[{"data":1,"prerenderedAt":1638},["ShallowReactive",2],{"subject-lu-jing":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},410,"lu-jing","路径","路径画高清赏析","精选中国历代路径题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77df8ec4b2e964f0158c25d8a7390d34.jpg",0,140,[14,46,66,88,104,120,137,160,175,187,199,210,226,241,256,269,279,292,308,320,331,344,357,370,381,399,412,422,435,450,460,472,482,501,513,523,535,548,561,574,589,601,623,635,647,660,671,681,694,705,720,731,740,749,762,772,782,793,803,811,820,831,842,851,861,871,880,892,901,913,923,935,945,957,966,975,983,993,1003,1013,1032,1040,1050,1067,1073,1081,1093,1106,1116,1126,1135,1147,1157,1166,1175,1184,1191,1201,1211,1221,1231,1243,1255,1267,1279,1290,1300,1310,1318,1325,1335,1346,1353,1361,1377,1386,1393,1406,1416,1423,1432,1442,1455,1465,1475,1486,1492,1502,1510,1516,1524,1540,1551,1561,1583,1592,1600,1609,1618,1629],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":37,"material":38,"size":39,"collection":40,"collections":41,"showCount":43,"zanCount":44,"manualWeight":11,"mainColor":45},222031,"chun-you-wan-gui-tu-dai-jin-222031","春游晚归图","明","戴进","台北故宫博物院","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。",[23,24,25,26,27,28,29,30,31,32,33,34,35,7,36],"高清","国画","书画","立轴","设色","山水","人物","楼阁","小桥","流水","松","山石","树","亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f535fa828d9c60097457ceb913a5fff.jpg","绢本","167.9x83.1公分","山水画精选",[40,42],"水墨画精选",752,6,"795548",{"id":47,"slug":48,"title":49,"dynasty":18,"author":50,"museum":20,"description":51,"tags":52,"thumbUrl":59,"material":60,"size":61,"collection":40,"collections":62,"showCount":63,"zanCount":64,"manualWeight":11,"mainColor":65},218534,"zhang-xin-gong-ci-tu-chou-ying-218534","长信宫词图","仇英","以著名的隋唐宫殿连昌宫为主题的诗画轴，诗塘上都附有所谓文征明书写的宫词二十五首。此幅与院藏《画长信宫词图》的书法与画风相当近似，当属同一组四幅对。当时的作坊，喜欢绘制以仇英画、文征明题诗的合璧之作来吸引买者。重青绿描金的山水，配上楼阁人物，四幅齐挂妆点厅堂时，肯定是相当富丽华贵。此幅诗画轴可能是以仇英绘图、陆师道题诗的〈仙山楼阁〉为模仿对象，连左前方松林与其间宫殿都有相似处，只是少了原作的典雅含蓄，更强调色彩缤纷与繁复细节。活动其间的宫人，或舞蹈，或凭栏，或抚琴，或对坐闲谈，观之令人兴味盎然。",[24,53,27,54,55,28,30,34,56,57,7,58],"工笔","青绿","界画","树木","建筑","亭台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F018a7dba5ec368fecd8fd467a61193fc.jpg","纸本,设色","纵 66.8 公分 横37.6 公分",[40],501,5,"BDBDBD",{"id":67,"slug":68,"title":69,"dynasty":70,"author":71,"museum":72,"description":73,"tags":74,"thumbUrl":82,"material":83,"size":84,"collection":40,"collections":85,"showCount":86,"zanCount":87,"manualWeight":11,"mainColor":65},217744,"qiu-lin-mu-ai-tu-wang-meng-217744","秋林暮霭图","元","王蒙","私人收藏","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。",[24,75,25,76,77,78,28,56,79,36,31,32,34,80,7,81],"名画","山水画","水墨","皴法","秋林","云雾","植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06704bae6c4c29291d15f3321cbbf1eb.jpg","纸本,水墨","85x35cm",[40],438,4,{"id":89,"slug":90,"title":91,"dynasty":92,"author":93,"museum":20,"description":94,"tags":95,"thumbUrl":98,"material":99,"size":100,"collection":40,"collections":101,"showCount":102,"zanCount":103,"manualWeight":11,"mainColor":45},219910,"qiu-shan-wen-dao-tu-ju-ran-219910","秋山问道图","五代十国","巨然","《秋山问道图》是一幅秋景山水画，以立幅构图画重重叠起的山峦，下部清澈的溪水，曲折的小路通向山中，山坳处茅舍数间，屋中有二人对坐，境界清幽。",[23,24,75,77,78,26,28,96,35,97,7],"山","石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4122bb46b9b23056909f68c43afe04b.jpg","绢本,设色","横77.2厘米，纵165.2厘米",[40],385,1,{"id":105,"slug":106,"title":107,"dynasty":70,"author":108,"museum":72,"description":109,"tags":110,"thumbUrl":114,"material":115,"size":116,"collection":40,"collections":117,"showCount":118,"zanCount":119,"manualWeight":11,"mainColor":45},214732,"zhu-lin-mao-she-tu-guan-dao-sheng-214732","竹林茅舍图","管道升","管道升（公元665-744）是中国元代著名画家，代表作品有《竹林茅舍图》。《竹林茅舍图》是管道升的杰作之一，也是他最著名的作品之一。该画作描绘了一幅荒凉的竹林山水画，画中的茅舍与周围的竹林形成了鲜明的对比。画面中的茅舍虽然很小，但却被描绘得格外细腻，使得整幅画充满了生动的气息。管道升的《竹林茅舍图》被誉为元代山水画的巅峰之作，具有极高的艺术价值。",[23,24,25,77,111,28,112,113,31,78,34,7],"元代","竹","茅屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4b847c8b0c63e3561ed3911f46fadb1.jpg","绢本,水墨","26x44cm",[40],315,2,{"id":121,"slug":122,"title":123,"dynasty":124,"author":125,"museum":126,"description":127,"tags":128,"thumbUrl":131,"material":132,"size":133,"collection":134,"collections":135,"showCount":136,"zanCount":11,"manualWeight":11,"mainColor":45},221521,"shan-shui-tu-ma-yuan-221521","山水图","宋","马远","日本京都国立博物馆","马远擅长山水画，继承和发展了北派山水的画风，能自出新意，下笔遒劲严整，设色清润；用大斧劈皴描画方硬奇峭的山石；树木用笔简要多姿，树叶有夹笔，树干用焦墨，多横斜曲折之态；楼阁大都运用界尺，而加衬染；点景人物自然生动，用不同的线描表现不同条件下的各种水势，对自然观察详细，写实能力高超。\n他的画被当时评价为：“边角之景”，“峭峰直上而不见其顶，或绝壁直下而不见其脚，或近山参天而远山则低，或孤舟泛月而一人独坐”；人称“马一角”，后人也有认为这是南宋偏安的写照。他是南宋时期最重要的画家之一；他的画受到当时皇室的青睐，多有当时宋宁宗杨皇后的题字；与夏圭并称“马夏”、又谓“马一角、夏半边”。马远与李唐、刘松年、夏圭合称为“南宋四家”。",[23,24,25,77,27,78,28,96,129,130,36,7],"水","老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e4962268301cf0bc93362fcc04d9949.jpg","绢本墨画淡彩","28.2×38.3cm","宋画精选",[134,40,42],208,{"id":138,"slug":139,"title":140,"dynasty":141,"author":142,"museum":143,"description":144,"tags":145,"thumbUrl":154,"material":155,"size":156,"collection":157,"collections":158,"showCount":159,"zanCount":11,"manualWeight":11,"mainColor":45},222815,"fang-gu-si-ji-shan-shui-tu-fang-xing-hua-chun-yu-jiang-nan-wang-hui-222815","仿古四季山水图-仿杏花春雨江南","清","王翚","辽宁省博物馆","王翬 （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。",[23,24,25,146,27,78,28,31,32,147,130,148,149,150,151,152,7,153],"仿古","孤舟","枯藤","房屋","山峦","杏花","春雨","牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff876fdc542da2e5824bd38aedc647cc2.jpg","绢本设色","82.5x51.2","",[],126,{"id":161,"slug":162,"title":163,"dynasty":18,"author":164,"museum":165,"description":166,"tags":167,"thumbUrl":171,"material":60,"size":172,"collection":40,"collections":173,"showCount":174,"zanCount":11,"manualWeight":11,"mainColor":65},218090,"fang-dong-yuan-shan-shui-tu-wen-jia-218090","仿董源山水图","文嘉","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。",[23,24,25,26,77,78,168,28,31,32,34,56,169,170,7],"临摹","瀑布","人家","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdf2830085ebd93c1fe744e5ba0196bd.jpg","167x52cm",[40],120,{"id":176,"slug":177,"title":178,"dynasty":18,"author":179,"museum":180,"description":181,"tags":182,"thumbUrl":184,"material":157,"size":157,"collection":157,"collections":185,"showCount":186,"zanCount":11,"manualWeight":11,"mainColor":65},228825,"dong-zhuang-tu-ce-shen-zhou-228825","东庄图册","沈周","藏地不详","《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》。",[24,77,27,183,78,28,56,34,32,7],"册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff908fba6b302417e7c10f3ab17a103ba.jpg",[],119,{"id":188,"slug":189,"title":190,"dynasty":18,"author":179,"museum":191,"description":192,"tags":193,"thumbUrl":194,"material":195,"size":196,"collection":157,"collections":197,"showCount":198,"zanCount":103,"manualWeight":11,"mainColor":65},220062,"hu-qiu-shi-er-jing-tu-ce-5-shen-zhou-220062","虎丘十二景图册-5","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。",[23,24,25,183,77,28,29,36,112,30,7,56,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12b98caed8ba3c7e8188c4fa105bf846.jpg","纸本","31.1×40.2cmx12",[],103,{"id":200,"slug":201,"title":202,"dynasty":141,"author":142,"museum":143,"description":203,"tags":204,"thumbUrl":206,"material":207,"size":156,"collection":157,"collections":208,"showCount":209,"zanCount":103,"manualWeight":11,"mainColor":45},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。",[23,24,25,28,146,78,27,26,150,56,31,32,80,58,7,29,205],"岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3613234851021f90e99e4b46a734550f.jpg","纸本 设色",[],94,{"id":211,"slug":212,"title":213,"dynasty":141,"author":214,"museum":180,"description":215,"tags":216,"thumbUrl":223,"material":157,"size":157,"collection":157,"collections":224,"showCount":225,"zanCount":103,"manualWeight":11,"mainColor":65},228984,"tao-yuan-tu-shou-juan-shi-tao-228984","桃源图手卷","石涛","此卷以水墨绘就世外幽境，烟波浩渺处山峦层叠，云气裹挟峰峦，虚实相生。