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隐于烟岚中，如临深山幽壑，更显主峰雄伟气势，是为“高远”。\n树丛委以虚、实来营造前后距离，腰间右侧的亭台楼阁，此时环伺于水墨山水中，其下山涧瀑布流泉，与左侧缓坡谷地融雪化成的涓涓源水，蜿蜒地流向前方的江湾，显示水流绵长及山坳纵深。而中景左方是一片旷野河谷，虚渺的远山咫尺千里，是为“平远”，其间一行旅人正从曲涧栈道一端越过小桥，欲达彼岸。而观画者正是透过“S 形”山势引导，将视线从后方的主峰、山岚，中景的楼阁、流泉、行旅等，顺势牵引至近景，空间铺陈手法，是为“深远”。\n干长挺拔的大松伫立岩盘上，佐以蟹爪为树枝、梢末，而浑厚的“鬼面皴”大石雄踞中轴下方，有助于画面重心的稳固。而时值日暮，右方的渔樵收拾起渔网、泊舟登岸，左岸手抱婴孩的妇女及随侧稚童，也笑迎肩挑两担鱼篓的渔夫归来，邻近搭建的房舍，则是一家人准备共进晚餐，享天伦乐的居所。\n综观全幅，赋予观赏者北方大山大水的真实感受，从而能引发可行、可望、可游、可居共鸣的乐趣。",[23,24,60,61,27,62,29,30,31,63,7,35,64,65,66,33,67],"书画","水墨","三远法","流水","山峦","岩石","苔点","峰峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b56c53237741c6f94685ae05f95e012.jpg","绢","纵158.3公分，横108.1公分",[46,48,49],2376,17,{"id":75,"slug":76,"title":77,"dynasty":18,"author":78,"museum":79,"description":80,"tags":81,"thumbUrl":88,"material":89,"size":90,"collection":48,"collections":91,"showCount":92,"zanCount":93,"manualWeight":11,"mainColor":94},214316,"mo-tang-dai-lu-hong-cao-tang-shi-zhi-tu-li-gong-lin-214316","摹唐代卢鸿草堂十志图","李公麟","日本大阪市立美术馆","这两幅画在构图、风格和笔触上都有密切的联系，但人物的比例缩小了，放在更合理的自然空间里，而山水、树木和岩石的表现则更符合宋（或金）代的风格，在一定程度上反映了李公麟对卢鸿原作的临摹所产生的不同面貌。虽然这三幅画的具体临摹时间和具体制作时间还有待学者们进一步研究，但《草堂西施图》无疑在中国绘画史上占有很高的重要地位，因为它是中国文人隐居生活的经典形象，历来被人观赏、模仿和解读。大阪藏品的制作时间可能早于上述紫禁城画卷，晚于台北画卷，因为它与辽宁省博物馆收藏的北宋张继的《白莲社》画作比较接近。",[23,24,82,61,83,27,84,85,29,31,30,7,33,86,87],"长卷","临摹","书法","印章","人物","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbccf5a7742967237a6a52cd2eb0fe914.jpg","纸本,水墨","30.3x867.2",[48],1944,14,"BDBDBD",{"id":96,"slug":97,"title":17,"dynasty":18,"author":19,"museum":20,"description":98,"tags":99,"thumbUrl":104,"material":105,"size":106,"collection":107,"collections":108,"showCount":109,"zanCount":110,"manualWeight":11,"mainColor":52},287579,"xi-shan-xing-lv-tu-fan-kuan-287579","该图主体部分为巍峨高耸的山体，高山仰止，壮气夺人。山顶丛林茂盛，山谷深处一瀑如线，飞流百丈。山峰下巨岩突兀，林木挺直。画面前景溪水奔流，山径上一队运载货物的商旅缘溪行进，为幽静的山林增添了生气。",[100,24,60,26,61,27,29,30,63,7,101,102,103],"名画","古树","古道","马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F414e846606ac903e66fdd1eda93147a0.jpg","未知","纵长206.3公分，横宽103.3公分","",[],1669,13,{"id":112,"slug":113,"title":114,"dynasty":115,"author":116,"museum":117,"description":118,"tags":119,"thumbUrl":122,"material":123,"size":124,"collection":48,"collections":125,"showCount":126,"zanCount":127,"manualWeight":11,"mainColor":94},220824,"qing-bian-yin-ju-tu-wang-meng-220824","青卞隐居图","元","王蒙","上海博物馆","《青卞隐居图》描绘画家故乡卞山苍茫景色，山上树木茂密苍郁，溪流回环，景色清幽，隐士行居其间。画法先以淡墨勾皴，而后施浓墨，再用焦墨皴擦，使得画面不迫不塞，元气淋漓，气势磅礴，创造了线繁点密、苍茫深厚的新风格。\n《青卞隐居图》主要描绘作者家乡吴兴的卞山景色。峰峦曲折盘桓，重叠峥嵘，气势雄奇秀拔。山间林木茂密，山径迂回，飞瀑高悬直注。山脚下有客曳杖而行，山坳深处茅庐数间，堂内一人抱膝倚床而坐。 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。",[23,24,60,61,27,26,29,30,7,31,120,33,35,85,84,121],"茅屋","行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff738956b75bf11ba249bc3609d336193.jpg","纸本","纵141厘米，横42.2厘米",[48,49],1622,16,{"id":129,"slug":130,"title":131,"dynasty":132,"author":133,"museum":20,"description":134,"tags":135,"thumbUrl":139,"material":140,"size":141,"collection":48,"collections":142,"showCount":143,"zanCount":144,"manualWeight":11,"mainColor":52},222104,"lu-shan-gao-tu-shen-zhou-222104","庐山高图","明","沈周","此图描绘的是庐山的景象，画中有白云、杂树、石阶、小路以及人物等。这幅图在技法上借鉴元代画家王蒙的笔意，笔法稳健，气势雄沉，具有强烈的节奏感和力量感。山峰多用解索皴，皴染厚重灵动；中段山峦则用折带皴，皴笔精细，墨色较淡，表现出崖壁的险峻。左边崖壁先匀后皴，墨色较重，并以焦墨密点，显得苍郁幽深。",[23,24,29,61,27,26,136,7,63,137,138],"山","树","孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd61796c0c6453be4cd711d8316964db5.jpg","白纸本","纵193.8 公分，横98.1 公分",[48,49],1546,18,{"id":146,"slug":147,"title":148,"dynasty":115,"author":149,"museum":20,"description":150,"tags":151,"thumbUrl":153,"material":89,"size":154,"collection":48,"collections":155,"showCount":156,"zanCount":157,"manualWeight":11,"mainColor":94},220150,"ni-zan-wang-meng-he-zuo-shan-shui-ni-zan-220150","倪瓒王蒙合作山水","倪瓒","独坐古松下。萧条遗世音（音字点去）心。青山列屏幛。流水奏鸣琴。安得忘机士。与我息烦襟。幽情寄豪楮。跫然闻足音。岁辛丑（西元一三六一年）四月五日东海倪瓒画松石望山图。并赋五言。奉寄文伯友兄。且以督屡约屡失期云。",[23,24,60,61,29,27,7,63,65,152,138],"松树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb857cc032888c84957bee595df2de89a.jpg","本幅 119.9x56.1公分、全幅 58公分",[48,49],972,4,{"id":159,"slug":160,"title":161,"dynasty":18,"author":162,"museum":20,"description":163,"tags":164,"thumbUrl":166,"material":44,"size":167,"collection":46,"collections":168,"showCount":169,"zanCount":170,"manualWeight":11,"mainColor":52},221574,"wan-he-song-feng-tu-li-tang-221574","万壑松风图","李唐","这幅画采取近观的“高远”表现法。近景为苍松石岸；中景为岗峦郁盘，穿插流泉悬瀑；远景的主峰突兀高耸，峰顶丛树密集，这三段景沿着画面的中轴线，由下往上堆栈，形成“高远”。画家藉由扩大前景，使画中的景物逼近观者，再将远景的主峰满塞画面，如一堵巨大的屏障，形成封闭的空间，让观者面对深幽的山谷，如临真景。",[100,24,60,26,27,61,165,29,152,30,7,31,65,33],"设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F048d34f5c9c56804fbd20be818ef50e4.jpg","188.7×139.8公分",[46,48,49],912,10,{"id":172,"slug":173,"title":174,"dynasty":132,"author":133,"museum":175,"description":176,"tags":177,"thumbUrl":181,"material":182,"size":183,"collection":48,"collections":184,"showCount":185,"zanCount":186,"manualWeight":11,"mainColor":94},222423,"su-shi-yan-jiang-die-zhang-tu-shen-zhou-222423","苏轼烟江叠嶂图","辽宁省博物馆","此幅图是根据赵孟頫的行书《苏轼题王诜烟江叠嶂诗》的诗意而作。图上山峦起伏，水天相连，云雾迷漫；近处山石屹立，树木成林，墨色浓重；人物三位，江中小舟一翁坐于舟尾垂钓，怡然自得。整幅图画笔老劲，构图简约，描绘了从远处观看山水美景的宏伟景象！",[23,24,61,82,27,29,178,31,35,30,7,179,180,86],"孤舟","远山","近岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb51c2b1ac770a01bb35e9d219451d74e.jpg","纸本，水墨","50*1165cm",[48,49],871,3,{"id":188,"slug":189,"title":190,"dynasty":18,"author":191,"museum":192,"description":193,"tags":194,"thumbUrl":197,"material":44,"size":198,"collection":46,"collections":199,"showCount":200,"zanCount":201,"manualWeight":11,"mainColor":52},221412,"qing-luan-xiao-si-tu-li-cheng-221412","晴峦萧寺图","李成","美国纳尔逊阿特金斯艺术博物馆","《晴峦萧寺图》是北宋画家 创作的一幅绢本淡设色画，现收藏于美国纳尔逊—阿特金斯美术馆。\n此画以直幅形式画冬日山谷景色，画中群峰兀立，瀑布飞泻而下，中景山丘上建有寺塔楼阁，山麓水滨筑以水榭、茅屋、板桥，间有行旅人物活动。\n画中山石雄伟而秀美，皴染用笔多有变化，兼具关仝之雄浑与李成之清润。\n《晴峦萧寺图》绘了一幅山寺同框的景象。\n画中上半部两座高峰重叠，左右山峰低小淡远，当中一座楼阁突出，萧寺下及寺右边三四座小山冈，皆有树生其上，画卷的最下处是从山中流出的泉水形成的溪水，一木桥架其上，山脚下有亭馆数间，人群来往。\n前景突兀巨石，一边平缓，一边峭拔。\n此图画面右上角有北宋末“尚书省印” （6.厘米正方，白文，北宋18~1126年间官印），印下部左右角均见残缺。\n画右下方有“朗庵心赏”、“棠邨审定”（白文），“铁沙沈树镛鉴藏印”、“树镛审定”（均朱文）等鉴赏收藏印六方。\n据史书上说，李成嗜酒，想得到李成画的人，都要为他准备上好的美酒。\n李成酒酣时便开始提笔作画，所画山水往往烟云万状，神妙得意处众多，非是笔墨所能够达到，而完全是美酒的功效所致。\n据说当时开封相国寺东有间药铺，老板姓宋，深知李成的爱好，常以美酒款待他。\n李成一到他那里，往往醉酒数日。\n当酒兴高涨之时就开始作画，他挥笔潇洒，不仅在素纸上挥洒，而且在门板上挥毫泼墨。\n《晴峦萧寺图》便是李成在此情景下创作出来的。\n此画在构图上是高山峻岭，深沟巨壑。\n前景突兀巨石，一边平缓，一边峭拔，陡峭面作细笔皴擦，产生一种体积感和重量感。\n中景山涧瀑布飞流直下前景深潭，与远景处一悬瀑形成互相呼应之势。\n纵观全图，笔法娴熟老健，用墨层次分明，浑厚苍劲。\n构图呈自然开合状，节奏明快，气势雄逸，使观者犹如身临其境。\n《晴峦萧寺图》中，中近景树丛多以曲姿造型，正是李成惯用的手法，特别是分枝姿态变化较多。\n在山水画中，皴法最能显示各家风格特点，树法相对不甚明显，故董其昌讲：“西中山水位置皴法，皆各有门庭，不可相通，惟树木则不然。\n”（《画禅室随笔》）此图树木的布置、造型结构是近曲远直，近处偃仰疏密，多曲而繁复，示蟠根老壮之意，有的“藤蔓依缠古木，窠丛簇扎山头”，有的“枝条疏密交叉，挺干枯茂盘曲”，大都以浓重墨色勾勒，与记载称李成“毫锋颖脱”似相一致。\n树木均以顿挫感很强的尖劲中锋墨线描绘，树身略见“勾斫”一类皴笔，锋芒内敛，树身“作节处不用墨圈，下一大点，以通身淡墨空过”（米芾《画史》）。\n小节疤均用墨点成，小枝条用笔流畅，劲利挺健，基本上都用湿笔，无明显的干湿浓淡变化。\n高居翰形容此图“山峦静穆，枯树兀立在稀岚里，黑树干清晰地矗立在前景，向后退去时，则渐淡成影而消失。\n曾为唐及唐前山水基本特质的温暖颜色和魅人的细节，在此都被牺牲，以便成就一种新的庄严气氛”（《中国绘画史》）。\n这种“渐淡成影而消失”的手法，是指层峦也是指树丛，以形成整体的艺术气氛。\n从此图峰峦、山石画法看，和范宽雨点、豆瓣一类皴笔的画法明显不同。\n范氏写真山骨，雄健坚实，勾轮廓基础上，内廓用繁复的皴笔，墨色也很重， 黯黑沉厚，而“李成惜墨，如梦雾中”（米芾）。\n相对讲，《 晴峦萧寺图》皴笔就显得疏朗而以柔润面貌出现，这就可视为“惜墨”的手法了。\n图中山石画法均以细劲的中锋线条框廓，然后内廓加皴，外廓线条和内廓皴笔较为协调，皴笔密在凹处，有线面交融之感，加深了清润秀逸的境象。\n中国书法家协会会员、江苏省美术家协会会员赵启斌《中国历代绘画鉴赏》：“此件作品描绘出了北方冬日深山之中寺院晴日下的壮丽景色，水石幽幽，树木萧疏，山川雄伟秀美，给人以萧条冷落而又充满生机之感。\n作者非常微妙地把握住了北方山川雄奇壮丽的动人景致，突出深山冬日山寺寂寥深邃的意境。\n” 李成的《晴峦萧寺图》最早见于《宣和画谱》的著录。\n此作至清初才到了收藏家梁清标手中，梁氏似乎并未将其归入李成名下。\n该画没有进过清宫，道光年间为上海收藏家徐渭仁所有，1841 年，他首先为其题签“北宋李成晴峦萧寺图”。\n1855 年。\n徐氏因被怀疑与小刀会“有染”，入狱而死，该画很可能与徐氏的其他收藏一同散佚，后经沈树铺、林熊光等人收藏，最后由居住日本的意大利籍人士所得，并于1947年售给美国纳尔逊—阿特金斯美术馆。\n李成（919~967年），字咸熙，祖先是唐代宗室，因避唐末五代战乱移家山东营丘。\n李成品格清高，富有文学修养，且胸怀抱负，但时逢乱世无从施展，遂纵情于诗酒书画。\n宋初他往陈州（ 今山东淮阳）投奔同乡知州卫融，宋太祖乾德五年（967年）醉死在当地。",[23,24,100,29,61,27,26,195,34,63,7,196,30],"楼阁","枯树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b577765ceab4bc36d1225e888c903d4.jpg","纵111.4厘米，横56厘米",[46,48,49],792,9,{"id":203,"slug":204,"title":205,"dynasty":132,"author":206,"museum":20,"description":207,"tags":208,"thumbUrl":212,"material":213,"size":214,"collection":48,"collections":215,"showCount":216,"zanCount":217,"manualWeight":11,"mainColor":52},218389,"chun-shan-yin-shang-zhou-chou-ying-218389","春山吟赏轴","仇英","此图绘溪山胜景，高士游春。虽是青绿之作，不见富贵，唯有逸气绕耳目，学赵伯驹，仇英得其韵矣。",[24,26,165,209,27,29,86,210,137,7,33,30,195,211],"工笔","亭","柳树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7562c788ce2b4470b544a9e0121bd8b5.jpg","绢本,设色","157.5x63.2公分",[48],732,12,{"id":219,"slug":220,"title":221,"dynasty":222,"author":223,"museum":20,"description":224,"tags":225,"thumbUrl":227,"material":44,"size":228,"collection":107,"collections":229,"showCount":230,"zanCount":157,"manualWeight":11,"mainColor":52},231954,"kuang-lu-tu-jing-hao-231954","匡庐图","五代十国","荆浩","全幅用水墨画出，画法皴染兼备，充分发挥了水墨画的长处。画幅上部危峰重叠，高耸入云，山巅树木丛生，山崖间飞瀑直泻而下，大有“银河落九天”之势。山腰密林之中深藏一处院落，从院落之中一路下山，山道蜿蜒盘旋，道旁溪流宛转曲折，最后注入山下湖中。山脚水边，巨石耸立，村居房舍掩映于密林之中。水上有渔人撑船，不远的坡旁路上，有一人正赶着毛驴慢行。画中只有两人，人物在画中只作为陪衬。其中有宋高宗所书“荆浩真迹神品”六个字，一般认为是其真迹。\n此画画中绝磴悬崖，平麓云林，虽看不出具体皴法。但笔墨间表现出了山的雄伟气势，烟岚的深远缥缈，比唐代山水大大前进了一步。\n图上有南宋高宗赵构所书“荆浩真迹神品”六字，另有元人韩屿和柯九思两人题诗。全图由下而上，由近至远，大致可分为近景、中景、远景三个层次，境界上也从“有人之境”渐入“无人之境” 近景处于侧面下端，一泓涧水间，有船夫悠然地撑着一叶扁舟欲停船靠岸，顺石坡而行，山麓中有屋宇院落筑立其间，竹篱树木环绕。屋后石径环山逶迤而上，长堤板桥，赶驴行人都被画家一一摄入笔端。中景里面，两崖之间有瀑布飞倾而下，击石溅花，轰然作响。瀑布之下座木桥横亘于溪涧之巅，一路上危壁嶙峋，松柏参差，这其间还坐落一方整庭院，可见画家幽居深隐的情感趋向。最高处的景致虽然深远，却格外醒目：画面中轴有主峰赫然而立，直入云霄，浩渺烟岚，尽出其下，远近如屏的诸峰环拥相簇，映衬着主峰的高险与威仪。群峦之间，一条白练般的瀑布直落山涧。\n中国山水画发展到晚唐、五代时，具备了更加丰富多样的表现形式，其中的水墨山水更是逐渐走向了成熟。\n荆浩提倡作画要忠实于自然对象，“远取其势，近取其质”，他善于创造富有概括力的形神兼备的艺术形象。除此之外，他还在学习传统的基础之上加以发展创造。他强调笔墨并重，曾对人说：“吴道子画山水，有笔无墨；项容有墨无笔，吾当采二子之所长，成一家之体。”他集唐人山水画法之大成，并努力创造革新，终成一代山水大家。荆浩在笔墨的结合上较前人进了一大步，他的《笔法记》是山水画的重要论著，其中山石皴法、树木画法的论述对山水画的发展起了很大作用。《匡庐图》便是体现他绘画理论的代表作。\n《匡庐图》画中的描绘山水究竟是太行山还是庐山尚存争议。\n这幅图的真实感很强，能够看出画家在隐居生涯中，对自然景观的深刻体验和虚怀若谷的淡泊情思。《匡庐图》营造了一幅雄伟刚劲与寂寞幽静相互交融的远离人间烟火的空灵世界。\n《匡庐图》采用的是立轴构图，鸟瞰式纵向全景布局，层次分明，山水壮阔。画家将“高远”、“平远”、“深远”结合运用，群峰耸峙的巍峨山峦与开阔平旷的山野幽谷，山径盘旋的山中小路及渐远渐淡的远处诸峰相映成趣，自然地呈现在画卷之中。\n在荆浩之前的山水画很少有表现雄伟壮阔的大山大水以及全景式的构图布局。而荆浩的《匡庐图》整幅画上面留天，下面留地。右下角临水浅坡，画的左下角至右面是静静的水面，远处和天色相连接，体现的是大山大水，开图千里的局面。他不满足于局部山水的描绘，而是放眼于广阔空间气势磅礴的自然景观。\n所谓的“全景山水”，其章法是指中心全景式布局，即主峰为中心，用云帕烟霞断白，衬托出中、前景的全局安排。此图以全景构图方式描绘出了山路蜿蜒、巨峰凌空、飞瀑如练，整幅画面体现出百尺危峰、屹立于青冥间的雄伟气势。全景式构图给人以旷远、峻拔、雄壮、博大而深远的审美感受。《匡庐图》大致分为三个层次，由远到近，虽为远景，但很醒目，突兀的主峰轮廓线与留白的天际相照应，峻伟耸拔的高峰在画而上部中央，是全画的视点，给人以开阔、博大、挺拔的意境。主峰被两侧缥缈的烟岚围绕着，主峰如屏，相互映照，充满张力的形式感把观者视野引向画外，联想到更辽远广阔的空间。中景画面丰富，既有飞瀑流水奔流于两崖之间，攀援而上，溪洞之巅横架一桥，两边用小斧劈皱描绘的岩壁，松柏古树参差之变，使画面富有节奏和韵律。近景表现一洗江水，一叶扁舟，树木描绘酣畅淋漓。整幅画而渲染着一种壮关、气脉相通的主旋律。\n此图在用笔上，勾、皴、染法并举，尤其是皴法的运用，是荆浩对山水画发展的重要贡献。画家以中锋画山石，边缘整齐，仿佛切割过般。山头和暗处用类似小斧劈的皴法，再施以淡墨多层晕染，表现出阴阳向背的质感，突出了画面的立体感和厚重感。在墨色变化上，画家注重用色浓、淡及黑、白的对比。且在画云时，一改前人细勾填粉的方法，仅以水墨渲染，衬托出云的空灵飘荡之态，画水也不再使用前人鱼鳞瓦片的勾线之法，而以淡墨烘染水面，显示出水面的明暗变化，兼用舟、桥等物象暗示水的存在，创造了水晕墨章的表现技法。\n《匡庐图》的透视方法，山峰用仰视，不仅令观者觉得山的高大，而且给人以庄严和雄伟的感觉。山腰的峰峦和庐舍、道路用平视，使自然景观给人以自然和亲切的感觉。山脚下的林木、树舍和山洞的流水、桥、松、房舍及行旅等用俯视，显示观者居高临下，给人以心旷神怡的感觉。尤其是山涧的布势，由于用平视，汀岸回转，伸向远方的山坳之中，不但增加了画面的力度，也增加了深度。\n在整幅画中，树的形态也是不一样的。树枝曲中见直，瘦劲有力。画中的树排列得很有曲线，群山把树林当做是一种屏障，而树林也把山当做是一种依靠。在树林森密的地方有一旅店，在旅店的旁边有一古渡，古渡旁边有水，水面显得十分宽阔。\n荆浩在这幅《匡庐图》中把后面的叠水以及水墨微妙的层次处理得很好，避免了山中的瀑布因为线条的处理而显得生硬，画采用了水墨晕染的方法，以丰富的层次体现了山、水、树和景物之间的距离\n画作通篇以中锋刻画山石，辅以侧锋“解索皴”、“钉头皴”、“豆瓣皴”等笔法烘托气氛，山头阳面和暗处皴法类似于小斧劈，间施以淡墨多层晕染，以表现阴阳向背之状。此方式能在唐代李思训父子的青绿山水中找到痕迹。荆浩则善于使用效、染兼具的复笔，错置排列又层次井然，多用小披麻皴，以各种点与效的笔形墨痕与峥嵘崔巍的景致浑然一体，将北方山石质地坚硬、结体曲致的表相，随笔墨运动的各种装饰性皴法，呈现主体心性与人格追求高度统一的“荆氏笔法”。\n五代韩屿：“翠微深处著轩楹，绝瞪悬崖瀑布明。”\n元代书画家柯九思：“岚溃晴薰滴翠浓，苍松绝壁影重重。瀑流飞下三千尺，写出庐山五老峰。”\n清代孙承泽：“其山与树，皆以秃笔细写，形如古篆隶，苍古之甚，非关、范所能及也。”\n现代中国书画理论家王伯敏《中国绘画通史》：“中国山水画的表现，在六朝时期即画有‘卧对其间可至数万里’的作品，到了荆浩的时期，获得更大发展，遂成为宋人所称的‘全景山水’……今传荆浩所作的《匡庐图》就体现了这种山水画的特点。《匡庐图》正是中国宋以前一件具有山水全景模式的典型作品。”",[24,60,26,29,61,27,64,7,31,65,35,33,226],"亭台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80349a4e9c08adb4ee01161f322fb590.jpg","纵185.8厘米，横106.8厘米",[],621,{"id":232,"slug":233,"title":234,"dynasty":132,"author":133,"museum":235,"description":236,"tags":237,"thumbUrl":239,"material":213,"size":240,"collection":48,"collections":241,"showCount":242,"zanCount":157,"manualWeight":11,"mainColor":52},217060,"lin-wu-zhen-xia-shan-yu-yu-tu-shen-zhou-217060","临吴镇夏山欲雨图","私人收藏","这是沈周的一幅山水画，用的是淡淡的紫红色的笔。笔法大胆简练，气势如虹。构图简单自然，气氛轻松悠远。屋前有几棵稀疏的树，中间的笔触很强。后峰叠云，如蟠龙出没，后延一峰，略加皴擦，水墨淋漓，远处的山峰也略加勾勒，水墨轻盈。本卷中的笔墨运用随心所欲，无拘无束，墨色清晰明快。",[100,24,60,26,61,27,83,29,30,31,238,34,63,7,179],"房屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07d620b34209a6fc4cb19849a546e3d9.jpg","182x69.5cm",[48],606,{"id":244,"slug":245,"title":246,"dynasty":115,"author":149,"museum":20,"description":247,"tags":248,"thumbUrl":251,"material":89,"size":252,"collection":48,"collections":253,"showCount":254,"zanCount":255,"manualWeight":11,"mainColor":94},218740,"shan-shui-tu-ni-zan-218740","山水图","据王蒙在画上的题记，王蒙曾画过一幅倪瓒的《松石望山图》，倪瓒临摹了原作，交给了他的朋友文博，就是现在的这幅。后来，王蒙在他的朋友温家看到了这幅作品，并对其进行了补充，形成了这幅联合景观。",[23,100,24,60,26,61,27,249,29,30,7,63,31,178,250],"文人画","蓑笠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e6ce25e904b4cba0d3febbec489966b.jpg","119.9x56.1",[48],579,5,{"id":257,"slug":258,"title":161,"dynasty":222,"author":259,"museum":260,"description":261,"tags":262,"thumbUrl":264,"material":105,"size":265,"collection":107,"collections":266,"showCount":267,"zanCount":268,"manualWeight":11,"mainColor":52},289890,"wan-he-song-feng-tu-ju-ran-289890","巨然","藏地不详","图中烟岚松涛，山中层岩丛树，山顶矾头重叠，深谷里瀑泉奔涌，溪畔浓荫森森，并架一木桥。沿着曲折的山脊，是一片片浓密的松 林，“丰”字形的松树随风摇曳，百姿千态，栩栩如生。沟壑里聚起团团云雾，缓缓地向上升腾。山脚下的林木中坐落着数间茅屋，其中一榭依石临水，有白衣人坐其中。此乃世外桃源里之人间烟火。从白衣人的房后望去，蜿蜒山路沿谷涧上去。在两山之间、谷涧之上，有一巨大的楼阁，且又有山楼水榭、远寺长桥，掩映在万松山壑间。",[23,100,24,61,29,26,27,152,7,63,34,195,64,263],"溪谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ab2e4354bdfebe101d6dc37437481b2.jpg","Xcm*Xcm",[],523,6,{"id":270,"slug":271,"title":272,"dynasty":115,"author":116,"museum":20,"description":273,"tags":274,"thumbUrl":275,"material":276,"size":277,"collection":48,"collections":278,"showCount":279,"zanCount":280,"manualWeight":11,"mainColor":94},214820,"jing-xi-shi-cui-tu-wang-meng-214820","荆溪湿翠图","这幅画描绘了水流湍急的泾河、声音激荡的瀑布、色彩斑斓的山峦和长满松树的松树。面板上有王蒙的长篇后记，据说是后来加的。这幅画的风格与杜琼的风格比较相似，从杜琼在 旌表贞节之门 下的印章可以看出。",[24,60,26,61,165,29,63,31,30,7,86,27,84,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa69a4d460ff4b91c032f0a5094f977d7.jpg","纸本,设色","142.6x42.9",[48],512,1,{"id":282,"slug":283,"title":284,"dynasty":222,"author":223,"museum":260,"description":285,"tags":286,"thumbUrl":287,"material":105,"size":265,"collection":107,"collections":288,"showCount":289,"zanCount":268,"manualWeight":11,"mainColor":290},287714,"kuang-lu-tu-tiao-se-ban-jing-hao-287714","匡庐图（调色版）","《匡芦图》是荆浩现存作品中比较可信的真作之一，图上有南宋高宗赵构所书“荆浩真迹神品”六字，另有元人韩屿和柯九思两人题诗。全图由下而上，由近至远，大致可分为近景、中景、远景三个层次，境界上也从“有人之境”渐入“无人之境” 近景处于侧面下端，一泓涧水间，有船夫悠然地撑着一叶扁舟欲停船靠岸，顺石坡而行，山麓中有屋宇院落筑立其间，竹篱树木环绕。屋后石径环山逶迤而上，长堤板桥，赶驴行人都被画家一一摄入笔端。中景里面，两崖之间有瀑布飞倾而下，击石溅花，轰然作响。瀑布之下座木桥横亘于溪涧之巅，一路上危壁嶙峋，松柏参差，这其间还坐落一方庭院，可见画家幽居深隐的情感趋向。最高处的景致虽然深远，却格外醒目：画面中轴有主峰赫然而立，直入云霄，浩渺烟岚，尽出其下，远近如屏的诸峰环拥相簇，映衬着主峰的高险与威仪。群峦之间，一条白练般的瀑布直落山涧。",[100,24,60,26,61,29,27,64,7,31,210,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a8ad00d8855331e31469eec858e44e4.jpg",[],505,"37474F",{"id":292,"slug":293,"title":294,"dynasty":295,"author":296,"museum":117,"description":297,"tags":298,"thumbUrl":299,"material":89,"size":300,"collection":48,"collections":301,"showCount":302,"zanCount":186,"manualWeight":11,"mainColor":52},220423,"shan-shui-qing-yin-tu-shi-tao-220423","山水清音图","清","石涛","该画作未明是画何地方，但从画面上来看，描绘的地方明显是黄山景色。虽是黄山景色，但却不知是哪一个黄山景色。图中峭壁大岭，飞泉湍急，新松夭矫，丛篁滴翠。水阁凉亭间，两位高士正对坐桥亭，默参造化的神机。画面上重重叠叠的坡陀峰峦，或直耸、或斜出、或横卧，把境界推向深远，右侧则以峭壁贯通天地，构造新颖。",[23,24,61,27,26,29,7,152,30,238,63,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F296cf8c8039f22c3cd7610cdf01cbd29.jpg","纵102.6厘米，横42.5厘米",[48,49],469,{"id":304,"slug":305,"title":306,"dynasty":18,"author":307,"museum":308,"description":309,"tags":310,"thumbUrl":313,"material":213,"size":314,"collection":46,"collections":315,"showCount":316,"zanCount":186,"manualWeight":11,"mainColor":52},218630,"song-yan-guan-pu-tu-ma-yuan-218630","松岩观瀑图","马远","上海龙美术馆","一个高士酒后半躺在一棵松树下，山上的树干虬结，树枝斜向伸展，长长的、稀疏的树叶自由伸展，在用大笔画渲染的树木和岩石之间，充满了生命力。",[23,100,24,60,29,61,165,86,311,312,7,63,138,137],"松","岩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9a25dcebcb10f5241aac60004e04959.jpg","26.3x24.6",[46],407,{"id":318,"slug":319,"title":320,"dynasty":18,"author":321,"museum":322,"description":323,"tags":324,"thumbUrl":327,"material":123,"size":328,"collection":46,"collections":329,"showCount":330,"zanCount":280,"manualWeight":11,"mainColor":52},221458,"wu-long-tu-juan-chen-rong-221458","五龙图卷","陈容","日本京都国立博物馆","理宗端平二年（1235）进士，知平阳县。时与名士论文讲艺，敷绎大义，士习以兴。曾为国子监主簿、福建莆田太守，官至朝散大夫。诗文豪壮，暇则游翰墨，善画龙，宝佑（1253-1258）间名重一时。画龙善用水墨，深得变化之意，泼墨成云，噀水成雾。特别是醉余大叫，脱巾濡墨信手涂抹，然后以笔成之，或全体，或一臂一首，隐约而不可名状者，皆得妙似。贾似道尝招致宾幕，醉辄狎侮之，贾不为忤。兼写松竹，学李煜“铁钩锁”法。晚年笔力简易精妙，绛色者可并董羽。偶亦画虎，勾染斑毛极工细。有赝本托以流传。现存美国波士顿博物馆之《九龙图》卷，恐是元人摹本。\n陈容于中国美术史上占有重要一席，“所翁龙”成为后人画龙的典范，倍受国人特别是明清以来画家们的追捧。甚至在日本，几百年来凡有龙图案的画亦绝大部分是仿效陈容。日本著名画家小泉淳作曾由衷地评价道：陈容的龙富有魅力，像真的一样活泼跳动，只有天才才会画出这样的画！\n顺便说一下，陈容不仅擅画龙，还擅长画松、竹、鹤，偶亦画虎，垂老笔力简易精妙，故世有‘所翁龙’、‘所翁鹤’和‘所翁竹’之称。在当时，达官显贵、文人骚客以能得到“所翁龙”而倍感荣幸。以玩弄权术、巧取豪夺而著称的奸臣宰相贾似道，一世搜刮金银珠宝、珍奇古玩无数，然他至死也未能讨到一幅“所翁龙”。",[23,100,24,60,82,61,27,325,30,7,35,326],"龙","水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b9fcadd53a3ef596d12b6f0dd8824f3.jpg","45.2×299.5",[46,48,49],374,{"id":332,"slug":333,"title":334,"dynasty":222,"author":335,"museum":336,"description":337,"tags":338,"thumbUrl":342,"material":44,"size":343,"collection":48,"collections":344,"showCount":345,"zanCount":280,"manualWeight":11,"mainColor":52},221159,"xi-an-tu-dong-yuan-221159","溪岸图","董源","美国大都会艺术博物馆","《溪岸图》描绘江南溪岸景象，上半部左右相对两座山峰，两峰之中远山隐现，两山夹壑中一条山溪自远而近，至山前汇成大溪。溪岸左有楼台水榭，水榭中有幽人雅士正观望溪景。左面山中亦有泉瀑飞注入大溪，画的最下方溪岸坡冈上杂树耸立。中景、远景山峦上丛林茂密，草木葱茏。\n《溪岸图》构图雄伟，笔法严谨，兼具北方派的气度和南方派的温润，是董源从唐人山水过渡到南方水墨山水阶段的作品。",[23,24,60,29,27,339,61,165,65,31,63,7,210,179,340,33,64,341,87],"披麻皴","近树","植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdee3a8ea2ec5b0766e929d242272f70a.jpg","纵220.3厘米，横109.2厘米",[48,49],366,{"id":347,"slug":348,"title":349,"dynasty":295,"author":350,"museum":351,"description":352,"tags":353,"thumbUrl":355,"material":213,"size":356,"collection":48,"collections":357,"showCount":358,"zanCount":280,"manualWeight":11,"mainColor":52},214365,"fang-ju-ran-shan-shui-wang-jian-214365","仿巨然山水","王鉴","北京故宫博物院","王鉴（1792-1867）是清代著名的画家，他的作品《仿巨然山水》是其代表作之一。\n\n《仿巨然山水》描绘了一幅山水画面，王鉴在画中运用了多种技法，如水墨浓淡、描边等，使作品充满了生动的质感。王鉴在《仿巨然山水》中仿照了巨然（元代画家）的山水画风，并加以提升，使作品更具艺术性。\n\n《仿巨然山水》被认为是王鉴写意山水画风成熟时期的杰作，其作品在当时也受到了广泛的赏识。如今，《仿巨然山水》也是收藏家们青睐的经典之作。\n\n王鉴的《仿巨然山水》不仅是一幅精美的画作，更是一首关于自然之美的诗篇。在这幅画作中，王鉴巧妙地运用了水墨画的技法，勾勒出山水的层次感和自然的秀美。作品中的山川、树木、花卉都表现出了自然界的细腻与丰富，使观者感受到大自然的魅力。",[23,24,26,83,27,165,29,136,326,7,31,210,354],"小径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde8dfd4e6285792e5a5e9c104ff6bf42.jpg","220.8x109",[48],319,{"id":360,"slug":361,"title":362,"dynasty":18,"author":78,"museum":20,"description":363,"tags":364,"thumbUrl":368,"material":89,"size":369,"collection":48,"collections":370,"showCount":371,"zanCount":280,"manualWeight":11,"mainColor":94},214572,"long-mian-shan-zhuang-tu-tu-xin-li-gong-lin-214572","龙眠山庄图-图芯","这是一幅没有标记的水墨山水画。画中有法真口、香茂堂、罗烟岩、曲云室、秘泉庵、烟花洞、玉华岩、灵灵谷、玉龙峡、观音岩、翠云片、古柳其大十围、中建德堂南三百步、宝华岩等名称，涵盖了对泉、石、草、树等景物的逼真描述，与李公麟龙眠别墅长卷的各种景物相似。",[23,24,100,82,365,209,61,29,30,31,7,86,366,34,63,367,33,65],"白描","洞穴","竹林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ef311e449dfdca7422c6c471a74efec.jpg","28.9x364.6",[48],318,{"id":373,"slug":374,"title":375,"dynasty":132,"author":133,"museum":376,"description":377,"tags":378,"thumbUrl":380,"material":276,"size":381,"collection":48,"collections":382,"showCount":384,"zanCount":280,"manualWeight":11,"mainColor":52},219997,"fang-wang-meng-shan-shui-tu-shen-zhou-219997","仿王蒙山水图","美国弗利尔美术馆","沈周（1427～1509）明代杰出书画家。字启南，号石田、白石翁、玉田生、有居竹居主人等。汉族，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”。传世作品有《庐山高图》、《秋林话旧图》、《沧州趣图》。著有《石田集》、《客座新闻》等。",[23,24,60,29,165,61,27,83,34,63,30,31,7,86,195,354,379],"老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ee133c9090a1b144a80565865755e15.jpg","121.2 × 60.2 cm",[48,383],"设色画精选",309,{"id":386,"slug":387,"title":205,"dynasty":132,"author":206,"museum":20,"description":207,"tags":388,"thumbUrl":212,"material":213,"size":390,"collection":383,"collections":391,"showCount":392,"zanCount":393,"manualWeight":11,"mainColor":52},219320,"chun-shan-yin-shang-zhou-chou-ying-219320",[24,60,26,165,209,27,29,86,210,31,7,30,33,87,211,64,389],"春景","157.5x63.2",[383],295,2,{"id":395,"slug":396,"title":161,"dynasty":18,"author":162,"museum":260,"description":397,"tags":398,"thumbUrl":401,"material":105,"size":265,"collection":107,"collections":402,"showCount":403,"zanCount":393,"manualWeight":11,"mainColor":290},287739,"wan-he-song-feng-tu-li-tang-287739","《万壑松风图》画面山峰高峙，山石巉岩，峭壁悬崖间有飞瀑鸣泉，山腰间白云缭绕清岚浮动。深山中幽僻的崖谷间，奔跃的泉水和郁茂的松林，衬托山峰高峙，山石危岩。其在构图上，大胆裁剪、提炼，整体看来空间立体感强，层次分明。双峰交错，堂堂正正，厚重而拙实，给人以浑厚大气之感，表现为“万壑松风”之境。\n《万壑松风图》为简括画的表现开了先河，对南宋初期的山水画具有开派作用。 其与郭熙《早春图》、范宽《溪山行旅图》，合称为“宋画之三大精品”",[100,24,399,61,27,30,152,63,400,7],"山水画","山谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a14a762dc0039a1efab5f1ab4cdccfa.jpg",[],285,{"id":405,"slug":406,"title":407,"dynasty":132,"author":408,"museum":235,"description":409,"tags":410,"thumbUrl":413,"material":276,"size":414,"collection":48,"collections":415,"showCount":416,"zanCount":393,"manualWeight":11,"mainColor":52},217036,"bi-shan-qi-shu-tu-tang-yin-217036","碧山琪树图","唐寅","唐寅在画画方面有很高的造诣，他的作品涵盖了许多不同的题材，包括自然风景、人物、花鸟、山水、古典寓言故事等。\n\n碧山琪树图是唐寅的一幅著名作品。这幅画描绘了一片美丽的山林，山顶上有一棵琪树，下面是茂盛的松柏林。唐寅用笔轻柔地勾勒出了各种山石、枝叶、花草的线条，使画面看起来栩栩如生。",[24,26,29,165,27,136,137,210,7,63,65,152,411,354,412],"草木","屋舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf99aba7e79792d4e1f74ad4b1015736.jpg","123x58cm",[48],268,{"id":418,"slug":419,"title":420,"dynasty":295,"author":421,"museum":260,"description":422,"tags":423,"thumbUrl":424,"material":425,"size":426,"collection":48,"collections":427,"showCount":428,"zanCount":11,"manualWeight":11,"mainColor":94},236335,"lin-shen-zhou-lu-shan-gao-tu-huang-ding-236335","临沈周庐山高图","黄鼎","黄鼎（1650—1730），字尊古，号旷亭，又号闲圃、独往客，晚号净垢老人，江苏常熟 人。善画山水，初学画于邱屿雪，既而师王原祁，尤以王蒙法见长。\n此图根据明代画家沈周《庐山高图》临摹。此摹本比例与原幅不同，但是画幅的基本造型形象，笔法特点和许多细节，又都是忠实于原作，沈周原作今藏“台北故宫博物院”。",[100,24,60,83,165,27,29,7,152,30,33,35,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F663115a6e324514c054ddfbcd72b999f.jpg","纸本设色","226×83.4厘米",[48,49],255,{"id":430,"slug":431,"title":432,"dynasty":115,"author":149,"museum":117,"description":433,"tags":434,"thumbUrl":437,"material":89,"size":438,"collection":48,"collections":439,"showCount":440,"zanCount":186,"manualWeight":11,"mainColor":94},220082,"guai-shi-cong-huang-tu-ni-zan-220082","怪石丛篁图","怪石丛篁图轴，这一幅系倪瓒60 岁时所画，构图别致，山石用笔较繁。\n自跋：天妃庙里曾游处，怪石丛篁漫雨苔。今日江湖重回首，卜居南岭白云隈。 岁庚子（1360 年）十一月廿日，解后云冈道师 而纸笔皆不佳，漫尔作此，愧不能工。道师悯世忧国，以道术（德）为己任，汩汩城邑之中 不以为苦，不肯自逸（超）于风埃之表也，故 岁时，应云冈道师之请，赋诗并作画。",[24,61,29,26,27,435,436,7,210,31,30],"怪石","竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9d2a6fe7d61176933aaf86ed35700e3.jpg","94.2×26.8",[48],254,{"id":442,"slug":443,"title":444,"dynasty":18,"author":162,"museum":20,"description":445,"tags":446,"thumbUrl":449,"material":44,"size":450,"collection":46,"collections":451,"showCount":452,"zanCount":393,"manualWeight":11,"mainColor":52},221577,"jiang-shan-xiao-jing-tu-li-tang-221577","江山小景图","此图描绘的是沿江的山水景观，可以分成上下两部分，画面上部，江水粼粼，空阔旷远，风帆出没其间。画面下部，横列一排山峰，高低参次，连绵不断。山峰上丛林密布，宫观楼阁，半隐半现。此图采用了上留天，下不留地的构图方式，风格既继承北宋传统，又暗示南宋特色。\n此图表现的是江岸边山水小景，画面右起是宽阔的水面，几只帆船鼓帆前行，江岸平缓地向后延伸，渐次高起，山石渐多，林木葱郁，小径幽幽隐现于山间，山坡平缓处有房舍屋宇隐现于林木间；左行山势愈加高峻峭拔，最终停留在画面边缘。高山之间，栈道依山而筑，山庄别墅，僧舍道观隐现于山腰间；山间飞流泉，下聚成潭，小舟泛于水上。画面右上是远山野渡，山水清旷，环境安详静谧，构成了一幅清幽自然的田园风景画卷。\n此幅无名款，有乾隆皇帝御笔题签：“宋李唐江山小景神品”，引首有其书：“神韵天成豪发无憾”，钤“乾隆宸翰”、“古希天子”、“犹日孜孜”钤玺。画上又有乾隆丁丑、庚辰二题，拖尾有董其昌、程正揆跋。\n主题:此图是一幅山水画作，描绘的是雄壮瑰丽又雅秀清逸的山水风貌，表现出作者对祖国壮美山河的由衷赞颂，也表现出作者对祖国山河的深深依恋与怀念\n构图:该图以近景石峰丛林为主体，山峰的起伏变化、岩石的折落有致、楼观屋宇的有机穿插以及墨色的黑白变化使主体有一股雄沉壮拔之气。近处横卧的巨石和稍远石峰的峭立形成对比，延伸了空间。自山脚而起的石径沿山石逶迤而上，将卧石与石峰联系起来。山间小道、屋宇、行人，线索分明， 时隐时现，活跃了山林的气氛。远景的渔村、云山，布置深远，和近景遥相呼应。整个画面意境深辽开阔，气魄宏伟。\n技法:《江山小景图》在技法上延续了李唐在宣和画院时期的青绿山水画风，但略有改变，此卷中山石以浓重劲健的细线勾勒，以小斧劈皴之，但小斧劈皴用的相当随意放松，简练概括，画家没有将山石的体积感与重量感放在表现的首位，而是注重画面的整体性与抒情性；此卷的树以轻松、快速的横笔写出，溪口水的画法也轻松自由得多，根据水势用简练的几笔勾勒而成，江水虽然还是以鱼鳞纹为之，但用笔灵活随意，毫无紧张感与拘谨感。\n此图近景巨石与石峰的用笔方硬坚重，峰顶与岩石的设墨浓重，树木多用横笔点叶，偶有细笔夹叶，色调较浅。运墨大胆，多为浓厚墨色，如树干劲拔，有笔有墨，骨肉匀称，若隐若现于树叶的浓荫之中，增添了幽深之感。船、帆和船夫的用笔十分洗练，坚挺朴实。远景几抹淡墨，用笔超脱豪放，使云山淡隐，更具一种灵妙别致的风韵。",[23,24,100,82,29,27,165,30,31,447,63,7,448,179,180,341],"渔船","舟楫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2428cca3b084dd38d455514e3b16a629.jpg","纵49.7厘米，横186.7厘米",[46,48,49],232,{"id":454,"slug":455,"title":456,"dynasty":295,"author":457,"museum":260,"description":458,"tags":459,"thumbUrl":462,"material":463,"size":464,"collection":48,"collections":465,"showCount":466,"zanCount":393,"manualWeight":11,"mainColor":94},222620,"shan-shui-tu-juan-1-gong-xian-222620","山水图卷-1","龚贤","全图为长卷形式，重山复岫横向展开，绵延起伏，用平远构图。山石短笔皴擦，树木以横竖排点画出，整卷结构缜密，气韵苍莽，幻景与实境交融，可观、可游、可居，“引人着胜地”。后纸行书长题，论及学道、读书、性情、嗜好，表达了画家对待艺术和生活的态度，兹录如下：\n“画于众技中最末。及读杜老诗，有云：刘侯天机精，好画入骨髓。世固有好画而入骨髓者矣！余能画，似不好画，非不好画也，无可好之画也。曾见唐、宋、元、明初诸家真迹，亦何尝不坐卧其下，寝食其中乎？问之好画者，曰：士生天地间，学道为上，养气读书次之，即游名山川、出交贤豪长者皆不可少，余力则工词赋、书画、棋琴。夫天生万物，惟人独秀，人之所以异于草木瓦砾者，以有性情，有性情便有嗜好，一无嗜好，惟恣饮啖，何异马牛而襟裾也。不能追禽而之踪，便当居一小楼，如宗少文张图绘于四壁，抚弦动操则众山皆响。前贤之好画往往如是，乌能悉数！余此卷借从心中肇造，云雾、丘壑、屋宇、舟船、梯凳、溪径，要不背理，使后之玩者可登可涉、可止可安，虽曰幻境，然自道眼观之，同一实境也。引人著胜地，岂独酒哉！戊辰秋杪半亩龚贤画并题。”\n下钤“龚贤”朱文印、“钟山野老”白文印。鉴藏印有“虚斋秘玩”等七方。戊辰为康熙二十七年（1688年），龚贤71岁。",[23,100,24,60,82,61,27,29,136,460,137,461,7,33,210],"石","云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa47f0e3c3d0ffbbbc50ccb661ca0951c.jpg","纸本，墨笔","纵28.8厘米，横404.1厘米",[48,49],229,{"id":468,"slug":469,"title":470,"dynasty":132,"author":408,"museum":20,"description":471,"tags":472,"thumbUrl":474,"material":61,"size":475,"collection":48,"collections":476,"showCount":477,"zanCount":280,"manualWeight":11,"mainColor":94},219331,"kong-shan-guan-pu-tu-tang-yin-219331","空山观瀑图","唐寅（1470—1523），字伯虎，一字子畏，号六如居士、桃花庵主、鲁国唐生、逃禅仙吏等，据传于明宪宗成化六年庚寅年寅月寅日寅时生，故名唐寅。汉族，吴县（今江苏苏州）人。他玩世不恭而又才气横溢，诗文擅名，与祝允明、文征明、徐祯卿并称“江南四才子”，画名更著，与沈周、文征明、仇英并称“吴门四家”。",[24,60,26,61,27,29,152,7,30,86,473,33],"峭壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c0f9b1868f56ffcbda8eabd2eb3efa9.jpg","60.5x38.6公分",[48],213,{"id":479,"slug":480,"title":481,"dynasty":132,"author":482,"museum":260,"description":483,"tags":484,"thumbUrl":486,"material":107,"size":107,"collection":107,"collections":487,"showCount":488,"zanCount":186,"manualWeight":11,"mainColor":94},235322,"shen-zhou-xi-shan-wan-zhao-tu-zhou-yi-ming-235322","沈周溪山晚照图轴","佚名","此作用高远章法铺陈，上部危崖耸峙，飞泉自谷间垂落，苍劲皴笔勾勒出嶙峋厚重的山石肌理。下部溪岸错落，疏林亭亭，茅舍隐于陂岸之后，淡墨晕染出薄暮空濛之境。\n\n笔墨带着吴门画派的文人情致，枯湿浓淡相宜，简淡中见苍润。诗画合璧，将山居暮色里的幽寂禅意娓娓道来，林泉高致的雅兴融于尺幅，静穆空远，尽显晚照溪山的澹然逸趣。",[24,60,26,61,29,63,7,31,30,485,27],"夕阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bbddeb071a1e562b0706ec6e36e9088.jpg",[],203,{"id":490,"slug":491,"title":492,"dynasty":18,"author":57,"museum":20,"description":493,"tags":494,"thumbUrl":496,"material":213,"size":497,"collection":46,"collections":498,"showCount":499,"zanCount":280,"manualWeight":11,"mainColor":52},220227,"guan-shan-chun-xue-tu-guo-xi-220227","关山春雪图","画中描绘峻峭奇险的深山大壑，覆盖着皑皑白雪：远处峭壁险崖，有的山势陡峭，有的高远突兀，远处左侧一山峰似一把利剑，直插云霄，气势雄奇，山巅处炯云缭绕，迷雾茫茫。岭头和山谷处，杂木丛生，山石表面处积着厚雪，闪着亮光：中部山石嶙峋，高山环抱着山间的平地，在山腰间平地上，座落着屋宁、古寺、楼阁，掩映在山谷和丛林之中，隐现可见。古寺幽然独处，给人们一种寂然寞然的境界之感。近处为巨岩纵横其间，古木、杂树由山缝处挣扎生长，稍往上为山腰，险崖向左倾斜，旱险势状。",[23,24,399,27,61,136,495,31,87,7,65],"雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c61b8007643b9b3921aa749500eaf33.jpg","纵197.1厘米，横51.2厘米",[46,48],198,{"id":501,"slug":502,"title":503,"dynasty":295,"author":457,"museum":117,"description":504,"tags":505,"thumbUrl":506,"material":123,"size":507,"collection":48,"collections":508,"showCount":509,"zanCount":280,"manualWeight":11,"mainColor":94},219857,"ba-jing-shan-shui-tu-gong-xian-219857","八景山水图","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。",[24,100,60,61,27,29,34,63,210,152,120,65,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F755626b038e7687bb9727373859aa345.jpg","24.4x49.7厘米",[48],191,{"id":511,"slug":512,"title":513,"dynasty":18,"author":57,"museum":20,"description":514,"tags":515,"thumbUrl":518,"material":213,"size":519,"collection":46,"collections":520,"showCount":521,"zanCount":393,"manualWeight":11,"mainColor":52},219430,"shan-zhuang-gao-yi-zhou-guo-xi-219430","山庄高逸轴","此图绘重峦峻岭，林木枯树，交错布列，楼阁村肆，环山抱水，景致宜人。构图以中央主峰为中心，画山石以宗北宋郭熙之云头皴为主，辅以董巨之短披麻，林木则呈蟹爪树法，画法可谓纯熟老练。貌虽似郭熙，然景物过于繁复琐碎，缺乏宋人撷取自然景物之写实精神与画法。",[24,100,26,29,61,27,30,196,195,34,63,178,7,516,517],"村舍","塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bde623440bfbc5ce33c5d2934788c7b.jpg","188.8x109.1",[46],187,{"id":523,"slug":524,"title":525,"dynasty":18,"author":526,"museum":20,"description":527,"tags":528,"thumbUrl":531,"material":213,"size":532,"collection":46,"collections":533,"showCount":534,"zanCount":393,"manualWeight":11,"mainColor":52},218917,"guan-pu-tu-xia-gui-218917","观瀑图","夏圭","画中的笔触平静而简练，水墨淋漓。近景突出，构图层次分明，实与虚、疏与密、远与近、开与合的对应关系明显，人物、树木、岩石的指向都是一步步画出来的，自然景物的细节更多是叠加的。这可能与夏圭的典型风格略有不同。",[23,24,61,165,529,27,29,152,7,530,30,210,63],"扇面","小船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda09cc87c5f596f8d71593807efe86cf.jpg","24.7x25.7",[46],180,{"id":536,"slug":537,"title":538,"dynasty":295,"author":457,"museum":539,"description":540,"tags":541,"thumbUrl":543,"material":123,"size":544,"collection":48,"collections":545,"showCount":546,"zanCount":280,"manualWeight":11,"mainColor":52},222610,"qian-yan-wan-he-tu-gong-xian-222610","千岩万壑图","南京博物院","此图绘山岩丘壑连绵不断，繁复无尽，其间茂林嘉村云气烟，飞泉高，孤村落，江流小舟，景致表现得真实生动、完美自然，秀丽、壮伟兼具，引人入胜。\n此图前部分为作者投入精力最多的部分，以实境为主，大力渲染峰峦的伟岸、雨后景色变化的美丽。开篇对岸远山微抹，远方江水静静地流来，以江面的宁静把观者带入画面之中，使之心境舒缓，为高潮的出现作出铺垫，然后徐徐拉开全画的序幕。在这一部分中，最让观者意纵神耸的是作者有意刻画的万千峰峦、千岩万壑，让人惊心动魂。山峰峦头各具情态，或挺拔耸出，或欲语带笑，或蹲伏侧卧，或起立欲奔，或伸展顾盼。峰峦的辉光和明亮，如银辉一般与雾气的明亮互相掩映包容，形成一道道光带缓行屈伸于山峦树丛之中，若断若连，若生若灭。古木丛林此起彼伏，在峰峦间绵延不绝，凝聚着无以复加的郁郁之气。山间流泉则细细垂下，沿山谷汇成清澈的溪流。屋舍、寺塔点缀于山峰、谷坞间。山岚、烟蔼出没升腾，在旷野树丛山谷间徐徐飘出。雾气渐渐聚集，月光如梦境笼罩四野，一切部静悄无语。夏日午后的宁静、冬日温暖阳光照耀下的气象、雨后空气中的澄静凝练、明月照耀里的朦胧境象，也都被作者收拢笔下，幻化为大自然变幻不定的复合境象。此部分布景深远辽阔，静寂的氛围透出苍茫肃穆的深沉。\n后部分则以大江为描绘的主体。四面至此，汀面广阔，远帆从江面缓缓而求，近处江岸停泊营数点渔舟，掩映在树下爷从中，再向庄则是与右岸相对的山峰，然后夹江之外又有坡岸山峦笼束，以作终老，与千岩万壑相呼应。山于此部图像是虚境，同前一段的实境描绘相比，显得清明宁静，寂静优美的氛围终含有舒畅开阔的愉悦情怀。\n此画构图饱满充实，满而不塞，画中时露空白，形成黑白对比强烈。整个画面景象壮阔，景物繁多，但繁而不乱，在布局构图上达到了奇与安、实境与幻境的统一。此画给人们最为深刻印象，即也是此画的最大特点，即善于用墨，把墨色的运用达到淋漓尽致的地步，继承和发展了宋人的“积墨法”，“一遍点、二遍加、三遍皴，便歇了，待干又加浓点，又加淡点一道，连总数是为七遍”（《柴丈画说》），山石是先勾出轮廓，然后积染，皴擦，而且先干后湿，这样，轮廓线与皴染浑为一体，层次分明，显得十分浑厚。树木也是层层烘染的墨法，湿润、浓郁。在用墨时，还注意黑白、虚实对比，强调明暗分明，使山林景色富有深远、光照感。\n纵观全图，作者特别注意横向景物的展开，在构图上注意远境近境的联络映带，既有一放一收、 实境一虚境、 一开一合大聋法的纵横驰骋，也有在小范围上虚实开合的变化，因而整体构图显得密而不乱，疏丽不空。山川气脉隔而不断，既有空间的深远，又有视觉上的无穷变化。",[23,24,100,82,61,27,29,64,65,31,7,35,178,542,238],"水域","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ced805626c55f7b7026ef63267ca5df.jpg","纵27.8厘米，横980厘米",[48,49],179,{"id":548,"slug":549,"title":550,"dynasty":132,"author":551,"museum":20,"description":552,"tags":553,"thumbUrl":554,"material":89,"size":555,"collection":48,"collections":556,"showCount":557,"zanCount":157,"manualWeight":11,"mainColor":52},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。",[23,24,60,26,61,27,29,31,7,33,120,152,179,35,30,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3942008c8970d09809b068a18c45de0e.jpg","118x38.7",[48],175,{"id":559,"slug":560,"title":561,"dynasty":222,"author":562,"museum":20,"description":563,"tags":564,"thumbUrl":566,"material":69,"size":567,"collection":48,"collections":568,"showCount":569,"zanCount":280,"manualWeight":11,"mainColor":290},221158,"qiu-shan-wan-cui-tu-guan-tong-221158","秋山晚翠图","关仝","此画描绘的是中国北方景色，深谷云林，气壮意长，从中可以看出北方山村的生活气息。该图用笔简劲，线条粗细断续有别，落墨渍染生动，是中国古代山水画中上乘之作。",[23,24,60,26,29,27,165,31,65,7,565],"秋山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd04a2dbf4ef7b6f0a300b3f97262a33e.jpg","横57.3厘米，纵140.5厘米",[48,49],167,{"id":571,"slug":572,"title":573,"dynasty":295,"author":574,"museum":235,"description":575,"tags":576,"thumbUrl":579,"material":276,"size":580,"collection":581,"collections":582,"showCount":583,"zanCount":280,"manualWeight":11,"mainColor":52},216739,"bai-ying-tu-lang-shi-ning-216739","白鹰图","郎世宁","郎世宁（1736-1801）是清朝时期的画家，他的《白鹰图》是一幅有名的山水画作品。这幅画描绘了一只白鹰展翅高飞的场景，在画中，白鹰的身体线条优美，动作十分生动，同时还富有寓意。郎世宁的《白鹰图》被认为是他的代表作之一，并被广泛欣赏。",[100,24,209,165,577,578,152,7,26],"花鸟","白鹰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F729904f32b9a01e6d59da946aa7e639b.jpg","248.3x134cm","花鸟画精选",[581],165,{"id":585,"slug":586,"title":587,"dynasty":295,"author":296,"museum":260,"description":588,"tags":589,"thumbUrl":590,"material":107,"size":107,"collection":48,"collections":591,"showCount":592,"zanCount":157,"manualWeight":11,"mainColor":94},237928,"yuan-ji-shan-shui-tu-zhou-shi-tao-237928","原济山水图轴","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。",[24,61,27,26,60,84,121,85,29,34,63,31,238,86,30,7,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfa72c6c88f5d950dcb00da4e61fa4c0.jpg",[48,49],162,{"id":594,"slug":595,"title":596,"dynasty":295,"author":597,"museum":175,"description":598,"tags":599,"thumbUrl":603,"material":213,"size":604,"collection":581,"collections":605,"showCount":606,"zanCount":393,"manualWeight":11,"mainColor":52},219126,"shuang-lu-tu-shen-quan-219126","双鹿图","沈铨","这幅画描绘了在秋季深山里，一对野鹿的生活状态。画面右边是高山悬崖的一段，崖壁上生长着盘如巨龙的古松，虽饱经风霜，仍然枝叶繁茂，粗大的树干上缠绕着藤本植物，从松、藤之间的上部缝隙里，可以看到一条瀑布，它穿过树叶的遮挡，飞流直下，形成巨大的水流，与画面下部的小溪相互呼应。悬崖的左边大幅留白，虽然没有具体描绘，应该能想象为山谷中弥漫着的雾气，在此处取得了无胜于有的效果。上述描绘景色，构成了本幅画的背景，说明了双鹿活动的大环境。双鹿为一公一母，一站一卧，它们伸长了耳朵正在倾听，身处深山老林，时刻保持高度警惕，这幅画正是描绘了这一刻的动态。双鹿周围，是一些正在盛开的白色野菊，山坡间生长着一丛丛色彩暗淡的野草，较好地表明了野草即将衰败、天气已届深秋。",[23,24,100,209,165,600,601,29,31,602,7,65],"兽","鹿","竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6c88b537cee852bc63fd476f497b04f.jpg","120x50.5cm",[581],160,{"id":608,"slug":609,"title":610,"dynasty":18,"author":191,"museum":376,"description":611,"tags":612,"thumbUrl":613,"material":213,"size":614,"collection":615,"collections":616,"showCount":617,"zanCount":11,"manualWeight":11,"mainColor":52},220448,"song-xia-dui-yi-tu-li-cheng-220448","松下对弈图","李成（919~967年），字咸熙，号营丘，京兆长安（今陕西省西安市）人。五代宋初画家，与董源、范宽并称“北宋三大家”，苏州刺史李鼎的孙子。\n博学多才，胸有大志，无处施展，醉心于书画。乾德五年，病逝于陈州，时年四十九岁。\n擅于山水画，师承于荆浩、关仝，自成一家，喜欢画郊野平远旷阔的风景。平远寒林，画法简练，气象萧疏，好用淡墨，“惜墨如金”；绘画山石如卷动的云，人称“卷云皴”；绘画寒林，开创“蟹爪”法，对于山水画的发展有重大影响。作品有《读碑窠石图》《寒林平野图》《晴峦萧寺图》《茂林远岫图》等。",[23,24,100,60,26,61,27,29,86,152,30,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2dc15899bec8d07f16b7c9e8e68853c.jpg","155.1x99.1cm","人物画精选",[615,46],159,{"id":619,"slug":620,"title":621,"dynasty":295,"author":622,"museum":235,"description":623,"tags":624,"thumbUrl":627,"material":276,"size":107,"collection":48,"collections":628,"showCount":629,"zanCount":11,"manualWeight":11,"mainColor":52},214603,"fang-gu-shan-shui-ce-wang-hui-214603","仿古山水册","王翚","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。",[24,61,27,625,29,136,326,137,196,33,7,65,195,626],"仿古","册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb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作品介绍: 王时敏家藏历代名画甚丰，得以充分观摩研习，其绘画以山水见长，为正统山水画派的领袖人物。他的作品多摩古之作，颇具先人遗风。此画册摩写了宋元大家巨然、米友仁、黄公望、王蒙、倪瓒、吴镇等人的山水画作，画幅小而精致，清新悦目，各家风格迥异，绘制精微细腻，显示出王时敏深厚的功底和纯熟技法。",[23,24,61,26,83,27,29,34,63,31,30,7,238,640],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F327760a064cea89ccaf8862ca234e649.jpg","177.5x56.9",[48],{"id":657,"slug":658,"title":659,"dynasty":18,"author":307,"museum":260,"description":660,"tags":661,"thumbUrl":667,"material":105,"size":265,"collection":107,"collections":668,"showCount":669,"zanCount":280,"manualWeight":11,"mainColor":52},288321,"xi-yuan-ya-ji-tu-ma-yuan-288321","西园雅集图","马远（1140年－1225年），字遥父，号钦山，祖籍河中（今山西永济），生长于临安（今浙江杭州），南宋绘画大师。\n出身绘画世家，南宋宋光宗、宋宁宗两朝画院待诏。擅画山水、人物、花鸟，山水取法李唐，笔力劲利阔略，皴法硬朗，树叶常用夹叶，树干浓重，多横斜之态。楼阁界画精工，且加衬染。喜作边角小景，世称“马一角”。人物勾描自然，花鸟常以山水为景，情意相交，生趣盎然。与李唐、刘松年、夏圭并称“南宋四家”。存世作品有《踏歌图》《水图》《梅石溪凫图》《西园雅集图》等。",[23,100,24,82,61,86,29,152,196,7,30,195,34,63,662,663,664,665,666],"竹丛","舟船","马匹","文人雅集","宴饮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef6165e95977efed01ca7108e9daefd.jpg",[],150,{"id":671,"slug":672,"title":673,"dynasty":674,"author":482,"museum":260,"description":675,"tags":676,"thumbUrl":680,"material":105,"size":265,"collection":107,"collections":681,"showCount":682,"zanCount":280,"manualWeight":11,"mainColor":94},290029,"long-hu-tu-ping-feng-yi-ming-290029","龙虎图屏风","不详","左屏苍龙穿云破浪，墨色晕开翻涌云水，鳞爪张弛间尽显遒劲威严，龙神腾跃于江海云雾，动静间裹挟磅礴气势。右屏玄豹踞于苍松危岩，身姿沉凝雄健，斑纹写实灵动，山涧飞瀑与留白云雾衬出山野幽寂，静穆中暗藏猛兽蛰伏的张力。\n\n整作以水墨晕染写意，留白营造空濛禅意，笔力苍劲老辣，将神兽威仪与山水意境相融，尽显东方水墨走兽画的古典意韵。",[23,24,61,677,325,678,461,679,436,30,7],"屏风","虎","海浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bf2facc69f5f4dd4ac4b11950993457.jpg",[],147,{"id":684,"slug":685,"title":686,"dynasty":18,"author":526,"museum":260,"description":687,"tags":688,"thumbUrl":690,"material":213,"size":691,"collection":48,"collections":692,"showCount":682,"zanCount":11,"manualWeight":11,"mainColor":52},220045,"ting-qin-kan-pu-tu-xia-gui-220045","听琴看瀑图","危崖飞瀑垂落千仞，斧劈皴勾勒山石棱骨，墨色苍劲凝练，将峭壁雄浑之势尽显。虬松盘曲展枝，松下平坡之上，抚琴者席地拨弦，知音侧耳凝听，童子垂手侍立，寥寥数笔便将人物悠然意态勾勒传神。\n\n画面以局部取景，大片留白晕染出空濛悠远，将林泉雅集的闲逸与山川清旷相融，虚实之间，把静赏飞瀑、闲听雅琴的幽趣铺陈开来，藏着寄情丘壑、静悟天机的风雅，笔简而意无穷，尽得空灵禅寂之美。",[100,24,60,26,61,27,29,7,152,86,689,65,63],"琴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23b1f6772d48a16ed101d54e26afa835.jpg","142.2 × 70 cm",[48],{"id":694,"slug":695,"title":696,"dynasty":295,"author":622,"museum":260,"description":697,"tags":698,"thumbUrl":699,"material":107,"size":107,"collection":107,"collections":700,"showCount":701,"zanCount":280,"manualWeight":11,"mainColor":94},224470,"xi-shan-xing-lv-tu-juan-wang-hui-224470","溪山行旅图卷","此作用长卷铺展千里江山，起首烟水澹澹，汀洲村舍隐在轻岚淡墨之中，随卷徐徐铺陈，峰岭渐次崛立。山石以披麻皴写就，笔力苍秀沉厚，林木攒簇郁茂，晕染出葱茏古雅的生机。