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有一老者策杖、踏着轻松缓慢的步伐，正在兴致勃勃地领略山林逸趣。密树深溪处一山麓水口，宽阔的河道上横卧山石和漫长的渚洲，在水中时隐时现。溪水潺潺，迂回流转。在崎岖不平的山地上，长有树木二十余株，浓荫密布。树木山势繁密充盈，气势雄伟。\n王蒙在创作《青卞隐居图》时的心境受到了社会环境、家庭环境的影响。《青卞隐居图》的创作年代正处于战乱的年代，人人处于恐慌，颠沛流离的状态。此画作于1366年，是王蒙成熟时期的作品。据画上收藏印推测，这幅画可能是作者赠给表弟赵麟的。\n《青卞隐居图》用笔以快、重、急、爽利为特点，锋毫微妙变化，都形成的曲直轻重、缓急等状态。线条质感的运用，在于透露画家情感的表达，或者老笔纷披，或润笔掩映，生命注于笔端，逸气也注于笔端。《青卞隐居图》的用笔还有一个显著特点就是曲律用笔，此笔法是披麻皴的变体在表达江南地貌的同时，也表达了画家焦虑的心情。《青卞隐居图》在用笔上王蒙继承了赵孟頫的“以书入画”用笔，树的轮廓线确定了这些形象的刚、柔、秀、雅。\n《青卞隐居图》以披麻皴、解索皴、牛毛皴为主，三者交替互用，画披麻皴时，运笔多带平行、快速爽利，行笔松动，给人略有飘浮的感觉。这一皴法大都用在画面顶部的山峰，由于笔法的轻盈，矾头的蠕动，因而给人一种气如云动，山岚飘浮的景象，同时不安定的感受也跃上纸面。\n画面中用笔有的像挺劲的行草笔线，虽然纤细，但却像有千斤之力，因其缠绕又能横冲直撞的形状而生动灵活，皴笔又能可以引领视线环游于画中形式，更添活泼的效果。山峦顶部则用渴墨苔点法。峦下山石树木给人以润湿之感，树干在勾勒上或笔直挺拔或倾折弯曲，而叶子的点染则是忽干忽湿、坡脚石头的皴擦也是忽浓忽淡。树木种类虽多却杂而不乱，树与树之间里让有度，用山之虚色来衬托树，以树的重墨来淡化山石，以小映大，以虚幻实，前呼后应，空间感极佳。石头与石头的交界施以皴擦或染又会构成另一个突起的石块，石石相连，绵延叠加。画山石树木的在技法上用的是浑点、破竹点、胡椒点、破墨点等。\n《青卞隐居图》整幅画面是“上留天，下留水”，采取高远构图法层层推远。作品用色细润典雅，山峦连绵不断，叠嶂起伏，气势雄伟秀拔，径路迂回蜿蜒。宛如一条游龙飞腾而上，山石刻画精细而奇特。林间树木茂密，山崖上高悬的飞瀑直注山谷。",[23,24,25,26,27,28,29,30,31,32,7,33,34,35,36,37],"高清","国画","书画","水墨","皴法","立轴","山水","山石","瀑布","树木","溪流","云雾","印章","书法","行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff738956b75bf11ba249bc3609d336193.jpg","纸本","纵141厘米，横42.2厘米","山水画精选",[41,43],"水墨画精选",1622,16,"BDBDBD",{"id":48,"slug":49,"title":50,"dynasty":51,"author":52,"museum":53,"description":54,"tags":55,"thumbUrl":75,"material":76,"size":77,"collection":78,"collections":79,"showCount":80,"zanCount":81,"manualWeight":11,"mainColor":82},232934,"qian-li-jiang-shan-tu-juan-wang-xi-meng-232934","千里江山图卷","宋","王希孟","北京故宫博物院","《千里江山图》卷是北宋画家王希孟传世的唯一作品。此图描绘了祖国的锦绣河山。画面上峰峦起伏绵延，江河烟波浩淼，气象万千，壮丽恢弘。山间高崖飞瀑，曲径通幽，房舍屋宇点缀其间，绿柳红花，长松修竹，景色秀丽。山水间野渡渔村、水榭楼台、茅屋草舍、水磨长桥各依地势、环境而设，与山川湖泊相辉映。此卷以概括精练的手法、绚丽的色彩和工细的笔致表现出祖国山河的雄伟壮观，一向被视为宋代青绿山水中的巨制杰构。\n画家在构图上充分利用传统的长卷形式所具有的多点透视之特点，在十余米的巨幅长卷中将景物大致分为六部分，每部分均以山体为主要表现对象，各部分之间或以长桥相连，或以流水沟通，使各段山水既相对独立，又相互关联，巧妙地连成一体，达到了步移景异的艺术效果。高远、深远、平远多种构图方式的穿插使用更使画面跌宕起伏，富有强烈的韵律感，引人入胜。\n《千里江山图》卷在设色和用笔上继承了传统的“青绿法”，即以石青、石绿等矿物质为主要颜料，敷色夸张，具有一定的装饰性，被称为“青绿山水”。此种表现方法是我国山水画技法中发展较早的一种，在隋唐时期如展子虔、李思训、李昭道等许多画家均擅长青绿山水画。纵观宋代画坛，虽然也有一些画家用此法创作，但从目前存世作品看，尚无一件可以超越《千里江山图》卷。王希孟在继承前法的基础上，表现出更趋细腻的画风，体现了北宋院画工整严谨的时代风格。此图用笔精当，一点一画均无败笔。人物虽细小如豆，却动态鲜明。微波水纹均一笔笔画出，渔舟游船荡曳其间，使画面平添动感。综观全幅，又不失雄阔的境界和恢宏的气势，远观近睹均令人折服。在用色上，画家于单调的蓝绿色中求变化，虽然以青绿为主色调，但在施色时注重手法的变化，色彩或浑厚，或轻盈，间以赭色为衬，使画面层次分明，色如宝石，光彩夺目。元代著名书法家溥光对此卷推崇备至，在卷后题跋中赞道：“在古今丹青小景中，自可独步千载，殆众星之孤月耳。”此论可谓公允之见。\n从此卷所描绘的景物看，系以南方清丽秀润的山水为主体，在部分山峦的表现上加进了一些北方山水的特征，可谓集南北山水于一体的精心之作。从画面表现的建筑形式以及江南水乡的生活场景、生产劳作使用的工具等方面看，画家对江南地区有着较为深刻的了解，其艺术创作当来源于生活，而王希孟于18岁时即创作出如此宏幅巨制，不可能没有深厚的生活积累，由此笔者推测，画家王希孟应是江南人，至于具体籍贯便无从知晓了。",[23,56,24,57,58,59,60,61,62,63,64,65,66,67,68,69,70,71,72,73,7,74],"名画","长卷","青绿山水","设色","工笔","山峦","江河","飞瀑","房舍","林木","渔村","水榭","长桥","渔舟","人物","亭台","烟波","曲径","游船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d4787ef8c440e7ab09e9fddb2ac7117.jpg","绢本，设色","纵51.5厘米，横1191.5厘米","",[],1322,12,"795548",{"id":84,"slug":85,"title":86,"dynasty":87,"author":88,"museum":53,"description":89,"tags":90,"thumbUrl":101,"material":102,"size":78,"collection":78,"collections":103,"showCount":104,"zanCount":105,"manualWeight":11,"mainColor":46},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。",[23,24,25,57,91,26,59,29,27,36,37,30,32,92,93,94,95,96,70,33,97,7,98,99,100],"临摹","流水","小桥","亭","房屋","远山","峭壁","小径","秋树","竹林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93fb462b100c634b5e8b6cacc9798383.jpg","纸本，水墨",[],1141,6,{"id":107,"slug":108,"title":109,"dynasty":18,"author":110,"museum":111,"description":112,"tags":113,"thumbUrl":115,"material":116,"size":117,"collection":41,"collections":118,"showCount":120,"zanCount":105,"manualWeight":11,"mainColor":46},221745,"chun-tang-liu-se-zhou-zhu-shu-zhong-221745","春塘柳色轴","朱叔重","台北故宫博物院","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。",[23,24,59,29,27,28,114,93,92,7,30,32,35],"柳树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73387748e6b65cff9714687e9f4798f2.jpg","纸本,设色","41x55.3厘米",[41,119],"设色画精选",1069,{"id":122,"slug":123,"title":124,"dynasty":125,"author":126,"museum":111,"description":127,"tags":128,"thumbUrl":131,"material":132,"size":133,"collection":134,"collections":135,"showCount":136,"zanCount":137,"manualWeight":11,"mainColor":82},222348,"xi-shan-yu-yin-tu-quan-juan-tang-yin-222348","溪山渔隐图全卷","明","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。",[23,24,25,57,59,29,129,92,130,94,32,30,7,70,36,37,35],"渔乐","孤舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2505dfe3d9352c8db98b286634abed6e.jpg","绢","纵29.4cm，横351cm","人物画精选",[134,119],633,5,{"id":139,"slug":140,"title":141,"dynasty":125,"author":142,"museum":143,"description":144,"tags":145,"thumbUrl":147,"material":116,"size":148,"collection":41,"collections":149,"showCount":150,"zanCount":137,"manualWeight":11,"mainColor":46},219871,"zi-sang-zhao-yin-tu-shen-zhou-219871","紫桑招隐图","沈周","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。",[23,24,25,57,59,27,29,130,70,7,146,32,92,30,129],"篱笆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0bd9c4c0f112994180bc96e1aa3296d.jpg","17.4x76cm",[41,119],460,{"id":152,"slug":153,"title":154,"dynasty":125,"author":155,"museum":20,"description":156,"tags":157,"thumbUrl":159,"material":160,"size":78,"collection":134,"collections":161,"showCount":162,"zanCount":137,"manualWeight":11,"mainColor":163},219411,"hui-shan-cha-hui-tu-wen-zheng-ming-219411","惠山茶会图","文徵明","这幅画描绘了文徵明与朋友在无锡惠山茶会的情景。惠山泉水甘冽，号称“天下第二泉”，相传曾为陆羽亲品，历来是煮茶的佳选。文徵明等于正德十三年戊寅（1518）在此举行了一次茶会并绘此图，卷后由吴门书家蔡羽楷书惠山茶会序。",[23,24,25,57,59,29,70,32,7,158,36,37,35,60,27],"松树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c42cd6efe145c59f556f00949dd7fff.jpg","绢本,设色",[134,41],452,"F48FB1",{"id":165,"slug":166,"title":167,"dynasty":18,"author":168,"museum":111,"description":169,"tags":170,"thumbUrl":176,"material":177,"size":178,"collection":41,"collections":179,"showCount":180,"zanCount":181,"manualWeight":11,"mainColor":46},220767,"fu-chun-shan-ju-tu-wu-yong-shi-juan-huang-gong-wang-220767","富春山居图-无用师卷","黄公望","《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",[23,24,25,57,26,27,29,130,92,32,171,61,93,69,172,173,7,34,174,175],"江","沙洲","孤石","岸滩","松竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbec3a49bb34d871d2edb2e4c8e3d2c45.jpg","绢本","横636.9公分，高33公分",[41,43],349,2,{"id":183,"slug":184,"title":185,"dynasty":18,"author":19,"museum":186,"description":187,"tags":188,"thumbUrl":191,"material":192,"size":78,"collection":78,"collections":193,"showCount":194,"zanCount":195,"manualWeight":11,"mainColor":46},214569,"shan-shui-ce-8-wang-meng-214569","山水册-8","私人收藏","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。",[24,26,59,27,189,29,158,7,61,190,32,92],"册","石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa979705b9e03b4cc5259e511244f05ad.jpg","纸本,水墨",[],316,1,{"id":197,"slug":198,"title":199,"dynasty":18,"author":200,"museum":186,"description":201,"tags":202,"thumbUrl":206,"material":207,"size":208,"collection":41,"collections":209,"showCount":210,"zanCount":181,"manualWeight":11,"mainColor":82},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。",[23,24,25,26,203,29,204,7,93,27,30,205],"元代","竹","路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4b847c8b0c63e3561ed3911f46fadb1.jpg","绢本,水墨","26x44cm",[41],315,{"id":212,"slug":213,"title":214,"dynasty":18,"author":19,"museum":111,"description":215,"tags":216,"thumbUrl":218,"material":219,"size":220,"collection":41,"collections":221,"showCount":222,"zanCount":195,"manualWeight":11,"mainColor":46},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。",[23,24,25,28,26,29,217,70,92,30,7,27,35,36,37],"松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4fd7019bd476433d407aa9e87390ada.jpg","白纸本","107.4x32.6",[41,119],274,{"id":224,"slug":225,"title":226,"dynasty":125,"author":227,"museum":53,"description":228,"tags":229,"thumbUrl":232,"material":160,"size":233,"collection":41,"collections":234,"showCount":235,"zanCount":236,"manualWeight":11,"mainColor":82},216244,"san-gu-mao-lu-tu-dai-jin-216244","三顾茅庐图","戴进","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。",[23,24,56,25,28,59,27,29,70,158,30,7,230,92,94,231,60],"竹子","山路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb04d74abf76131e7ffb35a7870d8a078.jpg","172.2x107",[41],244,3,{"id":238,"slug":239,"title":240,"dynasty":51,"author":241,"museum":111,"description":242,"tags":243,"thumbUrl":246,"material":207,"size":247,"collection":248,"collections":249,"showCount":250,"zanCount":251,"manualWeight":11,"mainColor":82},220387,"qing-xi-yu-yin-tu-li-tang-220387","清溪渔隐图","李唐","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。",[23,24,56,57,26,27,36,35,29,93,92,130,244,245,129,7,30,33],"蓑笠","老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4693ec96f6507ba02ebd0808a650e03c.jpg","纵25.2厘米，横144.7厘米","宋画精选",[248],237,4,{"id":253,"slug":254,"title":255,"dynasty":125,"author":256,"museum":257,"description":258,"tags":259,"thumbUrl":263,"material":264,"size":78,"collection":78,"collections":265,"showCount":266,"zanCount":11,"manualWeight":11,"mainColor":82},234196,"fang-shen-zhou-qiu-shan-shu-wu-juan-zhang-hong-234196","仿沈周秋山书屋卷","张宏","藏地不详","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。",[24,25,57,91,59,26,27,29,32,30,93,92,130,94,70,7,96,260,97,261,262],"近岸","植被","船只","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05ab01647707656c2100c6df41243d83.jpg","纸本，设色",[],230,{"id":268,"slug":269,"title":270,"dynasty":51,"author":241,"museum":111,"description":271,"tags":272,"thumbUrl":275,"material":116,"size":276,"collection":41,"collections":277,"showCount":278,"zanCount":181,"manualWeight":11,"mainColor":82},218180,"qiu-jiang-dai-du-tu-li-tang-218180","秋江待渡图","宋朝时期，李唐是一位著名的画家。他的作品《秋江待渡图》是一幅非常出色的水墨画，被认为是宋朝画风的代表作之一。\n\n这幅画描绘的是一个夜晚的景象，展现了秋天的气息。画面中的主人公是一个渔夫，他正站在船尾，眺望远方。他身后是一条江河，江水平静，荡漾着微微波光。空气中弥漫着淡淡的月色和落叶的气息。渔夫似乎在等待什么，也许是夜幕降临后的渔猎，也许是渡江的船只。\n\n这幅画展现了李唐独特的画风，他善于运用水墨画的浓淡变化，描绘出江水平静而又柔和的氛围。画中的色彩也十分丰富，月色柔和，落叶自然，渔夫身上的衣服呈现出深深的紫色。整幅画浓郁的秋意和深沉的气氛使人感到沉静和温馨。",[24,25,28,29,26,27,59,273,130,274,96,70,35,7],"江水","枯藤老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F832191f2125231cc863d337a44ca0a33.jpg","118.6x48.6cm",[41],223,{"id":280,"slug":281,"title":282,"dynasty":125,"author":126,"museum":53,"description":283,"tags":284,"thumbUrl":285,"material":264,"size":286,"collection":41,"collections":287,"showCount":288,"zanCount":181,"manualWeight":11,"mainColor":82},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。",[23,24,25,57,26,59,29,70,7,32,30,92,36,35,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3579c3ee10391bfe105f8f09fe4d831d.jpg","纵31.1厘米，横105.8厘米",[41,119],217,{"id":290,"slug":291,"title":292,"dynasty":125,"author":293,"museum":111,"description":294,"tags":295,"thumbUrl":298,"material":39,"size":299,"collection":41,"collections":300,"showCount":301,"zanCount":11,"manualWeight":11,"mainColor":46},220930,"fang-ni-zan-bi-yi-zhou-dong-qi-chang-220930","仿倪瓒笔意轴","董其昌","董其昌题跋提到曾于苏州王禹声家中见过一幅倪瓒画山水，画上书宋僧法具四首绝句。此作不但追摹倪瓒风格，亦仿原画题诗其上，然依记忆仅抄录其中三首，或因此与原诗稍有出入。王禹声为名宦王鏊（1450-1524）曾孙，曾任承天知府，与董其昌为同榜进士。此作将倪瓒一河两岸式的构图，改为多重山体、水面向远方延伸的深远空间，并倾斜山根水脚所在平面，让画面呈现向左下倾斜的微妙动势；画中林木更见丰盛，山形亦多变而结实，然透过折带皴与带状绵延远山，仍流露出倪瓒画作雅澹的格调。",[23,56,24,25,28,26,29,91,27,37,35,173,32,296,297,7],"远峰","河流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63bd10a4aa8afb51c75dc35585ca53cb.jpg","纵138.8cm，横47cm",[41,43],213,{"id":303,"slug":304,"title":305,"dynasty":125,"author":142,"museum":257,"description":306,"tags":307,"thumbUrl":309,"material":310,"size":311,"collection":78,"collections":312,"showCount":313,"zanCount":236,"manualWeight":11,"mainColor":163},287521,"lin-mao-wu-tu-juan-shen-zhou-287521","林茅屋图卷","沈周（1427年11月21日—1509年8月2日），字启南，号石田，晚号白石翁，明代绘画大师，书法家，文学家，医学家，长洲（今江苏苏州）人。\n沈周出身富裕的书香绘画世家，少时师从陈宽学习诗文， 青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格，在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[23,56,24,25,57,26,59,29,7,204,32,30,93,94,37,35,308],"清逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd357ed146fa7ee50540d33597d420cd.jpg","未知","Xcm*Xcm",[],205,{"id":315,"slug":316,"title":317,"dynasty":87,"author":318,"museum":20,"description":319,"tags":320,"thumbUrl":322,"material":39,"size":323,"collection":41,"collections":324,"showCount":325,"zanCount":195,"manualWeight":11,"mainColor":46},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。",[24,56,25,26,27,29,93,92,94,158,7,321,31,32],"岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F755626b038e7687bb9727373859aa345.jpg","24.4x49.7厘米",[41],191,{"id":327,"slug":328,"title":329,"dynasty":125,"author":330,"museum":111,"description":331,"tags":332,"thumbUrl":333,"material":192,"size":334,"collection":41,"collections":335,"showCount":336,"zanCount":251,"manualWeight":11,"mainColor":82},214827,"cao-tang-yun-shu-tu-wang-fu-214827","草堂云树图","王绂","这幅画描绘了一个溪边的小屋，一个高士在看喷泉和看书；岩石上潦草地画着荷叶，树干和树叶用各种笔法画着，都是王绂的原创风格。",[23,24,25,28,26,27,29,32,31,33,7,158,96,34,30,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3942008c8970d09809b068a18c45de0e.jpg","118x38.7",[41],175,{"id":338,"slug":339,"title":340,"dynasty":125,"author":142,"museum":53,"description":341,"tags":342,"thumbUrl":346,"material":264,"size":347,"collection":78,"collections":348,"showCount":5,"zanCount":195,"manualWeight":11,"mainColor":46},234144,"nan-shan-zhu-yu-tu-shen-zhou-234144","南山祝语图","《南山祝语图》是刻画韩世光所居的“云堂”，韩氏先世为良相，本人为良医，均有泽于世。画面中心主人盘坐在云堂外的石台上，专心守护着丹灶，即点出了韩氏的身份和居处。