溪谷村居错落枕山而卧，隐合桃源意趣。\n作者以干笔皴擦点染山峦苍劲质感，湿笔晕染云水，将空濛灵秀尽数铺展。长卷题诗与画意呼应，书与画浑然一体，以诗衬景，写尽武陵寻踪的澹然逸趣，将陶公笔下的避世之境化为眼前水墨云山，尽显寄情林泉、追慕世外丘壑的文人雅怀，把桃源的幽隐之美揉进笔墨山河之中。",[24,25,217,27,28,78,218,219,220,221,147,222,30,31,32,36,56,34,80,170,7],"长卷","行书","印章","书法","桃花","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F080a81c9dd7e1efb524af89d227ecaf4.jpg",[],91,{"id":227,"slug":228,"title":229,"dynasty":141,"author":214,"museum":230,"description":231,"tags":232,"thumbUrl":237,"material":195,"size":238,"collection":157,"collections":239,"showCount":240,"zanCount":119,"manualWeight":11,"mainColor":65},233793,"heng-tang-ye-lv-tu-zhou-shi-tao-233793","横塘曳履图轴","北京故宫博物院","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。",[24,77,26,78,28,31,32,56,149,34,222,233,234,33,235,236,7,80],"孤石","垂柳","远山","村落","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec35a9c7d7a205ee549cc4e63ce41cbd.jpg","纵131.4厘米，横44.2厘米",[],86,{"id":242,"slug":243,"title":244,"dynasty":70,"author":245,"museum":72,"description":246,"tags":247,"thumbUrl":253,"material":99,"size":254,"collection":40,"collections":255,"showCount":240,"zanCount":11,"manualWeight":11,"mainColor":45},217866,"chun-shan-you-qi-tu-sheng-mao-217866","春山游骑图","盛懋","画中青山起伏，岗岭逶迤，近处乔松茂树间花木正盛，有士人策骡过桥，后有童子肩桃花一枝随行。山路尽处，一庄园隐现于崇岩密林之间。岩下大江空阔，渔歌迭起。远处青山如眉，春色淡荡，令人心醉。画中林木深秀，姿态生动；石用细笔长披麻，勾皴缜密而轻松秀逸；淡青绿设色，明净淹润，了无俗韵；人物、界画都精严有法，点缀有度。",[24,28,27,78,29,248,31,30,36,56,34,7,235,249,57,250,251,252],"马","近树","游骑","松枝","溪流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb16d8ae293a59b3b2d5af0c4cf25d10a.jpg","155.5×88cm",[40],{"id":257,"slug":258,"title":259,"dynasty":141,"author":260,"museum":230,"description":261,"tags":262,"thumbUrl":264,"material":265,"size":266,"collection":157,"collections":267,"showCount":268,"zanCount":11,"manualWeight":11,"mainColor":45},233116,"peng-lai-xian-jing-tu-zhou-yuan-yao-233116","蓬莱仙境图轴","袁耀","袁氏父子画蓬莱仙境的作品很多，以本幅袁耀所作最为壮观。图中山形脉络皆有动势，突兀怪异；以鬼面皴法画出的山石奇形怪状，层次丰富。华丽严整的宫殿与雄伟而富有动感的山水巧妙地融合，浑然一体，形成画面中动与静、整齐与活泼的鲜明对比，气势博大。\n由于职业画家的局限，袁江、袁耀的作品在表现题材上不可避免地有所雷同，表现手法也呈现一种程式化。有古建专家认为他们画的建筑“并非清代的建筑形象，而是杂采历代画中种种不同的建筑形象，加以组合…… 从总体布局到建筑形体大多不合建筑的规矩法度”，这和当时追求艺术视觉效果、忽视真实物理结构的审美要求有直接的关系，从中也可以看到市场机制对艺术创作的影响。",[24,25,26,55,27,53,28,30,58,80,56,34,31,7,263],"悬崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4f9402250dd3a38046d645019ceaddd.jpg","绢本，设色","纵266.2厘米，横163厘米",[],83,{"id":270,"slug":271,"title":272,"dynasty":141,"author":214,"museum":180,"description":273,"tags":274,"thumbUrl":276,"material":157,"size":157,"collection":157,"collections":277,"showCount":278,"zanCount":103,"manualWeight":11,"mainColor":45},228987,"you-zhang-gong-dong-tu-shi-tao-228987","游张公洞图","此作以全景铺展丘壑，溪谷盘绕于层叠峰峦间，村居错落掩映林泉。清润的皖南山水底色间，揉进雄健恣肆的皴擦点染，丹红林木轻点秋意，实景生趣与写意空灵相融。\n书画合璧，长题以文释意，将探幽快意寄于尺幅，林泉高致与文人雅兴浑然一体。笔底带着恣肆性灵，以山水写心，将搜尽奇峰的丘丘磊磊，化作澄怀观道的林泉佳处，尽显文人画借景抒怀的精髓。",[23,24,25,217,27,28,78,220,218,219,96,129,31,30,56,205,7,275,29],"洞穴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aef0f36d2f6bb2fa1e6e2e83d6241bf.jpg",[],81,{"id":280,"slug":281,"title":282,"dynasty":18,"author":283,"museum":20,"description":284,"tags":285,"thumbUrl":288,"material":60,"size":289,"collection":40,"collections":290,"showCount":291,"zanCount":11,"manualWeight":11,"mainColor":65},218182,"jiao-yuan-shi-er-jing-ce-xue-zhai-shen-shi-chong-218182","郊园十二景册-雪斋","沈士充","明朝时期，沈士充是一位著名的文学家、政治家和官员。他在明朝末年时创作了一本名为《郊园十二景册》的书，其中记录了他在北京城郊外的别墅中所看到的12种风景。这本书成为了明朝时期书写风格优美、内容丰富的作品之一。",[24,25,183,77,28,78,286,287,36,31,56,34,7],"淡设色","雪景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff25b1501811aba8c4c17fb7b3d08bf64.jpg","30.1x47.5",[40],80,{"id":293,"slug":294,"title":295,"dynasty":124,"author":296,"museum":72,"description":297,"tags":298,"thumbUrl":304,"material":99,"size":305,"collection":40,"collections":306,"showCount":307,"zanCount":119,"manualWeight":11,"mainColor":45},218233,"shen-shan-fang-yin-tu-yu-jian-218233","深山访隐图","玉涧","枯松斜倚崖边，松针以墨线疏疏勾出，苍劲中带着荒寒之韵。山石轮廓用简练笔触皴擦，肌理分明，层层向远延伸，山岚似轻烟漫过谷间，模糊了远近界限。林麓深处，几椽屋舍隐现，被松影与雾气轻掩，恰是访隐者追寻的幽居。画面色调古雅，绢本沉郁质感衬得水墨清寂。墨笔题识错落右上角，文气与画意相融，似诉说访隐心境。整幅画以简淡之笔勾勒深山静谧幽深，每一线条、每块墨色都透着对隐逸之境的向往，让人仿佛听见山风穿松的轻响，触摸到林间清寒气息。",[24,77,76,78,299,28,300,34,235,56,301,302,7,80,303],"写意","松树","小屋","峭壁","深山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46171ff02094154282d5be54ddfea031.jpg","93x40cm",[40],78,{"id":309,"slug":310,"title":311,"dynasty":141,"author":312,"museum":180,"description":313,"tags":314,"thumbUrl":317,"material":157,"size":157,"collection":40,"collections":318,"showCount":319,"zanCount":11,"manualWeight":11,"mainColor":65},239477,"shan-shui-zhou-kun-can-239477","山水轴","髡残","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。",[24,77,78,26,28,31,32,56,34,80,29,315,316,7,299],"屋舍","枯枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59008fa5f9a110c1ebed1091d2f5520e.jpg",[40,42],77,{"id":321,"slug":322,"title":323,"dynasty":141,"author":324,"museum":20,"description":325,"tags":326,"thumbUrl":327,"material":38,"size":328,"collection":157,"collections":329,"showCount":330,"zanCount":11,"manualWeight":11,"mainColor":65},224479,"fang-zhao-meng-fu-shan-shui-zhou-wang-jian-224479","仿赵孟頫山水轴","王鉴","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。",[23,24,25,26,146,54,27,78,28,34,56,31,32,58,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F228e8ef62ddaeaa716374da839e86119.jpg","110×60cm",[],76,{"id":332,"slug":333,"title":334,"dynasty":18,"author":335,"museum":230,"description":336,"tags":337,"thumbUrl":339,"material":99,"size":340,"collection":40,"collections":341,"showCount":343,"zanCount":103,"manualWeight":11,"mainColor":45},220077,"yan-dang-shan-tu-ye-cheng-220077","雁荡山图","叶澄","此图描绘的是位于浙江省境内号称东南第一山的北雁荡山。画卷徐徐展开，一处处风景逐渐展现，按作者以小字标出的各处风景的名称，计有石门潭、章毅楼、石佛岩、石樑洞、灵风洞、罗汉洞、净明寺、蓼花峰、响岩等。作者对景写生，笔底风景各具奇姿，虽仅是雁荡山的一部分，却已展现出它的奇秀特色和壮阔气势。\n图中作者行笔尖峭细劲，山间林木、点景人物乃至溪边乱石均刻画细致。山岩的外轮廓线方折挺劲，山体内部则将一种尖峭而锐利的短皴线与短促劲健的小斧劈皴相结合，同时以墨加色淡施晕染。繁密细劲的用笔与丰富的用色使画面气氛趋于活跃，极好地表现出雁荡山奇异、秀美的景色特征。远山空勾轮廓，染以花青，山间云气迷濛，更加强了画面的层次感。\n叶澄传世作品极少，而此图艺术水平之高堪称杰作。正如清初著名收藏家梁清标对此图的评价：“堪称希世宝。……不啻超出乎唐、宋、元各大家名迹矣。”",[23,24,25,217,77,27,28,78,96,205,56,80,32,7,338],"奇峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6534892800d8681db97877a358ee5574.jpg","纵35厘米，横290.3厘米",[40,342],"设色画精选",75,{"id":345,"slug":346,"title":347,"dynasty":18,"author":348,"museum":230,"description":349,"tags":350,"thumbUrl":352,"material":353,"size":354,"collection":40,"collections":355,"showCount":356,"zanCount":11,"manualWeight":11,"mainColor":65},222223,"nan-xi-cao-tang-tu-juan-wen-bo-ren-222223","南溪草堂图卷","文伯仁","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，竹林丛树、渔舟小桥、草堂庙宇等散布杂错，建筑与自然景物融为一体，自然和谐。虽有农田、药圃，但无农人艰辛劳作之状，表现的是江南文人泛舟读书的优雅闲适的生活。图中庄园较之一般江南园林的文雅精致，另有一种田园野趣，别具特色。\n全画构图密而不乱，平坡土石以干笔勾勒、皴染，树冠枝叶多以极富变化的墨点画成，点染兼用，间或出以双勾，皆富于层次感。全图笔墨清劲简洁，风格柔和明秀，代表了文伯仁晚年的典型艺术风貌。\n近人汪士元《麓云楼书画论略》著录。",[23,24,217,27,78,28,31,32,36,56,113,147,29,351,34,7],"田亩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F318c928a273f8a65e6b7ff89c010e31d.jpg","纸本，设色","纵34.8厘米，横713.5厘米",[40,342],73,{"id":358,"slug":359,"title":360,"dynasty":141,"author":312,"museum":230,"description":361,"tags":362,"thumbUrl":366,"material":353,"size":367,"collection":157,"collections":368,"showCount":369,"zanCount":11,"manualWeight":11,"mainColor":65},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。",[24,25,26,28,77,78,27,363,364,169,31,32,235,365,56,34,30,7,36],"层岩","叠壑","舟船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F741b209c7c58099e2e9ad6724a3f19a9.jpg","纵169厘米，横41.5厘米",[],66,{"id":371,"slug":372,"title":123,"dynasty":70,"author":373,"museum":374,"description":375,"tags":376,"thumbUrl":377,"material":99,"size":378,"collection":40,"collections":379,"showCount":380,"zanCount":103,"manualWeight":11,"mainColor":45},218242,"shan-shui-tu-yan-hui-218242","颜辉","开封市博物馆","层岩叠壑间云雾氤氲，似将山峦晕染成流动的诗行。