\n\n山道、津渡间错落行旅身影，暗合林泉行游之趣，云烟流荡于峰腰谷壑，虚实相生，将平远、高远、深远诸法相融，层层延伸出咫尺含千里的山水格局。笔墨兼取元人松灵与宋人丘壑之密，既摹写出实景山水的清润幽深，亦藏着文人寄情林泉的澹然意绪，整卷气息静雅浑融，尽揽山川悠远之致。",[23,24,82,61,29,27,30,31,35,7,33,64,86,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0aa1cd0866746b8aa5e4cf195a58da69.jpg",[],146,{"id":703,"slug":704,"title":705,"dynasty":295,"author":622,"museum":20,"description":706,"tags":707,"thumbUrl":709,"material":276,"size":710,"collection":48,"collections":711,"showCount":712,"zanCount":280,"manualWeight":11,"mainColor":52},220374,"xi-shan-hong-shu-tu-wang-hui-220374","溪山红树图","此图为王翚仿黄鹤山樵王蒙的一件极具特色的代表作，描绘的是遍生红树的一片秋日山林景色。画中以圆转重叠、突兀高耸的山峰为主体，山溪逶迤前行，涟漪阵起，秋波荡漾，两岸林木，红翠相间，整个画中意境深幽，秋气袭人。画家拟王蒙笔意与布局，构景繁密，山势云动，境界深奇。山石画法以墨笔牛毛皴和解索皴为主，干笔皴擦，浓墨点苔， 既显浓密厚重，又鲜艳夺目，光彩熠熠。 现收藏于台北故宫博物院的《溪山红树图》是其传世精品，他学元代王蒙的笔法，以类似牛毛皴松秀而流动的线条，构成活泼的画面，加上颜色较艳丽的红色和绿色，使整个画面有一种轻快愉悦的调子。",[23,24,60,26,165,29,708,30,7,63,195,31,85,84,121,27],"红树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F166e49671e5b9c54baee4cd182d5e0ab.jpg","纵112.4厘米，横39.5厘米",[48,383],144,{"id":714,"slug":715,"title":716,"dynasty":18,"author":526,"museum":235,"description":717,"tags":718,"thumbUrl":721,"material":213,"size":722,"collection":48,"collections":723,"showCount":724,"zanCount":157,"manualWeight":11,"mainColor":52},218571,"xia-shan-bi-shu-tu-xia-gui-218571","夏山避暑图","云雾似轻纱漫笼峰峦，墨色浓淡晕染出层叠山影。近处山石以劲挺线条勾勒肌理，远处峰峦隐入烟霭，虚实相生间拓开深远意境。飞瀑如白练倾泻而下，水汽与云雾交融，添了几分灵动。崖畔小亭古朴雅致，亭内人影隐约，或凭栏观瀑，或对弈品茗，将“避暑”闲逸悄然藏于山水。苍松虬枝斜出，与嶙峋怪石相映，笔墨苍劲中透着秀逸。整幅画以水墨为韵，借云雾之虚衬山峦之实，动静相宜间铺展夏日山林的清幽闲适，让人仿若置身其中，忘却尘嚣。",[24,100,60,29,61,27,210,7,35,30,31,179,33,473,719,720],"古松","山涧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb50cf148ebc8bbac9a702b14d084294e.jpg","81x35cm",[48],143,{"id":726,"slug":727,"title":728,"dynasty":132,"author":133,"museum":117,"description":729,"tags":730,"thumbUrl":731,"material":213,"size":732,"collection":48,"collections":733,"showCount":734,"zanCount":255,"manualWeight":11,"mainColor":52},218247,"lin-dai-wen-jin-xie-an-dong-shan-tu-shen-zhou-218247","临戴文进谢安东山图","沈周（1427-1509年），字启南，号石田、白石翁，苏州人，不应科举，以诗文书画为事，山水师黄公望、吴镇，书法法黄庭坚，名重一时，吴中名家如文徵明、唐寅等都出其门下。与文徵明、唐寅、仇英合称“明四家”。\n本图是沈周五十四岁时所作，临摹的是比他略早的浙派著名画家戴进的《谢安东山图》，描绘东晋著名宰相谢安隐居东山时，携妓出游，纵情山水的情景。\n沈周的山水画，师法元代黄公望与吴镇，远溯五代董源、巨然，而戴进宗法的是南宋马远、夏圭，以风格而论，一为南方山水与水墨画的传统，一为北方山水与宫廷著色画的传统。沈周画多仿元人，此画风格在他的作品中既是一件孤品，也是一件奇品，堪称绝无仅有。\n此图高头大轴，青绿设色，山石轮廓明朗，皴笔似马牙、卷云而不若其蜷曲，似斧劈而不若其方硬，似披麻而不若其疏放绵长，这种皴法与戴进常用的源自马、夏的长斧劈皴不同，融合了南、北方山水的皴法特点。图画设色明朗鲜润，一部分山石近乎空勾，是宋代以来大青绿的设色方法。沈周一生所作山水，多为水墨，亦有浅绛，如此大轴青绿，实属平生仅见。其中人物亦造型端庄，服饰俨然，线条健爽，是明人追绍宋代院体画的风格。\n沈周此图或属偶一为之，却显示出画家不拘于一格的绘画能力以及兼收并蓄，广采博纳的眼界与胸襟。\n根据翁同龢1902年的日记，此画是翁氏因戊戌之变被黜归里后，其旧仆李元为其在北京购得的。",[23,24,60,100,26,165,29,86,195,152,30,7,31,64,83,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4136bf4cc51a9c489487d6a27dbe7d3a.jpg","纵170.0厘米，横89.0厘米",[48],139,{"id":736,"slug":737,"title":738,"dynasty":18,"author":739,"museum":20,"description":740,"tags":741,"thumbUrl":742,"material":44,"size":743,"collection":46,"collections":744,"showCount":745,"zanCount":11,"manualWeight":11,"mainColor":52},221619,"mo-fan-kuan-lu-shan-tu-zhou-jiang-can-221619","摹范宽庐山图轴","江参","本幅旧传为江参作，画采全景式构图，中央主峰巍峨耸立，峰顶遍布密林。山坳处，寺宇、亭台错落。\n杂树掩映间，可见泉瀑奔流，淙淙若闻其声。山道上，并绘有行旅策蹇，络绎于途。幅左下方题：「摹范华原庐山图」。《宣和画谱》虽未著录〈庐山图〉，然此作以短笔作皴，呈密集的雨点状，明显由〈溪山行旅图〉演化而来。",[23,24,60,26,83,27,61,29,136,65,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F826530b8c83c87209bddce538d219a64.jpg","347.4x131.8",[46,48,49],138,{"id":747,"slug":748,"title":749,"dynasty":295,"author":750,"museum":260,"description":751,"tags":752,"thumbUrl":753,"material":425,"size":754,"collection":48,"collections":755,"showCount":756,"zanCount":11,"manualWeight":11,"mainColor":94},222665,"xi-shan-qiu-yu-tu-kun-can-222665","溪山秋雨图","髡残","描绘的是古木流泉，高人独坐，体现出一派野逸之趣。髡残之画卷苍老雄浑，深沉豪迈，以老辣见胜，但相对而言，此图当属相对文雅、宁静一路画风。\n通观全画，不禁让人想起王蒙的代表作《葛稚川移居图》，但髡残在构图和技法上均做了简化处理。整幅画采用是全景式繁密构图，前景处山石耸立，几株树木立于 其上，呈现出不同的生长态势。画面左下角一座小桥向后延伸，一位樵夫缓缓行走，引出画面的中景。远景一座大山巍峨挺立，一座茅屋筑于半山腰，为这幅画增添 了不少人气。\n髡残将王蒙画中那股山体蜿蜒向上的强烈夸张的扭势处理成了文雅、宁静的气象，笔法上对王蒙有所借鉴，山石多用披麻皴、解索皴，用赭石染山石，色泽浓厚，并且在山石轮廓上用焦墨钩提。\n髡残师古人乃食古而化，不过是以古人酒杯浇自家胸中块垒，所以体现出来的仍是自己的精神面貌，其画构图奇特、境界幽深，是其广师造化的结果。髡残之画在当时画坛独树一帜，后人把他和石涛并称“二石”，是明清两代中最有生气的画家。",[23,24,61,165,27,26,29,30,31,238,34,63,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4c669070e4f6774a5897c1f4946ba35.jpg","纵113CM 横50CM",[48,49],135,{"id":758,"slug":759,"title":760,"dynasty":132,"author":761,"museum":762,"description":763,"tags":764,"thumbUrl":765,"material":425,"size":766,"collection":48,"collections":767,"showCount":756,"zanCount":186,"manualWeight":11,"mainColor":52},222073,"ming-huang-xing-shu-tu-wu-bin-222073","明皇幸蜀图","吴彬","天津博物馆","吴彬（1550—1643），字文中，又字文仲，明代绘画大师，别字质先，别称文中父、文中子，自号壶谷山樵、遵道生、织履生、一枝栖、枝隐生、枝隐居士、朱湖太生洞天居士、枝隐庵主、枝庵发僧、枝隐头陀、枝隐庵头陀和“金粟如来”等，兴化府（今福建省莆田市）黄石人。流寓金陵（今江苏省南京市）。万历年间，明神宗朱翊钧召见吴彬，试殿中第一，授中书舍人，历工部主事。供职于宫廷画院。工山水，布置绝不摹古，佛像人物，形状奇怪，迥别前人，自立门户。中国国画大师，明代宫廷大画家，晚明人物“变形主义画风”和“复兴北宋经典山水画风”的主要倡导者和领导者之一，享有“画仙”之誉。1988年11月，其名作《文杏双禽图》被收入《中国历代绘画》，列为中国上下五千年的28幅绘画杰作之一。2009年，北京保利秋拍吴彬名作《十八应真图卷》最终以1.6912亿元高价成交，创下当时中国画拍卖价格新的世界纪录。",[23,24,60,29,165,209,27,86,103,195,34,63,30,7,31,102,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f3f879903396d07b9e64c58c5d2acea.jpg","65x112 厘米",[48,383],{"id":769,"slug":770,"title":771,"dynasty":132,"author":772,"museum":20,"description":773,"tags":774,"thumbUrl":775,"material":61,"size":776,"collection":49,"collections":777,"showCount":756,"zanCount":11,"manualWeight":11,"mainColor":94},219344,"feng-yu-gui-zhou-tu-zhou-wen-zheng-ming-219344","风雨归舟图轴","文徵明","文征明（1470～1559年），即文徵明，初名壁，字征明，后更字征仲，号衡山、停云，别号衡山居士，人称文衡山，斋名停云馆。长洲（今苏州）人。官至翰林待诏，私谥贞献先生。“吴门画派”创始人之一。是明代中期最著名的画家，大书法家。与唐伯虎、祝枝山、徐祯卿并称“江南四大才子”（也称吴门四才子）。与沈周、唐寅、仇英合称“明四家”。在当世他的名气极大，号称“文笔遍天下祖籍衡山，故号衡山居士，长洲（今江苏吴县）人。54岁时以岁贡生诣吏部试，授翰林院待诏，故称文待诏。",[24,60,26,61,27,29,7,31,65,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F648a657d5f76e78f5d702a150b241512.jpg","89.7x32.9公分",[49],{"id":779,"slug":780,"title":781,"dynasty":18,"author":782,"museum":783,"description":784,"tags":785,"thumbUrl":787,"material":89,"size":788,"collection":615,"collections":789,"showCount":790,"zanCount":280,"manualWeight":11,"mainColor":52},218536,"er-zu-diao-xin-tu-mu-xi-218536","二祖调心图","牧溪","京都藤井有邻馆","禅者趺坐，衣袂如流云舒卷，墨线简劲中见飘逸。猛虎蜷卧身侧，昔日凶威尽敛，竟似猫咪般温顺，双目微阖，与禅者气息相融。背景远山淡抹，枯树疏枝横斜，瀑流隐于云霭，天地间弥漫着空灵静谧的禅意。笔墨写意传神，不事雕琢却直抵心性——禅心可化戾气，猛兽亦归平和，这般物我两忘的境界，尽在尺幅之中流转，引人沉潜于禅思的悠远。",[24,60,61,365,786,86,678,600,196,29,7,85],"宗教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F650cad3bf7fe8ebae276374eeee46d0c.jpg","121x55.5",[615],134,{"id":792,"slug":793,"title":794,"dynasty":132,"author":795,"museum":796,"description":797,"tags":798,"thumbUrl":799,"material":425,"size":800,"collection":48,"collections":801,"showCount":802,"zanCount":157,"manualWeight":11,"mainColor":94},221947,"wan-he-zheng-liu-tu-zhou-wen-zheng-ming-221947","万壑争流图轴","文徴明","南京博物馆","图绘峡峨山势，山泉争流而下，山下溪水淙淙，坡上林木葱郁。画山用湿润的披麻破，行笔细节秀润，满纸青绿，场面壮观。\n满纸青绿设色，其法是先将浅赭色普染山石，然后留下石根之赭色，再将石绿、石青，而至墨青(花青和墨)色，薄薄地按序自下而上，分层积染。但文徵明匠心独运：其一，青绿中调和淡墨，清润幽雅，已不似以往大青绿之奇艳夺目；其二，石色薄敷，不掩墨骨，故仍是元初赵孟頫青绿设色方法的演变，无愧为文徵明晚年细笔青绿山水中的精品。",[23,24,60,26,165,29,27,63,31,30,86,7,152,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23ec8b65dd08d53416021b6376bc9a1c.jpg","纵132.4cm，横35.2cm",[48,383],132,{"id":804,"slug":805,"title":806,"dynasty":222,"author":223,"museum":20,"description":807,"tags":808,"thumbUrl":809,"material":44,"size":107,"collection":107,"collections":810,"showCount":811,"zanCount":280,"manualWeight":11,"mainColor":52},226543,"liang-kuang-lu-tu-zhou-jing-hao-226543","梁匡庐图轴","五代的隐逸画家荆浩是水墨山水画演变的关键人物，他将唐代吴道子的笔描与项容的泼墨技法结合，扩展笔墨描写山水的能力。荆浩的画风后来由关仝、李成和范宽继承，演变成永恒不朽的巨碑式山水。《匡庐图》是一幅仿古作品，保留五代山水的特征，但是结合了北宋宫廷画院的风格，再现与隐逸主题相关的山水形象，向荆浩这位雄伟风格山水之父致敬。",[100,24,60,26,61,27,29,64,7,31,33,65,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39a19f97daa491bb204eb9d64ccb256d.jpg",[],131,{"id":813,"slug":814,"title":815,"dynasty":295,"author":750,"museum":20,"description":816,"tags":817,"thumbUrl":818,"material":819,"size":820,"collection":48,"collections":821,"showCount":811,"zanCount":280,"manualWeight":11,"mainColor":94},222663,"shan-shui-tu-juan-kun-can-222663","山水图卷","髡[kūn]残（1612～1692）明末清初画家。清初四僧之一。俗姓刘，武陵（今湖南省常德市）人，居南京。幼年丧母，遂出家为僧。法名髡残，字石溪，一字介丘，号白秃，一号残道者、电住道人、石道人。他削发后云游各地，43岁时定居南京大报恩寺，后迁居牛首山幽栖寺，度过后半生。性寡默，身染痼疾，潜心艺事，与程正揆（程正揆，号青溪道人）交善，时称二溪，艺术上与石涛并称二石,善画山水，亦工人物、花卉。山水画主要继承元四家传统，尤其得力于王蒙、黄公望。构图繁复重叠，境界幽深壮阔，笔墨沉酣苍劲，以及山石的披麻皴、解索皴等表现技法，多从王蒙变化而来；而荒率苍浑的山石结构，清淡沉着的浅绛设色，又近黄公望之法。他还远宗五代董源、巨然，近习明代董其昌、文徵明等，兼收并蓄，博采众长。在学习传统基础上，重视师法自然，自谓“论画精髓者，必多览书史。登山寡源，方能造意”。一生中大部分时间都在山水中度过，经常驻足于名山大川，流连往返。他“僻性耽丘壑”、“泉石在膏肓”，主观的情感、性灵与客观的景物、意境相感应、交融，使其山水画景真情切，状物与抒情成为一体。所作山水，在平淡中求奇险，重山复水，开合有序，繁密而不迫塞，结构严密，稳妥又富于变化，创造出一种奇辟幽深，引人入胜之境，生动地传达出江南山川空□茂密、浑厚华滋的情调。他喜用渴笔、秃毫，苍劲凝重，干而不枯，并以浓淡墨色渲染，使得笔墨交融，形成郁茂苍浑、酣畅淋漓的情趣，使画面产生雄浑壮阔、纵横蓬勃的气势。存世代表作有《报恩寺图》，绘南京聚宝门外报恩寺，通过概括提炼，表现了金陵名胜的磅礴、奇异气象。《云洞流泉图》、《层岩叠壑图》和《雨洗山根图》（均藏故宫博物院），以繁密的布局、苍劲的用笔、郁茂的景致、幽深的境界，显现出石溪鲜明的艺术特色。\n髡残扇面擅画人物、花卉，尤精山水。师法黄公望、王蒙，尤近于王蒙。其画章法严密，笔法苍劲，喜用秃笔渴墨，层层皴擦勾染，厚重而不板滞，郁茂而个迫塞，善写平凡景致，平淡中见幽深。与石涛、弘仁、朱耷并称“清四僧”。 工诗文、书画，擅山水、花卉。山水师法王蒙、黄公望，并汲取董源、巨然、董其昌、文徵明等人画法。博采众长，加以发展变化，又能师法自然，于游历中观赏体验名山大川的万千景象。所画山水，构图饱满，重山复水，繁密中见疏灵，善用秃锋渴笔画山石树木，以浓淡墨渲染，苍劲凝重中透出丰润秀逸之致，意境奇僻幽深，得江南山水空濛茂密、浑厚华滋之质。其绘画在当时名重一时，对后世亦有很大影响，后人将其与石涛并称二石，又与渐江、朱耷、石涛合称清初四僧。有《报恩寺图》、《云洞流泉图》、《层岩叠壑图》、《雨洗山根图》等传世。在绘画论画云：“董华亭(其昌)谓：‘画和禅理共旨，不然禅须悟，非工力使然，故元人论品格，宋人论气韵，品格可力学而至，气韵非妙悟则未能也。”在提倡勤学的同时，也主张作画须有“妙悟”，并非下死力就可得画之神韵。\n髡残性直硬，脾气倔强，寡交游，难于与人相合。这种强烈的个性表现在他的禅学上是“自证自悟，如狮子独行，不求伴侣”；表现在绘画上则为“一空依傍，独张赵帜，可谓六法中豪杰”。他自己也说：“拙画虽不及古人，亦不必古人可也。”他长期生活在山林泽薮之间，侣烟霞而友泉石，踯躅峰巅，留连崖畔，以自然净化无垢之美，对比人生坎坷、市俗机巧，从中感悟禅机画趣。髡残作品中的题跋诗歌多作佛家语，这不仅因其身为和尚，而且在他看来，禅机画趣同是一理，无处不通。如《禅机画趣图》轴、《三冬入华村图》轴，《物外田园图》册的诸多题跋，大都是借画谈禅，因禅说画。融禅机与画理于一炉，是髡残画作的主要特点之一。\n髡残在明末遗民中享有很高的声望，他的画也为世人所瞩目。当时著名的文人兼大鉴赏家周亮工就十分景仰、看重髡残的人品和画学，在《读画录》中为他写小传，谓：“人品笔墨俱高人一头地……绘事高明，然轻不为人作。”张怡在髡残的《仿米山水册》中是这样评价这位心灵相契的老友的：“举天下言诗，几人发自性灵?举天下言画，几人师诸天地?……此幅自云效颦米家父子，正恐米家父子有未到处，所谓不恨我不见 髡残古人，恨古人不见我耳。”他认为髡残的诗，是写出了自己的性灵；髡残的画是直师造化，甚至比宋代米芾父子还好；髡残的佛学是直指本心，而没有出家人开堂说法的那种俗套。张庚《国朝画征录·髡残传》云：“石□工山水，奥境奇辟，缅邈幽深，引人入胜。笔墨高古，设色精湛，诚元人之胜概也。此种笔法不见于世久矣!”这段话说明髡残的画深得元季四大家的精髓。总之，三百多年来，髡残一直以其人品与画品并重的高华之气，影响着画坛，成为画家心目中的丰碑。",[23,24,82,61,165,27,29,7,311,210,34,63,179,35,31,30,84,85,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefdd6fed5c43711601b4533de6596a1c.jpg","纸本，设色","23x309cm",[48,383],{"id":823,"slug":824,"title":246,"dynasty":295,"author":825,"museum":826,"description":827,"tags":828,"thumbUrl":829,"material":89,"size":107,"collection":48,"collections":830,"showCount":811,"zanCount":11,"manualWeight":11,"mainColor":94},219900,"shan-shui-tu-hong-ren-219900","弘仁","印第安纳波利斯艺术博物馆","弘仁（1610—1663年），俗姓江，名韬，字六奇，出家后释名弘仁，号渐江学人，又号无智、梅花古衲，安徽歙县人。明亡后入武夷山为僧，云游各地后回歙县，住西郊太平兴国寺和五明寺，常往来于黄山、白岳之间。善画山水，早年从学于孙无修，中年师萧云从。其画取法元代倪瓒、黄公望，构图洗练简逸，笔墨苍劲整洁，善用折带皴和干笔渴墨。他重视师法自然，善画黄山、武夷山诸景，传达山川之美，意境伟峻秀逸，“得黄山之真性情”，与石涛、梅清同成为“黄山画派”的代表人物。在安徽与查士标、孙逸、汪之瑞并称“海阳四家”，形成“新安派”。同时，与石涛、八大、髡残合称“清初四僧”。",[23,24,60,26,61,27,29,210,152,30,412,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F643c9cf138484b785236419257db6754.jpg",[48],{"id":832,"slug":833,"title":834,"dynasty":132,"author":835,"museum":836,"description":837,"tags":838,"thumbUrl":840,"material":276,"size":107,"collection":48,"collections":841,"showCount":842,"zanCount":393,"manualWeight":11,"mainColor":52},219921,"qing-lv-shan-shui-tu-wen-jia-219921","青绿山水图","文嘉","香港艺术馆","文嘉（1501年～1583），字休承，号文水，南直隶苏州府长洲（今江苏苏州）人。大书画家文徵明次子。\n吴门派代表画家。初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。精于鉴别古书画，工石刻，为明一代之冠。画得徵明一体，善画山水，笔法清脆，颇近倪瓒，着色山水具幽澹之致，间仿王蒙皴染，亦颇秀润，兼作花卉。明人王世贞评：“其书不能如兄，而画得待诏（文徵明）一体。”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。”",[23,24,60,26,639,165,29,27,7,31,86,30,63,839],"小屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1820ac5ad6de7a128ff8fac67e031d3c.jpg",[48],125,{"id":844,"slug":845,"title":846,"dynasty":634,"author":635,"museum":235,"description":847,"tags":848,"thumbUrl":852,"material":276,"size":853,"collection":48,"collections":854,"showCount":855,"zanCount":11,"manualWeight":11,"mainColor":94},220411,"ji-liu-xing-zhou-tu-zhang-da-qian-220411","急流行舟图","此《急流行舟图》为1948年4月作，张大千50岁。其以古法入画已臻纯熟老辣之境，博采各家之长，具宋元风范又自出新意。此时其作品古人面貌最多，变化最多。《急流行舟图》的中远景，尽显淡墨轻岚一派风气。其笔法细秀温润，明润郁葱，画中经营的幽溪细路、山涧飞瀑、竹篱茅舍、断桥危栈，皆使人感悟“真若山间景趣也”。其画面设色清秀爽气，略施浅绛，主体以山石、树木、枝叶墨色浓淡的交错运用来表现层次关系，突出新安江一带特有的清润明秀、不装巧趣的韵致。然此画精彩之处不尽于此。但见飞瀑直下，形势急转，顿生高潮：激流暗涌、险滩巨礁、双舟争渡；江边草木、迎风而动、生意盎然。此处张大千一改中远景中平淡天真之法，石涛笔意曜然纸上。其山水画本效石涛起家，谓可乱真。自是笔法流畅，用墨相宜，或笔简墨淡、或浓重滋润，恣肆郁勃、淋漓洒脱。平淡中见奇绝，乃新安江山水之天然风貌。张大千这一静一动，构思新奇，更显急流行舟之灵动野趣。画中题款诗文中似流露出张大千对于隐居山野的倾慕，然其并未在“人在荒山顶上居”上多费笔墨，成为该画点睛之笔的正是“舟从乱石堆中过”。只见两叶轻舟似于浅滩中遇到险阻，船公们或奋力撑篙，或涉水排阻，人人齐心，共闯险滩。人物船只皆以白描意笔勾勒，浅绛施与船身与肤色，虽小至寸余，但形神毕肖，呼之欲出，在水墨淡色的山水中尤为醒目，点题立意。《急流行舟图》是张大千于国内面对真山实水所作的最后一批山水画之一，亦是其于盛期“师自然”的典型范例。",[23,100,24,60,61,165,849,27,29,63,178,34,7,31,30,35,238,102,850,851],"写意","急流","行舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F090de17151e7cc3bb155db86e8b0dcaa.jpg","133x53cm",[48,383],123,{"id":857,"slug":858,"title":859,"dynasty":18,"author":57,"museum":860,"description":861,"tags":862,"thumbUrl":865,"material":213,"size":866,"collection":48,"collections":867,"showCount":868,"zanCount":11,"manualWeight":11,"mainColor":52},220123,"han-shan-xue-ji-tu-guo-xi-220123","寒山雪霁图","圣路易斯艺术博物馆","郭熙(1023年--约1085年)，字淳夫、河阳(今河南温县)人，北宋绘画大师。宋神宗熙宁元年(1068年)奉诏入图画院，初为“艺学”，后任翰林待诏直长。宋神宗赵顼深爱其画，曾“一殿专皆熙作”。王安石变法时新立中书、门下两省和枢密院、玉堂等墙上壁画。皆为其所作。郭熙擅画山水，无师承，早年风格较工巧，后取法李成，画艺大进，到晚年落笔益壮，能自放胸臆 ，炉火纯青。其画论有《林泉高致》，提出高远、深远、平远“三远法”。画山石多用“卷云”或“鬼脸”皴；画树枝如蟹爪下垂，笔势雄健，水墨明洁。传世作品有《早春图》(台北故宫博物院藏)、 《窠石平远图》 (北京故宫博物院藏)，以及《树色干远图》《早春图》《关山春雪图》《山林图》《秋山行旅图》《幽谷图》等。",[23,24,100,26,27,61,165,29,136,495,196,839,178,86,103,460,137,863,7,864],"船","石阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c60aecd1eeb13e336efcac40bcc130b.jpg","147.6x78.1",[48],121,{"id":870,"slug":871,"title":872,"dynasty":132,"author":835,"museum":873,"description":874,"tags":875,"thumbUrl":878,"material":276,"size":879,"collection":48,"collections":880,"showCount":881,"zanCount":11,"manualWeight":11,"mainColor":94},218090,"fang-dong-yuan-shan-shui-tu-wen-jia-218090","仿董源山水图","金贝尔艺术博物馆","明朝是中国历史上的一个朝代，它的统治时间是从1368年到1644年。在这期间，文嘉是一位著名的画家，他的作品中有一幅仿董源山水图。\n\n董源是中国历史上著名的画家，他的作品中有一幅著名的山水图，这幅图被称为“董源山水图”。文嘉的作品中的这幅仿董源山水图是文嘉对董源山水图的模仿，他在这幅图中运用了董源的画风，但也加入了自己的风格。\n\n山水画是中国传统画的一种，它的主题是山水风景。山水画中常常会描绘大自然的景象，如山峰、河流、湖泊、树木、花草等。这幅仿董源山水图中也展示了美丽的山水风景，画面上的山峰、树木、河流都描绘得栩栩如生，充满了生机与活力。\n\n文嘉的这幅仿董源山水图不仅展示了文嘉对董源画风的尊敬，同时也展示了文嘉自己的画风。这幅图融合了传统山水画的特点，同时也具有文嘉自己的个性。",[23,24,60,26,61,27,83,29,34,63,30,31,7,876,877],"人家","路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdf2830085ebd93c1fe744e5ba0196bd.jpg","167x52cm",[48],120,{"id":883,"slug":884,"title":885,"dynasty":295,"author":825,"museum":351,"description":886,"tags":887,"thumbUrl":889,"material":819,"size":890,"collection":107,"collections":891,"showCount":892,"zanCount":11,"manualWeight":11,"mainColor":94},232890,"xie-yi-shan-shui-tu-zhou-hong-ren-232890","写意山水图轴","据作者款题而知，此图是作者应“雄右”（王炜）之嘱托，为“旦先居士”（吕应昉）所绘。该图在设陈布势上取法倪瓒“一河两岸式”构图，中景画一片不着笔墨晕染的水域，水域的两岸分别绘起伏的山峦和空亭、秋木。整幅画面于简约疏旷的格调中表达出作者孤傲清高的情怀，堪称作者艺术成熟期的代表之作。",[23,24,61,26,849,27,60,29,640,31,34,63,7,210,888],"石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b8ebd02e1d7203160c9e5da77aedc77.jpg","纵133.1厘米，横62.7厘米",[],119,{"id":894,"slug":895,"title":896,"dynasty":295,"author":897,"museum":376,"description":898,"tags":899,"thumbUrl":901,"material":123,"size":902,"collection":107,"collections":903,"showCount":892,"zanCount":11,"manualWeight":11,"mainColor":52},214359,"san-jue-shan-shui-ce-5-hua-yan-214359","三绝山水册-5","华嵒","华岩的十六页中描绘了一幅清晰、优雅和空灵的风景。新罗山人擅长花鸟和人物，但山水也可以纳入收藏。",[23,24,61,399,27,626,152,7,138,86,30,900],"水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2278d8fef17ce39c9b91175a537f50d.jpg","23.4x15.8",[],{"id":905,"slug":906,"title":907,"dynasty":295,"author":457,"museum":762,"description":908,"tags":909,"thumbUrl":911,"material":123,"size":912,"collection":48,"collections":913,"showCount":914,"zanCount":393,"manualWeight":11,"mainColor":52},222626,"gua-bi-fei-quan-tu-zhou-gong-xian-222626","挂壁飞泉图轴","此图描绘大山峻岭，云雾缥缈。山腰松林密布，草木葱茏，又有白瀑流涧，可闻水声。溪涧之上架廊桥一座，虽陂陀斜立，却有房合数间。近处古木并立，树荫浓郁，其间山庄院落隐于树林之中，山径通幽处，但闻鸟语声。作者用积墨法层层渲染山石，笔墨厚重，又“留白”以示云烟白瀑，黑白对比强烈。",[23,24,61,27,26,29,30,31,7,910,210,63,34],"飞泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff27b66fa0f3b8cdccbe70dc2ab8e964d.jpg","纵273厘米，横99厘米",[48,49],117,{"id":916,"slug":917,"title":918,"dynasty":295,"author":622,"museum":351,"description":919,"tags":920,"thumbUrl":922,"material":213,"size":923,"collection":48,"collections":924,"showCount":914,"zanCount":11,"manualWeight":11,"mainColor":52},218366,"lu-shan-bai-yun-tu-wang-hui-218366","庐山白云图","此图绘于清康熙三十六年（1697年），作者时年66岁，是其晚年诸多仿古作品中的代表性画作之一。据王翚自题，因30年前曾观北宋关仝《庐山白云图》，故今用其法绘制此图，以遵“古香主人”之嘱。王翚曾与其师王时敏遍游大江南北，尽得观摹收藏家之秘本，故其摹古功力极高。王时敏称赞他：“集古人之长，尽趋笔端，故能妙绝千古。前诸制作，固足乱真，此则更为脱化，每仿一家曲尽其致，而超逸之趣则又过之。”这幅作品恰恰印证了王时敏对王翚的评价。\u2028　　“古香主人”即爱新觉罗·岳乐，王翚为其创作极为精心。画面上峰峦起伏，云雾迷茫，其中间的瀑布、杂树、竹亭、山石以浓密的雨点皴出之，正是仿关仝一路北方山水画法。全图工整谨密，秀润苍浑，深得关仝“笔简景少，气壮意长”之旨。",[23,24,60,82,61,165,29,921,640,31,7,210,35,30,238,27],"白云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa38fdd2ef1404824446ef2999ef18a75.jpg","纵35厘米，横323.5厘米",[48],{"id":926,"slug":927,"title":928,"dynasty":132,"author":408,"museum":929,"description":930,"tags":931,"thumbUrl":933,"material":934,"size":935,"collection":107,"collections":936,"showCount":937,"zanCount":393,"manualWeight":11,"mainColor":94},232644,"hua-shan-tu-tang-yin-232644","华山图","美国克利夫兰艺术博物馆","唐伯虎才气横溢，但并不风流，他的诗、书、画被称为三绝，在绘画上，唐寅擅长山水，又工画人物，尤其是精于仕女，画风既工整秀丽，又潇洒飘逸，被称为“唐画”，为后人所推崇。书法源自赵孟頫一体，俊逸秀挺，颇见功夫。此外，他还能作曲，多采民歌形式。如此多才，明代文人中是少见的。\n唐寅早期绘画，“远攻李唐”、“近交沈周”。早期拜吴门画派创始人沈周为师。沈周和周臣都是当时苏州名画家，沈以元人画为宗，周则以南宋院画为师，这是明代两大画派，唐寅虽师周臣，却有胜蓝之誉。唐寅兼其所长，在南宋风格中融元人笔法，一时突飞猛进，以至超越老师周臣，名声大振。",[24,61,27,165,29,30,7,31,63,35,138,354,932],"山间建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe916074f76617bd5a06b97eccc3110f2.jpg","纸本浅设色","116.4x41.4厘米",[],114,{"id":939,"slug":940,"title":941,"dynasty":295,"author":574,"museum":20,"description":942,"tags":943,"thumbUrl":945,"material":946,"size":947,"collection":581,"collections":948,"showCount":949,"zanCount":280,"manualWeight":11,"mainColor":94},222778,"bai-gu-tu-lang-shi-ning-222778","白鹘图","乾隆十六年，郎世宁六十二岁作山涧里，一湾小瀑，松干横空而出，一白鹘踏枝上，似闻声惊起。画白鹘以白粉精细描绘，松石配景全然中国写意笔墨，清代白鹘图为大学士忠勇公傅恒所进。郎世宁六十二岁作。\n图中白鹘栖息于涧松之上,于传统画法中,参用光影透视,遂使画面突出于绢上 落款：乾隆十六年间五月初十日大学士忠勇公傅恒进百鹘一架，命海西臣郎世宁绘图。",[23,100,24,60,209,165,944,152,30,7,85],"飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa618ea27a0bd8af02383347a6e3a0f11.jpg","绢本，设色","纵121.7×横64公分",[581,383],110,{"id":951,"slug":952,"title":953,"dynasty":295,"author":482,"museum":954,"description":955,"tags":956,"thumbUrl":957,"material":213,"size":958,"collection":48,"collections":959,"showCount":949,"zanCount":11,"manualWeight":11,"mainColor":52},219918,"fang-jing-hao-kuang-lu-tu-yi-ming-219918","仿荆浩匡庐图","费城艺术博物馆","此作以全景铺陈层峦雄峰，取法北派山水沉郁雄浑的体格，硬朗苍劲的皴笔勾勒出山岩嶙峋质感，峰崖崔嵬直入云间，尽显巍峨磅礴之气。\n\n幽谷间虬木古拙苍劲，山居隐于林麓，飞瀑流泉循着山涧蜿蜒而下，为沉凝的山石注入灵动生机，高远与深远兼具，铺展出辽邈静谧的山林天地。古雅褐调晕染出幽寂的山野氛围，将大山大水的厚重气象，与林下幽居的隐逸意趣相融，摹古之间自有意趣生发，尽显传统山水的庙堂气度与林下风神。",[24,29,61,27,83,30,31,7,34,63,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0eb56e540505fbe81a87741e447dcf3e.jpg","180.3x67厘米",[48],{"id":961,"slug":962,"title":963,"dynasty":222,"author":562,"museum":260,"description":964,"tags":965,"thumbUrl":966,"material":105,"size":265,"collection":107,"collections":967,"showCount":968,"zanCount":280,"manualWeight":11,"mainColor":52},283694,"shan-xi-dai-du-tu-guan-tong-283694","山溪待渡图","《山溪待渡图》是一幅大山堂堂、气势雄伟的全景画，带有鲜明的北方特色。图中描绘巍峰耸立，瀑布高悬；坂垅、冈阜、峦岭，自近及远盘礴而上；楼阁掩映，远山迷朦；气势阔大，景意幽深。图中强调的是山和溪，山作正面，主峰突兀，两峰环抱之。山势直立，居于构图中轴线，相当稳定。整幅画面既有生活意趣，又有饱满生动之感。 [1] 此画用墨饱满，笔法简炼雄劲",[23,100,24,60,26,61,27,29,30,63,7,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c7d65425f3d01c20799553de0d51c58.jpg",[],109,{"id":970,"slug":971,"title":972,"dynasty":132,"author":408,"museum":20,"description":973,"tags":974,"thumbUrl":976,"material":140,"size":977,"collection":615,"collections":978,"showCount":968,"zanCount":393,"manualWeight":11,"mainColor":94},222366,"yin-he-tu-tang-yin-222366","饮鹤图","《六如居士饮鹤图》画中主人公山中给鹤饮水一事。右侧，有唐寅的题字，为唐寅传世不多的精品之作。历史上的唐伯虎尽管才华出众，有理想抱负，是位天才的画家，但他那愤世嫉俗的狂傲性格不容于这个社会。他一生坎坷，最后潦倒而死，年仅54岁。他临终时写的绝笔诗就表露了他刻骨铭心的留恋人间而又愤恨厌世的复杂心情：“生在阳间有散场，死归地府又何妨。阳间地府俱相似，只当飘流在异乡。”",[23,24,82,61,27,84,85,29,152,86,975,7,65],"鹤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5ec58d2f56c2e7c9e604b90f864ec56.jpg","30x210",[615,49],{"id":980,"slug":981,"title":525,"dynasty":18,"author":482,"museum":336,"description":982,"tags":983,"thumbUrl":985,"material":986,"size":987,"collection":46,"collections":988,"showCount":989,"zanCount":280,"manualWeight":11,"mainColor":52},223647,"guan-pu-tu-yi-ming-223647","图中危崖耸立，瀑布垂挂直落谷底，水雾弥漫。雅士于园林一角。凭栏观飞泉，神态怡然陶醉，超然清逸之趣溢于画外。 山石全以斧劈皴出之，描绘树木勾点并用。整幅图有峻峭秀逸之气。",[23,24,60,399,165,27,30,7,210,152,63,984,379,34],"悬崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2237080d6dc050c086dee19035000720.jpg","水墨，淡设色","纵178厘米，横104厘米",[46,48],106,{"id":991,"slug":992,"title":993,"dynasty":132,"author":206,"museum":351,"description":994,"tags":995,"thumbUrl":997,"material":946,"size":998,"collection":48,"collections":999,"showCount":989,"zanCount":186,"manualWeight":11,"mainColor":52},222185,"lin-xi-shui-ge-tu-chou-ying-222185","临溪水阁图","仇英“初为漆工，兼为人彩绘栋宇，后徙而业画，工人物楼阁。”或许是出身的关系，其笔下的楼阁多用界笔，刻画精工，但与纯界画不同的是，仇英的绘画技艺同时受到职业画师和文人画家的双重影响。此幅亦是将文人山水与界笔水阁巧妙结合的作品，追求含蓄蕴藉的格调，着意塑造文人高士所欣赏的艺术形象。",[23,24,165,209,29,83,996,63,152,30,7,86,64],"水阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d90792ff94d1f0e49ced0c4da982ca0.jpg","纵41.1厘米，横33.8厘米",[48,383],{"id":1001,"slug":1002,"title":1003,"dynasty":18,"author":307,"museum":20,"description":1004,"tags":1005,"thumbUrl":1007,"material":165,"size":1008,"collection":46,"collections":1009,"showCount":989,"zanCount":11,"manualWeight":11,"mainColor":52},221533,"hua-xue-jing-zhou-ma-yuan-221533","画雪景轴","由于崇庆皇太后年事已高，这是乾隆皇帝最后一次奉母南巡。题诗语及‘旅客’、‘渔翁’，显示乾隆皇帝除了豪华宅邸中赏梅的文士，也注意到披蓑负篓、赤足而行的渔夫，以及骑马朝青旗酒馆前去的旅人。画中撑伞的行者，暗示着山间仍垂降雨雪，故有‘六花飘未止’之句。乾隆皇帝对这幅雪景山水的评价甚高，认为是南宋马远（活动于1190 —1224）真迹，然由其笔墨、构图研判，更近于明中期浙派画家王谔。",[23,24,60,26,209,27,165,29,1006,210,311,103,86,34,7,138],"雪景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f2774f7c6b0224e9363e78bd08e4160.jpg","纵163.3cm，横82.4cm",[46,48,383],{"id":1011,"slug":1012,"title":1013,"dynasty":295,"author":1014,"museum":20,"description":1015,"tags":1016,"thumbUrl":1019,"material":276,"size":1020,"collection":48,"collections":1021,"showCount":1022,"zanCount":280,"manualWeight":11,"mainColor":94},214832,"fang-tang-ren-da-yu-zhi-shui-tu-xie-sui-214832","仿唐人大禹治水图","谢遂","谢遂（1743-1815年）是一位清代画家，他最著名的作品之一是《仿唐人大禹治水图》。这幅画描绘了传说中的大禹如何利用智慧和勇气治理水旱，保护人民免受灾害的故事。画中大禹站在江边，手持着伞，身旁是他的忠实追随者。大禹所在的位置是一座山峰，表示他的权威和力量。整幅画的画风浓重，线条流畅，色彩和谐。这幅画是谢遂在清代的代表作之一，在当时颇受欢迎，并被广泛流传。",[100,24,165,86,29,30,7,1017,1018],"大禹治水","神话传说","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3af9e7e13ca4921759b92fd42dfeb838.jpg","160.7x89.8",[48,615],105,{"id":1024,"slug":1025,"title":561,"dynasty":222,"author":562,"museum":260,"description":563,"tags":1026,"thumbUrl":1027,"material":105,"size":265,"collection":107,"collections":1028,"showCount":1029,"zanCount":280,"manualWeight":11,"mainColor":52},283688,"qiu-shan-wan-cui-tu-guan-tong-283688",[23,100,24,60,26,61,165,29,565,30,31,64,7,27,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff74413aeaf6fe0fbb9e4679e693b6af8.jpg",[],103,{"id":1031,"slug":1032,"title":1033,"dynasty":295,"author":296,"museum":260,"description":588,"tags":1034,"thumbUrl":1035,"material":107,"size":107,"collection":48,"collections":1036,"showCount":1037,"zanCount":11,"manualWeight":11,"mainColor":94},237762,"yuan-ji-shan-shui-tu-ce-shi-tao-237762","原济山水图册",[24,60,626,61,27,85,29,152,7,63,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2602ace4f9f01cb00770af8e9295051f.jpg",[48,383],102,{"id":1039,"slug":1040,"title":1041,"dynasty":295,"author":350,"museum":20,"description":1042,"tags":1043,"thumbUrl":1044,"material":213,"size":1045,"collection":48,"collections":1046,"showCount":1047,"zanCount":393,"manualWeight":11,"mainColor":94},224486,"xi-shan-shen-xiu-zhou-wang-jian-224486","溪山深秀轴","汇集画家王鉴先生山水画数幅，淋漓尽致地表现出其雄奇、或秀美、或舒缓、或险峻。是伟岸的山，壮丽的山。主要有秋山图轴、溪山深秀图轴、山水册七开、九峰读书图轴、四家灵气图轴等",[23,24,100,60,26,165,639,29,195,34,63,7,64,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe89fec13b5a42f7febcb1462f7f1ba47.jpg","161.7x62.5",[48],101,{"id":1049,"slug":1050,"title":1051,"dynasty":295,"author":897,"museum":376,"description":898,"tags":1052,"thumbUrl":1054,"material":123,"size":902,"collection":107,"collections":1055,"showCount":1047,"zanCount":393,"manualWeight":11,"mainColor":52},214351,"san-jue-shan-shui-ce-9-hua-yan-214351","三绝山水册-9",[23,24,165,29,626,27,30,31,7,354,1053],"山居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3aac573368897f7bf21b023fae6ca30c.jpg",[],{"id":1057,"slug":1058,"title":525,"dynasty":18,"author":307,"museum":336,"description":1059,"tags":1060,"thumbUrl":1061,"material":1062,"size":1063,"collection":46,"collections":1064,"showCount":1065,"zanCount":280,"manualWeight":11,"mainColor":94},221537,"guan-pu-tu-ma-yuan-221537","在中国历代传统绘画作品中，有相当数量的佳作，在画面风格和审美意趣上都具有某种明确的思想倾向，而这种倾向又多集中体现在对儒、道、释文化的承载上，比如宋代山水画的绘画形式和意境传达，除了受宋代理学的影响外，又常和老庄思想及佛教文化中的出世情怀相关联，但与一般意义的宗教绘画教化功用又有所不同，该绘画作品往往会透露出作者内心的情感思绪，特别是对出世情怀的向往，从而使画面呈现出独特的风格特点和意境营造，这类作品在以后的历史阶段着实影响了不少画家，南宋的马远就是这样一个例子。",[23,24,60,529,29,61,27,7,137,30,86,63,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fef887806591c0a160593aa1c4c9e00.jpg","绢本设色","30×30cm",[46,48,383],100,{"id":1067,"slug":1068,"title":538,"dynasty":115,"author":482,"museum":762,"description":1069,"tags":1070,"thumbUrl":1071,"material":89,"size":1072,"collection":48,"collections":1073,"showCount":1065,"zanCount":393,"manualWeight":11,"mainColor":52},218185,"qian-yan-wan-he-tu-yi-ming-218185","此图绘山岩丘壑连绵不断，繁复无尽，其间茂林嘉村云气烟，飞泉高，孤村落，江流小舟，景致表现得真实生动、完美自然，秀丽、壮伟兼具，引人入胜。",[24,399,61,27,26,30,64,35,7,31,195,34,63,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3efb5c974ab0404cb1856cfe625eb62.jpg","129.3x67.6cm",[48],{"id":1075,"slug":1076,"title":1077,"dynasty":132,"author":1078,"museum":351,"description":1079,"tags":1080,"thumbUrl":1081,"material":946,"size":1082,"collection":48,"collections":1083,"showCount":1084,"zanCount":280,"manualWeight":11,"mainColor":94},220942,"shan-shui-zhou-dong-qi-chang-220942","山水轴","董其昌","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。\n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。",[23,24,61,27,26,29,210,196,7,30,33,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff039a744060007272b38d2af34273261.jpg","纵154.1cm，横64.3cm.",[48,49],98,{"id":1086,"slug":1087,"title":1088,"dynasty":222,"author":259,"museum":20,"description":1089,"tags":1090,"thumbUrl":1092,"material":89,"size":1093,"collection":48,"collections":1094,"showCount":1084,"zanCount":11,"manualWeight":11,"mainColor":94},219962,"fu-chun-shan-tu-ju-ran-219962","富春山图","巨然，生卒年不详，江宁（江苏南京）人。五代画家，僧人。\n早年在南京开元寺出家，南唐降宋后到汴京（河南开封），居于开宝寺。\n擅画山水，师法董源，专画江南山水，所画峰峦 ，山顶多作矾头，林麓间多卵石，并掩映以疏筠蔓草，置之细径危桥茅屋，得野逸清静之趣，深受文人喜爱。以长披麻皴画山石，笔墨秀润，为董源画风之嫡传，并称董巨，对元明清以至近代的山水画发展有极大影响。",[23,24,100,60,82,61,27,121,84,85,29,30,31,7,1091,178,35,64,354],"小溪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40355f5e09bc5ab99da7887c13d4b56d.jpg","81.1x27.9",[48],{"id":1096,"slug":1097,"title":1098,"dynasty":132,"author":1099,"museum":20,"description":1100,"tags":1101,"thumbUrl":1102,"material":276,"size":1103,"collection":48,"collections":1104,"showCount":1084,"zanCount":11,"manualWeight":11,"mainColor":94},218371,"wu-yue-jiang-shen-tu-wen-bo-ren-218371","五月江深图","文伯仁","画面以对角线构图，一边布置葱郁的山林，一边则为浩瀚的江天；山林中隐蔽数间屋舍，有一人独倚栏杆远眺江景，传达出僻地幽居的情景。",[24,26,165,27,85,29,136,326,137,65,7,195],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c0b946e829e4768e353c4fcb8e2f88a.jpg","110.3x45.3cm",[48],{"id":1106,"slug":1107,"title":1108,"dynasty":18,"author":223,"museum":1109,"description":1110,"tags":1111,"thumbUrl":1112,"material":44,"size":1113,"collection":46,"collections":1114,"showCount":1115,"zanCount":11,"manualWeight":11,"mainColor":52},226547,"zhong-li-fang-dao-tu-li-zhou-jing-hao-226547","钟离访道图立轴","美国弗瑞尔美术馆","荆浩（约850-？），字浩然，号洪谷子，山西沁水人，五代后梁画家，尊为北方山水画派之祖。因避战乱，常年隐居太行山 。\n擅画山水，师从张璪，吸取北方山水雄峻气格，作画“有笔有墨，水晕墨章”，勾皴之笔坚凝挺峭，表现出一种高深回环、大山堂堂的气势，为北方山水画派之祖。\n著有《笔法记》山水画理论的经典之作，提出气、韵、景、思、笔、墨的绘景“六要”。\n作品还有《匡庐图》《雪景山水图》等。",[23,24,60,26,29,61,27,64,31,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbfeda2c3d81e5d88a5c1c4a715b747f.jpg","147×74.8厘米",[46,48,49],97,{"id":1117,"slug":1118,"title":1119,"dynasty":132,"author":1120,"museum":235,"description":1121,"tags":1122,"thumbUrl":1123,"material":89,"size":107,"collection":48,"collections":1124,"showCount":1115,"zanCount":280,"manualWeight":11,"mainColor":52},217058,"chun-shan-pian-zhou-tu-yao-sui-217058","春山扁舟图","姚绥","姚绥是明朝的一位著名画家，他的作品《春山扁舟图》是一幅典型的山水画，描绘了一段美好的春天，山峦翠绿，水面波光粼粼，扁舟悠然自得地漂流在江中。图中的山水景色清新宜人，构图简洁大方，笔墨流畅自然，是姚绥非常优秀的代表作。",[24,61,27,29,178,63,7,31,30,86,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4d7c3ea94eed15c56d67aa937bbc39c.jpg",[48],{"id":1126,"slug":1127,"title":1128,"dynasty":222,"author":335,"museum":260,"description":1129,"tags":1130,"thumbUrl":1131,"material":107,"size":107,"collection":107,"collections":1132,"showCount":1133,"zanCount":11,"manualWeight":11,"mainColor":52},227263,"dong-bei-yuan-xi-shan-xing-lv-tu-li-zhou-dong-yuan-227263","董北苑溪山行旅图立轴","董源（生卒年不详），字叔达，洪州钟陵（今江西省进贤县钟陵乡）人。五代绘画大师，南派山水画开山鼻祖，与李成、范宽，并称“北宋三大家”。\n南唐时期，曾任北苑副使，人称“董北苑”。南唐灭亡后，进入北宋。擅于山水画，兼工人物、禽兽。其山水初师荆浩，笔力沉雄，后以江南真山实景入画，不为奇峭之笔。疏林远树，平远幽深，皴法状如麻皮，后人称为“披麻皴”。山头苔点细密，水色江天，云雾显晦，峰峦出没，汀渚溪桥，率多真意。“平淡天真，唐无此品”（米芾）。\n存世作品有《夏景山口待渡图》《潇湘图》《夏山图》《溪岸图》《寒林重汀图》《龙宿郊民图》《平林霁色图卷》等。",[23,24,60,100,26,61,27,29,31,34,63,238,86,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ce14da05caf0e1610bf356168685eed.jpg",[],96,{"id":1135,"slug":1136,"title":1137,"dynasty":18,"author":1138,"museum":336,"description":1139,"tags":1140,"thumbUrl":1141,"material":165,"size":1142,"collection":46,"collections":1143,"showCount":1144,"zanCount":11,"manualWeight":11,"mainColor":52},221254,"chu-shi-bei-jiang-tu-yang-bang-ji-221254","出使北疆图","杨邦基","杨邦基，生卒年不详。金画家。字德懋，号息轩，陕西华阴人。幼孤，好学。擅画山水、人物、鞍马。人物画有李公麟格调；山水学李成。潇洒脱俗，令人渺然有江湖尘外之思。存世作品有《聘金图》。\n《金史》称：杨邦基，字德懋，华阴人。父綯，宋末为易州州佐。宗望伐宋，蔡靖以燕山降，易州即日来附，綯被杀，邦基年十余岁，匿僧舍中，得免。既长，好学。天眷二年，登进士第，调滦州军事判官，迁太原交城令。太原尹徒单恭贪污不法，托名铸金佛，命属县输金，邦基独不与。徒单恭怒，召至府，将以手持铁拄杖撞邦基面，邦基不动。秉德廉察官吏，尹与九县令皆免去，邦基以廉为河东第一，召为礼部事。以兵部员外郎摄吏部差除，坐铨注李庆之、大奉国臣，与高衎等皆贬官，邦基降坊州宜君簿。转高密令。大定初，尚书省拟邦基刑部郎中，世宗曰：“县官即除郎中，如何？”太师张浩对曰：“邦基前为兵部员外郎矣，且其人材可用。”上许之。改太府少监，知登闻检院，为秘书少监，迁翰林直学士，再迁秘书监兼左谏议大夫，修起居注。中都警巡使张子衍与邦基姻家，子衍道中遇皇太子卫仗，立马市门不去伞，卫士诃之，子衍以鞭鞭卫士诃己者。御史台劾奏子衍，邦基见台官为子衍求解，及入见显宗，求脱子衍罪。诏削子衍官两阶。邦基坐削官一阶，出为同知西京留守事，徙山东东路转运使，永定军节度使，致仕。大定二十一年，卒。邦基能属文，善画山水人物，尤以画名当世云。",[23,24,100,82,165,27,29,152,210,103,86,179,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dc8f70601233fd8feaa8e2ebbb9c268.jpg","26.7×142.2 cm",[46,48,49],95,{"id":1146,"slug":1147,"title":1148,"dynasty":295,"author":825,"museum":260,"description":1149,"tags":1150,"thumbUrl":1151,"material":107,"size":107,"collection":48,"collections":1152,"showCount":1153,"zanCount":11,"manualWeight":11,"mainColor":94},237614,"hong-ren-shan-shui-ce-hong-ren-237614","弘仁山水册","弘仁（1610-1664），明代著名画家，俗姓江，名韬，字六奇，又名舫，字鸥盟。明亡后，于福建武夷山出家为僧，字渐江，号梅花古衲。安徽歙县人。为清初四画僧之一。擅画山水，初学宋人，晚法萧云从、倪瓒等，笔法清刚简逸，意趣高洁俊雅。尤好绘黄山松石，为“新安画派”创始人，和查士标、孙逸、汪之瑞等四人并称“新安四大家”。兼写梅竹，工诗。存世作品有《枯槎短荻图》《西岩松雪图》《黄海松石图》等，著有《画偈》。",[24,60,61,27,626,121,85,29,138,984,7,136,326,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcb1183d2ee5a491bd53c0b3d5ea7ad3.jpg",[48,49],94,{"id":1155,"slug":1156,"title":1157,"dynasty":295,"author":296,"museum":351,"description":1158,"tags":1159,"thumbUrl":1161,"material":123,"size":1162,"collection":107,"collections":1163,"showCount":1153,"zanCount":280,"manualWeight":11,"mainColor":94},233956,"yuan-ji-shan-shui-heng-zhou-shi-tao-233956","原济山水横轴","本册10开，或墨笔或设色，末开自款“时甲子新夏呈阆翁火词宗夫子，清湘秃发济”，钤“冰雪悟前身”，（白文方印）每开上“忍庵图书”一印。\n原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[24,60,1160,61,27,29,65,31,63,178,86,7,152,30],"横轴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff862291aff18cd6d44ac688b5b35c856.jpg","纵46.5cm，横30.7cm",[],{"id":1165,"slug":1166,"title":1167,"dynasty":295,"author":622,"museum":351,"description":1168,"tags":1169,"thumbUrl":1171,"material":89,"size":1172,"collection":48,"collections":1173,"showCount":1174,"zanCount":280,"manualWeight":11,"mainColor":94},218520,"yan-qi-gao-shi-tu-wang-hui-218520","岩栖高士图","此图是王翚盛年山水画代表作。该图以高远式构图，画高岩幽壑，长松平湖，岩崖间古木盘虬，杂草丛生，山径盘陀，叠叠山泉涌出峡谷，流入湖中。峡谷间山馆水榭或半隐于崖畔，或横架于流泉之上。近岸平坡松荫下一人仰坐，似在欣赏幽雅的湖光山色。此画结构严谨，意境清幽。据记载明代唐寅曾有之，画家虽未言仿唐寅画法，然所画山石用元人干笔皴擦，参用宋人斧劈皴法，苍劲秀润，用墨干湿相济，变化多端，极富逸趣与韵味，似应是画家早期精研唐寅画法后的变化所得，体现了画家这一时期山水画的典型风貌。\n图中王翚自识虽未署年款，但笪重光题跋书于壬子年，即清康熙十一年（1672年），王石谷时年41岁，此图应作于当时或稍前。本幅上方王翚自题七言诗：“高士岩栖趣自幽，白云天半读书楼。银河落向千峰裹，长和松涛万壑秋。”又笪重光、恽寿平题和。从三人题诗中得知，此图作于毗陵（今江苏武进）舟次，时三人聚会于此，研讨绘画达40余日，以诗书画互赠，堪称“艺林盛事”。此图乃王翚画赠笪氏之作。",[23,24,60,26,61,27,29,86,152,7,30,87,63,379,1170],"藤蔓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e2e386c670104c6002b4b8f716d6d0a.jpg","纵122.7厘米，横31.5厘米",[48],90,{"id":1176,"slug":1177,"title":1178,"dynasty":132,"author":408,"museum":20,"description":1179,"tags":1180,"thumbUrl":1181,"material":140,"size":1182,"collection":107,"collections":1183,"showCount":1184,"zanCount":393,"manualWeight":11,"mainColor":52},222338,"shan-lu-song-sheng-tu-tang-yin-222338","山路松声图","此图绘层岩邃壑，飞瀑流泉。山腰苍松葱郁，虬枝老干，掩映画面。山下平湖一湾，清澈见底。一条崎岖不平的野路，蜿蜒通向山间，以增加画面的幽深感。一隐者凭眺倚栏，静听松风，侍者囊琴随后。该图用笔清润、缜密而有韵味。",[23,24,399,165,27,136,326,152,7,63,34,65,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd48db7aab0e53558f48e3527907dacf3.jpg","纵194.5厘米，横102.8厘米",[],88,{"id":1186,"slug":1187,"title":1188,"dynasty":115,"author":1189,"museum":235,"description":1190,"tags":1191,"thumbUrl":1192,"material":276,"size":107,"collection":48,"collections":1193,"showCount":1184,"zanCount":186,"manualWeight":11,"mainColor":52},216997,"zhu-chuang-qing-yin-tu-lu-guang-216997","竹窗清隐图","陆广","陆广的《竹窗清隐图》是一幅山水画作品，出现在元朝时期（1271-1368年）。这幅画作以竹窗为主题，描绘了一个人坐在竹窗前欣赏山水的场景。竹窗是中国传统建筑中常用的装饰元素，象征着隐逸和闲适的生活方式。在这幅画作中，陆广展现了他对自然和人文之美的敏锐观察力和深刻理解。这幅画作被认为是元朝山水画的杰作之一，具有很高的艺术价值。",[24,61,27,84,85,121,29,436,136,7,839,63,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33e4531cd7fb8bc86a40100d4d0d3034.jpg",[48],{"id":1195,"slug":1196,"title":1197,"dynasty":132,"author":206,"museum":260,"description":1198,"tags":1199,"thumbUrl":1201,"material":107,"size":107,"collection":107,"collections":1202,"showCount":1203,"zanCount":11,"manualWeight":11,"mainColor":52},228443,"ting-qin-tu-ye-chou-ying-228443","听琴图页","青绿晕染的崖谷间，飞瀑漱石，古松虬曲横斜。松下石台之上，抚琴人信手拨弦，对面听者垂眸凝神，将身心都浸在松风声与琴音里。侧旁童子正俯身溪畔汲水，浑然不觉周遭雅韵。\n画面以静取景，以动点染，明丽的设色衬出林涧清寂，人物神态宛然生动，将山林雅集、知音相和的悠然意趣，尽藏于尺幅之间，把文人寄情丘壑的雅致心境铺陈得淋漓尽致。",[23,24,60,626,209,165,639,29,86,1200,63,31,30,7],"乐器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa31aa149186a2d0e6c5d0c2565807183.jpg",[],87,{"id":1205,"slug":1206,"title":1207,"dynasty":295,"author":457,"museum":1208,"description":1209,"tags":1210,"thumbUrl":1213,"material":89,"size":1214,"collection":49,"collections":1215,"showCount":1203,"zanCount":11,"manualWeight":11,"mainColor":290},219177,"song-lin-shu-wu-tu-gong-xian-219177","松林书屋图","旅顺博物馆","全图笔墨恣肆，气象氤氲，以竹林、书屋等景观构造了一个理想的隐逸世界。左上自题七言诗一首，末署“甲子初秋半亩龚贤并题”。钤“臣贤私印”、“半千”二印。甲子为康熙二十三年，公元1684年，作者时年86岁。",[23,24,61,27,26,29,1211,1212,30,7,31],"松林","书屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe09717ac0071d60023828679c622fb9e.jpg","纵274.5 横128.5厘米",[49],{"id":1217,"slug":1218,"title":1219,"dynasty":295,"author":622,"museum":20,"description":1220,"tags":1221,"thumbUrl":1222,"material":123,"size":107,"collection":48,"collections":1223,"showCount":1224,"zanCount":11,"manualWeight":11,"mainColor":94},237200,"shan-shui-zhu-shi-ce-wang-hui-237200","山水竹石册","王翚（1632-1717），子石谷，号耕烟散人，清晖主人等，江苏常熟人。幼即嗜画，年二十师事王鉴，复经王鉴引荐，师王时敏。王时敏尽出家藏，与之临摹，相与参究，他的摹古能力在清六家中首屈一指。除擅长山水之外，偶亦画花鸟竹石。王翚在艺术实践中能排除门户之见，综合南北之长，汲取诸家技法，冶为一炉，形成自家风格。他的作品章法变化多，墨笔和青绿皆精，山石树法清润秀雅，风格清逸秀丽。王翚60岁时奉康熙帝诏赴京师，任绘制《康熙南巡图》主笔。历经六年，完成了12卷总长达半华里的历史巨作。康熙帝赐“山水清晖”四字。遂自号“清晖主人”。从此“声名震海内”，追随者甚众，为“虞山派”之开山祖，有“画圣”之誉。",[24,60,626,61,27,29,436,460,63,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62b1714e7de95ce32a4f24548178bde6.jpg",[48,49],86,{"id":1226,"slug":1227,"title":1228,"dynasty":18,"author":1229,"museum":351,"description":1230,"tags":1231,"thumbUrl":1232,"material":165,"size":1233,"collection":46,"collections":1234,"showCount":1224,"zanCount":11,"manualWeight":11,"mainColor":52},221439,"han-shan-fei-pu-yang-shi-xian-221439","寒山飞瀑","杨士贤","山水林木，劲挺可取。惟峰石水口，雄伟之笔则远不逮熙。",[23,24,60,100,29,27,61,165,30,7,31,238,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26b0e832e12e265a435eb981c78c1e42.jpg","50X56",[46,48,49],{"id":1236,"slug":1237,"title":1238,"dynasty":18,"author":1239,"museum":260,"description":1240,"tags":1241,"thumbUrl":1242,"material":107,"size":107,"collection":107,"collections":1243,"showCount":1244,"zanCount":393,"manualWeight":11,"mainColor":52},227515,"xi-qiao-xian-shui-tu-zhou-mi-fei-227515","溪桥闲睡图轴","米芾","米芾平生书法用功最深，成就以行书为最大。南宋以来的著名汇帖中，多数刻其法书，流播之广泛，影响之深远，在北宋四大书家中，实可首屈一指。康有为曾说:唐言结构，宋尚意趣。意为宋代书法家讲求意趣和个性，而米芾在这方面尤其突出。\n米芾习书，自称集古字，虽有人以为笑柄，也有赞美说天姿辕轹未须夸，集古终能自立家(王文治)。这从一定程度上说明了米氏书法成功的来由。根据米芾自述，在听从苏东坡学习晋书以前，大致可以看出他受五位唐人的影响最深:颜真卿、欧阳询、褚遂良、沈传师、段季展。\n米芾作为北宋著名的画家，处在一个文人画的成熟时代，其绘画题材十分广泛，人物、山水、松石、梅、兰、竹、菊无所不画;米芾在山水画上成就最大，但他不喜欢危峰高耸、层峦叠嶂的北方山水，更欣赏的是江南水乡瞬息万变的烟云雾景，天真平淡，不装巧趣的风貌;所以米芾在艺术风格里追求的是自然。