[{"data":1,"prerenderedAt":259},["ShallowReactive",2],{"subject-po-shi":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},373,"po-shi","坡石","坡石画高清赏析","精选中国历代坡石题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dc0f262c3db1a223e4f928935b8d3af.jpg",0,12,[14,44,72,97,114,127,156,182,204,219,235,246],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":36,"material":37,"size":38,"collection":39,"collections":40,"showCount":41,"zanCount":42,"manualWeight":11,"mainColor":43},218586,"gu-mu-yao-shan-tu-zhou-guo-xi-218586","古木遥山图轴","宋","郭熙","上海博物馆","全图画秋景山水，画文人士夫出行的情形，系平 远式构图。近景以水墨画坡石，上有古木数株，中 景绘两间敞轩和一座木构平房，内有主人，外有过 客，隔江远景坡地朦胧，其下有牛群散牧、孤舟帆饱。 该图是一幅相当写实的山水画，画家客观、概括地描 绘了所见的景物。因此，笔者认为，可借鉴动物考古 学和建筑学等学科的成果来分析、研究是图的绘制地 域，以便于确定其创作时代。",[23,24,25,26,27,28,29,30,7,31,32,33,34,35],"名画","国画","书画","立轴","水墨","山水","秋景","古木","敞轩","平房","孤舟","牛","人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9b7f96f5bbf3b0e2a5e0fc103c93fe7.jpg","绢本,水墨","纵 185.2、横 107.5 厘米","山水画精选",[39],136,4,"795548",{"id":45,"slug":46,"title":47,"dynasty":48,"author":49,"museum":50,"description":51,"tags":52,"thumbUrl":64,"material":65,"size":66,"collection":39,"collections":67,"showCount":69,"zanCount":70,"manualWeight":11,"mainColor":71},220967,"gao-yi-tu-zhou-dong-qi-chang-220967","高逸图轴","明","董其昌","北京故宫博物院","明万历四十四年(1616年)三月，董其昌正赋闲居家。由于其子与乡民发生冲突，导致其宅被焚，家资尽丧，此即著名的“民抄董宦”事件。董其昌被迫避祸他乡，惶惶往来于吴兴、镇江之间。虽然半年后事态逐渐平息，但董似乎心有余悸，仍旧频频四出游历、访友。此图即为第二年董氏去镇江、太湖间的练湖畔访其旧友蒋道枢，与蒋氏泛舟荆溪时的即兴之作，颇似当年倪瓒弃家隐居太湖时的心境。董其昌此图采用了倪氏典型的笔墨技法，湖滨两岸的浅坡及山丘皆以干笔淡墨施以折带皴，行笔以侧锋为主，笔墨苍逸，极好地表达出倪画中萧散简远的意境，同时也反映了作者晚年身历劫乱后的苍凉心绪。但作者又非简单地仿古，近岸数株盘屈虬结的古木就充分体现了作者独特的艺术创造。董氏画树有其独到的见解，他在《画禅室随笔》中写道：“画树之法，须专以转折为主……如写字之于转笔用力，更不可往而不收……但画一尺树，更不可令有半寸之直，须笔笔转去。此秘诀也。”树过于直，不免枯燥、呆板，有曲折才见变化、生意。观此图之树，确实起到了点醒画面的作用。近景之树，不仅是连接两岸的桥梁，填补了湖面的大片空白，同时也是作者刻意表现的另一主要物象，它们攲侧的走势以及相互之间纠结牵引的姿态，都使冷寂空阔的景色趋于活跃，表现了董其昌多方面的笔墨技巧。",[53,24,25,26,27,28,54,55,56,57,58,59,60,61,7,62,63],"高清","树木","山石","皴法","行书","题跋","远山","近坡","枯树","山峦","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c9da1c4b4b98526a13f16aa2f526b92.jpg","纸本,墨笔","纵89.5厘米，横51.6厘米",[39,68],"水墨画精选",88,1,"BDBDBD",{"id":73,"slug":74,"title":75,"dynasty":18,"author":76,"museum":77,"description":78,"tags":79,"thumbUrl":90,"material":91,"size":92,"collection":93,"collections":94,"showCount":95,"zanCount":96,"manualWeight":11,"mainColor":43},289554,"cao-chong-hua-die-tu-yan-yan-nv-shi-289554","草虫花蝶图","艳艳女史","藏地不详","此卷描绘了一幅秋光明媚的花鸟长卷。