云堂并无云气缭绕，然阶下栖立仙鹤，周围环以松竹，也显示此堂是营建在山巅云端之间。这种境界有力地衬托出了主人公的品行。沈周此“幽居庄园”类题材的写实山水，无论是表现苏州文人隐居的茅屋斗室或描绘精致幽雅的山庄园林，无论简陋还是宏阔，都强调清宁的环境和舒适的情致，以寄托文人的理想和品格。所取景致，既基于对客观环境的提炼概括，又寓有一定象征意义，或传情达意，或比喻人品。",[23,24,25,57,59,29,343,27,37,36,344,345,94,32,30,7,98,70],"文人画","山","水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1f94f80c3cca93e96c5b2aa322b36d0.jpg","31.5x156.6cm",[],{"id":350,"slug":351,"title":352,"dynasty":87,"author":353,"museum":257,"description":354,"tags":355,"thumbUrl":357,"material":78,"size":78,"collection":43,"collections":358,"showCount":359,"zanCount":195,"manualWeight":11,"mainColor":46},235889,"yuan-ji-huang-shan-you-tu-ce-shi-tao-235889","原济黄山游图册","石涛","此作用笔疏密相宜，淡墨铺陈烟林远景，以浓墨点染近木。几株杂木高低错立，或繁枝遒劲，或疏桠寥落，极简笔触便写尽枯荣姿态。篱边茅斋素朴安然，黛瓦白墙隐于林间，将江南山居的清寂野趣娓娓铺展。\n\n右上角题诗与画作相映成趣，诗书画印融为一体，禅意漫溢其间。笔墨间藏着春日山居的悠然意趣，把胸中林泉化作纸上丘壑，淡远清和，朴拙天真，观之恍若踏入画中，静赏春景，沉潜于物我两忘的幽谧意境之中。",[24,25,26,189,27,29,356,7,230,35],"树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04027f2c689ff46da102ff937cdb3245.jpg",[43,41],163,{"id":361,"slug":362,"title":363,"dynasty":18,"author":364,"museum":186,"description":365,"tags":366,"thumbUrl":369,"material":160,"size":78,"collection":41,"collections":370,"showCount":371,"zanCount":181,"manualWeight":11,"mainColor":82},220127,"mo-zhao-qian-li-qing-lv-shan-shui-hu-ting-hui-220127","摹赵千里青绿山水","胡廷晖","以大青绿设色晕染山峦，石青石绿的厚重色调铺陈出苍古秀润的山川气象。主峰巍峨盘踞，山石勾勒填色间施皴擦，棱角分明又兼具温润质感，层叠峰峦拉开深远空间。\n山间隐现殿宇屋舍，林麓古木森郁，水岸板桥横陈，汀渚渔舟、江亭雅集错落点缀，将隐逸悠然的山居意趣融于山水烟岚之中。\n追摹北宋青绿山水的精工雅致，又裹挟元代山水画的萧散意韵，用色浓丽却不俗艳，勾勒细劲沉稳，章法严整兼具宏阔格局与细腻文心，尽显青绿山水的古典意涵与雅致格调。",[23,24,367,59,91,29,30,32,297,93,130,7,368],"青绿","楼阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8a4204ffb83c828eabda3ee5617bad2.jpg",[41],162,{"id":373,"slug":374,"title":375,"dynasty":87,"author":376,"museum":257,"description":377,"tags":378,"thumbUrl":381,"material":382,"size":383,"collection":41,"collections":384,"showCount":385,"zanCount":11,"manualWeight":11,"mainColor":46},220135,"mo-gu-shan-shui-hua-ce-wang-hui-220135","摹古山水画册","王翚","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。",[23,24,25,189,26,59,29,379,130,93,92,380,30,7,35,91],"枯树","雪景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95e685d005e44893fa629e2b66443b9d.jpg","设色,纸本","30.5×21.5",[41],136,{"id":387,"slug":388,"title":389,"dynasty":87,"author":390,"museum":391,"description":392,"tags":393,"thumbUrl":400,"material":401,"size":402,"collection":41,"collections":403,"showCount":404,"zanCount":181,"manualWeight":11,"mainColor":46},221002,"hua-dao-xi-yang-tu-yun-shou-ping-221002","花岛夕阳图","恽寿平","日本京都国立博物馆","恽寿平山水画初学元黄公望、王蒙，深得冷澹幽隽之致。又以没骨法画花卉、禽兽、草虫，自谓承徐崇嗣没骨花法。创作态度严谨，认为“惟能极似，才能传神。”“每画一花，必折是花插之瓶中，极力描摹，必得其生香活色而后已”。他画法不同一般，是“点染粉笔带脂，点后复以染笔足之”，创造了一种笔法透逸，设色明净，格调清雅的“恽体”花卉画风，而成为一代宗匠。对明末清初的花卉画有“起衰之功”，被尊为“写生正派”，影响波及大江南北，史载：“近日无论江南江北，莫不家家南田，户户正叔，遂有‘常州派'之目”。",[23,24,59,26,57,29,394,61,34,32,395,7,92,396,27,397,172,96,398,114,158,399,72],"夕阳","小船","飞鸟","芦苇","近景","平坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2703852885af6a04ae01bf1fbdb64d9d.jpg","纸本 设色","26cmx111cm",[41,119],134,{"id":406,"slug":407,"title":408,"dynasty":87,"author":318,"museum":409,"description":410,"tags":411,"thumbUrl":413,"material":192,"size":78,"collection":41,"collections":414,"showCount":404,"zanCount":195,"manualWeight":11,"mainColor":82},219708,"yun-shan-yin-ju-tu-gong-xian-219708","云山隐居图","美国大都会艺术博物馆","龚贤（1618-1689），又名岂贤，字半千，又字野遗、岂贤，号半亩，又号柴丈人，江苏昆山人，流寓金陵清凉山。龚贤的艺术造诣居金陵八家之首，现代著名画家黄宾虹、李可染都从他的画法中得到了启迪。一般讲求墨韵者往往以湿墨涂抹，而龚贤明确指出：“墨言韵，明其非湿也，润墨鲜，湿墨死”，具体指出；“皴法先干后湿，故外润而有骨，若先湿后干，则死墨也。” 在他看来，“墨韵”当以“润”为准绳，其意为湿度适可，若太湿，则为“死墨”；且皴染时应先施以干笔，后湿笔晕染，反之则亦为“死墨”。此幅画即湿润得体，笔墨层次分明，以积墨法层层点染，无怪乎时人曰“半千之所以独有千古更在墨”。",[24,28,26,27,29,412,7,158,30,33,36,35],"云山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29001769a3aff696777c6883d1eedcd1.jpg",[41],{"id":416,"slug":417,"title":418,"dynasty":87,"author":419,"museum":420,"description":421,"tags":422,"thumbUrl":424,"material":116,"size":425,"collection":41,"collections":426,"showCount":427,"zanCount":181,"manualWeight":11,"mainColor":46},214486,"he-yi-shan-shui-tu-ce-he-yi-214486","赫奕山水图册","赫奕","旅顺博物馆","清代画家赫奕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，体现了赫奕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赫奕是清代著名的画家，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，赫奕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，也体现了赫奕对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到赫奕的画风魅力，还能了解中国传统的山水风情。",[23,56,24,25,189,26,27,29,32,7,30,423],"水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c971e483bde479efdfd6ef31b912533.jpg","34x25cm",[41],133,{"id":429,"slug":430,"title":431,"dynasty":18,"author":19,"museum":257,"description":432,"tags":433,"thumbUrl":436,"material":310,"size":311,"collection":78,"collections":437,"showCount":438,"zanCount":195,"manualWeight":11,"mainColor":82},287593,"chun-shan-du-shu-tu-wang-meng-287593","春山读书图","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。",[24,56,26,28,29,27,158,30,94,7,434,435,36,70,61],"读书","山居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08f4beaf0ca1e1f9e9ad8ca3a4d4a7f2.jpg",[],126,{"id":440,"slug":441,"title":442,"dynasty":87,"author":443,"museum":444,"description":445,"tags":446,"thumbUrl":447,"material":116,"size":448,"collection":41,"collections":449,"showCount":438,"zanCount":11,"manualWeight":11,"mainColor":46},219759,"shan-shui-si-jing-zhi-qiu-kun-can-219759","山水四景之秋","髡残","大英博物馆","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。",[23,24,25,29,26,27,379,130,92,61,7,34,32,262,297,30,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e29d3f4bec003b725d9d06422d2ffca.jpg","纵31.8cm 横65cm",[41],{"id":451,"slug":452,"title":453,"dynasty":87,"author":376,"museum":444,"description":454,"tags":455,"thumbUrl":457,"material":116,"size":458,"collection":41,"collections":459,"showCount":460,"zanCount":11,"manualWeight":11,"mainColor":46},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",[24,25,189,26,27,456,29,32,30,92,96,7,35],"仿古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5d8cb08718af9c20fbb39bcf2df2b19.jpg","25x35.4cm",[41],123,{"id":462,"slug":463,"title":464,"dynasty":125,"author":293,"museum":53,"description":465,"tags":466,"thumbUrl":467,"material":192,"size":468,"collection":41,"collections":469,"showCount":470,"zanCount":11,"manualWeight":11,"mainColor":46},220096,"fang-ju-ran-shan-shui-tu-dong-qi-chang-220096","仿巨然山水图","本幅近景画丘坡茅亭、高树疏林，中部为碧波平湖，远处绘峰峦苍莽、草木华滋。用笔松秀灵活，用墨清妍润泽，意境萧散飘逸。\u2028　　画中自题仿巨然，但仔细观之，该画除立意、布景略有巨然遗风外，更多地显现的是董其昌晚年秀逸潇洒的风格。",[23,24,29,26,27,91,36,37,35,344,356,158,7,98,321,380],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67492efb0d8fa7648850e9c9e7471a69.jpg","纵101.7厘米，横46.7厘米",[41,43],115,{"id":472,"slug":473,"title":474,"dynasty":18,"author":475,"museum":53,"description":476,"tags":477,"thumbUrl":487,"material":488,"size":489,"collection":41,"collections":490,"showCount":491,"zanCount":236,"manualWeight":11,"mainColor":46},221721,"wu-jia-he-hui-juan-zhao-yong-wang-mian-zhu-de-run-zhang-guan-fang-cong-yi-221721","五家合绘卷","赵雍 王冕 朱德润 张观 方从义","《元五家合绘》卷，元，赵雍、王冕、朱德润、张观、方从义作。\n此卷包括元代5位画家的5件绘画作品，作品尺幅相近，后人将其合裱为一卷。\n其一《松溪钓艇图》，元，赵雍作，纸本，墨笔，纵30厘米，横52.8厘米。\n款署：“至正二十年二月既望仲穆画。”钤“仲穆”、“魏国世家”。另有清乾隆皇帝御题诗及鉴藏印。至正二十年为1360年，赵雍时年72岁。图绘近岸坡石双松，孤舟钓叟，隔水平峦远岫，意境清幽，笔墨苍润。\n（二）《墨梅图》，元，王冕作，纸本，墨笔，纵31.9厘米，横50.9厘米。\n自题：“吾家洗研池头树，个个花开淡墨痕。不要人夸好颜色，只流清气满乾坤。王冕元章为良佐作。”钤“元章”、“文王子孙”。另有清乾隆皇帝御题诗及鉴藏印。画面中一枝梅花横出，枝干秀挺，花朵疏朗。以淡墨点染花瓣，再以浓墨勾点萼蕊，墨色清润，高情逸趣溢于笔端，表达了作者藉墨梅标榜清高孤洁的思想情感。\n曾经清人梁清标和清内府收藏，《石渠宝笈·续编》著录。\n（三）《松溪放艇图》，元，朱德润作，纸本，墨笔，纵31.5厘米，横52.6厘米。\n自题：“丑石半蹲山下虎，长松倒卧水中龙。试君眼力知多少，数到云峰第几重。朱泽民。”钤“朱泽民氏”。另有清乾隆皇帝御题诗及鉴藏印。\n图绘巨石怪松，孤舟徐行。画松枝用笔爽利迅捷，坡石皴法温润，人物用白描法，笔简意浓。\n曾经明沈周、清安岐收藏。\n（四）《疏林茅屋图》，元，张观作，纸本，墨笔，纵25.8厘米，横59.6厘米。\n款署：“至正戊戌八月，张观制。”另有清乾隆皇帝御题诗及安岐鉴藏印。至正戊戌为元至正十八年（1358年）。\n图画平坡老树，茅舍掩映，水阔山远，清雅控幽。树木勾点结合，错落有致，坡石用墨湿润，画风承北宋李成、郭熙一脉。\n（五）《山水图》，元，方从义作，纸本，墨笔，纵26.5厘米，横45.3厘米。\n款署：“方方壶作。” 另有清乾隆皇帝御题诗及明项元汴等多家鉴藏印。\n图画密林茅舍，小桥流水。画面景物丰满，墨色浓淡相间，笔法灵活潇洒。",[23,24,25,57,26,27,35,29,356,245,130,478,30,423,479,70,480,481,7,482,483,158,379,174,262,484,485,486],"梅","渔船","远岫","岸","枝干","花","山间","草木","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ad6676a3f8f4d776bd2cf92396b87c9.jpg","纸本，墨笔","纵30cm，横52.8cm",[41,43],111,{"id":493,"slug":494,"title":495,"dynasty":87,"author":353,"museum":257,"description":496,"tags":497,"thumbUrl":499,"material":310,"size":311,"collection":78,"collections":500,"showCount":501,"zanCount":195,"manualWeight":11,"mainColor":46},287452,"yi-jin-ling-ce-shi-tao-287452","忆金陵册","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。",[24,189,26,36,35,27,29,379,7,30,498,435],"明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4024d85ab10042e974297b9aa2ce45b2.jpg",[],103,{"id":503,"slug":504,"title":505,"dynasty":125,"author":126,"museum":257,"description":506,"tags":507,"thumbUrl":509,"material":310,"size":311,"collection":78,"collections":510,"showCount":511,"zanCount":195,"manualWeight":11,"mainColor":163},290851,"shan-shui-zhou-tang-yin-290851","山水轴","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”。",[56,24,28,26,29,158,7,70,30,92,36,35,27,508],"闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F107880d5a5ec31ccbe0869de6e5ceedf.jpg",[],98,{"id":513,"slug":514,"title":515,"dynasty":87,"author":318,"museum":20,"description":516,"tags":517,"thumbUrl":518,"material":519,"size":520,"collection":41,"collections":521,"showCount":522,"zanCount":195,"manualWeight":11,"mainColor":46},222611,"shan-shui-ba-jing-ce-gong-xian-222611","山水八景册","龚贤（1618-1689年），一名岂贤，字半千，号半山野人，江苏昆山人，寓居南京（今江苏南京）。擅画山水，用墨层层染渍，独创一格。为“金陵八家”之首。\n龚贤在明朝末年曾参与“复社”力图改变时弊，入清后不好仕进，以鬻画、课徒为生。康熙六年（1667年），龚贤在南京清凉山下隐居，筑半亩园，不履市井，潜心研习山水画创作，著有《香草堂集》、《画诀》、《龚半千授徒画稿》等著作。\n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。龚贤的绘画技法远追五代董源、宋代米氏父子、元代吴镇的绘画风格而自成一家。从龚贤书于卷尾的落款看，他在创作此卷时借鉴了沈周、文徵明的笔墨意韵。是卷作于康熙廿三年（1684），作者时年67岁。",[23,24,26,27,189,29,379,7,34,146,96,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F916def8a20ec4b554a2eb8de0cf5329f.jpg","纸","纵24.4 厘米 横49.7 厘米",[41,43],92,{"id":524,"slug":525,"title":526,"dynasty":125,"author":527,"museum":528,"description":529,"tags":530,"thumbUrl":533,"material":160,"size":534,"collection":134,"collections":535,"showCount":536,"zanCount":251,"manualWeight":11,"mainColor":82},220412,"feng-yu-gui-cun-tu-xie-shi-chen-220412","风雨归村图","谢时臣","美国克利夫兰艺术博物馆","《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。",[23,24,25,57,29,59,27,70,93,92,130,244,368,32,30,479,7,34,531,532],"风雨","村落","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45cff486492d2e306434488295267ef7.jpg","40.3×425.4",[134,119],91,{"id":538,"slug":539,"title":540,"dynasty":87,"author":353,"museum":53,"description":541,"tags":542,"thumbUrl":547,"material":264,"size":548,"collection":549,"collections":550,"showCount":551,"zanCount":11,"manualWeight":11,"mainColor":46},233771,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233771","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。",[56,24,25,543,544,26,59,29,36,37,27,158,7,61,545,546,70,30,95,98],"册页","清代","平原","烟树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa60253ab4b37909a1fca2e563c4ae780.jpg","纵27厘米，横21.3厘米","花鸟画精选",[549,41,119],87,{"id":553,"slug":554,"title":555,"dynasty":556,"author":557,"museum":111,"description":558,"tags":559,"thumbUrl":561,"material":39,"size":562,"collection":41,"collections":563,"showCount":564,"zanCount":11,"manualWeight":11,"mainColor":82},221014,"shan-shan-tu-juan-dai-kui-221014","剡山图卷","晋","戴逵","戴逵（326－396年），字安道，谯郡铚县（今安徽省濉溪县临涣镇）人。东晋时期隐士、美术家、雕塑家，金城太守戴绥之子。\n\n早年师从名儒范宣，博学多才，善于鼓琴，工于绘画人物和山水。终身不仕，坚拒太宰武陵王（司马晞）召命和王徽之雪夜拜访。\n\n孝武帝司马曜即位，累次征辟，全部不就。太元二十一年，去世。著有《戴逵集》9卷，今已散佚。",[23,56,24,25,57,59,27,29,61,32,30,7,560,35,98],"坡地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b825446ccfc90b423b206be2232fcac.jpg","38.4x615",[41,119],84,{"id":566,"slug":567,"title":568,"dynasty":18,"author":569,"museum":111,"description":570,"tags":571,"thumbUrl":572,"material":192,"size":573,"collection":41,"collections":574,"showCount":564,"zanCount":195,"manualWeight":11,"mainColor":46},218168,"xi-ting-qiu-se-tu-zhao-yuan-218168","溪亭秋色图","赵原","《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。",[23,24,26,28,27,36,35,29,94,32,30,92,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f3876b8debab1f36f397d0417acb9bd.jpg","纵61.4厘米，横26厘米",[41],{"id":576,"slug":577,"title":578,"dynasty":87,"author":579,"museum":53,"description":580,"tags":581,"thumbUrl":584,"material":192,"size":585,"collection":41,"collections":586,"showCount":587,"zanCount":11,"manualWeight":11,"mainColor":46},218482,"he-lin-yan-yu-tu-cha-shi-biao-218482","鹤林烟雨图","查士标","查士标（1615-1698）字二瞻，号梅壑散人，懒老。安徽休宁人，后寓扬州。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。专事书画，家藏甚富，鼎彝及宋、元真迹皆有，遂精鉴赏，他的山水画，笔墨疏简，风神嫩散，气韵荒寒，晚年画风突变。是明末清初新安派“海阳四家”（江韬、查士标、孙逸、汪之瑞）之一。他的书法以行书、草书见长，书出米、董，上追颜真卿，颇得精要。时称米、董再生，名重天下。行笔俊逸豪放、神韵深邃。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。山水初学倪瓒，后参用吴镇、董其昌法，笔墨疏简，空旷荒寒。与弘仁、孙逸、汪之瑞并称“新安四大家”（即海阳四家）。著有《种书堂遗稿》等。",[23,24,25,28,26,27,29,34,158,582,7,583,30,32],"山峰","烟雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f6f5fc63963b4d7a5fd292f187630f0.jpg","159.5x53.3cm",[41],82,{"id":589,"slug":590,"title":591,"dynasty":125,"author":155,"museum":111,"description":592,"tags":593,"thumbUrl":598,"material":192,"size":599,"collection":600,"collections":601,"showCount":602,"zanCount":195,"manualWeight":11,"mainColor":82},214310,"shu-wu-yan-lv-shi-wen-zheng-ming-214310","书五言律诗","文征明是一位书法和绘画的大师，他掌握了所有的书法风格。