142,"collections":26943,"showCount":589,"zanCount":54,"manualWeight":54,"mainColor":109},217291,"gu-xiu-wu-shi-san-can-tu-ce-22-yi-ming-217291","顾绣·五十三参图册-22","画面分左右两帧，左帧蓝袍长者携童子立于坡岸，衣袂飘举间似携兰桂之馨，旁侧竹影疏斜，仙鹤振翅穿云，清寂里暗涌生机；右帧白发老者负筐曳杖，童子紧随其后，脚下溪流潺潺，石上苔痕隐约，远处林峦如黛，一派悠然山居意趣。绣线细密勾勒人物神情，衣纹褶皱灵动自然，山石草木晕染得宜，兼具笔墨的雅致韵味与丝缕的温润质感。浅淡设色营造出清逸氛围，每处针脚皆藏巧思，将人物闲适与山水静谧融于方寸，尽显顾绣融画入绣的独特艺术风貌。",[7497,332,27,26,30,5133,122,3226,543,7,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb566d6cb39ccefcc628de868db9e6e0.jpg",[],{"id":26945,"slug":26946,"title":26947,"dynasty":18,"author":25873,"museum":135,"description":25874,"tags":26948,"thumbUrl":26950,"material":335,"size":142,"collection":142,"collections":26951,"showCount":589,"zanCount":54,"manualWeight":54,"mainColor":640},217172,"shui-hu-quan-tu-23-du-jin-217172","水浒全图-23",[24,64,332,138,30,7,26949],"草本植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd114afa35310e3ef2035b79c8fecf88a.jpg",[],{"id":26953,"slug":26954,"title":26955,"dynasty":18,"author":25873,"museum":135,"description":25874,"tags":26956,"thumbUrl":26957,"material":335,"size":142,"collection":142,"collections":26958,"showCount":589,"zanCount":54,"manualWeight":54,"mainColor":640},217168,"shui-hu-quan-tu-26-du-jin-217168","水浒全图-26",[24,64,332,138,94,30,98,168,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F159ba2f328d1b867ed415c5c8190609c.jpg",[],{"id":26960,"slug":26961,"title":26962,"dynasty":344,"author":26963,"museum":281,"description":26964,"tags":26965,"thumbUrl":26966,"material":103,"size":26967,"collection":142,"collections":26968,"showCount":589,"zanCount":54,"manualWeight":54,"mainColor":109},217012,"ruan-yuan-yi-shi-shi-jing-tu-ce-3-wang-yun-217012","阮元遗事十景图册-3","汪鋆","阮元遗事十景图册是清朝时期汪鋆的一部作品。汪鋆（1735-1815年）是一位著名的清代画家，他的作品主要描绘人物、山水、花鸟等题材。阮元遗事十景图册是一部十幅图册，每幅图画都是汪鋆根据阮元的遗事描绘的人物和景象。阮元是一位著名的文学家，他的作品富有感染力，深受读者喜爱。汪鋆的这部作品通过艺术手法，将阮元的遗事生动地呈现在读者面前。",[117,24,64,332,27,94,95,7,96,140,609,348],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f6063966510e83bbdab495719ce369a.jpg","27.9x33cm",[],{"id":26970,"slug":26971,"title":26972,"dynasty":344,"author":292,"museum":15270,"description":26973,"tags":26974,"thumbUrl":26975,"material":47,"size":142,"collection":142,"collections":26976,"showCount":589,"zanCount":54,"manualWeight":54,"mainColor":55},215936,"di-jian-tu-shuo-cai-hui-ben-67-yi-ming-215936","帝鉴图说彩绘本-67","青蓝山石层叠如染，泼洒出苍莽气象；山间楼阁隐现于松影间，朱红檐角点缀苍翠，动静相宜。碧波细纹如鳞，与远山淡霭相映，漾开清旷悠远之境。画面中车马仪仗错落有致，行者或策马路途，衣袂飘举间尽现古雅意趣；或侍立轿侧，神态恭谨中藏着鲜活气息。工笔彩绘细腻勾勒每一处细节，色彩明快却不失古拙韵味，将叙事性与诗意山水巧妙交融，尽显古典画卷的雅致与生机，仿佛能让人窥见往昔场景的生动片段。",[24,27,118,26,332,95,30,66,31,97,33,98,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37134201a0cbfda4a5993f2a87dbae45.jpg",[],{"id":26978,"slug":26979,"title":26980,"dynasty":344,"author":4017,"museum":135,"description":26981,"tags":26982,"thumbUrl":26983,"material":103,"size":142,"collection":142,"collections":26984,"showCount":589,"zanCount":54,"manualWeight":54,"mainColor":109},215095,"tui-bei-tu-ce-11-jiao-bing-zhen-215095","推背图册-11","焦秉贞是中国清朝时期著名的画家，他被认为是中国水墨画史上最伟大的画家之一。