画面中，在坡地、湖石之间，桂花、海棠、秋葵等花卉盛开、争奇斗艳，蝴蝶、蜜蜂、蜻蜓翻飞其间、形态各异，充满生机。此卷中花卉设色妍丽，虫蝶描绘栩栩如生而富于变化，与“勾勒纤细，敷色浓艳”的画院“院体”花鸟画风格十分相符，整体给人以写实细腻之感。此卷充分反映出艳艳女史作为一位女性画家出色的绘画技法，充满女性细致、淡雅之趣。",[53,24,23,80,81,82,83,84,85,86,87,88,89,7],"长卷","花鸟","工笔","设色","花卉","草虫","蝴蝶","飞蛾","蜂","蜻蜓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F378970eb9c0212617a3a0b5e28d792b0.jpg","未知","绢本设色纵32.5厘米，横333.5厘米","",[],73,2,{"id":98,"slug":99,"title":100,"dynasty":48,"author":101,"museum":77,"description":102,"tags":103,"thumbUrl":111,"material":93,"size":93,"collection":93,"collections":112,"showCount":113,"zanCount":11,"manualWeight":11,"mainColor":71},228402,"liu-shi-shuang-ji-zhou-zhi-mian-228402","榴实双鸡","周之冕","此作以兼工带写之法绘就，垂落桃枝悬着饱满桃实，石畔榴花烂漫盛放。两只雄鸡意态悠然，一只昂首翘尾似正引吭，一只垂首理羽尽显松弛自在。\n\n禽鸟翎毛晕染细腻写实，将肌理纤毫毕现，坡石花草则写意随性，设色雅致柔和，明淡中带着融融暖意。画面定格庭院一隅的鲜活生趣，兼具院体花鸟的精工雅致，又不失文人水墨的隽逸生机，将日常闲晕染成灵动雅致的画卷，尽显悠然野趣。",[24,104,83,105,106,107,108,7,109,110],"花鸟画","兼工带写","桃","榴花","雄鸡","花草","悠然野趣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4af223222167eb01e3e7d533bf97c5b2.jpg",[],54,{"id":115,"slug":116,"title":117,"dynasty":18,"author":118,"museum":20,"description":119,"tags":120,"thumbUrl":122,"material":93,"size":93,"collection":123,"collections":124,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":126},202162,"ben-du-tu-juan-liang-tu-shan-202162","奔犊图卷","梁秃山","画面以简括笔墨勾勒奔牛动态，牛身墨色浓淡相间，肌肉张力隐现，四蹄腾空似奋力疾奔，尾梢甩动更添动感。旁侧小兽身形小巧，与壮牛形成对比，衬出牛之奔势。背景树木枝干疏朗，坡石以淡墨晕染，留白处尽显空濛，营造出野逸之境。整幅画作笔墨极简却意趣盎然，于瞬间动态中捕捉生命活力，尽显南宋文人画的写意精神与自然意趣。",[24,27,80,34,121,54,7,56,53],"兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6883540eba2ef1d4626cdca1f141cd96.jpg","宋画精选",[123],50,"a0855e",{"id":128,"slug":129,"title":130,"dynasty":131,"author":132,"museum":133,"description":134,"tags":135,"thumbUrl":151,"material":152,"size":153,"collection":93,"collections":154,"showCount":155,"zanCount":11,"manualWeight":11,"mainColor":71},232639,"shui-zhu-ju-tu-ni-zan-232639","水竹居图","元","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