在他的中年时期，王羲之是他的主干，但在晚年，他转向了黄庭坚，因为他的书法风格很棒。这幅画是一首诗，是为溪山欲雪图所赋诗作。",[23,25,36,28,37,26,35,594,344,356,595,7,596,597],"雪","野水","断桥","暮天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3543250656e1928131681cb826744966.jpg","191x72.2","书法精选",[600],81,{"id":604,"slug":605,"title":606,"dynasty":51,"author":241,"museum":111,"description":607,"tags":608,"thumbUrl":612,"material":160,"size":613,"collection":41,"collections":614,"showCount":615,"zanCount":11,"manualWeight":11,"mainColor":82},218820,"dong-jing-shan-shui-li-tang-218820","冬景山水","这幅画描绘了一个雪白的函谷关，有一条浅浅的小溪，两队牛车跋涉过关，来到一个温暖的休息场所，在那里他们可以温酒纳凉。它的署名是：晞古李唐。",[23,24,25,26,27,59,29,379,609,7,130,98,610,611,30,423],"积雪","寒林","冬景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14280f0a855ef351b9fed104cff2b2b6.jpg","28.4x25.9",[41],79,{"id":617,"slug":618,"title":619,"dynasty":87,"author":376,"museum":257,"description":620,"tags":621,"thumbUrl":622,"material":78,"size":78,"collection":78,"collections":623,"showCount":624,"zanCount":11,"manualWeight":11,"mainColor":46},237591,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237591","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》。",[56,24,25,189,26,27,29,368,93,92,130,94,32,31,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F724471d5eaa3cabd10d34c299b6fd545.jpg",[],77,{"id":626,"slug":627,"title":628,"dynasty":125,"author":142,"museum":257,"description":629,"tags":630,"thumbUrl":631,"material":78,"size":78,"collection":78,"collections":632,"showCount":633,"zanCount":11,"manualWeight":11,"mainColor":46},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。",[23,24,25,57,59,27,29,32,130,70,7,92,30,129,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1dd651f9864f373fed8f9382256e76e.jpg",[],76,{"id":635,"slug":636,"title":637,"dynasty":18,"author":638,"museum":53,"description":639,"tags":640,"thumbUrl":642,"material":264,"size":643,"collection":41,"collections":644,"showCount":633,"zanCount":195,"manualWeight":11,"mainColor":82},221711,"you-ju-tu-juan-qian-xuan-221711","幽居图卷","钱选","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。",[23,56,24,25,57,59,60,36,35,29,32,95,395,30,158,96,641,7],"近水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8cf429f09a10060fba89347fd3819ea.jpg","纵27厘米, 横115.9厘米",[41,119],{"id":646,"slug":647,"title":648,"dynasty":18,"author":19,"museum":111,"description":649,"tags":650,"thumbUrl":651,"material":39,"size":652,"collection":41,"collections":653,"showCount":654,"zanCount":195,"manualWeight":11,"mainColor":82},220814,"shan-zhong-gui-yin-tu-wang-meng-220814","山中归隐图","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。",[23,24,56,29,26,28,27,344,345,32,31,7,321],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F379454c3f48628ae11d76f352c7e53a4.jpg","该幅 140.7x53.4公分；全幅 78公分",[41,43],74,{"id":656,"slug":657,"title":658,"dynasty":125,"author":659,"museum":53,"description":660,"tags":661,"thumbUrl":663,"material":264,"size":664,"collection":41,"collections":665,"showCount":666,"zanCount":11,"manualWeight":11,"mainColor":46},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。",[23,24,57,59,27,29,93,92,94,32,7,130,70,662,30,205],"田亩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F318c928a273f8a65e6b7ff89c010e31d.jpg","纵34.8厘米，横713.5厘米",[41,119],73,{"id":668,"slug":669,"title":670,"dynasty":87,"author":671,"museum":53,"description":672,"tags":673,"thumbUrl":678,"material":116,"size":679,"collection":41,"collections":680,"showCount":666,"zanCount":195,"manualWeight":11,"mainColor":46},218377,"tao-yuan-tu-wu-wei-ye-218377","桃源图","吴伟业","此画近景一片崎岖不平的丘陵地带，山势平缓，山头林立，如鱼鳞状似的。山间松柏竞相生长，间以杂木和草木遍布山间和山脚下，远见为山重水复，一片又一片宽阔平坦的田野，沃土月巴田，田畴连遍，犹如龟背纹一般。阡陌间和丛树下村舍遍布。在平坦的平野上有宽阔的湖泊，如镶嵌着一面面平镜，闪烁发光。湖面两岸桃林遍野，鲜花盛开，在湖间渔舟忙碌地来回如穿梭似的。山中疏树流泉，白云缭绕。后纸有近代颜乙题记四段，曾经近代任振廷收藏。",[23,24,25,57,59,60,27,36,37,35,29,674,61,297,675,32,93,92,676,34,7,677,33],"桃花","村庄","人家","梯田","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa11e4a5643cc8a463685f001fe4aa2ef.jpg","纵29.4厘米，横375.1厘米",[41],{"id":682,"slug":683,"title":684,"dynasty":18,"author":685,"museum":686,"description":687,"tags":688,"thumbUrl":689,"material":192,"size":690,"collection":41,"collections":691,"showCount":692,"zanCount":181,"manualWeight":11,"mainColor":46},217990,"lin-ting-yuan-xiu-tu-tao-xuan-217990","林亭远岫图","陶铉","香港中文大学文物馆","“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。",[24,25,26,28,29,27,94,96,356,204,30,92,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeb9601a60ed15025f72dd5d7116adea.jpg","58x31.7cm",[41,43],72,{"id":694,"slug":695,"title":696,"dynasty":87,"author":697,"museum":257,"description":698,"tags":699,"thumbUrl":701,"material":78,"size":78,"collection":78,"collections":702,"showCount":703,"zanCount":181,"manualWeight":11,"mainColor":82},224431,"song-feng-die-zhang-tu-wang-shi-min-224431","松风叠嶂图","王时敏","此作用全景式构图铺展丘壑，主峰崔嵬凌天，层峦迤逦延展，兼具高远之雄与深远之幽。以披麻皴写山石肌理，笔触松秀温润，浅绛设色晕染柔和，古雅苍润间带着清和明丽。\n苍松虬枝横斜，涧谷飞泉隐现，山居茅舍错落掩映于林麓间，处处透着幽寂闲逸的林下意趣。题款书法清雅隽秀，与山水笔墨浑然相融，尽显宋元文人画平淡天真的意韵，将林泉高致的静穆之美，尽数凝于尺幅之间，是追摹古意又暗含己心的山水佳制。",[23,24,700,59,27,158,582,92,32,30,7,93,31],"山水画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84858b1ff2685d5dbd3bc173639e5d99.jpg",[],71,{"id":705,"slug":706,"title":707,"dynasty":87,"author":318,"museum":257,"description":708,"tags":709,"thumbUrl":710,"material":78,"size":78,"collection":78,"collections":711,"showCount":712,"zanCount":195,"manualWeight":11,"mainColor":46},229006,"si-jing-shan-shui-ce-ye-gong-xian-229006","四景山水册页","此作用笔清润简淡，近处坡岸错落，双木挺秀疏朗，苔点晕染出苍润生机。山岩以积墨慢皴，留白衬出山光空濛，半崖茅庐隐于林木间，飞瀑垂落，似可听闻水石相击之音。\n墨色枯润相济铺陈层次，留白烘托山野空濛之致，将林泉高致的隐逸静雅缓缓铺展。笔意简净却藏醇厚诗意，尽显萧散淡远的林下之风，将幽居山野的清寂雅趣揉进每一处笔墨里，尽显幽寂淡远的林泉之美。",[24,26,27,189,29,30,32,7,98,261],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb657688f425d059954c787646ca1cb62.jpg",[],67,{"id":714,"slug":715,"title":716,"dynasty":87,"author":717,"museum":718,"description":719,"tags":720,"thumbUrl":722,"material":39,"size":723,"collection":78,"collections":724,"showCount":712,"zanCount":11,"manualWeight":11,"mainColor":82},214350,"san-jue-shan-shui-ce-12-hua-yan-214350","三绝山水册-12","华嵒","美国弗利尔美术馆","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。",[23,24,25,189,26,27,29,30,32,7,721,35],"题字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d645bd7614b93420bcf09623d61f35a.jpg","23.4x15.8",[],{"id":726,"slug":727,"title":728,"dynasty":18,"author":19,"museum":53,"description":729,"tags":730,"thumbUrl":731,"material":39,"size":732,"collection":78,"collections":733,"showCount":734,"zanCount":11,"manualWeight":11,"mainColor":46},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。",[24,25,28,26,59,27,29,7,32,30,92,395,70,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06eebb0aebdc366ff00a27db47c4ad97.jpg","纵97cm ，横27.2cm",[],66,{"id":736,"slug":737,"title":738,"dynasty":125,"author":659,"museum":739,"description":740,"tags":741,"thumbUrl":743,"material":744,"size":745,"collection":43,"collections":746,"showCount":747,"zanCount":11,"manualWeight":11,"mainColor":163},222229,"song-feng-gao-shi-tu-wen-bo-ren-222229","松风高士图","辽宁省博物馆","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。",[23,24,26,27,28,29,217,742,93,92,30,32,7],"高士","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9139afd4faa992b004cff6b1ffd56da6.jpg","设色纸本","98.7cm×27.6cm",[43,119],64,{"id":749,"slug":750,"title":751,"dynasty":87,"author":752,"museum":53,"description":753,"tags":754,"thumbUrl":755,"material":192,"size":756,"collection":41,"collections":757,"showCount":758,"zanCount":11,"manualWeight":11,"mainColor":46},218497,"fang-mei-dao-ren-xia-shan-yu-ji-tu-wu-li-218497","仿梅道人夏山雨霁图","吴历","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。",[23,24,25,28,26,27,91,29,93,92,32,61,7,33,321],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff3af964d48c19eeba1aedf541e32e4c.jpg","94.5x35cm",[41],62,{"id":760,"slug":761,"title":762,"dynasty":87,"author":353,"museum":257,"description":496,"tags":763,"thumbUrl":765,"material":78,"size":78,"collection":41,"collections":766,"showCount":767,"zanCount":195,"manualWeight":11,"mainColor":46},237470,"yuan-ji-tao-shi-cai-ju-tu-zhou-shi-tao-237470","原济陶诗采菊图轴",[24,26,28,29,27,344,158,379,321,7,764],"苔点","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3235b3438219ed07d2bd0482e005116.jpg",[41,43],61,{"id":769,"slug":770,"title":771,"dynasty":125,"author":256,"museum":257,"description":772,"tags":773,"thumbUrl":777,"material":310,"size":311,"collection":78,"collections":778,"showCount":779,"zanCount":11,"manualWeight":11,"mainColor":46},237824,"fang-zhang-seng-yao-mei-gu-shan-shui-shan-zhang-hong-237824","仿张僧繇没骨山水扇","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。",[24,774,775,59,91,29,130,32,7,96,297,776,35],"扇面","没骨山水","红叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3e8df82dfc9d045a62c3ee52c28183e.jpg",[],60,{"id":781,"slug":782,"title":783,"dynasty":87,"author":784,"museum":257,"description":785,"tags":786,"thumbUrl":787,"material":310,"size":311,"collection":78,"collections":788,"showCount":789,"zanCount":195,"manualWeight":11,"mainColor":46},224476,"fang-hui-chong-bi-yi-shan-mian-wang-jian-224476","仿惠崇笔意扇面","王鉴","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。",[23,56,24,25,774,59,26,27,29,130,396,32,7,230,96,297,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9764580d2c6dd6fa1298ad7da313bc76.jpg",[],59,{"id":791,"slug":792,"title":793,"dynasty":125,"author":794,"museum":111,"description":795,"tags":796,"thumbUrl":798,"material":177,"size":78,"collection":78,"collections":799,"showCount":800,"zanCount":11,"manualWeight":11,"mainColor":46},222202,"hua-zhu-shen-he-jing-ce-ye-chou-ying-222202","画竹深荷静册页","仇英","仇英（约1498年—约1552年）， 字实父，号十洲，原籍江苏太仓，后移居吴县（今苏州），明代绘画大师。\n仇英出身寒门，幼年失学，曾习漆工，后拜师周臣，成为画家。\n仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。\n综述:\n仇英的山水画多学赵伯驹、刘松年，发展南宋李唐、刘松年、马远、夏圭的“院体画”传统，综合融会前代各家之长，即保持工整精艳的古典传统，又融入了文雅清新的趣味，形成工而不板、研而不甜的新典范，还有一种水墨画，从李唐风格变化而来，作界画楼阁，尤为细密。\n仇英擅人物画，尤工仕女，重视对历史题材的刻画和描绘，吸收南宋马和之及元人技法，笔力刚健，特擅临摹，粉图黄纸，落笔乱真。尤善于用粗细不同的笔法表现不同的对象，或圆转流畅，或顿挫劲利，既长设色，又善白描。人物造型准确，概括力强，形象秀美，线条流畅，有别于时流的板刻习气，直趋宋人室，对后来的尤求、禹之鼎以及清宫仕女画都有很大影响，成为时代仕女美的典范，后人评其工笔仕女，刻画细腻，神采飞动，精丽艳逸，为明代之杰出者\n纵观仇英的山水画，大致具有如下几个鲜明的特点：\n首先，在境界上不一味追求富丽堂皇或空漠冷寂的气氛，而在“秀雅纤丽”中有一种飘逸优雅的气息。所作山水多为表现士大夫林泉诗酒生活和清新旷远之自然景色。由于仇英出身贫寒、读书不多，其画作中也少有诗文题跋，一般仅于画幅边角落款，未有诗画结合之面貌。但是所画丘壑泉石、烟云竹树、亭台楼阁、人物景色皆精描细染而又不失清秀雅逸的气韵。特别是他描写文人高士隐遁生活的作品，如《桃源高隐图》《蕉荫结夏图》《月下吹笛图》《园居图》《春夜宴桃李园图》等，无时不流露其隽秀飘逸的情怀，画卷气溢于笔墨之中。\n其次，仇英的山水画虽隽逸优雅，“士气”十足，却少有一般文人画家笔下那种冷寂空疏的情调，而总是流溢出清新明丽的气氛，有的作品还充满蓬勃欢乐的意趣。如《莲溪渔隐图》中平远山水、溪岸水畔、房屋堂轩、茅舍鱼罟、田亩葱郁、小桥相通、行人往来，画面布局清旷，一片江南夏日情景，极富生活气息，给人以可游可居之感。再看描绘四川剑门关景色的《剑阁图》，画面峰峦重迭，远处是皑皑的雪崖雪峰，近处是重彩辉映的山峦，陡峭的绝壁上树木茂密，残雪覆盖，在崎岖的栈道上，人马众多，或隐或现迎面而来。人马动态各异，行人身着各式冬装，无不具体生动。此画画风工整，色彩浓艳，丰满壮观，可谓仇英青绿画法的代表作。仇英作品中这种浓艳而清新、壮阔而平朴的审美意趣与明中期整个美学思想的世俗化倾向相一致。\n第三，仇英的山水画风格虽源于传统青绿和“院体”画法，但并不拘于一家一派的面貌。就其整个山水画而言，在技法上可分为三类：一是较为纯正的大青绿山水，山石勾勒后不用细皴，山脚以赭石分，以青绿重色染石面，然后每一块面再加染石绿，或分以石青，使各山色协调而有分别，树木云岫勾勒精细。其《九成宫图》《桃源仙境图》等属此类典型之作。二是青绿画法与水墨画法相融合的一类。通常近处山石用小斧劈细细皴成，用青绿法以绿与石青相间染出，色不凝笔。远峰不作皴笔，以花青或石青、石绿和墨渍染而成，似有董源或沈、文画法之精神。《秋江待渡图》《莲溪渔隐图》《仙山楼阁图》等为此类代表作。三是以水墨皴染为主的画法，此类画法得到刘松年、李唐院体家法，山石用细笔小斧劈法，分面细，然于阴暗处和墨淋之，立即又以清水接染，绢地不吸水，故能产生含混融和的意趣，略见吴派绘画之影响。树法中增强转折趣味，衬以夹叶，叶叶分明，一枝一叶无不与实景契合。《松亭试泉图》《松溪论画图》等均属此类画法。",[23,24,25,774,60,59,29,204,797,32,7,30],"荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F878a5dc84b1d01f557f1f963ad693448.jpg",[],58,{"id":802,"slug":803,"title":804,"dynasty":87,"author":784,"museum":257,"description":805,"tags":806,"thumbUrl":807,"material":39,"size":78,"collection":41,"collections":808,"showCount":809,"zanCount":11,"manualWeight":11,"mainColor":82},238971,"wang-jian-shan-shui-tu-zhou-wang-jian-238971","王鉴山水图轴","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。",[56,24,25,28,26,27,29,94,92,32,30,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc7418118584b0267cf220052b12893a.jpg",[41,43],57,{"id":811,"slug":812,"title":813,"dynasty":18,"author":814,"museum":815,"description":816,"tags":817,"thumbUrl":818,"material":192,"size":819,"collection":41,"collections":820,"showCount":809,"zanCount":195,"manualWeight":11,"mainColor":46},219934,"tan-you-gui-lai-tu-zhu-de-run-219934","探友归来图","朱德润","金贝尔艺术博物馆","朱德润字泽民，号睢阳山人，又号旹杰，其擅山水，初学许道宁，后法郭熙，所画多作溪山清远、峰岳耸秀、林木挺健，山石用卷云皴，树作蟹爪枝，颇具真实感。",[23,24,25,57,26,27,29,93,92,130,356,30,34,70,7,35,36,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff72957dd60af3e3d5c952f9e954c2d1e.jpg","28.2x119.3",[41],{"id":822,"slug":823,"title":824,"dynasty":87,"author":825,"museum":257,"description":826,"tags":827,"thumbUrl":835,"material":78,"size":78,"collection":78,"collections":836,"showCount":837,"zanCount":195,"manualWeight":11,"mainColor":46},230145,"yang-zheng-tu-ce-quan-shi-ye-leng-mei-230145","养正图册全十页","冷枚","《冷枚养正图册》是清代画家冷枚创作的一幅绢本设色画。\n《冷枚养正图册又称《圣功图》，是带有启蒙教育性质的作品，明清两代均有绘制。\n此套册页共1开，画面内容皆为历代贤明君主的故事。\n每开对题均有张若蔼书写对应故事情节的文字。\n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。\n署款：“臣冷枚敬画。\n”钤“臣冷枚”印。\n此册虽为人物画，但作为背景的楼阁宫阙占有相当的比重，不难看出西方技法对画家的影响。\n建筑物的画法适当借用了 ，并力图在设色上用晕染的深浅表现构件的明暗关系，突出建筑的立体感。\n从作品整体看，构图、线条、色彩并没有摆脱明代画家仇英的设色界画系统，画面带有较多的装饰色彩和平面感觉，在表现建筑的体积感和建筑材料的质感上尚显不足。\n冷枚，生卒年不洋，约生活十公元17世纪后期至18世纪前期，字吉臣，号令门画史，胶州（今属山东）人。\n曾经跟随康熙时宫廷画家焦秉贞学俩，约丁康熙中期进入宫廷供职，直至乾隆七年尚在。\n擅长画人物、什女及山水，面风工整、细致，色彩较浓丽，具有装饰性。\n画法得力曲面写生，上中带写，白康熙到乾隆末，糅合中两技法之画风在画院内颇为盛行，而且影响到民间艺术，冷枚为此技弦之积极推行者。