枯木虬枝如墨笔狂舞，皴擦点染间尽显苍劲力道，却又于虬曲中藏着生机。山间屋舍隐于林麓，半露半藏，似有逸士凭窗观云，将尘嚣隔绝在外。水墨淋漓处，浓淡干湿交织，远山如黛，近石如铁，树木扶疏间，光影流转成幽寂之境。\n\n这幅山水将自然丘壑化为心象，笔墨既见法度又含写意，于沉郁中透出空灵。它以苍劲的笔触勾勒天地骨架，用氤氲的墨气晕开文人幽怀，仿佛能让人听见山风穿林、涧水潺潺，在静默中与天地精神往来，尽显元人寄情山水、以笔抒怀的意趣。",[24,77,27,78,28,34,56,36,149,130,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8acb54e2e79d4575f1c162e13375372.jpg","136x127cm",[40],60,{"id":382,"slug":383,"title":384,"dynasty":141,"author":385,"museum":230,"description":386,"tags":387,"thumbUrl":395,"material":265,"size":396,"collection":157,"collections":397,"showCount":398,"zanCount":11,"manualWeight":11,"mainColor":45},234262,"si-xu-tu-juan-yao-wen-han-234262","四序图卷","姚文瀚","此图卷描绘宫廷仕女春游、纳凉、游湖、赏雪四季不同的享乐生活。布局巧妙，境界幽曲，将人物、山水、楼台亭阁、春夏秋冬的不同树木花卉及其景色容于一卷。精心刻划，形象生动，笔墨工细，赋彩随类，颇为自然。人物虽小，然曲尽各种姿态，形神俱备，景物虽繁，然疏密有度，为烘托人物的各种游乐活动而恰到好处。确是精心经营的佳作。\n姚文瀚，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，《石渠宝笈》著录其曾作《仿清明上河图》卷，文瀚于群工角艺之时，胸具别裁，画成缩本，乾隆喜而题诗并注：“此卷较择端原本尺幅纵横倍减，而临摹毕肖，人物益小，尤见精能。”尝画《梧阴清暇图》轴、《春朝婴戏图》轴、《岁朝欢喜图》轴、《观音像》轴、《文殊像》轴等。乾隆十七年（1752）尝作《仿宋人文会图》卷，二十六年（1761）作《紫光阁锡宴图》卷。\n传世作品有《四序图》卷，绢本，设色，描绘宫廷仕女春游、纳凉、游湖、赏雪四季不同之悠闲生活、构思巧妙，意境幽曲，刻画细腻，形象生动，笔墨工整，设色典雅。此作人物虽小，然曲尽姿态，形神兼备，现藏故宫博物院。",[23,24,217,27,53,55,29,30,28,56,388,389,390,34,58,391,7,57,392,393,394],"荷花","舟楫","庭院","池塘","园林","草木","游赏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F932487c9f43ccf74b8dc4bf3654f4db3.jpg","纵31．5厘米，横318厘米",[],55,{"id":400,"slug":401,"title":402,"dynasty":124,"author":403,"museum":404,"description":405,"tags":406,"thumbUrl":408,"material":155,"size":409,"collection":134,"collections":410,"showCount":411,"zanCount":11,"manualWeight":11,"mainColor":45},221392,"yan-lan-qiu-xiao-tu-shou-juan-fan-kuan-221392","烟岚秋晓图手卷","范宽","美国大都会艺术博物馆","范宽早年师从荆浩、李成，而能自出机杼。范宽的作品多取材于其家乡陕西关中一带的山岳，雄阔壮美，笔力浑厚。注意写生，多采用全景式高远构图，著名书画家米芾在其《画史》中说“范宽山水，显显如恒岱”。",[23,24,25,217,28,78,27,34,56,80,58,407,252,7,149],"秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e46fdf1ba9c7c72c2074be0b953a710.jpg","40x603.3cm",[134,40,42],54,{"id":413,"slug":414,"title":415,"dynasty":141,"author":214,"museum":230,"description":416,"tags":417,"thumbUrl":418,"material":353,"size":419,"collection":157,"collections":420,"showCount":421,"zanCount":103,"manualWeight":11,"mainColor":65},233770,"tao-yuan-ming-shi-yi-tu-ce-shi-tao-233770","陶渊明诗意图册","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。",[24,25,183,77,27,218,220,28,56,149,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21739288ecf9a96bf144d35e36186e18.jpg","纵27厘米，横21.3厘米",[],53,{"id":423,"slug":424,"title":425,"dynasty":141,"author":426,"museum":427,"description":428,"tags":429,"thumbUrl":431,"material":115,"size":432,"collection":40,"collections":433,"showCount":434,"zanCount":11,"manualWeight":11,"mainColor":45},220032,"jiang-lou-fang-you-tu-wu-hong-220032","江楼访友图","吴宏","旅顺博物馆","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。",[23,24,25,76,26,27,78,30,31,32,147,56,34,149,430,7],"船只","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7aaaf4122119ceb7d3d07d79758a578d.jpg","78.63*160.6cm",[40],51,{"id":436,"slug":437,"title":438,"dynasty":124,"author":439,"museum":180,"description":440,"tags":441,"thumbUrl":447,"material":157,"size":157,"collection":157,"collections":448,"showCount":449,"zanCount":103,"manualWeight":11,"mainColor":45},228400,"shu-shan-zhan-dao-tu-guo-xi-228400","蜀山栈道图","郭熙","此作以全景铺展蜀中山川，层峦叠嶂氤氲在淡墨轻岚之中，岩壁苍劲厚重，林木蓊郁苍润。栈道盘桓于幽谷险峰之间，山坳间村舍山居错落，行旅、舟桥点缀其间，将蜀道的奇崛险峻与山野烟火相融。\n画师以温润秀劲的笔墨，兼工带写晕染山石肌理，赭石敷色古雅沉静，以高远、平远交替的章法，尽显山川宏阔清旷的苍莽意境，将蜀地山水的雄秀灵奇和行旅幽情完美相合，尽显全景山水的雄浑雅致。",[23,442,24,25,217,28,27,78,150,205,443,56,149,444,29,445,252,446,7,220,219],"宋画","栈道","桥梁","马匹","山谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ce8e773a25ce85e5e2190d4006eead8.jpg",[],50,{"id":451,"slug":452,"title":453,"dynasty":141,"author":454,"museum":20,"description":455,"tags":456,"thumbUrl":457,"material":99,"size":458,"collection":40,"collections":459,"showCount":449,"zanCount":11,"manualWeight":11,"mainColor":45},218290,"jiang-shan-chun-ai-tu-gao-qi-pei-218290","江山春霭图","高其佩","高其佩（西元一六七二－一七三四年），字 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210厘米",[],45,{"id":514,"slug":515,"title":516,"dynasty":141,"author":260,"museum":230,"description":517,"tags":518,"thumbUrl":519,"material":265,"size":520,"collection":40,"collections":521,"showCount":522,"zanCount":11,"manualWeight":11,"mainColor":45},223284,"jiu-cheng-gong-tu-zhou-yuan-yao-223284","九成宫图轴","此幅以对角构图为主，建筑在画面中所占比重不大，但作者有意将建筑物安排在观者的视觉中心，使其在山重水复的背景中颇为醒目。著名诗人杜甫曾有咏《九成宫》诗，袁耀即根据诗意想象而画成此图。袁氏父子所画的历代宫阙虽然各有典故，但样式大多雷同，富有装饰趣味而无明显的时代特征，画中人物的服饰也是如此，虽为古装却非唐非宋。",[23,24,25,26,55,27,53,78,28,30,31,34,56,80,29,7,57,81,150,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf33833e35f6f766d8a1a4d386a24eec.jpg","纵189.7厘米，横230.7厘米",[40,342],44,{"id":524,"slug":525,"title":526,"dynasty":141,"author":527,"museum":528,"description":529,"tags":530,"thumbUrl":532,"material":99,"size":533,"collection":40,"collections":534,"showCount":522,"zanCount":103,"manualWeight":11,"mainColor":45},219907,"xue-shan-tu-yuan-jiang-219907","雪山图","袁江","费城艺术博物馆","袁江（1662年—1735年），字文涛，号岫泉，江都（今江苏扬州）人，清代画家。\n袁江，是中国绘画史上有影响画家，宫廷画家，专攻山水楼阁界画。雍正时，召入宫廷为祗侯。在清康熙、雍正、乾隆时期，楼阁工整山水当以袁江最有名。当时还有他的侄子袁耀同齐名。他们两人曾受扬州的山西盐商的聘请，到山西作画，作品在北方流传较多。他擅画山水、楼台、师法宋人。山水画主要学宋代闫次平，画石多鬼皴，楼阁主要学郭忠恕，工整严密。他的绘画素材多为古代宫苑，尤长于界画。界画是我国民族绘画中很有特色的一门画科，它在东晋时代已同人物、山水画并存了，发展到宋、元时期就已达到高峰，但一直受到文人画的排挤。画艺从师仇英，山探郭忠恕笔法及赵伯驹、刘松年等青绿山水一脉，同时传工界画，成为有清一代推为第一的界画家。",[24,76,27,78,531,56,149,7,29,248],"雪山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4541743a212af25140e45045a3164c74.jpg","78.3x46.7",[40],{"id":536,"slug":537,"title":538,"dynasty":141,"author":539,"museum":230,"description":540,"tags":541,"thumbUrl":543,"material":544,"size":545,"collection":157,"collections":546,"showCount":547,"zanCount":11,"manualWeight":11,"mainColor":65},233402,"xian-shan-lou-ge-tu-zhou-wang-shi-min-233402","仙山楼阁图轴","王时敏","上诗堂有清初吴伟业题云：“陈子静孚母夫人方太君七十，王烟客奉常、王湘碧郡伯绘仙山楼阁图以为祝。郡伯所制可以颉昂松雪，若太常此帧苍深高远，尺幅之中恍见仙真楼上，出入于烟云缥缈间，笔墨之奇非仅得子久三昧也。太夫人女箴妇德可镌琬琰，余将托诸诗歌，得两公妙染，真所谓画中有诗，不待九如之颂，可效凹觥之祝矣。吴伟业题。”\n此图是王时敏为友人陈静孚之母七十寿辰而作。画面上峰峦叠嶂，林木葱郁，流泉曲绕，长松挺立。山谷中点缀着茅亭草舍，环境清幽。在构图和笔墨方面都具备典型的中国画特征。首先，构图方面采用全景式构图，以散点透视的方法描绘景物，近景双松清晰挺拔，远景高山连绵巍峨，所画内容具有美好的象征意义，十分契合祝寿的主题。其次，在笔墨表现方面，继承董巨（董源、巨然）、元人的笔墨传统，尤其是黄公望的画法，以仿古见长，具有程式化的特点。笔法精绝老到，为王氏晚年佳作。",[24,25,26,28,30,56,542,252,149,77,78,34,235,249,7],"山峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e1c5058cf54925d7fcced41900d4ce1.jpg","纸本，墨笔","纵133厘米，横63.3厘米",[],43,{"id":549,"slug":550,"title":551,"dynasty":141,"author":552,"museum":553,"description":554,"tags":555,"thumbUrl":557,"material":60,"size":558,"collection":40,"collections":559,"showCount":560,"zanCount":11,"manualWeight":11,"mainColor":65},220078,"feng-dong-tu-ye-xin-220078","风洞图","叶欣","大英博物馆","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。\n叶欣的山水画素以“工细幽淡”著称，所作野岭荒烟，孤城古渡，大有令人动秦月汉关之思。此画描绘春游之景，在桃花三月，荡舟于青湖绿山之中，徜徉于烟雾弥漫的秀丽中，陶陶然如醉如痴。