》）",[53,24,136,137,138,139,140,7,141,142,143,62,144,145,146,147,148,149,63,150,56],"山水画","文人画","青绿设色","茅屋","修竹","溪水","小桥","林木","水渚","仙居","静谧","荒寒","幽冷","楷书","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40b691851048c31237d37c2b1b88f286.jpg","纸本","纵48厘米，横28厘米",[],25,{"id":157,"slug":158,"title":159,"dynasty":48,"author":49,"museum":50,"description":160,"tags":161,"thumbUrl":177,"material":178,"size":179,"collection":93,"collections":180,"showCount":181,"zanCount":11,"manualWeight":11,"mainColor":71},234056,"shan-shui-ce-dong-qi-chang-234056","山水册","第一开，右上角题：“仿唐杨昇。”钤“董其昌印”。鉴藏印钤“王掞”、“烟客真赏”、“虚斋精上品”、“壶中墨缘”。\n对开董其昌题：“唐杨昇峒关蒲雪图，见之明州朱定国少府，以张僧繇为师，只为没骨山，都不落墨。曾见日本画有无笔者，意亦唐法也。米元章谓王晋卿山水似补陀岩，以丹青染成。王洽正泼墨渖。多种法门皆李成、董源以前独善者。”钤印“董玄宰”。收藏印钤“庞来臣珍赏印”、“壶公”、“子清所见”、“王时敏印”、“颛庵”。\n设色青绿山水，画峰峦秋树。\n第二开，左上角题：“仿梅花道人。”钤“董其昌印”。收藏印钤“虚斋鉴赏”、“壶中墨缘”、“王时敏印”、“颛庵”。\n对开董其昌题：“今日遇武塘题吴仲圭故居，称梅花巷者。自号梅花和尚，实居士也。画学巨然，字学怀素，皆受和尚法，故云。仲圭与盛懋同巷对宇。人每指金帛诣盛求画，仲圭之家闻如也。家人以为谪，仲圭曰：‘待二十年后自有定论’。已而盛之身价果逊。至今三百年犹尔。辛酉三月廿三日识。”钤“董玄宰”印。收藏印钤“庞来臣珍藏印”、“壶公”、“王时敏印”。\n设色画水阁、青山、瀑布。\n第三开，左上题：“仿惠崇。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞之印”、“壶中墨缘”、“虚斋鉴赏”。\n对开董其昌题：“惠崇宋诗僧，建阳人也。在巨然之前，画学王维，精工妍丽如诗家。温、李辈《香辽集》生于情者。东坡、山谷为题其小景。余所见有京口陈氏江南惠卷及鄞朱定国所赠巨轴《早春图》。”钤印“董玄宰”。收藏印钤“王时敏印”、“藻儒”、“壶公”、“庞来臣珍赏印”。\n设色画青溪两岸云树房屋。\n第四开，右上题：“仿卢鸿草堂笔。”钤印“其昌”。收藏印钤“壶中墨缘”、“子清所见”、“王时敏印”。\n对开董其昌题：“鸿乙草堂明皇尝令人就图之，鸿乙画入神品，与右丞伯仲。嵩山十志各有楚词。至宋时李伯时作图令诸名公书其诗，人各一景。秦少游、僧参寥、米元章皆与焉。余见之项氏者亦十体，不显名姓。谢时臣亦临一本，第得其位置耳。唐人用墨高简，意到而笔不到，所以妙绝。”钤印“董玄宰”。收藏印钤“逊之”、“王掞之印”、“庞来臣珍赏印”、“壶公”。\n墨笔画疏林坡石，高崖瀑布。\n第五开，左上方题：“仿倪元镇。”钤“其昌”。收藏印钤“烟客真赏”、“王掞之印”、“壶中墨缘”、“虚斋精上品”。\n对开董其昌题：“倪迂画学冯觐。觐，《宣和画谱》所载宋宦官也。觐画世无传本。倪迂自题谓得荆关遗意，岂讳言觐耶？张伯雨题云：‘能与米颠相伯仲，风流还只数倪迂。应将尔雅虫鱼笔，为写乔林恠石图。’最为迂叟吐气。大都倪高士之画学冯觐，如朱晦翁之书学曹孟德，皆不问其师承也。倪迂书学《黄庭内景经》，《内景经》倪氏之物也。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞之印”、“庞来臣珍藏印”、“壶公”。\n设色画平远秋景山水。\n第六开，左上方题：“仿米元晖。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞”、“壶中墨缘”。\n对开董其昌题：“米元晖潇湘图余得之项玄度，有宋人题跋甚夥。朱晦翁亦一再见。后有王宗常叙诸跋卷人出处之概，书品亦佳，沈石田自题七十五岁方得一观，以快生平，为米卷第一。图不作点，只用墨破凹凸之形，树木屋宇皆精工，都画勾云亦变体也。元晖凡再题数百字。”钤印“其昌”。收藏印钤“逊之”、“王掞”、“庞来臣珍藏印”、“壶公”。\n墨笔画潇湘烟雨景。\n第七开，左上方题：“仿黄鹤山樵。”钤“董其昌印”。收藏印有“王时敏印”、“王掞之印”、“壶中墨缘”。\n对开董其昌题：“元季四大家惟王叔明仕于国初，为泰安州倅。何元郎记有雪图作于齐郡者是也。