其中最著名的作品是他的推背图册，其中包含了十幅推背图。推背图是一种特殊的水墨画，它们通常是用单一的墨色在纸上描绘的，并且使用了特殊的技巧来创造出立体感。焦秉贞的推背图册在当时被认为是一件杰出的艺术品，并且至今仍然备受赞赏。",[23,117,24,64,332,26,27,199,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F071d369a583ecac5808ddfd7772a1580.jpg",[],{"id":26986,"slug":26987,"title":26988,"dynasty":344,"author":26989,"museum":91,"description":26990,"tags":26991,"thumbUrl":26992,"material":142,"size":142,"collection":142,"collections":26993,"showCount":589,"zanCount":54,"manualWeight":54,"mainColor":26994},202589,"liu-di-shen-chu-you-ren-jia-tu-zhou-ju-lian-202589","柳堤深处有人家图轴","居廉","柳丝垂拂堤岸，几椽茅舍隐于枝叶间，似藏着烟火暖意。曲桥跨于浅流，水面漾着微光，一叶孤舟静浮，添了几分悠然。远处山峦以淡墨轻皴，轮廓柔缓，与近景的浓淡层次相映。笔墨细腻处见工致，柳枝的飘逸、山石的肌理皆精心描摹，设色淡雅却含生机，将水乡的温婉与田园的静谧融于尺幅，尽显恬淡闲适的诗意。",[95,32,7,96,256,26,27,140,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F442c0ef6ce09a9f53ea11a788cc664ec.jpg",[],"cfb187",{"id":26996,"slug":26997,"title":26998,"dynasty":344,"author":26999,"museum":91,"description":27000,"tags":27001,"thumbUrl":27002,"material":142,"size":142,"collection":142,"collections":27003,"showCount":589,"zanCount":54,"manualWeight":54,"mainColor":27004},202581,"xi-shan-gao-yi-tu-zhou-yang-yong-jian-202581","溪山高逸图轴","杨雍建","画面以水墨皴染绘就层峦叠嶂，峰岭巍峨间隐现飞瀑流泉。山麓林木葱郁，清溪绕舍，小桥横架，屋内人凭窗闲坐，尽显林泉隐逸之趣。笔法苍劲，皴法细腻，墨色层次丰富，融山水清幽与文人雅致于一体，传递出超然尘外的高逸情怀。",[24,94,95,99,32,7,33,609,25970],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d798f593a36b94876c9f9543495c2c0.jpg",[],"cab28e",{"id":27006,"slug":27007,"title":27008,"dynasty":344,"author":14075,"museum":91,"description":27009,"tags":27010,"thumbUrl":27011,"material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n\n画面留白疏朗，衬出山峦空濛清润，将江南丘壑的静穆淡远铺陈开来。左侧行书题字隽逸雅致，书画合璧，尽显文人追慕古贤绘事的幽怀。整体简淡萧疏，把林下栖居的雅寂禅意藏于笔底，淡而弥远，清而有味，尽显文人山水的悠然意趣。",[24,64,332,94,95,240,241,32,7,101,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7d8f3150cf510c25790e5bf315b8c74.jpg",[],{"id":27605,"slug":27606,"title":655,"dynasty":344,"author":27585,"museum":135,"description":27607,"tags":27608,"thumbUrl":27609,"material":142,"size":142,"collection":142,"collections":27610,"showCount":718,"zanCount":54,"manualWeight":54,"mainColor":55},235942,"shan-shui-ce-qi-zhi-jia-235942","此作用笔苍秀凝练，层峦错落间，山居屋舍隐现于林木葱茏之中，将江南山林的幽寂清逸徐徐铺展。山石以短皴晕染，浑厚朴拙间尽显丘壑之致，林木枝桠苍劲舒展，疏密排布暗藏留白意趣。\n\n左侧行书题字笔意舒展流畅，笔墨与画境相映成趣，书画合璧尽显文人雅韵。整体意境萧散淡远，带着沉寂简淡的遗民意趣，以简约笔触勾勒出林泉栖居的超然之境，藏着传统文人寄情山水的沉静风骨，尽显幽绝尘寰的林下之风。",[24,64,332,94,99,101,95,33,98,97,122,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F756e5fb7bb40da78f8b18c2b5afcf144.jpg",[],{"id":27612,"slug":27613,"title":27614,"dynasty":344,"author":292,"museum":135,"description":27615,"tags":27616,"thumbUrl":27618,"material":142,"size":142,"collection":142,"collections":27619,"showCount":718,"zanCount":54,"manualWeight":54,"mainColor":109},235909,"yuan-ji-shan-shui-tu-ye-yi-ming-235909","原济山水图页","这幅小品以淡墨轻勾慢染，铺就江乡闲趣。近岸枯草疏疏，点出暮秋清寂。江面上两艘帆船借风徐行，船仓、帆柱细节分明，暗衬出行舟的悠然意态。\n\n右侧丹赭山崖以泼墨晕染间杂短线皴擦，苍劲朴拙，和清浅柔缓的江水形成刚柔对照。远岸村居错落，黛瓦白墙隐在墨色山峦之下，和烟霭相融，悄然晕开幽远宁静。