他所创造的米氏云山都是信笔作来，烟云掩映。",[23,24,100,26,61,29,27,34,63,86,31,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93fc0c226ae1c64375a959be6d59f6a7.jpg",[],85,{"id":1246,"slug":1247,"title":1248,"dynasty":132,"author":795,"museum":20,"description":1249,"tags":1250,"thumbUrl":1251,"material":44,"size":1252,"collection":48,"collections":1253,"showCount":1254,"zanCount":11,"manualWeight":11,"mainColor":94},221969,"fang-wang-meng-shan-shui-zhou-wen-zheng-ming-221969","仿王蒙山水轴","该幅画叠峦飞瀑，山溪蜿蜒。全作景密而笔松，意精而迹放，清奇浑厚。此帧纸狭而长，构景重叠而繁复。徵明晚年好作此种，晚期吴派亦多受此影响。\n五月五日，仿王蒙山水轴。此幅构景重叠而繁复，略似沈周庐山高，而庐山高为宽纸短幅，其中时以云水隔断，此帧纸狭而长，峰峦晴爽，故更觉繁密重叠也。徵明晚年好作此种，晚期吴派亦多受此影响。结顶一山，石纹勾勒，甚为奇特，董其昌山水，常在群山中一两处作奇石，盖亦自此出。\n此帧董其昌旁题云：“文待诏仿黄鹤山樵，几欲乱眞”，是出自由衷之赞语。此帧景密而笔松，意精而迹放，清奇浑厚，兼而有之。是大家悉力之作。",[23,24,26,61,27,83,29,30,31,7,210,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd029fea8a32761fc2fa01e64733e96fa.jpg","全幅 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“花池深桃”的构想。",[23,24,61,26,29,27,136,7,137,461,65,311],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb78e056810e1f7dd2565d481fd90d58f.jpg","绢本，水墨","54x188.6cm",[48,49],78,{"id":1331,"slug":1332,"title":1333,"dynasty":132,"author":1334,"museum":192,"description":1335,"tags":1336,"thumbUrl":1338,"material":213,"size":1339,"collection":48,"collections":1340,"showCount":1329,"zanCount":11,"manualWeight":11,"mainColor":52},219935,"bei-ming-tu-zhou-chen-219935","北溟图","周臣","此图描绘了古代北海的波澜壮阔。《庄子》开篇《逍遥游》载：“北冥有鱼，其名为鲲，鲲之大，不知几千里也”。渤海古代称北海，亦即北冥，北冥亦作北溟。",[23,24,82,29,209,27,195,31,35,1337,7],"山崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F177597f502a07f40362a79fb62f4475a.jpg","135.9x28.3厘米",[48],{"id":1342,"slug":1343,"title":1344,"dynasty":115,"author":1345,"museum":235,"description":1346,"tags":1347,"thumbUrl":1349,"material":89,"size":1350,"collection":48,"collections":1351,"showCount":1329,"zanCount":11,"manualWeight":11,"mainColor":94},217119,"yun-chao-tu-gao-ke-gong-217119","云巢图","高克恭","《云巢图》是一幅以云巢山为主题的山水画。画中山峰环绕，云雾缭绕，景色宏伟壮观。山间小溪流过，水流潺潺，鸟儿欢快地游翔。画中还有山间小屋、山村村庄和农民劳作的场景。整幅画充满了自然的气息，令人感受到大自然的静谧之美。\n\n高克恭在画《云巢图》时，注重构图布局、选材搭配和色彩运用。他运用了元朝画风中常用的黑白灰三色基调，并在其中穿插了少量的彩色。在选材方面，他认真观察了山水景观的细节，并准确再现了各种山体、水流、云雾、树木等元素。在构图方面，他采用了分割画面的手法，将画面分成上下两部分，使得整幅画更加丰富多彩。",[23,24,60,26,61,27,29,379,7,944,1348,65,461,84,85],"草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87509821832412b45eeb4aaff52bb945.jpg","60.5x32.7cm",[48],{"id":1353,"slug":1354,"title":1258,"dynasty":295,"author":622,"museum":260,"description":1259,"tags":1355,"thumbUrl":1356,"material":107,"size":107,"collection":107,"collections":1357,"showCount":1358,"zanCount":11,"manualWeight":11,"mainColor":94},237591,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237591",[100,24,60,626,61,27,29,195,34,63,178,210,31,7,30,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F724471d5eaa3cabd10d34c299b6fd545.jpg",[],77,{"id":1360,"slug":1361,"title":1362,"dynasty":132,"author":1363,"museum":351,"description":1364,"tags":1365,"thumbUrl":1366,"material":463,"size":1367,"collection":49,"collections":1368,"showCount":1370,"zanCount":11,"manualWeight":11,"mainColor":52},222168,"xiang-jiang-feng-yu-tu-juan-xia-chang-222168","湘江风雨图卷","夏昶","画幅右上方自题图名《湘江风雨》，款“東吳夏昶仲昭筆”，钤“東吳夏昶仲昭書畫印”、“燕寢凝香”印二方。\n夏昶画竹，以其精深的功力和独树一帜的艺术风格名重一时。他一改前人画竹独幅数竿的表现形式，而用巨幅长卷描绘竹树的千竿万梢，同时还“延之以洲渚，加之以风雨”，更显浩浩荡荡，气势恢宏。他笔下的墨竹已不仅仅是简单的文人式的寄兴抒怀，，而且还于其自然的生长环境，在画中融入山水画的笔墨意境。此卷竹林随湘江两岸景致的变化而隐现，起自淡阔的沙洲，之后是平缓的坡陀，继而是坚硬的岩石，又入清冷的江水，再后是壁立的山崖，最后经急湍飞瀑、汩汩溪流而入山，竹树或整或零，或疏或密，老干新枝，各尽其态。画家充分利用了长卷的广度精心描绘出一种起伏张弛的流动性和情节性，实际上是传统墨竹与水墨长卷的结合。夏昶画竹，强调气韵，主张“一气呵成”，“画巨幅尤须如此”，此卷竹叶落墨即是，不见复笔，山石以斧劈皴法大笔侧锋挥扫而成，从首至尾，气脉通连飞动。\n卷后自跋中云此图作于“正統己巳（1449年）秋九月”，正值夏氏62岁出知瑞州之时，是其晚年墨竹长卷的代表作。",[23,24,60,82,61,27,29,436,30,63,7,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8755393eede68b1ee573bab7500c298.jpg","纵35厘米，横1206厘米",[49,1369],"竹石精选",76,{"id":1372,"slug":1373,"title":1374,"dynasty":634,"author":1375,"museum":1376,"description":1377,"tags":1378,"thumbUrl":1380,"material":425,"size":107,"collection":107,"collections":1381,"showCount":1370,"zanCount":11,"manualWeight":11,"mainColor":94},220476,"wan-shan-hong-bian-li-ke-ran-220476","万山红遍","李可染","中国现当代美术文献研究中心","以大面积朱砂晕染层林，丹红似燃，浓烈却不失厚重意蕴，将秋山烂漫尽数铺展。焦墨勾勒山石轮廓，苍劲雄浑的墨色与艳烈丹红碰撞，生出极强视觉张力。垂落的飞瀑如素练破山而下，为沉郁秋景注入灵动生机。山坳间错落的白墙黛瓦民居，晕开一抹烟火暖意，让宏阔秋景多了几分温婉烟火气。笔力苍拙厚重，色彩对比强烈却和谐相融，将秋日山林的绚烂大气与静谧雅致合而为一，尽显秋山盛景的磅礴诗意。",[23,24,165,27,849,29,7,33,238,1379,31],"红叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cecc510a934210856686c503976ce7a.jpg",[],{"id":1383,"slug":1384,"title":1385,"dynasty":115,"author":1386,"museum":20,"description":1387,"tags":1388,"thumbUrl":1389,"material":89,"size":1390,"collection":48,"collections":1391,"showCount":1370,"zanCount":393,"manualWeight":11,"mainColor":94},218911,"shan-yin-yun-xue-tu-fang-cong-yi-218911","山阴云雪图","方从义","这幅画的构图相当简单，只是在山顶和树上有一股烟和雾。水墨的使用非常丰富，给树木、岩石、云朵和山峰带来不同的表情和质感。画笔充满了水分，云朵和烟雾似乎随着水分漂浮和移动。虽然这幅画很小，但它显示了一种令人兴奋的水墨节奏。",[23,24,60,26,61,27,85,84,121,29,136,461,495,137,7,30,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6ec60bc5870f2b71d67a4af41f89a6c.jpg","62.6x25.5厘米",[48],{"id":1393,"slug":1394,"title":1395,"dynasty":115,"author":116,"museum":20,"description":1396,"tags":1397,"thumbUrl":1398,"material":123,"size":1399,"collection":48,"collections":1400,"showCount":1401,"zanCount":280,"manualWeight":11,"mainColor":52},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。",[23,24,100,29,61,26,27,136,326,31,7,120,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F379454c3f48628ae11d76f352c7e53a4.jpg","该幅 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78公分",[48,49],74,{"id":1403,"slug":1404,"title":1405,"dynasty":295,"author":825,"museum":260,"description":1406,"tags":1407,"thumbUrl":1408,"material":107,"size":107,"collection":107,"collections":1409,"showCount":1410,"zanCount":280,"manualWeight":11,"mainColor":94},230132,"zhang-lin-xiao-yao-tu-hong-ren-230132","长林逍遥图","此作用笔清劲方折，危崖如刀削斧拔般峭然耸立，留白晕染出山水疏旷空寂。近岸寒林虬枝孑立，木叶尽脱，尽显荒萧寒逸。平湖浅滩无波，远汀渔隐藏于空茫间，崖侧飞瀑隐于山石，幽淡含蓄。\n\n整幅以干笔淡墨写就，删繁去奢，将孤高冷寂的意趣寄于山水，脱尽烟火之气，静穆清逸间带着禅意，宛如遗世独立的幽境，观之涤荡心尘，尽显山水的雅净超然。",[23,100,24,60,26,61,27,29,196,65,7,63,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b461f26c82fb4c0466a95df1af5d932.jpg",[],73,{"id":1412,"slug":1413,"title":1414,"dynasty":132,"author":1415,"museum":235,"description":1416,"tags":1417,"thumbUrl":1419,"material":213,"size":1420,"collection":48,"collections":1421,"showCount":1410,"zanCount":11,"manualWeight":11,"mainColor":52},220068,"han-lin-xing-lv-tu-xie-shi-chen-220068","寒林行旅图","谢时臣","画面以高远、平远之境铺陈，危崖层叠向上，虬松枯木扎根岩隙，枝桠劲挺尽显冬日元气。中层江天寥廓，远帆点点，衬出寒山空寂萧疏。近处以栈道行旅、山居茅舍破了荒寒，添上烟火暖意。\n\n笔墨兼融雄健与雅致，斧劈皴勾勒山石嶙峋质感，枯笔写木，笔力苍劲老辣，既绘出冬日山林的清寂荒寒，又暗藏旅人赶路的生趣，将山野冷意与人情暖意相融，大气苍莽又不失细腻意韵。",[24,61,27,26,29,1418,32,30,7,86,103,178,31,102,63],"寒林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa68c24099e5a53a7f113148c70a7c46.jpg","151.5x74",[48],{"id":1423,"slug":1424,"title":1425,"dynasty":132,"author":1415,"museum":336,"description":1426,"tags":1427,"thumbUrl":1428,"material":213,"size":1429,"collection":48,"collections":1430,"showCount":1410,"zanCount":393,"manualWeight":11,"mainColor":52},219716,"song-xi-qin-ke-tu-xie-shi-chen-219716","松溪琴客图","危峰层叠巍峨，苍松盘桓于崖壁间，飞瀑隐入烟岚。中部水面空濛留白，汀渚间楼宇半掩，将山野空寂的悠远铺展开来。近岸老松郁茂，清溪蜿蜒穿林，松下雅士围坐，琴韵似随溪水潺潺漫溢山林。\n\n笔墨兼取刚劲与秀润，皴擦点染勾勒出山石肌理的苍劲，淡墨晕染烟霭，虚实相生间，将雄阔山水之壮与林泉雅集之逸相融，把文人寄情丘壑、静享幽居的意趣藏进每一处留白，绘就出一卷兼具大气与闲雅的山居清景。",[24,60,100,26,61,165,27,29,152,63,7,86,30,31,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaa866c2cd2f276fdb3cca85d0d64f70.jpg","141x71.1厘米",[48],{"id":1432,"slug":1433,"title":1434,"dynasty":132,"author":1435,"museum":1436,"description":1437,"tags":1438,"thumbUrl":1440,"material":123,"size":1441,"collection":48,"collections":1442,"showCount":1410,"zanCount":280,"manualWeight":11,"mainColor":52},216742,"ri-ben-zu-shi-tu-shou-ye-yuan-xin-216742","日本· 祖师图","狩野元信","日本东京国立博物馆","室町后期画家，称大炊助。受父亲正信水墨画风的影响，加入浓彩的技巧，从而集狩野派新风格之大成。后世称其为古法眼。",[23,1439,26,786,165,209,27,29,86,7,379,30,35],"日本画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6889f3bb0ca60e1076055189342bb67.jpg","176.0x91.8",[48],{"id":1444,"slug":1445,"title":1446,"dynasty":132,"author":1447,"museum":351,"description":1448,"tags":1449,"thumbUrl":1450,"material":1451,"size":1452,"collection":48,"collections":1453,"showCount":1454,"zanCount":280,"manualWeight":11,"mainColor":94},236306,"xie-qin-fang-you-tu-zhou-sun-zhi-236306","携琴访友图轴","孙枝","在历代抱琴与携琴图中，多是主人负手举步，缓缓前行，身后跟着抱琴童子。琴多在琴囊之中或被书童抱在怀里，线条干净简单。“我醉欲眠君且去，明朝有意抱琴来”，携琴访友的题材，历代均有描绘，如宋代范宽，明代文徵明、戴进、孙枝，清代陈卓、王翚、黄慎等都有名为《携琴访友图》的作品。代表了一种处于进行时的文士风雅，雅集即将开幕，雅乐即将奏响，一切处于将发而未发之状态，与含蓄蕴藉的古琴精神相合，甚至比对面抚琴更让人有所期待",[24,61,27,26,29,34,63,86,210,31,30,7,944,689],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa969847ed7cf030565acd834b399bb46.jpg","纸本 ，淡设色","纵121.3cm，横31.5cm",[48,49],72,{"id":1456,"slug":1457,"title":1458,"dynasty":295,"author":649,"museum":260,"description":1459,"tags":1460,"thumbUrl":1461,"material":107,"size":107,"collection":107,"collections":1462,"showCount":1463,"zanCount":393,"manualWeight":11,"mainColor":52},224431,"song-feng-die-zhang-tu-wang-shi-min-224431","松风叠嶂图","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。",[23,24,399,165,27,152,640,63,31,30,120,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84858b1ff2685d5dbd3bc173639e5d99.jpg",[],71,{"id":1465,"slug":1466,"title":1467,"dynasty":295,"author":574,"museum":260,"description":1468,"tags":1469,"thumbUrl":1470,"material":946,"size":107,"collection":581,"collections":1471,"showCount":1472,"zanCount":280,"manualWeight":11,"mainColor":52},222776,"hua-bai-ying-zhou-lang-shi-ning-222776","画白鹰轴","郎世宁（Giuseppe Castiglione，1688.7.19-1766.7.16），原名朱塞佩·伽斯底里奥内，圣名若瑟，天主教耶稣会修士、画家，意大利米兰人。\n1715年（清康熙五十四年）来中国传教，随即入皇宫任宫廷画家，历经康熙、雍正、乾隆三朝，在中国从事绘画50多年，并参加了圆明园西洋楼的设计工作，为清代宫廷十大画家之一。 郎世宁擅绘骏马、人物肖像、花卉走兽，风格上强调将西方绘画手法与传统中国笔墨相融合，受到皇帝的喜爱，也极大地影响了康熙之后的清代宫廷绘画和审美趣味。\n其主要作品有《十骏犬图》《百骏图》《乾隆大阅图》《瑞谷图》《花鸟图》《百子图》《聚瑞图》《仙萼长春图册》《心写治平图》（《乾隆帝后妃嫔图卷》）等。",[23,24,100,26,165,209,944,600,152,379,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8821bbc34360056591a52a75a4e58a03.jpg",[581,383],70,{"id":1474,"slug":1475,"title":1476,"dynasty":132,"author":795,"museum":20,"description":1477,"tags":1478,"thumbUrl":1479,"material":140,"size":107,"collection":48,"collections":1480,"showCount":1472,"zanCount":11,"manualWeight":11,"mainColor":94},221968,"fang-li-cheng-xi-shan-shen-xue-zhou-wen-zheng-ming-221968","仿李成溪山深雪轴","绘山石耸立，悬崖绝壁，白雪霭霭，山涧中一股瀑布倾泻而下，在山脚下汇入河流，河岸边树木修长，树叶凋零，一桥横跨两岸。题识：正德十年乙亥仿李营丘溪山深雪图 徵明。",[23,24,60,26,61,27,83,29,1006,30,31,7,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff12e302f69f4a2f9424953933b64b61c.jpg",[48,383],{"id":1482,"slug":1483,"title":1484,"dynasty":115,"author":116,"museum":20,"description":1485,"tags":1486,"thumbUrl":1487,"material":1488,"size":1489,"collection":48,"collections":1490,"showCount":1472,"zanCount":11,"manualWeight":11,"mainColor":94},220811,"lin-quan-qing-qu-zhou-wang-meng-220811","林泉清趣轴","画山林密布，画瀑布从山涧飞下，击打岩石，云雾缭绕，从山下望去，是建在山上的房子，房子里的人都在山影里，都在院子里；书生走进亭子，身后跟着一个手拿着雨伞的少年，一个人站在书生身边，十分抢眼。",[23,24,60,26,61,27,29,210,31,30,63,238,7,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F180bf7a4cf1422c1d432b865bbfa11f2.jpg","纸、水墨","26.4x39.8公分、全幅 62.3公分",[48,49],{"id":1492,"slug":1493,"title":1494,"dynasty":132,"author":1495,"museum":260,"description":1496,"tags":1497,"thumbUrl":1498,"material":107,"size":107,"collection":107,"collections":1499,"showCount":1500,"zanCount":393,"manualWeight":11,"mainColor":94},228498,"yan-shu-ban-qiao-tu-chen-chun-228498","烟树板桥图","陈淳","此作用水墨写就山林野趣，取高远、平远错落构图，峰崖高耸以阔笔皴擦，墨色层叠间衬出云气空濛，飞瀑隐于峭岩之间，幽庐藏于繁林深处，将山野幽寂之态铺陈开来。\n\n近景烟树错落，信笔点染出枝叶婆娑之姿，板桥横溪，策杖行人缓步其上，茅舍错落林间，尽现村居恬然意趣。水墨干湿浓淡相生，逸笔草草间尽显文人写意随性，将江南山乡的湿润清旷，与林下幽居的闲散自在融为一体，淡远空灵中尽显林下风流。",[24,61,29,137,34,86,7,27,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb68d5200227df0e2d65abef6d9fb122f.jpg",[],69,{"id":1502,"slug":1503,"title":1504,"dynasty":132,"author":408,"museum":260,"description":1505,"tags":1506,"thumbUrl":1508,"material":89,"size":1509,"collection":48,"collections":1510,"showCount":1511,"zanCount":11,"manualWeight":11,"mainColor":52},220070,"gao-yan-shang-mei-tu-tang-yin-220070","高岩赏梅图","此作用笔灵秀兼具劲健，卷云皴勾勒出高岩奇崛之态，层叠飞泉沿壁下注，木桥架于清溪之上，野意盎然。右侧缓坡疏林茅舍错落，隐士凭栏远眺，远景江天寥廓，落日晕染平川，清寂空濛。\n\n笔墨间糅合宋画的挺括与元人松秀，枯木枝桠简劲，点叶清润雅致。题诗与山水相生，将幽居高卧、寄情林泉的出世襟怀融于尺幅，以淡远之境写澹泊之心，尽显文人山水画的清逸韵致，是诗意与画境完美合璧的佳作。",[24,61,27,26,29,1507,210,34,63,30,31,7,86,85],"梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf0187c50b0efe3c29ab5d2d6bc7fb4d.jpg","71.5 x 34.3 厘米",[48],68,{"id":1513,"slug":1514,"title":1515,"dynasty":132,"author":1516,"museum":20,"description":1517,"tags":1518,"thumbUrl":1519,"material":934,"size":1520,"collection":48,"collections":1521,"showCount":1522,"zanCount":280,"manualWeight":11,"mainColor":94},221935,"xi-yan-tu-zhou-chen-luo-221935","洗砚图轴","陈裸","陈祼（公元1563~约1639年），初名瓒，字叔祼，后去掉“叔”字，号道樗、白室，江苏吴县（今江苏苏州）人。\n善画山水，远宗赵伯驹、赵孟俯﹝赵孟頫﹞诸家，近师文征明。摹古人笔法逼真，能工书。晚年居虎丘，以吟咏自娱。作品有《石梁飞瀑图轴》，《秋山高隐图轴》。\n所图必深林叠嶂，曲径回塘，以扇面为多。能诗工书，善行楷，晚年居虎丘，以吟咏自娱。传世作品有崇祯九年(1636)作《竹溪花坞图》轴，图录于《故宫书画集》；崇祯十一年(1638)作《山水扇面》，图录于《明代名人画扇集》。崇祯二年(1629)作《雪山行旅图册页》，表现雪山的手法学夏珪，画石用小斧劈皴，画树枝笔触多带有钉头，颇具匠心。曾由吴平斋收藏，后为南京十竹斋藏品。著有《妪解集》。",[23,24,60,26,165,27,29,152,238,7,30,354,86,63,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe91618ed8c738d3b3545416a0e57f159.jpg","122.4x51.5厘米",[48,49],67,{"id":1524,"slug":1525,"title":246,"dynasty":132,"author":1311,"museum":20,"description":1526,"tags":1527,"thumbUrl":1528,"material":1529,"size":1530,"collection":48,"collections":1531,"showCount":1522,"zanCount":11,"manualWeight":11,"mainColor":52},219837,"shan-shui-tu-dai-jin-219837","戴进以浙江地方传统水墨技法作为基，加上南宋院体画，又吸收元代李、郭派的精华。　幅中近景水亭两侧大石以斧劈皴法写之，主峰山势圆浑，造型由郭熙风格蜕化而出，然运笔则用小斧劈皴，余以淡墨大块烘染，浓墨点苔，森森密密，似马夏布墨之法，李郭、马夏风格两相融合，发展形成明初浙派风潮。画面左上有「钱塘戴文进写」六字，并钤「静庵」印记一方。",[24,60,100,27,61,165,29,34,63,178,210,31,7,86,30,26,33,64,473,448,412],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5184f9099fce9f5215427da498fc29cc.jpg","绢本,水墨","本幅 184.5x109.4公分",[48],{"id":1533,"slug":1534,"title":246,"dynasty":115,"author":1535,"museum":20,"description":1536,"tags":1537,"thumbUrl":1538,"material":89,"size":1539,"collection":48,"collections":1540,"showCount":1522,"zanCount":393,"manualWeight":11,"mainColor":52},218166,"shan-shui-tu-yu-wen-gong-liang-218166","宇文公谅","宇文公谅，是元朝时期著名的画家，他的山水图作品以其精湛的写意风格和生动的自然描绘而闻名。宇文公谅的山水图作品多以自然风光为题材，用简单的笔触勾勒出了山川、河流、树木和花草的形态，并融入了自己的感悟和情感。他的山水图作品给人以舒适、自然的感觉，是元朝山水画的代表作之一。",[23,24,60,26,61,27,29,30,31,63,34,238,7,179],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9cd57f449a3caa29359ac4b9c9a3970.jpg","116.6x41cm",[48],{"id":1542,"slug":1543,"title":1544,"dynasty":295,"author":1545,"museum":260,"description":1546,"tags":1547,"thumbUrl":1548,"material":107,"size":107,"collection":48,"collections":1549,"showCount":1550,"zanCount":11,"manualWeight":11,"mainColor":52},238196,"he-lu-tong-chun-tu-juan-gao-qi-pei-238196","鹤鹿同春图卷","高其佩","高其佩（1660年—1734年，一作1672年—1734年），字韦之，号且园、南村、书且道人，别号颇多，另有山海关外人、创匠等。铁岭（今属辽宁）人，汉军镶黄旗人。清代官员、画家，指画的开山祖师。\n康熙时以荫由宿州知州迁四川按察使，雍正间擢都统，后罢去。工诗善画，所绘人物山水，均苍浑沉厚，尤善指画，晚年遂不再用笔。\n高其佩“扬州八怪李鱓”之师。其艺术才华出众，能诗、工画，他在细绢上所描绘的亭台楼阁、人物、花鸟、鱼虫等等，笔墨精细，设色艳丽，精妙绝伦。他在临摹了大量的前代名人作品，打下了深厚的根基之后，开创了一条新路。大胆地创造出了别具情趣的“舍笔而求之于手”的表现技法。秀水张浦山著的《国朝画征录》中记载：“高且园善指画，画人、山水花鸟、鱼虫、鸟兽，天资超迈，情奇逸趣，信手而得，四方重之”。高其佩指画有“叱石成羊”之妙，他创作山水、人物、花鸟、走兽时，均信手一挥而就，“倾刻数十幅，……无不绝人。”他一生的作画数量是惊人的。正如他侄孙高秉在《指头画说》一文中所述：“自弱冠至七旬，不下五、六万幅”。可惜其大部分早已失传。保存下来的多藏于各地博物馆，铁岭县文化馆过去曾存有春、夏、秋、冬四幅《竹》。上海出版社出版的《高其佩》（杨仁恺著）一书，对他的生活和创作道路做了详细的论述，指出他的最大贡献是：“标题材之新，立结构之异，对当时和后来绘画艺术都有一定影响。”",[23,24,82,165,29,27,944,34,63,178,210,30,7,31,975,601,87],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bd6322b4c7fb2b01aa3471df812ebcc.jpg",[48,383],66,{"id":1552,"slug":1553,"title":1554,"dynasty":295,"author":750,"museum":351,"description":1555,"tags":1556,"thumbUrl":1559,"material":819,"size":1560,"collection":107,"collections":1561,"showCount":1550,"zanCount":11,"manualWeight":11,"mainColor":94},233808,"ceng-yan-die-he-tu-zhou-kun-can-233808","层岩叠壑图轴","此图山峦重叠，结构饱满，一条山路顺山势自下而上蜿蜒曲折，使景物繁复而不迫塞，布局巧妙，具有“奥境奇辟，缅邈幽深，引人入胜”的意境。以干笔皴擦山石，浓墨点苔，气韵浑厚。用笔苍浑、老辣，用墨层次丰富，展现了石谿极具个性的绘画风格，是代表石谿成熟画风的杰作。",[24,60,26,29,61,27,165,1557,1558,7,34,63,179,663,31,30,195,877,210],"层岩","叠壑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F741b209c7c58099e2e9ad6724a3f19a9.jpg","纵169厘米，横41.5厘米",[],{"id":1563,"slug":1564,"title":1565,"dynasty":295,"author":1566,"museum":20,"description":1567,"tags":1568,"thumbUrl":1569,"material":140,"size":1570,"collection":48,"collections":1571,"showCount":1550,"zanCount":393,"manualWeight":11,"mainColor":52},224488,"yun-bai-shan-qing-tu-juan-wu-li-224488","云白山青图卷","吴历","此幅山水画作於1668年（三十七岁），临摹古画功力极深，於青绿著色者尤有独到之处，气息颇近似宋元人作品，通卷皆用青绿红白重色，而能不觉躁浊，於清虚灵动中妙造自然。",[23,24,82,639,165,29,136,461,137,944,87,354,7,30,864,238,341,38,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86f1f40e927b107f59c209c6dfc46117.jpg","该幅25.9x117.2公分；隔水一14.6公分；隔水二 14.6公分",[48],{"id":1573,"slug":1574,"title":1575,"dynasty":115,"author":116,"museum":351,"description":1576,"tags":1577,"thumbUrl":1578,"material":213,"size":1579,"collection":48,"collections":1580,"showCount":1581,"zanCount":11,"manualWeight":11,"mainColor":52},218423,"guan-shan-xiao-si-tu-wang-meng-218423","关山箫寺图","本幅设色，钤乾隆玉玺“大源藻”、“颛蓭”、“南韵斋印”、“荣王之印”，不见著录。",[23,24,60,26,165,29,195,31,7,944,30,33,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F153baf897e72c84a87e44ac2e43245d8.jpg","纵161.7cm，横56cm",[48],65,{"id":1583,"slug":1584,"title":1585,"dynasty":115,"author":1586,"museum":260,"description":1587,"tags":1588,"thumbUrl":1589,"material":213,"size":1590,"collection":615,"collections":1591,"showCount":1581,"zanCount":280,"manualWeight":11,"mainColor":52},218381,"xie-qin-guan-pu-tu-liu-guan-dao-218381","携琴观瀑图","刘贯道","层岩间烟岚轻笼，飞瀑自云端垂落漱石。虬松盘曲崖畔，老干如铁，松针如簇，漏下细碎天光。树下石矶上，二三雅士或对坐清谈，或凭石凝睇飞瀑，另有一人携琴而立，似欲鼓琴和鸣山水。笔墨苍劲中见秀逸，山石勾勒简练，松枝墨色有浓淡层次，人物衣袂飘飘神态悠然。整体意境清旷淡远，尽显文人寄情山水、畅怀林泉的雅趣，松涛与瀑声相和，知己围坐论道，心随画境飘向烟水深处。",[24,60,100,26,165,27,29,86,311,7,30,31,689],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40c2da0de3b85af27da0921f07f0a3cb.jpg","184.3x68.2",[615],{"id":1593,"slug":1594,"title":1595,"dynasty":295,"author":1596,"museum":351,"description":1597,"tags":1598,"thumbUrl":1601,"material":107,"size":107,"collection":48,"collections":1602,"showCount":1603,"zanCount":11,"manualWeight":11,"mainColor":94},239443,"fu-chun-shan-ju-tu-juan-huang-jun-239443","富春山居图卷","黄均","黄均（1775－1850），字上琓，号榖原、榖源、香畴、墨华居士、墨华庵主，元和（今苏州）人。据嘉道间大臣梁章钜(1775 - 1849）所著《楹联丛话全编》，黄均于嘉庆间供奉内廷有年。\n蒋宝龄（1781 - 1840)父子著《墨林今话》记：黄均以议叙官汉阳主簿，施南同知。画山水、花卉、梅竹，入手即通其妙，而於山水尤尽能事。初师黄鼎，继法娄东，堪与王撰并驾，用笔用墨苍楚有致。诗宗晚唐，书学赵孟頫，卖画食贫，怡然自得。尝自言二十馀年以吏为隐。卒年七十六。著《墨华庵吟稿》。\n《清史稿》称：“画晚而益工，于吴中称后劲”。\n黄宾虹议黄榖原“以功力胜，不在纤秀”。",[23,24,82,165,27,29,30,31,1599,7,226,1600,34],"河流","船只","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F164d44c5894dd5dcbd4a28934931eb84.jpg",[48,383],63,{"id":1605,"slug":1606,"title":1607,"dynasty":132,"author":1608,"museum":762,"description":1609,"tags":1610,"thumbUrl":1611,"material":425,"size":1612,"collection":48,"collections":1613,"showCount":1603,"zanCount":11,"manualWeight":11,"mainColor":52},222593,"song-luo-wan-cui-tu-lan-ying-222593","松萝晚翠图","蓝瑛","此图是蓝瑛38岁的国画作品。画面峰峦层叠，中部有庙宇坐落于茂密的松林中，半隐半露相映成趣。泉水沿着蜿蜒的山涧，飞流直泻，与山脚的河流相连，近处河边杂树成林，林中一老人前行，琴童后随。\n画面布局采用“高远”法，气势雄峻。山石的纹理采用“荷叶皴”兼取“斧劈皴”，墨色润泽，浓淡相间，充分表现出苍山的层次感和体积感，石绿作苔点，疏落有致，色彩明洁，增添了画面的装饰趣味。",[23,24,60,26,165,29,311,137,195,63,7,30,354,210,1170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16b4e2036bc72593e80638f98b23c217.jpg","160x55cm",[48,49],{"id":1615,"slug":1616,"title":1617,"dynasty":132,"author":1618,"museum":20,"description":1619,"tags":1620,"thumbUrl":1622,"material":140,"size":107,"collection":48,"collections":1623,"showCount":1603,"zanCount":393,"manualWeight":11,"mainColor":52},222430,"dong-li-qiu-se-tu-li-xiang-222430","东篱秋色图","李相","画取材东晋诗人陶渊明归隐田园的故事。画面中，陶渊明悠闲地坐在室外床榻上观赏菊花，童仆和家人陪伴伺候，屋外有访客造访，山径间还可见到牧童与牛群，整幅画流露出高士隐逸生活的一种典型。 ​​​​",[23,100,24,60,29,61,27,30,31,226,63,7,238,179,1621,165],"近景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb340c3bf793e605358c2953c86e93e35.jpg",[48,49],{"id":1625,"slug":1626,"title":1627,"dynasty":18,"author":1628,"museum":336,"description":1629,"tags":1630,"thumbUrl":1631,"material":946,"size":1632,"collection":46,"collections":1633,"showCount":1603,"zanCount":11,"manualWeight":11,"mainColor":52},221316,"mei-xi-pu-bu-tu-ce-ye-cui-que-221316","梅溪瀑布图册页","崔悫","《梅溪瀑布图》传为北宋画家崔悫所作。无款。裱边题签“崔慤梅溪瀑布”。\n图绘山涧湍急，水花四溅。水边山石上有一株老梅，虬曲盘折，梅花开满枝头。枝上停着几只雀鸟，空中还有一只雀鸟飞来。",[23,100,24,60,626,209,165,29,1507,436,63,7,944,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46eeace5004b00d7ed1b1eb2e6c2cf42.jpg","24.7×22.2cm",[46,581,383],{"id":1635,"slug":1636,"title":1637,"dynasty":295,"author":750,"museum":351,"description":1638,"tags":1639,"thumbUrl":1642,"material":1643,"size":107,"collection":48,"collections":1644,"showCount":1645,"zanCount":11,"manualWeight":11,"mainColor":94},236272,"qiu-shan-you-jing-tu-zhou-kun-can-236272","秋山幽静图轴","髡残（1612—约1672年），俗姓刘，武陵（今湖南常德）人。幼年失怙（音hù，指父亲），青年出家为僧，法名髡残，字介丘，号石豀、白秃、石道人、残道者等。明亡后寓居南京，修禅弘佛之暇潜心于山水画的创作。他承袭元人王蒙，明人沈周、文徵明诸家笔法，结合自身的感悟，形成独特的山水画风。善用秃笔渴墨，以线造型，在深浅、断续、粗细线条的相互交叉、转换、顿挫中表现幽僻的景致，意境苍莽，画格高逸古拙。他与同时代的程青豀合称“二豀”，与原济（石涛）合称“二石”，与八大、弘仁、石涛并称“清初四僧”。",[24,399,26,61,565,63,178,34,195,101,7,1640,1641],"幽境","苍莽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ca894ea502bfc800f010545c07b430e.jpg","纸本 设色",[48,49],62,{"id":1647,"slug":1648,"title":1649,"dynasty":115,"author":482,"museum":539,"description":1650,"tags":1651,"thumbUrl":1652,"material":213,"size":1653,"collection":48,"collections":1654,"showCount":1645,"zanCount":186,"manualWeight":11,"mainColor":52},218207,"song-zhai-jing-zuo-tu-yi-ming-218207","松斋静坐图","松斋静坐图是中国元朝时期的一幅著名绘画，作者是佚名。\n\n这幅画的主要内容是一位老僧人在森林中静坐，周围的景色非常宁静。老僧人的脸上没有表情，但整个画面都透露出一种深沉的内省与冥想的气息。\n\n这幅画的风格融合了中国传统的山水画和人物画的元素，画面精致细腻，色彩和谐。松斋静坐图是元朝时期佛教文化的经典代表之一，也是中国绘画史上的珍贵艺术品。",[24,399,27,165,311,379,30,210,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d571379b374461e93289d1506ce0bf6.jpg","170x106.7cm",[48],{"id":1656,"slug":1657,"title":1658,"dynasty":295,"author":1659,"museum":260,"description":1660,"tags":1661,"thumbUrl":1663,"material":107,"size":107,"collection":107,"collections":1664,"showCount":1665,"zanCount":280,"manualWeight":11,"mainColor":52},235273,"gao-shan-liu-shui-tu-zhou-mei-qing-235273","高山流水图轴","梅清","《梅清高山流水图轴》是清代梅清创作的一幅画。\n图绘景象奇伟的山川之貌，陡峭的山石于群峰中傲然而立，如练的瀑布从山壁上飞流而下。\n瀑布与山峦点明高山流水的主题，亦营造出清幽疏旷的意境。\n款题虽言系仿“石田老人笔意”（沈周）之作，但体现出的完全是梅氏晚年粗笔皴擦、焦墨点苔、笔力老健的画风特点。\n款署：“高山流水。\n仿石田老人笔意。\n甲戌中秋前一日，瞿山梅清时年七十有二。\n”钤“矍硎清”白文印、“渊公”朱文印、“老去看山眼倍青”白文印、“天延阁图书”朱文印。\n鉴藏印有“槃斋秘玩”等。\n“甲戌”是清康熙三十三年（1649年），梅清时年72岁。",[24,60,26,61,27,29,1662,63,152,65,86,7,179],"高山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F576afd75771412f0b050afdd574d2698.jpg",[],61,{"id":1667,"slug":1668,"title":1669,"dynasty":132,"author":1670,"museum":20,"description":1671,"tags":1672,"thumbUrl":1677,"material":1678,"size":1679,"collection":48,"collections":1680,"showCount":1665,"zanCount":280,"manualWeight":11,"mainColor":52},222158,"shan-zhuang-gao-yi-tu-li-zai-222158","山庄高逸图","李在","这幅画的右下角有「河阳郭熙写」的签款，因此长期被古人误认为北宋郭熙的画作。但是经过研究，发现此签款为后人伪造，从风格、技法来比对，本幅画应该是明初宫廷画家李在的真迹。\n李在是宣德时期（1426－1435）画院最杰出的画家之一，与戴进、石锐三人鼎足而立，闻名于当时画坛。李在受到北宋郭熙画风之影响极深，无论题材、构图或技法，都可以见到郭熙的影子。本幅画结合了行旅、客舍与田园村居生活在一幅画，构图采用以中央主峰主轴，堆栈出带有「S」形动态的走势，山头布满浓密的苔点，山石的质理用层层迭迭的「云头皴」来描绘，在树木与枝叶部分，则以特殊造型的「蟹爪枝」表现。李在的笔墨相较于郭熙，更为自由放逸，这是明初或浙派学习郭熙风格的特征之一。",[23,24,100,399,61,1673,1674,64,7,34,178,1675,1676,32,195,31,66],"云头皴","蟹爪枝","客舍","村居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faea88dacaadab09ee87b38f46a96bc0e.jpg","绢本水墨","109.1×188.8cm",[48,49],{"id":1682,"slug":1683,"title":17,"dynasty":295,"author":1684,"museum":336,"description":1685,"tags":1686,"thumbUrl":1687,"material":89,"size":1688,"collection":48,"collections":1689,"showCount":1690,"zanCount":11,"manualWeight":11,"mainColor":94},220009,"xi-shan-xing-lv-tu-liu-yu-220009","柳堉","柳堉（1620—1689年以后），字公韩、公含，号愚谷，江宁（南京）诸生。工诗、画，书法李邕，山水遒逸苍茫，最得董、巨遗法。惟水口流泉，不能自然，有霸悍之态。柳堉身在清代经济和文化发达的南京，受到广泛的艺术影响，众家风格的融合都体现在了这幅画上。作品中体积庞大的群山体反映受到了董其昌的影响。由黑色小叶子点缀的苍松、干燥的笔触表明了对安徽画派的熟悉，而奇妙的景观形态和深邃的远距离景观与惊人的特写镜头的大胆并置，显示了他对早期南京画家如吴彬的崇尚。",[23,24,60,82,61,27,29,34,63,178,210,944,379,195,7,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4f721d9feb3a8cf66ea0346ad6bd077.jpg","26.4x508.6厘米",[48],60,{"id":1692,"slug":1693,"title":1694,"dynasty":18,"author":162,"museum":260,"description":1695,"tags":1696,"thumbUrl":1699,"material":105,"size":265,"collection":107,"collections":1700,"showCount":1701,"zanCount":11,"manualWeight":11,"mainColor":52},288223,"qiu-dong-shan-shui-tu-li-tang-288223","秋冬山水图","李唐（1066—1150），南宋画家。字晞古，河阳三城（今河南孟州）人。初以卖画为生， 宋徽宗赵佶时入画院。南渡后以成忠郎衔任画院待诏。擅长山水、人物。变荆浩、范宽之法，苍劲古朴，气势雄壮，开南宋水墨苍劲、浑厚一派先河。晚年去繁就简，用笔峭劲，创“大斧劈”皴，所画石质坚硬，立体感强，画水尤得势，有盘涡动荡之趣。兼工人物，初师李公麟，后衣褶变为方折劲硬，自成风格。并以画牛著称。与刘松年、马远、夏圭并称“南宋四大家”。存世作品有《万壑松风图》《清溪渔隐图》《烟寺松风》《采薇图》等。",[24,399,61,27,196,152,7,30,1697,1698],"秋冬","寒寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ec7f5b52580af7e7f6660f1752608c3.jpg",[],59,{"id":1703,"slug":1704,"title":587,"dynasty":295,"author":296,"museum":351,"description":588,"tags":1705,"thumbUrl":1706,"material":123,"size":107,"collection":48,"collections":1707,"showCount":1701,"zanCount":11,"manualWeight":11,"mainColor":94},237235,"yuan-ji-shan-shui-tu-zhou-shi-tao-237235",[24,61,26,60,100,29,984,31,7,65,839,63,85,84,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5e43feaef33afb1b1431c649b984048.jpg",[48],{"id":1709,"slug":1710,"title":1711,"dynasty":295,"author":649,"museum":20,"description":1712,"tags":1713,"thumbUrl":1714,"material":140,"size":1715,"collection":48,"collections":1716,"showCount":1701,"zanCount":393,"manualWeight":11,"mainColor":94},224433,"fang-wang-wei-jiang-shan-xue-ji-zhou-wang-shi-min-224433","倣王维江山雪霁轴","王时敏师承董其昌，师法黄公望，少时就极为聪颖，祖父王锡爵嘱托董其昌对其进行指导，创作了绘画人门的画稿即《课徒稿》。受董其昌的影响，王时敏少年便从摹古开始，因家里名画收藏丰富，方便王时敏深入钻研宋、元传统的笔墨画法。王时敏对黄公望顶礼膜拜，对其作品中干枯的笔墨和浑厚潇洒的画，风学习最下功夫。到了晚年时期，王时敏画风日益成熟，他追求用笔本身的变化，形成了用笔求“毛”的独特风格，要求有枯有润，有苍有秀，淡墨干笔皴擦，浓墨加湿渲染，老辣苍茫，墨法淳厚，从而形成了苍茫浑厚的山水画风",[24,165,29,83,27,26,85,136,495,137,34,63,238,65,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F818fb305d0e6313b1d20a32166c9149c.jpg","133.7x60",[48],{"id":1718,"slug":1719,"title":1720,"dynasty":18,"author":1721,"museum":1722,"description":1723,"tags":1724,"thumbUrl":1726,"material":213,"size":1727,"collection":107,"collections":1728,"showCount":1701,"zanCount":280,"manualWeight":11,"mainColor":290},217004,"wu-bai-luo-han-zhi-guan-she-li-guang-tu-zhou-ji-chang-217004","五百罗汉之观舍利光图","周季常","波士顿美术馆","画的顶部是一个高高的悬崖，有一个瀑布，太阳照在云层之上，有三道灵光照下来，每道灵光都有一个小孩子拿着棍子。下面，在松树、柏树和岩石之间，五个罗汉庄严地抬头。",[23,24,60,26,209,165,786,86,29,30,7,31,1725],"神兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20e2fafd5ebc853e0a35328f40becb95.jpg","111.5x53.1",[],{"id":1730,"slug":1731,"title":1732,"dynasty":295,"author":750,"museum":260,"description":1733,"tags":1734,"thumbUrl":1735,"material":107,"size":107,"collection":48,"collections":1736,"showCount":1738,"zanCount":11,"manualWeight":11,"mainColor":94},237873,"shan-shui-tu-zhou-kun-can-237873","山水图轴","髡[kūn]残（1612-1692），清画家。本姓刘，出家为僧后名髡残，字介丘，号石溪、白秃、石道人、石溪道人，残道者、电住道人。湖广武陵（今湖南常德）人。与石涛合称“二石”，又与八大山人，弘仁，石涛合称为“清初四画僧”。好游名山大川，后寓南京牛首山幽栖寺，与程正揆交往密切。擅画山水，师法王蒙，喜用干笔皴擦，淡墨渲染，间以淡赭作底，布置繁复，苍浑茂密，意境幽深。善书法，能诗。存世作品有《层岩叠壑图》《卧游图》《苍翠凌天图》《清髠残江上垂钓图》等。",[24,61,27,26,60,121,85,29,64,31,7,226,33,65,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F517a9cc096f9e8a965e8e054e4adea5b.jpg",[48,1737],"书法精选",58,{"id":1740,"slug":1741,"title":1742,"dynasty":18,"author":1239,"museum":260,"description":1743,"tags":1744,"thumbUrl":1745,"material":107,"size":107,"collection":107,"collections":1746,"showCount":1738,"zanCount":280,"manualWeight":11,"mainColor":52},227514,"ting-pu-tu-mi-fei-227514","听瀑图","北宋·米芾《听瀑图》(传)，纸本，42x35厘米，美国弗利尔美术馆藏。世已无米芾画迹传世，应该是明、清好事者按记载中的米芾画法为蓝本而进行的臆造之迹。\n\n元代以后，由苏轼（1037-1101）、米芾等人倡导的“文人画”审美趣味大为发展，并逐渐成为画坛主流，苏轼、米芾等人因首倡之功而备受推崇。一些“文人画”家和持“文人画”观点的理论家更是将米芾提升到画圣的高度。\n\n晚明大书画家、理论家董其昌（1555-1636）便极力推崇米芾，他说：“诗至少陵，书至鲁公，画至二米，古今之变，天下之能事毕矣。”在董其昌看来，米芾不仅是严格意义上的画家，而且还是一代宗师，画史地位是非常高的。\n\n董其昌在整个明清画坛的影响是毋庸置疑的，米芾因董其昌的极力推崇，在明清画坛上牢牢占据着重要地位。清书画鉴赏家卞永誉（1645-1712）评米芾画：“岂知南宫迥不群，一扫千古丹青尘。”显然，卞永誉也将米芾作为开宗立派的大家看待",[23,100,24,60,61,365,29,86,7,436,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b61a781aa7191005d890d7f6abbfaf4.jpg",[],{"id":1748,"slug":1749,"title":1750,"dynasty":132,"author":1311,"museum":175,"description":1751,"tags":1752,"thumbUrl":1753,"material":946,"size":1754,"collection":48,"collections":1755,"showCount":1738,"zanCount":11,"manualWeight":11,"mainColor":52},222035,"xi-tang-shi-yi-tu-zhou-dai-jin-222035","溪堂诗意图轴","图绘群山环绕中，泉水汇于山涧，桥上一童子置琴而过，对面草堂内一老者坐于凳上手执诗文认真观看；远处山峰险峻，树木葱郁，几座亭台隐约显现。本幅图采用典型的对角线构图，以斧劈皴勾画石头的轮廓，以焦墨中锋画出树木虬劲枝干，层次感突出。",[23,100,24,60,26,61,165,27,29,210,34,63,31,7,86,30,35,87],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f8e0f302f05704359484a669d345933.jpg","194x104cm",[48,49],{"id":1757,"slug":1758,"title":1759,"dynasty":295,"author":350,"museum":260,"description":1760,"tags":1761,"thumbUrl":1762,"material":123,"size":107,"collection":48,"collections":1763,"showCount":1764,"zanCount":11,"manualWeight":11,"mainColor":52},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。",[100,24,60,26,61,27,29,210,63,31,30,120,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc7418118584b0267cf220052b12893a.jpg",[48,49],57,{"id":1766,"slug":1767,"title":1768,"dynasty":115,"author":1769,"museum":20,"description":1770,"tags":1771,"thumbUrl":1783,"material":1784,"size":1785,"collection":48,"collections":1786,"showCount":1764,"zanCount":280,"manualWeight":11,"mainColor":52},231383,"qing-jiang-chun-xiao-tu-wu-zhen-231383","清江春晓图","吴镇","图画清江两岸的美丽风光。江之左岸，高山耸立．巍峨壮观，笔直的山峰直插云天。远山采用水墨渲染，用淡墨勾勒出山之轮廓，隐约可见连绵起伏之势。主景画平缓的山坡，坡上的苍松翠梧只是用笔尖画出一些小点点，但山泉和因落差形成的瀑布倒挂于两山之间，却清晰可见。主景的高山，巨峰陡然耸立，占据了画面的二分之一强。山峰采用渴笔擦皴法，山峰壁削，山坡平缓都画得非常形象逼真。山巅之上，花草树木也是采用写意的画法，用笔尖墨点来表现。只有山角下、河岸边的松林方可见其真面目，树干、树叶等，一一画出。幽寂的山谷间，有亭台楼阁，有的画其全貌，有的只画楼之一角。山脚坳中有平房数间，掩映在松树林中。从左至右，平房所处的山石之间，有三座木桥相连。清江右岸江心岛上，也有平房数间，由坡岸到江心岛，由两座木桥相连。可谓小桥流水人家，一派世外桃源的平和景象。江中心一叶扁舟，顺流而下。船上四人，或高谈阔论，或尽情欣赏清江两岸的大好风光。这些舟桥，既以其小巧与大山相映成趣；又起到了将画面各处景物连贯为一个有机整体的作用，在构图上很见匠心。 ‘\n此图描绘清江两岸的美丽风光。此画可以分为远景、中景、近景三段式。远景即江之左岸，山峦叠嶂，山峰林立，山巅主峰耸立，直插云天，整体山势巍峨壮观，山坡左侧的山泉和落差形成的瀑布倒挂于两山之间，奔腾直泻，如一匹银白帛布在风中吹拂似的。山坳或山坡平坦处筑有庙宇亭台楼阁，有的仅露出一角，有的半露半隐，屋宇楼阁，用笔工整细致，近似界画。山脚下河岸旁，树木成林，排列齐整，在丛林荫下座落几间房舍，溪水两岸有一座板桥相连接。中景为宽阔的河水，河面平静如镜，无一丝波纹，唯有小扁舟在河面中心荡漾，小舟上坐有四五人，十分悠闲自然，或论经说道，或尽情地观赏清江两岸的山山水水。人物用笔极简练，寥寥数笔一挥而就，但各人的神情、姿态各异，生动逼真，可见作者有着极强的写实能力。近处即为此画的主景，在崎岖不平的丘陵上，山势较为平缓，平坡上长有苍松翠柏，江心岛上也有房舍数间，各江心岛皆架有木桥，用来接连坡岸。可谓小桥流水人家，一派世外桃源的平和景象。这些舟桥，虽比例较小，不曾起眼，但它们却以其小巧与大山相映成趣，又将整个画面各处景物连贯在一起，有机地组成一个和谐的整体，在构图上别具匠心。此画远山采用水墨渲染，用淡墨勾勒出山之轮廓，然后加以皴擦，坡上的苍松翠柏只是用笔尖勾画出一些小点点，以介字点树叶，山峰采用渴笔皴法，山巅上的花草树木采用写意的画法，用笔尖墨点来表现。",[24,399,61,1772,849,1773,27,1662,179,7,1774,1775,1776,1777,1778,1779,152,40,400,1780,86,1781,1782],"渴笔皴法","界画","山泉","亭台楼阁","房舍","木桥","清江","扁舟","江心岛","世外桃源","平和","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78c6ab37569f3f8b0024781bd1f59370.jpg","墨笔画","纵114．7厘米，横100．6厘米",[48],{"id":1788,"slug":1789,"title":1790,"dynasty":132,"author":761,"museum":351,"description":1791,"tags":1792,"thumbUrl":1793,"material":1794,"size":1795,"collection":48,"collections":1796,"showCount":1797,"zanCount":280,"manualWeight":11,"mainColor":52},236933,"qian-yan-wan-he-tu-zhou-wu-bin-236933","千岩万壑图轴","图绘千岩万壑，层林飞泉，楼阁幻隐，景致幽僻，雄奇险峻，超情入神，骇目洞心。构图繁缛而不迫塞，笔法严整清峭，山石皆以缜密细笔勾皴并以淡墨晕染，突出了山体的阴阳向背和突兀嶙峋。画面的云气弥散在前后重叠的奇峰之间，并以墨色的浓淡分出山间树木枝叶的前后层次，从而使整幅具有丰厚的立体感。\n《画史会要》称吴彬：“善山水，布置绝不摹古，皆对真景描写。”实际上，吴彬画中的山水仍受古画的影响，但其境界主要来自其云游各地之奇景，加之想象而得。作者的绘画能从古人窠臼中脱迈而出，又深受自然界山水之熏陶，因而在明末的山水画坛迥异时流，独树一帜。",[24,26,61,27,29,640,65,31,226,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e68b23f635d47b17a1c9a8d30178a5e.jpg","绫本，设色","纵170.5厘米，横46.7厘米",[48,49],56,{"id":1799,"slug":1800,"title":1801,"dynasty":132,"author":1495,"museum":351,"description":1802,"tags":1803,"thumbUrl":1805,"material":1806,"size":1807,"collection":107,"collections":1808,"showCount":1797,"zanCount":280,"manualWeight":11,"mainColor":94},234121,"fang-mi-shan-shui-tu-juan-chen-chun-234121","仿米山水图卷","图中山峦隐现起伏不断，雾气弥漫，杂树成林，山涧泉 水激流入江，屋舍茅亭、渔翁小舟、板桥雅士点缀其间。画面上云烟飘渺，草木华滋，笔法纵肆，神变万状，墨沈淋漓，苍茫浓郁，气韵生动。虽为仿米之作，却自具风貌。",[24,60,82,61,29,83,1804,35,31,30,7,210,63,179,340,66],"米点皴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f59ad95d193c191833e0c060f6d0654.jpg","纸本水墨","纵14．8厘米横247．2厘米",[],{"id":1810,"slug":1811,"title":1812,"dynasty":18,"author":526,"museum":260,"description":1813,"tags":1814,"thumbUrl":1815,"material":107,"size":107,"collection":107,"collections":1816,"showCount":1797,"zanCount":11,"manualWeight":11,"mainColor":94},227726,"song-xia-guan-pu-xia-gui-227726","松下观瀑","《松下观瀑图》为南宋画家夏圭所作。右下山石处款署“夏圭”。\n\n图绘一瀑布飞流，水边峭壁悬一古松。一高士坐于松下观赏飞瀑。\n夏圭，临安人（杭州），生卒年不详，字禹玉，中国著名山水画大家，南宋四家之一，与马远、刘松年、李唐齐名。在南宋画坛，他与著名画家马远合称“马夏”。他没有入官，但进入过南宋画院担任待诏工作。\n\n据文献记载，夏圭在绘画上入手学习的是人物画，但不久以后他转入了山水并作为主攻方向。夏圭学习过李唐、范宽、米芾、米友仁的山水画技术，并主要以李、范为根基。夏圭在笔墨构建上，倾向于苍劲、开张、有力的特色，所以他的山水画有滋润淋漓之美。山水画技术中，有一种皴法泥里拔钉皴，就是夏圭首先运用的。这种皴法先用淡墨铺底染，然后根据其湿度状况，加以浓墨勾皴，使得浓淡墨达到理想的交融状态，视觉上有层次丰富之效果。\n\n夏圭更为人称道的是他的构图法。他经常只取景施绘在画面的一部分，而空出另一部分。这种处理法的好处是将重点突出，让欣赏者有更佳的代入感。因此人们将夏圭这种方式称作“夏半边”，它与马远的“马一角”并称南宋画坛。\n\n夏圭的作品传世至今尚有不少珍品，其中冠名为他的绘画有长卷画《江山清远图》、《长江万里图》等。有其他立轴、方幅画《溪山无尽图》、《溪山奇观图》、《山川钟秀图》、《雪山图》、《松崖客话图》、《溪山清远图》等。这些作品大多收藏在北京故宫博物院、台北故宫博物院等著名机构中。",[23,24,60,100,529,61,27,29,152,7,86,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea35dcf8553220d48caebb48114605af.jpg",[],{"id":1818,"slug":1819,"title":1820,"dynasty":132,"author":1821,"museum":20,"description":1822,"tags":1823,"thumbUrl":1825,"material":61,"size":1826,"collection":48,"collections":1827,"showCount":1797,"zanCount":11,"manualWeight":11,"mainColor":94},222184,"han-shan-shi-liu-tu-zhou-zhao-zuo-222184","寒山石溜图轴","赵左","赵左（1573—1644）左一作佐，字文度。活跃于明代后期。万历、崇祯时华亭（今上海松江）人。\n赵左，为诸生时，诗文即出众，曾赴北京，以一首秋草诗一鸣惊人，人呼为“赵秋草”。后得顾正谊赏识，让他与宋懋晋向好友宋旭学画，此后画名渐显。山水师法董源，兼学黄公望、倪瓒。画云山以己意出之，有似米（芾）非米之妙。善用干笔焦墨而又长于烘染，后受董其昌的画风影响，形成笔墨灵秀、设色雅致的风格。他与弟子沈士充、朱轩、叶有年、陈廉、李肇亨等构成的艺术群体，被人们称为“苏松派”。论画主张要得所画物象之势，应取势布景交错而不繁乱。因一生穷困，曾为董其昌代笔。所著《大愚庵遗集》已失传，散落的诗文由其子搜辑成一集存世。传世作品有万历三十九年（1611）作《秋山幽居图》扇面（藏上海博物馆）、万历四十年（1612）作《溪山无尽图》卷）收录于《中国绘画史图录》下册）、万历四十四年（1616）的《长江叠翠图》卷（藏中国美术馆）等。另有藏于故宫博物院的《富春大岭图》卷，台北故宫博物院藏《寒江草阁图》轴及上海博物馆藏《仿大痴秋山无尽图》卷、《山水卷》等。\n绘画特色:\n一、师从宋旭。宋旭（1525-？年），字初旸，号石门，浙江湖州人，后徙居上海松江，以画山水最为擅长，主要师法“明四家”之一的沈周，风格雄劲古拙，为“松江派”之祖。赵左的山水画是以宋旭为基础，上溯源流，追摹董源、倪瓒笔意，兼采米氏云山与黄子久浅绛法，善用干笔焦墨，长于烘染，水墨湿润，极富神韵。清王原祁《佩文斋书画谱》中即有云：“（赵左）学于宋旭……其画宗董源，兼有黄公望、倪瓒之意。\n二、受董其昌山水画影响。董其昌是明代后期书画大家，其山水画理论与实践影响了明末乃至清代山水画的发展，加之董氏社会地位显赫，官至南京礼部尚书，以太子太保致仕，结交了大量的仕宦、文人和书画家，因此名重一时，影从者甚众。由于董其昌是松江人氏，因此当时松江地区的许多画派都以追随董氏，强调摹古，重视笔墨为潮流，而赵左身处其间，在绘画创作上受乡贤之影响也是必然的。\n赵左与董氏是翰墨挚友，并有着长期的书画交往，是董氏绘画最重要的代笔人之一。对此，清朱彝尊（1629-1709年）在《论画绝句十二首》中指出“隐君赵左僧珂雪，每替香光应接忙。泾渭淄渑终有别，漫因题字概收藏。”又朱氏自注云：“董文敏疲于应酬，每倩赵文度及雪公代笔，亲为书款。” 同时，清姜绍书（生卒年不详）在《无声诗史》中亦有云：“与董思白为翰墨友，流传董迹，颇有出文度手者。”可见，赵左为董氏代笔在当时已是公开的秘密，这也从一个侧面反映了赵左在绘画上的功力确是不凡。\n赵左绘画作品《山水册》，现由金陵天渡楼收藏。\n当然，赵左为董其昌代笔与董氏原作是有本质区别的。赵氏长于烘染，在树木等的刻画上立体感强，层次繁复，风格细润，于绘画技巧上更为精能，但笔墨功力与董其昌相比则略显单薄，这主要是由于董氏所具有的超凡书法功底是赵左力所不逮的。赵左作为“松江派”山水的领袖，自具有其独到之处。《无声诗史》记其论画一则，阐述了他对山水画创作的艺术见解。他主张画山水，须得山川林木、楼观舟车、人物屋宇之势，做到取势布景，交错而不繁乱；景物布置,须一一自然合理；景色先以朽笔勾出，然后落墨,使景致、笔墨交融，成画后才富有意味。\n他创作的山水画，亦力求体现这些思想。景物大多较为繁复，有时画烟岚云雾流动于层峦叠嶂、坡谷幽溪涧；并以斜径、溪桥、房屋、树木,掩映穿插。笔墨方面,或用浓、湿、浅、淡的墨色染出山峦向背，同时渍出浮动的白云；或作浅绛设色，与笔墨的运用相融。还经常参用米氏父子、黄公望、倪瓒等画家的不同画法\n他的山水画秀劲飘逸的韵致也吸引了一大批松江画家追随其左右，如赵泂、叶有年、吴振、释常莹等，都从学于赵左绘画，使得明末清初的松江画坛呈现出一派生机盎然的景象。而赵左的许多作品也为时人和后世视为世袭之珍。",[23,100,24,60,26,61,27,30,196,35,7,1824,1418,29],"小亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdc4008b1851240fd1b92482966a63c8.jpg","52.7x36.9厘米",[48,383],{"id":1829,"slug":1830,"title":1831,"dynasty":295,"author":574,"museum":351,"description":1832,"tags":1833,"thumbUrl":1836,"material":213,"size":1837,"collection":581,"collections":1838,"showCount":1797,"zanCount":11,"manualWeight":11,"mainColor":52},219870,"song-xian-ying-zhi-tu-zhou-lang-shi-ning-219870","嵩献英芝图轴","正中是一只兀立于石上的白鹰，画面的右边是一棵弯曲盘绕的老松，还有一棵藤萝攀绕着松树枝干，松树的根部和石头的缝隙之间有灵芝数株，画幅左边为坡石以及急湍的溪流。 图中所绘苍松、雄鹰、灵芝、山石、流水，在中国文化中多有强健、长寿和吉祥的美好寓意。但在色彩上，鹰白、松绿、芝棕红、土坡绛色和藤萝花粉紫，却是不同于中国传统、属于郎世宁风格的鲜明、绚丽和浓重。",[23,100,24,60,26,209,165,1834,152,7,30,578,1835],"中西合璧","灵芝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35ede8b111d7cac1c43336e0de1b2972.jpg","纵242.3cm，横157.1cm",[581],{"id":1840,"slug":1841,"title":444,"dynasty":18,"author":162,"museum":260,"description":1842,"tags":1843,"thumbUrl":1846,"material":105,"size":265,"collection":107,"collections":1847,"showCount":1848,"zanCount":11,"manualWeight":11,"mainColor":52},288259,"jiang-shan-xiao-jing-tu-li-tang-288259","《江山小景图》描绘的是沿江的山水景观，可以分成上下两部分，画面上部，江水粼粼，空阔旷远，风帆出没其间。画面下部，横列一排山峰，高低参次，连绵不断。山峰上丛林密布，宫观楼阁，半隐半现。此图采用了上留天，下不留地的构图方式，风格既继承北宋传统，又暗示南宋特色。",[23,100,24,60,82,61,165,27,29,178,210,1844,7,1845,65,195],"林木","江河","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ed7674380b1a209bd4836ce4ffa81e0.jpg",[],55,{"id":1850,"slug":1851,"title":1852,"dynasty":132,"author":1608,"museum":20,"description":1853,"tags":1854,"thumbUrl":1855,"material":44,"size":1856,"collection":107,"collections":1857,"showCount":1848,"zanCount":11,"manualWeight":11,"mainColor":52},231347,"fang-zhang-seng-yao-shan-shui-tu-lan-ying-231347","仿张僧繇山水图","该幅《明蓝瑛仿张僧繇山水图》轴便充分体现了蓝瑛的绘画风貌。纵观全画，山水相接，红树青岩、小桥流水、白云缭绕，好一派洁净幽奇、绝妙脱俗的仙境！画中水天交融，近处流淌的湖水与远处的天际自然地连接在—起，从而产生一种宽阔辽远之感，同时也把山、石、树木自然地烘托出来。山石的突兀和树木的复杂变化与水天合一的平静简洁形成了鲜明的对比。河岸上峦石林立、叠叠错错，石崖间挺立着各种姿态野逸、遒劲的树木，它们深深地扎根于硬石之中，充分展现了其顽强的生命力。