倪云林题有笔精墨妙语，又云澄怀观道是宗少文也。又临池学书出王右军、王虞，笔力能扛鼎，五百年来无此君，推挹至矣。于北宋诸家无所不摹，尤善右丞法。”钤印“董玄宰”。收藏印有“藻儒”、“逊之”、“壶公”、“庞来臣珍藏印”。\n墨笔画关山松涧。\n第八开，左上题：“仿李伯时山庄图。”钤“董其昌印”。收藏印有“王时敏印”、“颛庵”、“壶中墨缘”、“虚斋鉴藏”。\n对开董其昌题：“潇洒营丘水墨仙，浮空出没有无间。尔来一变风流尽，谁见将军设色山。\n无数青山落照边，遥知风雨不同川。此中有句无人认，道与襄阳孟浩然。\n二绝句皆东坡题画之什，深得画家三昧方能为，是语米老不如也。”钤印“董玄宰”。\n又题记：“辛酉三月游武林，归途闲暇作此八景。时画史杨彦冲同观。玄宰识。钤“虚斋审定”。\n此图册是董其昌于明天启元年（1621年）游武林（今杭州）时创作的，董氏时年67岁。图册分别仿杨升、卢鸿、惠崇、米友仁、李公麟、吴镇、倪瓒、王蒙等唐宋元诸家山水。画面集取古人不同的山水画景观，同时融入画家自己对于天地、山川的感受，“以意取之”，“各出意造”。在构图上虽与古人相似，但在审美情趣上董其昌追求的是一种平淡古雅的意境和逸趣。如仿唐杨昇山水，在画法上使用没骨设方法，摒弃了原作者金碧山水的华丽浓艳，继承了其中的古拙和典雅，寓丰富而鲜艳的色彩于平稳和谐的色调之中，笔法精妙秀雅，笔致轻松生动，从而使画面传达出一种平静而不淡泊、明媚而不躁动的美感，具有董氏自己的特点。又如米友仁芾画潇湘烟雨之景，以董、巨笔法皴染山石，用笔沉着稳重，通过墨色干湿浓淡的变化烘染出远山近水的空间感以及烟云雾气的变化。树木及房屋用笔多变化，墨色酣畅淋漓，层次丰富。这种董其昌笔下的米家山水，平淡之中更见秀雅。其他几开山水画同样反映了董其昌所追崇的文人画情趣，均以董源、巨然为归依。在仿古山水画中，他尝试运用各种不同的绘画形式诠释古法，同时表现出对于古法的继承和发展，从而阐述了自己的审美观，这是他创作众多仿古山水画最为重要的意义。此外，此件作品对开中董其昌的题记对于人们认识董其昌的艺术同样具有重要的史料价值。",[24,25,162,28,83,27,163,164,56,165,166,167,168,169,170,7,171,172,63,150,173,174,175,176],"册","青绿","临摹","峰峦","秋树","青山","瀑布","房屋","疏林","烟雨","松涧","云树","水阁","平远秋景","没骨法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd349114a80d63e993d3286109e0fd10e.jpg","纸本，水墨和设色","纵26.3厘米，横25.5厘米",[],20,{"id":183,"slug":184,"title":185,"dynasty":186,"author":187,"museum":50,"description":188,"tags":189,"thumbUrl":198,"material":199,"size":200,"collection":201,"collections":202,"showCount":203,"zanCount":11,"manualWeight":11,"mainColor":71},239528,"hong-li-ji-lu-tu-xiang-zhou-yi-ming-239528","弘历击鹿图像轴","清","佚名","秋林谷壑间秋意铺陈，丹叶杂着枯木，晕染出疏朗温润的郊野氛围。锦鞍纹饰细致的骏马静立坡侧，侍从持鞭席地而坐，神色安然。右下角麋鹿惊觉抬首，似将疾走而去，瞬间打破林间宁寂，暗藏狩猎将启的张力。\n\n此作未绘主角，却以侍从、鞍马衬出狩猎的氛围感，静中藏动，笔触工细入微，枝叶、坡石层次分明，设色雅致柔和，将郊野秋狩的闲雅与机巧相融，尽得纪实绘事的含蓄意趣。",[23,24,26,82,83,35,190,191,192,193,194,195,7,196,197],"马","鹿","郊野","秋林","狩猎","枯木","闲雅","静中藏动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc877bf2a729dcbf25c434ed1db163c5.jpg","纸本，设色","纵259cm; 横172cm.","设色画精选",[201],18,{"id":205,"slug":206,"title":207,"dynasty":131,"author":208,"museum":209,"description":210,"tags":211,"thumbUrl":214,"material":215,"size":93,"collection":216,"collections":217,"showCount":218,"zanCount":11,"manualWeight":11,"mainColor":43},219966,"mu-niu-tu-dui-zhou-guo-min-219966","牧牛图对轴","郭敏","美国克利夫兰艺术博物馆","此作对轴分绘野趣牧景，左幅枯木蟠屈，寒坡寂寂，两头水牛抵角相嬉，憨态尽显；右幅苍松虬曲，枝桠带翠，群牛徐行顾望，自在闲散。