\n\n整体设色淡雅清和，水墨与浅赭相互映衬，笔致简括写意，淡墨晕开江面漾漾水色，寥寥数笔便将江上行旅的闲淡、江村栖居的安然揉在尺幅间，晕染出江南水乡独有的温润悠然。",[24,94,27,332,95,2008,7,27617,635],"岸草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7f3d2ffbd8d5bfd732d4718e79ab924.jpg",[],{"id":27621,"slug":27622,"title":24568,"dynasty":344,"author":27623,"museum":135,"description":27624,"tags":27625,"thumbUrl":27626,"material":142,"size":142,"collection":142,"collections":27627,"showCount":718,"zanCount":54,"manualWeight":54,"mainColor":109},235783,"zhu-jia-shu-hua-he-bi-ce-shan-shui-ye-wu-shi-rui-235783","吴世睿","这幅山水以平远之法铺陈，近岸苍木错落，茅舍隐于林麓，板桥卧波漾着野趣。渐远则田畴层叠、村舍依依，远山以淡墨晕染，虚实相生，将江南郊野的温润清寂尽数铺陈。\n\n笔墨简淡秀雅，线条松灵含蓄，皴擦晕染皆出自然，尽显文人画萧散意趣。对开草书笔意纵逸跌宕，与山水清逸相得益彰。书画合璧，将观景寄情的雅趣藏在尺幅间，淡而弥远，耐人寻味。",[24,64,332,94,101,99,95,33,76,32,7,43,2075],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff247532932a57842612aa76893757df0.jpg",[],{"id":27629,"slug":27630,"title":27631,"dynasty":18,"author":4156,"museum":135,"description":14252,"tags":27632,"thumbUrl":27633,"material":229,"size":637,"collection":142,"collections":27634,"showCount":718,"zanCount":54,"manualWeight":54,"mainColor":109},235769,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-wu-song-jiang-tu-ye-chen-chun-235769","吴门诸家寿袁方斋三绝册-吴淞江图页",[24,64,332,94,27,100,119,95,32,7,33,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F098f5ef4d61784b2c3a4c75fb32b5218.jpg",[],{"id":27636,"slug":27637,"title":655,"dynasty":344,"author":6544,"museum":135,"description":27638,"tags":27639,"thumbUrl":27640,"material":229,"size":637,"collection":142,"collections":27641,"showCount":718,"zanCount":54,"manualWeight":54,"mainColor":109},235494,"shan-shui-ce-liu-yu-235494","柳堉. 工诗、画，书法李邕，山水遒逸苍茫，最得董、巨遗法。惟水口流泉，不能自然，有霸悍之态。康熙二十八年（一六八九）曾为宋牧仲（荦）写唐诗山水十二页。",[24,64,332,94,99,100,101,119,95,199,140,32,7,76,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8baf66db1615a9818a722bb646ef0e1.jpg",[],{"id":27643,"slug":27644,"title":26677,"dynasty":18,"author":292,"museum":135,"description":27645,"tags":27646,"thumbUrl":27647,"material":229,"size":637,"collection":142,"collections":27648,"showCount":718,"zanCount":54,"manualWeight":54,"mainColor":109},235142,"chen-dan-zhong-shan-shui-ce-yi-ming-235142","此帧以淡墨轻色绘就秋江暮色，近岸丹林疏朗，村居隐于林下，丘峦平缓迤逦，渐次融入空蒙江面。水天尽处归雁点点，漾开清寂辽远之意。笔墨秀润淡雅，设色轻净明净，晕染出萧散清和的秋日氛围。左侧题诗与山水相映成趣，书画合璧，尽显文人寄情林泉的雅逸襟怀，将秋江空寥与山居悠然相融，藏着归林向野的隐逸意趣。",[24,64,332,94,27,95,33,98,99,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e80d2d004d069b09a793ae5ff91384b.jpg",[],{"id":27650,"slug":27651,"title":26677,"dynasty":18,"author":292,"museum":135,"description":27652,"tags":27653,"thumbUrl":27654,"material":229,"size":637,"collection":142,"collections":27655,"showCount":718,"zanCount":54,"manualWeight":54,"mainColor":109},235140,"chen-dan-zhong-shan-shui-ce-yi-ming-235140","此作以没骨间杂浅绛晕染山峦，峰尖如黛，云雾在林麓间缓缓氤氲，将青碧山石与丹红霜叶晕融成朦胧空濛的秋山图景。山径蜿蜒隐没于茂草霜林间，萧索秋意裹着幽寂禅意漫开。\n\n笔意秀雅温润，以水色糅合墨韵消解了线条的凌厉，明丽设色又带着沉静质感，将晚秋山野的清旷萧寒含蓄铺展。