层层推远的山石和错落有致的树木逶迤远去，一直延伸至远处群山的云雾升腾处，引导观者将视线层层推进。",[24,60,26,83,165,639,29,137,210,461,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5c68735d15e53cd740fe2ea977fefb3.jpg","纵177厘米，横91厘米",[],{"id":1859,"slug":1860,"title":1861,"dynasty":18,"author":482,"museum":351,"description":1862,"tags":1863,"thumbUrl":1865,"material":44,"size":1866,"collection":46,"collections":1867,"showCount":1848,"zanCount":11,"manualWeight":11,"mainColor":290},223603,"qiu-shan-hong-shu-tu-zhou-yi-ming-223603","秋山红树图轴","绘千岩万壑，飞瀑流泉，红树满山。山下水榭楼台隐现苍松林木间，意境深邃幽远。人物众多，神态各异，形象生动。山石多大斧劈皴描绘，具峭劲挺拔质感。经霜红叶点缀丛树间，增添秋景萧瑟气氛。风格与李唐相近，技艺稍逊，当为传人画作。",[23,24,100,60,26,165,29,708,565,7,34,63,1864,65,31,640,38,27],"亭子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6349a3c7dd2d9bcdb8c6e7b79d431705.jpg","197.8x111.8",[46,48,49],{"id":1869,"slug":1870,"title":1871,"dynasty":295,"author":597,"museum":1872,"description":1873,"tags":1874,"thumbUrl":1876,"material":1062,"size":1877,"collection":107,"collections":1878,"showCount":1879,"zanCount":11,"manualWeight":11,"mainColor":52},223159,"bai-lu-tu-shen-quan-223159","柏鹿图","苏州博物馆","此图绘在柏树之下、溪流岸边，两只梅花鹿一立一卧，均仰视远方。图中鹿的描绘十分工整、细腻，山石的点染、溪波的勾勒也有类似笔调，尤为细致而并非完全写实，画面既真实又不泥于细节。\n此画场面雄奇壮阔，波涛汹涌的溪边，在坡石平地处，幽憩着两只梅花鹿：其中一只雄性的梅花鹿屹立于坡上，二足着地，前左腿略微弯曲上提，仰首远眺，汲角往后，短尾微翘，背复部梅花斑纹清晰可见；另一只雌性梅花鹿，卧伏于山石上，两耳耸立，伸着脖颈，双目远视，画面下端为山石横卧，山石下急流滚滚，波纹起伏。在画幅右侧下坡石后，一棵巨大的柏树拔地而起，树干粗壮，枝干曲直向上，虬枝盘旋，相互交织在一起，其中有数枝横入画幅左侧和中部。在画幅打上侧款署“乾隆丙寅二秋”即1746年。\n此图极为清丽活泼。画面内容是柏树下、溪流畔的风景，两只梅花鹿一立一卧，神态悠然，动态生动，极是传神。最为引人注意的是鹿的描绘，十分工整、细腻，山石的点染、溪波的勾勒也有类似笔调，十分细致而并非完全照抄写实，显得画面既真实又不泥于细节。\n画家所作笔墨用意有二：其一，横出的柏树枝叶，使上端牢旷的画面得以填补，起到了使画面构图充满和平衡作用；其二，浓密枝叶形成大片的树荫，正是梅花鹿憩息最好去处和场所。在古柏后有石壁远崖，隐约可见山涧泉水顺流而下，汇聚在宽阔无际的江河中，构成一幅清丽娴雅的景致，令人心旷神怡。作者在创作此画时，特别注意虚笔在背景处理中的运用，虚实相生，阴阳分明，赋色妍丽清雅。此画题材富有吉庆寓意。",[23,100,24,60,209,165,600,29,601,1875,7,30,602],"柏树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e97721781d653cc08291b2edf0edcd7.jpg","纵98 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右侧的浓云以细笔勾轮廓，淡墨渲染，生动地刻画出云朵急速翻滚变化之态。蜿蜒的山体，盘旋的山径，翻转的云朵，流动的瀑布，溅起的浪花，共同营造出深山中风云激荡、大雨欲来之势。画面最具静感的是右下角的木桥，并行平直的线条，两侧的过廊，皆增加了桥体的稳定感，而这些则更加衬托出整幅画面的撼人之气。该图画风沉郁清壮，用墨朴茂湿润，主要仿自元代吴镇，而清丽秀润之笔法则与吴镇的厚重粗犷有别。",[23,100,24,399,61,27,64,1954,7,34,63,1955,1956,31,1957,1958,1959],"云朵","山径","村落","风云激荡","大雨欲来","沉郁清壮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba447da9f4712e289e7effc13da529d0.jpg","纵165.7厘米，横95厘米",[48,49],{"id":1964,"slug":1965,"title":375,"dynasty":132,"author":1966,"museum":836,"description":1967,"tags":1968,"thumbUrl":1969,"material":276,"size":1970,"collection":48,"collections":1971,"showCount":1926,"zanCount":11,"manualWeight":11,"mainColor":94},219929,"fang-wang-meng-shan-shui-tu-lu-zhi-219929","陆治","陆治，生于明弘治九年（1496）。先世河南开封人。高祖父陆定，遁眷来吴门，宅于包山。父陆铭，字汝新，号有竹。受《易》于文洪，学养冠于郡诸生。纯孝笃义，综博工文，弟子黄省等多为名士。陆治居家为长子，家学渊源，又为祝允明、文徵明弟子，以诸生为名士。倜傥嗜义，以孝友著称。少喜游历，晚年隐居，种菊于文硎山。万历四年（1576年）卒。",[24,60,26,165,27,29,136,326,7,31,30,210,86,1379,87,354],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc4a5d49c35fa8d620e4d5c40c0a0ba0.jpg","122.5x35.5",[48],{"id":1973,"slug":1974,"title":1975,"dynasty":132,"author":1976,"museum":235,"description":1977,"tags":1978,"thumbUrl":1979,"material":276,"size":1980,"collection":48,"collections":1981,"showCount":1982,"zanCount":11,"manualWeight":11,"mainColor":52},217062,"gao-shi-guan-pu-tu-sheng-mao-ye-217062","高士观瀑图","盛茂烨","这幅画是一块巨石耸立在瀑布上，平台上有几位高僧在观看瀑布，乐在其中。这幅画笔力雄浑，滴水不漏，有劈泉裂石之势，而其树木山石都与古人的血脉相连。",[23,24,61,165,209,27,29,86,7,34,31,65,210,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f72bd5bed6ccdc8ef477233ace97724.jpg","156x88cm",[48],51,{"id":1984,"slug":1985,"title":1986,"dynasty":18,"author":191,"museum":260,"description":1293,"tags":1987,"thumbUrl":1988,"material":105,"size":265,"collection":107,"collections":1989,"showCount":1990,"zanCount":280,"manualWeight":11,"mainColor":52},287580,"qing-luan-xiao-si-tu-tiao-se-ban-li-cheng-287580","晴峦萧寺图（调色版）",[100,24,26,61,27,29,1773,195,34,63,196,30,7,1295],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe32453f235b0bbb4ac2f9aaa3730c96.jpg",[],50,{"id":1992,"slug":1993,"title":1994,"dynasty":295,"author":1995,"museum":260,"description":1996,"tags":1997,"thumbUrl":1998,"material":107,"size":107,"collection":107,"collections":1999,"showCount":1990,"zanCount":11,"manualWeight":11,"mainColor":52},238227,"qian-long-huang-di-song-yin-hui-bi-heng-zhou-zhang-zong-cang-238227","乾隆皇帝松荫挥笔横轴","张宗苍","《张宗苍等乾隆皇帝松荫挥笔横轴》是清乾隆时期 等绘制的一幅画。\n款识：“乾隆十八年四月臣张宗苍奉勅恭绘。\n”下钤二朱文方印“张”、“宗苍”。\n“ 十八年”即175年，乾隆皇帝时年4岁。\n画幅右上乾隆皇帝御题五言诗：“松石流泉间，阴森夏亦寒。\n构思坐盘陀，飘然衫带宽。\n能者尽其技，劳者趁此闲。\n谓宜入图画，匪慕竹皮冠。\n癸酉夏日题。\n”下钤“即事多所欣”白文方印、“乾隆御笔”朱文方印。\n该诗文与张宗苍于同一年奉勅绘的《 》轴所题内容相同。\n图绘 一身文士装扮，提笔创作的形象。\n乾隆皇帝作为清王朝盛世期的统治者，闲暇之余广学博览，不仅孜孜不倦地学习汉文化，并且积极地参与文学创作，其诗文绝大部分是其从政、巡幸、筵宴、读书、玩赏等活动中的即兴之作，诗意多平淡，缺少文学艺术性，但具有一定的史料价值。\n据统计，其仅御制诗就达4万余首，尚不包括他即位之前的《 》7余首和其他零星作品，虽然其中有的诗是经翰林词臣们润色或代笔，并为之作注的，但是，其作品数量之大，仍然冠历朝作者之首。\n乾隆皇帝出于对写诗作文的喜爱，常谕令宫廷画家们绘制他在创作时的儒雅形象，此图便是其中之一。\n图中乾隆皇帝的画像写实逼真，其冥思苦想的表情传神生动。\n山石连皴带染，以无规则的墨点作苔点，既得厚重之力，又得灵动之美。\n挺拔的松树以劲键有力、娴熟的笔法表现，营造出满目苍翠的神仙之境，与乾隆皇帝洒脱高逸的文人形象相契合。\n张宗苍（1686—1756年），字默存，一字墨岑，号篁村、蔗翁、太湖渔人，晚称瘦竹，吴县（今江苏苏州）人。\n师承清代娄东画派的传人黄鼎，擅画山水。\n初以主簿理河工事。\n清乾隆十六年 （1751年）高宗南巡，以绘《吴中十六景》画册敬献，称旨，命入都祗候内廷。\n十九年（1754年）授户部主事。\n其山水画用笔沉着，山石多加积染，表现出深远的意境，具有苍劲秀雅之风，深得高宗皇帝赏识，成为乾隆朝宫廷的重要画家。\n《石渠宝笈》著录画作116件。\n71岁时卒于故里。",[100,24,60,1160,61,165,27,152,86,29,65,7,33,461],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8df7f2229ff6e2483b5711f97d5f894d.jpg",[],{"id":2001,"slug":2002,"title":2003,"dynasty":132,"author":408,"museum":826,"description":2004,"tags":2005,"thumbUrl":2006,"material":123,"size":2007,"collection":107,"collections":2008,"showCount":1990,"zanCount":280,"manualWeight":11,"mainColor":52},231837,"qi-feng-gao-yin-tu-tang-yin-231837","奇峰高隐图","弘治十年（1497年），唐寅参加录科考试期间与好友张灵宿妓喝酒，放浪形骸。提学御史方志十分厌恶这种行径，唐寅在录科考试中名落孙山。苏州知府曹凤爱惜人才，为唐寅求情，方志录于榜末。注：方志，字信之，成化二十三年进士。 弘治十一年（1498年），唐寅中应天府乡试第一，在他的《领解元后谢主司》一诗之中写道：壮心未肯逐樵渔，秦运咸思备扫除。剑责百金方折阅，玉遭三黜忽沽诸。红绫敢望明年饼，黄绢深惭此日书。三策举场非古赋，上天何以得吹嘘。唐寅作《送文温州序》和《金粉福地赋》。 弘治十二年（1499年），唐寅与江阴徐经入京参加会试，因牵连徐经科场案下狱，后被罢黜为吏。 弘治十三年（1500年），唐寅被罢黜为浙藩小吏，个人深以为耻坚决不去就职。唐寅归家后夫妻失和，休妻。",[23,24,60,26,165,27,29,640,34,63,31,30,7,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24db9aed0cc0e34002c0bec4c6d5e69f.jpg","75x56",[],{"id":2010,"slug":2011,"title":2012,"dynasty":132,"author":2013,"museum":762,"description":2014,"tags":2015,"thumbUrl":2018,"material":123,"size":2019,"collection":581,"collections":2020,"showCount":1990,"zanCount":11,"manualWeight":11,"mainColor":52},222391,"si-xi-tu-li-zhou-lv-ji-222391","四喜图立轴","吕纪","吕纪（1429～1505），字廷振，号乐愚，鄞（今浙江宁波）人。明代画家。\n其花鸟初师边景昭，又学林良，并广泛师法唐宋诸家，所作有工笔重彩和水墨写意两种画法，前者描绘精工，色彩富丽，法度谨严；后者粗笔挥洒，随意点染，简练奔放，富有气势和动感。其山水宗法马远、夏圭，以大斧劈皴画山石，苍劲有力。人物亦法南宋院体，衣纹线条简练顿挫。初学边景昭工笔法，亦受林良水墨法影响，后临仿唐宋诸家名迹，遂自成一体，独步当代。其花鸟画风呈两种面貌，一作工笔重彩，精工富丽，多绘凤鹤、孔雀、鸳鸯之类，辅以树木坡石、滩渚流泉背景，既具法度，又富生气。另一类为水墨写意画，粗笔挥洒，简练奔放，接近林良的风格。他亦兼善人物、山水，宗法南宋马远、夏圭画法。他的花鸟画风在当时宫廷内外影响甚大，继承者不乏其人。\n明弘治年间，入值仁智殿，官至锦卫指挥使，是明代与边景昭、林良齐名的院体花鸟画代表画家。其绘画风格可分为两大类，一类是以水墨为主略淡彩，用笔较为豪纵，另一类则是设色浓丽，用和工致，具有富丽的宫廷装饰趣味。吕纪由水墨淡色画转为工笔重设色画，更直接的原因是为了适应不同皇帝的不同口味，具体说来就是弘治皇帝朱祐樘的欣赏口味不同于他的父辈成化皇帝朱见深，从而造成了吕纪多画凤凰、雉鸡、仙鹤、孔雀、鸳鸯之类，杂以花木草石，具有生气。工笔着色与水墨写意能，并善于将两体结合。吕纪初学唐宋各家和同时代的边景昭，后形成自己的风格。他的花鸟设色鲜艳，生气奕奕，被称为明代花鸟画第一家。据说吕纪在画作上常用寓意手法对皇帝劝谏，皇帝知其用心，曾说：“工执艺事以，谏吕纪有之。”其代表作品有《新春双雉图》《桂花山禽图》《残荷鹰鹭图》《秋鹭芙蓉图》《五德大吉图》 《狮头鹅图》等。\n吕纪，1477年生，鄞州（今浙江宁波）人。字廷振，号乐愚，弘治间（1488-1505）供事仁智殿，弘治间征入宫廷，为宫廷作画，供奉仁智殿，官锦衣卫指挥。擅画临古花鸟，初学边景昭，后研习唐宋诸家名作，继承两宋“院体”，以工笔重彩，又在水墨写意方面受林良影响。\n远宗南宋院体格，廷续了黄筌工整细致的画风及钩勒笔法，并予以发扬，多以凤凰、仙鹤、孔雀、鸳鸯之类鸣禽为题材，杂以浓郁花树，画面绚丽。亦作粗笔水墨写意者，笔势劲健奔放，与林良相近，与边景昭同为明代院体花鸟画中的临古派代表。传世作品有《桂菊山禽图》《榴花双莺图》《雪景翎毛图》《浴凫图》等。除画花鸟外，偶尔也画人物山水。他主要是以工整精丽的院体传统作画，造型准确，设色鲜艳。但也能画活泼生动兼工带写的花鸟画。他的画生动，笔墨清新，是当时与边景昭、林良齐名的花鸟名家。他作画时，常以寓意手法规谏皇帝，故明孝宗曾说：“工执艺事从谏，吕纪有之”。他是与边景昭、林良齐名的院体花鸟画代表作家。《狮头鹅图》，绢本，设色。纵191厘米，横104厘米。工笔画狮头鹅，侧身曲颈回顾古梅，鹅身洁白如玉，眼睛刻划有神，形象生动。古梅干枝苍劲，生机勃勃。树下衬以太湖石、月季花，石后有双勾竹隐露，色彩艳丽，衬托出狮头鹅之白身红冠。是明代院体花鸟画的杰作。款署“吕纪”。现藏辽宁省博物馆。\n《榴花双莺图》写石榴一枝，蘩花盛开，一对黄鹂栖于枝头，一上一下，鸣啼相应，神态活泼。工笔重彩，钩勒填色，绚丽多彩为明代中期院体画的典型风格。\n相比画家，吕纪的另一个身份更令人吃惊——历经明代成化、弘治、正德三代，官至锦衣卫指挥使(秘密警察头目)。吕纪的花鸟绘画，水墨淋漓，气势宏大，甚至是日本屏风画的来源之一。《柳荫双鸭图》和《幽涧双鹭图》曾在日本出版的《听松清鉴》中著录，郑振铎在上世纪四十年代遍访流传在海外的中国名画，并在其所编的《域外所藏中国名画》中收录。吕纪的两幅作品不仅是明代全景花鸟画的杰作，也是中国绘画影响日本绘画的证据代表作。",[23,24,165,209,577,26,2016,2017,311,7,30,944],"鹰","喜鹊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35b651d770ecc93ed64e2befaf762c39.jpg","93x51",[581,383],{"id":2022,"slug":2023,"title":2024,"dynasty":18,"author":78,"museum":20,"description":2025,"tags":2026,"thumbUrl":2027,"material":1806,"size":2028,"collection":46,"collections":2029,"showCount":1990,"zanCount":11,"manualWeight":11,"mainColor":52},221408,"long-mian-shan-tu-li-gong-lin-221408","龙眠山图","《龙眠山庄图》亦称《山庄图》，是宋代杰出画家李公麟的白描山水画。画面表现的是由建德馆至垂云片的龙眠山庄图景。自西而东凡数里，岩谔隐见，泉源相属，山行者路穷于此。《宣和画谱》称《山庄图》，可以配王维《辋川图》；《佩文斋书画谱》亦说《山庄图》用王维《辋川图》的画法：“而行笔细润，乃有超越之意”。苏轼为之记，苏辙为之赋诗，凡二十首。《山庄图》既出，便为世人所珍爱。《山庄图》不仅是一幅远离尘嚣的山村风俗画卷，更体现了山庄主人思想倾向和生活情致。苏轼在《题李伯时〈山庄图〉后》说，李公麟在龙眠山，并非留意一草一木，然而《山庄图》“其神与万物交，其智与百工通。”所以他称李公麟为“有道有艺”的画家。",[23,100,24,60,365,27,29,7,31,86,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb03915a38cf74d256514b6749816117.jpg","纵28.9厘米，横364.6厘米",[46,48,49],{"id":2031,"slug":2032,"title":2033,"dynasty":18,"author":307,"museum":20,"description":2034,"tags":2035,"thumbUrl":2038,"material":1062,"size":2039,"collection":107,"collections":2040,"showCount":2041,"zanCount":11,"manualWeight":11,"mainColor":52},288416,"xian-lv-guan-pu-tu-ma-yuan-288416","仙侣观瀑图","此画精妙之处莫过于两位相对而坐的文士所面对的一大片空白——悬瀑飞下，能量极大，激起大量水气，蒸腾弥漫，善用留白的马远在此便以大幅空白来体现。根据透视原理画成的近处的山石和松树体积稍大，略有压迫感，更衬出所留空白通透自然，难能可贵。马远素有“马一角”之名，喜作边角小景。此画虽为立轴，但如此空灵有趣的布局与笔墨，也仍见马远的功力与志趣。",[24,100,26,61,27,29,86,7,152,65,63,2036,2037],"仙侣","观瀑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54f922f451d46e8658cf24b0f7a66217.jpg","148.1x80.1cm",[],49,{"id":2043,"slug":2044,"title":2045,"dynasty":18,"author":526,"museum":260,"description":2046,"tags":2047,"thumbUrl":2049,"material":105,"size":265,"collection":107,"collections":2050,"showCount":2041,"zanCount":11,"manualWeight":11,"mainColor":52},288224,"song-xia-guan-pu-tu-xia-gui-288224","松下观瀑图","夏圭（生卒年不详），字禹玉，临安（今浙江杭州）人，南宋绘画大师。“南宋四家”之一，早年画人物，后来以山水著称。他与马远同时，号称“马夏”。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他的山水画师法李唐，又吸取范宽、米芾、米友仁的长处而形成自己的个人风格。虽然与马远同属水墨苍劲一派，但却喜用秃笔，下笔较重，因而更加老苍雄放。用墨善于调节水分，而取得更为淋漓滋润的效果。在山石的皴法上， 常先用水笔淡墨扫染，然后趁湿用浓墨皴，造成水墨浑融的特殊效果，被称作泥里拔钉皴。传世作品有《溪山清远图》《西湖柳艇图》《雪堂客话图》等。",[23,100,24,529,61,29,152,7,30,86,27,2037,2048],"闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc28ecc0a7025721416ab7cb43a1afd43.jpg",[],{"id":2052,"slug":2053,"title":2054,"dynasty":295,"author":622,"museum":260,"description":2055,"tags":2056,"thumbUrl":2057,"material":105,"size":265,"collection":107,"collections":2058,"showCount":2041,"zanCount":11,"manualWeight":11,"mainColor":94},235564,"lin-ni-zan-xi-ting-shan-se-tu-shan-mian-wang-hui-235564","临倪瓒溪亭山色图扇面","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王” ，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n在绘画理论方面也有较高造诣。其论画主张“以元人笔墨，运宋人丘壑，而泽以唐人气韵。”",[24,60,529,61,83,27,84,85,29,210,137,30,7,179],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9946beb712e3f30922fe588e598acbf8.jpg",[],{"id":2060,"slug":2061,"title":2062,"dynasty":132,"author":1608,"museum":260,"description":2063,"tags":2064,"thumbUrl":2065,"material":107,"size":107,"collection":107,"collections":2066,"showCount":2041,"zanCount":280,"manualWeight":11,"mainColor":52},228424,"fang-zhao-yong-xi-shan-ting-quan-tu-lan-ying-228424","仿赵雍溪山听泉图","此作用笔苍劲老辣，层岩峻拔巍峨，以硬朗皴法写尽山石厚重质感，峭壁间飞泉垂落，似能闻声潺潺。山间林木虬曲多姿，红绿错杂，为幽寂山景添了几分灵动生机。\n\n画面一隅茅庐依水而设，隐士凭坐松下静听泉声，将林泉高致藏于丘壑之中。整体兼具元人山水的疏朗写意与浙派刚健气象，既绘出峰峦雄阔之态，又尽显林下幽居的萧散闲逸，把观泉听涛的雅趣融在山野烟岚里，清寂淡远的林下之逸跃然纸面。",[23,24,100,60,26,61,165,27,29,7,31,1864,65,33,379],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dc4742071ff701ac6e53351aca5f7f5.jpg",[],{"id":2068,"slug":2069,"title":2070,"dynasty":132,"author":772,"museum":20,"description":2071,"tags":2072,"thumbUrl":2073,"material":276,"size":2074,"collection":383,"collections":2075,"showCount":2041,"zanCount":11,"manualWeight":11,"mainColor":52},219340,"jue-he-gao-xian-tu-wen-zheng-ming-219340","绝壑高闲图","深林密荫，悬壁周环，瀑布清冷，淙淙然仿佛可闻流水声。主来客坐，别无其它通径，真有与世隔绝之概。此图与其八十岁所作「古木寒泉」有相通之处，但不及其简链。",[24,60,61,165,27,249,29,86,31,30,7,400,379],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c19e7ef475d412fcce34d90c5a2f1f7.jpg","148.9x177.9cm",[383],{"id":2077,"slug":2078,"title":246,"dynasty":132,"author":1966,"museum":873,"description":2079,"tags":2080,"thumbUrl":2081,"material":276,"size":2082,"collection":48,"collections":2083,"showCount":2041,"zanCount":11,"manualWeight":11,"mainColor":94},218089,"shan-shui-tu-lu-zhi-218089","陆治的山水图以其细腻的线条、精细的绘制技巧和浓郁的气韵而闻名。他对自然的描绘十分精确，能够将山川、河流、草木、云彩和其他自然元素都表现得十分逼真。他的作品中常常会出现山峰突出的场景，比如《凌云图》中的高峰，以及《雁荡图》中的荡秋千的山峰。\n\n陆治还善于表现水的流动，他的作品中常常会出现河流奔流的场景。他还会把水和山结合起来，比如在《凌云图》中就有悬崖峭壁上流出的小溪，以及《雁荡图》中的湖泊和山峰的结合。\n\n总的来说，陆治的山水图以其精细的绘制技巧和浓郁的气韵而闻名，是明朝山水画的巅峰之作。",[23,24,399,27,61,30,31,226,87,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb76928577a7dc880899d9fd527dc9dd1.jpg","139x69.9cm",[48],{"id":2085,"slug":2086,"title":2087,"dynasty":222,"author":259,"museum":260,"description":2088,"tags":2089,"thumbUrl":2090,"material":105,"size":265,"collection":107,"collections":2091,"showCount":2092,"zanCount":11,"manualWeight":11,"mainColor":52},290250,"gao-shan-zhi-yu-tu-ju-ran-290250","高山知遇图","巨然，生卒年不详，江宁（江苏南京）人。五代画家，僧人。\n早年在南京开元寺出家，南唐降宋后到汴京（河南开封），居于开宝寺。\n擅画山水，师法董源，专画江南山水，所画峰峦 ，山顶多作矾头，林麓间多卵石，并掩映以疏筠蔓草，置之细径危桥茅屋，得野逸清静之趣，深受文人喜爱。以长披麻皴画山石，笔墨秀润，为董源画风之嫡传，并称董巨，对元明清以至近代的山水画发展有极大影响。\n名下画作有《秋山问道图》《山居图》《萧翼赚兰亭图》《万壑松风图》《层岩丛树图》《秋山图》等传世。",[100,24,399,26,61,27,1662,34,63,210,7,31,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45fd1673d01e02f62973c92de006d169.jpg",[],48,{"id":2094,"slug":2095,"title":2096,"dynasty":295,"author":1545,"museum":20,"description":2097,"tags":2098,"thumbUrl":2100,"material":2101,"size":2102,"collection":107,"collections":2103,"showCount":2092,"zanCount":280,"manualWeight":11,"mainColor":94},222658,"lu-shan-pu-bu-tu-zhou-gao-qi-pei-222658","庐山瀑布图轴","高其佩（1660年—1734年，一作1672年—1734年），字韦之，号且园、南村、书且道人，别号颇多，另有山海关外人、创匠等。铁岭（今属辽宁）人，汉军镶黄旗人。清代官员、画家，指画的开山祖师。康熙时以荫由宿州知州迁四川按察使，雍正间擢都统，后罢去。工诗善画，所绘人物山水，均苍浑沉厚，尤善指画，晚年遂不再用笔。\n高其佩“扬州八怪李鱓”之师。其艺术才华出众，能诗、工画，他在细绢上所描绘的亭台楼阁、人物、花鸟、鱼虫等等，笔墨精细，设色艳丽，精妙绝伦。他在临摹了大量的前代名人作品，打下了深厚的根基之后，开创了一条新路。大胆地创造出了别具情趣的“舍笔而求之于手”的表现技法。秀水张浦山著的《国朝画征录》中记载：“高且园善指画，画人、山水花鸟、鱼虫、鸟兽，天资超迈，情奇逸趣，信手而得，四方重之”。高其佩指画有“叱石成羊”之妙，他创作山水、人物、花鸟、走兽时，均信手一挥而就，“倾刻数十幅，……无不绝人。”他一生的作画数量是惊人的。正如他侄孙高秉在《指头画说》一文中所述：“自弱冠至七旬，不下五、六万幅”。可惜其大部分早已失传。保存下来的多藏于各地博物馆，铁岭县文化馆过去曾存有春、夏、秋、冬四幅《竹》。上海出版社出版的《高其佩》（杨仁恺著）一书，对他的生活和创作道路做了详细的论述，指出他的最大贡献是：“标题材之新，立结构之异，对当时和后来绘画艺术都有一定影响。”",[23,24,26,2099,61,27,29,7,152,86,63,65,84,85],"指画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b0731b38bbf14d460f6ddc5b90c3f50.jpg","绢本，水墨，浅设色","纵98.4厘米，横49.9厘米",[],{"id":2105,"slug":2106,"title":2107,"dynasty":295,"author":457,"museum":929,"description":2108,"tags":2109,"thumbUrl":2111,"material":89,"size":107,"collection":48,"collections":2112,"showCount":2092,"zanCount":11,"manualWeight":11,"mainColor":52},220283,"fang-dong-ju-shan-shui-tu-gong-xian-220283","仿董巨山水图","龚贤（1618—1689），又名岂贤，字半千，号野遗、柴丈人、半亩等。昆山人，居金陵。性格孤癖，与人落落难合。既对明末宦官专权腐朽黑暗不满，又对清政府采取不合作态度，是一位刚直不阿有骨气的文人，能诗，懂书，善画。其书画另辟蹊径独出幽异，超然脱俗，对其画作有此评价：“画有繁简（减），乃论笔墨，非论境界也。北宋人千丘万壑，无一笔不减。元人枯枝瘦石、无一笔不繁。通此解者，其半千乎？”从其作品中看，龚贤继承传统有着一条鲜明的轨道可概略为，董巨、二米，倪黄、沈周及董其昌。他的作品面目清晰鲜明，并有各时期的特点。如白龚、灰龚、黑龚之说。尽管如此，他还是坚持不泥古人古法而师法自然师法造化。他说：“古人之书画，与造化同根、阴阳同候，非若今人泥粉，本无先天，奉师说为上智也。”龚贤的作品，最大的特点就是善于用墨。继承和发展了“积墨法”，形成了浓重浑厚，朴实滋润的特点。其作《溪山无尽图》巨制长卷，表现江南重山复水，连绵起伏，丛林房舍，飞瀑流泉，小榭栈道，亭台楼阁，烟云萦绕等自然万物应有齐全，浑厚苍润、丰茂明丽，是积墨法之精品。此图可局部临习；也可通幅临习，用墨应由淡人深，层层叠加，点染数遍。使山石之轮廓和结构与多次皴擦之干湿用笔浑然一体。也可以把龚贤的创作过程理解为由实至虚达厚现润生韵的过程。关于这一点需要我们认真体会。",[23,24,60,26,29,2110,27,640,35,31,33,7,30,1053],"积墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa59a83655a20a43f31c61d9dc139d6bb.jpg",[48],{"id":2114,"slug":2115,"title":2116,"dynasty":115,"author":482,"museum":539,"description":2117,"tags":2118,"thumbUrl":2123,"material":213,"size":2124,"collection":48,"collections":2125,"showCount":2092,"zanCount":280,"manualWeight":11,"mainColor":52},218223,"xue-xi-wan-du-tu-yi-ming-218223","雪溪晚渡图","此幅作品描绘了冬日雪景，高峰竖立，萧然平静。峡谷瀑布，层层寒流。柴门屋舍，截然生机。一位渔翁打着小舟，悄然归来，是为屋内两位高士送酒来了。画家的用墨富有变化，笔力老练，对自然理解渗透，作品意境之浓，感触深刻。",[24,100,399,61,1006,2119,7,63,412,178,2120,1922,2121,2122],"高峰","渔翁","饮酒","宁静","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365e719109c9e31dc9233143ca682fb9.jpg","105x60.3cm",[48],{"id":2127,"slug":2128,"title":2129,"dynasty":18,"author":1721,"museum":376,"description":2130,"tags":2131,"thumbUrl":2133,"material":213,"size":107,"collection":107,"collections":2134,"showCount":2092,"zanCount":280,"manualWeight":11,"mainColor":52},214869,"wu-bai-luo-han-zhi-tian-tai-shi-qiao-tu-zhou-ji-chang-214869","五百罗汉之天台石桥图","五百罗汉之天台石桥图是一幅中国古代图画，出现在宋朝时期。这幅图画由周季常创作，被认为是宋朝时期艺术史上的里程碑。\n\n五百罗汉之天台石桥图描绘了一座天台山上的石桥。石桥上站着五百个罗汉（佛教中的圣者），他们身着鲜艳的衣服，戴着华丽的首饰，手执莲花，肩挎佛像。每个罗汉都有自己独特的特征和表情，表现出不同的心态和境界。图中还有云朵、山峦、树木等元素，构成了一幅美丽的图画。\n\n五百罗汉之天台石桥图被认为是宋朝艺术史上的里程碑，因为它标志着中国传统绘画艺术走向成熟和完善。这幅图画的细腻和逼真的写实，以及对人物特征和心理描写的深刻，让人们对宋朝艺术有了更加深入的了解和认识。",[23,24,60,26,786,165,209,86,29,65,7,35,2132],"石桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ce180fb2ebcd4c0fe8a67a27cc9478a.jpg",[],{"id":2136,"slug":2137,"title":2138,"dynasty":132,"author":482,"museum":260,"description":2139,"tags":2140,"thumbUrl":2141,"material":105,"size":265,"collection":107,"collections":2142,"showCount":2143,"zanCount":11,"manualWeight":11,"mainColor":52},290419,"fang-fan-kuan-xi-shan-xing-lv-tu-yi-ming-290419","仿范宽溪山行旅图","此作用笔沉郁苍厚，主峰拔地而起，以密集皴法刻画山石肌理，尽显山峦雄浑磅礴的质感。山间烟岚轻笼，虚实相生，将高旷幽深的山野意境铺陈开来。下方林麓环合，流泉自幽谷间蜿蜒而出，板桥山居隐于林木之中，静穆里藏着灵动生机。整体追摹北派山水的雄浑气象，既复刻出山野荒寒之态，又暗合沉静意韵，把大山大水的壮阔与林泉幽居的闲逸融为一体，是颇具古韵功力的山水佳作。",[24,399,26,61,27,1662,7,33,31,83,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F096a6ea931c37ee34c32a9f99876af1c.jpg",[],47,{"id":2145,"slug":2146,"title":2147,"dynasty":18,"author":191,"museum":20,"description":2148,"tags":2149,"thumbUrl":2151,"material":105,"size":265,"collection":107,"collections":2152,"showCount":2143,"zanCount":393,"manualWeight":11,"mainColor":52},290328,"han-lin-tu-zhou-li-cheng-290328","寒林图轴","该幅画以近景为主，画幅中央矗立著三株巨树，一湾溪水三叠流出，激流漱石，幅内烟岚飘忽游于林中，虚实相映。勾画树干、皴树皮、点叶皆用细笔，虽劲拔挺捷，然仍具一股娟秀气息，树干上勾圈出很多木瘿，枝桠若龙蛇四面分张，苍劲遒逸，涧流两侧土坡淡墨卧笔层叠皴染，笔法细腻又具变化。水纹及腾溅水花之取笔粗细并用，且劲挺有力，似闻激溅之声。",[24,100,26,61,29,86,196,1418,30,7,2150,84,85],"寒景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7053bf2f5e8d19cc962f067e8bb0dcd9.jp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mainColor":94},224478,"fang-fan-kuan-shan-shui-li-zhou-wang-jian-224478","仿范宽山水立轴","此作用笔取法北派山水意趣，主峰巍峨崔嵬，以密集的雨点皴摹写山石肌理，将岩体质感的浑厚苍莽尽显无遗。褶皱间晕染留白，云气蒸腾游走，为峻峭山体晕开空濛灵秀。\n飞瀑层叠穿流于深谷，灵动水意打破山峦沉郁。山坳坡脚隐现村舍古寺，林下幽人策驴徐行，将山野烟火意趣融于雄阔山水间，刚柔相济。\n整作墨色浓淡相宜，主次分明，师法先贤又自出情致，在厚重苍莽中暗藏细腻温婉，是师古化新的精妙手笔。",[23,24,60,26,61,27,83,29,7,31,195,30,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16e948ce6ac35fc4fa235ff25f0ffea0.jpg",[],{"id":2237,"slug":2238,"title":2239,"dynasty":295,"author":622,"museum":260,"description":2240,"tags":2241,"thumbUrl":2245,"material":107,"size":107,"collection":107,"collections":2246,"showCount":2247,"zanCount":280,"manualWeight":11,"mainColor":52},224468,"xi-kou-bai-yun-tu-wang-hui-224468","溪口白云图","《庐山白云图》是清代 创作的纸本设色画。\n此图绘于清康熙三十六年（1697年），作者时年66岁，是其晚年诸多仿古作品中的代表性画作之一。\n卷末自识：“关仝庐山白云图为海内名迹，林壑位置迥出意匠之外。\n余二十年前偶于金陵友人斋中展阅数过，卷尾有董文敏题识，至今追忆恍在目前边。\n古香主人以藏纸属画，聊仿其意，万不及一，当不值方家一哂也。\n董跋并录于右。\n康熙丁丑暮春望后三日，虞山王翚。\n”钤“王翚印”、“石谷”印。\n引首章“上下千年 ”印。\n“丁丑”是清康熙三十六年（1697年）。\n在自识之前，有作者所临董其昌的跋：“顷游庐山，自天池策杖大林寺至崖头，下视山腰，俱为云雾所断，四空濛濛作白豪光，身如在银海中，无复林麓村墟可得。\n以为画家未曾收此奇境，及披此图，宛然庐山所见也。\n独是日见庐山上方诸峰，亦缥缈灭没为飞烟断霭耳。\n丙申闰八月晦日舟次繁昌大江中书玄宰。\n” “丙申”是明万历二十六年（1596年）。\n卷首钤压角印“耕烟野老”。\n收藏印有“傲徕山房”、“仲麟鉴赏”等方。\n尾纸有清姜宸英跋。\n据王翚自题，因年前曾观北宋关仝《庐山白云图》，故今用其法绘制此图，以遵“古香主人”之嘱。\n王翚曾与其师王时敏遍游大江南北，尽得观摹收藏家之秘本，故其摹古功力极高。\n王时敏称赞他：“集古人之长，尽趋笔端，故能妙绝千古。\n前诸制作，固足乱真，此则更为脱化，每仿一家曲尽其致，而超逸之趣则又过之。\n”这幅作品恰恰印证了王时敏对王翚的评价。\n“古香主人”即爱新觉罗·岳乐，王翚为其创作极为精心。\n画面上峰峦起伏，云雾迷茫，其中间的瀑布、杂树、竹亭、山石以浓密的雨点皴出之，正是仿关仝一路北方山水画法。\n全图工整谨密，秀润苍浑，深得关仝“笔简景少，气壮意长”之旨。\n王翚（162-1717）清代画家。\n字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。\n江苏常熟人。\n出身绘画世家，幼承家学，初学画于张珂，后又得到王鉴、王时敏指点。\n擅山水，初摹黄公望，后广泛师法唐宋元明诸家，转益多师，加以发展变化，形成个人风貌。\n曾说“以元人笔墨，运宋人丘壑，而泽以唐人气韵，乃为大成”。\n其画笔墨功底深厚，长于摹古，几可乱真，但又能不为成法所囿，部分作品富有写生意趣，构图多变，勾勒皴擦渲染得法，格调明快。\n在四王中比较突出。\n其画在清代极负盛名，康熙三十年奉诏绘制《康熙南巡图》，年完成，得到皇帝的褒奖，被视为画之正宗，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。\n有《康熙南巡图》(与杨晋等人合作)、《秋山萧寺图》、《虞山枫林图》、《秋树昏鸦图》等传世。",[23,2242,165,27,61,209,2243,64,33,921,226,31,30,238,35,2244,87,7],"清代山水画","传统山水技法","松树林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd88c671433772a4b87aa285537a3616b.jpg",[],45,{"id":2249,"slug":2250,"title":2251,"dynasty":295,"author":825,"museum":351,"description":2252,"tags":2253,"thumbUrl":2254,"material":123,"size":2255,"collection":107,"collections":2256,"showCount":2247,"zanCount":11,"manualWeight":11,"mainColor":94},220329,"huang-shan-tu-ce-2-hong-ren-220329","黄山图册-2","《黄山图册》共六十开，装裱成六册，又有题跋一册。可以说是弘仁在黄山纪游写生的最集中展现，在他的每一幅作品上都题写了纪游写生的地名，著名的有天都峰、莲花庵、小心坡、观音岩、一线天、光明顶、白龙潭、慈光寺、文殊院、桃花沟等等。",[23,24,61,27,626,29,136,152,7,63,86,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1784059c41c0edc0bd66e2212bbbb5cc.jpg","21.5x18.3厘米",[],{"id":2258,"slug":2259,"title":2260,"dynasty":295,"author":2261,"museum":929,"description":2262,"tags":2263,"thumbUrl":2265,"material":89,"size":2266,"collection":48,"collections":2267,"showCount":2247,"zanCount":11,"manualWeight":11,"mainColor":94},220006,"shi-liang-yu-lai-ting-tu-dai-xi-220006","石梁雨来亭图","戴熙","南宋贾似道在石梁创昙花亭。清道光戊戌，即1838年，亭被毁。适舍人潘功甫（名曾沂）过石梁，议集资兴修。寺僧请求改昙华亭为雨来亭，因天台山田多旱，改名以志喜。潘功甫为此作诗一首，诗云：“平章事业江河大，有漏涓涓自不知。七十二蓬参遍了，昙华亭上雨来时。”\n图绘天台山石梁飞瀑，天生桥东西方向，连接着对峙的两座山崖，溪水三折，冲出桥洞，形成了如虹一般的飞瀑，起舞婆娑，坠入脚下的惠泽潭。雨来亭坐落在飞瀑之畔，方广寺如在天外，唯见其塔。全图有一种上下贯通的浩然之气与空灵之韵。",[23,24,60,82,61,27,2264,85,29,210,34,63,944,31,30,7],"隶书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3aaf57368d5249cfd0b4a4f0247cc250.jpg","纵35cm，横316cm",[48],{"id":2269,"slug":2270,"title":2271,"dynasty":132,"author":1415,"museum":20,"description":2272,"tags":2273,"thumbUrl":2274,"material":213,"size":2275,"collection":383,"collections":2276,"showCount":2247,"zanCount":11,"manualWeight":11,"mainColor":52},219408,"shan-shui-tu-xia-mu-chui-yin-xie-shi-chen-219408","山水图-夏木垂阴","层岩叠嶂间，飞瀑如练坠幽谷，云雾轻笼远岫，添几分空濛。近景浓荫匝地，夏木枝繁叶茂，墨色沉郁中见灵秀。茅舍隐于林麓，小桥横卧溪畔，行人缓步、屋中对坐，皆含闲适之趣。笔致兼具雄健与秀逸，山石皴擦刚劲，树木点染细密，云雾淡扫留白，层次分明。整幅画将夏日山居的清幽与生机融于一体，既见自然之壮美，亦含人文之雅韵，尽显融浙派骨力与吴门风神的独特笔墨。",[24,29,61,27,26,136,137,210,34,63,7,86,35,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd80770ddfcfa65f88c30367964f7d5a6.jpg","140x62.9",[383],{"id":2278,"slug":2279,"title":2165,"dynasty":18,"author":2280,"museum":20,"description":2281,"tags":2282,"thumbUrl":2284,"material":140,"size":2285,"collection":46,"collections":2286,"showCount":2287,"zanCount":11,"manualWeight":11,"mainColor":52},221613,"guan-pu-tu-zhou-liang-kai-221613","梁楷","图绘飞瀑从山涧中直泻而下，与山脚乱石激起层层浪花，瀑前枯树对立，竹石苔茵，瀑下平坦处一人捻髭立眺，三童子洗砚抱琴烹茶。",[23,100,24,60,26,61,27,86,2283,379,7,30,31],"枯藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c9939980581eebaa2e7edecbbd4fd44.jpg","135.9x64.1厘米",[46,48,383],44,{"id":2289,"slug":2290,"title":2291,"dynasty":18,"author":307,"museum":260,"description":660,"tags":2292,"thumbUrl":2293,"material":105,"size":265,"collection":107,"collections":2294,"showCount":2295,"zanCount":11,"manualWeight":11,"mainColor":52},289328,"song-shi-guan-pu-tu-ma-yuan-289328","松石观瀑图",[100,24,26,61,29,152,30,7,86,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35cd96a142e4b4b4d479be3ef608f9e2.jpg",[],43,{"id":2297,"slug":2298,"title":2299,"dynasty":18,"author":526,"museum":260,"description":2046,"tags":2300,"thumbUrl":2301,"material":105,"size":265,"collection":107,"collections":2302,"showCount":2295,"zanCount":11,"manualWeight":11,"mainColor":52},283639,"song-yin-guan-pu-tu-zhou-xia-gui-283639","松荫观瀑图轴",[23,100,24,60,26,61,29,152,7,30,86,2037,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2244bd7660b66c06c86a83b72fb12eb0.jpg",[],{"id":2304,"slug":2305,"title":2306,"dynasty":115,"author":2307,"museum":351,"description":2308,"tags":2309,"thumbUrl":2311,"material":425,"size":2312,"collection":107,"collections":2313,"showCount":2295,"zanCount":280,"manualWeight":11,"mainColor":52},234039,"yao-cen-yu-shu-tu-zhou-jin-cheng-234039","瑶岑玉树图轴","金城","画雪景山林，水阁飞瀑，山脚泉水奔流湖中。阁内一人闲坐，其外山路崎岖蜿蜒，有数人或策蹇负囊，或骑驴行旅。图中画山石似卷云，树枝似鹿角、蟹爪，宗法李成、郭熙一派。全图笔法沉雄，缜密。",[24,26,61,165,29,27,30,31,2310,7,226,86,103,63,2283,379,1418,354],"积雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00fe504468d6d6243b66ab68fb7765a6.jpg","97.4×41.2cm",[],{"id":2315,"slug":2316,"title":2317,"dynasty":18,"author":2318,"museum":20,"description":2319,"tags":2320,"thumbUrl":2322,"material":1529,"size":107,"collection":615,"collections":2323,"showCount":2295,"zanCount":11,"manualWeight":11,"mainColor":290},220209,"shi-jia-chu-shan-tu-ma-lin-220209","释迦出山图","马麟","马麟，麟一作驎，钱塘（今浙江杭州）人。南宋画家。马世荣之孙，马远之子。\n生卒年不详。其父马远是宋光宗、宋宁宗两朝（1190～1224）画院待诏，马麟画承家学，擅画人物、山水、花鸟，用笔圆劲，轩昂洒落，画风秀润处过于乃父。宁宗嘉泰间（1201～1204）授画院祗候，颇得宁宗赵扩、恭圣皇后杨氏及杨妹子称赏，每于父子画上题句。在《层叠冰绡图》中题诗云：“浑如冷蝶宿花房，拥抱檀心忆旧香。开到寒梢尤可爱，此般必是汉宫妆。",[23,24,60,26,165,209,27,786,86,29,7,138,31,2321],"圆光","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefa49bf9e4867c98d5d04acfefbcda89.jpg",[615],{"id":2325,"slug":2326,"title":2327,"dynasty":295,"author":1321,"museum":336,"description":2328,"tags":2329,"thumbUrl":2330,"material":89,"size":2331,"collection":48,"collections":2332,"showCount":2295,"zanCount":11,"manualWeight":11,"mainColor":52},219710,"tian-tai-yi-song-tu-dai-ben-xiao-219710","天台异松图","《天台异松图》清 戴本孝 此图意写天台山水，山岩相叠，石桥飞架，怪松参差其间，飞泉直下，一老者隐居于此。巨壑皴写不繁，枯笔勾廓，以渴墨稍事皴擦，意境荒寒幽僻，深得元人气韵。\n图中左上角作者题款：天台异松，前人尝为之图，陆龟蒙记而赞之。曩从好事家见有摹本，未善也，因追以意图之。近闻异松已多归于冥漠。盖天地山川之奇，一经为尘眼所狎，自不能久。如此不觉兴慨也。鹰阿山天根樵夫本孝似君老道兄粲鉴，时丁卯长至。",[24,60,61,27,29,311,7,65,33,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c55221cddc6bd4a49aac3df454856d0.jpg","169.9×76.2cm",[48],{"id":2334,"slug":2335,"title":2336,"dynasty":295,"author":622,"museum":260,"description":2055,"tags":2337,"thumbUrl":2338,"material":105,"size":265,"collection":107,"collections":2339,"showCount":2340,"zanCount":11,"manualWeight":11,"mainColor":94},235229,"fang-dong-ju-song-yue-tu-zhou-wang-hui-235229","仿董巨嵩岳图轴",[24,399,26,61,27,83,136,65,152,31,7,33,87],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7312c6d75e4c03872d13ce1a4136a20.jpg",[],42,{"id":2342,"slug":2343,"title":2344,"dynasty":295,"author":649,"museum":260,"description":2345,"tags":2346,"thumbUrl":2347,"material":107,"size":107,"collection":107,"collections":2348,"showCount":2340,"zanCount":280,"manualWeight":11,"mainColor":94},230180,"du-fu-shi-yi-tu-ce-wang-shi-min-230180","杜甫诗意图册","《清王时敏仿杜甫诗意图册》是清代王时敏创作的中国画。\n此图共十二页，每幅隶书杜诗二句， 后幅页又自跋云：“少陵诗体宏众妙，意匠经营高出万层，其奥博沉雄，有掣鲸鱼探凤髓之力，故宜标准百代，冠古绝今，余每读七律，见其所写景物，瑰丽高寒，历历在眼，恍若身游其间，辄思寄兴盘礴。\n适旭咸甥以巨册属画，寒窗偶暇，遂拈景联佳句，点染成图，顾以肺肠枯涸，俗赖填塞，于作者意惬飞动之致，略未得其毫末。\n诗中字字有画，而画中笔笔无诗，漫借强题，钝置浣花翁不少，惭愧！惭愧！西庐老人王时敏”。\n此册页画巫峡弈棋，松云绝壁，山村春色，藤月荻花。\n用笔颇为潇逸，满纸墨韵，非常生动。\n王时敏（1592—168年），字逊之，号烟客，晚号西庐老人，江苏太仓人。\n其祖父是明礼部尚书兼文渊阁大学士王锡爵，父亲是明翰林编修王衡。\n明万历二十九年（161年）举进士，崇祯初以荫仕至太常寺卿，崇祯十三年（164年）辞官隐居，入清不仕。\n工隶书，善画山水，以元黄公望、倪瓒为宗，又受董其昌影响。\n他极力主张恢复古法，反对自出新意，是清初画坛正统派的领袖，后世称“娄东派”，与王鉴、王石谷、王原祁合称“四王”，位列“清初四王”之首，在当时有很大影响。\n第一开 设色 康熙乙巳（四年，一六六五年） 丛山落涧。\n自识：[蓝水远从千涧落，玉山高并两峰寒。\n]钤[王时敏印]（白文）。\n第二开 设色 康熙乙巳（四年，一六六五年） 江村月色。\n自识：[白沙翠竹江村暮，相送柴门月色新。\n]钤[逊之]（朱文）。\n第三开 设色 康熙乙巳（四年，一六六五年） 山村春色。\n自识：[花径不曾缘客扫，柴门今始为君开。\n]钤[烟客]（朱文）。\n第四开 墨笔 康熙乙巳（四年，一六六五年） 松云绝壁。\n自识：[断壁过云开锦绣，疏松隔水奏笙篁。\n]钤[烟客]（朱文）。\n第五开 设色 康熙乙巳（四年，一六六五年） 秋山红树。\n自识：[含风翠壁孤烟细，背日月枫万木稠。\n]钤（烟客）（朱文）。\n第六开 墨笔 康熙乙巳（四年，一六六五年） 落木江帆。\n自识：[无边落木萧萧下，不尽长江滚滚来。\n]钤[逊之]（朱文）。\n第七开 设色 康熙乙巳（四年，一六六五年） 山城夕照。\n自识：[孤城返照红将敛，近寺浮烟翠且堇。\n]钤[时敏]（白文）。\n第八开 墨笔 康熙乙巳（四年，一六六五年） 山庄草阁。\n自识：[白年地僻柴门过，五月江波草阁寒。\n]钤[烟客]（朱文）。\n第九开 墨笔 康熙乙巳（四年，一六六五年） 藏藤月荻花。\n自识：[请看石上藤萝月，已映舟前芦荻花。\n]钤[时敏]（白文）。\n第十开 设色 康熙乙巳（四年，一六六五年） 秋山枫菊。\n自识：[石出倒听枫叶下，橹摇背指菊花开。\n]钤[烟客]（朱文）。\n第十一开 设色 康熙乙巳（四年，一六六五年） 巫峡弈棋。\n自识：[楚江巫峡半云雨，清口疏帘看弈棋。\n]钤[烟客]（朱文）。\n第十二开 设色 康熙乙巳（四年，一六六五年） 雪涧寒林。\n自识：[涧遣余寒历冰雪，石门斜日到林止。\n乙巳腊月写少陵诗意十二帧似旭咸贤甥，时年七十有四，时敏。\n]钤[王时敏印]（白文）[真寄]（朱文）。\n作品在立意、布局、运笔、色彩、线条等方面都达到了登峰造极的地步，在 海中是一朵瑰丽的奇葩，永不凋谢",[23,24,100,29,165,27,626,136,326,7,33,31,30,35,839,86,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed362af805b6b8e900886c925e20e209.jpg",[],{"id":2350,"slug":2351,"title":2352,"dynasty":132,"author":2353,"museum":650,"description":2354,"tags":2355,"thumbUrl":2356,"material":213,"size":107,"collection":615,"collections":2357,"showCount":2340,"zanCount":280,"manualWeight":11,"mainColor":52},219520,"pin-pang-tu-ni-duan-219520","聘庞图","倪端","此作以层叠山水铺就幽寂天地，远山含烟，峦峰隐现于苍莽雾气之中，将山野空阔清远之境晕染开来。近景虬木盘绕，怪石嶙峋，衬出山居的清僻冷寂。林间小径之上，聘者躬身示礼，姿态恭谨，高士神态澹然自若，将出世隐逸与入世招贤的意涵悄然对照。\n\n笔墨苍劲古雅，斧劈皴利落刻画山石肌理，枯木枝桠以折芦描写就，尽显萧寒苍劲。沉雅的设色晕开幽古氛围，以山川林泉烘托出林下高风，将先贤不慕荣利的襟怀藏于烟霞丘壑之间，院体画的精工与文人意趣相融，悠悠古意漫溢满幅。",[23,24,60,26,165,29,86,31,65,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa50f6ffda585eb0f4926c5cca0a3fb74.jpg",[615,48],{"id":2359,"slug":2360,"title":2361,"dynasty":295,"author":2362,"museum":20,"description":2363,"tags":2364,"thumbUrl":2365,"material":2366,"size":2367,"collection":48,"collections":2368,"showCount":2369,"zanCount":11,"manualWeight":11,"mainColor":94},223240,"song-ting-wang-yuan-wang-quan-223240","松亭望远","王铨","明天启二年（1623）进士，入清官至大学士，谥文安。高爽博学，好古，工诗古文。行草宗二王，正书出钟繇，亦能自出胸臆，有山园法帖，名重当代，与董其昌并称。画山水宗刑、关，丘壑峻伟，皴擦不多，以晕染作气，传以淡色，意趣自别。山水花木竹石皆用书中关钮。尝与戴明说书云：画寂寂无余情，如倪云林（瓒）一流，虽略有淡致，不免枯干，尪羸病夫，奄奄气息，即谓之轻秀，薄弱甚矣。大家弗然。间作兰竹梅石，洒然有象外意。卒年六十一。《图绘宝鉴续纂》、《国（清）朝画徵录》、《桐阴论画》、《无声诗史》",[23,24,60,29,626,61,27,136,311,210,460,137,7,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0bed544a1c100f42958631d8249c351.jpg","浅设色","34.7x29厘米",[48,49],41,{"id":2371,"slug":2372,"title":2373,"dynasty":132,"author":2374,"museum":20,"description":2375,"tags":2376,"thumbUrl":2377,"material":425,"size":2378,"collection":48,"collections":2379,"showCount":2369,"zanCount":11,"manualWeight":11,"mainColor":52},222381,"lu-shan-gao-zhou-ding-yun-peng-222381","庐山高轴","丁云鹏","丁云鹏是中国明代画家，于1547年出生，字南羽，号圣华居士，安徽休宁人。\n天启五年（1625）尚在作《白马驭经图》，瓒子，詹景凤门人。工书法，学钟繇、王羲之。画善白描人物、山水、佛像，无不精妙。白描酷似李公麟，设色学钱选。丝发之间而眉睫意态毕具，非笔端有神通者不能也。兼工山水、花卉。中年用笔细秀，略近文征明、仇英画法，晚年风格朴厚苍劲，自成一家。 [1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。\n丁云鹏是仇英之后最著名的人物画家，他工给的笔法不下仇英，而高古文雅似又过之。他最擅长的是佛教题材，佛祖、菩萨、罗汉在他笔下既栩栩如生，又庄严肃穆。此帧李公麟《维摩演教图》画人物五十三，动物数头，趁具法器、峰峦堂宇、树石祥云，皆精密工给，非费一两月之功不能为此。董其昌与丁云鹏为挚交，曾题丁氏所绘《五像观音图卷》云：“丁南羽写此时，在吾松为顾光禄正心所馆，年三十馀，故极工妙。自后不复能事，多老年漫应。”",[24,60,26,61,165,29,7,63,31,30,35,27,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c977c8e01db35618436bdcc1f93e189.jpg","280x85.5",[48,383],{"id":2381,"slug":2382,"title":2383,"dynasty":132,"author":133,"museum":260,"description":2384,"tags":2385,"thumbUrl":2386,"material":105,"size":265,"collection":107,"collections":2387,"showCount":2388,"zanCount":11,"manualWeight":11,"mainColor":94},290883,"fang-fan-kuan-shan-shui-shen-zhou-290883","仿范宽山水","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。",[24,60,626,29,61,27,83,30,7,195,34,63,102,210,84,121,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25a350eb2b74dd16ad3ce93a6b3410da.jpg",[],40,{"id":2390,"slug":2391,"title":2392,"dynasty":295,"author":2223,"museum":260,"description":2393,"tags":2394,"thumbUrl":2396,"material":107,"size":107,"collection":107,"collections":2397,"showCount":2388,"zanCount":11,"manualWeight":11,"mainColor":94},224592,"pan-tao-tu-zou-yi-gui-224592","蟠桃图","此作取瑞祥之意，笔墨清妍雅致。丹顶鹤仙骨清奇，翎毛皴染细致，墨线勾出纤毫肌理，雪衣朱顶立于苍岩，石畔灵芝添幽趣。古桃枝夭矫横斜，硕实饱满，胭脂晕染果皮，将桃实鲜活温润之态尽显，枝叶敷色鲜亮，满目生机。飞瀑轻垂，晕开空山幽寂之境，左上题诗补白，让文思画意相融。画面疏密相宜，工致兼具文雅，将吉庆绵长的寓意藏于笔底，满卷悠然仙气，尽抒福寿安康的美好祈愿。",[23,24,209,165,85,975,2395,30,7,1835,31],"桃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7350a1afd655bc04aa623e85fabbe12d.jpg",[],{"id":2399,"slug":2400,"title":2401,"dynasty":132,"author":2402,"museum":117,"description":2403,"tags":2404,"thumbUrl":2406,"material":819,"size":2407,"collection":48,"collections":2408,"showCount":2388,"zanCount":11,"manualWeight":11,"mainColor":52},222838,"qiu-ling-shan-quan-tu-xiao-yun-cong-222838","秋岭山泉图","萧云从","萧云从在作品中所表现的超脱世俗的人生态度，实际上包含了他对历史、人生的深切感悟，是通过笔墨画境而表现显露其审美意象的深刻意蕴。这种淡远无尘、清墨涩笔创作出来的超然冷寂澹泊的境界，是逸的真实表述。萧云从的山水画在历史上之所以为众人推崇，即在于其反映生活的“真”和“美”。",[23,24,60,26,165,61,29,30,63,7,31,152,1379,238,86,27,2405],"秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F777621cf6ec8952e48ae2dbb0be5b7fc.jpg","165cmx45.6cm",[48,383],{"id":2410,"slug":2411,"title":2412,"dynasty":295,"author":2413,"museum":929,"description":2414,"tags":2415,"thumbUrl":2416,"material":89,"size":2417,"collection":48,"collections":2418,"showCount":2388,"zanCount":11,"manualWeight":11,"mainColor":94},219981,"meng-you-tian-tai-tu-qian-du-219981","梦游天台图","钱杜","此卷作于嘉庆十九年甲戌（1814 年）三月，钱杜时年50岁。上款“云伯”即清代诗人陈文述。陈文述（1771～1843）初名文杰，字谱香，又字隽甫、云伯，英白，后改名文述，别号元龙、退庵、云伯，又号碧城外史、颐道居士、莲可居士等，钱塘（今浙江杭州）人。嘉庆时举人，官昭文、全椒等知县。诗学吴梅村、钱牧斋，博雅绮丽，在京师与杨芳灿齐名，时称“杨陈”，著有《碧城诗馆诗钞》、《颐道堂集》等。据《陈鸿寿年表》，这一年画家当与陈文述同在溧阳。按画卷上的题跋，钱杜是在春天画成此画，到七月秋天的时候，钱杜到吴中桂叶书堂，展玩已经装裱成卷的《梦游天台图卷》，即兴在卷后补题诗一首。",[23,24,61,82,84,85,27,29,30,31,7,226,179,35,33,379],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1613412aaaf28443ed367cc74a41e904.jpg","29.8X131厘米",[48],{"id":2420,"slug":2421,"title":2422,"dynasty":18,"author":57,"museum":260,"description":2423,"tags":2424,"thumbUrl":2426,"material":105,"size":265,"collection":107,"collections":2427,"showCount":2428,"zanCount":11,"manualWeight":11,"mainColor":52},289446,"xue-shan-xing-lv-tu-guo-xi-289446","雪山行旅图","郭熙（约1000～约1090年），北宋杰出画家、绘画理论家。字淳夫，河阳府温县（今属河南）人。他出身平民，早年信奉道教，游于方外，以画闻名。熙宁元年召入画院，后任翰林待诏直长。",[23,24,399,61,27,1006,2425,196,7,210,32],"雪山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a739ad33a1160112ff9c10479fca563.jpg",[],39,{"id":2430,"slug":2431,"title":2432,"dynasty":295,"author":2433,"museum":351,"description":2434,"tags":2435,"thumbUrl":2438,"material":44,"size":2439,"collection":48,"collections":2440,"showCount":2428,"zanCount":280,"manualWeight":11,"mainColor":52},236112,"qiu-lin-ye-zhang-tu-zhou-zhang-yu-sen-236112","秋林曳杖图轴","张雨森","该图构图险中求隐，用笔多变灵活，细皴密点，石作卷云，水作横波，松枝虬曲披靡，既得茂蔚之姿，又获空灵之气，设色优美，不落俗套。\n张雨森，生卒年不详，初名雨，字作霖，一字紫琅，号苍野，安徽当涂人，经子，工山水，得文家风韵。善泼墨，惜用墨皆渗以胶。亦善画花鸟。乾隆时曾供奉内廷。",[24,100,26,29,165,27,34,63,30,2436,2437,210,7],"秋林","松枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff7483aa2c190af398b7e81ccbdcca24.jpg","纵157厘米，横100厘米",[48,383],{"id":2442,"slug":2443,"title":2444,"dynasty":295,"author":597,"museum":351,"description":2445,"tags":2446,"thumbUrl":2448,"material":2449,"size":2450,"collection":581,"collections":2451,"showCount":2428,"zanCount":11,"manualWeight":11,"mainColor":52},223167,"feng-hou-tu-shen-quan-223167","蜂猴图","该作品描述了一只猴子在树上捅马蜂窝，两只猴子在树下注视，情节紧张而有趣的画面。\n这种具有吉祥寓意和祝福的绘画是沈铨特别喜爱的题材。 猴子的画法精工，形态生动，自识中提到是仿宋代画猿猴大师易元吉的笔法。背景山石画得较放，点苔先用墨点再用石绿，树叶多用夹叶法，再涂以白色或浅绛色。整幅画工笔与写意结合，色彩与水墨搭配，具有沈铨绘画的独特风格\n沈铨的绘画主要继承黄筌画派精工富丽的画法，并把多种绘画技法相融合，形成了自己的绘画面貌。他的花鸟走兽画对后世影响显著，尤其对日本绘画有着深远的影响。此幅绘画作于1742年，沈铨六十一岁，是其画风成熟时的杰作。",[23,24,60,26,209,165,29,2215,600,2447,7,63,65,31,602,1170],"蜂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff480761bd1622c88e4092910b66e54fa.jpg","绢本，立轴，设色","184cm 96.6cm",[581,383],{"id":2453,"slug":2454,"title":2455,"dynasty":115,"author":2456,"museum":20,"description":2457,"tags":2458,"thumbUrl":2459,"material":182,"size":2460,"collection":48,"collections":2461,"showCount":2428,"zanCount":393,"manualWeight":11,"mainColor":94},221915,"bai-zhang-quan-zhou-chen-ru-yan-221915","百丈泉轴","陈汝言","陈汝言（生卒年不详），元末明初画家、诗人。字惟允，号秋水，临江清江（今江西樟树市）人，后随其父移居吴中（今江苏苏州）。能诗，擅山水，兼工人物。与兄陈汝秩（字惟寅）齐名，时人呼为大髯小髯。\n陈汝言画山水远师董源、巨然，近宗赵孟頫、王蒙，行笔清润，构图严谨，意境幽深。与王蒙契厚，传说王蒙在泰安时，曾面泰山作画，随兴所至，不时加笔，一幅图画了三年。陈汝言正巧来访，时遇大雪，他便用小弓挟粉笔弹在画上，将图改作雪景。王蒙叫绝，以为神奇，遂改题为《岱宗密雪图》。",[23,24,60,26,61,27,29,7,31,87,65,35,84,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd19fd1420cadccb20dbba9c3b3e304ca.jpg","115.2＊46.7cm",[48,49],{"id":2463,"slug":2464,"title":2465,"dynasty":132,"author":1078,"museum":2466,"description":2467,"tags":2468,"thumbUrl":2469,"material":626,"size":2470,"collection":107,"collections":2471,"showCount":2428,"zanCount":11,"manualWeight":11,"mainColor":107},220754,"fang-ge-jia-shan-shui-2-dong-qi-chang-220754","仿各家山水-2","香港中文大学文物馆","此作用淡墨晕染远山，勾勒的山石尽显嶙峋之态，留白作云气晕出空濛山意。近岸林木笔法松秀苍润，浓墨点苔添得生机勃发。山坳村居、溪畔茅舍隐于丘壑之间，板桥行人又让林泉染上烟火暖意。\n\n题字错落左上，笔墨清雅萧散与画境相融。全画以干笔皴擦营造淡远空灵意境，简淡中见层次藏雅趣，将幽居林泉的闲逸藏于尺幅之间，尽显文人山水的疏朗清旷，观之如临寂寂山林，得自然清和之味。",[23,24,60,61,27,29,136,326,137,460,7,412,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcf0109cf2086c3efd9441201dea3d94.jpg","30.5 × 23.8厘米",[],{"id":2473,"slug":2474,"title":2475,"dynasty":132,"author":408,"museum":235,"description":2476,"tags":2477,"thumbUrl":2478,"material":1529,"size":2479,"collection":48,"collections":2480,"showCount":2428,"zanCount":11,"manualWeight":11,"mainColor":52},219982,"jiang-shen-cao-ge-tu-tang-yin-219982","江深草阁图","此幅作品以焦墨作江千石壁,二松虬结其间,松下一座茅亭,亭中幽人清坐,山拗间流泉飞落,山间小路曲折隐现,左中部有画家自题:'五月江深草阁寒苏门唐寅写增次明吴君．'下铃朱文印'唐子畏图书'、'某景书屋'．画心及诗堂有沈周、吕秉之、叶恭绰、吴湖帆等人题跋,整幅作品皴笔清劲、缜密,于风骨奇峭中透出明洁秀爽的雅逸之气。\n此幅作品虽无年月可考,但从风格上看,确为少年真迹．按吴湖帆的考证,沈周题诗书迹为60 余岁时作,沈又长子畏43 岁．沈周与吕秉之的题均为前辈勉励后生之语．按唐寅中弘治戊午解元时年29 岁,以吕秉之所题'子且不试艺'句,此幅作于29 岁之前无疑。",[23,100,24,60,26,61,27,29,195,30,63,31,86,7,864],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fece99a18e25e8053cb0da8812a3492fb.jpg","纵84 厘米,横36.7 厘米",[48],{"id":2482,"slug":2483,"title":2484,"dynasty":295,"author":2485,"museum":117,"description":2486,"tags":2487,"thumbUrl":2488,"material":213,"size":2489,"collection":615,"collections":2490,"showCount":2428,"zanCount":280,"manualWeight":11,"mainColor":94},219428,"gu-kou-you-ju-tu-gao-cen-219428","谷口幽居图","高岑","高岑，字蔚生，号榕园。浙江钱塘（今杭州）人。明崇祯至清康熙间画家。居金陵（今南京），高阜弟，为“金陵八家”之一。初师同里朱睿营，晚乃以己意行之。