\n\n笔墨苍劲简淡，枯木以硬毫勾皴，尽显老干嶙峋之态，坡岸以淡墨晕染，晕出空寂平远的荒寒意境。以寻常牧牛小景，寄寓林泉隐逸之思，静中藏动，笔简而意足，将萧散简远的林下襟怀，融在淡墨寒林里，野逸悠然，意韵绵长。",[53,24,25,26,27,83,82,34,212,61,7,213],"老树","土地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab7d87c1aa56901ce2a99456425c3e82.jpg","绢本","花鸟画精选",[216],16,{"id":220,"slug":221,"title":222,"dynasty":131,"author":187,"museum":77,"description":223,"tags":224,"thumbUrl":232,"material":93,"size":93,"collection":93,"collections":233,"showCount":234,"zanCount":70,"manualWeight":11,"mainColor":43},228236,"xue-shan-yun-lv-tu-yi-ming-228236","雪山运驴图","整幅画作以萧寒冬日为底色，虬劲枯木扎根嶙峋坡石，枝干尽脱，带着凌冽的荒寒之气。淡墨晕染出山峦积雪，将冬日山野的厚重冷寂铺展开来，边角山石奇崛错落，勾勒出空阔辽远的天地。\n\n中景处的运驴队伍缓步而行，为清寂的雪野晕开一丝烟火暖意，动静相映，让冷肃山水多了几分行路意趣。笔墨苍简老辣，干笔勾勒山石肌理，淡墨铺陈积雪留白的空灵，将苍逸简淡的意趣融于其中，把冬日山野的空寂萧寒与行路的市井意趣相融，清冷中带着鲜活生气，尽显小品山水的精妙意韵，将冬日荒岭的清寒意境烘托得淋漓尽致。",[53,24,136,225,27,226,195,7,227,228,147,229,230,231],"小品画","雪山","驴","冬日","清寂","干笔","淡墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F114c3794a49fbc91897e8c3e82f12c09.jpg",[],6,{"id":236,"slug":237,"title":238,"dynasty":186,"author":239,"museum":20,"description":240,"tags":241,"thumbUrl":10,"material":93,"size":93,"collection":243,"collections":244,"showCount":70,"zanCount":11,"manualWeight":11,"mainColor":245},203372,"ren-wu-shan-shui-tu-ce-ren-xiong-203372","人物山水图册","任熊","画面以清雅设色铺陈田园小景，坡石间草木葱茏，两头耕牛或卧或立，憨态可掬又亲昵互动；旁侧老者宽衣静坐，神情悠然，似在享受乡野的静谧时光。线条细腻灵动，工笔勾勒与写意传神相融，将人与牲畜的和谐意趣悄然呈现，笔墨间流淌着恬淡安宁的生活气息，尽显传统绘画对自然与日常的温情观照。",[24,162,82,83,35,34,242,7,53],"草木","人物画精选",[243],"cbbb99",{"id":247,"slug":248,"title":249,"dynasty":48,"author":250,"museum":20,"description":251,"tags":252,"thumbUrl":256,"material":93,"size":93,"collection":243,"collections":257,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":258},201271,"hu-xi-san-xiao-tu-zhou-wang-zhao-201271","虎溪三笑图轴","汪肇","画面以写意笔墨绘就，人物神态鲜活：一人抬臂似诉，一人侧耳凝听，第三人含笑伫立，生动再现虎溪三笑典故里的知音相契之景。旁侧垂柳枝条婉转，墨线流畅；坡石与小树以简笔点染，苍劲中透着灵秀。整体风格纵逸洒脱，笔墨粗放却不失意趣，将人物间的悠然忘机与自然景致相融，传递出禅意与旷达的雅韵。",[24,26,35,253,7,27,254,255,53],"柳树","写意","简笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ae3e01eead3be88106dd01d086145ff.jpg",[243],"7f755f",1777535729839]