左侧题诗与画境呼应，诗画合璧，点破万籁俱寂的深秋天光，尽显晚明山水崇尚的淡远萧疏之美，是文人寄情丘壑，以景抒怀的典型佳构。",[24,64,332,27,95,32,7,33,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F232dcaea0c8b8b7c0d9fdd2d9376772e.jpg",[],{"id":27657,"slug":27658,"title":655,"dynasty":344,"author":435,"museum":135,"description":27659,"tags":27660,"thumbUrl":27661,"material":142,"size":142,"collection":142,"collections":27662,"showCount":718,"zanCount":54,"manualWeight":54,"mainColor":109},235111,"shan-shui-ce-wang-yuan-qi-235111","此作以层叠山峦铺展全景，危崖高耸，造景开合有致。近岸乱石错落，林木疏朗，山居民舍隐于林麓溪畔，漾着幽寂雅致的山居意趣。\n\n笔墨以干笔积墨皴擦，淡墨晕染铺陈，写出山石苍浑厚重的质感，兼具拙朴苍润之致，承袭南宗山水的雅正脉络。整幅画面气息静谧淡远，将山川苍古秀润之态收束尺幅间，藏着文人寄情林泉、避世幽居的隐逸襟怀，尽显正统山水画的沉静格调。",[24,64,332,94,99,27,95,98,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd543d68d24f3e814ff5977dabb06f50b.jpg",[],{"id":27664,"slug":27665,"title":27666,"dynasty":344,"author":27667,"museum":135,"description":27668,"tags":27669,"thumbUrl":27670,"material":142,"size":142,"collection":142,"collections":27671,"showCount":718,"zanCount":54,"manualWeight":54,"mainColor":55},235069,"zhu-jia-shan-shui-ce-ye-hua-hui-ye-wang-jing-235069","诸家山水册页-花卉页","王敬","此作用淡墨晕染远山，以披麻皴轻写山峦肌理，笔墨松秀柔润，晕出烟雨溟蒙的空寂氛围。近处水岸错落，苍松扶苏含翠，柳丝轻笼烟岚，板桥茅舍、水上亭台次第铺陈，取景简淡却层次丰盈，尽显江南水村的清润闲雅。\n题诗与画面相映成趣，诗画交融，以极简笔致勾勒幽远静穆的林下诗意，尽显文人画尚简重意的特质。笔致萧散空灵，淡而不薄，简而愈远，悠悠见出林下清寂的隐逸襟怀，整体氤氲着静雅出尘的水墨诗意。",[24,94,99,332,95,97,32,7,33,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F113368b18e266db2890ec5f45fafef56.jpg",[],{"id":27673,"slug":27674,"title":655,"dynasty":344,"author":6611,"museum":61,"description":27675,"tags":27676,"thumbUrl":27677,"material":142,"size":142,"collection":142,"collections":27678,"showCount":718,"zanCount":54,"manualWeight":54,"mainColor":109},234799,"shan-shui-ce-dong-bang-da-234799","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。",[24,94,99,332,95,97,140,98,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cd1e06a3646a44773d5b6972e36d603.jpg",[],{"id":27680,"slug":27681,"title":12048,"dynasty":344,"author":12049,"museum":61,"description":12050,"tags":27682,"thumbUrl":27683,"material":258,"size":142,"collection":142,"collections":27684,"showCount":718,"zanCount":54,"manualWeight":54,"mainColor":109},234751,"huang-shan-tu-ce-jiang-zhu-234751",[24,94,101,95,97,7,32,171,33,332,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd65a8ea7146fe0911e87ceef6ebc60bb.jpg",[],{"id":27686,"slug":27687,"title":12048,"dynasty":344,"author":12049,"museum":61,"description":12050,"tags":27688,"thumbUrl":27689,"material":258,"size":142,"collection":142,"collections":27690,"showCount":718,"zanCount":54,"manualWeight":54,"mainColor":109},234749,"huang-shan-tu-ce-jiang-zhu-234749",[94,95,101,99,332,240,168,821,76,7,427],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08e5155c424c968405ab0a79b1b0bb24.jpg",[],{"id":27692,"slug":27693,"title":20072,"dynasty":344,"author":27694,"museum":135,"description":27695,"tags":27696,"thumbUrl":27697,"material":142,"size":142,"collection":142,"collections":27698,"showCount":718,"zanCount":54,"manualWeight":54,"mainColor":109},234608,"shan-shui-wan-shan-he-wei-pu-234608","何维朴","何维朴 （1842年—1922年），湖南道县人。 字诗孙，晚号盘止，亦号盘叟，又号秋华居士、晚遂老人，室名颐素斋、盘梓山房。何绍基之孙。以山水画著称，宗娄东派；书摹其祖何绍基亦得其形似。\n同治六年（1867年）乡试副贡，官内阁中书，协办侍读，江苏候补知府。\n工书、画，晚寓上海盘梓山房，以此自给。画以山水著称。