\n传世作品有《避馨山庄图》等。",[543,24,828,829,830,60,831,832,833,7,32,36,834],"绢本设色","人物画","界画","晕染","历史故事画","贤君故事","启蒙教育","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd99c5bbc18613ed7885de8cc288a9d11.jpg",[],56,{"id":839,"slug":840,"title":841,"dynasty":125,"author":842,"museum":739,"description":843,"tags":844,"thumbUrl":845,"material":488,"size":846,"collection":43,"collections":847,"showCount":848,"zanCount":195,"manualWeight":11,"mainColor":46},222083,"mo-bi-shan-shui-ren-wu-zhou-you-qiu-222083","墨笔山水人物轴","尤求","此幅完全以水墨绘制，笔法精细，功力深厚。远处丛山峻岭，山巅墨色如黛；中部一棵松树绘画清晰，枝杆细长，松枝自然伸展；近处厅一座，厅前几位雅士席地而坐，侃侃而谈，四周绿树环抱。尤求，字子求，工山水，善人物，明代画家。",[23,24,25,28,26,60,27,29,70,32,92,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6786c4d9ae057bd41bb8eba3527de43a.jpg","50.7x126.2cm",[43],55,{"id":850,"slug":851,"title":852,"dynasty":125,"author":142,"museum":853,"description":854,"tags":855,"thumbUrl":856,"material":116,"size":857,"collection":78,"collections":858,"showCount":859,"zanCount":11,"manualWeight":11,"mainColor":82},220012,"dong-zhuang-tu-ce-zhi-xi-xi-shen-zhou-220012","东庄图册之西溪","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。",[23,24,29,26,27,189,204,92,94,30,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffae0634223bab0bddda020aa4d2825f9.jpg","纵28.6厘米，横33厘米",[],54,{"id":861,"slug":862,"title":863,"dynasty":125,"author":864,"museum":444,"description":865,"tags":866,"thumbUrl":868,"material":160,"size":869,"collection":41,"collections":870,"showCount":871,"zanCount":11,"manualWeight":11,"mainColor":82},219739,"xue-xi-zai-he-tu-lan-ying-219739","雪溪载鹤图","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",[23,24,25,29,59,27,594,33,130,867,32,30,7,380,61],"鹤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c18c1ed7f1b694637bbfe4ff1320c4.jpg","纵75.6横36.5厘米",[41],53,{"id":873,"slug":874,"title":505,"dynasty":87,"author":875,"museum":111,"description":876,"tags":877,"thumbUrl":878,"material":192,"size":879,"collection":41,"collections":880,"showCount":871,"zanCount":195,"manualWeight":11,"mainColor":46},219481,"shan-shui-zhou-huang-ding-219481","黄鼎","这幅画中，江亭空旷，江山深邃，秀美。",[24,26,28,27,35,29,356,30,93,7,92],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff353d9af0a3e032c79871c2d0edac77a.jpg","78x39.3",[41],{"id":882,"slug":883,"title":884,"dynasty":125,"author":864,"museum":111,"description":885,"tags":886,"thumbUrl":887,"material":160,"size":888,"collection":41,"collections":889,"showCount":871,"zanCount":11,"manualWeight":11,"mainColor":82},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。",[24,25,28,59,29,94,92,130,356,30,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dc24749ccb3e2b4cacaa976f90dcd98.jpg","145.8x71.6",[41],{"id":891,"slug":892,"title":893,"dynasty":125,"author":293,"museum":409,"description":894,"tags":895,"thumbUrl":896,"material":897,"size":898,"collection":600,"collections":899,"showCount":900,"zanCount":11,"manualWeight":11,"mainColor":46},220961,"jing-xi-zhao-yin-tu-juan-dong-qi-chang-220961","荆溪招隐图卷","《荆溪招隐图》，图上有题识：“荆溪招隐图。辛亥人日董玄宰写于宝鼎斋。”图后又附一篇长文题记：“此余辛亥岁为澈如光禄作也，今年予自田间被征，与澈如同一启事。予既已誓墓不出，而澈如亦意在鸿冥。余举赠友人诗，题此卷曰：我如远山云，君如朝日暾。出处各有宜，何必鹤与猿。惟容避世者，终老桃花源。澈如携此游江门，时以展之。去余不作红稚圭举止也。癸丑八月中秋后三日华亭年弟董其昌书于吴昌舟次。”",[23,24,25,57,26,29,27,343,36,37,35,61,32,71,93,92,34,532,98,30,100,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F430208679d199a4467c6e992ac417f39.jpg","手卷，纸本设色","纵26厘米，横92.6厘米",[600],48,{"id":902,"slug":903,"title":904,"dynasty":18,"author":19,"museum":257,"description":905,"tags":906,"thumbUrl":909,"material":78,"size":78,"collection":78,"collections":910,"showCount":911,"zanCount":11,"manualWeight":11,"mainColor":82},228083,"shuang-song-tu-wang-meng-228083","双松图","此作用双松撑起画面骨架，古松扎根嶙峋顽石，枝干虬曲扭转如苍龙探海，松针攒簇苍劲，带着历经岁月的沉凝古拙。\n以干笔皴擦写出斑驳松皮，枯墨见笔力，淡墨晕染远景平沙远渚，留白疏朗空寂，以简淡衬出双松的雄浑厚重，将高远与平远意境相融。\n错落题跋与画面相映成趣，诗文的林下幽怀和萧散画境合二为一，笔墨间满溢林泉隐逸之趣，仿佛能让人枕松听浪，静看云卷云舒，尽显元人尚意的画中真味。",[23,56,24,25,28,26,27,907,158,30,29,32,7,908],"写意","土地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8baca3f8b4fccb2a156d2bb5fa09314a.jpg",[],47,{"id":913,"slug":914,"title":915,"dynasty":18,"author":916,"museum":111,"description":917,"tags":918,"thumbUrl":919,"material":177,"size":920,"collection":78,"collections":921,"showCount":922,"zanCount":195,"manualWeight":11,"mainColor":82},228044,"xi-shan-qing-xia-tu-zhou-sheng-mao-228044","溪山清夏图轴","盛懋","《溪山清夏图》绘崇山复岭，白云缭绕，楼阁掩映于丛树之中。近景溪水环绕，岸边筑有水阁亭榭，为可游可居之景。图中人物或于水榭纳凉，或悠游林下。构图繁复深曲，用长披麻皴表现山石，繁皴密点。界画楼阁严整，人物工能精谨，云霭以线勾勒，复染色彩。全图画法精巧，体现出盛懋在受文人画家影响的同时所具备的职业画家的一些特点。",[24,25,28,59,27,29,368,32,30,33,7,96,641,261],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63f46afb98159ce1ffbc7ee3adb4a1a9.jpg","纵204．5厘米，横108.2厘米",[],46,{"id":924,"slug":925,"title":926,"dynasty":87,"author":318,"museum":927,"description":928,"tags":929,"thumbUrl":931,"material":78,"size":78,"collection":78,"collections":932,"showCount":933,"zanCount":195,"manualWeight":11,"mainColor":82},229009,"gao-gang-mao-wu-tu-zhou-gong-xian-229009","高岗茅屋图轴","天津博物馆","《历代名画宣纸高清大图:龚贤高岗茅屋图》采用高清宣纸制作，力求体现画作整体的最高艺术水平，且添加内容简介、风格阐述、作者介绍，以方便读者鉴赏学习。\n此图描绘了江南山水，其笔墨劲利而苍厚潮润，苍翠欲滴。\n山石高悬，山随画活；湖水尽白，形成墨白对比，虚实相生。\n《历代名画宣纸高清大图:龚贤高岗茅屋图》由 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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。",[24,26,27,28,36,35,29,368,30,32,98,7,96,34,92],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfe511ee2e75e086c05f0dfcddd70af4.jpg",[41,43,600],39,{"id":1013,"slug":1014,"title":1015,"dynasty":51,"author":1016,"museum":257,"description":1017,"tags":1018,"thumbUrl":1020,"material":78,"size":78,"collection":78,"collections":1021,"showCount":1011,"zanCount":11,"manualWeight":11,"mainColor":82},227536,"wan-ai-tu-wen-tong-227536","晚霭图","文同","明代画评家汪砢玉曰：壬戌之秋，程季白飞霞舫成，招李君实及珂雪与余集舫中，看新得汉玉图书约三百方，因示文同画卷，曰《晚霭横看》，君实题其后，用东坡思无邪斋章钤记。余共珂雪各印诸玉作谱。娄东朱锦春拨阮，夺落叶响，吾辈无暇听也。归而思此图，树瘦于竹，艇小于叶，遥山远水，层出林端，暮烟凝霭，掩映亭阁，画中人应尔横看无尽，意跃跃焉。东坡尝称与可下笔兼众妙，而不言其善山水。乃山谷于吴君惠处见文湖州《晚霭横看卷》，兼有王摩诘、关仝笔力，而世以洋州一派竹称之，何足以尽石室?",[23,24,25,57,26,27,29,582,32,7,297,130,396,379,96,1019,423],"近树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06c4ec329a197b3748eae01a2384a486.jpg",[],{"id":1023,"slug":1024,"title":1025,"dynasty":18,"author":1026,"museum":111,"description":1027,"tags":1028,"thumbUrl":1029,"material":207,"size":78,"collection":41,"collections":1030,"showCount":1011,"zanCount":195,"manualWeight":11,"mainColor":46},218741,"xi-shan-xue-yi-tu-zhang-yu-218741","溪山雪意图","张雨","雪裹溪山，素净如笺。寒林疏枝横斜，似在静默中与天地对语。山间茅舍隐于皑雪，不见人踪，却藏着一份遗世的安然。笔墨简淡而意韵深幽，枯笔勾勒的山石与留白的雪色交织，将冬日的空濛与文人的孤高心境凝于画间。每一处留白都是雪的呼吸，每一笔线条都是心的独白，似能透过画面触到那份远离尘嚣的清寂，感受元代文人笔下山水的空灵与禅意。寒枝、皑峰、幽舍，共同织就一幅冷寂却温情的冬日图景，尽显文人画的雅致与哲思。",[23,24,25,26,59,27,29,380,379,30,7,610,33,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5d448db60ab16f22dad017cba7f8823.jpg",[41],{"id":1032,"slug":1033,"title":1034,"dynasty":87,"author":443,"museum":53,"description":1035,"tags":1036,"thumbUrl":1037,"material":488,"size":1038,"collection":78,"collections":1039,"showCount":1040,"zanCount":11,"manualWeight":11,"mainColor":46},234953,"yu-xi-shan-gen-tu-kun-can-234953","雨洗山根图","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。",[24,26,700,27,344,345,32,30,130,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e57309da538f66ef8d198690cf3042b.jpg","纵103厘米，横59.9厘米",[],38,{"id":1042,"slug":1043,"title":1044,"dynasty":87,"author":697,"museum":53,"description":1045,"tags":1046,"thumbUrl":1051,"material":264,"size":1052,"collection":78,"collections":1053,"showCount":1040,"zanCount":11,"manualWeight":11,"mainColor":46},233822,"qiu-shan-bai-yun-tu-zhou-wang-shi-min-233822","秋山白云图轴","图绘烟云浩渺、林木葱郁的雨后山景。据款题而知，此图是作者有感于“三伏生秋”之意于盛夏的雨后仿元人黄公望笔意所作的秋景图。王时敏自明崇祯五年（1632年）辞官归里后便潜心于对宋、元诸家绘画的研究，期间创作了大量摹仿黄公望的作品，此图便是其中一幅深得黄氏“浅绛”画风的力作。其笔法松秀灵动，色、墨富于变化而有层次，重叠交错的墨点更是将山形树貌有机地统一于高逸的境界中。\n款题：“己丑六月望，过西田村舍，毒热不异炮灼，僵卧挥汗，雠睨笔砚。适雨后稍凉，忆古人三伏生秋之句，戏作秋山白云图。虽曰摹仿大痴，实未得其脚汗气也，愧绝愧绝。王时敏识。”钤“王时敏印”白文印、“西田”朱文印。又题：“此余十年前所作，公瑕将以赠宿章道兄。复携见示，追忆挥汗舐笔时，宛然如昨。今年至力衰，百事慵懒，不复求旧管城公，诵少陵‘丹青不知老将至’之句，益深慨叹。辛丑子月时敏又题。”钤“烟客”、“儒斋”朱文印二方。“己丑”为清顺治六年（1649年），作者时年58岁。“辛丑”为清顺治十八年（1661年），作者时年70岁。",[24,25,28,26,59,29,27,1047,1048,32,30,33,7,96,1049,1050],"秋山","白云","丛林","近石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77e0e8853100f701b1b8e23fd8d4e2ff.jpg","纵96.7厘米，横41厘米",[],{"id":1055,"slug":1056,"title":1057,"dynasty":125,"author":1058,"museum":1059,"description":1060,"tags":1061,"thumbUrl":1062,"material":942,"size":1063,"collection":78,"collections":1064,"showCount":1040,"zanCount":11,"manualWeight":11,"mainColor":46},231568,"zhu-lin-mao-wu-tu-song-ke-231568","竹林茅屋图","宋克","美国弗瑞尔美术馆","作者通过画面，将文人隐逸山林，抒发情思的自娱、适意、消遣的感情表达了出来。画家用笔畅健雄放，笔锋洒脱，多法李成；破笔焦墨点苔，则从董、巨而来。",[23,24,25,57,26,29,204,7,32,30,36,35,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cb4e1d6245dcb71a7735c7e31eea1c0.jpg","25.5×110cm",[],{"id":1066,"slug":1067,"title":1068,"dynasty":51,"author":1069,"museum":257,"description":1070,"tags":1071,"thumbUrl":1072,"material":78,"size":78,"collection":78,"collections":1073,"showCount":1040,"zanCount":195,"manualWeight":11,"mainColor":82},227922,"cao-tang-xiao-xia-tu-yi-ming-227922","草堂消夏图","佚名","石青石绿晕染出山居底色，古雅沉静。茅舍临波而建，蕉叶舒展、修竹藏幽，枯木疏朗点破夏寂，水色澹澹漫过阶前，将暑热涤荡一空。\n\n屋内二人对坐清谈，案间茶卷相依，不必摇扇，林泉间的幽凉便漫进草堂。笔墨工秀柔润，把夏日山居的闲静雅致铺陈开来，将耽于林泉、忘忧消暑的隐逸意趣藏在尺幅团扇里，满是冲淡安和的林下之风，尽显清旷襟怀。",[23,24,25,774,59,60,29,70,245,204,173,7,92],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08840f39db0cf9f63dbb5ad9f829aaed.jpg",[],{"id":1075,"slug":1076,"title":1077,"dynasty":87,"author":353,"museum":257,"description":1078,"tags":1079,"thumbUrl":1080,"material":78,"size":78,"collection":78,"collections":1081,"showCount":1040,"zanCount":11,"manualWeight":11,"mainColor":46},224519,"shan-shui-tu-ce-8-kai-6-shi-tao-224519","山水图册8开-6","此作以极简笔墨铺陈林泉幽境，虬松苍劲盘曲，焦墨攒写松针，古拙老辣尽现岁寒风骨。茅舍板桥轻勾淡染，野朴天真。浅赭花青晕染远山，留白代水，虚实相生间漾开空濛淡远的烟岚之气。\n\n桥头渔翁寥寥数笔，便勾画出垂纶忘机的闲淡模样，暗合寄情丘壑、与世无争的林下襟怀。全幅笔致纵逸灵秀，以水墨浅绛写就幽居逸趣，淡而愈远，简中见雅，将文人幽栖林泉的意趣藏入每寸笔墨，悠悠然漾出静穆清和的林下之风。",[23,56,24,25,189,26,27,29,93,7,158,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47caab48b06d630ce9946e368b7e7336.jpg",[],{"id":1083,"slug":1084,"title":1085,"dynasty":51,"author":1069,"museum":111,"description":1086,"tags":1087,"thumbUrl":1090,"material":160,"size":1091,"collection":248,"collections":1092,"showCount":1093,"zanCount":11,"manualWeight":11,"mainColor":46},218888,"shen-shu-mao-tang-tu-yi-ming-218888","深树茅堂图","浓荫匝地，苍树如幄，茅堂隐于深翠间，似被林岚轻裹。堂内几榻疏朗，有人凭窗闲坐，或观叶动，或听风吟，意态萧然忘尘。笔墨细处见神：树石的皴染层叠生幽，茅舍的勾勒简净含韵，人物姿态虽小却活脱，尽显宋人对闲居之趣的精微捕捉。无艳色张扬，仅以墨色浓淡铺陈山林静谧，每一处线条皆藏着对自然的敬畏与对隐逸的向往，将宋画小品的雅致含蓄，凝作一方可居可游的林下清境，引人静赏其间悠然。",[23,24,774,26,59,29,356,1088,7,1089,27],"茅堂","深树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99bf3482e94900427162b996b767bc75.jpg","24.1x23.5",[248],36,{"id":1095,"slug":1096,"title":1097,"dynasty":18,"author":1098,"museum":1099,"description":1100,"tags":1101,"thumbUrl":1106,"material":192,"size":1107,"collection":134,"collections":1108,"showCount":1093,"zanCount":11,"manualWeight":11,"mainColor":46},218245,"bin-feng-tu-lin-zi-huan-218245","豳风图","林子奂","上海龙美术馆","《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。",[23,24,25,57,1102,26,36,37,35,70,29,32,396,92,93,1103,1104,7,1105],"白描","舟","农田","农具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb1a0555d1ec4931a6edfed8747e1ab0.jpg","26.5x446",[134],{"id":1110,"slug":1111,"title":1112,"dynasty":87,"author":1113,"museum":257,"description":1114,"tags":1115,"thumbUrl":1118,"material":160,"size":78,"collection":41,"collections":1119,"showCount":1120,"zanCount":195,"manualWeight":11,"mainColor":46},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。",[23,59,60,27,29,32,30,93,92,94,396,70,1116,7,205,379,158,1117,480],"马","舟楫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f81ae9bb1ca4b38dd9cd77551e6d9ed.jpg",[41],35,{"id":1122,"slug":1123,"title":1124,"dynasty":18,"author":200,"museum":111,"description":1125,"tags":1126,"thumbUrl":1127,"material":39,"size":1128,"collection":78,"collections":1129,"showCount":1130,"zanCount":195,"manualWeight":11,"mainColor":46},232253,"zhu-xi-lan-sheng-tu-guan-dao-sheng-232253","竹溪揽胜图","此幅旧传为管氏所作，画山峦起伏，缘溪瓦屋数椽，丛竹错落其间，溪边泊舟，桥上行人，以水墨细致之笔调，写宁静之村景，真得小桥、流水、人家之诗意\n管道升（1262－1319年），吴兴人。字仲姬，赵孟頫妻。（1317年延祐四年）封魏国夫人。翰墨辞章不学而能，笃信佛法，书牍行楷与乃夫赵孟頫几不可辨异同，为中国书画史上著名女性作家之一。",[24,26,29,204,33,130,7,96,1050,32,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe72880b50c05fbf5396230366c11651d.jpg","此幅 57.2x27.5公分；全幅 62公分",[],34,{"id":1132,"slug":1133,"title":1134,"dynasty":18,"author":1135,"museum":111,"description":1136,"tags":1137,"thumbUrl":1138,"material":401,"size":1139,"collection":78,"collections":1140,"showCount":1130,"zanCount":11,"manualWeight":11,"mainColor":46},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。",[24,25,26,29,27,57,93,92,7,245,70,173,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cce050135140f0e09ecbb560cf14c24.jpg","纵：26.2厘米，横：65.4厘米",[],{"id":1142,"slug":1143,"title":1144,"dynasty":87,"author":784,"museum":739,"description":1145,"tags":1146,"thumbUrl":1147,"material":1148,"size":1149,"collection":41,"collections":1150,"showCount":1130,"zanCount":11,"manualWeight":11,"mainColor":82},224487,"yuan-shan-gang-luan-tu-wang-jian-224487","远山岗峦图","构图繁而不乱，山石错落有致，而且笔法华润圆细，秀逸中不失严谨，纤细而不流于柔弱，刚柔并济，浓淡兼施，皴染同举，别有风采。\n这幅作品虽然是仿古，但是作者也是在临摹古画的基础上又融入了自己的思想而创作的，有他自己的特色。纵观全图，坡岸上石矶堆砌、层叠向上，远处山体高耸，峭壁悬崖，气势壮观。山上林木葱茏、青翠、茂盛，清气袭人。远处山涧，瀑布飞流直下，泻入溪中。岸边、山腰上建有水榭亭台、屋宇楼阁，或隐或现。一高士神态安详，端坐于水榭中，环视着四周淡远的景色。他那悠然自得、轻松惬意的神情深深地感染着观者。\n此画为竖构图，景物布置得繁而不塞、杂而不乱，可谓层次分明、经营有序。画家用浅赭色染树干、坡脚及屋墙，树叶和崖顶的平台用石绿色染出。由于山石多次以淡墨皴染，又用焦墨反复 积加，所以画面显得浑厚壮观。不过，山石用笔含蓄内敛，丝毫没有外露的痕迹，皴法细密、刻画准确、墨色浓润，所以又为画面增添了灵秀之气。再加之少量的赭色晕染，使画面达到了刚劲与柔美、雄浑与雅秀的统一。更值得一提的是，画家在设色上并非勾勒填彩，而是将石绿、淡赭、水墨自然地融合在一起，故此画没有以往青绿山水画的俗艳之气，而是别有一种雅淡之韵、灵逸之趣。