此画用笔轻灵，墨色清淡，景致悠远，意境秀雅，真所谓“淡远又淡远，淡远以至于无”的情趣。",[23,24,76,77,78,34,56,29,556,7,220,219,218],"山崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc51675d8aeea351bbbd90ae98e8b724b.jpg","88.2X52.3",[40],41,{"id":562,"slug":563,"title":564,"dynasty":141,"author":565,"museum":20,"description":566,"tags":567,"thumbUrl":570,"material":157,"size":157,"collection":571,"collections":572,"showCount":573,"zanCount":103,"manualWeight":11,"mainColor":45},223410,"ma-zu-qi-ji-yi-ming-223410","妈祖奇迹","佚名","妈祖，以中国东南沿海为中心的海神信仰，又称天妃、天后、天上圣母、娘妈等等，是历、现代船工、海员、旅客、商人和渔民共同信奉的神祗。妈祖，原名林默，宋建隆元年（960年）农历三月二十三日诞生于莆田湄洲岛，因救助海难于宋太宗雍熙四年（987年）九月初九逝世。",[23,24,25,53,27,29,56,34,57,7,568,569],"旗帜","船帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0c2fadc1572fad66eb39c5b51f5f0e9.jpg","人物画精选",[571,342],39,{"id":575,"slug":576,"title":577,"dynasty":18,"author":565,"museum":230,"description":578,"tags":579,"thumbUrl":586,"material":265,"size":587,"collection":157,"collections":588,"showCount":573,"zanCount":11,"manualWeight":11,"mainColor":45},223335,"si-lu-shan-shui-di-tu-meng-gu-shan-shui-di-tu-ming-nei-fu-hui-yi-ming-223335","丝路山水地图.蒙古山水地图.明内府绘","《丝路山水地图》又名《蒙古山水地图》，全图以大青绿山不绘制，东起嘉峪关西至天方城（今沙特麦加）的辽阔地域范围，共标有211个地理坐标，绘于明朝嘉靖三年至嘉靖十八年，为明朝宫廷的皇家地图。",[23,24,25,217,27,54,53,28,580,581,582,583,56,7,584,81,585],"古道","山脉","河流","城池","聚落","地形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf94e5caa9d9b66111751c89f4029807.jpg","59＊3012cm",[],{"id":590,"slug":591,"title":592,"dynasty":70,"author":565,"museum":230,"description":593,"tags":594,"thumbUrl":596,"material":155,"size":597,"collection":134,"collections":598,"showCount":599,"zanCount":11,"manualWeight":11,"mainColor":600},223604,"qiu-shan-xing-lv-tu-yi-ming-223604","秋山行旅图","全图结构图清晰，便于查看。如果从下到上，根据景物的类型和排列方式和画家的描绘，将图片分成两组显示，三个部分在一个小概览中查看。画面会发现，这幅画气势磅礴，动感十足，透视感极深。首先，这幅画有一个从下面看的视角。创作者应该在这样的山脚下作画，在这样的山脚下作画，给观者一种真实的感觉。其次，这幅画的画面感不是很强，因为它也有深度感。如果你仔细观察，你会捕捉到无数小场景，包括天坑。例如，树木进入若隐若现的亭台、台阶、围栏等，给观者一种未来的无限视觉体验。\n一开始的山间小路，路​​上的行人等等，这些照片的全图空间把辫子拉得很好，在画面的空间和空间上进行了借鉴，让画面变得生动和对透气性的向往。你看到的是它带来的良好的中间立场。简练却又很写实，如尖山亭，是对亭子的细致刻画，笔触细腻，顶景近楼勾勒。三种节奏，给画面带来强烈的节奏感，这也是大师的心声。\n最真实的秋天很轻松。通过分析图片，不难发现，这幅《山间游记》与西方的素描是一样的。对象有近、大、远、小、近、近、细、统一。光源从哪里来。画底的山石，墨色深沉，体量大，影重。像山和树一样，墨色淡，整体不大，但也画了一个简单的介绍，而不是看风景的内在特征和魅力。例如，在风景部分，山的稍左侧和受光面部分较远，可能是朝阳的一面，所以墨色会低于光面，数字污渍会相对少一些。\n这样，在远景中，山体被许多朴素的松树压缩，使山体的一部分具有想象性和结构性，从而在画面中产生特定的整体统一感，真实而不冲动的视觉效果。仔细观察，你会发现，这些松树虽然是画出来的，但也能描绘出来。在统一中，各有特色，做到内涵丰富、厚度小、特殊性强，值得观者细细品味。\n还有一件事值得学习。中间作画的方法和水墨的轻快关系到景物的画和轻快。例如，岩石的长度被薄片覆盖，厚厚的大岩石被卷云薄片覆盖。树的种类为浅墨色，用较重的墨色挤压浅墨画，打开空间和树木之间的杂乱空间，避免树木之间的杂乱群落。凭借精湛的包装，观众拥有精致的视觉体验。\n如果用诗词介绍来形容整幅画，“枯藤老树昏鸦，小桥流水一家”。 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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。",[23,24,25,75,26,27,28,169,31,32,595,727,34,7,29,78],"亭子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F538bc792d5069bdc6b875e27cd5b5f04.jpg",[],30,{"id":732,"slug":733,"title":734,"dynasty":141,"author":142,"museum":180,"description":735,"tags":736,"thumbUrl":737,"material":157,"size":157,"collection":157,"collections":738,"showCount":739,"zanCount":11,"manualWeight":11,"mainColor":65},235856,"shan-yuan-jia-qu-zhou-wang-hui-235856","山园佳趣轴","《王翚山园佳趣》是清代诗人弘历创作的一首七言绝句。\n仙馆洞房绿荫稠，隔溪书屋更清幽。\n高人挈杖闲来往，流水行云意不留。\n弘历， 即爱新觉罗·弘历。\n清朝皇帝。\n世宗第四子。\n雍正十一年封和硕宝亲王。\n十三年八月嗣位，次年改元乾隆。\n即位后驱逐在内廷行走之僧道；释放被幽禁之允(胤)禵等，恢复允(胤)禵等宗室身份；又将宗室诸王所属旗人，均改为“公中佐领”，即归皇帝掌握。\n对汉族知识分子，采用笼络与惩罚并行手段，既于乾隆元年开博学鸿词科，三十八年开《四库全书》馆；又大兴文字狱，前后大案不下数十起，并借修书之便，销毁或窜改大量书籍。\n对西北方面，平定准噶尔部，消灭大小和卓木势力，解决康、雍以来遗留问题。\n在位时六次南巡，多次进行镇压土司叛乱、农民起事战争，耗费大量钱财。\n晚年任用和珅，吏治腐败；陶醉于“十全武功”，自称十全老人，对敢于指斥时弊之官吏，常严加斥责。\n同时，对各省亏空严重、督抚多不洁身自爱之状，知之甚详。\n五十八年，接见英国特使马嘎尔尼，拒绝英国所提出之侵略性要求，然并未引起任何警惕之心。\n六十年，宣布明年禅位皇十五子颙琰。\n次年正月，举行授受大典，自称太上皇帝，仍掌实权。\n在位六十年。\n谥纯皇帝。",[24,25,26,77,28,78,36,112,35,31,219,7,34,252,390],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c84613f5fdccf3f412dbdbbae14912d.jpg",[],26,{"id":741,"slug":742,"title":743,"dynasty":18,"author":744,"museum":180,"description":745,"tags":746,"thumbUrl":747,"material":157,"size":157,"collection":157,"collections":748,"showCount":739,"zanCount":11,"manualWeight":11,"mainColor":65},235481,"fang-guo-xi-shan-shui-zhou-yuan-shang-tong-235481","仿郭熙山水轴","袁尚统","整幅画作以雪景铺陈萧索冬意，巨峰以淡墨晕衬留白，尽显积雪覆山的清寒巍峨。枯木虬枝劲挺错落，深谷间栈道蜿蜒回转，行旅车马次第缓行，将隆冬深山的冷寂，和人间行路的烟火暖意相融。\n\n笔墨追摹北宗山水意趣，简劲皴法勾勒山石肌理，细笔描摹林木栈道，既复刻出萧寒雄奇的山水之态，又自带着苍朴的笔底情致，把冬日深山的荒寒古雅，行路迢迢的沉郁氛围尽显纸上，于冷寂雪景中晕开古雅悠远的山水意境。",[24,26,77,78,168,28,531,56,169,7,29,248],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffeabec41ab82bfb0de0af94b8bf5c215.jpg",[],{"id":750,"slug":751,"title":752,"dynasty":141,"author":142,"museum":230,"description":753,"tags":754,"thumbUrl":755,"material":756,"size":757,"collection":40,"collections":758,"showCount":760,"zanCount":11,"manualWeight":11,"mainColor":761},236363,"cui-wei-qiu-se-zhou-wang-hui-236363","翠微秋色轴","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。",[24,25,26,77,78,28,56,34,582,235,249,7,150,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fbeebb1e51bd250ab9609e911e94915.jpg","纸本 ，淡设色","纵63.5cm，横36.3cm",[40,42,759],"书法精选",25,"F48FB1",{"id":763,"slug":764,"title":765,"dynasty":18,"author":565,"museum":766,"description":767,"tags":768,"thumbUrl":769,"material":265,"size":770,"collection":157,"collections":771,"showCount":760,"zanCount":11,"manualWeight":11,"mainColor":45},223356,"fang-fan-kuan-jin-bi-feng-tu-juan-yi-ming-223356","仿范宽金碧峰图卷","美国弗瑞尔美术馆","长卷绘山峦连绵，山头绿色点缀，山间云雾缭绕，山脚河水绕山而行，河面或宽阔或窄细，岸上绿树成荫，房舍、良田隐于山中。此画设色厚重，笔力鼎健，山河皆雄伟气魄，房舍、小桥、人物等细节上又精细柔和。",[23,24,217,27,78,168,28,56,34,31,32,36,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0279aacb6bccc03741b537e171d940bc.jpg","32.9×520.5CM",[],{"id":773,"slug":774,"title":775,"dynasty":18,"author":627,"museum":628,"description":776,"tags":777,"thumbUrl":778,"material":779,"size":780,"collection":157,"collections":781,"showCount":760,"zanCount":11,"manualWeight":11,"mainColor":157},220726,"chong-shan-shui-xie-tu-li-zai-220726","崇山水榭图","李在，字以政，福建莆田人。明宣德时被征召入宫，与谢环、倪端、石锐、戴进等绘画名手同为仁智殿待诏。东京国立博物馆现藏《破墨山水图》上有日本室町时代画圣画僧雪舟的自赞，谓曾入明朝向当时极具声望的李在学习设色与破墨之法，可见李在画名曾远播东洋。\n\n此幅山水为李在将南、北宋绘画传统融会于一体的成果。近景右侧的蟹爪树向左方斜出，下有一策杖行人与童子步上木桥，似引导观者进入画中的理想世界。后方主山向上蜿蜒攀升，深具北宋巨障山水的体量感，但位置稍偏于画面右侧，将画幅左侧让给河流、远山，层层后退，表现山水的深远感。画中各种人物活动，清晰可见，中心山腰处有两名行人头戴斗笠，手持拐杖，由山后转出，随山径而下；中景处有两名文士造访山间凉亭，亭前则有童子洒扫；山脚处则有一人于水榭中读书。人物比例显得略大，但更拉近了观者与画面的距离，为画作带来亲密感与活泼生机。此外，此画的建构模式，例如充满动势的主山、中景处雾气蒸腾的松林、前景的蟹爪树、各式点景人物等，亦见于李在的其他作品，例如《山庄高逸图》与《山村图》。惟此《崇山水榭图》的皴染更为湿润，山石上骚动的卷云皴近乎隐没于墨染之中，并不明显，而中景右侧的两棵劲挺松树，则接近南宋的松树样式，于李在的传世立轴中较为少见。",[23,24,77,78,26,28,57,31,56,29,32,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3089547ba99e8fe6ce6a1d45917564c.jpg","水墨,设色,绢本,立轴","画心：124.3×59.4厘米 装裱：239.2×77.5厘米",[],{"id":783,"slug":784,"title":785,"dynasty":141,"author":786,"museum":20,"description":787,"tags":788,"thumbUrl":789,"material":195,"size":790,"collection":40,"collections":791,"showCount":792,"zanCount":11,"manualWeight":11,"mainColor":45},237237,"bai-lu-quan-tu-zhou-fang-shi-shu-237237","白鹿泉图轴","方士庶","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。\n能诗善画，书法严密端秀，绘画笔墨敏洁灵秀，气势跌宕飞动，谓之为王原祁后山水第一。受学于黄鼎，山水用笔灵敏，气晕骀宕，早有出蓝之目，时称妙品。兼善花卉写生。其得意之作，皆钤“偶然拾得”小墨印。复以书法名芜城。行楷结构严密，纯学董其昌。惜中寿而殁。亦工诗，有《环山诗钞》。是“娄东派”卓有成就的名家。",[24,25,26,77,78,28,30,56,34,7,390,235,489,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd777ea183e5a3b1907c7c59e0962cf28.jpg","369x102",[40],24,{"id":794,"slug":795,"title":796,"dynasty":141,"author":426,"museum":180,"description":797,"tags":798,"thumbUrl":800,"material":157,"size":157,"collection":157,"collections":801,"showCount":802,"zanCount":103,"manualWeight":11,"mainColor":45},235832,"qiu-shan-cao-tang-tu-zhou-wu-hong-235832","秋山草堂图轴","此作用淡墨皴擦写层叠秋山，崖峦渐远晕出空濛秋韵。近畔枯木虬曲苍劲，苍松卓然挺立于茅舍之侧，篱径萦回板桥通幽，溪岸渔舟横斜，静穆山居秋景宛然眼前。枯笔短皴勾勒山石质感，淡赭轻敷晕染秋意，简淡笔墨见出苍浑朴拙。