宗娄东四家，清远高妙，无时流霸悍草率习气。对于古画之鉴别尤精。书摹其祖绍基，亦得其神似。少精篆刻，宗秦汉，晚年倦于酬世不复作。有印文曰清凉山下转轮僧。收藏古印甚多，有《颐素斋印存》六卷传世。卒年八十一。",[24,1551,94,27,99,95,96,33,170,7,350],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8afd6991804bbecdfb8e2d9db172223.jpg",[],{"id":27700,"slug":27701,"title":27702,"dynasty":344,"author":292,"museum":135,"description":27703,"tags":27704,"thumbUrl":27705,"material":142,"size":142,"collection":142,"collections":27706,"showCount":718,"zanCount":54,"manualWeight":54,"mainColor":109},234557,"yu-mu-shang-xin-ce-jiang-zhu-huang-hai-dan-tai-tu-ce-ye-yi-ming-234557","娱目赏心册-江注黄海丹台图册页","《娱目赏心册》收集了十三幅绘画作品，分别出自于十二位画家之手，尽管是不同画家的手笔，但整个册页非常统一，弥漫的是一股浓浓的文人气息",[24,64,332,94,101,119,100,95,32,7,140,97,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe24883cf2c9df50c59031297861df435.jpg",[],{"id":27708,"slug":27709,"title":7986,"dynasty":344,"author":23350,"museum":135,"description":27710,"tags":27711,"thumbUrl":27712,"material":142,"size":142,"collection":142,"collections":27713,"showCount":718,"zanCount":54,"manualWeight":54,"mainColor":109},234514,"shan-shui-ce-ye-song-jun-ye-234514","宋骏业[清]（？―一七一三）字声求，号坚斋，一号坚甫，江苏长洲(今蘇州）人。官兵部左侍郎。善书画，笃好山水，因绘南巡图聘王翚于家而画学大进。\n宋骏业因绘南巡图聘王翚于家而画学大进。曾为纂修佩文斋书画谱总裁官。作宋元人小品，清韵可挹。康熙四十七年（一七o八）尝作晓烟积雪图。",[24,27,332,99,95,98,33,97,76,5799,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d1e02f0b4af80a6623d0ad6ca7d946f.jpg",[],{"id":27715,"slug":27716,"title":20779,"dynasty":344,"author":16380,"museum":135,"description":20780,"tags":27717,"thumbUrl":27718,"material":142,"size":142,"collection":142,"collections":27719,"showCount":718,"zanCount":54,"manualWeight":54,"mainColor":109},234361,"you-niao-shi-tu-ce-jin-kun-234361",[24,64,332,101,119,27,95,32,7,33,76,348],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43947393ebed197c253016c5f649581d.jpg",[],{"id":27721,"slug":27722,"title":20779,"dynasty":344,"author":16380,"museum":135,"description":20780,"tags":27723,"thumbUrl":27724,"material":142,"size":142,"collection":142,"collections":27725,"showCount":718,"zanCount":54,"manualWeight":54,"mainColor":109},234355,"you-niao-shi-tu-ce-jin-kun-234355",[24,64,332,27,101,119,95,97,33,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc1926b69575b602ac1c84ca32a34428.jpg",[],{"id":27727,"slug":27728,"title":20779,"dynasty":344,"author":16380,"museum":135,"description":20780,"tags":27729,"thumbUrl":27730,"material":142,"size":142,"collection":142,"collections":27731,"showCount":718,"zanCount":54,"manualWeight":54,"mainColor":109},234353,"you-niao-shi-tu-ce-jin-kun-234353",[24,64,332,27,95,122,33,98,7,348,101,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41f300a8b8ccab61a4d799c3ff3a90c6.jpg",[],{"id":27733,"slug":27734,"title":655,"dynasty":344,"author":4707,"museum":135,"description":18292,"tags":27735,"thumbUrl":27736,"material":142,"size":142,"collection":142,"collections":27737,"showCount":718,"zanCount":54,"manualWeight":54,"mainColor":109},234339,"shan-shui-ce-jin-ting-biao-234339",[24,94,95,332,32,7,557,30,100,11463],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7297a0aee7987d8b37b4b29da02d73e3.jpg",[],{"id":27739,"slug":27740,"title":27741,"dynasty":344,"author":13884,"museum":61,"description":27742,"tags":27743,"thumbUrl":27744,"material":469,"size":27745,"collection":142,"collections":27746,"showCount":718,"zanCount":54,"manualWeight":54,"mainColor":109},233813,"shan-shui-ce-2-fu-shan-233813","山水册2","此册共计六开，每开有对题，分别为“文笔双峰”、“瓮泉难老”、“？