擅山水及水墨花卉，写意入神。",[24,399,26,61,165,27,30,7,63,178,238,152,196,33,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fee21b39327abc0b64688cf74652603.jpg","纵332厘米，横80 厘米",[615,48],{"id":2492,"slug":2493,"title":2494,"dynasty":18,"author":482,"museum":20,"description":2495,"tags":2496,"thumbUrl":2498,"material":213,"size":2499,"collection":48,"collections":2500,"showCount":2428,"zanCount":280,"manualWeight":11,"mainColor":52},218799,"wu-kuan-shan-shui-yi-ming-218799","无款山水","本幅绘高士乘舟赴幽谷观瀑，清谈，山远地偏，谷深树茂，正是避世绝佳处。此幅树法笔墨近于李唐，而山石又掺以郭熙卷云皴，成画年代可上溯到南宋。",[23,24,100,29,61,178,1922,2497,31,30,7,27],"幽谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dddbf70d238823f6026d2c535d95f7e.jpg","28.9x54",[48],{"id":2502,"slug":2503,"title":2504,"dynasty":295,"author":750,"museum":351,"description":2505,"tags":2506,"thumbUrl":2509,"material":819,"size":2510,"collection":107,"collections":2511,"showCount":2512,"zanCount":280,"manualWeight":11,"mainColor":94},233917,"yun-dong-liu-quan-tu-zhou-kun-can-233917","云洞流泉图轴","此图作于髡残53岁时。表现的是他晚年居地南京城郊牛首祖堂山幽栖寺一带的景致。本幅自题诗：“端居兴未索，觅径恣幽讨。沿流戛琴瑟，穿云进窈窕。源深即平旷，巘杂入霞表。泉响弥清乱，白石净如扫。兴到足忘疲，岭高溪更绕。前瞻峰如削，参差岩岫巧。吾虽忽凌虚，玩松步缥缈。憩危物如遗，宅幽僧占少。吾欲饵灵砂，巢居此中老。”此图尺幅不大，但具有宏伟壮阔的气势，构图严谨，虚实互衬，繁密的山石、林木与空疏的云、水、天构成疏密明暗的变化。运笔施墨张驰有度，粗犷娴熟，浓淡墨相宜，干湿笔相生，全图一气呵成，意境幽邃高远。此幅堪称髡残的精品佳作。",[24,60,26,29,27,61,165,461,2507,2508,152,195,30,31,38,7,67,87,341],"洞","流泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62778fcf1da11e7c4313da023f47a86a.jpg","纵110.3厘米，横30.8厘米",[],38,{"id":2514,"slug":2515,"title":2516,"dynasty":295,"author":622,"museum":260,"description":2517,"tags":2518,"thumbUrl":2520,"material":107,"size":107,"collection":107,"collections":2521,"showCount":2512,"zanCount":11,"manualWeight":11,"mainColor":94},224455,"shan-shui-zhu-lan-he-yan-wen-gui-wang-hui-224455","山水朱兰和燕温归","此卷以全景铺展山水胜境，云气氤氲缠绕峰峦洲渚，虚实相生间划分出悠远层次。山石以披麻皴写就，皴染兼施，苍润浑厚又不失秀雅，丘壑繁复却井然有致。\n林麓水岸错落村居渔舍，江面渔舟泛波，松岩深处隐现山寺塔影，烟火意趣融于林泉丘壑间。画作兼具宋元山水笔墨意韵，将可居可游的文人理想寄于卷中，徐徐铺展出清旷淡远的水墨江山，尽显江南山水空濛灵秀之致。",[23,24,60,82,165,27,29,136,326,137,196,2519,530,210,412,944,7,35,30,33],"舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e4828d72b42a0bf1f9867b188e3185f.jpg",[],{"id":2523,"slug":2524,"title":2525,"dynasty":295,"author":897,"museum":20,"description":2526,"tags":2527,"thumbUrl":2528,"material":140,"size":2529,"collection":48,"collections":2530,"showCount":2512,"zanCount":280,"manualWeight":11,"mainColor":94},223130,"zi-hua-xiang-hua-yan-223130","自画像","本幅自题：“新罗山人小景。嗤余好事徒，性耽山野僻。每入深谷中，贪玩泉与石。或遇奇邱壑，双飞折齿屐。翩翩排烟云，如翅生两腋。此兴四十年，追思殊可惜。迩来筋骨老，迥不及畴昔。聊以孤松唫，闭之蒿间宅。洞然窥小牖，寥萧浮虚白。炎风扇大火，高天苦燔炙。倦卧竹筐床，清汗湿枕席。耶得踏层冰，散发倾崖侧。其坐捉笔砚，写我躯七尺。嬴形侣鹤臒，峭兀比霜柏。俯仰绝尘境，晨昏不相迫。草色荣空春，苔纹华石壁。古藤结游青，寒水浸僵碧。悠悠小乾坤，福地无灾厄。雍正丁未长夏新罗山人坐讲声书舍戏墨。”钤“秋岳”、“华岩”。引首钤“小园”，右下钤“离垢”。“雍正丁未”为1727年，华岩时年46岁。\n华岩是一位来自民间的画家，曾流寓杭州，结识了浙东学者历鄂、吴石仑等人，这些友人多是不慕荣利、安贫乐道的文人，在他们的影响下，华岩潜心诗文书画，获得了“诗书画三绝”的美誉。为了谋生，他曾经历仕途，但目睹官场的种种不平，终于放弃仕宦，往来于杭州与扬州之间，以卖画为生，并结识了“扬州八怪”等画家。75岁病逝。华岩一生贫苦，他在画中以“笔端刷却世间尘”，全心表现对大自然的美好感受。他游历甚多，眼界开阔，为许多画家所不及。此图为一件即兴之作，描绘了暑夏之时，华岩身着夏衫，半敞衣襟，优游林泉的欣悦之情。他倚石盘膝，临泉而坐，左手拈须，右手抚石，意态闲暇。身后山石高耸，深青色的古藤缠绕着峰峦，远处瀑布羸垂岩而下，汇流成河。读其诗，更使人感受到作者热爱自然、超然离垢的情怀。图中的人物肖像写实而又带有写意的意味，造型略有夸张，与作者其他的人物画有相似之处，如《天山积雪图》(北京故宫博物院藏)等。此图线条简练，随意潇洒，笔调疏简，追求一种文人意趣，具有雅俗共赏的独特风格。",[23,24,60,26,61,849,86,29,65,7,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F618e9659c8ac72917cca6831b14c9888.jpg","纵130.5厘米，横50.7厘米",[48,49],{"id":2532,"slug":2533,"title":2534,"dynasty":295,"author":2535,"museum":351,"description":2536,"tags":2537,"thumbUrl":2538,"material":140,"size":2539,"collection":48,"collections":2540,"showCount":2512,"zanCount":11,"manualWeight":11,"mainColor":52},223103,"san-xi-tang-ji-yi-tu-dong-bang-da-223103","三希堂记意图","董邦达","图为人物故事题材，以山水、楼阁作为环境衬托。画以水墨为主，略作淡设色，笔墨清朗，儒雅涵蓄，富文人画韵致。史上关于王氏父子的故事有很多，此图即表现其中一则。据传，王献之自幼学书甚勤，全神贯注。王羲之趁其不备从身后欲拔其手中之笔，却未提起，于是称赞他握笔有力。图中，献之神态端凝，伏案作书，羲之正欲提笔，人物生动，画面情节性很强",[23,24,60,29,61,27,30,31,7,210,87,85,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01542a4359a4273ef1ba982d468592bb.jpg","纵201.5cm，横154cm",[48,49],{"id":2542,"slug":2543,"title":2544,"dynasty":295,"author":2223,"museum":20,"description":2545,"tags":2546,"thumbUrl":2547,"material":276,"size":2548,"collection":383,"collections":2549,"showCount":2512,"zanCount":11,"manualWeight":11,"mainColor":94},219432,"shi-yi-gao-zong-yu-bi-ni-gu-shi-zhou-zou-yi-gui-219432","诗意高宗御笔拟古诗轴","峰峦层叠，飞瀑如练倾泻空谷，溅起雾霭氤氲。山腰林麓间，几椽村舍隐现，溪畔小舟轻泊，似待归人。近处松石挺秀，竹影婆娑，笔墨清润雅致，皴染相济——山石以干笔皴出嶙峋肌理，草木以细墨勾描葱茏生机。诗与画浑然交融，将御笔诗意中的幽寂旷达凝注尺幅：烟霞绕舍，幽花弄晴，村居闲适与山水灵秀相映成趣，尽显文人笔墨的韵致与超然尘外的情怀。",[24,60,26,61,27,121,85,29,31,7,63,640,238,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3428ddd92601e9917eff9c609bc5362e.jpg","188.7x55.8",[383],{"id":2551,"slug":2552,"title":2553,"dynasty":132,"author":482,"museum":2554,"description":2555,"tags":2556,"thumbUrl":2558,"material":213,"size":2559,"collection":581,"collections":2560,"showCount":2512,"zanCount":11,"manualWeight":11,"mainColor":290},219270,"ying-xiong-tu-yi-ming-219270","鹰熊图","耶鲁大学艺术博物馆","苍鹰踞石而立，羽翼丰劲，墨色浓淡间晕染出猛禽的威仪；下方熊罴隐于岩隙，憨态中藏沉雄之气。飞瀑垂涧，古松虬枝盘错，山石皴染朴拙，草木点缀出野趣盎然的自然之境。鹰熊谐音“英雄”，寄寓着对刚毅品格的颂赞。笔墨兼具工细与写意，线条劲健而气韵生动，既捕捉了鸟兽的形神特质，又以山水为衬，营造出雄浑苍劲的氛围，尽显明代花鸟走兽画中自然意趣与人文寄托的交融之妙。",[23,24,60,165,209,2016,2557,152,30,7,63,600,944],"熊","https:\u002F\u002F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107.4cm",[581],{"id":2562,"slug":2563,"title":2564,"dynasty":18,"author":2565,"museum":20,"description":2566,"tags":2567,"thumbUrl":2569,"material":213,"size":2570,"collection":48,"collections":2571,"showCount":2512,"zanCount":280,"manualWeight":11,"mainColor":94},218679,"qiong-lou-xuan-pu-tu-zhao-bo-ju-218679","琼楼悬瀑图","赵伯驹","画面上，玉宇琼楼，青山绿水，高松翠柏，飞瀑虹桥，春风化雨，游人如织，千里之外。这幅画的风格是原名为赵伯驹的大青衣小将，没有证据支持。",[23,2568,24,60,100,639,165,1773,29,195,7,34,63,86,31,30],"宋画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feddc740c243ac58e3d28be080e2fc61e.jpg","27.9x29.9",[48],{"id":2573,"slug":2574,"title":2575,"dynasty":295,"author":350,"museum":351,"description":2576,"tags":2577,"thumbUrl":2578,"material":463,"size":2579,"collection":48,"collections":2580,"showCount":2581,"zanCount":11,"manualWeight":11,"mainColor":94},237611,"fang-wu-zhen-shan-shui-zhou-wang-jian-237611","仿吴镇山水轴","本幅上部自识长题，款署：“王原祁画并题。”钤“王原祁印”白文印，“茂京文”白朱文印，“扫华庵”朱文印。右下角钤“西庐后人”朱文印。\n此图无年款。据王原祁自题“身伏噩庐，心违琐闼”之句，知是图当为他55岁左右为其父王揆守丧之日所作。\n图绘江南清幽小景。在构图上，王原祁通过对山石杂木由近至远、由低至高的层层展示，有秩地拓展了画境。在山石树木的表现上，王原祁掌握了吴镇擅于运用湿笔的特点，亦以包含水分的润墨表现山川林木郁茂之景。笔墨淋漓雄劲，得吴镇山水画“苍苍莽莽，有林下风”之趣。",[24,61,26,27,83,85,29,7,31,238,30,33,354],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde793e600e15d4b6130ffe9d41788be4.jpg","纵141.7厘米，横51厘米",[48,49],37,{"id":2583,"slug":2584,"title":2585,"dynasty":18,"author":2586,"museum":260,"description":2587,"tags":2588,"thumbUrl":2590,"material":107,"size":107,"collection":107,"collections":2591,"showCount":2581,"zanCount":11,"manualWeight":11,"mainColor":52},227802,"shan-zhuang-du-shu-tu-ye-liu-song-nian-227802","山庄读书图页","刘松年","山峦叠翠流云轻绕，幽谷飞瀑隐于翠微之间，整幅画以温润青绿晕染出江南山居的清寂雅境。屋舍藏在松竹蕉荫深处，堂中人正展卷静读，周遭林木蓊郁苍润，山石皴法细腻匀净，古雅的青绿设色晕开沉静的宋人意趣。\n\n笔致工稳秀润，将文人幽居林泉的理想铺陈绢素，山野间无车马喧嚣，唯有山光树影伴衬书香。山石草木皆含静气，把宋人内敛雅致融在每一处细节里，让观者仿佛能踏入这方世外山居，共赴林泉书香的闲淡之约。",[23,100,24,60,165,29,209,27,31,30,195,179,35,7,86,2589],"庭院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39d558e62e4e589222cc081f24c1e325.jpg",[],{"id":2593,"slug":2594,"title":2595,"dynasty":18,"author":2596,"museum":260,"description":2597,"tags":2598,"thumbUrl":2600,"material":105,"size":265,"collection":107,"collections":2601,"showCount":2602,"zanCount":11,"manualWeight":11,"mainColor":52},288735,"xiao-xiang-ba-jing-tu-juan-wu-wang-hong-288735","潇湘八景图卷五","王洪","全卷呈现出一种全景式的山水大观，其中并没有体现出有『八景』的各自样态，因其用意并不在于『八景』。相比之下，王洪的《潇湘八景图》各景独立成画，各个表现不同之意境，应当是接近于宋迪所绘之《潇湘八景图》的形式样态。",[100,24,60,82,61,27,29,1599,30,31,7,2599,179,35,86],"亭舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F339dada0ada5326f09ea7594fb34f379.jpg",[],36,{"id":2604,"slug":2605,"title":2606,"dynasty":132,"author":1415,"museum":260,"description":2607,"tags":2608,"thumbUrl":2610,"material":107,"size":107,"collection":107,"collections":2611,"showCount":2602,"zanCount":11,"manualWeight":11,"mainColor":52},228749,"wu-xia-yun-tao-tu-xie-shi-chen-228749","巫峡云涛图","此作用全景式铺陈，以苍劲斧劈皴勾勒危崖峻岭，古木虬枝错落，丹黄枝叶点缀出清秋意趣。云气以淡墨晕染留白，将层峦半遮半掩，恍若仙境浮空。下方急流曲回，浪纹细密写实，孤舟搏浪于波谷峰尖，既尽显巫峡水势之汹涌诡谲，也暗透出旅人穿险的惶然张力。画作兼融北派山水的雄浑与南派的秀润，笔力厚重苍莽，墨色层次丰盈，将山川云涛的磅礴瑰奇与行旅意趣相融，绘就出巫峡吞吐云波的壮绝天地。",[23,24,60,26,61,165,27,29,2609,178,31,7,30,35],"云涛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e51511415c782138d8297a287b8d354.jpg",[],{"id":2613,"slug":2614,"title":2615,"dynasty":115,"author":116,"museum":235,"description":2616,"tags":2617,"thumbUrl":2620,"material":276,"size":2621,"collection":48,"collections":2622,"showCount":2602,"zanCount":393,"manualWeight":11,"mainColor":94},220091,"zhi-lan-shi-tu-wang-meng-220091","芝兰室图","王蒙《芝兰室图》是为杭州净慈寺古林昌公所作。卷首绘秃山怪石，重岩飞瀑。山石不着树木，仅有数丛荒草于风中摇曳。过瀑布，有茅屋数椽，为古林和尚之芝兰室。芝兰室庭院临水，岸边遍植兰与芝;庭院前厅供奉佛像，左右置椅，内置芝兰数盆;厅外长松入云，枝苍叶翠。松荫之下，僧儒席地而坐，听泉论道。小童手捧芝草侍立身后。图左绘山崖壁立，各色杂树遮天蔽日，曲折的小径掩映其间。卷尾绘岩穴临径，岩穴中三僧一儒相谈甚欢，石径之上，侍者穿梭。\n《芝兰室图》卷首篆题有“宝石泉壑，芝兰室图”八字，卷中所绘飞瀑流泉、松风万壑。宝石山位于西湖北里湖之北岸，山体属火成岩中的流岩和凝灰岩，含氧化铁而呈赭红色。在日光的映照下，满山流霞缤纷，熠熠闪光如宝石一般。王蒙绘制此卷亦以写生法为之，山石略施淡赭石红以应，正所谓“随类赋彩”。",[23,100,24,60,82,61,165,27,29,195,138,210,379,2618,7,30,31,85,84,121,2619],"古林","篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b969ba820d4e2d7d9f47016d1cf0529.jpg","画心：25×103 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cm.",[48],{"id":2624,"slug":2625,"title":2626,"dynasty":132,"author":482,"museum":376,"description":2627,"tags":2628,"thumbUrl":2631,"material":213,"size":2632,"collection":581,"collections":2633,"showCount":2602,"zanCount":280,"manualWeight":11,"mainColor":52},218924,"han-he-shuang-ying-tu-yi-ming-218924","寒壑双鹰图","这幅画表现了一棵高高矗立在峡谷之上的枯树，两只老鹰站在树枝上相互对视。老树用粗大的笔触勾勒出来，盘旋而有力，而老鹰则用细小的笔触描摹出来，几乎随时可以移动。在树的下面，峡谷的激流冲刷出层层水浪，波浪滚滚而来。这幅画显示了艺术家对不同题材的驾驭能力，以及他向许多人学习的能力。虽然这幅画以宋代为基础，但明显具有明代大型花鸟画的大气、奔放、夸张的特点，极具感染力。此画原为五代时期南唐画家郭乾祐所作，但因其无年代感，现归于明代画家。",[24,60,61,165,209,27,2016,196,2283,136,65,7,63,2629,138,2630],"树枝","禽鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F812e742cba18d3fccd2b284248f14dd1.jpg","200.2x156.1cm",[581],{"id":2635,"slug":2636,"title":2637,"dynasty":18,"author":1721,"museum":1109,"description":2638,"tags":2639,"thumbUrl":2640,"material":44,"size":2641,"collection":107,"collections":2642,"showCount":2643,"zanCount":11,"manualWeight":11,"mainColor":52},232613,"tian-tai-shi-qiao-ying-zhen-zhou-ji-chang-232613","“天台”石桥应真","《“天台石桥”五百罗汉图》包括有南宋宁波地区民间佛像画家周季常的《应身观音》、《洞中入定》、《经典奇瑞》、《渡水罗汉》，及林庭珪的《施饭饿鬼》等五件作品。据作品上的金泥铭文所示，唐天祐元年（904），明州（今宁波）惠安院青山顶有十六罗汉灵异示现，故称罗汉院，罗汉信仰应运兴起，至南宋绍羲住持惠安院时，约请周季常、林庭珪，历时十余年创作百幅罗汉图以作供养。\n《“天台石桥”五百罗汉图》绢本，均通长约110厘米、宽约53厘米左右，《应身观音》图中央画一位十一面观音，坐于方椅上，左右有四位罗汉。从服饰、赤足及身体的肤色可知，这位十一面观音应是罗汉示现。画面描绘工整细致，用线富有变化。\n此作品显示，南宋佛教人物画的描绘，从单纯的人物塑造向情节性描述发展，从对肃穆凝重气氛的刻画，转向对人物精神状态的描述，尤其对故事情节的关注，成为绘画焦点，具有风俗画与肖像画的特质。此画风对后世影响深远。\n根据《日本原有寺传》记载，《“天台石桥”五百罗汉图》原有百幅，其中六幅原收藏在日本镰仓寿福寺，后相继为北条氏、丰臣秀吉所得，最后进入京都大德寺，另有十二幅于日本明治年间流入美国，华盛顿弗利尔美术馆收藏《天台石桥应真》与《临流洗濯》二幅，波士顿美术馆所得《僧俗供养》、《经典奇瑞》、《舍利观光》等十幅，成为这两馆入藏的两宋绘画珍品。日本京都大德寺则收藏《罗汉供茶》等八十二幅。《“天台石桥”五百罗汉图》作为南宋民间佛画的艺术珍品，于十五世纪被带到日本，递藏源流清晰，画风纯熟、保存良好，是举世无双的瑰宝。\n笔者因30多年研究天台山文化，对天台山佛画亦比较喜欢。在《翰墨荟萃——细读美国藏中国五代宋元书画珍品》书中，读到白话文教授的《中国的罗汉与罗汉画》一文，得知美国华盛顿弗利尔美术馆收藏《“天台”石桥应真》与《临流洗濯》二幅，波士顿美术馆收藏《僧俗供养》、《经典奇瑞》、《舍利观光》等十幅，日本京都大德寺收藏《罗汉供茶》等八十二幅等讯息后，立即联系日本友人，问询何处收有南宋周季常、林庭珪所作《“天台石桥”五百罗汉图》的书籍出版。后经日本友人告知，日本奈良国立博物馆于平成21年（2009）7月曾编辑出版了《圣地宁波》一书，是书追溯了日本佛教与宁波、台州一千三百年的源流关系。其中就收录了日本京都大德寺南宋周季常、林庭珪所作《“天台石桥”五百罗汉图》八十二幅，还收有美国华盛顿弗利尔美术馆与波士顿美术馆收藏的《“天台”石桥应真》与《临流洗濯》、《经典奇瑞》、《舍利观光》等十二幅。笔者喜出望外，立即向在日本东京开“琼芯斋”书店的华人店主黄海先生，订购了《圣地宁波》这部书，并于今年乙未羊年春节收讫。仔细欣赏南宋周季常、林庭珪所作的现存九十四幅《“天台石桥”五百罗汉图》中，有三幅图，最能体现天台山文化特色，故令人最为难以忘怀。\n《“天台”石桥应真》图系笔者故乡天台山石梁飞瀑的圣景，而石桥为中国佛教惟一的五百罗汉道场，此图又是迄今为止发现的最早关于天台山石桥罗汉佛画之作。“石桥应真”，石桥是指天台石梁桥，应真是指“罗汉”。据《“天台”石桥应真》图题记，此图为南宋明州籍画家周季常、林庭珪，于南宋淳熙五年（1178）开始，至淳熙十五年（1188）始毕。画面完全写实:石桥之上瀑水的形态，以及石桥右侧的“横石”，左侧崖际，无不与实地契合。石桥前罗汉驾云而观，右上“栋宇宏壮，图塔瑰奇”；二位罗汉排云出迎，“叙接宛同素识”；而石桥之上僧人恭敬合掌，冀渡桥而入应真之列。观此图，无不与南朝梁释慧皎《高僧传·竺曇猷传》内容相吻。乃知周、林二位毕十年之功，遍访形胜，探寻典故，所作罗汉图并非面壁虚拟。古人作事，虽书画一道，仍郑重非常，于此可见一斑。《“天台”石桥应真》图与《临流洗濯》图二幅，今藏于美国华盛顿弗利尔美术馆。",[24,26,786,209,165,86,29,2132,7,30,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbbbcfe273eca337ff5473accf68cb25.jpg","109.9x52.7cm",[],35,{"id":2645,"slug":2646,"title":2647,"dynasty":132,"author":1311,"museum":351,"description":2648,"tags":2649,"thumbUrl":2652,"material":946,"size":2653,"collection":48,"collections":2654,"showCount":2643,"zanCount":11,"manualWeight":11,"mainColor":94},222027,"san-gu-cao-lu-tu-dai-jin-222027","三顾草庐图","画面描绘的是家喻户晓的刘备“三顾茅庐”拜访诸葛亮的故事。人物的描绘生动而细致，例如刘备恭敬的神态、张飞的深色面庞及武夫样的站姿都描绘得十分传神。人物的动态掌握得非常准确。画山石用大斧劈皴法，松枝颀长，明显继承了南宋马远的画风，用笔简劲。整体画面墨色清雅。\n在明代宫廷画中以“招贤纳士”为题材的历史故事画为数不少，反映了当政皇帝求贤的迫切心情。",[23,24,399,27,165,86,311,2650,436,210,30,7,137,2651,877],"草庐","山坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6f5519f01f671699f57d3b1bc3dfe2e.jpg","纵172.2cm，横107cm",[48,49],{"id":2656,"slug":2657,"title":1732,"dynasty":295,"author":2658,"museum":117,"description":2659,"tags":2660,"thumbUrl":2661,"material":107,"size":107,"collection":48,"collections":2662,"showCount":2643,"zanCount":11,"manualWeight":11,"mainColor":2663},201833,"shan-shui-tu-zhou-zhang-zhu-201833","张翥","层岩错落间，飞瀑悬垂，小径蜿蜒入林。山间楼阁隐于苍松枯木之后，清寂中藏雅致。笔墨苍劲，皴法细腻勾勒山石纹理，枯树虬枝与葱郁松竹相映，尽显秋冬山林之趣。近景林木扶疏，溪畔人家隐约，动静相宜，传递出文人寄情山水的淡泊心境。",[29,61,27,195,7,196,311,354,30,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31d96e2ff8894c997d7bd76a9b378257.jpg",[48],"ada091",{"id":2665,"slug":2666,"title":2667,"dynasty":132,"author":1311,"museum":929,"description":2668,"tags":2669,"thumbUrl":2670,"material":44,"size":2671,"collection":107,"collections":2672,"showCount":2673,"zanCount":11,"manualWeight":11,"mainColor":52},232646,"xi-bian-yin-shi-tu-dai-jin-232646","溪边隐士图","戴进早年受画工父亲戴景祥的影响，从锻工改学绘画，擅长工笔。并且常为寺观做佛像，以精工、细巧见长。同时也受到南宋“院体”的影响。中年时，进京入宫，供奉仁智殿，但因呈献得意之作《秋江独钓图》时，遭馋言而被贬斥，最终离开画院。可以说，这一意外的打击是他绘画生涯的转折点。在京城的后十余年中，他泛学诸家，广交文人画家和士大夫公卿，将宋元文人画家的传统渗入到自己的艺术中。晚年，他离京返乡，卖画课徒。并发展了马、夏苍劲的水墨山水，以更为坚劲、雄阔的笔墨，创造出更具运动感和阳刚气势的山水画新风貌，经后世发扬，遂成“浙派”。\n戴进的坎坷经历是他形成复杂性格的直接原因。由于仕途的失败，理想的破灭，使他采取与世无争的态度，开始淡泊名利，洁身自好，借诗文翰墨来怡养性情。因此，画面中的整体氛围是安逸、祥和的。然而作品虽静、幽却没有元人画中的那种消极、凄凉之感。这是因为戴进不同于那些高蹈远行、浪迹山林的文人画家。他是一位在社会上谋生的职业画家，虽然与世无争却并不回避现实，以于世有补的态度来面对人生。他胸怀旷达、志趣高雅，广泛交友，被誉为“博雅之士”。\n画中描绘了一位超凡脱俗的隐士斜坐在山石之上，在他旁边放着一根拐杖，大概是旅途劳累，故在山中休憩。隐士的神情平和，裸露前胸，从微微低垂的眼神中，可看出他正在倾听身旁潺潺的流水声，真是悠哉、闲适的生活。周围的景物只有山石和树木，一片寂静，惟有小溪的“乐音”萦绕整座山林，一直传进幽深之处。人物悠闲的心态与恬淡的景致自然地融合在一起，一切都是那样的自由，那样的随和，在不经意间透露着一种文人的气息。这是作者艺术风格的简逸一面，但这又不同于元人画风的那种淡泊。画中山石勾勒，坚实峻拔，并运用了南宋马、夏的斧劈皴，皴法迅捷刚韧，犹如石斧雕凿一般。看那偃斜多姿的拖枝松是如此的苍劲有力，它身如虬龙，扎根于硬石之中，直冲云天。其曲折的枝干，每一曲，每一折都流露着倔强与刚烈。好似一位坚强不屈战士，又似一位清高绝俗的雅士，傲然挺立于山巅之上。这种刚毅的气质与平静、幽寂的情境形成了鲜明的对比。而二者又在通情达意之间互为补充，取得了完美的平衡。\n作品在题材、布局和画法上，基本是仿效南宋马远一派。如，通过松树和远山、近石形成的对角线构图，山石运用潇洒利落的斧劈皴，松柏的遒劲挺拔，还有人物衣纹细劲顿挫的勾勒等，都极似马麟的绘画风格。本画为水墨淡彩，整体以水墨为主，只是在山石、树木和人物衣服上都略施以淡淡的绿色。这种淡雅的色彩正体现了画的清逸与闲淡之韵。",[23,24,60,26,61,165,29,86,152,63,65,27,379,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F920c1d68ed02e2884a6e69185f76dca3.jpg","纵137.9厘米，横75.1厘米",[],34,{"id":2675,"slug":2676,"title":2677,"dynasty":674,"author":482,"museum":260,"description":2678,"tags":2679,"thumbUrl":2683,"material":107,"size":107,"collection":107,"collections":2684,"showCount":2673,"zanCount":11,"manualWeight":11,"mainColor":94},225299,"fu-shi-hui-20-yi-ming-225299","浮世绘20","以平远视角铺展幽谧山水，青绿与浅赭晕染层叠丘峦，远景丹峰隐现薄雾间。苍松错落点缀崖岸水畔，清劲枝条勾勒古拙苍劲的意态。蜿蜒水泽以留白代雾霭，将远近景致朦胧晕开，崖间飞瀑垂落，松林深处掩映山居小屋，暗合隐逸幽居的雅趣。\n\n敷色淡雅柔和，线条清简雅致，将山居逸趣融于山水之间，带着恬淡禅意，把林泉山水的空灵悠远定格于纸面，尽显东方山水美学里悠然出世的诗意。",[2680,165,2681,29,7,152,33,35,179,238,65,31,2682,542],"浮世绘","木刻","天空","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3d34a0a4546fef429a300e8f75a2d43.jpg",[],{"id":2686,"slug":2687,"title":2688,"dynasty":295,"author":622,"museum":351,"description":2689,"tags":2690,"thumbUrl":2691,"material":2692,"size":2693,"collection":48,"collections":2694,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":94},236331,"xia-shan-gao-yin-zhou-wang-hui-236331","夏山高隐轴","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。",[24,26,61,27,29,136,7,31,238,33,65,341,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd81825753d68bef2ca34b30bd5f712c.jpg","纸本 ，设色","纵184.8cm，横79.4cm",[48,49],{"id":2696,"slug":2697,"title":2698,"dynasty":18,"author":162,"museum":260,"description":2699,"tags":2700,"thumbUrl":2701,"material":107,"size":107,"collection":107,"collections":2702,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":52},227766,"ting-pu-tu-ye-li-tang-227766","听瀑图页","李唐（1066年－1150年），字晞古，亦作希古，宋朝著名画家，河阳三城（今河南孟县）人。\n\n李唐原供奉北宋徽宗的画院，1127年金兵攻陷汴京，李唐颠沛流离，逃往临安（今杭州），以卖画度日。南宋恢复画院后，李唐经人举荐，进入画院，授成忠郎职务。\n\n李唐精于山水画，变荆浩、范宽之法，山水画最初用峭劲的笔墨，写出北方山河雄峻气势；晚年去繁就简，创大斧劈皴；画水打破鱼鳞纹程式，而得盘涡动荡之状；兼工人物画，初似李公麟，后衣褶变为方折劲硬；并以画牛著称。\n\n描绘青绿山水，如《万壑松风图》、《长夏江寺图》等，是北派山水的著名代表人之一，其后用笔及取景变的简括凝炼、构图精练、意境优美，开辟南宋的新画风，并创作人物画《胡笳十八拍》、《采薇图》等，借历史抒发怀念故国，希图中兴的感情。\n\n李唐的画风对后世有很大影响，他也培养了一些杰出弟子如萧照，其后马远、夏圭继承和发展了他的画风，和他一起，并称为“南宋四家”（李唐、刘松年、马远、夏圭）。",[23,24,61,165,27,1261,29,7,30,31,210,1599,179,180,530],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F300f3d307bc7e7517c87dc0b837e932e.jpg",[],{"id":2704,"slug":2705,"title":2706,"dynasty":295,"author":2707,"museum":351,"description":2708,"tags":2709,"thumbUrl":2711,"material":463,"size":2712,"collection":49,"collections":2713,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":52},224537,"jiang-shan-wo-you-tu-cheng-zheng-kui-224537","江山卧游图","程正揆","此卷是他晚年辞官之后所作。图绘连绵不断的山峦谷地，平台处，空亭独立，高士寻幽而至。其荒寒萧瑟的山水、高士落寞的行踪，正是画家晚年内心情感的写照。图中山石树木以酣畅的笔墨挥就而成，笔法朴拙、放逸，于简约中不失神采。在明末清初摹古风盛行的画坛下，其满怀激情的画作令人耳目一新。",[23,24,60,82,61,29,27,30,31,1599,34,238,179,2710,7,448,64,1956],"近水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bf39153e0532479eb770c1f64faf0a9.jpg","纵26厘米，横205厘米",[49],{"id":2715,"slug":2716,"title":2717,"dynasty":295,"author":2718,"museum":260,"description":2719,"tags":2720,"thumbUrl":2721,"material":107,"size":107,"collection":107,"collections":2722,"showCount":5,"zanCount":280,"manualWeight":11,"mainColor":94},224353,"shan-shui-tu-li-zhou-sun-yi-224353","山水图立轴","孙逸","此作用高远、平远构图错落铺展，左畔危崖层叠拔地而起，以留白晕出流岚烟霭，虚实相映间尽显山势空灵秀奇。以浅绛设色写就，山石勾勒细劲挺秀，淡赭敷色晕染出清润苍朴的质感，笔简意赅。\n\n下方村居隐于岩岫竹木间，野桥通幽，士人凭栏远眺，幽寂闲适的山居雅趣跃然纸上。整体画风萧散淡远，尽显静穆清逸的文人意韵，将皖南山水的冷隽灵秀与林下幽居的雅怀相融，尽显遗世独立的审美意趣。",[23,24,60,26,165,27,29,210,34,63,138,137,238,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb49b9c0e92967b4ce30f0222df23738f.jpg",[],{"id":2724,"slug":2725,"title":2726,"dynasty":132,"author":1608,"museum":2727,"description":2728,"tags":2729,"thumbUrl":2730,"material":1326,"size":2731,"collection":107,"collections":2732,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":94},222586,"shan-shui-ren-wu-tu-lan-ying-222586","山水人物图","中国国家博物馆","蓝瑛（1585-1664），一说（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂” ，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻嶒，与文征明、沈周并重。作品有：《秋山红叶图》《江皋话古图》《白云红树图》《松岳高秋图》《苍岩嘉树图》等，其画派在晚明影响甚大，传其画法者甚多。\n蓝瑛 （1585-1664），一作（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂”，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n蓝瑛一生以绘画为职业，曾漫游南北，饱览名胜，眼界开阔，因而不断丰富了创作内容。他的传派，直接继承衣钵的有蓝氏一家子孙，如蓝孟、蓝深、蓝涛等，弟子刘度、王奂等都各有成就。明末同时和稍后的如陈洪绶以及金陵八家等著名画家，也都受他的影响。\n蓝瑛绘画对明末清初影响很大，被后人称为“武林派”。画史上称之为“后浙派”，将其与戴进、吴伟合称“浙派三大家”。 [2] 但实际上他的画风与戴进等不同，不能完全附属于“浙派”之后。蓝瑛字田叔，号蜨叟，晚号石头陀，又号东郭老农，所居榜额曰“城曲茅堂”。\n蓝瑛是我国明末清初的画家，曾有美术史家把他列为“浙派”，对此，有专家学者提出异议认为：蓝瑛与戴进之间既无师承关系，在绘画面貌、艺术风格上也大相径庭，故不应因二人同处浙江杭州而列为同一画派“浙派”。\n清代沈宗骞在《芥舟学画编》中提出“蓝瑛倡为武林派”，蓝瑛和他的追随者们应称为“武林派”。我们知道，画史上有一些画家因种种原因没有留下更多的生平资料，使后人很难从他们一生的行踪、生活背景、个性脾气、思维方式中去了解他们所形成的艺术风格、审美理念，只能从他们留存于世的绘画作品中去洞察其艺术之轨迹，蓝瑛就是这众多画家中的一位。长期以来，学术界对文人画家及其作品比较重视，由于蓝瑛是一位职业画家，又没有诗文和著作留存于世，因此在画史上很少有关于他的记载和涉及。本文试通过对蓝瑛绘画作品的具体分析，来阐述蓝瑛山水绘画的艺术特色和所取得的成就。\n画家的创作理念和他个人所生活的时代、环境、文化素养、审美标准是分不开的。蓝瑛作为明末清初的画家，他的绘画风格同样也脱离不开他所生活的时代。因此，在探讨蓝瑛山水绘画的艺术特色之前，我们首先要对蓝瑛的生平及师承有所了解。\n蓝瑛，生于公元1585年，卒年不详，1664年尚在，字田叔，号蜨叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号西湖外民、西湖外史、东郭老农、吴山农等，所居榜额曰“城曲茅堂”。生长于“浙派”发源地钱塘(今浙江杭州)，二十三岁寓居松江，后来长期活动于杭州、嘉兴、南京、扬州、绍兴等地，卖画授徒，影响深远，追随者主要集中于杭州一带，被称为“武林派”(武林为今杭州别称)，在明末万历到清初康熙年间足以与“松江派”抗衡。其画风融合南北两宗，自成一家，属于一位文人画的职业画家。清代以来不少学者把蓝瑛称为“浙派”的“后劲”或“殿军”。\n他工书善画，长于山水、竹石、梅兰、人物、花鸟等，技法全面，尤以山水画著名，是明末清初颇具影响力的山水画家。他的绘画特点比较明显的是用笔有顿挫，以疏秀苍劲取胜，善写秋景。在其作品的题款中，常署仿某家之作，如“仿张僧繇”、“法荆浩”、“仿李成”等，实则所画均为他自己的面目。他的山水绘画画法有两种：一种作钩勒浅绛法，另一种作没骨法，设色鲜艳夺目，所画青山、红树、白云，运用石青、石绿、朱砂、赭石、铅粉诸色，点染别致，是晚明时期富有变化的山水绘画作品。蓝瑛享年八十有余，一生以绘画为职业，笔耕不辍，传世的绘画作品面貌多样，数量众多。\n从蓝瑛传世的作品看，他的山水画创作大致可分为早、中、晚三个时期。早期为其五十岁以前。从现存蓝瑛早期的绘画作品中可以看出，他在临习古人绘画作品的过程中，打下了扎实的笔墨功底。在艺术成就的取得上，他主要得益于黄公望、王蒙、倪瓒、吴镇的助力。元四家的笔墨虽不尽相同，但蓝瑛在学习他们的绘画技法时却能择良而取，并注意吸取对自己有用的东西，藉以丰富个人的表现能力。博采众长，应该是一个艺术家取得成就的途径之一，这也是我国艺术史上久经证明的成功经验。此时蓝瑛作品呈现出的面貌基本是以中锋运笔，皴法以长披麻皴、解索皴、荷叶皴为主。山石的画法润泽浑圆，没有过多的棱角，苔点圆润。树木的画法则是多种多样，体现了他绘画技法的娴熟。在构图上，近景的树木与远景的山峦之间具有明显的空间感。设色平淡和润，风格秀润清和，疏松简略。\n《溪山秋色图》为癸丑新秋(1613年)，画家29岁时创作的一件传世绘画佳作。画卷右起为辽阔的水域，远山朦胧，云气蒸腾。中部山石突起，溪水潺潺，蜿蜒的水流从山石间缓缓淌过，坡石上零星地分布着杂草树木。整幅画作淡泊宁静，用笔柔和，山石少皴，偶有淡淡的荷叶皴，构图松秀，设色清和，墨色滋润，从中可看出蓝瑛此时的绘画受“松江派”绘画风格影响之痕迹。\n《仿李唐山水图》是蓝瑛早年创作的一件绘画作品。图中景物茂密，近景岩石累累，形成坡坨，处于曲流之畔。坡石上树木茂蔚，造型古朴，刻画细致，疏密枯润，各显生态。树林间有一茅亭临于溪边，亭内二隐士对坐畅聊。隔溪远景是巨石高峰，岩石突兀奇特，下有瀑布，泻入清溪。整个画面山石崚嶒，古树结节，山石的皴法，以小斧劈皴、刮铁皴相济并用，稍以色彩点簇，水墨晕染，刚中见柔。布局稳当，气氛清谧。远山近树，继承了李唐院体画派的风范而自有发挥，作品较多地留有宋代遗风。\n中期为五十至六十五岁之间。这时他不但取法郭熙、李唐及马远、夏圭，而且对二米、云山也精心研究，对黄公望的画更是悉心尤力。时人吴门画派沈周、文徵明的笔法他也热心师效。加之他漫游南北涉猎广泛，眼界宽广，兼融南北，形成了苍劲雄强、骨力刚硬的个人风格，此时的蓝瑛已经达到能“分别宋元家数，某人皴梁法脉，某人蹊径勾点，毫不差谬”的水平。他以自己对各家绘画特色的见解，以中锋、侧锋交替运笔，用各种皴法、点苔法熟练地画出各种形态的山石、树木。以各家的典型构图，或高远或平远，或简或繁，显现出一种笔墨苍劲、气势雄浑的境界，反映出他在三十余年仿古绘画的实践中渐渐脱开单纯的临与仿，开始形成了自己独立的绘画风格。\n《仿古山水册》作于乙亥春仲(1635年)，画家时年51岁。此山水画册的风格以临黄子久为主，笔触粗短，用笔方折，山石少皴，偶用折带、荷叶皴，略加修饰，山石敷以淡青绿和浅绛，加浓墨苔点醒神，用笔简练，设色淡雅。全册共计十二幅，每幅均可见蓝瑛中年绘画之风格。首幅水墨画枯树数株，槎枒矗立，画上题云：“云林之法，妙在简远。瑛法之，未必耳。笑笑。”第二幅浅设色画，一红衣士人立于松下，隔岸观瀑，画上题云：“偶法郭河阳画。西湖外史蓝瑛。”第三幅设色画临水岩上，桃红满树，舟人浮江而行，款“蓝瑛画”。第四幅设色画村舍数间，丛树环绕，小桥流水，画上自题：“赵令穰画法，蓝瑛。”第五幅设色画层峦飞瀑，草阁间士人独坐，画上自题“蓝瑛法大痴画”；第六幅水墨画水畔虚亭，自题：“梅华道人画法，画于富春之吉祥山房。蓝瑛。”第七幅设色画青山红树，画上题云：“元之高彦敬尚书画法米南宫，有白云红树画。蓝瑛仿之。”第八幅设色画层峦蓊郁，群树繁茂，士人独坐水岸，观泉听瀑，自题“王黄鹤听泉图。蓝瑛法。”第九幅设色画苍松红树，孤舟临岸，画上题云：“赵仲穆画似其翁，一段秀古，自成别门。蓝瑛法。”第十幅设色画秋林丹翠，篷舟沿溪，自题：“乙亥春仲法李唐画。西湖外史蓝瑛。”第十一幅设色画秋林丛聚，清雾弥漫，士人独行，自题：“法松雪斋秋林觅句。蓝瑛。”第十二幅设色画，白雪覆树，水岸亭间，士人观景，自题：“乙亥春仲法右丞画。蓝瑛田叔。”\n《乔岳松年图》是蓝瑛55岁时为宁庵祝寿时所绘。画上的景物，笔墨苍劲，山石突兀嶙峋，白云在山间缭绕，远处的楼阁隐现于流动的烟雾之中，时隐时现，增加了画面的动感。画之近处有九株苍干虬枝的古松，繁密的松针，碧绿青翠，使得画面苍浑郁茂，平添了清新的气氛。在松树的掩映下有一茅亭，亭内一老者正在观赏那飞流而下的瀑布。整个画面笔墨精到，用色灵巧，再加上山石间有规律的点以苔藓，使得画中的景物更加雄奇壮观。\n晚年为六十五岁以后，这是蓝瑛一生中最精彩的时期。此时他在融会贯通前人技法的基础上，自立门户，形成了自己的绘画风貌。有人评其晚年画风“绝似仲圭，复似启南”，一语道出蓝瑛画风在渊源上与文人画的关系和晚年苍劲雄浑的画风。从此时期的作品来看，笔法苍劲疏宕，伟峻老练，画风呈多种面貌，有些作品笔墨含蓄隽雅，有些作品青绿重设色，画法工细，色调浓丽，愈老而愈工。这一时期他主要以敏捷快速的粗笔山水为主，山石的轮廓线短小、破碎、躁动，以破笔点苔，以侧锋皴擦；树木的画法更加曲屈苍老和类型化。构图上也基本形成了一种统一的样式：巍峨雄伟的山体以棱角分明的几何体组成并繁复堆积，占据画面的大部分且多偏向一侧，而于另一侧留出一定的空间，山顶突出。山间有飞瀑丛树，山脚以渔樵隐士、老树茅屋点缀。同时出现了山体的立轴画中纵向拉长，在手卷中则横向延伸的变形现象。晚年的作品中没有了早期所保留的一定的空间感，代之以一种逼人的气势，无论是仿荆浩、董源还是仿黄公望，在风格和笔墨上已经没有了差别，它们都已化为蓝瑛的典型山水样式。蓝瑛晚年的作品，笔益精良，构图高嶂巨壁，丘壑深远，重山叠翠，更加苍浑古朴。\n《华岳高秋图》作于1652年，画家时年68岁。画中远景，高山耸立，山顶作平台状，山隈深处，楼阁崔嵬，流泉飞溅，山石勾勒线条硬折，运用荷叶皴、折带皴和牛毛皴，树草稀少，显得崚嶒。中景，群山环绕之中，筑有楼榭，溪流淙淙而下，老树粗壮，用短笔勾成，树叶采用双勾夹叶填色，松针用传统笔法，排列有序，挺拔有力，不失古气。水口用笔转折生硬，受南宋影响，类似浙派。近景，山径迂回，满山红树，二高士漫步小道，观瀑笑语。构图气势雄伟，笔势刚健豪迈。山石用荷叶皴，参以折带皴加水墨渲染，罩花青赭色，树木苍劲，枫叶明丽，描绘出华岳的深秋景色。\n《秋壑飞泉图》为蓝瑛74岁时所作的传世佳作。该画尺幅巨大，气势磅礴，画心高近四米，颇见蓝氏构图设景之能力所在，作品凝聚了画家毕生的技艺与功力。画面层峦耸翠，幽谷深邃，轻岚浮动，红树青山。山谷间的飞瀑和桥上的高士顾盼有情，高远及深远相结合，是典型的蓝氏山水画之模式。画中的高山巨峰，上部的山石重叠峻峋，瀑布悬崖，飞泉溅落。中部巨石杂树间有一茅亭，一人于内赏景，稍下建筑数座，红叶映天，浮桥卧地，小桥上二叟持杖交谈，颇有生活意趣。从这幅绘画的技法上，可以看出他在融汇前人技法方面的成就，也能看出他在创新方面的景物。作者采用“荷叶皴”，在形式与内容方面得到了和谐的结合，取得了较好的效果。那独具特点的置苔，尤显得画面苍润而厚重。有些树叶以赭色画出，突出了节令气氛，使画面秋意盎然。该画构图雄伟，气势阔大，足见蓝瑛博大精深的笔墨造诣。\n纵观蓝瑛早、中、晚三个时期的绘画作品，大体可以得到这样一些认识：早年的作品，是学宋代诸大家的笔法，尤其是学元四家的作品。此时笔法较细润，明显地呈现出某派的笔法痕迹。中年，在学习前人技法的基础上开始变法，也就是向开创独特风格的途程上逐步迈进。晚年则开创了一种雄伟浑穆的独特面貌，画不离苔以及多画秋景，善施赭色，巧用荷叶皴等等，也都是蓝瑛作品的特点。\n蓝瑛的山水画艺术成就，得益于他“性耽山水”。虽然他下苦功夫临习了晋唐宋元诸家，并达到了精妙乱真的程度，但他不以摹仿为能事。他不仅擅于师古人之意进行变革创新，而且还注重生活，注重行万里路，饱游饫看，“游闽粤荆襄，历燕秦晋落，涉猎既多，眼界弘远”。因为他胸中有真丘壑的观察积累，眼界开阔，所以能落笔纵横，水墨淋漓，独创一格一派—武林派。蓝瑛的绘画，影响广泛，师法他的人可分成三类：一类是蓝瑛的嫡传弟子，如早期的刘度、蓝孟等人；第二类是出自蓝瑛的嫡传弟子门下或模仿蓝瑛画风的职业画家，如蓝涛等；第三类是早年曾经出自蓝氏门下，后来自立门户创立了独立画风的陈洪绶、禹之鼎等。千百年来，为祖国锦绣山河传神写貌的画家，能够开宗立派的屈指可数。蓝瑛的绘画崛起于江南，熔铸古今，独开门庭，这是难能可贵的。",[23,24,61,27,26,29,86,178,152,7,30,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F396b38187718c407d8aa9bcd3330f957.jpg","纵151CM 横51CM",[],{"id":2734,"slug":2735,"title":2736,"dynasty":132,"author":408,"museum":826,"description":2737,"tags":2738,"thumbUrl":2740,"material":123,"size":2007,"collection":107,"collections":2741,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":52},222337,"qi-feng-gao-yin-tu-zhou-tang-yin-222337","奇峰高隐图轴","唐寅（1470年－1524年）明代著名画家、文学家。字伯虎，又字子畏，以字行，号六如居士、桃花庵主、逃禅仙吏等，南直隶苏州吴县人。吴中四才子之一。在画史上又与沈周、文征明、仇英合称“明四家”或“吴门四家”。\n据称唐寅作画时间甚早，而且无师自通。吴一鹏在《贞寿图卷》上提款：“岁丙午，子畏年止十七，而山石树枝如篆籀，人物衣褶如铁丝。少诣如是，岂非天授！”早年唐寅可能也跟文征明一样，向沈周学画。如王稚登在《吴郡丹青志》中的《沈周先生传》里写：“一时名士，如唐寅文壁（征明）之流，咸出龙门，往往致于风云之表。”但如今所看到唐寅的 中，有沈周影响的风格很少，可能早年作品亦多不存，所以难以知道。\n唐寅较为人所理解的，是拜画家周臣为师。研究认为他也许是在泄题案之后，才开始向周臣请益。由于周臣的画风远摹南宋画家李唐、刘松年，所以唐寅的作品也多被人认为有李刘风格。美术史对唐寅山水画的讨论中有周臣代笔的问题，目前仍没有比较清晰的理解。唐寅的作品以山水画、人物画出名，亦有花鸟竹石的作品存世。一般而言，都将唐寅的绘画风格分做三期，但由于许多有纪年的作品多集中在唐寅的晚年，早年的风格分期便有许多争议。唐寅 亦好，早年的书风比较靠近颜真卿，后来比较接近李邕、赵孟睢\n自明末以来，在讨论唐寅作品，均把他分到吴派，并与沈周、文征明、仇英等画家并称“吴门四家”，或称“明四大家”。但唐寅的画风与沈周、文征明并不相同，而严格来说，也不能将唐寅的风格迳归为吴派。因为相较于一般吴派多追随元四大家的画风，唐寅作品里元四家的影响相当的少，反而有比较多南宋院画家的影子。但多数的人，都称唐寅是揉合“南”、“北”的重要画家。",[23,24,60,26,165,27,29,2739,7,34,63,31,30,195,35],"奇峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83dc2042fc9030013065e4ae628ede20.jpg",[],{"id":2743,"slug":2744,"title":2745,"dynasty":115,"author":2456,"museum":929,"description":2746,"tags":2747,"thumbUrl":2748,"material":44,"size":2749,"collection":48,"collections":2750,"showCount":5,"zanCount":280,"manualWeight":11,"mainColor":94},221916,"luo-fu-shan-qiao-tu-juan-chen-ru-yan-221916","罗浮山樵图绢","此图所绘罗浮 山，位于广东增城县 东，为东晋葛洪得道 之处。作者在幅上自 识：“至正二十六年 （1366） 正月望后庐 山汝言为思齐断事 写罗浮山樵图。”图 绘群山层叠，一峰高 耸，两山接合处有山 泉流泻而下；坡岸上 树木林立，枝叶茂 密，有茅屋、楼阁错 落其间；山谷中村落 隐现；远处对岸，峰 峦犹见。图中山势圆 匀，作长披麻皴，再 以淡墨渲染，此为 董、巨法。但线条时 断时续，却有些王蒙 的解索皴的意味。山 头碎石堆叠，形似 “矾头”。近树枝干挺 直，粗笔点叶。这些 都是依循董源《夏景 山口待渡图》及巨然 《层岩丛树图》而来。 此 图虽在技 法 上学了董、巨，但呈 现的效果，却逊色许 多。这是由于陈汝言 用笔偏于繁细劲利， 笔力偏硬，缺少圆 浑、厚实之感。并且 在营造山水意境方 面，也缺少整体感。 山头大多各自独立， 只交代了山脉走向， 而缺乏山川气象。 其时已是元末， 山水画总的在趋向 简率、写意。如陆广、 赵原等画家，无论构 图、笔墨，都呈现简 单化的现象。陈汝言 用笔虽见粗阔，但由 于其好友王蒙对他 的影响，使其勾、皴 依然缜密、清润。 陈 汝言等一 批 元末“吴门”画家，承 续宋元文人画传统， 虽未取得重大突破， 却为“吴派”的诞生 起了先导作用。",[23,24,60,61,27,26,136,7,33,65,31,63,30,64,341],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F736082c81e3db2b9eeab62f1bc5401da.jpg","70x53.5",[48,49],{"id":2752,"slug":2753,"title":2754,"dynasty":295,"author":825,"museum":351,"description":2252,"tags":2755,"thumbUrl":2756,"material":123,"size":2255,"collection":107,"collections":2757,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":94},220320,"huang-shan-tu-ce-9-hong-ren-220320","黄山图册-9",[23,24,61,29,626,27,63,30,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c3f24836a98c1dbd40e046df6418e26.jpg",[],{"id":2759,"slug":2760,"title":1975,"dynasty":18,"author":307,"museum":260,"description":982,"tags":2761,"thumbUrl":2762,"material":105,"size":265,"collection":107,"collections":2763,"showCount":2764,"zanCount":11,"manualWeight":11,"mainColor":52},288431,"gao-shi-guan-pu-tu-ma-yuan-288431",[24,60,165,86,29,152,7,30,1922,2048,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd14d033ddc1a880a6b71d2fb206a1cf.jpg",[],32,{"id":2766,"slug":2767,"title":2768,"dynasty":295,"author":622,"museum":260,"description":1259,"tags":2769,"thumbUrl":2770,"material":107,"size":107,"collection":48,"collections":2771,"showCount":2764,"zanCount":11,"manualWeight":11,"mainColor":94},237885,"xia-shan-ji-yu-zhou-wang-hui-237885","夏山积雨轴",[24,61,27,26,29,30,31,63,34,238,7,60,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce2045788a394058a03f535c7e71d29f.jpg",[48],{"id":2773,"slug":2774,"title":2775,"dynasty":295,"author":2776,"museum":260,"description":2777,"tags":2778,"thumbUrl":2779,"material":107,"size":107,"collection":48,"collections":2780,"showCount":2764,"zanCount":11,"manualWeight":11,"mainColor":94},237161,"tang-ren-shi-yi-shan-shui-ce-xiang-mu-zhi-237161","唐人诗意山水册","项穆之","项穆之［清·乾隆］，生卒年不详，字莘甫，南京人。适庵孙。善画山水，能继祖业。高宗南巡，诸大府延入画局，一切名胜图绘，皆其主裁。",[24,60,626,639,165,29,31,7,30,35,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4603652ccdb32e3cecd134127efbb3b3.jpg",[48,383],{"id":2782,"slug":2783,"title":2784,"dynasty":295,"author":482,"museum":351,"description":2785,"tags":2786,"thumbUrl":2788,"material":946,"size":2789,"collection":48,"collections":2790,"showCount":2764,"zanCount":11,"manualWeight":11,"mainColor":94},236177,"hong-li-she-tu-tu-zhou-yi-ming-236177","弘历射兔图轴","乾隆作为以畜牧、游猎为主 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。\n在技法上已经达到了融会贯通的境界。\n画面的左下方，几株松树巍然矗立，在这银装素裹的冰雪世界里更显现出一派凛然不屈的丈夫气概；从构图上看，又与右侧庭榭周围的另外几株树遥相呼应。\n在这幅作品中，画家通过对树木长短远近、虚实疏密的变化处理，使画面产生出强烈的纵深效果，进而使景象开阔，意境深幽。\n此作虽然是描绘雪景，却没有给人萧瑟荒凉的感受，相反，在这冰天雪地的景色之中，似乎还隐约能够感受到一丝融融的春意。\n一道在山崖间飞泻直下的流泉，虽然只是一处看似寻常的点缀之笔，却为画面增添了动感，使作品有声有色，更富有观赏情趣。\n此作的构图布局采用的是“高远法”，整体山势不以险峻取胜。\n平稳和缓的峰峦，带有明显的江南景象的特征，重重叠叠，层层递进，大有江山无尽之感。\n【名称】元曹知白群峰雪霁图 【类别】中国 【 【 【 【简介】 图轴，纸本，水墨画，纵：129.7公分，横：56.4公分。\n该画以白颜色为主要色调，技法表现看似简单，实则匠心独运，法度森严，虚实得当，计白当黑，尤其是在水榭、树木这些细微之处更见功夫。\n用笔简约疏朗，刚柔相济；用墨润燥相间，清淡温和；巧妙地把北方山水所特有的苍浑巍峨的“河朔气象”融入恬淡雅逸的江南景色的韵味，形成了柔美、宁静、凝重的风格。\n观者在一望之间，即能体会到北方山川的厚重沉稳，也能品味出南方山水的内在之美。\n另外，有学者认为「雪图」，可能是 早年精仿宋人之作。\n曹知白（1272-155年），字又玄，一字贞素，号云西，华亭（今属上海松江）人。\n工诗文，善画山水，画法师李成、郭熙，笔墨清润，全无俗气。\n晚年笔法苍简，自成一格。\n对后世绘画有一定的影响。",[24,25,399,26,27,85,2835,1006,7,31,238,64,900,196,152],"群峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a999b20c2e336d2ab5e434cb134b279.jpg","纵129.7厘米，横56.4厘米",[],{"id":2840,"slug":2841,"title":2842,"dynasty":295,"author":649,"museum":260,"description":2843,"tags":2844,"thumbUrl":2845,"material":107,"size":107,"collection":107,"collections":2846,"showCount":2817,"zanCount":11,"manualWeight":11,"mainColor":94},230176,"fang-gu-ce-ye-wang-shi-min-230176","仿古册页","此作以青绿设色追摹古意，山峦层叠起伏，皴法苍润松秀，勾勒间尽显山石肌理。飞瀑穿林越谷，循着山涧蜿蜒汇入澄澈清溪，屋舍错落隐于葱茏林木间，山脚水畔嘉木繁荫，淡赭与石青石绿晕染出温润雅致的色调。\n\n笔墨间既承袭山水的萧散淡远，又自有安和静谧的意趣，将山居丘壑的幽寂清远铺陈开来。摹古之际亦融入己心，把文人林泉高致的隐逸情怀藏入每一处丘泉林木中，尽显古雅沉静的山水意境。",[24,165,29,27,626,30,31,7,238,226,63,179],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2e0e500db2b9360583507b90d46b9f3.jpg",[],{"id":2848,"slug":2849,"title":2850,"dynasty":115,"author":482,"museum":351,"description":2851,"tags":2852,"thumbUrl":2853,"material":44,"size":2854,"collection":46,"collections":2855,"showCount":2817,"zanCount":11,"manualWeight":11,"mainColor":52},223666,"xue-shan-xing-lv-tu-zhou-yi-ming-223666","雪山行旅图轴","山势苍莽，白雪皑皑，映衬秋霜红叶丛树，分外妖娆。林中房舍隐现，桥横岸渚，山重水回，一舟泊于岸边。行旅者踏雪而行。全画用笔工细，人物面貌高古，神态刻画入微。房舍以界画笔法，工整严谨。作者巧妙地将山水和人物有机地融为一体。",[23,24,26,61,27,165,29,2425,196,7,30,33,238,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f9cb5a6c82975a7225dafdffa1c6e7e.jpg","106x51.5",[46],{"id":2857,"slug":2858,"title":2859,"dynasty":115,"author":2860,"museum":20,"description":2861,"tags":2862,"thumbUrl":2865,"material":213,"size":2866,"collection":107,"collections":2867,"showCount":2868,"zanCount":280,"manualWeight":11,"mainColor":94},290256,"yan-lan-qiu-jian-tu-zhu-de-run-290256","烟岚秋涧图","朱德润","朱德润（公元1294年～公元1365年），元代著名画家、诗人。字泽民，号睢阳山人，又号旹杰。归德府（今河南商丘睢阳区）人。曾任国史院编修、镇东行中书省儒学提举等职。他得到了当时的刑部尚书、画坛巨匠高克恭和艺术大师赵孟頫的推崇，可见其艺术成就甚高。\n他善诗文，工书法，格调遒丽。擅山水，初学许道宁，后法郭熙，多作溪山平远、林木清森之景，重视观察自然，当北游居庸关时，尝作“画笔记行稿”。",[100,24,26,61,29,379,30,63,2863,2405,2864,7,640],"烟岚","枯木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e9766931c05722889a90dd2c2c96c59.jpg","102.6x44.3",[],30,{"id":2870,"slug":2871,"title":2872,"dynasty":295,"author":2485,"museum":260,"description":2873,"tags":2874,"thumbUrl":2876,"material":105,"size":265,"collection":107,"collections":2877,"showCount":2868,"zanCount":11,"manualWeight":11,"mainColor":52},288447,"jiang-xing-tu-gao-cen-288447","江行图","高岑（1621-1691），字善长，又字蔚生，杭州人，居金陵（今南京）。高阜弟，为“金陵八家”之一 。\n为人清高，相貌俊美，淡于功名，性好佛门始从法门道昕卧伏腊寺，居茹蔬淡……。 早年学朱翰，后学蓝瑛，所画平实，晚乃以己意行之 。 善山水及水墨花卉，写意入神。",[23,24,29,61,165,27,196,30,2875,178,839,7],"江水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b87c8d1b12e8229eb174baba1ea0893.jpg",[],{"id":2879,"slug":2880,"title":2165,"dynasty":132,"author":2881,"museum":2882,"description":2883,"tags":2884,"thumbUrl":2885,"material":2886,"size":2887,"collection":48,"collections":2888,"showCount":2868,"zanCount":11,"manualWeight":11,"mainColor":52},239169,"guan-pu-tu-zhou-wang-zhao-239169","汪肇","美国普林斯顿大学美术馆","《观瀑图轴》阔笔斧劈，成跌宕巨石；劲毫顿挫，作屈铁古木。树石黝暗，以淡墨渝润；白云飞瀑，以留白而成。黑白相映，尽显山谷清幽之气。树旁二高士，抡扇举首，遥观飞瀑，神情悠然。衣纹以折芦描出之，与景物峭硬感觉相谐合，属典型浙派风格。",[24,60,26,61,165,27,29,86,7,311,436,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cedf300b863068cb436244bbdb027fc.jpg","立轴，绢本，水墨，淡设色","纵长110厘米，横长81．5厘米",[48,383],{"id":2890,"slug":2891,"title":2892,"dynasty":132,"author":2893,"museum":351,"description":2894,"tags":2895,"thumbUrl":2896,"material":463,"size":2897,"collection":48,"collections":2898,"showCount":2868,"zanCount":11,"manualWeight":11,"mainColor":94},237696,"yu-man-shan-zhai-tu-zhou-xiang-sheng-mo-237696","雨满山斋图轴","项圣谟","图绘高山深壑，飞瀑清流，寺庙掩映在繁密的林木和耸峻的峰峦间，高士执杖步桥寻幽。山石取法元代黄公望，勾皴用笔浑厚质朴。树木的画法结合宋人笔意，枝干及叶片、苔点皆中锋运笔，苍秀沉着。画面意境深邃出尘。作者通过描写自己在暮秋的山林优游吟赏的活动体现了明末文人士大夫厌倦仕途隐居避世的心境。",[24,60,26,61,27,29,136,137,379,7,63,34,30,210,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff50a5814b2e1a349f1fca44e2d702518.jpg","纵121.4厘米，横32.4厘米",[48],{"id":2900,"slug":2901,"title":2902,"dynasty":295,"author":622,"museum":117,"description":2903,"tags":2904,"thumbUrl":2905,"material":2906,"size":2907,"collection":48,"collections":2908,"showCount":2868,"zanCount":11,"manualWeight":11,"mainColor":52},237152,"guan-shan-qiu-ji-zhou-wang-hui-237152","关山秋霁轴","清朝初年，占据画坛时间最长的是“四王”一派 ，即王时敏、 王鉴、 王原祁、 王翚四位王姓山水画代表画家。“四王”视宋元名家的笔法为最高标准，致力于临摹古画或在摹古中追求变化。他们看重笔墨，大多以古人丘壑搬前挪后，构成一种古人已经达到过的理想境界，表现平静安闲的情感状态，体现所谓“士气”与“书卷气”，却较少观察自然，描写具体感受。因为受到统治者的重视和提倡，被尊为正宗，确立了正统地位。他们分为两代人，第一代的王时敏与王鉴是大书画家董其昌的朋友；第二代的王原祁是王时敏之孙，王翚是王鉴的学生。\n《关山秋霁图》正是“四王”之一、王鉴的作品。王鉴，字玄照，号湘碧，自称染香庵主，苏州太仓人，出身于书香门第，是明代文史大家王世贞的曾孙。王鉴擅长画山水，早年曾经得到董其昌的亲自传授，画风向上追溯至五代南唐画家董源、 巨然，多拟仿宋元诸家。他擅长画青绿山水，着色妍丽，又兼长皴染画法。\n什么叫皴染呢？皴（cun村）染是中国画的一种画法。皴，是画中用来表现山石、峰峦和树身表皮的脉络纹理的画法，作画时先勾出轮廓，再用淡干墨侧笔而画；染，是用墨水或淡彩润刷画面，不露或少露笔痕，用来分辨阴阳向背，加强物象的立体感。王鉴的画作风格华润，纤细且不失雅致。他从临摹入手，但并不忽视对丘壑的形象塑造，作品比较平实。\n《关山秋霁图》是王鉴晚年效仿北宋画家范宽的山水画风格所作。此轴为吴大澂、吴湖帆递藏之物，也就是祖孙二人次第传承收藏。吴大澂在裱边处题跋“湘碧老人早年多泼墨淋漓之笔，其精细之作皆在六七十岁……其用意之缜密虽极小处无一懈笔”，写出了王鉴晚年在用笔敷色方面，绘画风格与早年不同之处。值得一提的是，吴湖帆也临摹过一幅《关山秋霁图》，为友人祝寿而作。",[24,26,61,27,29,34,63,210,7,31,640,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2aedd467187047bf2529e2a163cf58ec.jpg","绢本 ，墨笔","纵215.9cm，横113.8cm",[48,49],{"id":2910,"slug":2911,"title":2912,"dynasty":295,"author":2913,"museum":260,"description":2914,"tags":2915,"thumbUrl":2916,"material":107,"size":107,"collection":107,"collections":2917,"showCount":2868,"zanCount":11,"manualWeight":11,"mainColor":52},230359,"qiu-shan-ting-pu-tu-fan-qi-230359","秋山听瀑图","樊圻","《秋山听瀑图》是清代画家 创作的绢本水墨淡设色画，现藏于旅顺博物馆。\n此图风格清雅，山骨峻增，群峰昂然高立，老树柔枝。\n全幅以水墨、花青染成，间施赭色。\n皴法细劲而严密，近似小斧劈又有所变化。\n此画远景山峦重叠，顶端突兀的巨石分向两边，右侧巨峰矗立，冲入云霄，气势雄伟险峻，山间瀑布直泻而下。\n中景为高山脚下，溪水潺潺，山石奇特，有几棵枯枝落叶古树，幽邃的山林周围空山寂寞，悄无人声，充满沁人肺腑的清新气息。\n在山坳平坡处，有一位樵夫正边走边倾听瀑泉的响声。\n泉水的流动，不但没有冲淡周围环境的安谧，反而增添了山林的僻静之感。\n近景为枯木坡石，与中景的山石紧相连接。\n左上自题“戊申春王画呈黄翁老祖台正樊圻”，钤“樊圻之印”、“会公”二印。\n左下钤收藏印二方“胶西法坤原珍藏”、“胶西宋皑珍藏书画印”。\n该图创作于康熙七年（1668年），作者时年5岁。\n此画构图顶天立地，上不留天，下不留地，左上角仅有的空白处，以作者自题款而填补，使整个画面更为充实完整。\n远景山峦重叠，中间炯锁山腰，层次分明，满而不塞。\n该图山石皴笔方硬而疏松，远山隐现于云雾之中。\n只在关键部位如山石的阴侧面用重墨，皴法细碎而干净利落，似从小斧劈演化而来。\n用色清淡，惜墨如金。\n总体来看，此画既合于写实的原则，也传达出幽远的意境。\n此图略近李成清旷画派，但皴法细劲而严密，近似小斧劈皴而较为文静，一点没有粗犷霸悍的习气。\n树木、屋宇、舟桥、流水、人物的刻画皆精诣不苟。\n通幅以水墨、花青染成，间施赭色，淡薄而透明，双钩的红叶，更点醒了秋山的主题樊圻对于传统的师承面比较广泛，就外表形态而论，似乎并未形成个人的固定程式，但就内在笔性而论，不管是披麻皴还是斧劈皴，也不管是水墨还是青绿，都以精诣不苟见工，精诣中又有透出虚灵的士气。\n该图在《中国美术全集·清代绘画》、《 》著录。\n1955年金县中心小学拨藏，现藏于旅顺博物馆。\n樊圻（1616—？），清代画家。\n字会公、洽公。\n江苏金陵（今南京）人。\n精山水、花卉、人物等。\n仕女画有幽闲静逸之致。\n与龚贤、高岑、吴宏，叶欣、胡糙、谢荪、邹喆为金陵八家。\n传世作品有《江浦风帆图》、《柳村渔乐图》、《雪景山水图》、《春山策仗图》轴、《山径骑驴图》等。",[23,24,60,100,26,165,29,7,34,63,196,1864,30,877,86,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F538bc792d5069bdc6b875e27cd5b5f04.jpg",[],{"id":2919,"slug":2920,"title":1405,"dynasty":295,"author":2921,"museum":260,"description":2922,"tags":2923,"thumbUrl":2924,"material":107,"size":107,"collection":107,"collections":2925,"showCount":2868,"zanCount":11,"manualWeight":11,"mainColor":94},224356,"zhang-lin-xiao-yao-tu-jian-jiang-224356","渐江","此作用渴笔淡墨写尽丘壑幽寂，危崖层叠如削，奇崛冷峻，崖间飞瀑隐于褶皱，暗传空谷清音。近岸枯木疏朗清瘦，枝桠劲挺如铁，寒潭平湖以留白铺陈，汀渚渔隐敛于浅处，愈显天地空茫。\n\n笔墨师古而出新，线条方折硬挺，皴擦极简，淡墨晕染山石，清润秀雅全无冗赘。画面融黄山奇峭与江南灵秀于一体，清冷萧疏间藏着遗世襟怀，将枯淡山水里的逍遥意趣，藏在每一处留白与笔锋之中，尽显孤高淡远的出尘风骨。",[23,24,60,26,61,27,29,7,63,379,30,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F501da569d2b40fd1f218f16cf826ca93.jpg",[],{"id":2927,"slug":2928,"title":2929,"dynasty":115,"author":482,"museum":20,"description":2930,"tags":2931,"thumbUrl":2932,"material":44,"size":2933,"collection":48,"collections":2934,"showCount":2868,"zanCount":11,"manualWeight":11,"mainColor":52},219492,"qiu-shan-tu-zhou-yi-ming-219492","秋山图轴","危崖层叠高耸，以干笔皴擦勾绘山石肌理，浓墨点苔醒出苍劲质感，留白铺陈云雾，将上下景境轻隔，铺就空濛辽远的秋山底色。山涧飞泉垂落，撞碎岑寂。近岸处苍松交柯、红叶点染，秋意漫溢林泉。水畔茅亭临波，白衣二人策杖晤谈，林下闲逸尽落画卷。\n笔墨糅合干皴湿染，既刻画出丘壑静穆之态，又晕开秋日山岚的氤氲柔韵，将山川灵秀与文人寄情林泉的雅怀相融，尽显简淡萧散的林下意趣。",[24,60,26,61,27,29,31,7,35,210,86,30,152,2405],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37dad853c0db062ff1df66acbf38cd7f.jpg","115.3x36.9公分，全幅58公分",[48],{"id":2936,"slug":2937,"title":2938,"dynasty":132,"author":2939,"museum":650,"description":2940,"tags":2941,"thumbUrl":2942,"material":213,"size":2943,"collection":48,"collections":2944,"showCount":2868,"zanCount":11,"manualWeight":11,"mainColor":52},218505,"shan-shui-tu-zhan-dao-heng-lv-wang-duan-218505","山水图（栈道行旅）","王端","这幅画描绘了危桥险路，商人行色匆匆，山高水险，蜀道难，难于上青天。树干上刻有 王端造字样，其笔法以郭熙的笔法为基础，并参考了王蒙的方法。",[23,24,60,26,61,27,29,42,32,30,31,196,7,34,63,226,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F809626f0514a46b69b38d7c1727dc236.jpg","178.4x48cm",[48],{"id":2946,"slug":2947,"title":246,"dynasty":295,"author":2948,"museum":650,"description":2949,"tags":2950,"thumbUrl":2951,"material":213,"size":2952,"collection":48,"collections":2953,"showCount":2868,"zanCount":11,"manualWeight":11,"mainColor":52},217263,"shan-shui-tu-dai-zi-lai-217263","戴子来","戴子来是中国清朝时期著名的画家、诗人，他的山水图在中国绘画史上具有重要地位。