右上角题诗衬景，诗画相融，将秋日山野萧疏安闲的意趣尽显，暗合文人幽居丘壑、寄情林泉的雅逸襟怀。",[24,25,26,77,27,78,28,56,595,300,31,32,34,57,799,7],"草堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7717b800d6cee60d4bf59a3f525be6ec.jpg",[],22,{"id":804,"slug":805,"title":806,"dynasty":141,"author":539,"museum":180,"description":807,"tags":808,"thumbUrl":809,"material":157,"size":157,"collection":157,"collections":810,"showCount":802,"zanCount":11,"manualWeight":11,"mainColor":65},230181,"xi-shan-gao-yin-shan-shui-tu-wang-shi-min-230181","溪山高隐山水图","此作用笔圆厚松润，以干笔淡墨层层皴染，糅合黄公望披麻皴意趣，山峦层叠间，高远、深远之境兼具。主峰雄踞上端，峦头苍郁厚重，山腹林麓间村落错落，溪谷萦回穿绕，板桥渔隐点缀其间，将山川雄浑与山居恬和相融。\n笔墨苍秀灵逸，皴擦点染井然有序，于淡墨晕染间铺陈出山林的温润郁茂，把隐逸山居的清逸之思寄寓在层叠丘壑之中，平淡天真里藏着静穆悠远的林下之风，是师古而自出机杼的佳构。",[23,24,25,75,26,77,78,28,96,129,35,30,31,113,34,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6371f7bbde6fac2e4d55f85cd76ed00e.jpg",[],{"id":812,"slug":813,"title":814,"dynasty":141,"author":651,"museum":427,"description":652,"tags":815,"thumbUrl":818,"material":38,"size":657,"collection":157,"collections":819,"showCount":802,"zanCount":11,"manualWeight":11,"mainColor":65},222964,"hong-lou-meng-89-sun-wen-222964","红楼梦89",[23,24,53,27,54,28,30,31,32,29,36,56,34,390,7,655,816,235,817,81,392],"建筑群","近水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47977a652d2d5f9e1117cd7b5f61cae4.jpg",[],{"id":821,"slug":822,"title":823,"dynasty":70,"author":565,"museum":824,"description":825,"tags":826,"thumbUrl":828,"material":99,"size":829,"collection":40,"collections":830,"showCount":802,"zanCount":103,"manualWeight":11,"mainColor":45},218192,"shan-dian-shang-chun-tu-yi-ming-218192","山殿赏春图","上海博物馆","《山殿赏春图》是一幅典型的元朝时期山水画作品，作者是佚名。这幅画描绘了一座位于山间的小山殿，山殿周围群山环绕，远处是一片茂密的森林。山殿前有一道小溪流过，溪边有许多花草树木。画中还有许多小鸟在欢快地飞翔，整幅画充满了春天的气息。\n\n《山殿赏春图》的画风浓郁，笔画细腻，色彩丰富，整幅画给人以舒适、宁静、平和的感觉。这幅画是元朝时期山水画中的杰作，具有很高的艺术价值。\n\n元朝时期的山水画在中国画史上占有重要的地位，它不仅体现了元朝时期艺术家的高超技艺，还反映了元朝时期社会的文化氛围。《山殿赏春图》是元朝山水画中的经典之作，值得我们珍视和欣赏。",[24,827,27,55,28,30,31,29,56,390,7,57],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F311780d392276a45c48f87622c8ca437.jpg","27.5x28.6cm",[40],{"id":832,"slug":833,"title":834,"dynasty":141,"author":835,"museum":180,"description":836,"tags":837,"thumbUrl":839,"material":716,"size":717,"collection":40,"collections":840,"showCount":841,"zanCount":11,"manualWeight":11,"mainColor":65},239371,"hua-zai-yue-shi-yong-shi-yi-ce-yong-rong-239371","画载月十咏诗意册","永瑢","爱新觉罗·永瑢（1744年1月28日—1790年6月13日），号九思主人，又号西园主人。少时居圆明园碧桐书院，亦称碧桐书院阿哥。清朝宗室，乾隆帝第六子，皇三子永璋同母弟，母为纯惠皇贵妃苏氏。\n乾隆二十四年十二月，出继慎靖郡王允禧，封贝勒，管理内务府、充《四库全书》玉牒馆总裁、监管钦天监事务。三十七年（1772）年，晋质郡王。五十四年（1789），晋封质亲王。\n乾隆五十五年（1790年），去世，时年四十八岁，谥号为庄。工诗擅画，主要作品有《岁朝图》《枫溪垂钓图轴》。",[24,25,183,77,27,28,595,147,222,838,34,7],"明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F802a3fac4a620ea4ffc6e3e70fcfe962.jpg",[40,342],21,{"id":843,"slug":844,"title":845,"dynasty":18,"author":846,"museum":180,"description":847,"tags":848,"thumbUrl":849,"material":157,"size":157,"collection":40,"collections":850,"showCount":841,"zanCount":11,"manualWeight":11,"mainColor":65},239013,"ju-jie-shan-shui-zhou-ju-jie-239013","居节山水轴","居节","画史记载居节“尚气节，虽窭甚，惟以丹青自娱，不曳侯门裾” (《无声诗史》)。这样看来，如果说画面的前半部分是类文徵明的细劲、秀丽，那么远景山水的画法可不可以说是居节“尚气节”的“清高”和“骨气”的表现呢?我以为，也正是这种略显枯硬的画法，让他的山水画在吴派绘画基本风格的基础上又具有了宋人雄浑、劲健、简率的作风。\n从这幅作品中，我们看到了居节的文雅与气节两个方面的表现，可称为他的代表作。另外，从居节传世作品《潮满春江图》(镇江博物馆藏)、《万松小筑图》(上海博物馆藏)都可以看出居节在这两方面所做的努力。",[24,25,26,77,78,220,219,28,36,56,34,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae00f4c63d3c5de5bd06031dced56aac.jpg",[40,42,759],{"id":852,"slug":853,"title":854,"dynasty":18,"author":855,"museum":180,"description":856,"tags":857,"thumbUrl":858,"material":716,"size":717,"collection":157,"collections":859,"showCount":860,"zanCount":11,"manualWeight":11,"mainColor":65},239474,"xie-qin-fang-you-tu-shan-sun-zhi-239474","携琴访友图扇","孙枝","孙枝（公元16-17世纪初，生卒年不详），明代画家。字叔达、微之，号华林、华林居士，吴县（今江苏苏州）人。工书善画，长于山水，师法文征明，明姜绍书《无声诗史》谓其“石树葱秀，毫素间有洒然出尘之致，亦吴中佳手也”。所作山水意境幽深，风格秀整。花卉、人物亦佳，曾学唐寅而气韵笔力不逮。为吴门派画家之一。其画法出自文征明，石树葱秀，毫素间有洒然出麈之致。花卉、人物亦佳，人物且注重大型画面如画卷移居图。北京故宫博物院藏有其所作九龙山居图卷，盖学唐寅而不及者。",[75,24,25,827,77,27,78,28,56,301,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47746b0b060c5b7809478631056a9d65.jpg",[],20,{"id":862,"slug":863,"title":864,"dynasty":141,"author":865,"museum":180,"description":866,"tags":867,"thumbUrl":869,"material":157,"size":157,"collection":157,"collections":870,"showCount":860,"zanCount":11,"manualWeight":11,"mainColor":65},238245,"shan-jing-ri-zhang-tu-ce-zhang-yu-sen-238245","山静日长图册","张雨森","张雨霖，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。乾隆时供奉内廷，乾隆帝题其《山水图》有“悬之高堂六月凉，助我清兴生吟席”句，又题其《仿沈周山水图》“吴中沈周清狂客，雨森笔似人亦肖”句。画迹有摹燕文贵《江干雪霁图》卷，著录于《石渠宝笈初编》。",[24,25,27,53,78,183,28,29,35,34,868,7,57],"云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F736080caf8a60380e1e550c8695a5962.jpg",[],{"id":872,"slug":873,"title":874,"dynasty":141,"author":875,"museum":180,"description":876,"tags":877,"thumbUrl":878,"material":157,"size":157,"collection":40,"collections":879,"showCount":860,"zanCount":11,"manualWeight":11,"mainColor":65},236109,"lin-xia-xie-qiong-zhou-zhang-zong-cang-236109","林下携笻轴","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。",[24,27,78,26,28,56,205,169,149,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10702bba88bf4e3f313034683d3f21bd.jpg",[40,42],{"id":881,"slug":882,"title":883,"dynasty":18,"author":565,"museum":230,"description":884,"tags":885,"thumbUrl":889,"material":544,"size":890,"collection":157,"collections":891,"showCount":860,"zanCount":11,"manualWeight":11,"mainColor":45},234850,"ming-ren-ta-xue-xun-mei-tu-zhou-yi-ming-234850","明人踏雪寻梅图轴","踏雪寻梅是历代文人士大夫的雅事，亦为画家常用的题材。此图表现一主一仆于雪天往深山寻梅的情景。王谔被明代皇帝称为“今之马远”，此图的画风即验证了这一说法。画中山石棱角方硬，树干虬曲苍劲，山体、坡石多用大斧劈皴，构图上也接近马远的“马一角”特征。",[24,26,27,28,29,886,887,34,595,147,78,36,7,56,57,888,299],"雪","梅","冬季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F634973a6f6c09d6dcbadcd623b2d458b.jpg","纵83.5厘米，横47.2厘米",[],{"id":893,"slug":894,"title":895,"dynasty":141,"author":875,"museum":230,"description":896,"tags":897,"thumbUrl":898,"material":38,"size":157,"collection":157,"collections":899,"showCount":900,"zanCount":11,"manualWeight":11,"mainColor":65},234111,"hua-hong-li-jiao-shi-ming-qin-shi-yi-juan-zhang-zong-cang-234111","画弘历蕉石鸣琴诗意卷","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。",[24,25,217,27,28,36,56,97,149,7,219,220,218,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b204362fe8e043dbf4856d2c360dfbc.jpg",[],19,{"id":902,"slug":903,"title":904,"dynasty":141,"author":905,"museum":180,"description":906,"tags":907,"thumbUrl":909,"material":157,"size":910,"collection":40,"collections":911,"showCount":912,"zanCount":11,"manualWeight":11,"mainColor":65},236128,"qiu-yan-jin-zhang-tu-zhou-lu-zun-shu-236128","秋岩锦嶂图轴","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。",[75,24,25,26,27,78,28,34,56,908,32,31,149,147,263,7],"红叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc29a9573c7805174b3ec58547f426b5d.jpg","纵84.6厘米，横26.5厘米",[40,42],18,{"id":914,"slug":915,"title":916,"dynasty":18,"author":917,"museum":230,"description":918,"tags":919,"thumbUrl":920,"material":265,"size":921,"collection":157,"collections":922,"showCount":912,"zanCount":11,"manualWeight":11,"mainColor":45},233882,"pin-pang-tu-zhou-ni-duan-233882","聘庞图轴","倪端","画作取材于三国时期荆州刺史刘表聘请隐士庞德公的故事。庞德公是名士庞统的叔父，与徐庶、诸葛亮等贤达交谊笃厚。画中人物描摹精细，设色妍丽，山水气势雄伟浑厚，林木郁茂清朗。",[24,25,26,27,28,29,248,609,34,580,53,78,56,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F992ab76f04567d0262a4fd6a4882fe7a.jpg","纵163.8厘米，横92.4厘米",[],{"id":924,"slug":925,"title":926,"dynasty":70,"author":927,"museum":230,"description":928,"tags":929,"thumbUrl":931,"material":932,"size":933,"collection":157,"collections":934,"showCount":912,"zanCount":11,"manualWeight":11,"mainColor":600},233879,"xue-gang-du-guan-tu-zhou-ma-wan-233879","雪岗渡关图轴","马琬","此图为雪景山水，描绘崇山峻岭均为积雪覆盖，崖头隐约点缀着短小的丛树，山谷间有林木、水榭掩映，雪雾烟岚在崖隙间弥散，山脚下，长松依然清翠昂然，整个画面散发着荒寒萧索之气。