（左“山”右“屋”）？（左“山”右“韦”）红叶”、“天门积雪”、“土堂怪柏”、“古郭夕照”。此画笔致超越，颇有古拙之风趣，正如清代张庚《国朝画征录》评价傅山“善画山水，皴擦不多，丘壑磊珂，以骨胜”，实应属傅山的精品之一。以“土堂怪柏”而言，远处为高山峭壁，近景是雄气敦厚之悬岩山石，有古柏相衬托，别具幽致。傅山笔下的树石造型十分引人注目，其中的柏树形象和一般文人画家所描绘的形象不同，这是因为柏树的形象比较适合傅山的用笔、用墨习惯。柏树的叶、干，既可用大笔粗写，表现厚重的感觉，又可用细笔碎点，使墨的干、湿、浓、淡得以充分展现。在粗写和细点之间，有很大的创作空间，这对于不守古法的傅山来说，柏树形象无疑是他传递内心情感的极好媒介。\n就体现时代精神而言，傅山的绘画虽然不及八大、石涛等人的作品醒目和逼真，表现技巧也显得有些业余，但蕴含于绘画中的笔墨和精神与其书法应是相通的。分析其绘画作品，无疑能加深对其书风转变的理解。从这一点说，傅山绘画自有其存在的艺术价值。",[24,64,332,27,118,95,7872,99,31,32,7,33,6944,98,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F220efb4562ed1b81e99dc1d77f38e22b.jpg","纵36.5厘米，横37厘米",[],{"id":27748,"slug":27749,"title":27750,"dynasty":2023,"author":292,"museum":135,"description":27751,"tags":27752,"thumbUrl":27756,"material":229,"size":637,"collection":142,"collections":27757,"showCount":718,"zanCount":54,"manualWeight":54,"mainColor":109},231798,"chun-ri-ji-li-xing-fu-xing-shi-xia-juan-yi-ming-231798","春日祭礼兴福行事下卷","此作以全景长卷铺展祭典全貌，淡彩浅设辅以工整白描，将一场庄重古礼完整铺陈于绢素之上。\n左侧朝官按序列班，衣袍明黄齐整肃穆，仪杖陈设规制俨然；中段人马辚辚而行，扈从仪物森然有序，百官随扈的宏大仪仗历历在目；右侧水屋御殿临河而设，拜谒的臣僚进退有度，河畔林木葱郁衬出仪典的静穆氛围。\n画作细节考究，人物衣冠、官署形制皆贴合古礼，搭配题跋补全仪典始末，兼具纪实性与古韵美感，让旧日皇家祭礼的庄重排场宛在眼前。",[23,24,64,25,26,27,30,31,32,7,97,66,33,27753,39,27754,27755,38,95],"祭祀","仪式","队伍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56da5d090e05a00fa387d5a52a4e401a.jpg",[],{"id":27759,"slug":27760,"title":27761,"dynasty":2023,"author":292,"museum":135,"description":27762,"tags":27763,"thumbUrl":27764,"material":229,"size":637,"collection":142,"collections":27765,"showCount":718,"zanCount":54,"manualWeight":54,"mainColor":109},231779,"niao-yu-seng-zheng-jue-you-xin-gui-shan-yuan-qi-hui-juan-1-yi-ming-231779","鸟羽僧正觉猷 信贵山缘起绘卷-1","这幅画截取乡野渔村一隅，左侧烟波缠绕浅黛山峦，清寂幽远。竹木围栏圈起工坊，灶炉蒸腾烟气，数不清的竹编渔笼错落排布，似在熏制渔获。下方妇人正俯身分拣收贮，尽显劳作的朴拙日常。\n右侧临水木构酒肆热闹鲜活，宾客凭栏谈笑，楼中女眷探窗遥望，铺展出世井宴饮的松弛意趣。整作淡彩晕染，线条清隽雅致，将山野静气与人世烟火巧妙相融，勾勒出鲜活的民间日常图景，恬淡间满溢生活温度。",[23,117,64,25,598,28,138,27,30,95,31,7,33,13359,4592],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3911f257cd4f7f01d3727d61faeff9cd.jpg",[],{"id":27767,"slug":27768,"title":27769,"dynasty":2023,"author":26786,"museum":135,"description":26787,"tags":27770,"thumbUrl":27771,"material":229,"size":637,"collection":142,"collections":27772,"showCount":718,"zanCount":54,"manualWeight":54,"mainColor":109},231721,"jiang-hu-shi-dai-shan-shui-tu-ping-feng-di-er-ping-peng-cheng-bai-chuan-231721","江户时代 山水图屏风-第二屏",[23,24,64,94,95,96,33,98,7,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84daba2cc964c33a2f1f9b32cdac0348.jpg",[],{"id":27774,"slug":27775,"title":27776,"dynasty":2023,"author":292,"museum":135,"description":27777,"tags":27778,"thumbUrl":27779,"material":142,"size":142,"collection":142,"collections":27780,"showCount":718,"zanCount":54,"manualWeight":54,"mainColor":55},231691,"shi-ting-shi-qi-qiao-yi-ming-231691","室町时期 桥","此画以淡墨轻赭铺就秋山暮色，近坡古木虬曲，疏枝朗叶尽染萧索秋意，板桥跨溪连接山居野径，山坳间隐见村舍，暗藏烟火余温。