\n\n戴子来的山水图与其他画家的作品有很大的不同，他的作品常常给人以深刻的感受和富有韵味的艺术氛围。他的山水图常常描绘出细腻的山水景观，并结合自然与人文景观。他运用了浓重的色彩和抽象的线条，使作品充满了动感和生机。\n\n戴子来的山水图代表了他对自然界的深刻理解和敬畏之心。他的作品常常描绘出大自然的壮丽景观，如山峰、河流、湖泊等，表现出自然界的种种美好。此外，他还善于运用抽象的笔触勾勒出自然界的神秘感，使作品充满了趣味性。\n\n总的来说，戴子来的山水图在中国绘画史上具有重要地位，他的作品常常给人以深刻的感受和富有韵味的艺术氛围，值得我们去欣赏和品味。",[23,24,165,27,26,29,195,34,31,30,7,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ae51318f27e987f219edd71114d8c63.jpg","121.9x53.5cm",[48],{"id":2955,"slug":2956,"title":2957,"dynasty":115,"author":2958,"museum":260,"description":2959,"tags":2960,"thumbUrl":2962,"material":105,"size":265,"collection":107,"collections":2963,"showCount":2964,"zanCount":280,"manualWeight":11,"mainColor":52},288969,"xue-shan-tu-yao-ting-mei-288969","雪山图","姚廷美","姚廷美，元代画家。生卒年不详，约活动于元至正年间。字彦卿，吴兴（浙江湖州）人。与孟珍、吴庭晖同时齐名。写山水师郭熙，明詹景凤谓其笔劲而近熟，乏高旷之趣。至正二十年（1360）尝作有余闲图。按熙朝名画录、清代画史俱作清人，误。图绘宝鉴、东图玄览佚其名，作姚彦卿。",[100,24,26,61,29,2425,1006,7,2961,27],"亭阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bbfac296d014d06d38879a4b5009eba.jpg",[],29,{"id":2966,"slug":2967,"title":2968,"dynasty":295,"author":2969,"museum":351,"description":2970,"tags":2971,"thumbUrl":2972,"material":819,"size":2973,"collection":48,"collections":2974,"showCount":2964,"zanCount":11,"manualWeight":11,"mainColor":94},238133,"qiu-shan-xing-lv-tu-zhou-fang-cong-238133","秋山行旅图轴","方琮","此图是方琮的代表作品之一。图中峰峦叠幛，林木入秋，溪流小桥，行旅者行进其间。整幅画面布局巧妙，结构严谨，房舍及行旅商贾无不似从元人笔下而来，属雅俗共赏之作。",[24,60,100,26,165,27,29,565,30,31,63,7,238,34,1379],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d7f98f4a5433087a38e8a85bd4c7fcf.jpg","纵186.6厘米，横153.3厘米",[48,383],{"id":2976,"slug":2977,"title":1077,"dynasty":295,"author":2978,"museum":260,"description":2979,"tags":2980,"thumbUrl":2982,"material":107,"size":107,"collection":48,"collections":2983,"showCount":2964,"zanCount":11,"manualWeight":11,"mainColor":94},237466,"shan-shui-zhou-jiang-yun-237466","姜筠","姜筠（1847－1919），字颖生，别号大雄山民，安徽省怀宁人。光绪十七年（1891）举人，官礼部主事。1913年梁启超在北京雅集词人诗友于万牲园，举行癸丑上巳修禊，颖生曾作图纪念。\n姜筠工书画，书法学苏轼，兼善篆刻。山水专学王翚，笔墨浓重，苍润古秀，殊乏清疏之气，间作花卉。工写兼至，别有韵味。《深山白云图》画大山、坡岸、房屋、渔舟，一派生机勃勃的景象。山中白云飘浮，更衬托了远山的深远，山上密密杂树寓意着新的生命处在潜伏的酝酿 期。姜筠作画以古法入，在借鉴古人笔意上又力图摆脱古人，从而寻找自己的绘画道路。图中的山石树木借鉴古法，重视造化，而点缀其中的 房屋、渔舟、云气正是表现了人的伟大和大自然的永恒",[24,26,29,61,27,210,7,30,31,2981,60,85],"行人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F379f525512d15f8340c282baf34191bd.jpg",[48,49],{"id":2985,"slug":2986,"title":2987,"dynasty":132,"author":2988,"museum":351,"description":2989,"tags":2990,"thumbUrl":2992,"material":946,"size":2993,"collection":48,"collections":2994,"showCount":2964,"zanCount":280,"manualWeight":11,"mainColor":52},236837,"xiang-shan-jiu-lao-tu-zhou-peng-shun-xiang-236837","香山九老图轴","彭舜乡","唐中期，古都洛阳闻名九州的“香山九老会”，被人称颂至今百世永流芳。“香山九老”指的是：洛中遗老李元爽136岁；禅僧如满95岁；胡臬89岁；吉皎88岁；刘真87岁；郑据85岁；卢真83岁；张浑77岁；白居易74岁。九位老人在洛阳龙门的香山结成“九老会”。周臣《香山九老图》就是以绘画述此盛事。",[24,60,26,165,61,29,86,152,7,30,379,2991],"聚会","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dc18d69c3d3633e4ee928dc95b38525.jpg","纵一九八厘米 横一〇四·五厘米",[48,383],{"id":2996,"slug":2997,"title":2998,"dynasty":295,"author":350,"museum":351,"description":2999,"tags":3000,"thumbUrl":3001,"material":107,"size":107,"collection":48,"collections":3002,"showCount":2964,"zanCount":11,"manualWeight":11,"mainColor":94},236460,"fang-huang-gong-wang-shan-shui-tu-zhou-wang-jian-236460","仿黄公望山水图轴","王鉴（1609-1677，旧作1598-1677），字圆照（圆字一作元，或玄，或员），一作元炤，号湘碧，别号染香庵主，因官廉州(今广西合浦县)知府，世称王廉州，江苏太仓人，为明南京刑部尚书王世贞曾孙。康熙元年后，王鉴因避讳，将玄照改为圆照，往往又写作元照、员照或元炤。王鉴与王时敏同为董其昌弟子，三人同为“画中九友”。王鉴精通画理，摹古尤长，于董源、巨然尤为深诣，被称为“后学津梁”。有清秦祖永辑录的《染香庵跋画》传世。",[24,60,26,61,27,83,29,137,65,7,640,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facf2a8130da7b657943ce3313f4b98b7.jpg",[48,49],{"id":3004,"slug":3005,"title":3006,"dynasty":295,"author":296,"museum":260,"description":3007,"tags":3008,"thumbUrl":3009,"material":107,"size":107,"collection":107,"collections":3010,"showCount":2964,"zanCount":393,"manualWeight":11,"mainColor":94},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。",[23,24,61,165,626,27,29,136,7,152,120,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2ad686bc962b57eed356778454ad1df.jpg",[],{"id":3012,"slug":3013,"title":3014,"dynasty":132,"author":1966,"museum":20,"description":3015,"tags":3016,"thumbUrl":3017,"material":182,"size":3018,"collection":581,"collections":3019,"showCount":2964,"zanCount":11,"manualWeight":11,"mainColor":94},222177,"hua-xi-yu-yin-zhou-lu-zhi-222177","花谿渔隐轴","陆治（西元一四九六－一五七六年），江苏吴县人，字叔平，号包山子。倜傥好义，以教友著称于乡里。诗文书画并佳。曾和文征明、祝允明一起作画吟诗。画的名声和文征明一样好。\n这幅用淡墨干笔，画丛山叠树，渔父鼓舟前进，一面洗脚，二人在高坡上坐着似在观看瀑布。用色淡雅而有变化。画成于陆治七十三岁。陆治有诗，曾自比「桃源中人」，以喻其隐居状况。\n此画在笔法与构图，均受元代王蒙花溪渔隐图影响，颇有自况意味",[23,24,60,26,165,29,34,63,178,196,30,7,944,210,27,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27346d2b1c70fea305cfb7ed193a52f4.jpg","239.6x53.3",[581,383],{"id":3021,"slug":3022,"title":3023,"dynasty":295,"author":622,"museum":260,"description":3024,"tags":3025,"thumbUrl":3026,"material":3027,"size":3028,"collection":107,"collections":3029,"showCount":2964,"zanCount":11,"manualWeight":11,"mainColor":94},220129,"mo-gu-shan-shui-hua-6-wang-hui-220129","摹古山水画6","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。",[23,24,60,61,165,27,29,34,63,152,86,7,30,31,195],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc808d878e086f7d7fabf09d7e670b506.jpg","设色,纸本","30.5×21.5",[],{"id":3031,"slug":3032,"title":3033,"dynasty":295,"author":3034,"museum":20,"description":3035,"tags":3036,"thumbUrl":3039,"material":89,"size":3040,"collection":48,"collections":3041,"showCount":2964,"zanCount":280,"manualWeight":11,"mainColor":94},219448,"kan-yun-dui-pu-tu-chen-shu-219448","看云对瀑图","陈书","瀑流自崖巅飞泻而下，如素练垂空，溅起的水雾与卷舒的云气交融漫过山腰，晕染出朦胧虚灵之境。近岸松枝苍劲，竹影婆娑，几竿修竹亭亭玉立，与古松相映成趣。林间隐见小亭一角，有人凭栏静坐，似在聆听瀑声、静观云态，物我两忘。笔墨以水墨为主，线条清劲中含柔婉，山石皴擦见质感，云雾用淡墨晕染，层次分明。整幅画将山水之幽、林泉之趣凝于尺幅，尽显文人雅士寄情自然的悠然心境，静穆中藏生机，恬淡里透禅意。",[24,399,61,27,26,3037,461,7,311,436,210,29,65,33,354,3038],"传统书画","自然景物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99274f7e4932bc229e46873d4ab1708e.jpg","79.7x51.8",[48],{"id":3043,"slug":3044,"title":3045,"dynasty":295,"author":3046,"museum":260,"description":3047,"tags":3048,"thumbUrl":3053,"material":107,"size":107,"collection":48,"collections":3054,"showCount":3055,"zanCount":280,"manualWeight":11,"mainColor":94},238321,"wan-hu-sang-ma-tu-xiao-juan-dong-gao-238321","万户桑麻图小卷","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 将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，所写哀诗中有“只有文章传子侄，绝无货币置田庄”之句，并亲自拨款建立“董公祠”。",[24,82,399,165,27,29,1599,178,1956,3049,3050,31,7,86,3051,3052],"民居","农田","田园生活","农桑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba7ae20c02be229020dc6a8b099325b6.jpg",[48,383],28,{"id":3057,"slug":3058,"title":3059,"dynasty":295,"author":3060,"museum":260,"description":3061,"tags":3062,"thumbUrl":3063,"material":107,"size":107,"collection":107,"collections":3064,"showCount":3055,"zanCount":11,"manualWeight":11,"mainColor":94},235052,"shan-shui-ce-ye-xu-mei-235052","山水册页","徐玫","此作用小青绿淡设色写山居幽境，幽瀑自远山轻落，清溪蜿蜒穿林过渚。古松虬曲苍劲，枝叶舒展有灵动之姿，山石以浅绿淡赭晕染，远山化作淡墨烟岚，虚实相生间晕出空濛温润的江南意韵。右侧崖畔茅亭隐于林木间，无人自幽，衬出山林的静穆悠然。\n\n笔法秀雅清润，舍去繁复勾勒，以轻晕淡染营造疏朗萧散的氛围，将文人隐逸的林下之趣融在淡逸色彩中，似可听松风溪声，沉湎于这幽寂恬然的山居景致里，尽显雅致淡远的文人山水意趣。",[24,60,626,165,27,29,63,210,379,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F436ebfa2e6cbfa736824d8dbe5ce29e6.jpg",[],{"id":3066,"slug":3067,"title":3068,"dynasty":132,"author":482,"museum":260,"description":3069,"tags":3070,"thumbUrl":3071,"material":107,"size":107,"collection":107,"collections":3072,"showCount":3073,"zanCount":280,"manualWeight":11,"mainColor":94},235633,"song-xu-wan-shan-qiu-se-tu-zhou-yi-ming-235633","宋旭万山秋色图轴","此作用高远章法铺展秋山全景，层峦叠嶂间沟壑纵深，飞泉漱石、山溪蜿蜒贯穿始终。以淡赭晕染山骨铺就秋意底色，朱砂醒点丹枫，勾勒皴擦兼用，将嶙峋山石、虬曲古木的苍劲之态尽皆写就。幽谷深处隐现山居屋舍，林泉间尽显隐逸清寂之趣。整幅画面笔墨清灵雅致，把深秋万山层林尽染的高旷冷寂意境铺陈开来，尽显文人山水崇尚的幽淡空灵林下之风，是极具韵致的秋山绘作。",[24,60,26,100,165,27,29,640,63,31,152,30,195,354,1379,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdffc1c6bbcb02615aab2d7bb1eb1a7e.jpg",[],27,{"id":3075,"slug":3076,"title":1033,"dynasty":295,"author":296,"museum":351,"description":3077,"tags":3078,"thumbUrl":3079,"material":2692,"size":3080,"collection":107,"collections":3081,"showCount":3073,"zanCount":11,"manualWeight":11,"mainColor":94},234998,"yuan-ji-shan-shui-tu-ce-shi-tao-234998","原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[100,24,60,626,61,165,29,63,30,31,7,86,238,27,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37a9d770c7c8d6328bae3a2edfaafc2d.jpg","纵33.2cm，横22.8cm",[],{"id":3083,"slug":3084,"title":3085,"dynasty":295,"author":3086,"museum":351,"description":3087,"tags":3088,"thumbUrl":3091,"material":3092,"size":3093,"collection":107,"collections":3094,"showCount":3073,"zanCount":11,"manualWeight":11,"mainColor":94},233790,"gao-yan-jian-pu-tu-zhou-yun-shou-ping-233790","高岩溅瀑图轴","恽寿平","本幅近景所绘树木不多，但富于形态变化，古木虬枝，青藤临风垂挂，二者穿插盘绕中显现出条理性。中景泉水潺潺，芦苇简约，将远、中景自然隔开，从而增强了全幅的纵深感及空间感。远山以淡墨干笔作长披麻皴，笔触开阔疏朗，显示出清逸深幽的韵致。此图不刻意求工、求似，唯求自然天趣，显示出恽寿平一向所追求的平淡超逸的审美意趣，为恽寿平精品之一。",[24,60,26,61,27,29,3089,3090,2283,379,30,63,31,602,65,7],"高岩","溅瀑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96806cdc12bdc9e67c5c0a37ca3b8e61.jpg","纸本，淡设色","纵104.9厘米，横43厘米",[],{"id":3096,"slug":3097,"title":3098,"dynasty":132,"author":795,"museum":351,"description":3099,"tags":3100,"thumbUrl":3101,"material":123,"size":3102,"collection":107,"collections":3103,"showCount":3073,"zanCount":11,"manualWeight":11,"mainColor":94},232956,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232956","文徵明山水册","根据图册末页张风翼等人的跋得知，此图册是文徴明为教授徒弟朱朗而绘制的山水画作，其中有他摹学五代董源、巨然的笔法，亦有他师法元四家黄公望、王蒙、倪瓒等人的笔墨。",[24,60,626,61,121,85,27,29,63,31,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01ed62dc5cfe09f6bce91b30b580bae4.jpg","28.5×15.8厘米",[],{"id":3105,"slug":3106,"title":3107,"dynasty":132,"author":1099,"museum":260,"description":3108,"tags":3109,"thumbUrl":3110,"material":107,"size":107,"collection":107,"collections":3111,"showCount":3073,"zanCount":11,"manualWeight":11,"mainColor":94},231013,"xi-shan-xian-guan-tu-wen-bo-ren-231013","溪山仙馆图","此作用笔秀雅苍润，以淡墨皴擦山峦，晕染出烟岚轻笼的朦胧质感，峰峦层叠错落，将高远、深远之境相融。山坳间的仙馆屋舍隐在丹黄点染的林木之中，流泉叠瀑穿谷而下，为静谧山林添注灵动生机。\n整体兼具元人山水的淡逸简远，又带着吴门画派的清丽雅致，把文人心中的林泉幽隐之思铺陈在尺幅之间，恍若将清虚灵秀的桃源仙境收卷其中，观之如踏入世外仙居，静穆里藏着鲜活意趣，尽显江南山水温婉灵秀的气韵，诠释出寻仙问道的缥缈意境。",[24,60,26,61,27,29,195,31,7,30,85,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f29fa640b26633fd9da557e8a86eaf6.jpg",[],{"id":3113,"slug":3114,"title":3115,"dynasty":115,"author":3116,"museum":260,"description":3117,"tags":3118,"thumbUrl":3119,"material":107,"size":107,"collection":107,"collections":3120,"showCount":3073,"zanCount":11,"manualWeight":11,"mainColor":94},228045,"qiu-shan-xing-lv-tu-sheng-mao-228045","秋山行旅图","盛懋","此作用淡墨皴染山峦，层层铺展出秋日山林的萧疏苍润，飞泉自崖间垂落，点活了幽寂山境。坡岸松林苍劲错落，细笔勾勒枝叶，兼具挺秀与萧散之致。山径行旅人影点缀其间，衬出林山空阔辽远。\n\n画作以淡赭轻敷，晕染出秋高气清的氛围感，笔法兼得院体精工与文人雅致，将秋日山野的静谧悠远与行旅意趣相融，尺幅间铺展出声色俱寂却暗蕴生趣的山水诗境，尽显元代山水尚简淡、重意境的风神。",[23,24,60,100,29,61,27,165,136,137,63,7,32,30,85,2405],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F957c8bac516a56247b6613d7daeb6e4e.jpg",[],{"id":3122,"slug":3123,"title":3124,"dynasty":132,"author":1608,"museum":20,"description":3125,"tags":3126,"thumbUrl":3130,"material":44,"size":3131,"collection":48,"collections":3132,"showCount":3073,"zanCount":11,"manualWeight":11,"mainColor":52},222591,"xi-shan-xue-ji-zhou-lan-ying-222591","溪山雪霁轴","面上远处层峦迭嶂，悬崖峭壁，山顶披上雪装，白雪皑皑，山顶部衰草疏落。中景为乱石连绵，山坡间杂树丛生，树木枝干挺拔，似乎在傲视寒雪，绝无凄凉之感。近景坡石堤岸下为宽阔的溪流，河中杂有碎石。近景最下部有几棵穿天的松柏，松树阑珊，枝叶茂密。树下坐有一位身穿红袍的长者，独自在观赏溪山的雪景，显得悠闲自得。",[23,24,165,27,26,29,495,31,33,7,65,839,86,196,152,30,1006,3127,1418,3128,3129],"水榭","雪景山水","工笔兼写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F175e6c5d512e356a22e68bb4c89a57b4.jpg","纵82.3厘米，横28.9厘米",[48,383],{"id":3134,"slug":3135,"title":3136,"dynasty":295,"author":3137,"museum":20,"description":3138,"tags":3139,"thumbUrl":3140,"material":276,"size":3141,"collection":615,"collections":3142,"showCount":3073,"zanCount":11,"manualWeight":11,"mainColor":94},216976,"hao-liang-tu-jin-ting-biao-216976","濠梁图","金廷标","庄子和惠施在濠梁上游泳时，看到一只白麋鹿的小鬼在平静地游泳，就讨论是否知道鱼的乐趣。",[24,165,209,27,86,29,63,137,30,354,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F191f0402066ce0f5d7d6c21fe12d46c9.jpg","165.4x95.4",[615],{"id":3144,"slug":3145,"title":3146,"dynasty":115,"author":116,"museum":260,"description":3147,"tags":3148,"thumbUrl":3151,"material":105,"size":265,"collection":107,"collections":3152,"showCount":3153,"zanCount":11,"manualWeight":11,"mainColor":52},290442,"qiu-shan-du-shu-tu-ke-luo-ban-wang-meng-290442","秋山读书图（珂罗版）","王蒙（1308－1385年），字叔明，号黄鹤山樵、香光居士，吴兴（今浙江湖州）人。元朝画家。赵孟頫外孙。\n元末弃官，隐居杭州黄鹤山（今浙江杭州临平），自号“黄鹤山樵”，直至晚年才下山出仕，于明初任山东泰安知州。洪武十八年（1385年），因“胡惟庸案”牵累，死于狱中。\n王蒙的山水画受到赵孟頫的直接影响，后来进而师法王维、董源、巨然等人，综合出新风格。王蒙与黄公望、吴镇、倪瓒合称“元四家”。兼攻人物、墨竹，并擅行楷。存世作品有《青卞隐居图》《葛稚川移居图》《夏山高隐图》《丹山瀛海图》《太白山图》等。",[23,24,100,61,26,29,7,31,1053,34,63,3149,3150,27],"文人","读书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c5464f995e7c474f65e7423200238cf.jpg",[],26,{"id":3155,"slug":3156,"title":3157,"dynasty":295,"author":622,"museum":175,"description":3158,"tags":3159,"thumbUrl":3161,"material":1806,"size":3162,"collection":48,"collections":3163,"showCount":3153,"zanCount":11,"manualWeight":11,"mainColor":94},237388,"fang-gao-ke-gong-yun-shan-zhou-wang-hui-237388","仿高克恭云山轴","此图学元代高克恭画风，画幅左上角作者署款：「庚辰清和广陵舟次，仿高房山笔。麓台祁。」款前印：「古期斋」（朱长方），款后印：「原祁茂京」（白朱方）。另有收藏印章六方。",[24,61,27,83,26,85,29,3160,30,31,34,63,178,210,35,7],"云山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F356e1b3850289f759a8da25a23f6e2cc.jpg","99×47.2cm",[48],{"id":3165,"slug":3166,"title":3167,"dynasty":132,"author":3168,"museum":260,"description":3169,"tags":3170,"thumbUrl":3171,"material":107,"size":107,"collection":107,"collections":3172,"showCount":3153,"zanCount":11,"manualWeight":11,"mainColor":94},235481,"fang-guo-xi-shan-shui-zhou-yuan-shang-tong-235481","仿郭熙山水轴","袁尚统","整幅画作以雪景铺陈萧索冬意，巨峰以淡墨晕衬留白，尽显积雪覆山的清寒巍峨。枯木虬枝劲挺错落，深谷间栈道蜿蜒回转，行旅车马次第缓行，将隆冬深山的冷寂，和人间行路的烟火暖意相融。\n\n笔墨追摹北宗山水意趣，简劲皴法勾勒山石肌理，细笔描摹林木栈道，既复刻出萧寒雄奇的山水之态，又自带着苍朴的笔底情致，把冬日深山的荒寒古雅，行路迢迢的沉郁氛围尽显纸上，于冷寂雪景中晕开古雅悠远的山水意境。",[24,26,61,27,83,29,2425,31,7,877,86,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffeabec41ab82bfb0de0af94b8bf5c215.jpg",[],{"id":3174,"slug":3175,"title":3176,"dynasty":132,"author":482,"museum":117,"description":3177,"tags":3178,"thumbUrl":3179,"material":107,"size":107,"collection":107,"collections":3180,"showCount":3153,"zanCount":11,"manualWeight":11,"mainColor":52},234930,"xie-shi-chen-xia-shan-fei-pu-tu-zhou-yi-ming-234930","谢时臣夏山飞瀑图轴","谢时臣（1487-1567），明代画家。字思忠，号樗仙。吴（今江苏苏州）人。工书法，长于隶书。擅山水，师法吴镇、沈周，稍作变化，作品多构为长卷巨幛，以善画水著称，江河湖海，无不精好。又作山峦重叠，高耸险峻，笔墨或细密苍劲，或劲健沉郁，或纵横纷披，富有变化。有《杜陵诗意图》、《溪山揽胜图》、《策杖寻幽图》、《武当霁雪图》、《谪仙玩月图》等传世。\n谢时臣(公元1488-1567年尚在)，字思忠，号樗仙，吴人，专长画山水，画史称他师法梅道人，学沈石田稍变其意。多作屏障大幅，构图雄伟严密，气势纵横，从作品看，画风近于戴进与吴派的沈周之间。传世作品有《虎阜春晴图》(辽宁省博物馆藏)、《江山胜览图》卷、《夏山飞瀑图》(上海博物馆藏)、《杜陵诗意图册》(现藏故宫博物院)、《武当霁雪图》大轴(现藏山东省博物馆)等。上海博物馆藏有谢氏水墨花卉册，作于嘉靖廿三年(1544)，颇有风致，惟传世不多。",[24,61,27,26,29,7,30,31,35,86,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5022b1e88d93f3e65c907903f6e5ddfc.jpg",[],{"id":3182,"slug":3183,"title":3184,"dynasty":18,"author":19,"museum":20,"description":3185,"tags":3186,"thumbUrl":3188,"material":44,"size":3189,"collection":107,"collections":3190,"showCount":3153,"zanCount":11,"manualWeight":11,"mainColor":52},231421,"qiu-lin-fei-pu-tu-fan-kuan-231421","秋林飞瀑图","《秋林飞瀑图》纵181厘米，横99.5厘米，在传世千年的古画中，也算得上一件大作品；绢本，设色，沉淀了历史的古绢上，墨与色的辉映，那么的凝重、浑厚，摄人心魄。现藏于台北故宫博物院。图绘一山耸峙，山头山下密布丛林，有茅舍隐约其中；远处见城楼，飞瀑拾级而下，近前有木桥连岸，山路通达。这是一幅适合人居的美奂的山景，经过霜降的丛树一片绯红，秋色热烈明艳，绝无萧瑟凋蔽之感。构图并不复杂，但却极见功力：一峰高耸，山石和丛林结合在一起，层层深入；由远而近、曲折而下的山泉，则将其分割成疏密有致的空间，与茅舍、木桥、山路结合一体。无论是树木，还是山石，勾、皴的线条都十分坚挺遒劲。山下丛树的树叶，方、圆、长条之形俱备，用双勾法勾勒，凝练精到。山石用水墨依明暗分层积染，而树叶则敷以硃砂色，古雅瑰丽。整幅画映射出典型的宋画的风采。\n范宽也算得中国绘画史上的一个奇人。说到宋画，往往第一个就提他的姓名，却不能详知其生卒年月。画史称他“仪状峭古，进止疏野。性嗜酒，好道。”早年的画学荆浩、李成，虽得其精妙，但终归其下。于是他叹息道：“与其师人，不若师诸造化。”他移居于终南山、太华山，“常危坐终日，纵目四顾，以求其趣。虽雪月之际，必徘徊凝览，以发思虑。”他用心来感悟造化的鬼斧神功，对景写生，故其所画在构图、造型和透视上无懈可击。一生远离仕途，“落魄不拘世故，”却终于造就其气势雄伟壮观，笔墨刚劲凝厚的绘画风格。董其昌叹谓“宋画第一”。《宣和画谱》著录其存世的画有58件，但至今能见到的，不过十件左右。最著名的宋画的代表作之一的，当推其《溪山行旅图》。206厘米高的巨幅，恢弘压顶的气势，一笔不苟的勾勒，满纸的雨点皴，咄咄逼人的墨气，令人震撼。《秋林飞瀑图》则与之稍有不同，用的是略似小斧劈皴的线皴，这一方面可以看到范宽在师造化的过程中笔墨技法的变化，另一方面似乎也影响了其后李唐与南宋山水画家，开启了一个以斧劈皴为特点的山水画新时期。",[23,24,60,29,26,27,165,2436,3187,30,31,7,64],"飞瀑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b24fd762e626521ef15ffbc5f9044be.jpg","纵：181厘米，横：99.5厘米",[],{"id":3192,"slug":3193,"title":3194,"dynasty":295,"author":649,"museum":260,"description":3195,"tags":3196,"thumbUrl":3197,"material":107,"size":107,"collection":107,"collections":3198,"showCount":3153,"zanCount":11,"manualWeight":11,"mainColor":94},224428,"shan-lou-ke-hua-tu-wang-shi-min-224428","山楼客话图","《山楼客话图》是王时敏八十岁之后作品，创作于清代，现藏于天津市艺术博物。\n全图以高远法构图，白云、瀑布、楼阁穿插于重峦叠嶂的林木间，一派气象万千的苍郁景致。\n画幅的右下方绘有一人于山坞草堂内临窗读书，此景虽然在画幅中所占比例极小，却点明了“山窗读书”的主题，为山林景色增添了书卷气息。\n山峦层叠，深壑溪流，茂林密布，水阁立于其间，名士在此高谈阔论。\n此画以赭墨为主，单纯而深厚，滋润而清脱。\n从笔墨技法来看，复古意味十分明显，皴笔细密，用多层次的皴染表现山体，墨色厚重，流露出作者“熟不甜，生不涩，淡而厚，实而清”的成熟面貌。\n王时敏 ， (1592-168)，明末清初画家。\n字逊之，号烟客、西庐老人等。\n江苏太仓人。\n王锡爵孙。\n出身明代官宦之家，崇桢初年曾任太常寺卿，所以也被称为“王奉常”。\n寄情诗文书画，家藏历代法书名画甚多，反复观摩，并曾得到董其昌等人的指点。\n擅山水，专师黄公望，笔墨含蓄，苍润松秀，浑厚清逸，然构图较少变化。\n其画在清代影响极大，王翚、吴历及其孙王原祁均得其亲授。\n与王鉴、王翚、王原祁并称四王，外加恽寿平、吴历合称“清六家”。\n开创了山水画的“娄东派”，居清初画家“四王”之首。",[23,24,60,26,61,27,29,195,31,30,7,238,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2852667eb07d849f77f2b9ab7916caaf.jpg",[],{"id":3200,"slug":3201,"title":3202,"dynasty":674,"author":482,"museum":322,"description":3203,"tags":3204,"thumbUrl":3205,"material":1062,"size":3206,"collection":107,"collections":3207,"showCount":3153,"zanCount":11,"manualWeight":11,"mainColor":52},223391,"tong-nian-yin-yan-tu-zhou-yi-ming-223391","同年饮宴图轴","以淡墨晕染出空濛秋山，飞瀑穿云，江流宛转，枯笔皴擦山峦肌理，苍浑朴拙。画面上下分境，山巅高远清寂，江畔林下定坐宴饮，士人们围坐把酒，将林泉幽致与文会雅兴相融。淡墨轻岚间，萧疏古木衬出雅集闲逸，左上题诗呼应知己情谊，笔墨简淡却意韵悠长，尽显文人寄情山水、酬唱为乐的林下风流，将水墨山水的清旷与雅集的温煦意趣揉合一处，自有冲淡恬和的古雅气韵。",[23,100,24,60,26,165,29,86,7,63,65,31,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc6632dbe6c038a2d36128d0dfee1a52.jpg","纵98厘米，横52厘米",[],{"id":3209,"slug":3210,"title":3211,"dynasty":295,"author":2535,"museum":20,"description":3212,"tags":3213,"thumbUrl":3214,"material":140,"size":3215,"collection":48,"collections":3216,"showCount":3153,"zanCount":11,"manualWeight":11,"mainColor":94},223110,"ceng-luan-song-cui-zhou-dong-bang-da-223110","层峦耸翠轴","绘层峦叠嶂，延绵不绝，山涧中云雾缭绕，微风吹过，松涛阵阵；山脚下流水潺潺，两间小屋依山傍水，清雅安静",[23,24,60,26,61,27,29,64,152,7,210,238,33,65,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e367094ca3e4f79f2de8319b6088256.jpg","88.1x30.9厘米",[48,49],{"id":3218,"slug":3219,"title":3220,"dynasty":295,"author":2535,"museum":20,"description":3221,"tags":3222,"thumbUrl":3226,"material":140,"size":3227,"collection":48,"collections":3228,"showCount":3153,"zanCount":11,"manualWeight":11,"mainColor":94},223106,"yun-shan-tu-zhou-dong-bang-da-223106","云山图轴","董邦达（1699－1769或1774）清代官员、书画家。字孚闻、非闻，号东山，浙江富阳人。雍正十一年进士，乾隆二年授编修，官礼部尚书，谥文恪。好书、画，篆、隶得古法，山水取法元人，善用枯笔。其风格在娄东、虔山派之间。与董源、董其昌并列。",[23,24,29,61,165,27,26,64,31,7,210,33,35,238,65,40,3223,354,66,179,1621,3224,849,3225],"谷地","留白","工笔结合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1f80ea2a2132aff84f3f8c4cb7be04c.jpg","180.2x71.9厘米",[48,49],{"id":3230,"slug":3231,"title":3232,"dynasty":132,"author":3233,"museum":1208,"description":3234,"tags":3235,"thumbUrl":3237,"material":213,"size":3238,"collection":48,"collections":3239,"showCount":3153,"zanCount":11,"manualWeight":11,"mainColor":52},220040,"xi-shan-fei-pu-tu-zhu-shou-fu-220040","溪山飞瀑图","朱受甫","此作用蜿蜒灵动的披麻皴绘就群峰，山石似随波流转，奇崛又带着秀润意趣。画面以平远铺陈左岸烟波，远山澹澹如墨痕晕染，空濛悠远；右岸峰峦错落层叠，巉岩间点缀村居林木，隐逸烟火气融在山水间。\n\n淡墨晕开薄雾，衬出山峦的通透层次，草木萧疏却意态清雅，将江南溪山的灵秀幽寂晕染开来。简淡笔墨里藏着悠游林泉的雅致心境，尽显山水间空寂淡远的文人意趣。",[23,100,24,60,82,61,29,27,136,7,3236,31,87,35,65,63],"溪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac40c200bd39a1f83f4cc800733c7076.jpg","23x147厘米",[48],{"id":3241,"slug":3242,"title":525,"dynasty":18,"author":482,"museum":79,"description":3243,"tags":3244,"thumbUrl":3245,"material":213,"size":3246,"collection":48,"collections":3247,"showCount":3153,"zanCount":11,"manualWeight":11,"mainColor":94},219030,"guan-pu-tu-yi-ming-219030","一条瀑布从山涧中流下，远处的山峰在云雾中清晰可见；在岩石高原的左侧，一个有学问的人拿着杖，仰望着眼前的雄伟山峰。他听着瀑布撞击岩石的声音，看到水蔓延上升，后面跟着一个抱着琵琶的孩子。这幅画是马夏的风格，用大斧头砍的石头，笔力强劲，笔触宽阔，盖子坚硬，使石头的质地很牢固。",[24,60,529,61,165,29,27,7,86,31,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2c9cc6d2677a6abf31cfae2e0748f4c.jpg","23.2x23.4",[48],{"id":3249,"slug":3250,"title":246,"dynasty":295,"author":2535,"museum":650,"description":3251,"tags":3252,"thumbUrl":3253,"material":89,"size":3254,"collection":48,"collections":3255,"showCount":3153,"zanCount":280,"manualWeight":11,"mainColor":94},217886,"shan-shui-tu-dong-bang-da-217886","董邦达是中国清朝时期著名的画家，他以其精湛的山水画而闻名。他的山水画通常被认为是清朝山水画史上的里程碑式的作品。\n\n董邦达的山水画风格独特，他追求自然的写实，同时又注重画面的艺术性。他的山水画中通常会出现大量的细节，比如山的形态、树的形态、云的形态等。他善于运用技法，比如水墨描边、油墨浓淡等，使得他的山水画看起来栩栩如生。\n\n董邦达的山水画中通常会出现许多动物和人物，他善于捕捉动物和人物的形态和神态。他的山水画中常常会出现小溪流动、水鸟飞翔、山鹿奔跑等场景。\n\n董邦达的山水画对后来的中国山水画产生了很大的影响，他的作品被认为是中国山水画史上的经典之作。",[23,24,61,27,26,29,34,63,210,944,138,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6d68ad231b9d749214643923db64fec.jpg","70.8x36cm",[48],{"id":3257,"slug":3258,"title":3259,"dynasty":18,"author":3260,"museum":260,"description":3261,"tags":3262,"thumbUrl":3263,"material":105,"size":265,"collection":107,"collections":3264,"showCount":3265,"zanCount":11,"manualWeight":11,"mainColor":52},290335,"qiu-shan-lin-yu-tu-zhou-yan-wen-gui-290335","秋山琳宇图轴","燕文贵","燕文贵（约公元十一世纪），浙江吴兴人。少时曾流落京师（河南开封）为商贩，后来才华被画院待诏高益所赏识，得以进入画院任祇候之职。山水、人物均佳，尤善於描绘四季景物，清雅可爱。画院中人称其画为“燕家景”。",[24,100,26,29,61,27,786,195,196,7,63,35,30,2405,84,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa06ad292210ef9b12e3c03a7583042bc.jpg",[],25,{"id":3267,"slug":3268,"title":3269,"dynasty":295,"author":1545,"museum":260,"description":3270,"tags":3271,"thumbUrl":3272,"material":105,"size":265,"collection":107,"collections":3273,"showCount":3265,"zanCount":11,"manualWeight":11,"mainColor":52},239033,"cong-lin-hu-xiao-tu-zhou-gao-qi-pei-239033","丛林虎啸图轴","高其佩（1660年—1734年，一作1672年—1734年），字韦之，号且园、南村、书且道人，别号颇多，另有山海关外人、创匠等。铁岭（今属辽宁）人，汉军镶黄旗人。清代官员、画家，指画的开山祖师。\n康熙时以荫由宿州知州迁四川按察使，雍正间擢都统，后罢去。工诗善画，所绘人物山水，均苍浑沉厚，尤善指画，晚年遂不再用笔。",[100,24,26,61,29,678,600,137,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae7f05aa9d00239500201819793d58e0.jpg",[],{"id":3275,"slug":3276,"title":2821,"dynasty":295,"author":3277,"museum":260,"description":3278,"tags":3279,"thumbUrl":3280,"material":107,"size":107,"collection":48,"collections":3281,"showCount":3265,"zanCount":11,"manualWeight":11,"mainColor":94},238148,"shan-shui-ce-yun-xi-238148","允禧","此作用淡墨晕染出清寂湖山，近岸坡石虬松错落，幽居隐于林木间，远山澹澹衔着烟水，飞泉垂落打破岑寂，将山林幽居的闲逸禅意融于尺幅。笔墨简淡秀雅，不事浓丽雕琢，尽显空灵悠远之致。题诗与画意相映，诗画合璧，把寄情林泉的出世襟怀藏在留白之中，尽显文人山水静穆萧散的雅趣。",[24,60,626,61,27,29,136,326,137,460,7,178,84,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d49518b2e5f38132c3ad663c86af5e3.jpg",[48,383],{"id":3283,"slug":3284,"title":2821,"dynasty":132,"author":2822,"museum":351,"description":2823,"tags":3285,"thumbUrl":3286,"material":2692,"size":2826,"collection":107,"collections":3287,"showCount":3265,"zanCount":11,"manualWeight":11,"mainColor":94},236325,"shan-shui-ce-song-xu-236325",[24,61,29,626,7,178,412,1844,1599,30,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6942f9cce57790f797b1cb0ff08a6128.jpg",[],{"id":3289,"slug":3290,"title":3291,"dynasty":295,"author":1659,"museum":260,"description":3292,"tags":3293,"thumbUrl":3294,"material":107,"size":107,"collection":107,"collections":3295,"showCount":3265,"zanCount":11,"manualWeight":11,"mainColor":94},231015,"long-tan-ting-pu-tu-mei-qing-231015","龙潭听瀑图","此作用高远式构图，以龙潭飞瀑为绝对视觉中心。危崖峭壁以灵动写意的笔墨写就，干湿皴擦并用，苍劲松活。古木虬枝斜出、繁叶层叠，朴拙的点叶技法晕染出山林深秀。\n右下角茅庐内幽人对坐，静聆瀑声喧豗，以幽居之静衬飞泉之动，动静相生尽显林泉雅意。左上题诗与画境呼应，将山川灵秀与文人隐逸襟怀相融，尽显新安画派以画为诗的清雅逸韵，把皖南山水的奇绝藏进笔墨丘壑里。",[23,24,60,26,61,27,29,7,30,31,210,63,85,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5be7c7ad00a8eb1f86f60fec81e552e6.jpg",[],{"id":3297,"slug":3298,"title":3299,"dynasty":295,"author":3300,"museum":260,"description":3301,"tags":3302,"thumbUrl":3303,"material":107,"size":107,"collection":107,"collections":3304,"showCount":3265,"zanCount":11,"manualWeight":11,"mainColor":94},226632,"si-shi-shan-shui-05-pu-ru-226632","四时山水05","溥儒","溥儒(1895-1963)，满族，北京人。近代国画大师，出身清皇族，姓爱新觉罗，字心畲，又号羲皇上人﹑西山逸士。曾留学德国，笃嗜诗文、书画，皆有成就。画工山水、兼擅人物、花卉及书法，昔时与张大千有“南张北溥”之誉，又与吴湖帆并称“南吴北溥”。",[23,24,61,27,29,152,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66d1a4e3f15c64dc930ae6a157ad9e18.jpg",[],{"id":3306,"slug":3307,"title":3308,"dynasty":295,"author":649,"museum":260,"description":3309,"tags":3310,"thumbUrl":3311,"material":107,"size":107,"collection":107,"collections":3312,"showCount":3265,"zanCount":11,"manualWeight":11,"mainColor":52},224427,"nan-shan-ji-cui-tu-wang-shi-min-224427","南山积翠图","《南山积翠图》是清代画家 晚年创作的一副绢本设色画，现收藏于 。\n画面布置有序，层次井然，笔墨清隽秀润，沉静淡雅，毫无躁气，具有温厚而博大之美。\n《南山积翠图》，该作品按远、中、近三景均采用大量的笔墨描绘。\n画作尺幅虽大，用笔却毫不松懈。\n尤其是中景，刻画得更为精谨。\n草木繁茂、山势蜿蜒，却丝毫没有迫塞感。\n山体曲折、盘桓，观者置身画中，沿山间小路仿佛可以直达无人之境。\n此作题“壬子长夏写南山积翠图，奉祝蓉翁太老亲台七襄大寿并祈粲正。\n弟王时敏时年八十有一”。\n由此题款可知，这是画家为人贺寿之作。\n画作近景刻画了松树，松枝翠绿，枝干姿态各异，暗含“贺寿”这一主题。\n画家刻意将松叶所用的墨色加以区分，墨色浓淡不同、虚实相生，使松树充满生机。\n而对近景山石的处理，他主要师法黄公望———用笔苍劲，多矾头，随意的长披麻皴疏松、秀雅。\n不过，他并不满足于师法一家。\n从对画中山石的点苔来看，他亦受王蒙画法的影响———用浓墨表现。\n可见，他在吸收古人之法时并不是一味地照搬，而是融会贯通，有自己的特点。\n与近景相比，中景的山体更险要，重峦叠嶂。\n为烘托山石奇险之势，画家有意将瀑布、雾霭穿插于山间。\n瀑布顺流而下，隐于山林之间；雾霭从远处飘来，势若蛟龙。\n作品虽未画人物，但中景的房屋却暗示了人物的存在。\n整幅画面虽气势磅礴、山势险峻，却并不冷清。\n山中的楼阁似山林主人居住之所，又似游人休息之处；似画家凭栏独赏之所，又似文人品茗、畅谈之阁，具有浓郁的文人画意味。\n远景中间，山峰如柱，是整个画面的气魄所在。\n山脉随景之推深而愈加陡峭，以浓墨绘就的苍松亦愈加繁茂。\n由此，我们可以感受到画家对生命的敬畏和对受画者大寿的美好祝愿。\n作品构图繁复、行笔缜密、墨色沉静，毫无躁气，给人一种清新、温润的感觉。\n王时敏的《南山积翠图》虽在一定程度上沿袭了前人“三段式”的构图，但细看，不难发现其创新之处。\n画面虽分为远、中、近三景，但呈现出一层坡、二层树、三层山的格局。\n而且，画家还有意识地在构图中加入了起伏、开合之势，为后来王原祁“积石为山”的“龙脉”构图理论打下了基础。\n218年8月15日，该画在辽宁博物馆中国古代绘画展中展出。\n王时敏（1592—168），字逊之，号烟客，江苏太仓人。\n祖父王锡爵在明朝万历时期曾任礼部尚书兼 ，父王衡任翰林院编修，他以荫官任太常寺玺卿，升太常寺少卿，后辞官回乡。\n入清后不仕，以书画自娱。\n自少年起绘画即受到董其昌的指授，又认真观摩和研习家藏及董其昌所藏的诸多前代名画。\n他将古代名家丘壑布景、笔墨技法、意境气韵等元素进行梳理，加以规范化和格式化。\n他尤其尊仰黄公望，深得黄氏笔墨浑厚苍茫的真髓，最终形成布景平稳中寓变化，笔墨圆厚、虚和、雄浑、蕴藉的艺术风格，引领着清初摹古的艺术潮流。",[23,24,60,26,399,27,61,165,29,152,7,35,30,238,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ac2ddc38beea10fbc512f633554005c.jpg",[],{"id":3314,"slug":3315,"title":3316,"dynasty":132,"author":482,"museum":260,"description":3317,"tags":3318,"thumbUrl":3320,"material":107,"size":107,"collection":107,"collections":3321,"showCount":3322,"zanCount":11,"manualWeight":11,"mainColor":94},238998,"wen-jia-xia-shan-gao-yin-tu-zhou-yi-ming-238998","文嘉夏山高隐图轴","此作以层叠山峦铺展高远之境，崖间飞瀑悬垂而下，撞破岩壑沉静，为幽寂山林添就灵动生机。水畔草堂临流而建，屋中主人偃卧观山，阶下童子侍立，尽显山居高隐的闲雅意趣。\n\n画作笔墨温婉秀润，山石以披麻皴写就，淡墨晕染出清润质感，林木点染疏密得宜，浅淡设色衬出古雅格调，将寄情林泉、慕求幽居闲适的心境，融在烟林清旷的山水小景之中，意境萧散淡远，尽显文人山水画的雅逸之致。",[24,26,165,27,29,64,7,33,31,3319,34,30],"屋宇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6d3a9341797746526cddd68189ee910.jpg",[],24,{"id":3324,"slug":3325,"title":1258,"dynasty":295,"author":622,"museum":260,"description":1259,"tags":3326,"thumbUrl":3327,"material":107,"size":107,"collection":581,"collections":3328,"showCount":3322,"zanCount":11,"manualWeight":11,"mainColor":94},237594,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237594",[24,60,626,61,27,83,29,152,7,30,31,944],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae0c88738c7130fc52a28d7ea721399c.jpg",[581,383],{"id":3330,"slug":3331,"title":3332,"dynasty":295,"author":622,"museum":260,"description":3333,"tags":3334,"thumbUrl":3335,"material":107,"size":107,"collection":107,"collections":3336,"showCount":3322,"zanCount":11,"manualWeight":11,"mainColor":94},230960,"guan-mei-tu-wang-hui-230960","观梅图","观梅图卷，清代，王翠作画。\n纸本，画心纵28.8，横7.厘米。\n浅设色，写峰峦幽深，飞瀑流泉，半山高台处筑一草亭，亭内盘坐一人，倾身仰望溪流边芬芳吐艳的红梅。\n用笔虽简，但人物的神态竟被捕捉无遗。\n草亭四周翠竹环绕与远处的密林构成一种清幽的环境。\n山石多用干笔皴擦，配以浓墨苔点，古朴苍劲，款署“耕烟散人王翚画于天潭邃谷”，钤“耕烟散人时年七十有四”。\n此图当为康熙四十五年(176)所作。\n鉴赏章有“乾隆御览之宝”、“宣统鉴赏”等章。\n原为清内府所藏，现藏旅顺博物馆。",[24,60,61,27,29,1507,210,7,63,30,31,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c8a2eb106bca04ce73a4b61fc1f9cf4.jpg",[],{"id":3338,"slug":3339,"title":3340,"dynasty":295,"author":3341,"museum":260,"description":3342,"tags":3343,"thumbUrl":3344,"material":107,"size":107,"collection":107,"collections":3345,"showCount":3322,"zanCount":11,"manualWeight":11,"mainColor":52},228953,"shan-shui-li-zhou-yuan-jiang-228953","山水立轴","袁江","此作用高远、平远之法铺展丘壑，烟岚轻笼层叠峰峦，虚实掩映间晕开幽寂氛围。幽谷飞瀑垂落，亭台楼阁错落栖于崖畔水岸，尽显雅致逸趣。近岸林木扶苏，渔舟泛于涟漪之上，渔人悠然摇橹，野逸生机跃然绢素。\n\n笔墨苍秀兼工带写，山石皴擦兼具厚重质感与氤氲气韵，设色古雅沉静，糅合院体的精细整饬与文人山水的萧散意趣，将江南山林温润空濛的灵秀之态描摹尽致。观之如临林泉，恍可听瀑声、闻棹歌，尽得山水意境之美。",[24,26,165,29,7,31,238,178,210,1773,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffacdf90198a83bdeccf8510a9ccdbe3d.jpg",[],{"id":3347,"slug":3348,"title":3349,"dynasty":295,"author":296,"museum":260,"description":3350,"tags":3351,"thumbUrl":3352,"material":107,"size":107,"collection":107,"collections":3353,"showCount":3322,"zanCount":11,"manualWeight":11,"mainColor":94},224512,"shan-shui-tu-ce-8-kai-2-zhang-da-qian-jiu-cang-shi-tao-224512","山水图册8开-2-张大千旧藏","这幅山水以留白铺就江天空寂，右侧危崖飞瀑直落，笔墨苍莽朴拙，尽显山石嶙峋质感。左侧崖巅孤松斜曳，茅舍孑立，归雁成阵掠过长空，远江帆影悠悠往来。\n\n简淡设色晕染山石松枝，寥寥数笔便勾勒出山野清寂之境。题款朱印错落于崖侧，与水墨相映成趣，以写意之笔铺陈出天人相融的幽远意趣，尽显简淡疏朗的林下之风，将江乡山居的空阔自在藏于尺幅之中。",[23,100,24,60,1261,61,27,849,29,178,152,1864,7,944,30,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcffdcba7a6958b40f93316c1d03b2b96.jpg",[],{"id":3355,"slug":3356,"title":3357,"dynasty":295,"author":3358,"museum":175,"description":3359,"tags":3360,"thumbUrl":3361,"material":123,"size":3362,"collection":48,"collections":3363,"showCount":3322,"zanCount":280,"manualWeight":11,"mainColor":52},224164,"shan-shui-lou-ge-tu-liu-du-224164","山水楼阁图","刘度","该作品写冈峦叠起、山石林立、峭崖绝壁、云雾蒸腾。画作正中，主峰高耸、陡峭的崖壁处有瀑布飞流直下，在迷雾笼罩的山腰间汇成湍湍溪水。溪水沿着凹凸不平的石道蜿蜒而下，泻入碧水涟漪、明净清澈的湖中。画中主峰峥嵘突兀，烟霭弥漫，山间楼宇若隐若现，画面虚实相生、宁静空灵。山石轮廓线刻画曲折有力，皴法用笔细密工致，极为精严。山下水榭、楼阁依水而建，亭内和湖中舟上点缀以人物。近处古树高耸，黄叶灿然。看此幽山、绿崖、白云、古树，如同进入清新怡人的脱俗之境。\n《山水楼阁图》画法工细，色调明快，具有较强的装饰美。山间的白云不是用勾的方法表现，而是运用了晕染和留白的方法，墨色浓淡变化丰富，颇有韵味。古树苍茂，树叶或填以黄色、或点以绿色、或红绿相杂，树干双勾后均用淡墨兼赭色填涂。掩映于山间的楼阁亭台与水边的回廊水榭安排得错落有致，勾描工细而不僵滞。它们在山水的环抱中显得格外幽雅、别致。画中人物造型准确，临水亭台中的坐观者神态怡然，舟中收网的渔人也忙而不乱、轻松自在。此画无半点甜俗之气，让人有一种远离尘嚣的脱俗感。\n能在如此小的册页上绘出这般大的气象，可见刘度绘画水平的高超。",[23,24,100,60,165,1773,27,29,195,63,178,30,7,31,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafa71146b215b69f0608d84fc286be05.jpg","纵28.8厘米，横15.2厘米",[48],{"id":3365,"slug":3366,"title":1975,"dynasty":18,"author":307,"museum":260,"description":660,"tags":3367,"thumbUrl":3369,"material":105,"size":265,"collection":107,"collections":3370,"showCount":3371,"zanCount":11,"manualWeight":11,"mainColor":94},289127,"gao-shi-guan-pu-tu-ma-yuan-289127",[24,100,399,3368,209,27,165,152,7,30,1922,2048],"人物画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22af0766a92228005907352af710c863.jpg",[],23,{"id":3373,"slug":3374,"title":3375,"dynasty":295,"author":622,"museum":260,"description":3376,"tags":3377,"thumbUrl":3378,"material":107,"size":107,"collection":1737,"collections":3379,"showCount":3371,"zanCount":280,"manualWeight":11,"mainColor":94},237459,"mo-chi-feng-yu-zhou-wang-hui-237459","墨池风雨轴","王翚(1632--1717)，清代画家。字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等，江苏常熟人。祖上五世均善画，父王云客专画山水，画风秀雅。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。后受王鉴赏识，被其收为弟子，教他读书和学习书法。又从师王时敏。其山水画虽以临古入手，但并非专摹一家，王维的雪景、李成的寒林、董源的平峦远渚、巨然的秋山萧寺、王诜的渔村小雪、米氏父子的云山烟雨以及元代黄公望、吴镇、王蒙、倪瓒的作品，都是他摹绘的对象。他于传统技法有很深的功底，而且能融会贯通，合众长于一手，但又不完全为成法所束缚，比较注重写生。他贯通诸家，以南宋笔墨，运北宋丘壑，创造出秀润多姿的风格和面貌。其画在清代极负盛名，康熙三十年奉诏绘制《康熙南巡图》，3年完成，得到皇帝的褒奖，被视为画之正宗，追随者甚众，因他为常熟人，常熟有虞山，故后人将其称为虞山派。有《康熙南巡图》（与杨晋等人合作）、《秋山萧寺图》、《虞山枫林图》、《秋树昏鸦图》等传世。",[24,61,26,27,84,85,29,136,326,35,31,238,178,7,1599],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e681591a3a90ad29ea44492c596fa2c.jpg",[1737],{"id":3381,"slug":3382,"title":1077,"dynasty":295,"author":649,"museum":351,"description":3383,"tags":3384,"thumbUrl":3385,"material":463,"size":3386,"collection":107,"collections":3387,"showCount":3371,"zanCount":11,"manualWeight":11,"mainColor":94},234845,"shan-shui-zhou-wang-shi-min-234845","此幅构图为王时敏所作之常见格局，峰峦叠嶂，林木丛生，溪流小桥，屋舍隐现，一派江南的山水景象。用笔古秀，布局深远，以披麻皴写山石，浓墨点苔，意境近黄公望，为王氏代表作。",[100,24,61,26,29,27,136,137,152,238,33,65,7,64,1844],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50d58442ca928e49e5aad06b4764cbc2.jpg","纵135厘米，横63厘米",[],{"id":3389,"slug":3390,"title":3391,"dynasty":132,"author":795,"museum":260,"description":3392,"tags":3393,"thumbUrl":3395,"material":105,"size":265,"collection":107,"collections":3396,"showCount":3371,"zanCount":11,"manualWeight":11,"mainColor":94},228879,"duan-he-ming-qin-tu-wen-zheng-ming-228879","断壑鸣琴图","文徵明（1470年11月28日－1559年3月28日），原名壁（或作璧），字徵明，四十二岁起，以字行，更字徵仲。因先世为衡山人，故号衡山居士，世称“文衡山”。南直隶苏州府长洲县（今江苏苏州）人。明代画家、书法家、文学家、鉴藏家。\n文徵明曾学文于吴宽，学书法于李应祯，学画于沈周，生平九次参加乡试均不中。嘉靖二年（1523年），以岁贡生参加吏部考试，被授予翰林院待诏之职。嘉靖五年（1526年），文徵明辞官归乡，专事创作。\n嘉靖三十八年（1559年）二月二十，文徵明去世，享年九十。其弟子私谥贞献。\n文徵明诗、文、书、画无一不精，人称“四绝”，其与沈周共创“吴派”。在画史上与沈周、唐寅、仇英合称“明四家”。在文学上，与祝允明、唐寅、徐祯卿并称“吴中四才子”。",[23,24,60,26,165,29,27,209,7,30,31,33,3394],"山林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4602ec7c95628152453ccd92f14e664.jpg",[],{"id":3398,"slug":3399,"title":3400,"dynasty":18,"author":739,"museum":260,"description":3401,"tags":3402,"thumbUrl":3403,"material":107,"size":107,"collection":107,"collections":3404,"showCount":3371,"zanCount":11,"manualWeight":11,"mainColor":52},227986,"yin-yan-fei-pu-tu-jiang-can-227986","阴岩飞瀑图","危崖斜出，古木盘虬扎根崖壁，数道飞瀑破壁而出，訇然落向下方深潭。山石以粗劲短皴勾勒轮廓，苍莽厚重，尽显崖石坚硬荒寒；飞瀑以留白衬墨色，线条劲挺利落，将水流奔涌之势藏在简淡笔墨里。\n\n整幅画作以水墨浓淡铺展山野幽寂，无多余点染，却将空谷间瀑流轰鸣、林壑沉静的氛围感拉满，带着独有的萧散冷逸，于尺幅间尽显磅礴大气，暗合寄情林泉、澄怀观道的文人意趣。",[23,100,24,60,26,61,27,29,7,1337,31,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff35d866f71b6edd059218c0e1ba2858e.jpg",[],{"id":3406,"slug":3407,"title":3408,"dynasty":295,"author":622,"museum":260,"description":3409,"tags":3410,"thumbUrl":3411,"material":107,"size":107,"collection":107,"collections":3412,"showCount":3371,"zanCount":280,"manualWeight":11,"mainColor":52},224447,"fang-huang-he-shan-ren-shan-shui-wang-hui-224447","仿黄鹤山人山水","此作用全景铺展秋山胜境，取法黄鹤山人苍浑繁密之致。峰崖高拔，以解索皴写山石肌理，苔点错落，尽显岩壑古拙苍劲。山间云气轻笼，虚实相生，拉开层叠景深。\n下半幅转绘幽居水乡，屋舍错落滨水，渔人泛棹、庭内闲寂，将林泉隐逸的悠然意趣融于山水间。\n笔墨干湿互济，浓淡相宜，既恪守元人笔墨的苍茫厚重，又暗合江南山水温润灵秀之态，师古而不泥古，尽显秋山静穆雅致的林泉高致。",[23,24,60,399,26,27,61,165,29,152,30,7,238,354,31,1864,33,984],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8123656d7dfc46d899cd09ac6309fce.jpg",[],{"id":3414,"slug":3415,"title":3416,"dynasty":18,"author":482,"museum":351,"description":3417,"tags":3418,"thumbUrl":3419,"material":123,"size":3420,"collection":48,"collections":3421,"showCount":3371,"zanCount":11,"manualWeight":11,"mainColor":52},223479,"mo-lu-hong-cao-tang-shi-zhi-tu-juan-quan-juan-yi-ming-223479","摹卢鸿草堂十志图卷全卷","《草堂十志》相传是卢鸿所撰的十段文字，描写他隐居处所附近的十个景点，画者即是根据他的文字绘制成图卷，故称《卢鸿草堂十志图》。后来的人因为误将卢鸿当作是画卷的作者，所以出现真伪的争议。实则，原画者并没有署名。传世三种《草堂十志图》卷，虽然都不是卢鸿的画作，却可以看到它们之间有很多相似之处，证明它们同出一源。其中品质及艺术水准以台北故宫博物院本《草堂十志图》卷为最高，至于对后世书画家的影响也最大。\n全卷水墨画十景，每景自成一段，每段前有褚、颜、柳等书写之 〈草堂十志〉 词，与十景相间。所绘皆为自然园林景致，其配置乃注重与周围自然环境相结合，树石造型古拙，用笔方硬，水墨渲染颇工。此作无名款，旧传为卢鸿之作。学界对此幅的断代，虽无定论，然时代应非为唐。虽非唐代画作，然有研究者订为五代十世纪，可能是与唐代卢鸿原本最为接近之摹本，为早期文人隐居山水的重要祖型，对中国历代隐居山水的图像表现，影响深远。",[23,24,60,82,83,61,27,29,137,7,65,210,63,86,138,34,196,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ea4dd01e44e803413f2814c10d58aa2.jpg","纵25.6cm，横711.6cm",[48,49],{"id":3423,"slug":3424,"title":161,"dynasty":634,"author":3425,"museum":3426,"description":3427,"tags":3428,"thumbUrl":3429,"material":107,"size":107,"collection":107,"collections":3430,"showCount":3371,"zanCount":11,"manualWeight":11,"mainColor":94},220510,"wan-he-song-feng-tu-huang-jun-bi-220510","黄君璧","龙美术馆西岸馆","层叠峰岩以赭红晕染崖顶，苍劲古松扎根嶙峋山石间，挺秀卓立尽显风神。两道飞瀑自云端峭壁垂落，撞碎成白练跌汇入溪涧，流水穿绕矶石，带着鲜活生机破山而出。山间云气轻笼远峰，虚实掩映间晕开空濛烟岚，将雄浑山势揉进柔婉留白中。\n\n笔墨兼具北派山水的刚健苍劲与岭南画韵的秀润清灵，斧劈皴刻画出山石硬朗肌理，松针攒簇尽显苍郁意态，以动静相生的章法，将松涛与泉鸣交融的山林幽寂盛境铺展眼前，藏着天人共生的东方山水意趣。",[23,24,60,26,165,27,29,152,7,65,35,33,640,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bb4ec9913ffc4e9d465df3a7b1c47b3.jpg",[],{"id":3432,"slug":3433,"title":3434,"dynasty":295,"author":825,"museum":351,"description":2252,"tags":3435,"thumbUrl":3436,"material":123,"size":2255,"collection":107,"collections":3437,"showCount":3371,"zanCount":11,"manualWeight":11,"mainColor":94},220300,"huang-shan-tu-ce-26-hong-ren-220300","黄山图册-26",[23,24,60,626,61,29,30,31,63,7,1053,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33296ed6c8f1aa652e3297eebc981cad.jpg",[],{"id":3439,"slug":3440,"title":3441,"dynasty":295,"author":622,"museum":650,"description":3442,"tags":3443,"thumbUrl":3444,"material":276,"size":3445,"collection":107,"collections":3446,"showCount":3371,"zanCount":11,"manualWeight":11,"mainColor":94},217212,"fang-gu-shan-shui-shi-er-kai-liu-wang-hui-217212","仿古山水十二开(六)","此册王翚仿古十二开",[24,626,61,29,152,7,238,30,27,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ad3402979059ae1473273bbfba5698a.jpg","25x35.4cm",[],{"id":3448,"slug":3449,"title":3450,"dynasty":18,"author":3451,"museum":260,"description":3452,"tags":3453,"thumbUrl":3454,"material":105,"size":265,"collection":107,"collections":3455,"showCount":3456,"zanCount":11,"manualWeight":11,"mainColor":52},289731,"mei-xi-pu-bu-tu-cui-que-289731","梅溪瀑布图","崔慤","。崔悫与及他的兄长崔白，都是北宋著名的花鸟画家。他们的画风朴素、重视自然野趣，对於当时的画院有很深的影响。