这种雪景的画法完全师从黄公望《九峰雪霁图》，画家利用绢索洁白的质地，以淡墨洪染出天空、水面，以墨笔淡淡勾出景物轮廓，显现出雪景的晶莹透明。自识“雪冈度关，文壁为彦明作”。",[24,76,26,78,77,886,96,263,56,300,34,930,7,205,287],"关隘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bf330fe2e48ab4499d388e17cc77fd0.jpg","绢本，墨笔","纵：125.4厘米，横：57.2厘米",[],{"id":936,"slug":937,"title":938,"dynasty":70,"author":565,"museum":180,"description":939,"tags":940,"thumbUrl":941,"material":942,"size":943,"collection":157,"collections":944,"showCount":912,"zanCount":103,"manualWeight":11,"mainColor":45},223355,"fang-ju-ran-shan-shui-tu-yi-ming-223355","仿巨然山水图","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。",[23,24,76,27,78,34,56,31,32,36,7,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bbd8eba0f37ff5d86d70dba3540da1a.jpg","纸本设色","170x85.26cm",[],{"id":946,"slug":947,"title":948,"dynasty":141,"author":142,"museum":553,"description":949,"tags":950,"thumbUrl":954,"material":60,"size":955,"collection":157,"collections":956,"showCount":912,"zanCount":11,"manualWeight":11,"mainColor":65},217206,"fang-gu-shan-shui-shi-er-kai-shi-er-wang-hui-217206","仿古山水十二开(十二)","此册王翚仿古十二开",[24,77,78,183,28,149,56,701,248,29,595,36,951,150,952,609,235,7,953],"小径","民居","骑乘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a21745ec4cca633de1562020ea6baee.jpg","25x35.4cm",[],{"id":958,"slug":959,"title":708,"dynasty":141,"author":960,"museum":180,"description":961,"tags":962,"thumbUrl":963,"material":716,"size":717,"collection":40,"collections":964,"showCount":965,"zanCount":11,"manualWeight":11,"mainColor":65},238680,"shan-shui-ce-dong-bang-da-238680","董邦达","董邦达（1696－1769），清代官员、书画家。字孚存、争存，号东山、非闻，浙江富阳人。雍正十一年进士，乾隆二年授编修，官终礼部尚书，谥文恪。好书、画，篆、隶得古法，山水取法元人，善用枯笔。其风格在娄东、虞山派之间。与董源、董其昌并称“三董”。",[24,77,78,183,28,34,56,7,57,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56b0a92e7f6b3453a847cb77a7dd14af.jpg",[40,42],17,{"id":967,"slug":968,"title":969,"dynasty":141,"author":142,"museum":20,"description":970,"tags":971,"thumbUrl":972,"material":195,"size":973,"collection":40,"collections":974,"showCount":965,"zanCount":11,"manualWeight":11,"mainColor":65},237348,"shan-tang-xiao-chou-zhou-wang-hui-237348","山塘校讐轴","王翚出身于绘画世家。祖上五代擅画，曾祖王伯臣善画花鸟，祖父王载仕擅长山水、人物、花卉；生父王云客善画山水。少时先拜同里张珂为师，专摹元代黄公望的山水画。21岁时以小景扇面见赏于王鉴，被收为弟子，后又师事王时敏，得以饱览其家传真迹，对传统古画的鉴赏、临摹，功力极深，宋以来许多失传的古画，借王翚的临摹得以传世。笔参古今，貌含南北，时人吴梅村称为“画圣”，画技之精熟为清代第一。清代张庚的《国朝画征录》 评其为“画有南北宗，至石谷而合焉”。康熙三十年（1691年）由宋骏业之荐，上京主持《康熙南巡图》的一系列制作。南巡图绘毕，曾获当时皇太子胤礽接见，赐座、赐食，并赐“山水清晖”四字。归里之后，求画者甚众。所作多为仿古，功力较深，但有时过于圆熟或伤于刻露，而丘壑尤少变化，晚年于简练中求苍浑，为论者所重；偶写花卉，秀隽有致。平生艺论，多在《清晖赠言》。\n王翚从学弟子甚多，是“虞山派”的创始人。王翚与王时敏、王鉴、王原祁合称“四王”，又与吴历，恽寿平合称“四王吴恽”或“清六家”。",[24,25,26,77,78,28,112,130,97,149,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F690627240bef20eafb2805e2c71c81c4.jpg","128.4x55.4公分",[40],{"id":976,"slug":977,"title":978,"dynasty":141,"author":527,"museum":180,"description":979,"tags":980,"thumbUrl":981,"material":157,"size":157,"collection":157,"collections":982,"showCount":965,"zanCount":11,"manualWeight":11,"mainColor":45},228951,"bie-yuan-guan-lan-tu-juan-yuan-jiang-228951","别苑观览图卷","此作以全景铺展别苑胜境，水天浩渺晕开朦胧烟霭，远山如黛卧于淡墨氤氲间。园林依山水错落排布，亭台廊榭形制工细严整，山石皴擦苍劲古拙，林木扶疏间点缀三两行人，衬出苑中雅静又暗藏生趣。界画技法精绝，屋舍梁柱、城垣路径分毫毕现，又以写意笔墨晕染烟波，将规整气派的苑囿与清逸空濛的江南山水相融，精工之中不失雅致韵致，尽现院宇山水合璧的精妙意境。",[23,24,25,217,55,27,53,28,30,36,56,34,57,29,248,129,235,390,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe776ca4204dca827b152a3572e3d2c2a.jpg",[],{"id":984,"slug":985,"title":986,"dynasty":141,"author":987,"museum":180,"description":988,"tags":989,"thumbUrl":991,"material":195,"size":157,"collection":40,"collections":992,"showCount":965,"zanCount":11,"manualWeight":11,"mainColor":45},224258,"zhuo-se-shan-shui-tu-cha-shi-biao-224258","着色山水图","查士标","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。",[23,24,25,27,28,78,96,35,36,31,32,7,34,252,58,56,990],"山间路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cfc9de1d2902bcb919c9edfaed550ab.jpg",[40],{"id":994,"slug":995,"title":996,"dynasty":141,"author":527,"museum":180,"description":997,"tags":998,"thumbUrl":1000,"material":716,"size":717,"collection":157,"collections":1001,"showCount":1002,"zanCount":11,"manualWeight":11,"mainColor":45},235665,"shan-shui-ping-yuan-jiang-235665","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。",[24,26,27,55,53,78,28,531,56,31,149,7,32,80,34,999],"寒林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefca7b2dcd8a712e35fd50b73241e017.jpg",[],16,{"id":1004,"slug":1005,"title":1006,"dynasty":141,"author":1007,"museum":230,"description":1008,"tags":1009,"thumbUrl":1010,"material":353,"size":1011,"collection":157,"collections":1012,"showCount":1002,"zanCount":11,"manualWeight":11,"mainColor":65},234139,"wo-you-tu-juan-cheng-zheng-kui-234139","卧游图卷","程正揆","“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。",[23,24,25,217,77,28,78,220,218,219,96,129,56,36,31,32,147,205,149,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcf86b6a2adc5b5fb26bc60b95856116.jpg","纵23.8厘米，横210厘米",[],{"id":1014,"slug":1015,"title":1016,"dynasty":141,"author":1017,"museum":230,"description":1018,"tags":1019,"thumbUrl":1029,"material":265,"size":1030,"collection":157,"collections":1031,"showCount":1002,"zanCount":11,"manualWeight":11,"mainColor":45},222864,"shi-gong-ci-tu-ce-03-leng-mei-222864","十宫词图册03","冷枚","此套图册共10开，描绘历代贤德后妃或贵族女子的故事，和《养正图》册具有同样鲜明的教育意义。对题有梁诗正书写的弘历承继帝位前于雍正十三年（1735年）所作的诗句，与图画互为辉映。\n由于图册以历代宫廷生活为题，故每幅画面均有对宫廷建筑的描绘，但因为作者只是宫廷画工，并不具备对前代建筑的了解与认知，同时历史人物画“成教化，助人伦”的政治功用也淡化了这些作为人物故事背景的历代宫廷建筑，使其更多地带有装饰性与程式化色彩，并没有呈现出不同时代的建筑风貌。值得注意的是，册中建筑的描绘均采用“海西画法”，冷枚作品中体现的这种画风特性，是在中国传统界画的基础上运用透视法增强画面的空间深度感并以明暗关系区分阴阳向背，说明曾为康熙皇帝所赏识的“海西法”在雍正、乾隆朝的宫廷建筑绘画中已被日渐欣赏和接受。",[23,24,25,183,27,53,218,219,29,30,390,1020,1021,1022,7,56,1023,1024,1025,613,617,1026,1027,1028,612],"廊","圆门","石阶","花木","古典建筑","园林景观","书法题跋","印鉴","建筑装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bbdacdc2555c58cb249651b9849937a.jpg","纵33.1厘米，横29.3厘米",[],{"id":1033,"slug":1034,"title":1035,"dynasty":141,"author":142,"museum":72,"description":1036,"tags":1037,"thumbUrl":1038,"material":60,"size":157,"collection":157,"collections":1039,"showCount":1002,"zanCount":11,"manualWeight":11,"mainColor":45},214600,"fang-gu-shan-shui-ce-5-wang-hui-214600","仿古山水册-5","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。",[24,25,183,77,146,78,28,30,31,32,130,34,29,7,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d0f71d53f38e75d651baa858c567130.jpg",[],{"id":1041,"slug":1042,"title":1043,"dynasty":18,"author":1044,"museum":230,"description":1045,"tags":1046,"thumbUrl":1047,"material":195,"size":157,"collection":40,"collections":1048,"showCount":1049,"zanCount":11,"manualWeight":11,"mainColor":65},237013,"xi-zhu-ce-zhu-ying-237013","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）。",[24,25,183,77,27,78,56,57,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe81f0cd86aef5b2cadbeb5c25aee7d72.jpg",[40,342],15,{"id":1051,"slug":1052,"title":1053,"dynasty":141,"author":1054,"museum":230,"description":1055,"tags":1056,"thumbUrl":1064,"material":265,"size":1065,"collection":157,"collections":1066,"showCount":1049,"zanCount":11,"manualWeight":11,"mainColor":761},236134,"li-chao-xian-hou-gu-shi-tu-jiao-bing-zhen-236134","历朝贤后故事图","焦秉贞","历史故事是清代宫廷绘画中的重要题材之一。此套图册题材取自历代有良好德行的皇后、太后的故事，人物包括西周文王之母太任、西周武王之母太姒、东汉明帝明德马皇后、东汉和帝和熹邓皇后、北宋仁宗慈圣曹皇后、北宋英宗宣仁高皇后、明仁宗诚孝张皇后。她们在身为皇后或太后期间，有的勤俭仁厚、贤淑孝顺，有的不问政事、不佞外戚。