远景奇峰崷崪，以简劲皴笔写山石棱线，晕染出空濛山岚，天际群雁齐飞，汀洲渔舟点点。\n\n画面虚实相生，将幽寂山野与隐逸闲趣相融，淡墨里漾着清远禅意，静中含动，把秋日林泉的疏旷淡远娓娓铺陈，藏着寄迹林泉的悠然意绪。",[23,24,94,866,99,32,140,122,98,7,348,8006],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6cacd3845460cff03a842a59e29690a.jpg",[],{"id":27782,"slug":27783,"title":27784,"dynasty":2023,"author":292,"museum":135,"description":27785,"tags":27786,"thumbUrl":27787,"material":142,"size":142,"collection":142,"collections":27788,"showCount":718,"zanCount":54,"manualWeight":54,"mainColor":109},230523,"fang-gu-shan-shui-fen-ben-shou-ye-jia-tu-juan-5-yi-ming-230523","仿古山水粉本（狩野家图卷）-5","此作为水墨雪景山水，以冷月开篇，清辉穿透薄云，遍洒素裹峰峦。左畔寒林雪瀑垂落，银枝静立幽壑，将冬日萧寒藏于丘壑间。湖面如镜，渔舟三两泛波，棹影微动揉碎月影，漾开一湖清寂。\n\n远景层峦隐于烟霭，虚实相生铺展天地辽远。右侧危崖高耸，古松覆雪挺拔苍劲，崖畔山居藏于林岫，寥寥数笔勾勒出清旷山居意趣。全作用墨虚实相宜，淡墨晕染烟岚，浓墨塑山石肌理，以留白造幽远之境，将冬夜湖山的空寂淡远尽数铺展，尽显古雅萧疏的文人山水意韵。",[23,24,64,25,94,2880,99,95,96,168,390,3445,530,169,98,7,1561],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F811b3cf455dffaa8550b3d1fe7817da3.jpg",[],{"id":27790,"slug":27791,"title":27792,"dynasty":344,"author":292,"museum":135,"description":22333,"tags":27793,"thumbUrl":27796,"material":229,"size":637,"collection":142,"collections":27797,"showCount":718,"zanCount":54,"manualWeight":54,"mainColor":55},229668,"qian-long-qia-si-fa-lang-chi-bi-bian-hu-yi-ming-229668","乾隆 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[2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[9133,25142,23285,26222,7,30,21155,4592],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F321c966244cfaa059980742834a83ff6.jpg",[],{"id":30200,"slug":30201,"title":30202,"dynasty":344,"author":292,"museum":135,"description":21967,"tags":30203,"thumbUrl":30204,"material":229,"size":637,"collection":142,"collections":30205,"showCount":54,"zanCount":54,"manualWeight":54,"mainColor":640},246099,"ti-hong-shan-shui-ren-wu-tu-bi-tong-yi-ming-246099","剔红山水人物图笔筒",[25142,23285,26222,95,30,33,31,98,7,27,4592],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9bfbb5cbd92bfde46ad2530640122e8.jpg",[],{"id":30207,"slug":30208,"title":30209,"dynasty":18,"author":292,"museum":135,"description":29978,"tags":30210,"thumbUrl":30211,"material":229,"size":637,"collection":142,"collections":30212,"showCount":54,"zanCount":54,"manualWeight":54,"mainColor":55},246015,"ti-hong-mei-hua-liu-shui-wen-yuan-he-yi-ming-246015","剔红梅花流水纹圆盒",[18,25142,26222,23285,3227,7,4592],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4c81d0748c47f154d8b109b544b2bec.jpg",[],{"id":30214,"slug":30215,"title":30216,"dynasty":18,"author":292,"museum":135,"description":30195,"tags":30217,"thumbUrl":30220,"material":229,"size":637,"collection":142,"collections":30221,"showCount":54,"zanCount":54,"manualWeight":54,"mainColor":55},246011,"ti-hong-xie-qin-fang-you-tu-lian-ban-shi-pan-yi-ming-246011