王鉴在青绿设色上是少有的高手，据说清代三百年间的山水画家中很少有人能超过他。这一点，由此图可窥见一斑。\n此图款署“庚戌九秋，仿黄子久笔意，王鉴”，下钤“王鉴之印”。王鉴的画大多题“仿”古人，如“仿北苑”、“仿令穰”、“仿雪松”、“仿江贯道”、“仿董源”、“仿巨然”等。但他的“仿”并不是简单地模仿古人的笔墨技巧、构图布局，而是重在体味、吸收、融汇前人的笔墨结构，以形成自己的山水画语言。此图便是画家以模仿黄公望的笔意为主，又融合董源、巨然两家之萧散、平淡的风格绘成的。画家用墨色由淡及浓地层层晕染，使作品虚实有致、层次丰富。此画较黄公望的画更加清润、明洁，有一股清雅的书卷气。王时敏称王鉴的画“以秾丽为宗，然高华、秀逸兼而有之”。",[23,24,59,27,29,61,32,158,7,33,321,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b666d72fb7f59c63cabf0b46996ab26.jpg","绢本设色.","151cmx66cm",[41],{"id":1152,"slug":1153,"title":1154,"dynasty":87,"author":376,"museum":186,"description":1155,"tags":1156,"thumbUrl":1157,"material":116,"size":78,"collection":78,"collections":1158,"showCount":1130,"zanCount":11,"manualWeight":11,"mainColor":46},214604,"fang-gu-shan-shui-ce-1-wang-hui-214604","仿古山水册-1","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。",[24,25,189,26,27,456,29,32,7,190,297,96,398,379,423],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf4fe7e77be9de98b8486a5ac52b3d32.jpg",[],{"id":1160,"slug":1161,"title":1162,"dynasty":51,"author":1163,"museum":53,"description":1164,"tags":1165,"thumbUrl":1172,"material":1173,"size":1174,"collection":78,"collections":1175,"showCount":1176,"zanCount":11,"manualWeight":11,"mainColor":82},221571,"wu-zhu-xi-tang-tu-ye-xia-gui-221571","梧竹溪堂图页","夏圭","《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。",[23,56,24,25,543,1166,26,27,29,1167,1168,230,7,30,92,1169,32,1170,1171],"宋代","庭院","梧树","回廊","建筑","植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ebac27779930c3568caeff06fba9120.jpg","绢本墨笔","纵23厘米，横26厘米",[],33,{"id":1178,"slug":1179,"title":1180,"dynasty":87,"author":1181,"museum":53,"description":1182,"tags":1183,"thumbUrl":1184,"material":828,"size":1185,"collection":78,"collections":1186,"showCount":1187,"zanCount":195,"manualWeight":11,"mainColor":82},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。",[23,24,25,57,59,367,60,27,29,674,92,93,130,70,32,34,7,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbadbb846316c9e1f0c96f5d95e17b41a.jpg","纵31.2厘米，横450厘米",[],32,{"id":1189,"slug":1190,"title":1191,"dynasty":87,"author":318,"museum":20,"description":319,"tags":1192,"thumbUrl":1194,"material":39,"size":323,"collection":78,"collections":1195,"showCount":1187,"zanCount":195,"manualWeight":11,"mainColor":46},219848,"ba-jing-shan-shui-tu-8-gong-xian-219848","八景山水图-8",[24,26,27,29,30,32,7,1193,96,34],"水域","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe75e6802b3a7a668616a8dfc5d77189f.jpg",[],{"id":1197,"slug":1198,"title":1199,"dynasty":87,"author":353,"museum":257,"description":1200,"tags":1201,"thumbUrl":1202,"material":78,"size":78,"collection":78,"collections":1203,"showCount":1204,"zanCount":11,"manualWeight":11,"mainColor":46},235882,"yuan-ji-shan-shui-tu-ce-shi-tao-235882","原济山水图册","此作书画合璧，尽显文人雅趣。绘卷以淡墨轻皴山石，信笔挥写篁竹木卉，萧疏纵逸，随性自然。坡岸茅庐掩映于繁叶之间，远山淡染留白，晕染出江南水乡的澹泊野逸，仿若幽居江湖的避世之境。\n题诗行书笔意苍劲纵恣，与画中清寂意境相得益彰。诗画相映，将文人寄情山水、栖身林下的襟怀尽显无余，简淡笔墨间风神自现，寥寥数笔勾勒出悠远林下意趣，以写意抒怀，尽显随性疏朗的文人画风貌。",[24,25,189,26,37,35,29,204,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3639aa9933df3fcdbab944c903548fff.jpg",[],30,{"id":1206,"slug":1207,"title":1208,"dynasty":87,"author":376,"museum":53,"description":1209,"tags":1210,"thumbUrl":1212,"material":39,"size":78,"collection":41,"collections":1213,"showCount":1214,"zanCount":11,"manualWeight":11,"mainColor":82},236985,"wang-hui-kong-shan-fang-wu-zhou-wang-hui-236985","王翚空山方屋轴","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。",[24,25,28,26,27,29,7,379,396,30,1211,96,1019,98],"雪地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ff3172206d083c2c3a1a837744abfa4.jpg",[41,43],29,{"id":1216,"slug":1217,"title":1218,"dynasty":87,"author":353,"museum":257,"description":1219,"tags":1220,"thumbUrl":1221,"material":78,"size":78,"collection":78,"collections":1222,"showCount":1214,"zanCount":181,"manualWeight":11,"mainColor":46},224515,"shan-shui-tu-ce-8-kai-4-shi-tao-224515","山水图册8开-4","淡墨晕染出山峦肌理，远山隐在烟岚之中，如笼轻绡。左崖飞瀑垂落，为静寂山林注入灵动生机。坡上苍松错落虬劲，撑起山野清寂风骨，茅舍静立平坡，素朴安然，似藏幽人栖居之趣。\n\n此作用干淡笔墨皴擦山体，湿墨点染松针，简淡见苍润。留白烘衬出空濛云烟，寥寥数笔铺陈开林泉幽寂，笔意松秀清脱，尽显萧散淡远的林下意趣，观之便如踏入幽僻山居，尘俗烟火尽涤。",[23,24,26,59,189,27,29,344,31,158,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2ad686bc962b57eed356778454ad1df.jpg",[],{"id":1224,"slug":1225,"title":1226,"dynasty":125,"author":1227,"museum":718,"description":1228,"tags":1229,"thumbUrl":1231,"material":116,"size":1232,"collection":41,"collections":1233,"showCount":1214,"zanCount":195,"manualWeight":11,"mainColor":46},220416,"qiu-jing-shan-shui-tu-sun-zhi-220416","秋景山水图","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。",[23,24,57,26,59,29,379,396,7,96,98,173,60,27,32,1230],"平地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbd0e13ab93b8454684db3a24e5563cd.jpg","28.2×120.9厘米",[41],{"id":1235,"slug":1236,"title":1237,"dynasty":87,"author":697,"museum":257,"description":1238,"tags":1239,"thumbUrl":1241,"material":78,"size":78,"collection":78,"collections":1242,"showCount":1243,"zanCount":11,"manualWeight":11,"mainColor":82},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。",[23,24,25,57,1240,59,27,37,35,29,93,92,94,245,30,32,33,61,100,7],"浅绛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05f203733ec712aa2cbbb7186aada126.jpg",[],28,{"id":1245,"slug":1246,"title":1247,"dynasty":87,"author":318,"museum":20,"description":319,"tags":1248,"thumbUrl":1249,"material":39,"size":323,"collection":78,"collections":1250,"showCount":1251,"zanCount":11,"manualWeight":11,"mainColor":46},219853,"ba-jing-shan-shui-tu-4-gong-xian-219853","八景山水图-4",[24,26,27,189,29,32,7,130,423],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd597d6542b9862b226d5d90a4607334.jpg",[],27,{"id":1253,"slug":1254,"title":1255,"dynasty":125,"author":1256,"museum":257,"description":1257,"tags":1258,"thumbUrl":1263,"material":310,"size":311,"collection":78,"collections":1264,"showCount":1265,"zanCount":11,"manualWeight":11,"mainColor":82},290783,"chun-quan-xiao-yin-tu-juan-zhou-chen-290783","春泉小隐图卷","周臣","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",[23,24,57,59,26,29,70,93,92,7,158,30,96,1259,1260,35,1261,1262],"湖水","隐居","伏案","洒扫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63e5dc319d728780ab969bd3b16b9003.jpg",[],25,{"id":1267,"slug":1268,"title":1269,"dynasty":18,"author":1270,"museum":1271,"description":1272,"tags":1273,"thumbUrl":1284,"material":39,"size":1285,"collection":78,"collections":1286,"showCount":1265,"zanCount":11,"manualWeight":11,"mainColor":46},232639,"shui-zhu-ju-tu-ni-zan-232639","水竹居图","倪瓒","中国国家博物馆","此图以青绿设色绘江南初秋景色。山势低平，山前溪水渚坡坡上杂树五株，树后茅屋丛篁。画中笔墨沉实，赋形具体，山色苍翠，画法谨严运笔圆滑苍劲，略有董、巨遗法。\n此图写一仙居景致，其中静水潺潺，间以坡石、水渚、小桥相错；近岸处坡石层累，其上疏木参差偃仰，虬枝繁叶；近岸平地，一茅舍院落掩映树间，若隐若现；栅外修竹环绕，浴风飒飒；远处群峦竞秀，青翠欲滴；山下岸处坡石簇簇，林木深深。\n按图上作者题款：“至正三年，癸未岁八月望日，进道过余林下，为言僦居苏州城东有水竹之胜。因想像图此……” 知，此《水竹居图》作于元至正三年（1343年），倪瓒43岁时作品。此图系倪瓒依友人所述而浮想创作而成。\n倪瓒生长在太湖之滨的一个地主家庭里。有一所庞大的庄园，其中的清閟阁藏书画达数千卷，为倪瓒提供了成长为一个封建文人画家的物质条件。倪瓒的画，大多描绘幽居山林或漫游太湖的景色，但更多的是画了主观的感受，有着强烈的感情色彩。静谧、荒寒、孤独、空虚，可以说是倪瓒作为画家的状态写照，使内心无告的忧烦，在这样的意境中寻求排遣与解脱。《水竹居图》即是体现了这一点。\n另外，此《水竹居图》有拆割、拼配题跋、加钤伪印等迹象，故也被部分学者认为是伪作。特别是《水竹居图》上的文、董二题，分别题于诗塘和裱边，非常容易被割移、拼配，且很多书画鉴定家认为，此作品本幅上的作者印鉴本身就是被加钤的伪印鉴，但这些都并不能必然地说明《水竹居图》本身为伪作。现多数鉴家仍评定，此为《水竹居图》为真迹勿疑。\n《水竹居图》是倪瓒内心寻求排遣与解脱的写照，画中自题的诗句更是道出了画家的隐居思想，是倪瓒的“自娱”与“适兴”之作。该图是画家根据友人叙述，景州城东有水竹胜景，依靠想象图绘坡石、树木、茅屋等景象。在题诗中画家想象了在此隐居，与琴诗为伴的理想生活。诗都反映出元代中晚期的隐逸思想。元代中后期的隐逸是一种任情适性，是将个人的精神价值与日常生活行为相融合的生活方式。文人不再热衷于在政治上有所作为，而是在自然中寻求自我身境与心境的安适。\n此《水竹居图》中“一水两岸”，即由近坡、中水、远丘组成的“三段式”构图，画面中的竹树茅屋，隔溪远岫平林但由于前后景排得较近，所以显得紧凑坚实，所写物象、图上晋韵小楷长题及荒寒幽冷之意境则与之一脉相承，整个画面弥散着幽静、清凉的气氛。\n《水竹居图》用笔浑厚圆润，与后来的轻笔渴墨显然不同，但内在笔性还是一致的。图中树叶用松针点、介字点、仰叶点等数种，用笔浓淡相间，树干多渲染皴擦，极近形似。远处的树，树干只用淡墨画出外轮廓，没有皴染，树叶用排点点出，显得郁郁葱葱，似不经意而韵味内存。唐志契在所著《绘事微言》中提到树木画法时说：“写枯树最难苍古，然画中最不可少名家枯树各各不同，如荆关则于秋冬二景最多，其枯枝古而浑，乱而整，简而有趣，到郭河阳则用鹰爪，加以细密，如范宽则其上如扫帚样，亦有古趣，李成则繁而琐碎，笔笔清劲，董源则一味古雅，简当而已。倪元镇则数君可以兼之，要皆难及者也。”《水竹居图》里的树木，有董源的简当古雅之质，特别是后面的排树，在后面的山体的衬托下，很容易让人看到董源《潇湘图》的影子。\n明代宗泐：“山人水行居，画图看更好，十年不归来，茅屋秋风老。”（《题〈水竹居图〉》）\n明代张丑：“余初蓄户南仙山楼阁卷，人多致焉，赖久之未几自定……乃今赏鉴元镇僦居城东矮幅，虽家喻尸晓，弗信也，鲜有不非笑之者，然不笑不足以为道。鸣呼.安能起三公于九原与之面相印可耶？”（《清河书画舫》）\n近代书画鉴赏家马宝山：《水竹居图》是倪早年作品，与其晚年作品本有所不同。（《书画碑帖见闻录》）",[23,24,700,343,1274,7,1275,1276,1277,93,65,61,1278,1279,1280,1281,1282,1283,36,35,27],"青绿设色","修竹","坡石","溪水","水渚","仙居","静谧","荒寒","幽冷","楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40b691851048c31237d37c2b1b88f286.jpg","纵48厘米，横28厘米",[],{"id":1288,"slug":1289,"title":1290,"dynasty":87,"author":1291,"museum":186,"description":1292,"tags":1293,"thumbUrl":1295,"material":26,"size":1296,"collection":41,"collections":1297,"showCount":1265,"zanCount":11,"manualWeight":11,"mainColor":46},223250,"ku-mu-han-ya-pu-hua-223250","枯木寒鸦","蒲华","款识：枯木寒鸦。曾见李莹邱有此本，偶一效之，大略如是，作英蒲华。",[23,24,26,907,27,1294,396,29,173,7],"枯木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ac8fd8af8dbebd94497968fae5fd6bb.jpg","33×127cm",[41,43],{"id":1299,"slug":1300,"title":1301,"dynasty":125,"author":1069,"museum":1059,"description":1302,"tags":1303,"thumbUrl":1304,"material":78,"size":78,"collection":78,"collections":1305,"showCount":1306,"zanCount":11,"manualWeight":11,"mainColor":82},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。",[23,24,26,59,29,27,498,158,30,70,1116,7,92,34,32,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66ac5f742455c4c915baf05cc2a8e766.jpg",[],24,{"id":1308,"slug":1309,"title":1310,"dynasty":125,"author":293,"museum":686,"description":1311,"tags":1312,"thumbUrl":1313,"material":189,"size":1314,"collection":78,"collections":1315,"showCount":1316,"zanCount":11,"manualWeight":11,"mainColor":78},220747,"fang-ge-jia-shan-shui-9-dong-qi-chang-220747","仿各家山水-9","此作用笔松秀空灵，以枯木发端，老干虬曲苍劲，寒枝错落疏朗，自带冬日萧疏清寂之意。远景山峦以淡墨轻勾慢皴，棱角清奇又不失浑融，层层迤逦铺展，淡远空濛。水泽汀渚间错落点染渔隐闲趣，右侧村居隐于林麓之下，简淡出尘。\n\n整幅以干笔淡墨写就，脱尽繁冗，以极简笔墨铺展出萧散淡远的林下幽居之境，尽显文人画疏淡空灵的意趣，藏着闲远出尘的林下襟怀。",[23,24,26,29,91,27,35,245,173,61,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46161f34da1a23ec4d68b7c20dfc253b.jpg","30.5 × 23.8厘米",[],23,{"id":1318,"slug":1319,"title":1320,"dynasty":87,"author":697,"museum":257,"description":1321,"tags":1322,"thumbUrl":1323,"material":78,"size":78,"collection":78,"collections":1324,"showCount":1325,"zanCount":11,"manualWeight":11,"mainColor":46},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。",[23,24,25,56,28,26,27,29,344,345,356,368,93,7,30,34,205],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6371f7bbde6fac2e4d55f85cd76ed00e.jpg",[],22,{"id":1327,"slug":1328,"title":1329,"dynasty":87,"author":1330,"museum":257,"description":1331,"tags":1332,"thumbUrl":1334,"material":78,"size":78,"collection":41,"collections":1335,"showCount":1336,"zanCount":11,"manualWeight":11,"mainColor":46},237468,"shan-shui-tu-zhou-zhou-tang-237468","山水图轴","周棠","周棠（1806 ～ 1876），字召伯，一字少白，号兰西，山阴（今浙江绍兴）人。官光禄寺署正。写意花卉酷似徐渭、陈淳。山水则师石涛。晚年专画石，张之万称为清代画石第一。朝鲜使者每乞其画归。能诗，兼工篆、隶，善刻印章。",[24,25,28,26,907,29,7,32,70,1333,35],"草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66d739fa2aaf5310e49b14142a60cf5b.jpg",[41,43],21,{"id":1338,"slug":1339,"title":1340,"dynasty":51,"author":1069,"museum":111,"description":1341,"tags":1342,"thumbUrl":1344,"material":177,"size":1345,"collection":78,"collections":1346,"showCount":1336,"zanCount":195,"manualWeight":11,"mainColor":82},231343,"shan-shui-tu-shui-cun-shan-si-tu-yi-ming-231343","山水图（水村山寺图）","浅设色画水村山寺。柳岸舟横。无款印。诗塘御制诗楷书",[24,700,59,27,30,32,297,130,1343,7,96,641,262,423],"山寺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9794dcebe0d39fa1476cf1a613caa639.jpg","纵114cm,横57cm",[],{"id":1348,"slug":1349,"title":1350,"dynasty":87,"author":1351,"museum":53,"description":1352,"tags":1353,"thumbUrl":1354,"material":78,"size":78,"collection":78,"collections":1355,"showCount":1356,"zanCount":11,"manualWeight":11,"mainColor":46},234466,"shan-shui-mao-wu-tie-luo-shen-zhen-lin-234466","山水茅屋贴落","沈振麟","沈振[清]字凤池，一作凤墀，吴县（今江苏苏州）人。工写照，兼善写生，及山水、人物，各臻其妙。供奉内廷。\n慈禧太后赐御笔“传神妙手”区额。尝奉勅画马便面二叶，各有宣宗御题三字一曰“飞霞骢”，一曰“翔玉骢”，钤有道光御用方玺。又百鸽图每页书签各名，尽绘物之妙。《寒松阁谈艺琐录、瓯钵罗室书画过目考》",[24,25,29,7,59,27,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc054ee4fe31770c0d0a2de5f9c4a38d5.jpg",[],19,{"id":1358,"slug":1359,"title":1360,"dynasty":87,"author":1361,"museum":257,"description":1362,"tags":1363,"thumbUrl":1368,"material":78,"size":78,"collection":78,"collections":1369,"showCount":1356,"zanCount":195,"manualWeight":11,"mainColor":82},230857,"jiang-xiang-qing-xiao-tu-yu-zhi-ding-230857","江乡清晓图","禹之鼎","《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。",[23,24,25,59,60,27,29,70,93,92,114,674,7,1364,1365,1366,1367],"垂钓","孩童","妇人","岸石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa80bad0a4e7b08769098da0f127b7e6.jpg",[],{"id":1371,"slug":1372,"title":1373,"dynasty":125,"author":142,"museum":257,"description":1374,"tags":1375,"thumbUrl":1376,"material":310,"size":311,"collection":78,"collections":1377,"showCount":1356,"zanCount":11,"manualWeight":11,"mainColor":46},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”。",[23,24,25,57,29,59,26,27,37,35,344,356,7,130,92],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1aeef33843a62e33d32642d607f6d0b8.jpg",[],{"id":1379,"slug":1380,"title":1381,"dynasty":125,"author":1382,"museum":257,"description":1383,"tags":1384,"thumbUrl":1385,"material":78,"size":78,"collection":78,"collections":1386,"showCount":1387,"zanCount":11,"manualWeight":11,"mainColor":46},235679,"shan-shui-juan-chen-xun-235679","山水卷","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。",[23,56,24,25,57,26,27,29,94,93,92,32,7,70,35,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0931146f0a33287e31b9de1c97b00a55.jpg",[],18,{"id":1389,"slug":1390,"title":1391,"dynasty":125,"author":142,"museum":111,"description":1392,"tags":1393,"thumbUrl":1396,"material":1397,"size":1398,"collection":78,"collections":1399,"showCount":1387,"zanCount":11,"manualWeight":11,"mainColor":46},222119,"shu-lin-ting-zi-tu-shen-zhou-222119","疎林亭子图","高树茅亭，桥间策杖。