画家绘此画册就是借她们的懿德来宣传封建的伦理纲常，给宫廷里的妃嫔们树立行为楷模。在12开的册页中，所绘仕女形象柔弱，设色浓艳，富有装饰性。图上建筑物的绘制采用欧洲焦点透视的方法，有别于中国的传统界画。每开对题是由梁诗正书写的弘历在皇子时期所作的诗句，记录了这些皇后、太后的事迹和对她们的评价。",[24,27,53,183,29,607,1057,300,1058,1022,1059,390,655,1060,7,56,568,1061,1062,34,1063],"兽","假山","竹子","衣饰","古代服饰","庭院景观","绿植","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20536eaae71a5f285010637b4ffe3142.jpg","纵30.8厘米，横37.4厘米",[],{"id":1068,"slug":1069,"title":996,"dynasty":141,"author":527,"museum":180,"description":997,"tags":1070,"thumbUrl":1071,"material":716,"size":717,"collection":157,"collections":1072,"showCount":1049,"zanCount":11,"manualWeight":11,"mainColor":45},235663,"shan-shui-ping-yuan-jiang-235663",[24,25,55,53,27,54,28,30,300,221,169,80,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa367e713deec5c0cba384b8928f36c57.jpg",[],{"id":1074,"slug":1075,"title":1076,"dynasty":141,"author":142,"museum":180,"description":1077,"tags":1078,"thumbUrl":1079,"material":157,"size":157,"collection":157,"collections":1080,"showCount":1049,"zanCount":103,"manualWeight":11,"mainColor":65},224467,"hua-meng-hao-ran-shi-yi-zhou-wang-hui-224467","画孟浩然诗意轴","此作以诗入画，全景铺展幽寂山居。层峦叠嶂以披麻皴写就，笔力苍秀，皴擦间尽显山石肌理的苍厚质感。云气在山谷间流荡开合，晕染出空濛湿润的烟雨氛围，将山峦切割成错落层次，虚实相生。\n\n水岸汀洲、古木虬枝错落排布，板桥行旅、崖畔山居点缀其间，为清冷山水添上灵动烟火气。高远与平远兼具的构图，上见巉崖陡立，下观浅溪通幽，将诗句里的隐逸恬淡具象化，笔墨兼具宋元山水的浑朴与清丽秀雅，尽显山居烟岚的悠然意趣。",[23,24,76,26,77,78,28,31,32,36,30,56,34,80,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25c7a0db74deff24cd7a29e728cdc7a4.jpg",[],{"id":1082,"slug":1083,"title":1084,"dynasty":124,"author":1085,"museum":20,"description":1086,"tags":1087,"thumbUrl":1090,"material":155,"size":1091,"collection":157,"collections":1092,"showCount":1049,"zanCount":11,"manualWeight":11,"mainColor":65},221663,"guan-shan-xing-lv-xiao-zhao-221663","关山行旅","萧照","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，虚处乃为江上为气所迷，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。近山浓重，远山清淡，又形成虚实对比。名款“萧照”二字楷书于幅中央之树石间，则与《西湖志余》所载相同。",[23,75,24,25,27,78,28,34,56,80,580,468,150,302,1088,7,1089,248],"烟霭","天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2fe06d072d80ba657a4399c5a76700d.jpg","24.2 x 26.2 cm",[],{"id":1094,"slug":1095,"title":1096,"dynasty":141,"author":651,"museum":427,"description":652,"tags":1097,"thumbUrl":1103,"material":38,"size":657,"collection":157,"collections":1104,"showCount":1105,"zanCount":11,"manualWeight":11,"mainColor":45},222908,"hong-lou-meng-33-sun-wen-222908","红楼梦33",[23,53,27,55,29,30,390,56,34,655,1098,1099,1100,1101,7,1063,57,1102],"匾额","侍女","公子","回廊","服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf0de6690162cf3adb8de884b97b8e03.jpg",[],14,{"id":1107,"slug":1108,"title":1109,"dynasty":141,"author":1110,"museum":72,"description":1111,"tags":1112,"thumbUrl":1113,"material":83,"size":1114,"collection":40,"collections":1115,"showCount":1105,"zanCount":11,"manualWeight":11,"mainColor":65},217014,"ruan-yuan-yi-shi-shi-jing-tu-ce-wang-yun-217014","阮元遗事十景图册","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。",[24,25,183,77,27,78,220,219,28,57,595,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd42d8d58ef2babc1245f84f09d811166.jpg","27.9x33cm",[40],{"id":1117,"slug":1118,"title":1119,"dynasty":18,"author":1120,"museum":180,"description":1121,"tags":1122,"thumbUrl":1123,"material":716,"size":717,"collection":157,"collections":1124,"showCount":1125,"zanCount":11,"manualWeight":11,"mainColor":65},234831,"fang-huang-gong-wang-shan-shui-shan-ye-lan-ying-234831","仿黄公望山水扇页","蓝瑛","蓝瑛（1585-1664），一说（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂” ，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻嶒，与文征明、沈周并重。作品有：《秋山红叶图》《江皋话古图》《白云红树图》《松岳高秋图》《苍岩嘉树图》等，其画派在晚明影响甚大，传其画法者甚多。",[24,25,827,28,168,78,77,34,56,149,31,7,219],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8a581639319e81fff2d3745b315c142.jpg",[],13,{"id":1127,"slug":1128,"title":1129,"dynasty":18,"author":179,"museum":824,"description":1130,"tags":1131,"thumbUrl":1132,"material":155,"size":1133,"collection":157,"collections":1134,"showCount":1125,"zanCount":11,"manualWeight":11,"mainColor":65},222093,"liang-jiang-ming-sheng-tu-ce-5-shen-zhou-222093","两江名胜图册5","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。",[23,24,25,183,27,28,78,30,56,34,7,235],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F529ed3b156ab6352fef75398d40a0743.jpg","42.2×23.8厘米",[],{"id":1136,"slug":1137,"title":1138,"dynasty":141,"author":1139,"museum":824,"description":1140,"tags":1141,"thumbUrl":1144,"material":157,"size":157,"collection":40,"collections":1145,"showCount":1125,"zanCount":11,"manualWeight":11,"mainColor":1146},203438,"du-fu-shi-yi-tu-zhou-wang-yuan-qi-203438","杜甫诗意图轴","王原祁","笔墨苍劲浑厚，层层皴染间尽显丘壑深度。峰峦叠嶂如聚，云雾缭绕似带，将远山推向幽深；近处松石挺秀，溪流蜿蜒穿涧，山间屋舍隐于林麓，动静相宜。既承北宗山水的雄健骨力，又融南宗笔墨的温润韵致，把杜诗中的沉郁意境凝于尺幅，在严谨构图中藏生机流动，足见画家对传统山水的精研与创新。",[23,26,27,78,28,96,300,34,80,32,56,7,81,492,1142,493,490,1143,701,491],"沟壑","溪涧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07d2bf256a8bbab7a17077134edcdbbc.jpg",[40],"96724d",{"id":1148,"slug":1149,"title":1150,"dynasty":18,"author":1151,"museum":180,"description":1152,"tags":1153,"thumbUrl":1154,"material":716,"size":717,"collection":157,"collections":1155,"showCount":1156,"zanCount":11,"manualWeight":11,"mainColor":65},235579,"lin-tang-ye-xing-tu-shan-ye-song-xu-235579","林塘野兴图扇页","宋旭","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。",[24,827,77,28,56,34,113,31,32,7,29,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa033729b0f39343c16511a93fc209eff.jpg",[],12,{"id":1158,"slug":1159,"title":1160,"dynasty":18,"author":50,"museum":230,"description":1161,"tags":1162,"thumbUrl":1163,"material":265,"size":1164,"collection":157,"collections":1165,"showCount":1156,"zanCount":11,"manualWeight":11,"mainColor":65},233234,"gui-fen-tu-juan-chou-ying-233234","归汾图卷","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。",[24,25,217,27,53,78,218,220,219,28,29,30,31,32,36,222,56,113,235,817,236,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef5d14ba947ca8d4ea3f712b7d9b9be8.jpg","纵26.9厘米，横124厘米",[],{"id":1167,"slug":1168,"title":1169,"dynasty":141,"author":324,"museum":72,"description":1170,"tags":1171,"thumbUrl":1172,"material":195,"size":1173,"collection":157,"collections":1174,"showCount":1156,"zanCount":11,"manualWeight":11,"mainColor":45},231489,"fang-huang-zi-jiu-qiu-shan-tu-wang-jian-231489","仿黄子久秋山图","王时敏和王鉴都直接受教于董其昌，属于“南宗”。董其昌是华亭（上海松江县）人。万历间进士，官至礼部尚书，是江南有名的大豪绅。史书上说他“性和易，通禅理，萧闲吐纳，终日无俗语，人拟之米芾、赵孟俯云”。在绘画方面，他主张以古人为师、以下天为师，以求达到“形、手相凑而相忘”的目的。他苦临苦摹，废寝忘食，以“血战宋元”的精神，教育子弟，启发后人。王时敏与王鉴在普遍学习董其昌“南宗”的基础上，各有侧重，王时敏主要着力于黄公望，他自己曾说：“元季四家，当推子久，得其神者，惟董宗伯，得其形者，余不敢让。”而王鉴主要是学习董源与巨然，风格面貌较王时敏多，笔墨变化也比王时敏丰富。所以当时的人们评论说他：“能运笔中锋，其合作处，堪与董华亭对垒”，甚至有的说：“吾谓画中龙，国朝（指清朝）四大家中惟廉州实能当之”。\n王鉴是明朝时刑部尚书、文坛复古运动倡导者王世贞的孙子。生于明万历二十六年戊戌（公元一五九八年），卒于清康熙十六年丁巳（公元一六七七年），享年七十九岁。明崇祯六年（公元一六三三年）中举，两年后，官廉州太守。明朝亡覆前夕罢官归里。因为家富收藏，又自小受名书家熏陶，养成了对书画的特殊爱好，更因为在明清易代、战乱频繁的时期，他虽然未能投身反抗清军的行列，但也不愿甘当清廷的贰臣，于是便“布衣懒自入侯门”，“向人欲仿赵王孙”，去做一名在野的文画家了。",[23,24,25,26,28,27,78,168,96,35,582,205,7,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3743a1569f5a7068db31e49355667a3.jpg","98×52cm",[],{"id":1176,"slug":1177,"title":1178,"dynasty":124,"author":565,"museum":20,"description":1179,"tags":1180,"thumbUrl":1181,"material":99,"size":1182,"collection":40,"collections":1183,"showCount":1156,"zanCount":11,"manualWeight":11,"mainColor":65},218721,"xue-shan-xing-lv-tu-yi-ming-218721","雪山行旅图","这幅画描绘了雪山上的一条小溪，两辆满载货物的牛车涉水而过，车夫以各种方式进行伪装，黄牛的形象也被真实地描绘出来。