","剔红携琴访友图莲瓣式盘",[25142,28646,26222,9133,30,31,32,7,30218,1702,95,504,33,30219,28],"莲瓣","携琴访友","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a607a99de92ff953b39f15ffa49293a.jpg",[],{"id":30223,"slug":30224,"title":9402,"dynasty":344,"author":27321,"museum":135,"description":27322,"tags":30225,"thumbUrl":30226,"material":142,"size":142,"collection":142,"collections":30227,"showCount":54,"zanCount":54,"manualWeight":54,"mainColor":109},239297,"fang-gu-shan-shui-ce-wu-lin-239297",[24,94,99,332,95,33,98,2206,1177,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24d360c913b9776c53f4ba54343c43c5.jpg",[],{"id":30229,"slug":30230,"title":655,"dynasty":344,"author":27321,"museum":135,"description":30231,"tags":30232,"thumbUrl":30233,"material":142,"size":142,"collection":142,"collections":30234,"showCount":54,"zanCount":54,"manualWeight":54,"mainColor":109},239043,"shan-shui-ce-wu-lin-239043","（一六九一―一七七二）字栗园，一作栗原，一字荛圃，安徽歙县籍，家江西景德镇。二、[清]字仁趾，天都（今安徽歙县）右姓，隶籍广陵（今江苏扬州）。",[24,94,27,332,99,95,30,98,33,169,348,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F949366518c2d87f656499e8776af4ed1.jpg",[],{"id":30236,"slug":30237,"title":22001,"dynasty":344,"author":292,"museum":135,"description":30238,"tags":30239,"thumbUrl":30240,"material":142,"size":142,"collection":142,"collections":30241,"showCount":54,"zanCount":54,"manualWeight":54,"mainColor":262},238898,"dong-gao-chun-hua-ji-qing-ce-yi-ming-238898","这是诗画合璧的雅致册页，上下两开各以山水呼应题诗意境。上开层林蓊郁，溪桥架于浅流，山居隐于翠微之间，墨色苍润秀雅，晕染出盛春山林清润幽深的融融生机。\n\n下开枯木疏朗，村舍依水而建，淡墨轻皴晕出早春将醒的萧寒淡远。配套书法端秀工稳，与山水景致相得益彰，笔墨间兼具文人气韵与静谧禅意，将春日山林从繁茂到初醒的不同情致一一铺展，诗与画浑融无间，观之如揽春山清韵，尽得中式文人画的雅致意趣。",[24,64,332,94,95,33,27,101,99,199,7,98,9522],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69442da05342a53e64e8ac9de29a7a88.jpg",[],{"id":30243,"slug":30244,"title":655,"dynasty":344,"author":6611,"museum":135,"description":16414,"tags":30245,"thumbUrl":30246,"material":229,"size":637,"collection":142,"collections":30247,"showCount":54,"zanCount":54,"manualWeight":54,"mainColor":109},238688,"shan-shui-ce-dong-bang-da-238688",[24,64,332,138,94,95,97,33,32,7,31,99,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febb4deb934387fb3bf61ea3812e0d305.jpg",[],{"id":30249,"slug":30250,"title":655,"dynasty":344,"author":6611,"museum":135,"description":16414,"tags":30251,"thumbUrl":30252,"material":229,"size":637,"collection":142,"collections":30253,"showCount":54,"zanCount":54,"manualWeight":54,"mainColor":109},238685,"shan-shui-ce-dong-bang-da-238685",[24,64,94,99,332,95,32,7,76,98,33,255,390,170,3921],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24f103bee86751e1d36f92cbabceda4f.jpg",[],{"id":30255,"slug":30256,"title":23716,"dynasty":344,"author":292,"museum":135,"description":30257,"tags":30258,"thumbUrl":30259,"material":229,"size":637,"collection":142,"collections":30260,"showCount":54,"zanCount":54,"manualWeight":54,"mainColor":109},238641,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238641","远景层叠峰峦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