自题：湖上清湾是子家，绿杨岸下水红花。去年载酒会相覓，一路寻诗览物华。款：沈周为君泽题。钤印三：石田、煮石亭。著录：石渠宝笈续编、故宫书画录卷八。收传印记：石渠定鉴、宝笈重编、乾隆御览之宝、嘉庆御览之宝、石渠宝笈、乾清宫鉴藏宝。",[23,774,26,27,36,35,1394,1395,32,7,29],"疏林","亭子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dca097bc0d71acf5434ad657cde3e77.jpg","片金纸","21.5×57cm",[],{"id":1401,"slug":1402,"title":540,"dynasty":87,"author":353,"museum":53,"description":541,"tags":1403,"thumbUrl":1404,"material":264,"size":548,"collection":78,"collections":1405,"showCount":1406,"zanCount":11,"manualWeight":11,"mainColor":46},233781,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233781",[24,25,56,543,26,907,37,27,29,7,32,30,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F935a7b3b458e5a228f740951a8462ba8.jpg",[],17,{"id":1408,"slug":1409,"title":1410,"dynasty":87,"author":353,"museum":257,"description":1411,"tags":1412,"thumbUrl":1413,"material":78,"size":78,"collection":78,"collections":1414,"showCount":1406,"zanCount":11,"manualWeight":11,"mainColor":46},224514,"shan-shui-tu-ce-8-kai-3-zhang-da-qian-jiu-cang-shi-tao-224514","山水图册8开-3-张大千旧藏","淡墨晕开平湖烟波，水汽裹着远山晕成一片黛色，皴擦写意的峰峦带着朴拙苍劲的质感，晕染出清旷的天地底色。近岸林木错落，干湿浓墨交织出深浅层次，三两渔舟横斜泊岸，静卧于烟水间。江畔幽坐的旅人凝望远山，留白铺就的水面将万般归思揉进空濛雾色。题画小字清雅错落，朱红闲章点缀素净画面，盘活了满卷静气。整幅笔意纵恣随性，以极简笔墨勾勒出山川清旷之美，将羁旅幽怀融于烟水林峦，藏着静穆淡远的禅意，尽显写意山水的空濛悠远。",[23,24,26,27,189,25,35,29,130,32,61,70,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F546454255510cf28a6ced2790a597e6c.jpg",[],{"id":1416,"slug":1417,"title":1418,"dynasty":87,"author":752,"museum":257,"description":1419,"tags":1420,"thumbUrl":1421,"material":78,"size":78,"collection":78,"collections":1422,"showCount":1406,"zanCount":11,"manualWeight":11,"mainColor":46},224491,"xi-yang-qiu-ying-tu-wu-li-224491","夕阳秋影图","《清吴历夕阳秋影图》是清代画家吴历创作的一幅中国画。\n此图画山峦起伏，高树成林，草亭傍水，江天夕阳相映成趣。\n上有行书诗题及名款。\n吴历与王翚、恽寿平同学于王时敏门下，专意绘事，日夜临摹宋元真迹，渲染皴擦，风格高峻，得其神髓。\n其山水宗黄公望，得力于王蒙，兼有吴镇之长。\n此图虽仿倪瓒，然笔墨纯熟沉稳，颇见功底，诗画相融，其韵致超绝，具有自己的笔法,江亭遥岭,碎石丛树,萧瑟简淡,不失为吴氏晚年佳作。\n吴历（162—1718年），字渔山，号墨井道人、桃溪居士等，江苏常熟（今属江苏省）人。\n少年时遭遇明亡，信奉佛教，后转为信奉基督教。\n曾赴澳门，并受洗礼，教名西满·沙勿略（Simon ·Xareris），并学习西文。\n原计划去欧洲，因故未果，后回内地，在上海、嘉定、苏州一带传教，卒后葬于上海南门外耶稣会墓地。\n早年学画于王鉴、王时敏，后接触西方文化，这对其山水画风的形成有潜在影响。\n喜用干笔焦墨，笔墨细腻，注重画面的纵深感，并略微注意到透视法的运用。\n吴历以其独到的艺术风貌与“四王”、恽寿平并称“ ”。\n据《竹人续录》等史料载，吴氏兼擅刻竹，风格缜密，深受嘉定派影响。",[23,56,24,26,27,28,29,158,230,379,7,394,30,423],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77e569ba87e496e5333ec92596bbaa07.jpg",[],{"id":1424,"slug":1425,"title":1426,"dynasty":87,"author":1291,"museum":257,"description":1427,"tags":1428,"thumbUrl":1429,"material":78,"size":78,"collection":41,"collections":1430,"showCount":1406,"zanCount":11,"manualWeight":11,"mainColor":46},223249,"shan-shui-2-pu-hua-223249","山水2","蒲华（1832—1911）字作英，亦作竹英、竹云，浙江嘉兴人。号胥山野史、胥山外史、种竹道人，斋名九琴十砚斋、九琴十研楼、芙蓉庵，夫蓉盦、剑胆琴心室等。晚清著名书画家，与虚谷、吴昌硕、任伯年合称“海派四杰”。\n早年科举，仅得秀才，遂绝念仕途，潜心书画，携笔砚出游四方，后寓居上海，卖画为生。善花卉、山水，尤擅画竹，有“蒲竹”之誉。书法淳厚多姿；其画燥润兼施，苍劲妩媚，风韵清健。\n晚清民国时期著名画家，与任伯年、吴昌硕、虚谷合称“海派四杰”。\n与海上名家广有交往， 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”。",[23,24,25,28,26,59,27,29,217,94,30,92,7,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aa36173f62b89aaa10373bf91171f17.jpg",[41,43],{"id":1432,"slug":1433,"title":1434,"dynasty":1435,"author":1436,"museum":20,"description":1437,"tags":1438,"thumbUrl":1439,"material":78,"size":78,"collection":41,"collections":1440,"showCount":1406,"zanCount":11,"manualWeight":11,"mainColor":1441},202969,"chun-yan-die-cui-tu-zhou-xiao-jun-xian-202969","春岩叠翠图轴","近代","萧俊贤","画面中山峦层叠，云雾缭绕间，苍松挺劲，枝叶繁茂，似有清风拂过。山间瀑布潺潺而下，汇入溪流，水声仿佛可闻。崖畔茅屋隐现，添了几分隐逸之趣。笔墨上，山石以皴擦结合晕染，质感厚重；树木用浓淡墨色点染，层次分明。整体意境清幽，尽显春日山林的生机与静谧，传递出文人雅士对自然的向往与哲思。",[29,26,59,27,158,31,7,34,30,33,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8f10fbcbeaa4cd0e3b5181bc5ec59a3.jpg",[41],"bcb2a3",{"id":1443,"slug":1444,"title":1199,"dynasty":87,"author":353,"museum":257,"description":1445,"tags":1446,"thumbUrl":1448,"material":78,"size":78,"collection":78,"collections":1449,"showCount":45,"zanCount":11,"manualWeight":11,"mainColor":46},235522,"yuan-ji-shan-shui-tu-ce-shi-tao-235522","此作用枯笔淡墨绘就山水幽居之境。远山清瘦层叠，烟岚轻笼峰腰，晕染出空濛淡远之致。近处怪石盘迂，苍松杂木错落生姿，茅舍半隐林麓，林下幽人对坐抚琴，尽得林泉高致。\n\n左侧题诗与画面相映成趣，笔致萧散简淡，以诗衬画，将静听松风、默然会意的雅逸心境铺展纸上。整体画风疏秀空灵，脱尽尘俗，以极简笔墨勾勒悠远林下之思，把文人耽爱山水、寄情丝桐的襟怀融于尺幅间，淡而弥永，意韵悠长。",[24,26,189,27,29,173,32,7,96,1050,33,1447,1167],"松枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c9ee25418441b56893f0e81e4198921.jpg",[],{"id":1451,"slug":1452,"title":1453,"dynasty":125,"author":1454,"museum":53,"description":1455,"tags":1456,"thumbUrl":1457,"material":39,"size":78,"collection":78,"collections":1458,"showCount":45,"zanCount":11,"manualWeight":11,"mainColor":46},234123,"shao-xi-chun-se-tu-juan-wen-jia-234123","苕溪春色图卷","文嘉","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。",[24,25,57,26,29,27,36,35,37,32,93,92,94,396,7,96,260,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e66541a7ebd7c5075034cb06a0ac1b.jpg",[],{"id":1460,"slug":1461,"title":1462,"dynasty":1463,"author":1069,"museum":257,"description":1464,"tags":1465,"thumbUrl":1469,"material":310,"size":311,"collection":78,"collections":1470,"showCount":45,"zanCount":11,"manualWeight":11,"mainColor":82},230543,"shi-ting-shi-dai-ri-yue-shan-shui-tu-ping-feng-yue-ping-yi-ming-230543","室町时代 日月山水图屏风-月屏","不详","浅金晕染出朦胧夜气，以青绿为主调铺展山野幽境。挺秀松林错落坡巅，笔墨清简勾勒出苍古意态。浅滩茅庐半隐于草色间，坡岸随色块开合错落，墨笔轻绘竹叶、草叶，疏朗雅致。\n\n整体以平远构图铺陈，删繁就简，用色块晕染出月夜山野的清寂淡远，将东方禅意融于侘寂风物中，于简淡空灵里，尽显静穆古雅的山水幽趣，藏着独属于山野夜色的宁谧安然。",[23,59,367,29,1466,158,344,1467,1468,7,230],"屏风","草地","月亮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4805b1904a7c472e2a9775631e4451df.jpg",[],{"id":1472,"slug":1473,"title":1474,"dynasty":125,"author":938,"museum":257,"description":1475,"tags":1476,"thumbUrl":1478,"material":78,"size":78,"collection":78,"collections":1479,"showCount":45,"zanCount":11,"manualWeight":11,"mainColor":46},228886,"cun-ju-tu-wen-zheng-ming-228886","存菊图","淡墨轻皴汀洲远山，清润秀雅，茅庐隐于林间，窗内人影凭眺，秋水横波，江天旷远，晕染出江南秋日萧疏淡远的意趣。\n书画合璧，行书题诗笔致温秀，以存菊寄寓林下高逸襟怀，将文人澹泊心境融于水墨湖山。笔底无浓艳重彩，却自见悠悠古意，淡而不薄，秀而不媚，尽显诗书画一体的雅致风神，把秋日怀想与文人雅趣藏进卷中，清和隽永。",[23,24,25,57,59,29,60,27,36,37,35,344,345,356,158,379,7,1477],"菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e9a4a897929f713d7c2804fe86703e6.jpg",[],{"id":1481,"slug":1482,"title":1483,"dynasty":87,"author":1484,"museum":257,"description":1485,"tags":1486,"thumbUrl":1487,"material":78,"size":78,"collection":78,"collections":1488,"showCount":45,"zanCount":11,"manualWeight":11,"mainColor":46},224240,"tan-xue-tu-juan-li-zong-wan-224240","探雪图卷","励宗万","此作用平远视角铺展林泉雅境，以披麻皴绘层峦，石骨温润，淡赭晕染出浅淡暖意，衬出山峦清和质感。长溪蜿蜒穿谷，汀渚错落板桥连缀村居，黛瓦茅庐或临水依崖，或藏于花林松荫。\n\n山径、板桥之上，雅士策杖寻幽、携琴晤谈，暗合林泉高致。桃林初绽、松枝苍劲，红白点缀浅绛山水之间，冷润雅致。全卷以精工细笔写尽山居闲旷，将文人心中的世外烟霞融于尺幅，尽显静谧悠然的林下意趣，淡远清和的气息漫卷整幅画卷。",[23,24,25,57,60,27,59,29,380,93,92,70,368,32,30,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff435c1018f07729175bd8cc1346e76e1.jpg",[],{"id":1490,"slug":1491,"title":1492,"dynasty":125,"author":1493,"museum":409,"description":1494,"tags":1495,"thumbUrl":1496,"material":177,"size":1497,"collection":41,"collections":1498,"showCount":45,"zanCount":11,"manualWeight":11,"mainColor":82},222575,"ting-zhou-fang-mei-tu-zhao-zi-jun-222575","停舟访梅图","赵子俊","绘远山近水，河岸山石之上，松柏修长翠绿，梅花朵朵盛放，一人坐于梅下，抬头观望赏梅，梅下岸边河边船只停泊。另一边数座房屋呈现，房前屋后翠竹茂盛，梅花灼灼。画面疏密有致，意境辽阔清雅。",[23,24,25,774,59,29,478,130,158,7,96,356],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b03376e9df78efc27198473fd5577ce.jpg","40x50",[41],{"id":1500,"slug":1501,"title":1502,"dynasty":87,"author":1503,"museum":53,"description":1504,"tags":1505,"thumbUrl":1506,"material":264,"size":1507,"collection":78,"collections":1508,"showCount":1509,"zanCount":11,"manualWeight":11,"mainColor":46},233445,"ren-wu-shan-shui-ce-luo-pin-233445","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。",[24,543,59,39,70,29,478,7,1167,36,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99425d9cb891e7242e250ced234210b2.jpg","纵24.2厘米，横30.7厘米",[],15,{"id":1511,"slug":1512,"title":1513,"dynasty":87,"author":1514,"museum":20,"description":1515,"tags":1516,"thumbUrl":1517,"material":160,"size":1518,"collection":78,"collections":1519,"showCount":1509,"zanCount":11,"manualWeight":11,"mainColor":46},219845,"shan-shui-tu-ce-2-xie-sun-219845","山水图册-2","谢荪","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。",[56,24,59,189,29,7,70,32,297,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c8ea66273bf36744a66e697c7010deb.jpg","14.2x19.2",[],{"id":1521,"slug":1522,"title":1523,"dynasty":125,"author":1227,"museum":257,"description":1228,"tags":1524,"thumbUrl":1525,"material":310,"size":311,"collection":78,"collections":1526,"showCount":1527,"zanCount":11,"manualWeight":11,"mainColor":46},237813,"shan-shui-shan-ye-sun-zhi-237813","山水扇页",[774,24,26,27,29,356,7,130,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd26c2d60f35ddcbd0b9474fd43509424.jpg",[],14,{"id":1529,"slug":1530,"title":1531,"dynasty":87,"author":1532,"museum":257,"description":1533,"tags":1534,"thumbUrl":1535,"material":78,"size":78,"collection":78,"collections":1536,"showCount":1527,"zanCount":11,"manualWeight":11,"mainColor":46},228935,"mo-gu-shan-shui-ce-lu-yuan-228935","摹古山水册","陆远","此作用淡墨干笔写就水岸幽居之景，近岸古木虬曲垂丝，与旁侧细竹相映，茅舍临水孑立，透着世外幽居的闲静。水面留白铺展出空阔淡远之意，远山以枯笔皴擦勾勒石体质感，苍朴的山石晕染出烟水朦胧之态。\n\n整体画风简淡萧疏，将水岸清旷冷逸之境藏于尺幅间，笔意简净却意蕴悠长，把林泉幽隐之思融在每一处点染之中，观之便如踏入无人烟水，浸享静穆淡远的文人雅趣。",[24,26,91,27,189,29,30,32,7,1193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ecd5879745033f91d86956e7bd1aae2.jpg",[],{"id":1538,"slug":1539,"title":1540,"dynasty":87,"author":968,"museum":257,"description":1541,"tags":1542,"thumbUrl":1543,"material":78,"size":78,"collection":78,"collections":1544,"showCount":1527,"zanCount":11,"manualWeight":11,"mainColor":46},224392,"tao-yuan-chun-zhou-tu-wang-yuan-qi-224392","桃源春昼图","此作用元人笔法绘就世外幽境，干笔积墨皴擦山峦，层层叠叠尽显苍浑厚重。近岸林木疏朗，粉桃绽枝，村居隐于水畔林间，溪桥连通幽处，晕染出春日清和柔缓的氛围。\n\n诗画相映，鉴藏朱印错落点缀，将武陵桃源的隐逸意趣融于尺幅之中。整体章法疏密有致，笔意内敛沉静，以苍润笔墨铺展出出世忘尘的澹然意境，尽显文人山水的清雅格调，藏着山居春日的闲逸悠然。",[23,24,25,29,59,27,674,344,345,32,7,93,92,35,37,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4861bc4696e9917281ec8d93b88f9dcf.jpg",[],{"id":1546,"slug":1547,"title":1548,"dynasty":87,"author":318,"museum":20,"description":516,"tags":1549,"thumbUrl":1550,"material":519,"size":520,"collection":78,"collections":1551,"showCount":1527,"zanCount":11,"manualWeight":11,"mainColor":46},222614,"shan-shui-ba-jing-4-gong-xian-222614","山水八景-4",[23,24,26,27,29,356,7,130,1333],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e4c657c37d420a6e6b5f70b56085e2c.jpg",[],{"id":1553,"slug":1554,"title":1555,"dynasty":87,"author":1556,"museum":1557,"description":1558,"tags":1559,"thumbUrl":1561,"material":116,"size":78,"collection":78,"collections":1562,"showCount":1527,"zanCount":195,"manualWeight":11,"mainColor":46},214813,"shan-shui-hua-hui-tu-ce-6-gao-feng-han-214813","山水花卉图册-6","高凤翰","日本大阪市立美术馆","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。",[23,56,24,26,59,189,27,379,93,92,7,173,245,380,29,1560,244],"花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c5645da02a8b8b4685060ad00c3bc0b.jpg",[],{"id":1564,"slug":1565,"title":1566,"dynasty":125,"author":1567,"museum":257,"description":1568,"tags":1569,"thumbUrl":1570,"material":310,"size":311,"collection":78,"collections":1571,"showCount":1572,"zanCount":11,"manualWeight":11,"mainColor":46},239473,"fang-ni-shan-shui-shan-bian-wen-yu-239473","仿倪山水扇","卞文瑜","字孟硕，吴江（今江苏吴江）人。工画，见赏于董思白（其昌）、陈眉公（继儒）。明亡佯狂卒，年三十二。",[24,774,26,27,91,29,173,32,7,96,1050,423],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d62cdec0cf21a047c087ed05e3035b6.jpg",[],13,{"id":1574,"slug":1575,"title":1576,"dynasty":87,"author":579,"museum":257,"description":1577,"tags":1578,"thumbUrl":1579,"material":78,"size":78,"collection":78,"collections":1580,"showCount":1572,"zanCount":11,"manualWeight":11,"mainColor":46},234175,"xi-xi-cao-tang-tu-juan-cha-shi-biao-234175","西溪草堂图卷","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”。\n查士标专事书画，家藏甚富，鼎彝及宋、元真迹皆有，遂精鉴赏。\n他的山水画，笔墨疏简，风神嫩散，气韵荒寒，晚年画风突变，直窥元人之奥。",[23,24,57,26,29,27,344,345,94,356,95,130,321,481,480,7,114,97,172,396],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f1795bf78bf2ed221b26be8f6242dad.jpg",[],{"id":1582,"slug":1583,"title":540,"dynasty":87,"author":353,"museum":53,"description":541,"tags":1584,"thumbUrl":1586,"material":264,"size":548,"collection":78,"collections":1587,"showCount":1572,"zanCount":11,"manualWeight":11,"mainColor":46},233779,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233779",[24,29,59,27,37,35,30,92,32,7,1585,93,114,158],"坡岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08499dfe7a18b26f6177db834ea5c8ca.jpg",[],{"id":1589,"slug":1590,"title":1591,"dynasty":1463,"author":1069,"museum":257,"description":1592,"tags":1593,"thumbUrl":1599,"material":310,"size":311,"collection":78,"collections":1600,"showCount":1572,"zanCount":11,"manualWeight":11,"mainColor":82},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。",[23,59,1594,60,29,1595,158,245,1596,92,130,70,7,396,1597,1598,30,908],"金碧","花鸟","海浪","红花","蓝花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8426675663adcf6258597ace11c316e8.jpg",[],{"id":1602,"slug":1603,"title":1604,"dynasty":87,"author":353,"museum":257,"description":1605,"tags":1606,"thumbUrl":1608,"material":78,"size":78,"collection":78,"collections":1609,"showCount":1572,"zanCount":11,"manualWeight":11,"mainColor":46},229002,"tao-yuan-ming-shi-yi-tu-shi-tao-229002","陶渊明诗意图","《陶渊明诗意图》是清代石涛创作的纸本设色画册。