这件作品除了取材自山林野趣之外，画中直接用墨色点染，不用笔描（即所谓的「没骨画法」），是宋代花鸟画中少见的表现手法，但却能将鹌鹑与蝼蛄的形态表现得准确而生动，令人赞佩。",[24,100,29,86,1507,944,63,30,7,165,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ca51841a1807ebc44e9f4ff79541c6c.jpg",[],22,{"id":3458,"slug":3459,"title":1669,"dynasty":132,"author":1670,"museum":260,"description":3460,"tags":3461,"thumbUrl":3463,"material":105,"size":265,"collection":107,"collections":3464,"showCount":3456,"zanCount":11,"manualWeight":11,"mainColor":52},288827,"shan-zhuang-gao-yi-tu-li-zai-288827","此画曾传为郭熙作，实为李在手笔。这幅画的右下角有「河阳郭熙写」的签款，因此长期被古人误认为北宋郭熙的画作。但是经过研究，发现此签款为后人伪造，从风格、技法来比对，本幅画应该是明初宫廷画家李在的真迹。",[23,24,26,61,27,29,195,34,63,178,2283,379,7,517,1053,86,3462],"高逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7de78491754e0443afe228850bafd56.jpg",[],{"id":3466,"slug":3467,"title":3468,"dynasty":18,"author":3469,"museum":260,"description":3470,"tags":3471,"thumbUrl":3472,"material":105,"size":265,"collection":107,"collections":3473,"showCount":3456,"zanCount":280,"manualWeight":11,"mainColor":290},287738,"hong-shu-qiu-shan-tu-xiao-zhao-287738","红树秋山图","萧照","萧照（公元1131-公元1162），濩泽（今山西阳城）人。南宋画家，补入南宋画院为待诏，又补迪功郎，赐金带，作品有《山腰楼观图》、《秋山红树图》、《岳祠汉柏图》、《光武渡河图》、《竹林七贤图》等，杭州显庄观、西太已宫等处有他的壁画。夏文彦《图绘宝鉴》：“画山水人物，异松怪石，苍凉古野，惜用墨太多”，有记载说：“萧照尤喜为奇峰怪石，望之有波涛汹涌，云屯风卷之势”。",[23,100,24,29,26,165,27,34,63,195,30,31,7,708,2405],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad91b75dccb4b91ad72e5c123b39c43f.jpg",[],{"id":3475,"slug":3476,"title":3477,"dynasty":132,"author":3478,"museum":20,"description":3479,"tags":3480,"thumbUrl":3481,"material":107,"size":107,"collection":48,"collections":3482,"showCount":3456,"zanCount":11,"manualWeight":11,"mainColor":94},237460,"qiu-shan-xian-tiao-tu-zhou-qian-gu-237460","秋山闲眺图轴","钱毂","钱榖〔清〕字子璧，号内史，晚号东海逸民，华亭（今上海市松江）诸生。诗、画俱工绝。清朝以来，松江以书名者，则有钱谷、曹思邈、沈楫。钱、曹皆名宿，而结构精劲当推钱第一。晚年名益重，求书者户尝满。《三冈识略》、《江苏诗徵》、《画家知希录》",[24,26,165,29,2405,31,7,86,30,85,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F904104c77a5562b5226fd2d200081be0.jpg",[48],{"id":3484,"slug":3485,"title":3486,"dynasty":132,"author":482,"museum":260,"description":3487,"tags":3488,"thumbUrl":3491,"material":107,"size":107,"collection":107,"collections":3492,"showCount":3456,"zanCount":280,"manualWeight":11,"mainColor":52},235681,"tao-cheng-chan-gong-yu-tu-tu-zhou-yi-ming-235681","陶成蟾宫玉兔图轴","此作图绘仙乡秘境，一轮素月悬于空濛天际，清辉铺洒四野。玉兔静伏于青竹之侧，茸毛细密柔润，红眸澄澈灵动，憨态可掬，为清冷画面晕开一抹柔温。\n\n青绿山石晕染雅致，水流蜿蜒有声，远山瀑布垂挂如练，浅绛淡青交织出幽谧空寂的氛围感。数竿修竹挺秀清疏，枯木虬枝添了几分古意，与题诗相映成趣，诗画相融，晕染出出尘的仙家意韵。\n\n笔墨兼工带写，设色古雅沉静，将缥缈蟾宫的清寂与鲜活生机揉和一处，尽显古典雅致的仙境意趣。",[24,26,165,209,29,436,3489,3490,63,30,7,600],"兔","明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F199c4e3ce8b760deb87b3e87847a32a2.jpg",[],{"id":3494,"slug":3495,"title":3496,"dynasty":295,"author":2261,"museum":351,"description":3497,"tags":3498,"thumbUrl":3499,"material":3500,"size":3501,"collection":107,"collections":3502,"showCount":3456,"zanCount":11,"manualWeight":11,"mainColor":94},234113,"yi-song-tu-juan-dai-xi-234113","忆松图卷","该画颇有“北宋”山水的气势，在意境上突破了“四王派”末流的萧淡枯寂，一定程度上表现了雄浑沉厚，山石形态及皴法。\n《忆松图》是戴熙“师造化”的最好例证。画家跋云：“地近方山，山有龙池云洞诸胜，多松，漫溪弥谷，旷望无际，常月夜行万松中，遇要氏兄弟，结苑读书其下，赋诗赠答，慨然有卜邻之志。后来京师，每值风和月霁，辄追忆之，嘱写《忆松图》，落落五年末有以报，丁未早春，侨居都下颇忆故山松径……”\n戴熙（1801—1860）浙江钱塘（今杭州）人，字醇士（一作莼溪），号榆庵、松屏，别号鹿牀居士（一作樚牀）、井东居士。道光十一年进士，十二年翰林，官至兵部侍郎，后引疾归，曾在崇文书院任主讲。咸丰十年太平天国克杭州时死于兵乱。谥号文节。工诗书，善绘事。山水早年师法王翚，进而摹拟宋元诸大家，对于王蒙、吴镇两家笔意更有所得。晚年观摩巨然真迹，在用墨方面有深切的领会。道光时宫廷书画多出于其手。又能画花、人物，以及梅竹石，笔墨皆隽妙。秦祖永的评论是：“临古之作形神兼备，微嫌落墨稍板，无灵警浑脱之致，盖限于资也。所写竹石小品停匀妥帖，尚为蹊径所缚，未能另立门庭也。”\n他的山水画属“虞山”一派，因受奚冈的影响，所以他的画风也接近于“娄东”派，他的山水多用擦笔，山石以干墨作皴，然后以湿笔渲染，颇得物象的形象和神髓，世人谓之蝉翼皴。他晚年所画的《山水长卷》笔致醇朴。有《习苦斋集》、《习苦斋花絮》等。",[24,82,61,29,27,84,121,85,136,326,311,137,460,7,354,238,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff00379ba924bd77a66435a66df038176.jpg","纸本墨色","纵37.7厘米，横123.2厘米",[],{"id":3504,"slug":3505,"title":3506,"dynasty":132,"author":795,"museum":351,"description":3507,"tags":3508,"thumbUrl":3510,"material":463,"size":3511,"collection":107,"collections":3512,"showCount":3456,"zanCount":11,"manualWeight":11,"mainColor":94},233819,"wen-zheng-ming-qu-gang-gui-zhou-tu-zhou-wen-zheng-ming-233819","文徵明曲港归舟图轴","本幅自题五言诗并署：“雨绝树如沐，云空山欲浮。草分波动处，曲港有归舟。徵明。”钤“徵仲父印”（白文）印。本幅有明彭年、陆师道、王穀祥及清乾隆帝题诗共四则。作品曾经清内府收藏。近代庞莱臣《虚斋名画录》著录。\n画中描绘山间雨后的景象，云雾蒸腾，林木葱郁，笔墨工稳细润，意境清新幽静，是文氏细笔山水画的代表作。",[24,60,26,61,27,85,29,31,7,30,33,1864,138,196,3509],"常绿树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f6fe0a25489fc8e6c0b2921a67b3c49.jpg","纵115厘米，横33.6厘米",[],{"id":3514,"slug":3515,"title":3516,"dynasty":132,"author":3517,"museum":20,"description":3518,"tags":3519,"thumbUrl":3520,"material":140,"size":3521,"collection":107,"collections":3522,"showCount":3456,"zanCount":280,"manualWeight":11,"mainColor":94},222579,"fang-wang-meng-shan-shui-jiang-qian-222579","仿王蒙山水","蒋乾","这幅画是浙派画家蒋嵩之子蒋乾，所留存下来的少数画作之一。画面中，山峦层层迭迭，几乎将画幅填塞地密不透风。画的右侧有一道瀑布高悬，在山谷间制造深入的空间感。而近景山石有长松挺立，山屋茅舍隐蔽山中，是十分适合文人读书休憩的地方。",[23,24,60,26,61,27,83,29,152,30,7,33,839,31,64,984,354,341,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccffe975f2ab77aa3a44ef972534e795.jpg","98.1厘米，横：34厘米",[],{"id":3524,"slug":3525,"title":3526,"dynasty":132,"author":1099,"museum":336,"description":3527,"tags":3528,"thumbUrl":3529,"material":425,"size":3530,"collection":48,"collections":3531,"showCount":3456,"zanCount":11,"manualWeight":11,"mainColor":94},222230,"heng-tang-yu-xie-tu-juan-wen-bo-ren-222230","横塘雨歇图卷","全卷画层峦叠谳，千岩万壑，岗岭蜿蜒，龙脉起伏不断，峦间飞瀑如练，苍松依聚溪畔坡石。野色桥边，树石掩映，露出茅屋草亭。人物幽闲，或俯临秋水，或曳杖渡桥，或对坐观瀑，颇得游山观水之乐。署“嘉靖戊子冬日，五峰山人文伯仁。”",[23,24,60,82,165,29,27,640,7,31,1599,65,226,86,35,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78539aa02e216d5b6930b22af81d1ea0.jpg","18x123cm",[48,383],{"id":3533,"slug":3534,"title":3535,"dynasty":295,"author":3536,"museum":117,"description":3537,"tags":3538,"thumbUrl":3539,"material":107,"size":107,"collection":48,"collections":3540,"showCount":3456,"zanCount":11,"manualWeight":11,"mainColor":3541},201947,"wu-hou-tu-zhou-zhang-yu-201947","五猴图轴","章于","画面层峦叠嶂，远山以皴法勾勒，纹理苍劲，尽显山石嶙峋之态。山间瀑布垂落，似闻潺潺水声，添动势于静谧。近景古木虬枝，浓墨点叶，根系盘错扎于岩间，生机盎然。几只灵猴或攀枝、或踞石，姿态灵动，为山水注入鲜活气息。设色淡雅，水墨为底，间杂浅绿，清幽雅致。整体构图疏密有致，意境悠远，既见传统山水之韵，又因灵猴点缀而别具生趣，是一幅兼具笔墨功底与意趣的佳作。",[24,29,2215,27,165,31,7,30,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c3c70ba51d72ed1e126532526ba5d14.jpg",[48],"bcafa2",{"id":3543,"slug":3544,"title":3545,"dynasty":132,"author":206,"museum":20,"description":3546,"tags":3547,"thumbUrl":3549,"material":105,"size":265,"collection":107,"collections":3550,"showCount":3551,"zanCount":11,"manualWeight":11,"mainColor":52},290869,"tong-yin-zhou-jing-tu-zhou-chou-ying-290869","桐阴昼静图轴","仇英（约1498年—约1552年）， 字实父，号十洲，原籍江苏太仓，后移居吴县（今苏州），明代绘画大师。\n仇英出身寒门，幼年失学，曾习漆工，后拜师周臣，成为画家。\n仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。",[100,24,26,639,165,209,29,3548,63,7,210,64,84,85,2122],"桐树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8163886d5a7378a788f41f5a260d606.jpg",[],21,{"id":3553,"slug":3554,"title":3555,"dynasty":132,"author":3556,"museum":260,"description":3557,"tags":3558,"thumbUrl":3559,"material":107,"size":107,"collection":48,"collections":3560,"showCount":3551,"zanCount":11,"manualWeight":11,"mainColor":94},236923,"ju-jie-shan-shui-zhou-ju-jie-236923","居节山水轴","居节","画史记载居节“尚气节，虽窭甚，惟以丹青自娱，不曳侯门裾” (《无声诗史》)。这样看来，如果说画面的前半部分是类文徵明的细劲、秀丽，那么远景山水的画法可不可以说是居节“尚气节”的“清高”和“骨气”的表现呢?我以为，也正是这种略显枯硬的画法，让他的山水画在吴派绘画基本风格的基础上又具有了宋人雄浑、劲健、简率的作风。\n从这幅作品中，我们看到了居节的文雅与气节两个方面的表现，可称为他的代表作。另外，从居节传世作品《潮满春江图》(镇江博物馆藏)、《万松小筑图》(上海博物馆藏)都可以看出居节在这两方面所做的努力。",[24,60,26,61,27,29,137,7,30,33,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fe76918b84b330009e95a81e2db08f7.jpg",[48,49],{"id":3562,"slug":3563,"title":3564,"dynasty":132,"author":3565,"museum":260,"description":3566,"tags":3567,"thumbUrl":3568,"material":105,"size":265,"collection":107,"collections":3569,"showCount":3551,"zanCount":11,"manualWeight":11,"mainColor":94},236811,"shan-shui-shan-mian-liu-yuan-qi-236811","山水扇面","刘原起","初名祚，以字行，更字子正。工诗，画山水，师钱谷，颇肖其神",[24,529,29,61,165,27,30,31,7,839,86,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ff6dd3b962fbdb6a810552885f1d4de.jpg",[],{"id":3571,"slug":3572,"title":3573,"dynasty":132,"author":1608,"museum":351,"description":3574,"tags":3575,"thumbUrl":3579,"material":946,"size":3580,"collection":107,"collections":3581,"showCount":3551,"zanCount":11,"manualWeight":11,"mainColor":52},233697,"yun-he-cang-yu-tu-zhou-lan-ying-233697","云壑藏渔图轴","此图为蓝瑛73岁（1657年）时的力作。该图构图奇险，尤其是画幅的上半部，一段奇峭耸立的山峰嵯峨壮观，于危峙耸拔呼之欲倒的险迫中，又具“去天不盈尺”的崇高感，显示出作者较强的造景生势能力。蓝瑛在树木的表现上亦有较强的造型能力，他能准确而生动地把握各种树木的形态特征，伸枝布叶，饶有情致。树叶的表现技法极为丰富，有以线勾双边的夹叶法，以墨直接卧笔横点的点叶法，还有松针勾簇、罩以淡彩的勾染结合法。山石皴法，仿宋人李希古（李唐）笔意，以粗犷的墨笔勾勒石之轮廓，以侧锋横擦的小斧劈皴皴擦石面，成功地显现出山岩凝重的质感。该图既有职业画家的行业气，又有文人画家的书卷气，二者巧妙地融汇贯通，表明蓝瑛不愧是明末职业画家向文人绘画靠拢的代表人物。",[24,60,26,165,29,27,461,3576,178,152,3577,30,7,3578],"壑","桃花","渔乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad4d2c8bdbaefa91e4ad1677373af496.jpg","纵369厘米，横98厘米",[],{"id":3583,"slug":3584,"title":3585,"dynasty":115,"author":482,"museum":260,"description":3586,"tags":3587,"thumbUrl":3589,"material":107,"size":107,"collection":107,"collections":3590,"showCount":3551,"zanCount":11,"manualWeight":11,"mainColor":52},232696,"song-yin-lun-dao-tu-zhou-yi-ming-232696","松荫论道图轴","画作以层叠飞瀑串起幽深山峦，古松虬曲苍劲，斜探山坳。松荫下二人对坐，一人垂耳静聆，一人挥袖长谈，雅意暗生。山石以斧劈皴勾勒晕染，尽显雄浑厚朴，山林以浓淡墨色分出虚实层次，铺就空寂清远的山野氛围。\n\n整幅以动衬静，飞瀑流泉的喧腾，更衬出松下晤谈的安谧超脱，将林下隐逸的雅趣融于丘壑间，尽显萧散简远的山水意韵，把出世林下的风流逸致，尽数绘于绢素之上。",[23,24,60,26,61,27,29,86,311,7,65,63,3588],"论道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a886a55177591ac8990b09ff254c510.jpg",[],{"id":3592,"slug":3593,"title":3594,"dynasty":132,"author":3595,"museum":20,"description":3596,"tags":3597,"thumbUrl":3598,"material":123,"size":3599,"collection":107,"collections":3600,"showCount":3551,"zanCount":11,"manualWeight":11,"mainColor":94},231416,"fang-wang-meng-ge-hong-yi-ju-tu-zheng-zhong-231416","仿王蒙葛洪移居图","郑重","明郑重仿王蒙葛洪移居图，中国古画，1612年（明神宗万历四十年）作。原属故宫博物院旧藏，现藏于台北故宫博物院。该幅作品描绘葛洪移居情景。布居窄长，用笔仿王蒙之焦墨來臫頭、渴樤苔，设色清雅。题材虽属道教故实，然人物比例远逊于山川林屋，观此画例，足证元明以降，山水画已蔚成国画作之主导。\n來臫頭《葛樤洪移居图》绘道教故事，晋代著名道士葛洪移居情景。葛洪为晋朝句容人，自号抱朴子，习炼丹术于郑隐，后闻交趾出丹砂，携子侄赴广东罗浮山炼丹。画中妻子鲍氏怀抱孩童，葛洪在后，俱骑牛。一童牵牛，一童担家具，一童捧鹅背药瓢。又有一羊二犬。画中山峦层层，用笔茂密，正是王蒙风格，点景人物，亦生动活泼。",[23,24,60,26,165,27,83,85,29,86,195,34,63,103,152,7,36,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb37d01a20b306b009a195204eafa7223.jpg","该幅135.8x29.1公分；全幅50.7公分",[],{"id":3602,"slug":3603,"title":3604,"dynasty":132,"author":1311,"museum":260,"description":3605,"tags":3606,"thumbUrl":3607,"material":107,"size":107,"collection":107,"collections":3608,"showCount":3551,"zanCount":11,"manualWeight":11,"mainColor":52},228845,"ji-shan-gao-yin-tu-zhou-dai-jin-228845","箕山高隐图轴","画面以雄奇山水铺陈意境，斧劈皴勾勒出山岩棱角刚硬，危峰迭起直入烟霭。古松虬曲苍劲，盘崖绕谷，枝干舒展如腾龙，松针攒簇尽显苍郁生机。\n\n松下高士坦襟趺坐，凭石观山，意态萧散悠然，将山野林泉间的隐逸闲趣尽显。整作以刚劲笔墨绘就山川风骨，又以简淡笔触描摹人物风神，将北宗山水的雄浑大气与文人高隐的清雅意趣相融，尽抒林泉高致，恍见太古幽情。",[23,24,60,26,61,27,29,86,152,30,7,984],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bb2ac4e2251e083f824252fb1f3869f.jpg",[],{"id":3610,"slug":3611,"title":3612,"dynasty":18,"author":3613,"museum":260,"description":3614,"tags":3615,"thumbUrl":3616,"material":107,"size":107,"collection":107,"collections":3617,"showCount":3551,"zanCount":11,"manualWeight":11,"mainColor":94},227749,"bi-shan-gan-yu-tu-zhao-bo-su-227749","碧山绀宇图","赵伯骕","南宋 赵伯骕 碧山绀宇图绢本25.5x25\n\n赵伯骕,（一一二四至一一八二）字希远。伯驹弟。和州防御使。少从高宗于康邸，以文艺侍左右。善山水、人物，尤长于花鸟，傅染轻盈，颇有生意。界画亦精，尝绘姑苏天庆观样进呈，考宗书其上令依原样建造，即今之玄妙观。\n兄弟博涉书史，皆妙于丹青，以萧散高迈之气，见于毫素。尝论画以为写人物、动、植，画家颇能具其相貌，但吾辈胸次，自应有一种风规，神气悠然，韵味清远，不为物态所拘，便有佳处。况吾所存，无媚於世，而能合於丛情者，要在悟此。故二人以一圆墨，舒卷万象，俱受圣知。凡所落墨，皆缥囊玉轴为上方珍玩。卒年五十九。",[23,24,60,29,639,165,195,30,31,7,121,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa140c79a62d2d325e3c86c73ee3a47e.jpg",[],{"id":3619,"slug":3620,"title":3621,"dynasty":295,"author":622,"museum":260,"description":3622,"tags":3623,"thumbUrl":3624,"material":107,"size":107,"collection":107,"collections":3625,"showCount":3551,"zanCount":393,"manualWeight":11,"mainColor":94},224457,"shan-chuang-du-shu-tu-zhou-wang-hui-224457","山窗读书图轴","《山窗读书图》是清代画家 创作的一幅纸本淡设色画。\n全图以高远法构图，白云、瀑布、楼阁穿插于重峦叠嶂的林木间，一派气象万千的苍郁景致。\n画幅的右下方绘有一人于山坞草堂内临窗读书，此景虽然在画幅中所占比例极小，却点明了“山窗读书”的主题，为山林景色增添了书卷气息。\n从落款可知此图系为恭祝友人王掞（字藻儒）寒窗苦读、秋试中举而作，带有浓郁的情感色彩。\n款署：“山窗读书图。\n奉贺藻儒先生秋荐之喜，时丙午九月九日，虞山王翚。\n”钤“王翚之印”朱白文印。\n“丙午”为康熙五年（1666年），王翚时年5岁。\n全图以元人王蒙细密繁复的笔法刻画，线条活而不乱，理在其中，浓、淡墨色于交叠皴擦中层次井然。\n此幅不失为王翚早年学仿王蒙画风的精心之作。",[23,24,60,26,61,27,29,136,7,63,34,379,210,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1307676e05c8337ec6ba011a5e291deb.jpg",[],{"id":3627,"slug":3628,"title":3629,"dynasty":295,"author":3630,"museum":260,"description":3631,"tags":3632,"thumbUrl":3634,"material":123,"size":3635,"collection":48,"collections":3636,"showCount":3551,"zanCount":11,"manualWeight":11,"mainColor":94},220251,"xi-shan-yan-yu-tu-hu-gong-shou-220251","溪山烟雨图","胡公寿","胡公寿（1823年—1886年），初名远，号瘦鹤、小樵，别号横云山民，华亭（今上海松江）人，清末书画家。其书法出入于平原、北海间，独具体势。诗宗少陵，清健遵练。为海上画派代表画家之一。传世作品有《桂树图》、《香满蒲塘图》等",[23,24,61,26,29,7,31,30,3633,27],"烟雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ee7a7a41050c79328c18df5f5c33a46.jpg","49.54*180",[48],{"id":3638,"slug":3639,"title":3640,"dynasty":295,"author":3641,"museum":79,"description":3642,"tags":3643,"thumbUrl":3644,"material":89,"size":3645,"collection":48,"collections":3646,"showCount":3551,"zanCount":280,"manualWeight":11,"mainColor":52},219720,"yun-ling-shui-sheng-tu-wang-jian-zhang-219720","云岭水声图","王建章","《云岭水声图》画层峦叠嶂，瀑布挂落，溪流绕岸，小径蜿蜒，云雾弥漫，数间房舍掩映于葱郁的树林间，境界超逸。山石以披麻皴描绘，树木以湿润浓墨点染，画面苍郁沉厚。图右题唐诗：“横云岭外千里树，流水声中三五家。”诗情画意交融。",[23,24,100,61,27,26,29,461,7,63,31,238,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18c7c418b4dff5a1a53023aff36e0194.jpg","纵95厘米,横48．1厘米",[48],{"id":3648,"slug":3649,"title":3650,"dynasty":132,"author":835,"museum":260,"description":3651,"tags":3652,"thumbUrl":3653,"material":105,"size":265,"collection":107,"collections":3654,"showCount":3655,"zanCount":11,"manualWeight":11,"mainColor":94},290890,"fang-lu-shan-shi-hua-zhou-wen-jia-290890","仿庐山诗画轴","文嘉（1501年～1583），字休承，号文水，南直隶 苏州府长洲（今江苏苏州）人。大书画家文徵明次子。\n吴门派代表画家。初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。精于鉴别古书画，工石刻，为明一代之冠。画得徵明一体，善画山水，笔法清脆，颇近倪瓒，着色山水具幽澹之致，间仿王蒙皴染，亦颇秀润，兼作花卉。明人王世贞评：“其书不能如兄，而画得待诏（文徵明）一体。”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。”",[100,24,26,61,165,29,86,34,63,210,30,7,152,42,84,85,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F899bf88344a7d97e4c15d38f0af5a263.jpg",[],20,{"id":3657,"slug":3658,"title":1077,"dynasty":132,"author":3659,"museum":260,"description":3660,"tags":3661,"thumbUrl":3662,"material":123,"size":107,"collection":48,"collections":3663,"showCount":3655,"zanCount":11,"manualWeight":11,"mainColor":94},237576,"shan-shui-zhou-wang-wen-237576","王问","王问（1497～1576）明代官员。字子裕，号仲山，江苏无锡人。嘉靖十一年进士，历官车驾郎中，擢广东按察佥事，因思念老父，未赴任，即弃官归家。书法类米芾，又似黄庭坚，点染山水、花鸟皆精。诗作萧闲疏放，冲然自得，有《仲山诗选》、《崇文馆稿》等。",[24,60,26,61,27,29,34,63,31,30,7,839,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cefbf455b6e8d825dad7eb7a7b291de.jpg",[48,49],{"id":3665,"slug":3666,"title":3667,"dynasty":132,"author":1334,"museum":260,"description":3668,"tags":3669,"thumbUrl":3670,"material":105,"size":265,"collection":107,"collections":3671,"showCount":3655,"zanCount":11,"manualWeight":11,"mainColor":52},236701,"guan-pu-shan-zhou-chen-236701","观瀑扇","周臣（1460–1535），字舜卿，号东村，中国明代著名画家。吴（今江苏苏州）人。擅画。他生活在成化至嘉靖年间。生年不详，卒于明世宗嘉靖十四年（即1535年）。擅长画人物和山水，画法严整工细。",[100,24,60,529,61,27,86,29,30,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8157a9dde39dc9be6fd83fde962e9723.jpg",[],{"id":3673,"slug":3674,"title":3675,"dynasty":295,"author":1995,"museum":260,"description":3676,"tags":3677,"thumbUrl":3678,"material":107,"size":107,"collection":48,"collections":3679,"showCount":3655,"zanCount":11,"manualWeight":11,"mainColor":94},236109,"lin-xia-xie-qiong-zhou-zhang-zong-cang-236109","林下携笻轴","张宗苍（1686—1756年），字默存，一字墨岑，号篁村、蔗翁、太湖渔人，晚称瘦竹，吴县（今江苏苏州）人。师承清代娄东画派的传人黄鼎，擅画山水。初以主簿理河工事。清乾隆十六年 （1751年）高宗南巡，以绘《吴中十六景》画册敬献，称旨，命入都祗候内廷。十九年（1754年）授户部主事。其山水画用笔沉着，山石多加积染，表现出深远的意境，具有苍劲秀雅之风，深得高宗皇帝赏识，成为乾隆朝宫廷的重要画家。《石渠宝笈》著录画作116件。71岁时卒于故里。",[24,165,27,26,29,31,65,7,238,877,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10702bba88bf4e3f313034683d3f21bd.jpg",[48,49],{"id":3681,"slug":3682,"title":1148,"dynasty":295,"author":482,"museum":260,"description":3683,"tags":3684,"thumbUrl":3685,"material":107,"size":107,"collection":107,"collections":3686,"showCount":3655,"zanCount":11,"manualWeight":11,"mainColor":94},235159,"hong-ren-shan-shui-ce-yi-ming-235159","此作诗书合璧，意韵清寂淡远。画面中山石以淡墨轻勾慢皴，简劲利落，危崖垂瀑，涧水泠泠仿佛可闻，旁侧古木疏朗，枝叶简净，留白铺就出悠远天地，尽显萧疏空灵。\n\n题笔书法清隽挺秀，与山水意趣相融，暗合林泉幽怀。整幅以极简笔墨写尽山川风骨，冷静出尘的禅意溢满尺幅，将山野间苍岩古渡的幽寂之境凝于纸面，尽显文人山水寄情丘壑的雅逸，藏着独与天地精神往来的林下襟怀。",[24,60,626,61,27,84,85,29,7,31,65,63,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35e7428e9559f5e031d87ab5bba48b8a.jpg",[],{"id":3688,"slug":3689,"title":2821,"dynasty":132,"author":1078,"museum":351,"description":3690,"tags":3691,"thumbUrl":3700,"material":3701,"size":3702,"collection":107,"collections":3703,"showCount":3655,"zanCount":11,"manualWeight":11,"mainColor":94},234056,"shan-shui-ce-dong-qi-chang-234056","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。",[24,60,626,29,165,61,639,83,27,67,3692,3693,7,238,3694,3695,3633,3696,84,85,3697,996,3698,3699],"秋树","青山","疏林","坡石","松涧","云树","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",[],{"id":3705,"slug":3706,"title":3707,"dynasty":18,"author":3708,"museum":260,"description":3709,"tags":3710,"thumbUrl":3713,"material":44,"size":3714,"collection":107,"collections":3715,"showCount":3655,"zanCount":11,"manualWeight":11,"mainColor":52},232628,"qiu-jing-zhang-yuan-tu-juan-yi-yuan-ji-232628","秋景獐猿图卷","易元吉","郭若虚《图画见闻志》成书于成熙七年(1074)，是最早记载易元吉生平的典籍。此后成书于宣和二年（1120）的《宣和画谱》、至正二十五年（1365）的《图绘宝鉴》之类画史著作所录的易元吉传，都来源于《图画见闻志》中的这段文字：\n易元吉，字庆之，长沙人。灵机深敏，画制优长。花鸟蜂蝉，动臻精奥。始以花果专门，及见赵昌之迹，乃叹服焉。后志欲以古人所未到者驰其名，遂写獐猿。尝游荆湖间，入万守山百余里，以觇猿狖獐鹿之属，逮诸林石景物，一一心传足记。得天性野逸之姿，寓宿山家，动经累月，其欣爱勤笃如此。又尝于长沙所居舍后疏凿池沼，间以乱石丛花、疏篁折苇，其间多蓄诸水禽，每穴窗伺其动静游息之态，以资画笔之妙。治平甲辰岁，景灵宫建孝严殿，乃召元吉画迎厘斋殿御扆。其中扇画太湖石，仍写都下有名鹁鸽及雒中名花，其两侧扇画孔雀。又于神游殿之小屏画牙獐，皆极其思。元吉始蒙其召也，欣然闻命，谓所亲曰：“吾平生至艺，于是有所显发矣。”未几，果敕令就开先殿之西庑张素画《百猨图》，命近要中贵人领其事，仍先给粉墨之资二百千。画猨才十余枚，感时疾而卒。元吉平日作画，格实不群，意有疏密。虽不全拘师法，而能伏义古人。是乃超忽时流，周旋善誉也。向使元吉卒就《百猨》，当有遇于人主；然而遽丧，其命矣夫。有獐猿、孔雀、四时花鸟、写生蔬果等传于世。建隆观翊教院殿东獐猿林石绝佳。(又尝于余杭后市都监厅屏风上画鹞子一只，旧有燕二巢，自此不复来止。)\n这段文字共四百一十八个字，在《图画见闻志》所有画家传记中字数最多。后世大名鼎鼎的画家很多，其传记也就几十字到三百多字不等，如董源七十二字，范宽九十四字，郭熙九十五字，黄筌二百二十八字，徐熙一百四十六字，崔白二百四十三字，武宗元三百二十三字，等等。传记文字的数量与传主的分量是成正比的，由此可见易元吉在郭若虚心目中的地位。\n秦汉以来，士人取名好引经据典，至宋尤盛。南宋俞成说：“尝观《进士同年录》：江南人习尚机巧，故其小名多是好字，足见自高之心；江北人大体任真，故其小名多非佳字，足见自贬之意。”唐代贞观元年（627），天下为十道，江南道范围包括今湖北南部、江西、湖南。这段文字用来形容长沙人易元吉的取名，也无不可。易姓在北宋时期的长沙是大姓。易元吉之名字，应当来源于《易经》的履卦“上九”象传：“元吉在上，大有庆也。”据此以“元吉”为名，“庆之”为字。姓“易”而以《易经》的文字来命名，比其他任何用《易经》文句取名的姓氏都要显得浑然天成，也可见易元吉的父辈当并非普通白丁。\n郭若虚的这篇传记没有具体记载易元吉的生卒年，只能大体推断出他的活动时间。易元吉于治平甲辰岁（1064）入宫绘制屏风，则此之前应当是名家。从“未几……感时疾而卒”来看，易元吉的去世时间当在入宫后不久，所以其主要活动时间是在宋仁宗（1022—1063年在位）时期。由于《图画见闻志》中关于易元吉入宫的时间只出现年份而不见月份，只能推测他大概于宋英宗治平二年（1064）末或者治平三年（1065）初去世。\n易元吉有多方面才能，而绘画方面特别突出。在整个宋代，被载入美术史的湖南画家只有易元吉一人，但一些资料显示，当时在长沙及周边一带的书画交易十分兴盛，从侧面反映出当时的长沙有一个规模较大的画家群体。例如，张南本的水陆画，“后来为人模写，窃换真迹，鬻与荆湖商贾。”米芾（1051—1107）《画史》载：“长沙富民收水鸟芦花六幅。”《图画见闻志》没有记载易元吉的直接师承，他“以花果专门”之后才见到赵昌的作品，而且毅然改换绘画题材，才有了后来以“猿獐”名世的易元吉。他的师父不会很有名，甚至有可能是自学成才。在长沙期间，易元吉于家舍附近种花养禽，随时写生。他在园圃中观察自然对象研习绘画的形象成为画史上的经典，直到清代的文人仍旧对此充满想象：“易元吉于圃中畜鸟兽，伺其饮啄动止，而随态图之。”",[23,100,24,82,165,639,209,29,137,1379,3711,3712,30,7,85],"獐","猿猴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f627a5c8207974fc409e1ac152f093c.jpg","36.7x321",[],{"id":3717,"slug":3718,"title":3059,"dynasty":295,"author":3719,"museum":260,"description":3720,"tags":3721,"thumbUrl":3722,"material":107,"size":107,"collection":107,"collections":3723,"showCount":3655,"zanCount":11,"manualWeight":11,"mainColor":94},230113,"shan-shui-ce-ye-xi-gang-230113","奚冈","此作用淡墨晕染铺就底色，山峦以枯笔皴擦勾勒嶙峋肌理，留白衬出山涧飞瀑，似能闻声泠泠。坡岸杂木错落，虬曲与挺拔相映，淡墨点叶疏密有致，尽染清秋疏朗况味。\n\n左侧茅舍临水幽居，隔绝尘嚣；右侧板桥孤悬，更衬林泉静寂。右上角题字清雅，与山水意境相融，满溢文人书卷之气。\n\n整幅以简淡为骨，笔意松秀空灵，不事浓丽雕琢，将出世幽居之思寄于萧散山光水色，以笔墨写心，尽显静穆淡远的林下之风，藏着文人心底的丘壑。",[24,60,626,61,27,29,30,31,7,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ba38e7a5a03f2ceeed631fcab0deec5.jpg",[],{"id":3725,"slug":3726,"title":3727,"dynasty":295,"author":3728,"museum":260,"description":3729,"tags":3730,"thumbUrl":3731,"material":107,"size":107,"collection":107,"collections":3732,"showCount":3655,"zanCount":280,"manualWeight":11,"mainColor":94},228971,"shan-shui-ce-ye-4-kai-ji-yun-228971","山水册页4开","纪昀","层岩如篆，方折奇崛，烟岚柔漫缠绕崖谷，虚实相生间划分出山林层次。半山幽轩凭岩而起，飞桥悬于流泉之上，山麓水榭凌波，扁舟静系矶头，屋舍藏于林泉深幽处，尽显幽居雅趣。\n\n笔墨刚柔相济，干笔硬挺勾勒方整岩块，皴写出山石苍劲质感，轻敷淡晕出空蒙烟岚。整幅取景清寂，将林下栖居的悠然意趣藏于山重水复之间，淡墨轻岚里晕染出简澹清远的文人意境，把林泉高致的隐逸情怀融于尺幅之中。",[23,24,60,626,61,27,29,195,210,178,30,31,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bfb35ed9c8dbdfc3887c3b0034f1efa.jpg",[],{"id":3734,"slug":3735,"title":3736,"dynasty":295,"author":825,"museum":351,"description":2252,"tags":3737,"thumbUrl":3738,"material":123,"size":2255,"collection":107,"collections":3739,"showCount":3655,"zanCount":11,"manualWeight":11,"mainColor":94},220314,"huang-shan-tu-ce-14-hong-ren-220314","黄山图册-14",[23,100,24,60,626,61,29,27,984,7,63,31,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F560239a850e6d6d635b622c1309165ab.jpg",[],{"id":3741,"slug":3742,"title":3743,"dynasty":115,"author":482,"museum":3744,"description":3745,"tags":3746,"thumbUrl":3747,"material":213,"size":107,"collection":48,"collections":3748,"showCount":3655,"zanCount":11,"manualWeight":11,"mainColor":52},219938,"sheng-you-tu-yi-ming-219938","胜游图","辛辛那提艺术博物馆","此作用高远构景，层叠主峰如蟠踞巨兽，以利落斧劈皴勾勒山石肌理，浓墨晕染出苍莽厚重的质感。飞瀑自崖间垂落，破开山的沉郁静默。虬曲林木错落山间，苍松劲挺，点染出萧疏古雅的秋意。崖畔水滨各筑幽居，隐于林泉烟霭之间，暗合林泉高致的隐逸雅趣。通篇水墨简淡，空濛悠远的意境里，揉合了山川雄奇与林下闲逸，尽显文人避世寄情山水的幽怀。",[23,24,60,26,29,61,27,165,30,31,7,210,195,238,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35a97e286122166a0963868c260fb265.jpg",[48],{"id":3750,"slug":3751,"title":3752,"dynasty":18,"author":482,"museum":20,"description":3753,"tags":3754,"thumbUrl":3755,"material":213,"size":3756,"collection":48,"collections":3757,"showCount":3655,"zanCount":11,"manualWeight":11,"mainColor":94},218735,"yun-pu-song-tao-tu-yi-ming-218735","云瀑松涛图","这幅画的题款是 宋人云瀑松涛，仔细一看，笔法剪裁得很好，岩石的结构似乎是学自郭熙，但总体上与宋人无关。",[23,24,60,29,165,27,311,461,7,30,31,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40ecd3a26247fdb733f50aa5412a65f3.jpg","22.6x27.5",[48],{"id":3759,"slug":3760,"title":3761,"dynasty":115,"author":2860,"museum":260,"description":3762,"tags":3763,"thumbUrl":3765,"material":105,"size":265,"collection":107,"collections":3766,"showCount":3767,"zanCount":280,"manualWeight":11,"mainColor":52},291031,"yu-shan-xuan-pu-zhou-zhu-de-run-291031","雨山喧瀑轴","这一幅描绘两名士人带着一名童子，在松林漫步悠游。远方是重叠的山峦，山谷中有楼阁隐约可见。一道山泉从山峰高处顺流而下，且穿通松林，使整幅画能上下一气相连急。用笔稳重沉着，山石，丛林的写形和用墨有圆浑厚重的惑觉。",[100,24,60,29,26,61,27,136,31,7,3764],"雨景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F383c7c073b810b6b165400aa7faf0336.jpg",[],19,{"id":3769,"slug":3770,"title":3771,"dynasty":132,"author":408,"museum":260,"description":3772,"tags":3773,"thumbUrl":3774,"material":105,"size":265,"collection":107,"collections":3775,"showCount":3767,"zanCount":11,"manualWeight":11,"mainColor":94},287518,"hua-shan-tu-zhou-tang-yin-287518","华山图轴","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”。",[23,24,60,26,29,61,165,27,1662,63,7,195,30,31,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F319ea38f2626b03e03ba78a2222a254b.jpg",[],{"id":3777,"slug":3778,"title":2165,"dynasty":132,"author":835,"museum":260,"description":3779,"tags":3780,"thumbUrl":3781,"material":107,"size":107,"collection":107,"collections":3782,"showCount":3767,"zanCount":11,"manualWeight":11,"mainColor":94},237478,"guan-pu-tu-zhou-wen-jia-237478","此作用高远章法铺展景致，山峦以淡墨轻皴，留白晕出空濛云气，层叠峰峦间苍松虬劲挺秀。涧谷飞瀑蜿蜒穿林而下，松下幽人临流观瀑，野逸悠然。\n\n笔墨秀雅温润，以淡赭轻敷晕染山林，简淡笔触里尽显苍润质感，尽显清隽雅致的意趣。题诗与画境相融，将林泉高致的隐逸情怀藏于尺幅间，把文人寄情山水、静享丘壑的雅怀，化作可感的画面，是明代文人山水画中寓情于景的典型佳构。",[100,24,60,26,61,27,29,7,31,30,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f782bbeca3d1ae43c0ee0954efdb627.jpg",[],{"id":3784,"slug":3785,"title":1077,"dynasty":295,"author":3786,"museum":351,"description":3787,"tags":3788,"thumbUrl":3789,"material":107,"size":107,"collection":48,"collections":3790,"showCount":3767,"zanCount":11,"manualWeight":11,"mainColor":52},236413,"shan-shui-zhou-mei-geng-236413","梅庚","清初著名画家、诗人梅庚（1640—1716），原名以庚，一字藕长、子长，号雪坪、雪坪子，又号听山翁。梅庚的曾祖父是大戏剧家、诗人、藏书家梅鼎祚。他的父亲梅朗中是复社名士，善于书画诗文，在当时被称为“三绝”，可惜36岁就英年早逝。\n梅庚（1640—1716），字子长，号雪坪，又号听山翁 清朝，安徽宣城人。梅清从孙。康熙二十年（一六八一）举人，官泰顺知县。善篆、隶，画山水、花卉，脱略凡格，不宗一家，偶尔落笔，韵致翩然。兼工白描人物。康熙三十六年（一六九七）尝作山水扇，今藏故宫博物院。工诗，著《吴市吟》《山阳笛漫兴集》《玉笥游草》，临卒作诗，署曰《推枕吟》。",[24,60,26,61,27,29,640,7,31,238,210,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8715f76cda3e05968cada9cadfa0b11.jpg",[48,49],{"id":3792,"slug":3793,"title":3794,"dynasty":295,"author":3795,"museum":260,"description":3796,"tags":3797,"thumbUrl":3798,"material":107,"size":107,"collection":107,"collections":3799,"showCount":3767,"zanCount":280,"manualWeight":11,"mainColor":94},235781,"yu-shan-zhu-xian-he-bi-ce-fang-ju-ran-xiao-jing-ce-ye-yang-jin-235781","虞山诸贤合璧册-仿巨然小景册页","杨晋","此作用淡墨晕染出空山新雨的清润意境，远山含黛隐于烟岚之间，层崖间飞瀑直下，暗合“树杪百重泉”的诗意。山坳溪流转折，苍松错落成林，溪侧茅舍孑立，野趣横生。\n画师以松秀苍雅的笔意追摹巨然，水墨皴染间元气淋漓，将山雨初歇后的空濛静穆铺陈开来，不见艳色，却把江南山野的湿润生机与文人幽居的逸趣融于尺幅。观之便如身临幽谷，似能听见泉鸣溪淙，呼吸到林间清润的空气，尽揽山居悠然诗意。",[24,60,626,61,27,83,29,7,1599,31,210,888],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73ca409c904227b12e2f2e2c545a309b.jpg",[],{"id":3801,"slug":3802,"title":1732,"dynasty":295,"author":2707,"museum":351,"description":3803,"tags":3804,"thumbUrl":3806,"material":463,"size":3807,"collection":107,"collections":3808,"showCount":3767,"zanCount":280,"manualWeight":11,"mainColor":94},233954,"shan-shui-tu-zhou-cheng-zheng-kui-233954","此图是程正揆晚年所作，绘前景清溪水榭，后景层峦石壁。前疏后密的景致构筑出淡雅浑朴的格调。此图是程正揆遭劾革职回南京后所作。他在隐居生活中受到前明遗老髡残、龚贤等人的审美观影响，绘画作品中带有较强的遗民意趣，常通过清幽的山水意境表达其隐逸的文人情思。",[24,60,26,61,27,165,29,31,7,30,238,33,65,210,85,3805],"小路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe06aacd43996fdf247988d4f3198c814.jpg","纵104.8厘米，横40.6厘米",[],{"id":3810,"slug":3811,"title":3812,"dynasty":18,"author":3469,"museum":260,"description":3813,"tags":3814,"thumbUrl":3815,"material":107,"size":107,"collection":107,"collections":3816,"showCount":3767,"zanCount":11,"manualWeight":11,"mainColor":52},227703,"shan-yao-lou-guan-tu-xiao-zhao-227703","山腰楼观图","《山腰楼观图》是宋代画家萧照创作的一幅绢本水墨画，现收藏于台北故宫博物院。\n\n此图右侧，仅画江水、浅滩、远渚、烟树，山间一条小路迂回盘旋，经前峰山腰渡口直抵后峰山巅，临近山巅处有一片楼台亭阁，一登山行人已走近。右下临水山岩上两人指看远方美景；左侧最高峰画得半壁实半壁虚，虚处乃为江上水气所迷，上升成岚，后面还添上几座淡淡峭峰，启人高远不可测的“仰止”之叹。山际径路盘曲，有两人策杖而上，而楼观却深深埋藏在山坳幽谷中。该图近山浓重，远山清淡，又形成虚实对比。",[23,100,24,60,399,1773,27,165,30,31,1845,178,7,473,195,179,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cbb108bac6d25aa9774d3238cd413a6.jpg",[],{"id":3818,"slug":3819,"title":3820,"dynasty":295,"author":622,"museum":260,"description":3821,"tags":3822,"thumbUrl":3823,"material":107,"size":107,"collection":107,"collections":3824,"showCount":3767,"zanCount":11,"manualWeight":11,"mainColor":94},224444,"fang-li-cheng-xue-ji-tu-wang-hui-224444","仿李成雪霁图","此作用淡墨晕染山石，以留白托出积雪的莹白蓬松，将雪裹山峦的厚重萧寒尽数铺展。枯木虬枝劲挺错落，枝梢缀着残雪，溪面凝冰仍暗藏水意潺潺，悬瀑似冻未绝，于冷寂间暗寓生机。\n\n整幅画作尽得冬日空山的清寂辽远，师法宋人笔意，苍浑之中兼具秀润雅致，把雪后山川的荒寒冷寂，晕化为淡逸悠远的诗意，令人恍若置身冰封雪覆的空山，浸溺在这份清绝尘嚣的静谧之中。",[23,24,60,26,83,61,27,29,1006,640,65,31,7,2310,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9125d4abb2b29d2399e2e24c79ab71e9.jpg",[],{"id":3826,"slug":3827,"title":3828,"dynasty":295,"author":897,"museum":260,"description":3829,"tags":3830,"thumbUrl":3832,"material":107,"size":107,"collection":107,"collections":3833,"showCount":3767,"zanCount":11,"manualWeight":11,"mainColor":52},224190,"guan-quan-tu-hua-yan-224190","观泉图","此作画境清逸古雅，右上角古木盘曲，垂藤轻曳，飞泉自崖间潺潺而下。崖下雅士踞石观泉，仰首凝神，似将身心融于泉声林色之中，旁侧童子携囊持壶，静立相随，愈衬画面幽寂。\n\n笔墨苍润秀灵，淡赭铺底晕出春日空濛，浓墨点染木叶，山石勾勒皴擦结合，写意中不失细腻。题诗与画境相得益彰，将草青花初的春景与泉鸣相融，尽显文人寄情林泉、静赏山水的闲逸襟怀，清隽淡远，观之如临其境，恍闻泉声松风。",[23,24,26,61,165,86,29,31,65,7,63,3149,3831,27],"童子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9455ed575cfebe4bc1c8c2a52961e950.jpg",[],{"id":3835,"slug":3836,"title":3837,"dynasty":132,"author":482,"museum":260,"description":3838,"tags":3839,"thumbUrl":3841,"material":105,"size":265,"collection":107,"collections":3842,"showCount":144,"zanCount":11,"manualWeight":11,"mainColor":52},288145,"shan-shui-tu-ti-xu-dao-ning-yi-ming-288145","山水图(题许道宁)","此作用全景式平远构图铺展江湖胜境，烟波浩渺间峰峦连绵起伏，巨岩峻峭处飞瀑垂落，丘壑藏幽。浅汀洲渚错落点缀苍松杂木，渔舟泛于平湖之上，山居隐于林麓之间，处处漫着静谧萧散的野趣。\n\n画师以淡墨皴擦山峦，勾勒与渲染相融，将山石的浑厚质感与云水的空濛柔润相互映衬，树木取法苍劲笔意，简括灵动。整体色调古雅沉静，把平远、深远山水意境汇于一卷，铺展出旷远清逸的江南景致，尽显幽淡天然的文人山水意趣，引人神游林泉，体悟高致。",[23,24,60,82,100,29,63,178,152,3840,7,412,31,27,165],"崖壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21189e70bdbdbedc3253fe6e38816672.jpg",[],{"id":3844,"slug":3845,"title":3846,"dynasty":18,"author":78,"museum":20,"description":3847,"tags":3848,"thumbUrl":3851,"material":105,"size":265,"collection":107,"collections":3852,"showCount":144,"zanCount":11,"manualWeight":11,"mainColor":52},287585,"mao-nv-tu-li-gong-lin-287585","毛女图","李公麟（1049～1106），北宋舒州（今属安徽桐城）人，宋代杰出画家。字伯时，号龙眠居士、龙眠山人，享年五十七岁。熙宁三年（公元1070年）进士。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。长于诗文，行楷书有晋人风。与王安石、苏轼、米芾、黄庭坚为至交，系驸马王诜之座上客。熙宁三年（1070）中进士，为中书门下省删定官，后官至朝奉郎。元符三年（1100）病痹告老，居家乡桐城龙眠山，号龙眠居士。一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。人物、道释深得吴道子旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。",[24,26,365,86,3849,601,29,7,3850],"毛女","神话","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F517f3897a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。\n绢本设色。\n此图仿巨然山水，王鉴在此画中描绘夏秋山水景色，山多矾头而不作嶒崚奇峭之状。\n画面中间有—溪流蜿蜒流过，山石上杂树丛生，山石多以长披麻皴写之，上有焦墨点苔。\n用墨浓润，骨重气轻，匠心独具，沉雄古逸。\n此图作于1674年，作者时年七十六岁，为其逝世前三年。\n款识：“甲寅九秋仿巨然烟浮远岫呈艾翁老祖台大词宗教正，王鉴” 钤印：“王鉴之印”白文方印，“湘碧”朱文方印。\n王鉴（1598-1677年），字元照，一字圆照，号湘碧，又号香庵主。\n江苏太仓人。\n擅长山水，远法董（源）、巨（然），近宗王蒙、黄公望。",[100,24,60,26,399,165,27,83,136,179,3896,152,211,7,63,238,65],"烟霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85222cb3dd78674b95fe037a0f88417e.jpg",[],{"id":3900,"slug":3901,"title":3902,"dynasty":295,"author":622,"museum":20,"description":3903,"tags":3904,"thumbUrl":3905,"material":140,"size":107,"collection":107,"collections":3906,"showCount":144,"zanCount":11,"manualWeight":11,"mainColor":1946},224469,"xi-shan-hong-shu-wang-hui-224469","溪山红树","此图为王翚仿黄鹤山樵王蒙的一件极具特色的代表作，描绘的是遍生红树的一片秋日山林景色。画中以圆转重叠、突兀高耸的山峰为主体，山溪逶迤前行，涟漪阵起，秋波荡漾，两岸林木，红翠相间，整个画中意境深幽，秋气袭人。画家拟王蒙笔意与布局，构景繁密，山势云动，境界深奇。山石画法以墨笔牛毛皴和解索皴为主，干笔皴擦，浓墨点苔，既显浓密厚重，又鲜艳夺目，光彩熠熠。",[23,24,60,399,165,27,85,84,121,29,31,1379,195,7,33,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F613cf57d2a1886ceabf81e3e254b741a.jpg",[],{"id":3908,"slug":3909,"title":3910,"dynasty":295,"author":825,"museum":351,"description":2252,"tags":3911,"thumbUrl":3912,"material":123,"size":2255,"collection":107,"collections":3913,"showCount":144,"zanCount":11,"manualWeight":11,"mainColor":94},220302,"huang-shan-tu-ce-24-hong-ren-220302","黄山图册-24",[23,24,60,626,61,27,29,210,7,152,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4f0f1eea5eec9fa20d8d4c3de009e2b.jpg",[],{"id":3915,"slug":3916,"title":3917,"dynasty":295,"author":3918,"museum":3919,"description":3920,"tags":3921,"thumbUrl":3922,"material":123,"size":3923,"collection":48,"collections":3924,"showCount":144,"zanCount":11,"manualWeight":11,"mainColor":94},219989,"han-lin-guan-pu-tu-zhang-feng-219989","寒林观瀑图","张风","上海人民美术出版社","清代画家张风画以山水称妙，人物、花草亦恬静闲适，神韵悠然，没有一丝一毫的妩媚习气，是一位绘画史上有影响的画家。据画史载可知康熙元年他曾与周亮工会于高座寺，并为之作画。张庚称张风为笔墨中之散仙，可谓信然。而且他工刻印，秀远如其人。近代大师张大千极为崇拜张风画艺，张氏特将自己的画室命名为“大风堂”，可见对其之崇拜。",[23,100,24,60,61,26,29,196,7,86,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fac23f513f76befb5d8664779f74162.jpg","57.5×37.5cm",[48],{"id":3926,"slug":3927,"title":3928,"dynasty":295,"author":421,"museum":20,"description":3929,"tags":3930,"thumbUrl":3932,"material":276,"size":3933,"collection":107,"collections":3934,"showCount":144,"zanCount":280,"manualWeight":11,"mainColor":94},219486,"qiu-ri-shan-ju-zhou-huang-ding-219486","秋日山居轴","此作用笔沉厚细腻，主峰雄峙云端，斧劈皴刻画出山石冷峻筋骨，两道飞瀑垂挂崖间，为沉静山林注入灵动生机。苍松虬枝舒展如盖，丹叶秋林点染暖意，晕开融融秋意。山坳间屋舍错落，板桥横卧浅溪，溪石隐现似漾着潺潺水音，将幽寂山林与闲淡山居揉合一处。远景峰峦叠嶂渐隐烟岚，留白晕染出空濛悠远的诗意。\n画作兼取先贤笔墨意趣，融苍郁繁复与秀润简淡于一体，设色雅致清和，铺展出秋日山居的安闲静谧，将文人寄情林泉、归卧丘山的隐逸之思藏入每一处勾勒晕染中。",[24,60,100,26,29,165,27,30,31,311,1379,34,63,7,1053,238,33,3931,209],"秋日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff442355ddacad4cede5834c399118b29.jpg","64.5x38",[],{"id":3936,"slug":3937,"title":3938,"dynasty":295,"author":622,"museum":650,"description":3442,"tags":3939,"thumbUrl":3940,"material":276,"size":3445,"collection":107,"collections":3941,"showCount":144,"zanCount":11,"manualWeight":11,"mainColor":94},217208,"fang-gu-shan-shui-shi-er-kai-shi-wang-hui-217208","仿古山水十二开(十)",[24,60,626,61,27,625,29,7,138,31,35,33,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ac8621add47247ddd3b2459729362f6.jpg",[],{"id":3943,"slug":3944,"title":3945,"dynasty":295,"author":350,"museum":117,"description":3946,"tags":3947,"thumbUrl":3948,"material":276,"size":3949,"collection":107,"collections":3950,"showCount":144,"zanCount":11,"manualWeight":11,"mainColor":94},216988,"fang-song-yuan-shan-shui-ce-3-wang-jian-216988","仿宋元山水册-3","王鉴（1598-1677），字玄照，后改字符照、圆照，号湘碧、染香庵主，江苏太仓人。王世贞曾孙。崇祯六年（1633）以荫授南京左府都事，约十一年（1638）至北京改任比部郎，十二年（1639）任廉州知府，仅两年即罢职归太仓，从此未入仕途。工画山水，得董其昌亲授，追踵董源、巨然，多拟仿宋元诸家。著有《染香庵跋画》。\n是册临宋元各家，淡墨层层积累、细腻丰富，水墨设色兼能、皴染兼长。在“四王”山水画中，王鉴的设色山水与其他三家有所差异。王鉴擅长青绿山水设色，用色只在青、绿、赭少数几种中选择，但色彩鲜明，特别是青绿两色的运用，清润高华。而仿陈惟允（陈汝言）一开可见其见识广博，陈汝言为元末明初人，后人临宋元山水鲜少涉及，这与他的个人收藏及交游圈不无关系。\n据其自跋：“予今岁偶来南翔（今属上海嘉定），谛交文庶社长，见其丰神超迈，雅善丹青，深得古人三昧，余因复临陈（陈廉）本赠之。”谓王时敏曾将所藏宋元各家真迹，嘱华亭陈明卿缩成一册，此册又临陈本。按，王时敏有缩临宋元各家山水册，董其昌为题“小中现大”者，为世所著称，此册除四页外，余俱与之相同，而所题各家名氏亦有异同。至所言王时敏一册出于陈明卿手，未见详细记述，或为另一册。\n陈廉（生卒年不详），字明卿，华亭（今上海松江）人。赵左弟子，年少时从赵左学习绘画，工巨幅山水，其笔墨清标，无烟火气，传世作品较少，上海博物馆藏《云间诸家书画散页》有其山水一开。王时敏《题陈明卿廉雪》卷云：“（陈廉）初以赵文度（赵左）为宗，既从余家纵观宋元真迹，多有悟入，所诣益深。为余摹诸名图，以寻丈巨轴，缩为方册，使能笔墨酷肖，毫发不遗，真画史之绝技。”又《题陈明卿仿黄子久》卷云：“明卿为赵文度高足弟子，初至娄时，尚守其师法，继为余临宋元诸名迹，缩小为本，因此大有悟入，画格遂为一变……”（《王奉常书画题跋》卷上）可与是册王鉴自跋相印证。",[100,24,61,27,83,626,29,195,34,63,31,30,7,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa23956ed8e550fcc498cd3b320bbfcfd.jpg","纵55.4厘米，横36.0厘米",[],{"id":3952,"slug":3953,"title":3954,"dynasty":295,"author":350,"museum":117,"description":3946,"tags":3955,"thumbUrl":3956,"material":276,"size":3949,"collection":107,"collections":3957,"showCount":144,"zanCount":11,"manualWeight":11,"mainColor":94},216970,"fang-song-yuan-shan-shui-ce-10-wang-jian-216970","仿宋元山水册-10",[23,100,24,60,626,83,27,61,165,29,31,30,7,86,354],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F138231a7ee6fa33fd5483a4fe320cb8e.jpg",[],{"id":3959,"slug":3960,"title":1732,"dynasty":295,"author":3961,"museum":117,"description":3962,"tags":3963,"thumbUrl":3964,"material":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乾隆御览之宝。乾隆鉴赏。五玺全。宝笈三编。宣统御览之宝。\n收传印记 文谦光印。君珂鉴赏。潘志省印。又三印漫漶。\n谨按赵希远。与王蒙同时。蒙有香光居士图。希远爱而临之。见画史会要。",[100,24,26,399,27,165,64,7,195,152,63,102,601,944,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb027e2c1284cdaf85c752a1e80f0f639.jpg","127.5x31.1",[],{"id":3997,"slug":3998,"title":1219,"dynasty":295,"author":622,"museum":20,"description":1220,"tags":3999,"thumbUrl":4000,"material":123,"size":107,"collection":107,"collections":4001,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":94},237203,"shan-shui-zhu-shi-ce-wang-hui-237203",[24,61,27,626,29,436,460,63,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae4a19ad7439222ace0df97572693cdb.jpg",[],{"id":4003,"slug":4004,"title":4005,"dynasty":132,"author":482,"museum":260,"description":4006,"tags":4007,"thumbUrl":4008,"material":107,"size":107,"collection":107,"collections":4009,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":52},228823,"ying-tu-yi-ming-228823","鹰图","这幅工笔设色花鸟，以双鹰为画面核心。两只猛禽或侧目远眺，或昂首凝望，身姿苍劲傲然。翎毛发丝尽染，笔触细腻入微，将猛禽的威严沉凝尽显无遗。\n\n古梅虬曲遒劲，寒花点点缀于枝桠，清寂雅致；嶙峋怪石边，艳红山茶绽于丛间，柔红破寒，晕开一抹生机。右下角飞泉直下，水流宛转灵动，打破画面沉静，动静相融自成韵律。\n\n棕褐底色晕染出幽谧山林氛围，工写结合间，既刻画出猛禽的雄健肃穆，又以花木泉石勾勒出清冷高古的意境，将山林幽寂与猛禽孤傲融为一体，尽显精妙写实功力，内敛悠长的意趣藏于笔墨之间。",[23,24,209,165,577,2016,1507,30,7,31,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6425a6d54ecf9644f158bf0096b6915d.jpg",[],{"id":4011,"slug":4012,"title":4013,"dynasty":674,"author":482,"museum":260,"description":4014,"tags":4015,"thumbUrl":4018,"material":107,"size":107,"collection":107,"collections":4019,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":94},225305,"fu-shi-hui-32-yi-ming-225305","浮世绘32","这幅山水绘以平远视角铺展幽寂景致，澄澈湖水切割出错落洲渚，岩崖间白练飞瀑垂落，晕开一汪幽潭清涟。苍劲虬曲的古松或孤植洲头，或茂生崖畔，隐在云霭间的山居添了悠然野趣。\n\n远景淡青山峦托着朱色浅丘，与靛蓝湖水相映，留白如轻烟岚雾层层推开空间，糅合装饰性与写意感。明快柔和的石青、草绿晕染出温润生机，凝练利落的线条勾勒林泉肌理，将幽寂禅意融于湖光山色，尽显日式山水绘的空灵悠远，复刻出侘寂闲静的自然之趣。",[2680,2681,165,29,63,152,7,35,238,4016,65,4017],"湖泊","山丘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77cc601009e26987e67a465c679f8627.jpg",[],{"id":4021,"slug":4022,"title":4023,"dynasty":4024,"author":4025,"museum":117,"description":4026,"tags":4027,"thumbUrl":4028,"material":107,"size":107,"collection":48,"collections":4029,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":4030},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。",[29,61,165,27,152,7,120,35,30,33,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8f10fbcbeaa4cd0e3b5181bc5ec59a3.jpg",[48],"bcb2a3",{"id":4032,"slug":4033,"title":4034,"dynasty":132,"author":4035,"museum":260,"description":4036,"tags":4037,"thumbUrl":4038,"material":105,"size":265,"collection":107,"collections":4039,"showCount":127,"zanCount":11,"manualWeight":11,"mainColor":52},290619,"sui-shan-tao-shi-zhou-zhang-hong-290619","绥山桃实轴","张宏","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。",[24,60,100,26,639,165,29,195,152,3577,34,7,86,226,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcff69830017c4619fdc8ecbb0cf78341.jpg",[],{"id":4041,"slug":4042,"title":2821,"dynasty":295,"author":4043,"museum":260,"description":4044,"tags":4045,"thumbUrl":4047,"material":105,"size":265,"collection":48,"collections":4048,"showCount":127,"zanCount":11,"manualWeight":11,"mainColor":94},237997,"shan-shui-ce-qin-zu-yong-237997","秦祖永","秦祖永，道光五年（1825年）生，光绪十年（1884 年）卒，江苏梁溪(今无锡)人。