朱瑞在宋代喜欢画这类题材，这幅山水画比较轻快，类似于太古遗书《江山行旅图》的笔法，可能是金代的作品。",[23,24,25,827,28,29,468,531,34,7,56,149,77,78,286],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96bc5c1e8786c6f2560217f0c8669471.jpg","24.4x25.7",[40],{"id":1185,"slug":1186,"title":864,"dynasty":141,"author":865,"museum":180,"description":866,"tags":1187,"thumbUrl":1188,"material":157,"size":157,"collection":157,"collections":1189,"showCount":1190,"zanCount":11,"manualWeight":11,"mainColor":65},238239,"shan-jing-ri-zhang-tu-ce-zhang-yu-sen-238239",[24,77,78,183,28,36,31,32,153,35,34,29,149,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F508aca8a9c5711e4ee592e945937e4b2.jpg",[],11,{"id":1192,"slug":1193,"title":1194,"dynasty":124,"author":565,"museum":20,"description":1195,"tags":1196,"thumbUrl":1197,"material":1198,"size":1199,"collection":157,"collections":1200,"showCount":1190,"zanCount":11,"manualWeight":11,"mainColor":45},234065,"xue-shan-xing-lv-tu-zhou-yi-ming-234065","雪山行旅图轴","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。",[24,76,26,77,78,531,468,205,595,7,32,29,701,56,150,252],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6d1451346fc5558d13e36afaebb3e3b.jpg","绢本墨笔","纵106厘米，横51.5厘米",[],{"id":1202,"slug":1203,"title":1204,"dynasty":141,"author":1205,"museum":230,"description":1206,"tags":1207,"thumbUrl":1208,"material":195,"size":1209,"collection":157,"collections":1210,"showCount":1190,"zanCount":11,"manualWeight":11,"mainColor":65},233181,"fang-gu-ji-you-tu-ce-huang-yi-233181","访古纪游图册","黄易","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。",[24,25,183,77,78,219,220,218,28,233,36,56,205,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde56bbb5dd5f5082bb9e8e48065c69cc.jpg","纵17.8cm，横50.8cm",[],{"id":1212,"slug":1213,"title":1214,"dynasty":141,"author":324,"museum":824,"description":1215,"tags":1216,"thumbUrl":1218,"material":60,"size":1219,"collection":157,"collections":1220,"showCount":1190,"zanCount":11,"manualWeight":11,"mainColor":65},216982,"fang-song-yuan-shan-shui-ce-5-wang-jian-216982","仿宋元山水册-5","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。",[23,24,76,1217,27,78,77,96,129,31,56,300,149,7,169,205,81],"册页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F869a411b8f05c5295dbd50546c1ce7f4.jpg","纵55.4厘米，横36.0厘米",[],{"id":1222,"slug":1223,"title":1224,"dynasty":18,"author":1225,"museum":180,"description":1226,"tags":1227,"thumbUrl":1228,"material":157,"size":157,"collection":157,"collections":1229,"showCount":1230,"zanCount":11,"manualWeight":11,"mainColor":65},235556,"xian-ren-cun-wu-tu-zhou-yang-wen-cong-235556","仙人村坞图轴","杨文骢","《杨文骢仙人村坞图轴》是明代的图轴。\n图绘深山幽居之景，危峰断崖，坡岸嘉木，江边亭轩，水泊空旷，远渚几处，高士面江而坐，若有所思。\n此作主要用干笔淡墨，山石轮廓以清劲之笔勾轮廓，树石主体以干笔多次皴擦，奠定了全幅清逸幽远的基调。\n右上的题诗与本幅的“L”形构图呼应，秀逸的书法与画作巧妙地融为一体。\n此作意境超尘绝俗，笔墨隽秀高雅，无怪乎董其昌评其山水曰：“有宋人之骨力去其结，有元人之风雅去其佻。\n” 作者自识：“仙人村坞锦为屏，鸡犬云中户自扃。\n烟火红尘俱不恙，长斋绣佛礼黄庭。\n壬午春仲画于瓯江之轻顺阁中。\n杨文骢。\n”钤“杨文骢印”朱文印、“龙友”朱文印。\n另有“希逸”白文等鉴藏印4方。",[24,25,26,77,78,28,56,205,275,301,235,817,1059,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77cdf7dbe1e608a56e3d63f8d477849a.jpg",[],10,{"id":1232,"slug":1233,"title":1234,"dynasty":141,"author":565,"museum":180,"description":1235,"tags":1236,"thumbUrl":1240,"material":157,"size":1241,"collection":40,"collections":1242,"showCount":1230,"zanCount":11,"manualWeight":11,"mainColor":45},223344,"wu-tai-shan-sheng-jing-quan-tu-1-yi-ming-223344","五台山圣境全图1","是五台山慈福寺喇嘛桑格阿麻格于1846年(道光二十六年)，亲手刻就的图版。在《五台山圣境全图》中，刻画了五台山清代时的大小寺庙、丛林静室60余处，帝王行宫3处，佛塔灵迹30余处。同时还展现了当时的村庄，绘制了康熙皇帝朝台的盛况，并穿插了康熙寻父的民间传说。内容有人有物，有情有景，有动有静，真实地反映了五台山佛教圣地僧俗人等的生活情景，是一件珍贵的艺术品。图版以极简练的手法，雕刻出五台山佛教圣地的概貌。表现了高超的雕刻技巧和丰富的想像力。",[24,1237,28,55,1238,77,150,1239,30,80,7,56],"宗教","白描","寺庙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15c3cebd21bb757879e6aa24b7b34c3c.jpg","该图长162厘米，宽118厘米",[40],{"id":1244,"slug":1245,"title":1246,"dynasty":141,"author":786,"museum":180,"description":1247,"tags":1248,"thumbUrl":1252,"material":157,"size":157,"collection":157,"collections":1253,"showCount":1254,"zanCount":11,"manualWeight":11,"mainColor":65},235555,"shan-shui-tu-zhou-fang-shi-shu-235555","山水图轴","此作用笔苍秀，以干笔皴擦铺陈山峦肌理，淡墨晕染出山岚清润，层层峰岭自远及近次第铺展，留白处云烟萦绕，将高远、平远之境相融，尽显山川浑厚华滋之态。\n\n近取景致生动，溪桥村舍错落林间，田埂蜿蜒、林木扶苏，带着江南乡野的温润烟火，隐见山居幽闲之趣。右上角题诗入画，诗境呼应山色，文气糅合笔情墨韵，将文人耽恋林泉的隐逸襟怀藏入苍林烟霭，清寂淡远，尽显山水间的静穆诗意。",[24,25,26,77,27,28,96,129,56,149,31,7,1249,1250,300,1251,78],"远峰","近石","村庄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3983639ac95ee53718e2c68a08aeaa3f.jpg",[],9,{"id":1256,"slug":1257,"title":1258,"dynasty":18,"author":1259,"museum":230,"description":1260,"tags":1261,"thumbUrl":1263,"material":1264,"size":1265,"collection":157,"collections":1266,"showCount":1254,"zanCount":11,"manualWeight":11,"mainColor":65},233135,"ming-ren-xi-shan-sheng-jing-he-bi-ce-zi-wei-cun-ye-chen-chun-233135","明人西山胜景合壁册-紫薇村页","陈淳","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。",[24,25,183,77,218,28,30,56,97,7,1262,219],"岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29457c5afef79185ae2c06064d9f37a5.jpg","纸本 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整体气息浑朴雅致，尽显文人山水画的从容格调。",[23,24,25,77,27,78,183,28,96,205,169,32,31,56,1331,1332,219,7],"林","庐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F088ab1978204110c84f6a7f7d85c76ce.jpg",[],{"id":1336,"slug":1337,"title":1338,"dynasty":141,"author":1339,"museum":824,"description":1340,"tags":1341,"thumbUrl":1343,"material":195,"size":1344,"collection":157,"collections":1345,"showCount":44,"zanCount":11,"manualWeight":11,"mainColor":65},219828,"ren-wu-ce-ye-7-ren-xiong-219828","人物册页-7","任熊","任熊善山水、人物、花卉、翎毛、虫鱼、走兽，笔力雄厚，气味静穆，深得宋人神髓。尤擅长人物，绘画师法陈洪绶，人物形象多高古、奇倔、夸张、得陈洪绶神韵而能别出心裁，其自画像神态刻画细致入微，十分写实。任熊对衣纹的勾画向来十分精彩，铁画银钩，很见功力。所题款字也是十分有力，与画法同出一辙。\n此开册页共十二页，内容丰富，题材广博，有人物、仕女、神仙、花鸟、鞍马、博古、山水等等。工笔写意，错杂出之，光怪陆离，不可方物。",[24,25,183,27,53,29,1342,393,35,7],"花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F175c225d6fdb6379b7944e6f7371995a.jpg","27.2x34.3厘米",[],{"id":1347,"slug":1348,"title":1204,"dynasty":141,"author":1205,"museum":180,"description":1349,"tags":1350,"thumbUrl":1351,"material":716,"size":717,"collection":157,"collections":1352,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":65},239534,"fang-gu-ji-you-tu-ce-huang-yi-239534","黄易（1744 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这一时期，以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[1615,1588,54,28,30,56,1402,27,34,7],"玉石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ecd16829cccde2219fcbb61c641d0b8.jpg",[],{"id":1619,"slug":1620,"title":1621,"dynasty":18,"author":565,"museum":180,"description":1622,"tags":1623,"thumbUrl":1627,"material":99,"size":157,"collection":157,"collections":1628,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},216579,"xuan-da-shan-xi-san-zhen-tu-60-yi-ming-216579","宣大山西三镇图-60","明万历三十一年秘阁本",[23,24,25,27,55,53,96,248,57,1624,444,1625,568,1626,581,7],"道路","帐篷","堡寨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0e863519d08e0188fc00a1b44da00ad.jpg",[],{"id":1630,"slug":1631,"title":1632,"dynasty":141,"author":565,"museum":180,"description":1633,"tags":1634,"thumbUrl":1636,"material":83,"size":157,"collection":157,"collections":1637,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":65},215574,"tian-xia-ming-shan-tu-52-yi-ming-215574","天下名山图-52","层峦叠嶂间，流水如带蜿蜒穿引，将远近景致连缀成卷。左侧峰岭耸峙，松竹点缀其间，添几分清逸；岩麓深处藏幽洞，洞内屋宇隐约，似有隐者栖居。右侧山巅塔影孤耸，与云气相融；岸畔亭台错落，碧波轻漾中倒映着树影天光。笔墨简练却骨力暗藏，山石勾勒用线刚劲，草木点染显生机。小径隐于林莽，炊烟袅袅于村舍，动静相宜间，尽显名山之幽秀灵韵——仿佛能闻松涛与溪水潺潺，观云气漫过峰尖，引人沉醉于这清寂淡远的山水意境里。每一处细节皆藏巧思，于简淡中见深致，道尽自然与人文相融的妙趣。",[24,25,77,78,28,96,1286,56,582,57,36,1420,580,1635,7],"岩洞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb099a48a91f18deedfb4e9d75466c7a8.jpg",[],1777535702885]