\n本图册是作者根据东晋著名诗人陶渊明诗句而创作。\n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。\n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。\n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。\n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。\n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。\n此图结构精巧，人物用笔细密。\n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。\n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。\n老者远望青山，脚下溪水流淌。\n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。\n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。\n构图采用一水两岸的自然分疆法。\n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。\n树木用水墨渍出，以衬托山腰白云的动感。\n石涛（1642年－178年），清初画家，原姓朱，名若极，明靖江王朱赞仪的十世孙， 的长子。\n广西桂林人，祖籍安徽凤阳，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。\n与 、 、 合称“清初四僧”。\n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。\n工书法，能诗文。\n存世作品有《搜尽奇峰打草稿图》、《 》、《竹石图》、《 》等。",[24,25,189,59,29,37,36,35,27,1607,7,32,70],"山崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd852bf65fd37c1462cfb4617891b0385.jpg",[],{"id":1611,"slug":1612,"title":1613,"dynasty":125,"author":126,"museum":739,"description":1614,"tags":1615,"thumbUrl":1616,"material":102,"size":1617,"collection":78,"collections":1618,"showCount":1572,"zanCount":11,"manualWeight":11,"mainColor":46},222340,"wu-yang-zi-yang-xing-tu-quan-juan-tang-yin-222340","悟阳子养性图全卷","图绘溪水流淌、绿树成荫的幽静之处，有草厅一间，一老者坐于蒲团之上，双手握于膝上，仰望的姿势似观赏远处的大好山水，身旁一桌上置诗书几本，表达出修身养性的意境；卷后有文徵明题《悟阳子诗叙》，二大才子书画合璧，精彩绝伦！",[23,24,25,57,26,37,36,29,70,7,32,173,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7458bac5765bb1775c9eeabee74ee5f5.jpg","29.5x103.5cm",[],{"id":1620,"slug":1621,"title":1622,"dynasty":87,"author":1623,"museum":257,"description":1624,"tags":1625,"thumbUrl":1627,"material":78,"size":78,"collection":549,"collections":1628,"showCount":81,"zanCount":11,"manualWeight":11,"mainColor":46},238995,"jiao-yang-shu-wu-zhou-xiang-kui-238995","蕉阳书屋轴","项奎","项奎（1623-1702）明末清初画家，〔清〕字天武、子聚，号东井、墙东子、墙东居士、水墨处士，秀水(今浙江嘉兴)人，元汴曾孙，德达孙，徽谟子，生卒年不详。幼承家学，善山水，兼长兰竹。山水喜用秃笔，秀雅枯淡，颇得元人枯淡之趣；所画兰竹亦逸秀可爱，年七十属友人撰生圹志，寿至八十",[24,25,28,26,1102,27,37,29,7,1626,32,30,35,36],"芭蕉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3286bfda2e0e761bb51ae22ce879f272.jpg",[549,43],{"id":1630,"slug":1631,"title":1632,"dynasty":87,"author":1633,"museum":257,"description":1634,"tags":1635,"thumbUrl":1636,"material":78,"size":78,"collection":78,"collections":1637,"showCount":81,"zanCount":11,"manualWeight":11,"mainColor":46},238240,"shan-jing-ri-zhang-tu-ce-zhang-yu-sen-238240","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》。",[24,59,26,29,27,189,344,345,114,7,70,130,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb6c5a108e9c64dea7e1e7ec17100c74.jpg",[],{"id":1639,"slug":1640,"title":505,"dynasty":87,"author":1641,"museum":257,"description":1642,"tags":1643,"thumbUrl":1644,"material":1645,"size":78,"collection":41,"collections":1646,"showCount":81,"zanCount":11,"manualWeight":11,"mainColor":46},237970,"shan-shui-zhou-li-jian-237970","黎简","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。",[24,25,28,26,59,27,29,32,158,30,34,7,70,98,92],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F682aee1e09b037e88fe4860d9478e6a0.jpg","设色绢本",[41,119],{"id":1648,"slug":1649,"title":1650,"dynasty":125,"author":997,"museum":257,"description":1651,"tags":1652,"thumbUrl":1653,"material":310,"size":311,"collection":78,"collections":1654,"showCount":81,"zanCount":11,"manualWeight":11,"mainColor":46},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。",[24,774,26,29,32,30,7,93,92,205,70,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa033729b0f39343c16511a93fc209eff.jpg",[],{"id":1656,"slug":1657,"title":1658,"dynasty":125,"author":1659,"museum":257,"description":1660,"tags":1661,"thumbUrl":1663,"material":310,"size":311,"collection":78,"collections":1664,"showCount":81,"zanCount":11,"manualWeight":11,"mainColor":46},235354,"shan-shui-ce-zhang-fu-yang-235354","山水册","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。",[24,25,189,26,29,1662,35,27,94,204,30,7,70],"草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F881b45a415a6b7ceebf1003120b8678b.jpg",[],{"id":1666,"slug":1667,"title":540,"dynasty":87,"author":353,"museum":53,"description":541,"tags":1668,"thumbUrl":1669,"material":264,"size":548,"collection":78,"collections":1670,"showCount":81,"zanCount":11,"manualWeight":11,"mainColor":46},233772,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233772",[24,25,189,26,59,37,27,29,158,7,70,30,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37b13f182bff57b8fc3868382c434e29.jpg",[],{"id":1672,"slug":1673,"title":1674,"dynasty":125,"author":794,"museum":53,"description":1675,"tags":1676,"thumbUrl":1677,"material":76,"size":1678,"collection":78,"collections":1679,"showCount":81,"zanCount":11,"manualWeight":11,"mainColor":46},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。",[24,25,57,59,60,27,37,36,35,29,70,368,93,92,94,396,32,7,96,641,532,205],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef5d14ba947ca8d4ea3f712b7d9b9be8.jpg","纵26.9厘米，横124厘米",[],{"id":1681,"slug":1682,"title":1683,"dynasty":1463,"author":1069,"museum":257,"description":1684,"tags":1685,"thumbUrl":1689,"material":78,"size":78,"collection":78,"collections":1690,"showCount":81,"zanCount":11,"manualWeight":11,"mainColor":46},225338,"fu-shi-hui-91-yi-ming-225338","浮世绘91","这幅作品以百尺飞瀑为视觉核心，垂直奔涌的水流如银练垂空，蓝白渐变晕染出碎玉崩溅的磅礴水汽，与四周苍翠绿意的层峦形成强烈视觉张力。\n\n前景处负笠赶路的旅人、水雾裹挟下的山居茅舍，将宏大山水与市井烟火相融。利落的线条勾勒出山岳纹理与行人动态，柔和敷色晕开湿润空濛的幽谷氛围，仿佛能听见瀑声轰鸣、水花扑簌。画作将自然的雄浑浩渺与人间日常的暖意交织，尽显雅致意境，把幽谷飞瀑的清旷生机定格于尺幅之间。",[1686,1687,59,29,31,32,30,34,70,7,1688],"浮世绘","木刻","水花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c29268bc35bbb814405c3712ecfca34.jpg",[],{"id":1692,"slug":1693,"title":1694,"dynasty":87,"author":376,"museum":20,"description":1695,"tags":1696,"thumbUrl":1697,"material":78,"size":78,"collection":41,"collections":1698,"showCount":81,"zanCount":11,"manualWeight":11,"mainColor":1699},202220,"tang-ren-shi-yi-tu-zhou-wang-hui-202220","唐人诗意图轴","画面以淡墨设色铺展山水景致，远山用皴法勾勒纹理，尽显雄浑苍劲；近景枯树虬枝交错，茅舍隐于林间，溪流潺潺绕屋而过，小桥横架其上，一派清幽雅致的冬日山居意趣。笔墨细腻灵动，将唐人诗中的恬淡意境化为可视的山水图景，构图疏密有致，虚实相生，尽显传统山水画的笔墨韵味与诗意情怀。",[24,29,27,379,93,7,59,28,35,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a706e8ea8fbfb2e8dd917cd9f4ce7bb.jpg",[41],"988c7c",{"id":1701,"slug":1702,"title":1703,"dynasty":87,"author":1704,"museum":20,"description":1705,"tags":1706,"thumbUrl":1707,"material":78,"size":78,"collection":41,"collections":1708,"showCount":81,"zanCount":11,"manualWeight":11,"mainColor":1709},201528,"wu-xia-qiu-tao-tu-zhou-yuan-jiang-201528","巫峡秋涛图轴","袁江","巫峡险峻之势凝于画卷，山峦叠嶂间，界画勾勒的楼阁倚崖而立，线条精巧工致。山石以皴法表现肌理，墨色浓淡交织出林木葱茏之态。江中秋涛奔涌，波涛起伏间，一叶扁舟破浪前行，船身细节入微。远山云雾缥缈，近麓茅屋隐现，添了几分幽居意趣。整幅画融山水雄奇与建筑精巧，动静相济，尽显巫峡秋日壮景与文人山水情怀。",[830,27,29,368,130,273,61,65,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7cfe5b5cdcd135532c2bcae734a5f67.jpg",[41],"896f60",{"id":1711,"slug":1712,"title":1713,"dynasty":87,"author":1714,"museum":257,"description":1715,"tags":1716,"thumbUrl":1717,"material":78,"size":78,"collection":78,"collections":1718,"showCount":1719,"zanCount":11,"manualWeight":11,"mainColor":46},238833,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238833","董诰墨庄览胜图册","董诰","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 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cottage (May - )","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。",[56,1738,7,379,70,908,1739],"油画","天空","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F127a11173f23d433505b94c0f575af4d.jpg","油画精选",[1741],"37474F",{"id":1745,"slug":1746,"title":1747,"dynasty":87,"author":376,"museum":257,"description":1748,"tags":1749,"thumbUrl":1750,"material":78,"size":78,"collection":78,"collections":1751,"showCount":1752,"zanCount":11,"manualWeight":11,"mainColor":46},235102,"huai-yin-tu-ce-wang-hui-235102","槐隐图册","此作用淡墨写就幽居闲意，古槐虬曲苍劲，主干皴擦出斑驳老态，羽状细叶以浓墨点簇，疏密错落间尽显灵动生机。左侧矮墙茅屋半掩于槐荫之下，墙面晕染出岁月漫漶的质感，墙垣顺着坡势蜿蜒，与浅草顽石相融，铺陈出山野幽居的僻静底色。题款小字清雅疏朗，和画面淡远禅意两相呼应。全画布景极简，以疏淡笔墨传递静穆安然的林下之风，将文人归园栖隐的雅趣藏于留白皴擦之中，简淡间意蕴悠长。",[24,26,189,27,245,7,1467,190,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8078c1312dce3ff7506f835fc6f08d03.jpg",[],10,{"id":1754,"slug":1755,"title":1502,"dynasty":87,"author":1503,"museum":53,"description":1504,"tags":1756,"thumbUrl":1757,"material":264,"size":1507,"collection":78,"collections":1758,"showCount":1752,"zanCount":11,"manualWeight":11,"mainColor":46},233444,"ren-wu-shan-shui-ce-luo-pin-233444",[24,26,189,29,70,356,7,146,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F309f20246632383db65250f12e281fba.jpg",[],{"id":1760,"slug":1761,"title":1762,"dynasty":87,"author":1714,"museum":111,"description":1763,"tags":1764,"thumbUrl":1767,"material":78,"size":78,"collection":78,"collections":1768,"showCount":1752,"zanCount":11,"manualWeight":11,"mainColor":46},222858,"xin-she-geng-ye-dong-gao-222858","新畬耕馌","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”。",[23,24,25,189,59,60,29,70,93,92,32,1727,7,1105,1765,1766],"牛","农事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62ba419991325a08174927ef62141683.jpg",[],{"id":1770,"slug":1771,"title":1658,"dynasty":87,"author":443,"museum":20,"description":1772,"tags":1773,"thumbUrl":1775,"material":78,"size":78,"collection":78,"collections":1776,"showCount":1752,"zanCount":11,"manualWeight":11,"mainColor":1777},203462,"shan-shui-ce-kun-can-203462","笔墨苍莽间，山峦叠嶂隐现，枯木枝干虬曲，屋舍错落于林麓间，似藏幽居之趣。干笔皴擦与湿墨晕染相济，线条朴拙富张力，墨色层次丰富，尽显山川浑厚之气。留白处意蕴悠远，仿佛山间云气流动，静谧深邃中，藏着画家对自然心性的体悟。画面虽简，却于简淡中见沉雄，于疏野中含真意，尽显文人山水的笔墨情韵。",[56,24,25,189,26,27,29,30,32,1774,245,7],"枯藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f2e7a9ed10d1569394c4cf2e7b5455f.jpg",[],"9594a1",{"id":1779,"slug":1780,"title":1329,"dynasty":1435,"author":1781,"museum":20,"description":1782,"tags":1783,"thumbUrl":10,"material":78,"size":78,"collection":41,"collections":1784,"showCount":1752,"zanCount":11,"manualWeight":11,"mainColor":1785},202906,"shan-shui-tu-zhou-huang-bin-hong-202906","黄宾虹","这幅山水图笔墨苍劲浑厚，墨色层次丰富，尽显自然灵韵。层叠山峦以皴法勾勒，云雾缭绕间见虚实相生；挺拔的松树枝干虬劲，与山石相映成趣。山间小桥隐现，茅屋错落，似藏隐逸之趣。笔触枯润相间，线条老辣灵动，将山水的雄浑与雅致融为一体，传递出文人画的深邃意境与对自然的深情体悟。",[24,26,29,27,158,93,7,28,23],[41],"e1d9cb",{"id":1787,"slug":1788,"title":1789,"dynasty":87,"author":1790,"museum":257,"description":1791,"tags":1792,"thumbUrl":1793,"material":78,"size":78,"collection":78,"collections":1794,"showCount":1795,"zanCount":11,"manualWeight":11,"mainColor":46},238664,"shu-hua-hong-li-ni-gu-shi-yi-ce-zhang-ruo-cheng-238664","书画弘历拟古诗意册","张若澄","这帧书画合册，书与画相映成趣。小楷清劲端雅，笔致匀净秀润，将赠别诗的缱绻心绪藏于点画之间，尽显文人笔墨的端凝雅致。下方山水取景清幽，以干墨皴擦写山石肌理，苍松虬劲挺秀，茅亭依崖临渊，留白铺陈出空寂辽远的氛围感，淡墨轻染晕开烟岚清韵，把诗中别绪化入山水空濛之中。书画一体，笔墨间晕开从容静穆的古典意趣，尽显传统文人诗书画合一的雅致情怀。",[24,25,189,1283,60,27,26,29,158,94,31,30,32,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28f978df06cc91cb834cd540d2964549.jpg",[],9,{"id":1797,"slug":1798,"title":1799,"dynasty":87,"author":318,"museum":20,"description":516,"tags":1800,"thumbUrl":1801,"material":519,"size":520,"collection":78,"collections":1802,"showCount":1795,"zanCount":11,"manualWeight":11,"mainColor":46},222616,"shan-shui-ba-jing-6-gong-xian-222616","山水八景-6",[23,24,26,27,29,93,92,94,32,7,321],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca709e50a46343aff080d2027c3af031.jpg",[],{"id":1804,"slug":1805,"title":1658,"dynasty":87,"author":1806,"museum":257,"description":1807,"tags":1808,"thumbUrl":1809,"material":78,"size":78,"collection":78,"collections":1810,"showCount":1811,"zanCount":11,"manualWeight":11,"mainColor":46},238163,"shan-shui-ce-yun-xi-238163","允禧","允禧字谦斋，号紫琼，亦作紫噊，别号紫琼崖道人、春浮居士等。康熙皇帝二十一子。善书画，该图层次分明，笔法老到，颇具文人画之风韵。",[24,25,189,59,37,35,27,29,344,345,32,93,31,321,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40745d9a471ce441393f4b4751514414.jpg",[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显幽寂，远山淡远引人流连。诗画合一的韵致，于笔墨间传递出文人寄情丘壑的清寂孤远，在古典雅致中尽显简素之美，是文人画里以意取胜的佳例。",[56,24,25,26,29,379,7,30,32,61,482,36,37,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9b55b0b2efd8517fd33b2057e3feed9.jpg","24.7x32.3cm",[],{"id":1874,"slug":1875,"title":1658,"dynasty":87,"author":1876,"museum":20,"description":1877,"tags":1878,"thumbUrl":1880,"material":78,"size":78,"collection":41,"collections":1881,"showCount":1811,"zanCount":11,"manualWeight":11,"mainColor":1882},203307,"shan-shui-ce-fan-qi-203307","樊圻","画面分两帧，一帧峰峦陡起，皴笔皴擦出嶙峋肌理，青绿设色晕染出苍润质感，山脚茅屋疏树，牧群悠然，野趣横生；另一帧江波平展，岸石错落，孤舟轻漾，林木萧疏，笔墨清逸雅致。两帧皆融宋元山水之沉郁与文人画之逸韵，景物鲜活，意境淡远，尽显自然意趣与笔墨情致。",[59,27,189,29,130,7,379,1879,30,65,23],"牧牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17320e032e43b0139c0e9d4c61b4632f.jpg",[41],"a68c6c",{"id":1884,"slug":1885,"title":1886,"dynasty":87,"author":1714,"museum":257,"description":1715,"tags":1887,"thumbUrl":1888,"material":78,"size":78,"collection":78,"collections":1889,"showCount":1890,"zanCount":11,"manualWeight":11,"mainColor":82},238341,"si-jing-shan-shui-xiao-ce-dong-gao-238341","四景山水小册",[24,25,189,59,29,27,93,92,245,7,61,380,30,32,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1aafa6cb457ee62a69390a61343fb58d.jpg",[],7,{"id":1892,"slug":1893,"title":1894,"dynasty":125,"author":256,"museum":257,"description":772,"tags":1895,"thumbUrl":1897,"material":310,"size":311,"collection":78,"collections":1898,"showCount":1890,"zanCount":11,"manualWeight":11,"mainColor":82},238059,"qiu-lin-ce-jian-shan-zhang-hong-238059","秋林策蹇扇",[24,25,774,26,59,27,29,379,70,1896,93,7,30,205],"驴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ec8f396387ded7a43d80ffc1c810961.jpg",[],{"id":1900,"slug":1901,"title":1902,"dynasty":87,"author":376,"museum":257,"description":1903,"tags":1904,"thumbUrl":1907,"material":78,"size":78,"collection":78,"collections":1908,"showCount":1890,"zanCount":11,"manualWeight":11,"mainColor":82},224452,"xia-jing-shan-kou-dai-du-tu-wang-hui-224452","夏景山口待渡图","此作为平远构图，铺展江南夏日常卷。烟波浩渺的水网间洲渚连绵，山峦以披麻皴绘就，浑厚华滋，漫山林木蓊郁苍润，尽显盛夏蓬勃生机。水面渔舟泛波，洲头村舍错落，行人三两往来，将水乡悠然野趣融于淡远空濛的烟岚之中。\n画作师法董源笔意，以水墨晕染出氤氲水汽，山色与水色交融晕化，尽显北苑山水的平淡天真，又自具清润秀雅的格调，将江南夏日的湿润静美凝于长卷，把平阔辽远的江湖盛景和隐逸安然的村居日常揉合，尽显水墨山水的诗性韵味。",[23,24,57,59,29,27,60,1905,32,395,7,1906,230,397,479,396],"湖泊","岛屿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3779511fff95c1183fe30a2ba31e63f2.jpg",[],{"id":1910,"slug":1911,"title":1912,"dynasty":51,"author":1069,"museum":257,"description":1913,"tags":1914,"thumbUrl":1918,"material":78,"size":78,"collection":78,"collections":1919,"showCount":1890,"zanCount":11,"manualWeight":11,"mainColor":82},223654,"yuan-shui-yang-fan-tu-yi-ming-223654","远水扬帆图","《宋人画远水扬帆》是南宋佚名画家创作的一幅表现江南水乡之美的中国古画。\n青山数抹，远浮天际。\n烟波浩渺的江面上，一阵劲风，将江边突岩上树叶茂密的大树吹弯了身子，也将江上三艘客船直往江心推去。\n江畔一位白衣隐士，带着琴童，正打算漫步到岩边林荫下的茅亭里。\n明朗的景境，流露着几分闲适、畅快的朝气。\n南宋偏安江南，江南水乡的杏花春雨，便逐渐取代华北的千岩万壑，成为画家描绘的主要对象。\n反映在作品里，除了云烟弥漫外，最大的特色，便是「水」的增加。\n在这幅「远水扬帆」里，我们可以看出吸引隐士策杖前来的，除了远山帆影外，也正是这一片映照山、天之影的江水。\n「远水扬帆」图上没留下名款，画中紧密的画叶画水的方法，和画石头的小斧劈皴法，都与南北宋之交 的名作「江山小景」相似。\n而左实右虚的半边构图，也是南宋常见的布局方式。\n隐士主仆俩身上寥寥廓廓的几根线条，也属南宋点景人物惯见的作风。\n这幅作品是一幅南宋表现江南水乡之美的典型佳作。",[23,56,24,25,700,177,59,1915,27,32,114,7,30,423,1916,70,96,397,62,1117,1917,485],"兼工带写","帆船","岸坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72cbaf521890fbde5497afffb62995ae.jpg",[],{"id":1921,"slug":1922,"title":1329,"dynasty":1435,"author":1781,"museum":20,"description":1923,"tags":1924,"thumbUrl":1927,"material":78,"size":78,"collection":41,"collections":1928,"showCount":1890,"zanCount":11,"manualWeight":11,"mainColor":1785},202932,"shan-shui-tu-zhou-huang-bin-hong-202932","画面中山峦层叠，云雾缭绕，笔墨苍劲老辣，山石以多种皴法交织，墨色浓淡相宜，干湿互用，尽显山川的雄浑与灵秀。近景处古松虬劲，枯木疏朗，山石旁点缀茅屋小桥，隐逸之趣盎然。整体气韵生动，墨色浑厚华滋，于简淡中蕴含深远意境，笔墨间藏纳自然丘壑，展现出传统山水与个人风格的完美融合，是一幅颇具韵味的水墨佳作。",[24,29,26,27,217,93,7,28,1925,1926,23],"笔墨","浑厚华滋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72cf6e77f1741277923aa84ced1c9b67.jpg",[41],{"id":1930,"slug":1931,"title":1932,"dynasty":87,"author":1933,"museum":257,"description":1934,"tags":1935,"thumbUrl":1937,"material":310,"size":311,"collection":78,"collections":1938,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":46},237486,"shan-shui-tu-ce-yao-song-237486","山水图册","姚宋","姚宋（1648—1721），字雨金，一作雨京，号野梅。安徽新安（今安徽歙县）人。清代画家。\n姚宋寓居芜湖。擅长山水画，其初学弘仁，后期广学诸家，成为新安派画家之一。姚宋所画人物、花鸟、鱼虫、兰竹、无不工致。",[24,25,189,1662,26,27,29,356,30,94,7,1936,158],"悬崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2736daa6a5070b4358b8996e1e8055c.jpg",[],{"id":1940,"slug":1941,"title":1942,"dynasty":125,"author":1943,"museum":257,"description":1944,"tags":1945,"thumbUrl":1946,"material":310,"size":311,"collection":78,"collections":1947,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":82},236519,"shan-shui-shan-lu-zhi-236519","山水扇","鲁治","鲁治，号岐云，江苏苏州人，明代画家。",[56,24,774,26,29,32,7,396,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f25664f8e7ba70b6b80087ce66a9171.jpg",[],{"id":1949,"slug":1950,"title":1658,"dynasty":125,"author":1951,"museum":257,"description":1952,"tags":1953,"thumbUrl":1954,"material":78,"size":78,"collection":78,"collections":1955,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":82},235152,"shan-shui-ce-li-liu-fang-235152","李流芳","此作用笔苍润秀雅，以水墨晕染仿拟前贤笔意。山峦以披麻皴淡写，墨色虚实相生，似笼着轻烟薄雾，将丘壑的苍浑藏在柔婉层次中。清劲的棕榈成林，衬出茅舍的幽寂，溪岸缓坡以淡墨扫就，不着一笔多余刻画，尽显萧散疏朗。整幅以简驭繁，无刻意修饰，复刻元人闲淡野逸的林下意趣，又融入自身疏朗笔致，将江南山居的清寂安谧藏在笔墨间，观之恍若身临幽林，暂忘尘嚣，尽显寄情林泉的文人风雅。",[26,27,189,907,29,230,7,30,32,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11f35c1896ed7d0cb7e275c6c8dc3dc9.jpg",[],{"id":1957,"slug":1958,"title":1959,"dynasty":1463,"author":1960,"museum":257,"description":1961,"tags":1962,"thumbUrl":1965,"material":310,"size":311,"collection":78,"collections":1966,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":82},231648,"yan-nan-qu-tu-zhou-chun-zhang-231648","雁南去图轴","春章","淡赭晕开江天暮色，冷月悬于低空，阵雁振翅南去，把秋意揉进流云里。草舍阶前，女子以袖拭泪，将别情藏在颦蹙之间；青衫男子席地静坐，执箸无言，满室怅惘随着晚风漫过竹帘。岸侧丹枫缀着残红，把萧索融进依依别绪。\n\n整作设色柔雅清润，线条秀逸温婉，将羁旅离别的缱绻愁思，融在江村秋夜的冷寂图景中。雁影渐远，愁味悠长，淡而不散的别意随着暮色漫开，余韵悠悠。",[24,25,28,59,60,70,396,7,32,498,1963,1167,1964],"草席","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87597ec94c9796e19b45ef00072964db.jpg",[],{"id":1968,"slug":1969,"title":1932,"dynasty":87,"author":419,"museum":257,"description":1970,"tags":1971,"thumbUrl":1972,"material":78,"size":78,"collection":78,"collections":1973,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":46},230917,"shan-shui-tu-ce-he-yi-230917","此作用笔简净萧散，以干淡笔墨铺陈丘林野趣。近岸巨石皴擦苍劲，双木虬曲错落，枝叶点染疏朗，暗含生趣。水畔茅庐隐于浅坡，野意自生。远景山峦以淡墨晕染留白，虚写水光天色，虚实相生间烘托出林泉幽寂之致。\n题诗与画面相映成趣，文气雅致，取法元人山水意韵，寄寓幽居丘壑、寄情林泉的出世襟怀，简淡笔墨里藏着静穆悠长的林下高致。",[24,25,189,26,27,29,30,32,7,96,1050,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06f41a79372429712d774f2e0b1e78d5.jpg",[],{"id":1975,"slug":1976,"title":1932,"dynasty":87,"author":752,"museum":20,"description":1977,"tags":1978,"thumbUrl":1979,"material":78,"size":78,"collection":41,"collections":1980,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":1981},203147,"shan-shui-tu-ce-wu-li-203147","山石皴擦见骨，覆雪留白写意，枯树虬枝衬出寒林清寂；远山层叠以水墨晕染，孤舟泛波、茅舍隐于林麓，尽显文人山水的静谧旷达。笔墨苍劲中含秀润，简淡构图藏深致意境，于方寸册页间，将自然之幽远与心境之澄明相融，足见画者笔墨功底与文人情怀。",[24,26,27,189,29,130,379,7,96,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f9d646efa47a177b57c9f4fe6a4a915.jpg",[41],"b8b5ae",{"id":1983,"slug":1984,"title":1985,"dynasty":87,"author":1069,"museum":257,"description":1986,"tags":1987,"thumbUrl":1989,"material":310,"size":311,"collection":78,"collections":1990,"showCount":137,"zanCount":11,"manualWeight":11,"mainColor":46},270202,"zong-zhu-gu-diao-hua-bian-hua-can-zhi-tu-mian-zhe-shan-yi-mian-yi-ming-270202","棕竹股雕花边画蚕织图面折扇-一眠","此作以泥金在乌纸扇面晕染勾勒，底色沉凝如夜，金辉明润雅致。竹树环合茅庐，屋内外妇人正料理幼蚕，篱边饲蚕的日常图景娴静悠然。作者笔触细腻写实，将蚕户劳作的温柔细节一一铺陈，竹篁的婆娑、茅舍的朴拙，人物温婉的姿态都刻画入微，把江南蚕乡的烟火日常融于方寸扇面。整体沉静雅致，以素黑衬得金绘愈发莹润，将平淡乡居的温情定格，兼具工艺巧思与生活意趣。",[774,24,60,1988,70,7,204],"描金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F399efe7876ecbf6dfd0007c28d4d5ac3.jpg",[],{"id":1992,"slug":1993,"title":1658,"dynasty":87,"author":318,"museum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下闲人休憩闲谈，烟火暖意漫在山海之间。\n\n暖调霞色衬着冷调崖瀑，冷暖交织晕开悠然古意，将行旅日常融在山海胜景中，把天地之阔与市井之温揉合一处，山野清寂衬着村居暖意，淡笔绘就悠然图景，静中生趣，余味悠长。",[1686,1687,59,29,70,7,32,31,297,98,2143,2144],"山坡","稻草屋顶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F094f8562159c077ddca4d63a409c04c6.jpg",[],{"id":2148,"slug":2149,"title":2150,"dynasty":125,"author":2151,"museum":718,"description":2152,"tags":2153,"thumbUrl":2154,"material":116,"size":2155,"collection":78,"collections":2156,"showCount":236,"zanCount":11,"manualWeight":11,"mainColor":46},219670,"fang-gu-shan-shui-ce-8-yun-xiang-219670","仿古山水册-8","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。”",[24,26,189,29,245,94,96,32,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd25b3b72bba8a3de503f3445883ce3d8.jpg","26x15.2",[],{"id":2158,"slug":2159,"title":1658,"dynasty":87,"author":2160,"museum":257,"description":2161,"tags":2162,"thumbUrl":2164,"material":78,"size":78,"collection":78,"collections":2165,"showCount":181,"zanCount":11,"manualWeight":11,"mainColor":46},238010,"shan-shui-ce-lu-zun-shu-238010","陆遵书","陆遵书是清代画家、诗人。字扶远、芙苑、即仙，号得岑，又号碧阴居士、紫碧山史。嘉定人，清乾隆二十四年（1759年）举人。嘉定人。二十七年，迎銮献诗画，称旨，供奉内廷。兼得董邦达指授，画学益进。后曾主持东昌书院。五十二年，选广东会同知县，未赴任。卒年六十七。诗极潇洒。画山水烟云深秀，丘壑不穷，晚年喜作远岫平林，亦得真趣。著有《燕台稿》《豫游稿》《停云稿》《练川竹枝词》《七十二峰考》《得岑馆画跋》等。\n乾隆三十三年（1768）中举人，晚年授会同（今湖南怀化）知县，未及赴任而卒。陆遵书山水师承王鉴、王原祁，烟云深秀，丘壑茂密，而另一种写意荒率之笔，系仿项圣谟。晚年声望既重，多作远岫平林。能写诗，意境清丽。乾隆四十八年（1783）曾作《寒林夕照图》。学生金梦惠、顾祝能继承其画学。",[24,26,189,27,29,93,92,130,32,95,61,1727,7,2163,532,33],"垂柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ff9821dd3850851740b99bfddc180ac.jpg",[],{"id":2167,"slug":2168,"title":1658,"dynasty":87,"author":2062,"museum":257,"description":2169,"tags":2170,"thumbUrl":2171,"material":310,"size":311,"collection":78,"collections":2172,"showCount":181,"zanCount":11,"manualWeight":11,"mainColor":82},237911,"shan-shui-ce-cheng-ming-237911","清代中早期画家、文人、收藏家,安徽歙县人,字友声,号松门,乾隆诸生。",[24,25,189,26,27,29,94,92,32,30,70,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4f46490f656920c19fba7255eedfde4.jpg",[],{"id":2174,"slug":2175,"title":2176,"dynasty":87,"author":2177,"museum":257,"description":2178,"tags":2179,"thumbUrl":2180,"material":78,"size":78,"collection":78,"collections":2181,"showCount":181,"zanCount":11,"manualWeight":11,"mainColor":46},234608,"shan-shui-wan-shan-he-wei-pu-234608","山水纨扇","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。",[24,774,26,59,27,29,130,32,61,92,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8afd6991804bbecdfb8e2d9db172223.jpg",[],{"id":2183,"slug":2184,"title":2185,"dynasty":1463,"author":1069,"museum":257,"description":2186,"tags":2187,"thumbUrl":2190,"material":78,"size":78,"collection":78,"collections":2191,"showCount":181,"zanCount":11,"manualWeight":11,"mainColor":46},225345,"fu-shi-hui-98-yi-ming-225345","浮世绘98","这幅风景绘以仰视视角铺展幽谷飞瀑，苍翠绿意覆于陡崖之上，银白水流如匹练垂落，轰然砸入深潭溅起漫天水雾。\n\n前景挑担行旅驻足观瀑，草舍檐角被水雾打湿，下方急流翻涌呼应瀑水，动静相映成趣。青蓝与暖黄底色调和，将山野雄浑与清幽相融，既绘出飞瀑吞天沃日的磅礴气势，又以行旅茅舍点染烟火暖意，将旅人行经深谷偶遇奇景的悠然意境晕染开来，尽显日式风景绘的别致意趣。",[1686,1687,59,29,31,32,70,321,2188,7,2189],"水流","斗笠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5c93b7eda3a26f80b34802e454e99ef.jpg",[],{"id":2193,"slug":2194,"title":2116,"dynasty":87,"author":2195,"museum":53,"description":2196,"tags":2197,"thumbUrl":2200,"material":78,"size":2201,"collection":78,"collections":2202,"showCount":181,"zanCount":11,"manualWeight":11,"mainColor":46},223183,"geng-zhi-tu-ce-jiao-bing-zhen-223183","焦秉贞","《御制耕织图》又名《佩文斋耕织图》，不分卷，清圣祖玄烨题诗，焦秉贞绘图，朱圭、梅玉凤镌刻，清康熙三十五年（1696年）内府刊本。耕图、织图各23幅，共计46幅图。每页34.7cm×27.7cm。图框24.4cm×24.4cm。四周单边。册页装。\n《耕织图》以江南农村生产为题材，系统地描绘了粮食生产从浸种到入仓，蚕桑生产从浴蚕到剪帛的具体操作过程，每图配有康熙皇帝御题七言诗一首，以表述其对农夫织女寒苦生活的感念。\n《耕织图》是中国农桑生产最早的成套图像资料，它的绘写渊源可上溯至南宋，绘者为楼璹。楼璹在宋高宗时期任於潜（今浙江省临安市）县令时，深感农夫、蚕妇之辛苦，即作耕、织二图诗来描绘农桑生产的各个环节。《耕织图》成为后人研究宋代农业生产技术最珍贵的形象资料。南宋嘉定三年（1210年），楼璹之孙楼洪、楼深等以石刻之传于后世，南宋理熙元年（1237年）有汪纲木刻复制本。宋以后关于本书的记载已不多见，较著名的有南宋刘松年编绘的《耕织图》，元代程棨的《耕织图》45幅。明代初年编辑的《永乐大典》曾收《耕织图》，已失传。明天顺六年（1462年）有仿刻宋刻之摹本，虽失传，但日本延宝四年（1676年）京都狩野永纳曾据此版翻刻，今均以狩野永纳本《耕织图》作楼璹本《耕织图》之代表。\n清康熙二十八年（1689年）康熙帝南巡时，江南士子进献藏书甚丰，其中有“宋公重加考订，诸梓以传”的《耕织图》。康熙帝即命焦秉贞据原意另绘耕图、织图各23幅，并附有皇帝本人的七言绝句及序文。绘画内容略有变动，耕图增加“初秧”、“祭神”二图，织图删去“下蚕”、“喂蚕”、“一眠”三图，增加“染色”、“成衣”二图，图序亦有变换。宋、清《耕织图》的布景与人物活动大同小异，但焦图画中的风俗易为清代，所绘更为工细纤丽，在技法上还参用了西洋焦点透视法。\n《耕织图》初印于康熙三十五年（1696年），后又出现了很多不同版本，木刻本、绘本、石刻本、墨本、石印本均行于世。如康熙年间的康熙三十八年（1699年）张鹏翮刻本，康熙五十一年（1712年）内府刻本，雍亲王胤禛绢底彩绘本，康熙五十三年（1714年）歙县汪希古恭摹刻48块墨板，宫廷绘白描本等，乾隆年间的康熙、雍正、乾隆三帝题诗刊本，清内府刻《授时通考》本，袖珍彩绘本，乾隆四年（1739年）清内府图为木刻、诗为石刻的经折装本，乾隆三十四年（1769年）北京刻朱墨套印本，杨大章彩绘本，乾隆三十四年（1769年）高宗命画院据元代程棨本临摹之《耕织图》，石刻嵌在皇家清漪园延赏斋左右廊壁的拓本，乾隆三十五年（1770年）徽州守臣摹刻的墨版。此外，还有嘉庆十三年（1808年）《耕织图诗》补刊本，同治十一年（1872年）刊本，光绪五年（1879年）上海点石斋《御制耕织图》石印本，光绪十一年（1885年）上海文瑞楼本，光绪十二年（1886年）上海点石斋石印本。民国时期也有多种版本，较著名的为武进陶兰泉刊本；日本、朝鲜、琉球等国亦有《耕织图》的摹本、翻刻本。\n《耕织图》不但版本众多，版式等也不尽相同，如上文下图本，左图右文本，版框带有龙纹的装饰本，袖珍刻本，木刻填色本，书中序文、诗文前后玺印朱色钤印本，前后玺印为刊版墨印本等。",[24,25,189,60,59,70,662,1105,7,32,2198,2199],"稻草堆","耕作场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F019a8f10d94d31ea8aa4ed837fb2bff7.jpg","34.7cm×27.7cm",[],{"id":2204,"slug":2205,"title":2116,"dynasty":87,"author":2195,"museum":53,"description":2196,"tags":2206,"thumbUrl":2209,"material":78,"size":2201,"collection":78,"collections":2210,"showCount":181,"zanCount":11,"manualWeight":11,"mainColor":46},223181,"geng-zhi-tu-ce-jiao-bing-zhen-223181",[24,25,60,59,70,1104,32,1105,2207,345,908,7,2208],"耕作","写实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5523a5f6fb4d9c6cfba36e07de3f38cb.jpg",[],{"id":2212,"slug":2213,"title":2116,"dynasty":87,"author":2195,"museum":53,"description":2196,"tags":2214,"thumbUrl":2217,"material":78,"size":2201,"collection":78,"collections":2218,"showCount":181,"zanCount":11,"manualWeight":11,"mainColor":46},223173,"geng-zhi-tu-ce-jiao-bing-zhen-223173",[544,60,59,70,29,32,7,297,2215,2216],"田园","农耕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f85d5a507f9e746c76bc746f1836f8e.jpg",[],{"id":2220,"slug":2221,"title":2222,"dynasty":125,"author":2223,"museum":20,"description":2224,"tags":2225,"thumbUrl":2226,"material":39,"size":2227,"collection":78,"collections":2228,"showCount":181,"zanCount":11,"manualWeight":11,"mainColor":46},219781,"za-hua-ce-7-guo-xu-219781","杂画册-7","郭诩","郭诩（1456—1532），字仁弘，号清狂道人，江西泰和人。工书画，善山水，尝遍历名山，曰“岂必谱也，画在是矣。”同时江夏吴伟、北海杜堇、姑苏沈周俱以画名，莫不延颈原交，天下竟传清狂画，风之百金。有贵人欲多得诩画，诩瞠目数屋梁不对。固索，辄跮跖狂趋，叫奡跳号去。弘治（一四八八至一五零五）中徵天中善画者，应诏京师。宸濠召与语，辄辞谢之。往依王守仁献画题诗所见志。又善杂画，信手作人物，辄有奇趣。七十三岁尚作磨镜图。他的作品传世不多，八开《杂画册》现藏上海博物馆，《琵琶行》图轴藏北京故宫博物院。",[24,25,26,189,27,29,297,395,32,7,30,36,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd043a0626a157e329bd01f4fab1a5787.jpg","纵28.5 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