字逸芬，又字撷芬，号桐阴、桐阴生、逸道人、楞烟、邻烟、邻烟外史等。",[24,60,626,61,121,85,27,29,34,63,210,31,30,7,238,354,3187,64,341,4046,849],"笔墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6be8cda5b92f8e3e57d5d8504a2c9485.jpg",[48,383],{"id":4050,"slug":4051,"title":1732,"dynasty":295,"author":897,"museum":260,"description":4052,"tags":4053,"thumbUrl":4054,"material":107,"size":107,"collection":107,"collections":4055,"showCount":127,"zanCount":11,"manualWeight":11,"mainColor":94},235693,"shan-shui-tu-zhou-hua-yan-235693","此作为小青绿山水，以高远、深远法构景，主峰清隽挺秀，浅绛与青绿交融晕染，褪去浓艳尽显清和格调。留白铺陈云雾，将山谷晕染为空濛仙境，虚实相生间拉开山林纵深感。\n\n山脚林木繁秀，杂花点染枝头，流泉蜿蜒穿石而过，林麓间隐现山居人家，灵动雅致，暗合文人幽居雅趣。笔墨兼工带写，既有院体山水的精工细致，又具文人写意的秀逸灵韵，将丘壑幽寂、林泉清润的出尘意境娓娓铺展，尽显山水间的恬淡诗意。",[24,26,165,29,30,63,7,31,35,179],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff675f012ce8c073d8eabc9f62ada51e3.jpg",[],{"id":4057,"slug":4058,"title":2821,"dynasty":295,"author":3786,"museum":260,"description":4059,"tags":4060,"thumbUrl":4061,"material":107,"size":107,"collection":48,"collections":4062,"showCount":127,"zanCount":11,"manualWeight":11,"mainColor":94},235374,"shan-shui-ce-mei-geng-235374","此作为诗画合璧，上部行书题字笔墨清隽，文辞摹写山水幽境，与下方画作彼此呼应。画面以淡墨写就，虬劲枯松卓然挺立于崖岸，林下高士凭崖远眺飞瀑长川，远山以留白晕染出空濛幽深之意。整体笔墨简淡萧散，笔意松秀空灵，以极简的笔致勾勒出清远出尘的山水胜景，尽显文人画寄情林泉、澄怀观道的意趣，诗画相映间悠悠古意扑面而来，尽抒林下风流雅韵。",[24,60,626,61,29,27,86,30,7,379],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e6ec88fd071f9d84239a1723f17bcda.jpg",[48,1737],{"id":4064,"slug":4065,"title":4066,"dynasty":295,"author":2969,"museum":351,"description":4067,"tags":4068,"thumbUrl":4069,"material":946,"size":4070,"collection":107,"collections":4071,"showCount":127,"zanCount":11,"manualWeight":11,"mainColor":94},234332,"tian-bao-jiu-ru-tu-zhou-fang-cong-234332","天保九如图轴","此幅是作者根据《诗经•小雅•天保》：“天保定尔，以莫不兴。如山如阜，如冈如陵，如川之方至，以莫不增……如月之恒，如日之升，如南山之寿，不骞不崩，如松柏之茂，无不尔或承”的诗意所绘。图绘高山流水、旭日东升、屋内主人手持如意正接受众人拜贺的情景。本幅意在宣扬臣子祝颂君主及君主“敬天保民”的统治理念。作者以山冈、松树、如意、桃、鹤等被赋予长寿吉祥之意的景物为主人营造了一个可居可游的人间仙境。构图取景深远，画风归属清初“四王”中王原祁所引领的“娄东派”一路。山石树木以干笔枯墨或汁绿色皴擦渲染，墨与色交织，表现出深远的意境和深厚的气韵。此画为乾隆皇帝所赏识，被清内府收藏。",[24,26,165,29,27,136,326,7,34,210,137,238,888,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a999bd621af7ba79747ed64ff6decf0.jpg","纵146.4厘米，横50.5厘米",[],{"id":4073,"slug":4074,"title":4075,"dynasty":132,"author":795,"museum":929,"description":4076,"tags":4077,"thumbUrl":4078,"material":123,"size":4079,"collection":107,"collections":4080,"showCount":127,"zanCount":11,"manualWeight":11,"mainColor":94},232643,"you-he-ming-qin-wen-zheng-ming-232643","幽壑鸣琴","此画题诗：“万千层峦叠翠，千丈飞瀑洗尘心。愿我红弦的和声，是对松风古老的卑微回答。歌曲。” 这幅画存在不同的版本。学者们认为，这里看到的岩体的实体效果图和体积山体的构造更像是文征明的学生陆治（1496-1576）的特征。\n文徵明（1470年11月28日－1559年3月28日），原名壁（或作璧），字征明，四十二岁起，以字行，更字征仲。因先世为衡山人，故号衡山居士，世称“文衡山”。南直隶苏州府长洲县（今江苏苏州）人。明代画家、书法家、文学家、鉴藏家。",[100,24,60,26,165,27,29,30,7,31,33,63,400],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb01cc776866ad354558b4fa54af76059.jpg","132 x 50.5 厘米",[],{"id":4082,"slug":4083,"title":4084,"dynasty":18,"author":482,"museum":260,"description":4085,"tags":4086,"thumbUrl":4088,"material":107,"size":107,"collection":107,"collections":4089,"showCount":127,"zanCount":11,"manualWeight":11,"mainColor":52},231055,"song-quan-pan-shi-tu-yi-ming-231055","松泉磐石图","画面以古松为骨，老干蟠曲遒劲，松针攒簇如凝墨团块，旁侧枯木枝桠如铁戟横斜，与长松相生，野意盎然。飞瀑自层岩间破壁而出，垂落撞碎成银浪，卷入涧中，湍流拍击磐石，似能耳闻泉声淙淙。层岩以浓淡墨色勾勒皴擦，块垒沉凝尽显山野荒寒。\n\n全作用水墨晕染皴擦，干湿浓淡交替，将幽寂清冷的林泉之境铺陈于绢素，静穆萧散的林下雅趣跃然眼前，尽显寄情林泉的隐逸襟怀。",[23,24,60,100,26,61,165,27,152,63,7,4087,30,34],"磐石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76784386c4b2ee1e768841b7f9de1bc8.jpg",[],{"id":4091,"slug":4092,"title":4093,"dynasty":295,"author":4094,"museum":260,"description":4095,"tags":4096,"thumbUrl":4097,"material":107,"size":107,"collection":107,"collections":4098,"showCount":127,"zanCount":280,"manualWeight":11,"mainColor":52},230919,"shu-feng-zhan-dao-tu-ye-liu-long-230919","蜀峰栈道图","叶六隆","整作以水墨铺陈层叠山川，奇崛危崖间栈道盘绕，飞瀑穿林而下，古松虬曲扎根绝壁，尽绘山川雄荒之态。\n行旅之人或驱驴缓行于险道，或驻足观瀑稍作休憩，寸尺人物却神态宛然，将蜀道行路的艰涩与山川壮景相融，把奇险之境具象于笔底，又暗蕴羁旅行人的幽远意趣。笔墨苍劲古朴，皴擦勾勒间尽显山石肌理，山水之雄与行旅之幽浑然一体，尽显传统山水叙事的悠远意境。",[23,24,60,26,61,27,29,42,86,103,136,460,137,7,102,195,63,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5adb14969e212e22fafe642e5a5551c7.jpg",[],{"id":4100,"slug":4101,"title":4102,"dynasty":295,"author":4103,"museum":20,"description":4104,"tags":4105,"thumbUrl":4106,"material":140,"size":4107,"collection":107,"collections":4108,"showCount":127,"zanCount":11,"manualWeight":11,"mainColor":94},229029,"lu-hong-cao-tang-shi-zhi-tu-ce-wang-yuan-qi-229029","卢鸿草堂十志图册","王原祁","此册山水是王原祁据唐代卢鸿《草堂十志图》图意，分别仿宋、元诸家笔意，重新加以艺术创作而成。卢鸿原作早已失传，今尚存宋人的临仿本，与此册相较甚殊，是画家师其意而不师其迹之作。该册无纪年，以画笔之苍劲，当是画家晚年之作。10页画，有6开设色，并兼用墨笔，色、墨兼施，浑然一体，清丽中有苍厚之致，为画家毕生努力所形成的特色。其晚年曾请告老还乡，屡为康熙帝所挽留，难免有“身在魏阙，心存江湖”之想，此图册似即追慕前贤草堂之隐的无奈心境的写照，为其晚年代表作。",[24,60,626,165,29,27,64,31,63,7,30,35,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b855412011780d4faf10c5428332274.jpg","约纵：29cm，横：29.5cm",[],{"id":4110,"slug":4111,"title":1975,"dynasty":18,"author":482,"museum":260,"description":4112,"tags":4113,"thumbUrl":4114,"material":107,"size":107,"collection":107,"collections":4115,"showCount":127,"zanCount":11,"manualWeight":11,"mainColor":52},227393,"gao-shi-guan-pu-tu-yi-ming-227393","此画为宋离、唐所画，无据可查，但整体画面陡峭优美。 在这幅画中，由远及近的山峦和竹林，都以恰如其分的虚实笔触描绘。 图中的瀑布悬垂至谷底，水雾缭绕。 溪流的一角，两位高手俯视着飞泉，神采飞扬，神情陶醉。",[23,100,24,60,165,27,29,86,436,7,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa9400dc5e0fc602c5191a698fc5fa38.jpg",[],{"id":4117,"slug":4118,"title":4119,"dynasty":18,"author":482,"museum":260,"description":4120,"tags":4121,"thumbUrl":4122,"material":107,"size":107,"collection":107,"collections":4123,"showCount":127,"zanCount":11,"manualWeight":11,"mainColor":52},227388,"guan-pu-tu-ye-yi-ming-227388","观瀑图页","史载王羲之曾在团扇上画小人物；其子王献之的《为桓温书并画乌牸驳牛扇》。《历代名画记》中载：梁·肖贲“曾于扇上画山水，咫尺内万里可知”。到了宋代，随着绘画艺术的蓬勃发展，特别是山水画、花鸟画在唐末、五代基础上得到空前的提高。文人与绘画的关系越来越密切，形成了文人画创作高潮。加上皇帝对扇面艺术的重视，书画扇面相应得到飞速发展，臻于顶峰。《书继》中载：“政和间，徽宗每有画扇，则六宫诸邸竞皆临仿一样，或至数百本。”两宋盛极一时的画扇，创作了大批不朽之作，流传至今为人们饱览了两宋绘画的高尚艺术。小至花鸟画中的野草闲花，昆虫禽鱼，都运以精心，出以妙笔。",[23,100,24,60,1261,165,29,27,86,7,31,65,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01b16031931e91f7aed2413780f1bd06.jpg",[],{"id":4125,"slug":4126,"title":4127,"dynasty":295,"author":4128,"museum":351,"description":4129,"tags":4130,"thumbUrl":4131,"material":946,"size":4132,"collection":107,"collections":4133,"showCount":127,"zanCount":11,"manualWeight":11,"mainColor":52},223287,"shan-shui-si-tiao-ping-yang-zhou-si-jing-ping-liu-yong-pu-yuan-yao-223287","山水四条屏-扬州四景-平流涌瀑","袁耀","四条屏分别自题：“春台明月”、“平流涌瀑”、“万松叠翠”、“平岗艳雪”，款署“戊戌仲夏邗上袁耀画。”钤“袁耀”、“昭道”印2方。\n这组画屏是袁耀晚年的作品，所绘为扬州北郊的四处名胜景点，均为写生之作。 “春台明月”绘一派怡人春色，湖岸枝头新绿，垂柳依依，用笔细润秀媚，设色淡雅。“平流涌瀑”画夏日高树浓荫，茂茂森森，以浓厚的墨色点染，华滋苍润。“万松叠翠”写秋时萧瑟之意，构图平远、空明，远景山石以简笔勾勒，林木萧疏，只有常青的松树依然叠翠。“平岗艳雪” 绘冬季大地覆雪，老梅独立，神态潇洒，枝干用笔老练苍劲，再以胭脂、白粉点染敷色。画家将瘦西湖两岸的亭台楼阁、名园胜景置于春夏秋冬四季的大自然中，以传统界画的精湛技法把扬州当时“两堤花柳全依水，一路楼台直到山”的繁荣景象真切形象地展现在观者面前。",[23,24,1773,209,165,27,29,195,63,7,210,31,178,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc3290d1cf44a39db7be0b227db2e1c5.jpg","纵57cm，横66.1cm",[],{"id":4135,"slug":4136,"title":4137,"dynasty":295,"author":622,"museum":235,"description":623,"tags":4138,"thumbUrl":4139,"material":276,"size":107,"collection":107,"collections":4140,"showCount":127,"zanCount":11,"manualWeight":11,"mainColor":52},214601,"fang-gu-shan-shui-ce-4-wang-hui-214601","仿古山水册-4",[24,626,29,61,165,83,27,34,63,30,7,31,238,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb92338e3965f50d1b87453e6a88b9d0.jpg",[],{"id":4142,"slug":4143,"title":4144,"dynasty":295,"author":4145,"museum":117,"description":4146,"tags":4147,"thumbUrl":4148,"material":107,"size":107,"collection":48,"collections":4149,"showCount":127,"zanCount":11,"manualWeight":11,"mainColor":4150},203431,"shan-jing-ri-zhang-tu-zhou-huang-ying-zhan-203431","山静日长图轴","黄应湛","层岩叠壑间，松荫覆屋，文人围坐清谈，一派悠然。远处峰峦隐现，楼阁错落林麓，山泉潺潺，飞鸟掠空，尽显山林静穆。笔墨苍润，皴法细腻，山石轮廓以墨线勾勒，复加皴擦点染，树木枝叶繁密，层次分明。设色古朴淡雅，褐赭基调衬出山林幽寂，意境清旷，恰合“山静日长”之闲适，映现文人向往的林泉之趣。",[23,24,60,26,165,27,29,136,326,31,152,210,195,65,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49cf864f477c34f0805802e5ff38bd2e.jpg",[48],"84765e",{"id":4152,"slug":4153,"title":4154,"dynasty":295,"author":3046,"museum":260,"description":3047,"tags":4155,"thumbUrl":4156,"material":107,"size":107,"collection":107,"collections":4157,"showCount":51,"zanCount":11,"manualWeight":11,"mainColor":94},238828,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238828","董诰墨庄览胜图册",[24,100,60,165,27,626,29,63,3577,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ffddea088478d06d513f1a02eba3dd2.jpg",[],{"id":4159,"slug":4160,"title":4161,"dynasty":295,"author":3341,"museum":260,"description":4162,"tags":4163,"thumbUrl":4164,"material":105,"size":265,"collection":107,"collections":4165,"showCount":51,"zanCount":11,"manualWeight":11,"mainColor":52},235663,"shan-shui-ping-yuan-jiang-235663","山水屏","袁江（1662年—1735年），字文涛，号岫泉，江都（今江苏扬州）人，清代画家。",[24,60,1773,209,165,639,29,195,152,3577,7,35,30,877],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa367e713deec5c0cba384b8928f36c57.jpg",[],{"id":4167,"slug":4168,"title":4169,"dynasty":295,"author":897,"museum":260,"description":4170,"tags":4171,"thumbUrl":4172,"material":107,"size":107,"collection":107,"collections":4173,"showCount":51,"zanCount":11,"manualWeight":11,"mainColor":94},235080,"shan-shui-tu-ce-hua-yan-235080","山水图册","此作用枯笔焦墨写飞瀑垂落，嶙峋山石皴擦苍劲，水雾随墨色晕染漫开，将丘壑的厚重与水烟的清柔相融。一叶扁舟随波浮沉，愈发衬出江天空寂。\n左侧题诗行书纵逸跌宕，笔意与画中山水的萧疏浑然相合。整幅以干湿浓淡的笔墨变化，勾勒出世外幽居的清寂意趣，将山瀑奔涌的动，对晤林泉静穆的闲。诗画相生，以书入画，把幽人高隐的林下襟怀铺陈开来，尽显文人水墨抒情写意的雅逸格调。",[24,61,626,27,121,85,29,7,178,31,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5fdc80d96f85c6bb2327e0092e3558c.jpg",[],{"id":4175,"slug":4176,"title":4177,"dynasty":132,"author":4178,"museum":20,"description":4179,"tags":4180,"thumbUrl":4181,"material":276,"size":4182,"collection":48,"collections":4183,"showCount":51,"zanCount":11,"manualWeight":11,"mainColor":94},232693,"qiu-du-shu-le-tu-ju-mao-shi-232693","秋读书乐图","居懋时","居懋时［明］吴县（今江苏苏州）人。\n节子。亦善画。《苏州志》",[23,24,60,26,61,29,27,30,7,31,238,63,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc44755deef3b0cac993c0c25db5625a1.jpg","147.7x37.2厘米",[48],{"id":4185,"slug":4186,"title":4187,"dynasty":132,"author":4188,"museum":929,"description":4189,"tags":4190,"thumbUrl":4191,"material":44,"size":4192,"collection":107,"collections":4193,"showCount":51,"zanCount":11,"manualWeight":11,"mainColor":94},232647,"wu-xie-shan-tu-chen-hong-shou-232647","五泄山图","陈洪绶","五泄山在浙江诸暨，浙江金华、杭州和绍兴之间，因有五潭之水，泛溢悬流，宛转五级，故日五泄。是陈洪绶的故乡。此图构图缜密，画面丰满，仅留右上角为天空。树林繁茂，山势高峭，清晰的山体轮廓线，干净利落的岩石断层，树木岩石以不同皴法表现，山石方硬以淡墨染之，富有层次，给人一种非常相似的远古的感觉，体现了陈洪绶一贯高古的格调。\n陈洪绶少年即喜画，10岁时就去杭州追随武林派的代表——山水画家蓝瑛习画。陈洪绶早年和壮年的山水画作品以及晚年部分人物画背景都可看出多了蓝瑛的影响。但陈画比蓝画更为清雅秀润，简洁古淡。翁万戈藏《陈洪绶早年画册》（1619年，时22岁）中《奇石小鸟》和《双松图》两副册页所画树石显然是师法元人。他早年的山水虽不成熟，但可看出他广师宋元诸家，集众所善，而尚显个性。美国克利夫兰艺术博物馆藏《五泄山图轴》很可能是他20至30岁期间之作。陈洪绶自幼至交周亮工提及，曾于1624至1625年间数度与陈洪绶同游五泄山。此画密不透风的构图，迂回盘旋的山势，强而有力的光影对比，体现画家在自然山水中的真实感受——阳光和阴影、压迫感十足的乱石、潺潺的流水、浓郁的树林。这是他早期山水画的杰出之作，之后作品再无此类手法的运用。\n陈洪绶是时代的代表，他的艺术同样根植于他所处的时代。尽管陈洪绶不属于高寿画家，但是他的艺术越趋晚年，越突出地彰显了中国传统艺术的精髓和民族风格。\n陈洪绶 (1598-1652），字章侯，幼名莲子，一名胥岸，号老莲，别号小净名、晚号老迟、悔迟，又号悔僧、云门僧。浙江诸暨枫桥人。明末富有革新精神和独创风格的画家。祖上为官宦世家，至其父家道中落。陈洪绶幼年早慧，诗文书法俱佳，曾随蓝瑛学画花鸟。成年后到绍兴蕺山师从著名学者刘宗周，深受其人品学识影响。崇祯三年（1630）应会试未中。崇祯十二年（1639）到北京宦游，与周亮工过从甚密。后以捐赀入国子监，召为舍人，奉命临摹历代帝王像，因而得观内府所藏古今名画，技艺益精，名扬京华，与崔子忠齐名，世称“南陈北崔”。明朝覆没后，清兵人浙东，陈洪绶避难绍兴云门寺，削发为僧，一年后还俗。晚年学佛参禅，在绍兴、杭州等地鬻画为业。陈洪绶生性怪僻，愤世妒俗，身历忧患之时，所交师友多为正义之士。陈洪绶是一位擅长人物、精工花鸟、兼能山水的绘画大师。当代国际学者推为“代表十七世纪出现许多有彻底的个人独特风格艺术家之中的第一人”。著有《宝纶堂集》、《避乱草》等作品集。",[100,24,60,26,61,27,29,31,196,30,7,33,473,40],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe63046bcfa80469e93c5b952548b3d1.jpg","118.3×53.2cm",[],{"id":4195,"slug":4196,"title":4197,"dynasty":132,"author":795,"museum":260,"description":3392,"tags":4198,"thumbUrl":4199,"material":107,"size":107,"collection":107,"collections":4200,"showCount":51,"zanCount":11,"manualWeight":11,"mainColor":94},231836,"xi-shan-ting-pu-tu-wen-zheng-ming-231836","溪山听瀑图",[23,24,60,82,61,27,121,85,29,7,31,30,210,178,63,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc9db7b6cabe2afe187e7acca740168f.jpg",[],{"id":4202,"slug":4203,"title":4204,"dynasty":132,"author":4205,"museum":929,"description":4206,"tags":4207,"thumbUrl":4208,"material":123,"size":4209,"collection":107,"collections":4210,"showCount":51,"zanCount":280,"manualWeight":11,"mainColor":52},231545,"xu-ting-fei-pu-tu-zhang-ning-231545","虚亭飞瀑图","张宁","在中国绘画史上，张宁的名字并没有像沈周、文徵明那样引人注目。甚至于当人们讨论明代绘画的时候，张宁也很少被提及。作为一朝大臣的张宁并不是一位职业画家，但也绝不是一个票友，他的诗文、书法和绘画在当时就名动一时。如果注意到他的吴人身份，把他和王绂、刘珏等吴门先驱放在一起，便不难发现他在绘画史上是应该有一席之地的。无奈目前能够找到的张宁作品和资料并不是很多，史籍上关于他的记载也大多是他的政绩而非艺术，故这里对张宁的讨论也只能是抛砖引玉。\n张宁（1426—1496），字靖之，号方洲，一作芳洲，海盐(今属浙江)人；一作嘉兴(今属浙江)人；又作吴(今苏州)人。明朝中期大臣。景泰五年进士，授礼科给事中。丰采甚着，与岳正齐名，英宗尝称为“我张宁”云。成化中出知汀州，先教后刑，境内利病悉罢行之。后为大臣所忌，弃官归，公卿交荐，不起。能诗画、善书法，才思敏捷，诗文书画皆有名。性喜绘事，工人物山水。抒写烟月，点染林丘，为艺苑所珍。曾奉旨出使朝鲜，化解了朝鲜王室内部纷争。画兰竹赠朝鲜王李扶。张宁才高志大，英宗意欲重用。但他久居谏坛，直言无忌，为朝中权贵所恶。给事中王徽因弹劾大学士李贤而获罪，张宁率六科论救，由是渐与内阁相忤。后出为汀州知府，抑郁不得志，遂以病免职。家居30年，屡次被荐，终不复召。在家乡筑方洲草堂（为海盐著名的园林，今不存），以琴书自娱。张宁为文遵古法，才思敏捷，兼善画，著有《读史录》、《删改史论》、《方洲集》等。\n张宁首先是明朝中期见诸史载的一位大臣，同时也是一位卓有成就的诗人和画家。清徐沁《明画录》：“张宁字静之，吴人，画山水有声。”明朱谋垔《画史会要》：“张宁，字靖之，号芳洲，海盐人。景泰进士，官汀州知府。书画皆有名。”可见作为朝中大臣的张宁在当时书法绘画就很有名。\n明中叶以后，以沈周、文徵明为代表的吴门派取代浙派而盛极一时。沈周、文徵明都是吴（苏州）人，因此被称为吴门派。在沈周、文徵明之前的赵源、王绂、徐贲、陈汝言、刘珏、张宁等同样是吴人的画家，对沈周、文徵明等后来的吴门画派都有重要的影响，画法也有近似之处。只是当时还没有“吴门派”的说法。\n张宁同时具有双重身份，既是官僚，又是书画家。从他的文章里不难发现，他与同时代的画家有着密切的交往。米芾以喜欢奇石而闻名，明代画家谢环也喜欢奇石，张宁在他的《方洲杂言》提到：“观音寺衙衕寺僧所收谢廷循一石，方广三四寸，中劈为二，内函鱼骨一具，首尾皆全。”由此可见他与谢环的交情非同一般，他还曾为友人徐溥（时用）所收藏的谢环（廷循）的画上题过诗。\n张宁在中国画发展史上处于吴门画派形成之前，他和王绂、徐贲、陈汝言、刘珏等吴门画派的先行者对沈周和文徵明的影响在绘画史研究中已经引起了学者的注意。或许是因为未被列入职业画家的行列，他的作品见诸著录及馆藏极少。尽管可能绘画对张宁的“余事”，但其艺术水平丝毫不逊色于职业画家。张宁的绘画技法有着很明显的元代传统特征，尤其是元四家之一王蒙的影响。但张宁似乎不太喜欢王蒙那种凝重，他的作品并没有元人那种浑厚苍茫，而更多地倾向于表现秀雅和清旷的意境。",[23,24,165,27,26,29,7,210,31,30,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff32ef3f130d45e39b134d17480d98bae.jpg","109.8 x 38.1cm",[],{"id":4212,"slug":4213,"title":4214,"dynasty":295,"author":4215,"museum":1208,"description":4216,"tags":4217,"thumbUrl":4218,"material":4219,"size":4220,"collection":107,"collections":4221,"showCount":51,"zanCount":11,"manualWeight":11,"mainColor":94},231350,"fang-gao-fang-shan-shan-shui-tu-wang-fang-231350","仿高房山山水图","汪昉","清代绘画,在同时期的政治、经济、思想、文化诸因素的影响下,呈现出特定的时代风貌。它承接元、明以来的趋势发展,士大夫文人画日益占据画坛主流,在明代后期形成的诸画派,到此时更是分支繁衍。清代历朝皇帝,大多爱好绘画艺术,倡导社会风气,使更多的人热心投入画家的行列。全清有史可稽的画家,多至近六千人,可谓繁盛。总的看来,以山水画、花鸟画比较发达,成绩较好,人物画次之。其发展大致可分为前、中、后三个时期。\n前期(顺治至康熙中),受皇室扶植的 四王 画派,以王时敏、王鉴、王翚、王原祁为代表,成为画坛的正统派,他们以摹古为主旨,崇尚董其昌和元四家,讲究笔墨趣味,技巧功力超卓,但缺少鲜活的生趣。他们的山水画风影响到整个有清一代。同时的江南地区,却出现了一批反正统的画家,他们大多是明末遗民,政治上不与清统治者合作,艺术上反对陈陈相因,主张抒发个性,所以作品往往感情真挚强烈,风格独特新颖。代表画家有弘仁、髠残、朱耷、石涛合称的 四僧 ,以龚贤为首的 金陵八家 ,以弘仁、查士标、梅清为代表的 新安派 等。其中 四僧 的成就最为突出,给后世的有益影响也更大。中期(康熙晚年至乾隆、嘉庆年间),随着政权的巩固、疆域的统一、社会的安定,经济的繁荣,出现了 康、乾盛世.此时宫廷绘画在皇室扶植下活跃一时,内容和形式都比较多样,人物画的成就显著。而经济发达的扬州出现以 扬州八怪 为代表的 扬州画派 ,他们接过石涛、朱耷 反正统 的旗帜,以革新的面貌出现于画坛,用绘画抒发自己郁懑愤激的情怀,表达心灵高洁的向往,形式上意到笔随,狂放怪异,不拘一格,作品具有鲜明的个性,对近代和现代的花鸟画都产生深远的影响。\n后期(道光至宣统),中国逐渐沦为半封建半殖民地的社会,画坛也发生了急剧变化。怡情养性的士大夫文人画日见衰微,而在辟为通商口岸的商业城市上海、广州,分别出现了以赵之谦、任颐、吴昌硕为代表的 海上画派 和由居巢、居廉首创的 岭南画派 ,开拓了文人画的途径,以新颖活泼的面貌,博得广大市民阶层的喜爱,直接启导了近代和现代的画风。\n《仿高房山云山图轴》描绘的是江南春天雨后的山村景色:近处坡石高树,茅舍旁柳丝飘拂,小桥边溪水潺潺,远处峰峦高耸,丛树幽深,白云浮动。此图云山采用元人高克恭法,横点皴染,并用焦墨破醒,富有厚重的感觉。构图以高远兼平远,得遥深飘渺之意。由于他受到皇室青睐,政治地位显赫,当时追随他的人很多,遂形成娄东派,主要画家有唐岱、董邦达、黄鼎等人。唐岱出王原祁门下,兼法宋元,笔墨工稳深沉。董邦达上追董其昌、黄公望,兼承王鉴、王原祁遗意。黄鼎多用干笔皴擦,淡墨渴染,有苍郁之趣,发展了王原祁的干笔画法。",[23,24,61,26,29,27,83,34,63,210,379,640,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b83397f21c92d94a99103bc798b15a1.jpg","设色纸本","110cmx55cm",[],{"id":4223,"slug":4224,"title":4225,"dynasty":295,"author":622,"museum":260,"description":4226,"tags":4227,"thumbUrl":4228,"material":107,"size":107,"collection":107,"collections":4229,"showCount":51,"zanCount":11,"manualWeight":11,"mainColor":94},229021,"mei-xi-gao-yin-tu-zhou-wang-hui-229021","梅溪高隐图轴","此作分上下两境，上段以高远之法绘危崖层叠，飞瀑穿谷而出，淡墨晕开岚气，写尽空山岑寂萧寒之态。下段平溪绕舍，古松虬曲、疏柳映水，茅庐临水而建，尽显林泉幽居的恬然意趣。\n画作以诗入画，呼应高隐主题，笔墨糅合南北画派之所长，干笔皴擦勾勒山石苍劲肌理，湿墨晕染铺就空蒙烟霭，简淡秀雅的笔触间，将文人寄迹林泉、避世高隐的悠然襟怀尽藏其中，尽显清逸出尘的山水画意境。",[23,24,60,26,61,27,29,7,152,238,31,30,33,64,2589],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ca3a61d052a38131a79f29061e44005.jpg",[],{"id":4231,"slug":4232,"title":4233,"dynasty":295,"author":2535,"museum":20,"description":3221,"tags":4234,"thumbUrl":4235,"material":123,"size":4236,"collection":48,"collections":4237,"showCount":51,"zanCount":11,"manualWeight":11,"mainColor":94},223115,"shan-shui-ce-shu-guan-kai-xuan-dong-bang-da-223115","山水册-墅馆开轩",[23,24,61,27,626,29,34,63,30,31,7,86,195],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb15efb3959b20cf3fcc3197891f89009.jpg","16.4x23.1",[48,49],{"id":4239,"slug":4240,"title":4241,"dynasty":295,"author":2433,"museum":20,"description":4242,"tags":4243,"thumbUrl":4244,"material":4245,"size":4246,"collection":107,"collections":4247,"showCount":51,"zanCount":11,"manualWeight":11,"mainColor":94},222829,"fang-fan-kuan-shan-shui-zhang-yu-sen-222829","倣范宽山水","张雨森，清朝画家。初名雨，字作霖，一字紫琅，号苍野，经子，工山水，得文家风韵。善 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厘米",[],{"id":4354,"slug":4355,"title":4356,"dynasty":295,"author":622,"museum":235,"description":4357,"tags":4358,"thumbUrl":4359,"material":123,"size":4360,"collection":107,"collections":4361,"showCount":93,"zanCount":11,"manualWeight":11,"mainColor":94},231490,"mei-xi-gao-yin-tu-wang-hui-231490","梅溪高隐图","王翚(1632-1717)，字石谷、象文，号耕烟散人、乌目山人、剑门樵客、天放闲人、雪笠道人、海虞山樵，晚号清晖主人、清晖老人等，常熟(今江苏)人。\n他出身于世代文人家庭，据记载，他的祖上四代皆善画，且皆有名气。明代著名画家沈周，就曾称道过他的四世祖王伯臣的画。其祖父王载仕、伯父王豢鳌、父亲王云客均擅绘画，有秀雅之称。\n王石谷秉承家学，自幼酷嗜绘画，据说他在六、七岁时便能以芦荻画壁，入学私塾，喜弄纸笔，随意点染，有生动之意。同县的张珂，擅长山水，学黄公望一体，王石谷曾一度向他学画。\n青年时的王石谷就崭露头角，表现出非凡的艺术才能。正当他需要扩大眼界和名师指导时，正巧太仓大画家王鉴游览常熟虞山，一日见壁间悬挂一山水小幅，大为惊叹，一问方知是王石谷所画，即派人将他找来。\n王石谷久闻王鉴画名，便呈上画扇，请王鉴过目。王鉴见画艺精湛，遂与王石谷交谈，谈话中，尤觉这位年方二十的年轻人聪颖而富有才华，不禁赞扬道：你的才学，已可与古人相比。当即收为弟子，并携其返回太仓，亲自指授。王石谷画艺遂大进。\n后来王鉴欲离家远行，便把这位高足弟子引荐给王时敏。王时敏询其所学，惊异地说：“此烟客师也，乃师烟客耶。”也就是说，王石谷简直可以当我王时敏的老师了，怎么还作我王时敏的弟子呢！于是取家藏宋元名迹供王石谷学习，并带着他游览长江南北，观摹诸位藏家所珍藏的历代秘本名迹。\n王石谷潜神一志，细心揣摩，“尽得其法，仿临宋元人，无微不肖”。王时敏曾感慨地说：“气韵位置，何生动天然如古人竟乃尔耶！吾年垂暮，何幸得见石谷，又恨石谷不及为董宗伯(其昌)见也”。\n当时著名书画鉴赏家、王石谷的挚友周亮工在《读画录》中也盛赞云：“予所见摹古者，赵雪江(清画家赵澄)与石谷两人耳，雪江太拘绳墨，无自得之趣：石谷天资高，年力富，下笔便可与古人齐驱，百年以来，第一人也”。\n据说当时人以王石谷临仿古人之作，加以装裱，冒充古画，即便是精于鉴赏的行家，也很难看出是近人手笔。",[23,24,61,27,29,311,31,30,7,63,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f8ce70988e77ff1074fb05c84cc2026.jpg","138x63",[],{"id":4363,"slug":4364,"title":4365,"dynasty":115,"author":4366,"museum":260,"description":4367,"tags":4368,"thumbUrl":4369,"material":107,"size":107,"collection":107,"collections":4370,"showCount":93,"zanCount":11,"manualWeight":11,"mainColor":290},228076,"li-xian-xiang-zhou-yan-hui-228076","李仙像轴","颜辉","以宣传道教教义与神仙 为主要内容的造型艺术。\n包括日常供奉和用于斋醮等祈禳祭祀活动的神仙画像或雕塑的神像、故事画、水陆画以及宫观的藻饰与法器上的花纹图案、浮雕等。\n制作神像，形式多样。\n《太上洞玄灵宝国王行道经》称造像“随其所有,金银珠玉，绣画织成,刻本范泥,凿龛琢石,雕牙镂骨,印纸图画”等均可,只要“一念发心，大小随力,庄严朴素,各尽当时”。\n但具体制作，皆有定式。\n据道书《洞玄灵宝三洞奉道科戒营私》规定,造像必须“依经具其仪相”，“衣冠华座，并须如法”。\n天尊“帔以九色离罗或五色云霞、山水杂锦”等，“不得用纯紫、丹青、碧绿等”。\n真人“不得散发、长耳、独角，并须戴芙蓉、飞云、元始等冠”。\n左右二真“或持经执简，把诸香华，悉须恭肃，不得放诞手足，衣服偏斜”等。\n早期道教的塑像或画像曾经受到佛教艺术一定的影响。\n唐释法琳《辨正论》引王淳《三教论》云：“近世道士，取活无方，欲人归信，乃学佛家制作形像。\n假号天尊，及左右二真人。\n”唐太宗为王远知建太平观以及王轨重建茅山华阳观，其内殿塑造元始天尊像一躯，都取左右二真人夹侍的形式。\n其后，号然又取法佛教在诸天神头部加添圆光，但是，其形象是中国化的人物面貌，其创作思想深受道家哲学和道教教义的影响，其技法又是中国古铜器、汉画像砖以及古代人物画技法的直接继承，具有明显的道教美术自身的风格。\n有 北郊清源山老君像巨型石刻，晋祠彩塑以及元代的龙山石窟等。\n其中泉州石刻老君像，背松倚望，意态谦恭，两眼平视，慈祥和蔼，美须大耳，左手依膝，右手靠几，全身线条遒劲有力，洗炼概括。\n石像高5.1米,以整块天然巨石雕成，宏伟壮观，是道教造像艺术中的珍品。\n太原晋祠圣母殿创建于北宋天圣(12～12)年间，有圣母、宦官、女官及侍女像共4尊彩塑,以皇后、群臣、宫女的生活形象为范本,脸型、体态和感情流露都近于世俗生活的原型（见彩图）。\n龙山石窟，在太原西南约2公里处。\n始建于元元贞六年(1295)以前，窟内雕有三清、虚皇、张天师、三皇、玄真子、披云子和北七真的石像。\n主要修建者为随邱处机西游的十八行者之一的宋披云。\n他还增修龙山石窟五个洞，使其“殿阁峥嵘，金碧丹艧，如鳌头突出”。\n既运用中国传统的绘画手法，又力图体现道教的教义思想。\n以“画以立意”为宗旨，采用“以形写神”和“以神写形”的方法。\n在创作中不仅调动“出水”、“当风”等多种艺术手段，而且体现了道教对绘制神像的种种要求。\n唐开元二十九年 (741)，画玄元皇帝(太上老君)像，并以高祖、太宗、高宗、中宗、睿宗等五像陪祀。\n画家吴道子有五帝、五官、星宿像等，其中画于河南鹿邑太清宫的太上玄元皇帝像，史载系绢本，即绘于单幅绢上，不施裱褙，供奉时悬挂于壁间架上，后刻石于苏州玄妙观，才得以传世。\n秦汉间神仙思想盛行，在藻饰宫殿、陵墓的美术作品以及帛画中，常有关于神仙、祥异等内容。\n辽宁金县营城子汉墓壁画，其左上端云气缭绕，中有一人，身披羽毛；右上端有一龙，昂头相向。\n画中央有戴三山冠的佩剑人和白发之老翁，作神仙与墓主言谈状。\n壁画黑仙人佩剑、羽衣、须发、云气等形象朴茂高古，线条古朴随意，为道教壁画的先声。\n现存的泰山岱庙天贶殿的巨幅壁画《 》，以皇家宫廷生活为模式，描绘泰山神东岳大帝出巡和回銮的情景，场面浩大，人物众多，生动逼真，山水人物相互衬托，艺术的世俗化倾向浓厚，虽经明、清画工重加彩绘，工匠制作痕迹较重，但尚能体现宋代道画的特色。\n元代宫廷设有“诸色人匠总管府”，专门管理修建宫廷庙宇的各种工匠,彩塑家刘元统领“梵像提举司”,各地著名画工还加“待诏”衔。\n元代初期道教全真道曾盛极一时，山西永乐宫道教壁画就是集唐宋道画传统的中国美术史上的杰作。\n永乐宫壁画画面长9.68米，高4.26米,实绘大小神像共 286尊。\n三清殿壁画沿用《朝元仙仗图》的样式，以“三清”为中心，组成层次井然的仪仗，表达出“三清譬如北辰，居其所而群神拱之”的意思。\n全画分成多组，有雷公雨师、南斗六阙、北斗七星、八卦神君、十二生肖神君、 、三十二天帝君等群像。\n每位帝君和圣母左右均有十余名玉女侍奉。\n云气缭绕，壮丽浩荡，金碧辉煌，显示出元代道画画工们巨大的构图能力。\n线条圆润流畅，色彩浓淡相谐，宁静清逸，庄严肃穆。\n纯阳殿另有《纯阳帝君神游显化之图》壁画共52幅，七真殿有叙述全真教创始人王重阳诞生、得道、成仙和历次度化马丹阳、孙不二、邱处机等北七真事迹的故事画共42幅。\n这些壁画把山水、花鸟、鞍马、界画和人物糅合在一起，以表现人物情节为主。\n永乐宫壁画是由元代民间画工集体绘制而成的，他们堪称14世纪中国绘画史上最具有创造性的民间艺术家。\n元代以降，各地道观虽亦有以壁画传世，但大都陈陈相因,因袭模仿,无甚佳作。\n以道教故事、神仙思想为题材的道画，历久不衰，画家辈出。\n晋代画家顾恺之崇尚老庄，多以龙为题材作道画，附会老子犹龙之说法，其后云龙遂成为道画的特色之一。\n据《贞观公私画录》，顾恺之还画过《刘仙像》、《三天女像》等，并且著有《画云台山记》，叙述他的道祖故事画的内容和构思。\n画面上有丹崖险峻高大，颜色红紫，显示其为神仙之境。\n张天师脸形瘦削，飘然若仙，于丹崖七试弟子。\n其弟子王长穆然坐答，赵升神爽气怡。\n另二弟子则魄散神飞、汗流失色。\n唐代吴道子道释画兼擅。\n画家张素卿本人就是道士，乾符（874～879）中居四川青城山常道观，史载曾画有《老子过流沙图》、《五岳朝真图》、《九皇图》、《五星图》、《老人星图》、《二十四化真人像》、《太无先生像》等。\n前蜀主王建修青城山丈人观，请其于真君殿上画五岳、四渎、十二溪女、山林、溪沼、树木诸神及岳渎曹吏。\n蜀主诞辰时，张素卿画十二仙真，备受赞赏。\n凡有醮斋，开悬供奉。\n据《图画见闻志》称，五代时有名画家25余人，其中以道释画为主者达11人。\n丰富了道画的表现力。\n画家武宗元曾在宋真宗营造玉清昭应宫时,居名应召画殿画匠之首，史载，他17岁就画北邙山老子庙壁，颇称精绝。\n其传世道画《朝元仙仗图》原是壁画粉本，长 6米，高.48米。\n描绘南极天帝和东华天帝君率领仙官、侍从和仪仗朝谒玄元皇帝的场面，共有神仙人物87名，其中男仙11名，神将8名,余皆为手捧供品、仙果、乐器的仙女。\n画幅以手持宝剑的护法神开道，以甲卒、神将殿后，其中二天帝君都略高大于其他神仙，其处理手法与唐阎立本《历代帝王图》相类。\n各神仙的头上或身旁都有一个长形墨线描画的题名牌框，并标上该神仙的尊号，如“东华天帝君”、“扶桑大帝”等。\n全图主次分明，层次井然，线描人物各具神态，不相雷同，线条流畅，具有线描艺术的韵律感。\n宋元文人作画崇尚卷轴、册页、扇面，或有以道教题材结合山水、花鸟的内容，追求“清静无为”的境界，形成了超逸、淡泊、高雅的艺术风格。\n元代有些画家,如黄公望、张彦辅、马臻、方从义等本人就是道士。\n张渥所作《九歌图》和《太乙真人像》等，以白描手法描绘太乙真人手执如意,乘舟荷叶,舒展飘逸的“仙风”。\n元代画家颜辉有传世之作《李仙像》轴，画八仙之一的铁拐李，侧坐石上，神情肃穆，笔法精劲，人物与山水融和，表现了画家洒脱、超逸的情趣。\n明代画家吴伟所作《北海真人》，写骑龟仙者悠然泛海，昂首天外，无拘无碍。\n清代扬州画派金农所作的张天师像，更以古拙的笔墨趣味，表现画家超凡逸群的情思。\n当代画家张大千早年曾久居四川青城山，所绘王母、麻姑、陈抟、纯阳和张陵等道画，刻石于山，至今犹存。\n宋元以后，道教失去朝廷的支持，文人道画也逐渐衰微而同民间美术相结合。\n此后各地民间画工广泛从事于壁画、版画、年画以及用于道教斋醮活动中的水陆画。\n道教斋醮仪式中则广泛使用民间木雕、刺绣以及纸扎工艺美术品作为法器或陈设。\n各道观建筑中也普遍采用民间广泛流传的八仙、麒麟、万年青等吉祥辟邪的装饰图案。\n木版印制的门神、灶君、关帝、财神等神像，在民间流传尤盛。",[23,24,60,26,786,86,29,61,165,7,138,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff919d05c6f3b085bd2715d0b212f39ef.jpg",[],{"id":4372,"slug":4373,"title":4374,"dynasty":295,"author":4375,"museum":351,"description":4376,"tags":4377,"thumbUrl":4378,"material":4379,"size":4380,"collection":107,"collections":4381,"showCount":93,"zanCount":11,"manualWeight":11,"mainColor":52},223145,"shi-wan-tu-ce-9-ren-xiong-223145","十万图册9","任熊","《十万图》册是任熊晚年创作的10幅山水精品，因题目均以“万”字起首而得名，即“万卷诗楼”、“万点青莲”、“万峰飞雪”、“万笏朝天”、“万竿烟雨”、“万松叠翠”、“万林秋色”、“万壑争流”、“万丈空流”、“万横香雪”，以寓至多尽善、完满俱足之意。该图册多取材于苏州太湖一带的山水而内容又有所扩大，如“万笏朝天”、“万横香雪”即以苏州天平山和香雪海为素材，“万点青莲”描绘的应是杭州西湖的景色，而“万丈空流”、“万竿烟雨”则是想象中的海岛和潇湘奇景。总之，画家是以“十”、“万”来概括天下美景与赏心乐事。作品笔法细腻，构思精微，意境深邃，并富有装饰趣味，于写实中充满浪漫情调。尤其是作者充分运用金笺纸的底色作用，使青绿设色逾显得绚丽多彩，浓艳华贵而不失雅逸的艺术效果。",[23,24,165,639,209,27,626,29,30,31,7,640],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16d728f0cbb935384c6ccb8053cd6f93.jpg","泥金笺，设色","纵26.3厘米，横20.5厘米",[],{"id":4383,"slug":4384,"title":1077,"dynasty":295,"author":4385,"museum":260,"description":4386,"tags":4387,"thumbUrl":4388,"material":123,"size":4389,"collection":107,"collections":4390,"showCount":93,"zanCount":11,"manualWeight":11,"mainColor":94},223129,"shan-shui-zhou-qian-wei-qiao-223129","钱维乔","钱维乔（1739-1806）清文学家、戏曲家。字树参，季木，小字阿逾，号曙川，又号竹初，半园、半竺道人、半园逸叟、林栖居士等。江苏武进人。乾隆十年状元钱维城之弟。乾隆二十七年（一七六二）举人。曾讲学于如皋露香草堂，门前种竹，自号竹初居士。\n钱维乔早岁即工翰墨，得其兄钱维城之传，为兄代作，已咄咄逼真，而文秀之气过之。后笔尤苍厚，山水茂密不繁，峭秀不塞，作家士气兼备。晚岁笔墨尤精，随意所作，疏老苍浑。因作品风格酷似其兄，当时有“常州二钱”之誉。",[23,24,61,27,26,29,136,326,137,152,7,238,33,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf5830d888db626572c39148425b0144.jpg","68x35",[],{"id":4392,"slug":4393,"title":513,"dynasty":132,"author":1670,"museum":20,"description":1671,"tags":4394,"thumbUrl":4395,"material":44,"size":4396,"collection":107,"collections":4397,"showCount":93,"zanCount":11,"manualWeight":11,"mainColor":52},222159,"shan-zhuang-gao-yi-zhou-li-zai-222159",[23,24,399,26,61,27,136,326,34,63,178,210,195,2283,379,86,7,517,412,1006],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9606b6f97673ebd0ca6b1996030ab49.jpg","纵188.8cm、横109.1cm",[],{"id":4399,"slug":4400,"title":4401,"dynasty":132,"author":4402,"museum":836,"description":4403,"tags":4404,"thumbUrl":4405,"material":89,"size":4406,"collection":48,"collections":4407,"showCount":93,"zanCount":11,"manualWeight":11,"mainColor":94},219937,"xia-shan-qing-liu-tu-gao-yan-219937","夏山清流图","高俨","高俨（1616年-1687年），清代画家，字望公，广东新会人，博学多艺，工诗书画，被称为三绝，有名于岭南。 与当时岭南文坛画苑的陈子壮、王邦畿、陈恭尹、张穆等交朋友。明朝亡，不愿“ 颜事贼”，是一个具有民族气节的文人。",[100,24,60,26,61,29,7,63,31,196,210,86,30,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc764d0b30f2bda069eac4e527320714b.jpg","175x38",[48],{"id":4409,"slug":4410,"title":4411,"dynasty":295,"author":4412,"museum":260,"description":4413,"tags":4414,"thumbUrl":4415,"material":105,"size":265,"collection":107,"collections":4416,"showCount":110,"zanCount":11,"manualWeight":11,"mainColor":52},288522,"shan-shui-ren-wu-tu-li-zhou-ai-xin-jue-luo-pu-quan-288522","山水人物图立轴","爱新觉罗·溥佺","此作用高远章法绘就，危崖壁立千仞，斧劈皴利落勾勒出山岩嶙峋骨相，崖巅古松欹斜傲立。两道飞泉垂落，一隐于崖谷、一淌于浅濑，水墨晕染出空濛岚气，裹挟着幽谷清寂。\n\n下方虬松苍劲盘曲，枝桠舒展如盖，松下幽人凭坐观瀑，简笔勾勒便见悠然意态。整作将山川雄奇与林下闲逸相融，笔力劲爽不失温润，淡墨轻岚晕开悠远意境，尽显天人合一的林下雅趣。",[23,24,60,26,61,29,86,152,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16d688d7b88097c9cb0158504fbaa37c.jpg",[],{"id":4418,"slug":4419,"title":4420,"dynasty":132,"author":4421,"museum":260,"description":4422,"tags":4423,"thumbUrl":4424,"material":105,"size":265,"collection":107,"collections":4425,"showCount":110,"zanCount":11,"manualWeight":11,"mainColor":52},288072,"xia-shan-yu-yu-liu-yu-288072","夏山欲雨","刘钰","刘珏(1410—1472)字廷美,号完庵,南直隶苏州府长洲(今江苏苏州)人。宣德中,苏州知府况钟举为吏,不就,得补生员,正统三年(1438)中举人,授刑部主事,迁山西按察司佥事,年五十弃官归。",[23,100,24,26,29,165,27,64,34,63,7,195,31,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd380e4f1b122124cca601af28dc7c21.jpg",[],{"id":4427,"slug":4428,"title":4429,"dynasty":295,"author":350,"museum":20,"description":4430,"tags":4431,"thumbUrl":4432,"material":276,"size":4433,"collection":107,"collections":4434,"showCount":110,"zanCount":11,"manualWeight":11,"mainColor":94},287447,"fang-huang-gong-wang-yan-fu-yuan-xiu-tu-wang-jian-287447","仿黄公望烟浮远岫图","王鉴（1598年～1677年），字元照，一字圆照，号湘碧，又号香庵主，江南太仓人，明末清初画家，“四王”之一。\n万历二十六年（1598年）出生，崇祯六年（1633年）举人。后任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。\n吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。康熙十六年（1677年）去世，享年八十岁。",[100,24,60,29,165,27,83,64,63,7,238,152,211,34,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bce4de3236da388c40dfce3e6cfb914.jpg","134.9x78.9",[],{"id":4436,"slug":4437,"title":4438,"dynasty":295,"author":3795,"museum":260,"description":4439,"tags":4440,"thumbUrl":4441,"material":107,"size":107,"collection":107,"collections":4442,"showCount":110,"zanCount":11,"manualWeight":11,"mainColor":94},237875,"yang-jin-fang-gu-shan-shui-ce-yang-jin-237875","杨晋仿古山水册","杨晋 （1644－1728），字子和，一字子鹤，号西亭，自号谷林樵客、鹤道人，又署野鹤，江苏常熟人。山水为王翚入室弟子，尝与绘圣祖南巡图颇精。晚年每多率笔，未免苍而不润，神气便少。然农村景物则颇工，尤长画牛，多写意，夕阳芳草，郊牧之风宛然在目，兼及人物写真，花鸟草虫。每侍翚出游，翚作图凡有人物、舆轿、驼、马、牛、羊等皆命补之。又尝摹内府所藏名迹，作副本进御。卒年八十五。\n杨晋是清代宫廷画家，以画界画见长，他能恰到好处地发挥传统工笔界画的特长，把人工建筑的楼阁台榭及人物举止和天然山水景色紧密结合起来，在结构上作了极好的剪裁，满而不闷，画风细致明秀、娟丽清新，层次过渡非常自然。《石谷骑牛图》绘石谷悠然骑于牛背之上，神态安详平和，状写简逸传神。石谷即清代大画家王翚，也是杨晋的老师。",[24,61,29,626,83,27,136,326,7,31,238,178,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f490a647d47e37a3f9f7c1094094503.jpg",[],{"id":4444,"slug":4445,"title":4446,"dynasty":295,"author":2535,"museum":260,"description":4447,"tags":4448,"thumbUrl":4449,"material":107,"size":107,"collection":107,"collections":4450,"showCount":110,"zanCount":11,"manualWeight":11,"mainColor":52},230961,"xia-shan-yu-yu-tu-dong-bang-da-230961","夏山欲雨图","《董邦达夏山欲雨图》是淸 云痴不舍峰，雨到先鸣树。\n涧口归渔人，林端起群鹜。\n浑脱房山法，妙蕴丹阳句。\n伫待吟溟濛，遥天镇微露。\n即爱新觉罗·弘历。\n清朝皇帝。\n世宗第四子。\n雍正十一年封和硕宝亲王。\n十三年八月嗣位，次年改元乾隆。\n即位后驱逐在内廷行走之僧道；释放被幽禁之允(胤)禵等，恢复允(胤)禵等宗室身份；又将宗室诸王所属旗人，均改为“公中佐领”，即归皇帝掌握。\n对汉族知识分子，采用笼络与惩罚并行手段，既于乾隆元年开博学鸿词科，三十八年开《四库全书》馆；又大兴文字狱，前后大案不下数十起，并借修书之便，销毁或窜改大量书籍。\n对西北方面，平定准噶尔部，消灭大小和卓木势力，解决康、雍以来遗留问题。\n在位时六次南巡，多次进行镇压土司叛乱、农民起事战争，耗费大量钱财。\n晚年任用和珅，吏治腐败；陶醉于“十全武功”，自称十全老人，对敢于指斥时弊之官吏，常严加斥责。\n同时，对各省亏空严重、督抚多不洁身自爱之状，知之甚详。\n五十八年，接见英国特使马嘎尔尼，拒绝英国所提出之侵略性要求，然并未引起任何警惕之心。\n六十年，宣布明年禅位皇十五子颙琰。\n次年正月，举行授受大典，自称太上皇帝，仍掌实权。\n在位六十年。",[23,24,60,82,61,29,136,461,137,7,944,33,179,340,30,35,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62cdb96f4e97e9b848732bd4506f3fe0.jpg",[],{"id":4452,"slug":4453,"title":4454,"dynasty":295,"author":622,"museum":260,"description":4455,"tags":4456,"thumbUrl":4458,"material":107,"size":107,"collection":107,"collections":4459,"showCount":110,"zanCount":11,"manualWeight":11,"mainColor":1946},230959,"jiang-shan-qiu-se-tu-wang-hui-230959","江山秋色图","此作开合有度，近景流泉穿林而过，丹枫缀枝暗染秋意，山居幽舍藏于崖畔林樾之中，野趣悠然。中层平湖如镜，远山澹澹含烟，铺展出清旷秋山的辽远意境。\n\n笔墨枯润相生，以干笔皴擦写山石肌理，湿笔晕染出山岚空濛，披麻皴裹挟解索皴带出苍浑质感，兼得宋元山水的古雅厚重，又透出灵动秀逸之气。将秋山萧疏清寂与幽居之冶融为一体，师古而不泥古，把秋江林泉的静穆与生机娓娓铺陈，尽显寄兴林泉的文人意韵。",[24,61,27,165,29,34,63,30,31,7,210,85,4457],"浅绛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43cf446816c3e98846bde399ef42c87e.jpg",[],{"id":4461,"slug":4462,"title":4463,"dynasty":295,"author":4464,"museum":260,"description":4465,"tags":4466,"thumbUrl":4468,"material":107,"size":107,"collection":107,"collections":4469,"showCount":110,"zanCount":11,"manualWeight":11,"mainColor":94},228484,"mu-niu-tu-zhang-mu-228484","牧牛图","张穆","此作以水墨铺就郊野溪谷之景，虬曲老木扎根荒滩，崖间飞瀑漱石，溪水蜿蜒漫过浅渚。群水牛或缓步就溪啜饮，或抵角相嬉，或蜷卧青草地休憩，神态憨然自在，将耕牛卸轭后的松弛尽显。笔墨朴拙写实，勾勒皴擦间，林石苍古荒率的野趣、水牛肌理的厚重质感一一浮现，似能闻得水草清腥，听哞哞牛鸣回荡溪山，将郊野牧歌式的闲逸悠然融于尺幅间，把山野生趣与静谧氛围揉合，于平淡笔墨中尽显自然真意。",[23,24,61,82,27,4467,29,379,63,7,65,85],"牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0eca3394d51ce6da7ee2a9c0b498ddd.jpg",[],{"id":4471,"slug":4472,"title":4473,"dynasty":18,"author":482,"museum":260,"description":4474,"tags":4475,"thumbUrl":4476,"material":123,"size":4477,"collection":107,"collections":4478,"showCount":110,"zanCount":11,"manualWeight":11,"mainColor":52},223568,"xi-shan-xing-tu-zhou-yi-ming-223568","溪山行图轴","深深地描绘了秋天的景色。 绿图已枯，枫红团，山脚下长长的行人匆匆而过； 飞瀑流泻而下，水底已雾蒙蒙； 几间房屋隐藏在山谷中，或者寺庙是高大的殿堂，它们是住宅。 依山傍水，是一处修身养性的美丽之地； 山峰可能隐高，峰顶怪异，山脊稳定。",[23,24,100,26,165,27,29,136,495,7,31,34,63,195,86,103,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcce883a4d1591955ca3a0ac56dd2079.jpg","130x37",[],{"id":4480,"slug":4481,"title":4482,"dynasty":115,"author":482,"museum":351,"description":4483,"tags":4484,"thumbUrl":4490,"material":123,"size":4491,"collection":48,"collections":4492,"showCount":110,"zanCount":11,"manualWeight":11,"mainColor":94},221778,"di-ba-ga-na-ga-ba-ha-la-zhui-za-zun-zhe-zhou-yi-ming-221778","第八嘎纳嘎拔哈剌錣杂尊者轴","《元人画第八嘎纳嘎拔哈剌錣杂尊者轴》是创作于元代的一幅画。",[23,24,4485,26,61,209,365,86,29,7,4486,4487,4488,4489,65,63,85],"宗教画","罗汉","坐像","衣纹","光晕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad290dab85e6c127be5e1cb6be2a8059.jpg","114.4x66.8",[48,49],{"id":4494,"slug":4495,"title":1077,"dynasty":132,"author":1099,"museum":117,"description":4496,"tags":4497,"thumbUrl":4498,"material":107,"size":107,"collection":48,"collections":4499,"showCount":110,"zanCount":11,"manualWeight":11,"mainColor":4500},203446,"shan-shui-zhou-wen-bo-ren-203446","这幅山水立轴笔墨清润雅致，承文人画清幽意趣。层峦叠嶂间，皴法细密灵动，晕染出山峦的厚重肌理与层次；虬曲枯树以淡墨写就，枝桠交错间透着萧疏之韵。山涧流泉隐现，山脚人家错落点缀，添了几分生活气息。构图疏密相宜，远近景层次分明，将自然山水的静谧与人文闲逸相融，尽显吴门画派的雅致风骨。",[23,24,60,26,61,27,29,30,31,7,63,86,34,87,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f4456d2433a0452450622966c102bcd.jpg",[48],"b6a696",{"id":4502,"slug":4503,"title":4504,"dynasty":295,"author":4505,"museum":260,"description":4506,"tags":4507,"thumbUrl":4509,"material":105,"size":265,"collection":107,"collections":4510,"showCount":217,"zanCount":11,"manualWeight":11,"mainColor":94},290561,"jian-zhu-song-tao-tu-zhou-xu-yang-290561","涧筑松涛图轴","徐扬","徐扬（生卒年不详）江苏苏州人，清代画家。字云亭。家住阊门内专诸巷。工绘事，擅长人物、界画、花鸟草虫。",[100,24,26,165,29,152,195,63,30,7,944,85,84,4508,27],"抚琴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa6cb454f41bf6374bb68c5dcaf9e50d.jpg",[],{"id":4512,"slug":4513,"title":525,"dynasty":18,"author":482,"museum":260,"description":4514,"tags":4515,"thumbUrl":4516,"material":105,"size":265,"collection":107,"collections":4517,"showCount":217,"zanCount":11,"manualWeight":11,"mainColor":52},288226,"guan-pu-tu-yi-ming-288226","此作取边角式构图，左侧古松盘根错节，黛色繁荫如盖，与右侧悬垂的两道飞瀑相映成趣。飞泉撞入深潭，水雾隐隐，山岩以斧劈皴利落勾出嶙峋筋骨，墨色干湿浓淡铺陈出层叠景深。\n\n松下石滩，三两幽人凭坐观瀑，姿态松弛悠然，将林泉高致藏于咫尺团扇之间。整幅画作以小见大，以苍劲笔墨绘就山野之旷，又以闲逸人物点出寄情丘壑的雅怀，空灵悠远，尽得山水小品托景抒情之妙。",[23,24,529,100,61,29,7,719,65,63,86,2048,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d04f03ba4c1325ddad172776ab20637.jpg",[],{"id":4519,"slug":4520,"title":4521,"dynasty":295,"author":482,"museum":260,"description":4522,"tags":4523,"thumbUrl":4527,"material":105,"size":265,"collection":107,"collections":4528,"showCount":217,"zanCount":11,"manualWeight":11,"mainColor":52},272965,"zi-tan-mu-bian-cai-xiu-zhu-lan-tu-gua-ping-yi-ming-272965","紫檀木边彩绣竹兰图挂屏","此作以针代笔，将山林幽境凝于尺幅。挺秀修竹倚崖而立，青碧篁影错落婆娑，晕染出清寂雅致的意趣。下方层岩叠瀑，素色水纹如练垂落，靛蓝撞色点染崖壁，与暖棕底色相映，明暗层次分明。左侧岩畔幽兰盛放，素白花蕊柔婉清雅，和劲节修竹呼应，暗合君子风骨。\n\n绣工细腻，设色古雅沉静，将水墨晕染的写意质感用丝线铺陈，既有工致细节，又带着文人画的澹泊空灵，尽显融画入绣的精妙意匠，把山林隐逸的幽谧之韵缓缓铺展。",[4524,60,4525,165,436,4526,7,30],"挂屏","彩绣","兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff85b8369193682000bf6e9fded744d5a.jpg",[],{"id":4530,"slug":4531,"title":4302,"dynasty":295,"author":3046,"museum":260,"description":3047,"tags":4532,"thumbUrl":4533,"material":107,"size":107,"collection":107,"collections":4534,"showCount":217,"zanCount":11,"manualWeight":11,"mainColor":94},238415,"dong-gao-peng-hu-hui-sheng-tu-ce-dong-gao-238415",[24,60,626,165,27,29,31,63,7,86,65,1170,354],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb58ceac15855ab05632228fe81ee6374.jpg",[],{"id":4536,"slug":4537,"title":2821,"dynasty":295,"author":1566,"museum":351,"description":4538,"tags":4539,"thumbUrl":4541,"material":463,"size":4542,"collection":107,"collections":4543,"showCount":217,"zanCount":11,"manualWeight":11,"mainColor":94},235023,"shan-shui-ce-wu-li-235023","此图册布局饱满，笔墨苍拙，文人画气息浓郁，具有作者所追求的“神逸”韵味。无年款，从书画笔法来看，应为吴氏晚年画作精品。\n第一开：自识：“月中疏处最秋多，叶叶斜斜映浅波。曾折长条赠行客，只今黄落未归何。予秋柳诗也，并书。墨井道人。”钤“延陵”、“墨井” 朱文印二方。\n第二开：自识：“远岫接烟光，斜阳在钓航。众渔归已尽，独自过横塘。东楼暑薄写此。墨井。”钤“渔山”朱文印二方。\n第三开：自识：“林鸠唤雨不成雨，山鹊呼晴亦未晴。尽日声声是何意，欲催泼墨米图成。梅雨乍霁。延陵历。”钤“吴历”朱文印、“吴历之印”白文印。\n第四开：自识：“春事已云莫，落花门外无。何为井上树，四月尚如枯。渔山子。”钤“渔山”、“墨井”朱文印二方。\n第五开：自识：“墨井道人雨窗拟古，竹醉日。”钤“延陵”、“墨井” 朱文印二方。\n第六开：自识：“萧萧踈踈，木落草枯。空山无人，夜吼於菟。墨井道人。”钤“吴历之印”白文印、“延陵”朱文印。\n第七开：自识：“写元人画，大抵要简澹趣多，曲折有韵。五月小尽日，墨井历。”钤“吴历”、“渔山” 朱文印二方。\n第八开：自识：“石激水流处，天寒松色间。墨井道人。”钤“渔山”、“墨井” 朱文印二方。\n第九开：自识：“前人草草涂抹，自然天真绚烂。小重阳后一日，渔山子。”钤“延陵”朱文印、“吴历之印”白文印。\n第十开：自识：“不是看山定画山，的应娱老不知还。商量水阔云多处，随意茆茨着两间。墨井道人从上洋归，写于东楼。”钤“吴历之印”白文印、“延陵”朱文印、“墨井”朱文印。\n鉴藏印有“虚斋审定”、“莱臣心赏”等17方。",[24,61,27,626,29,30,63,7,31,4540],"草丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa663103a3f1d07138a071d3f921f0598.jpg","23.2厘米，横28厘米",[],{"id":4545,"slug":4546,"title":4547,"dynasty":295,"author":4548,"museum":260,"description":4549,"tags":4550,"thumbUrl":4551,"material":107,"size":107,"collection":107,"collections":4552,"showCount":217,"zanCount":11,"manualWeight":11,"mainColor":94},234612,"shan-shui-wan-shan-zhang-zhi-wan-234612","山水纨扇","张之万","张之万，字子青，直隶南皮人（今河北省南皮县人）。道光二十七年（１８４７）以一甲一名中进士，授翰林院修撰，咸丰二年（１８５２）出督河南学政，累迁内阁学士，擢礼部侍郎，兼署工部。尝与太常寺卿许彭寿等总结历代帝王及垂帘事迹，汇辑成《治平宝鉴》，以备帝王借鉴自省。同治元年（１８６２），署理河南巡抚，时捻军起义，张之万在河南汝洲、开封等地多次围剿捻军，捷报频传，赏头品顶戴、赐花翎。之后调任江苏巡抚、迁浙闽总督。光绪八年（１８８２）起兵部尚书，调刑部。光绪十年（１８８４）入军机，兼署吏部，光绪十五年（１８８９），授体仁阁大学士，转东阁，赐双眼花翎，并赐用紫缰（清代对于皇室近支和有功勋的官员，特许骑马用紫缰）。光绪丁酉年（１８９７）卒，年８７，赠太傅，谥文达。\n张之万生平襟怀旷远，不见欣戚之色；其在师中，临危制变，不动声色；善于择将，拔张曜、宋庆等于稠人之中，这些将领均以战功显明于世；居政府１３年，让功推能，人尤称其相度。\n世人或知张之万政绩卓著，战功显赫，然其生性儒雅，工书善画能诗也许少为人知。石家庄市博物馆收藏有张之万书画作品数幅，现择取有代表性的两幅与诸君共赏。",[100,24,60,529,61,27,136,7,210,137,30,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d8481e7d89e0da642dc11c5e031fd6b.jpg",[],{"id":4554,"slug":4555,"title":4556,"dynasty":674,"author":482,"museum":260,"description":4557,"tags":4558,"thumbUrl":4561,"material":105,"size":265,"collection":107,"collections":4562,"showCount":217,"zanCount":11,"manualWeight":11,"mainColor":94},231677,"qing-feng-pu-bu-tu-yi-ming-231677","青楓瀑布図","整幅作品以飞瀑为骨，素白留白晕出水幕如银河垂落，撞向滩间黑石，激出层叠浪涛，笔绘水纹精细入微，将奔涌之势跃然纸上。\n\n斜出的青枫缀着翠色，柔化了瀑流的雄劲深峻，暗墨晕染的山壁衬得银练似的水瀑愈发通透。刚柔相衬间，将幽林飞泉的清寂禅意铺展开来，题字落款清雅融于画面，把山野间奔雷般的水势与枝桠垂立的安然相融，尽显东方山水写意的灵韵，藏着对山野幽居之趣的描摹。",[23,24,61,165,26,29,7,4559,4560,138],"青枫","水流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd353240fc86d9ff3f2e1d951b0fe099c.jpg",[],{"id":4564,"slug":4565,"title":4566,"dynasty":674,"author":482,"museum":260,"description":4567,"tags":4568,"thumbUrl":4569,"material":105,"size":265,"collection":107,"collections":4570,"showCount":217,"zanCount":280,"manualWeight":11,"mainColor":94},230521,"fang-gu-shan-shui-ren-wu-fen-ben-shou-ye-jia-cang-tu-juan-yi-ming-230521","仿古山水人物粉本(狩野家藏图卷)","此作用笔清灵秀润，远景山峦以淡墨晕染烟岚，虚实相映，漾着空濛出尘的诗意。近岸急流翻涌，山石皴擦朴拙苍劲，野舟闲泊浅滩，衬出林野的幽寂清旷。\n\n崖畔山居窗内，二人对坐晤谈，为清冷山水晕开一抹人间暖意。作者以淡彩轻点秋树，将隐逸栖居的雅趣融于尺幅间。整卷动静相生，水墨为骨，淡彩辅之，把文人寄情林泉的理想缓缓铺展，笔简意长，尽显萧疏淡远的古典山水意韵。",[23,24,60,82,165,625,85,29,86,63,31,35,30,210,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a7a50f0e0e083ec39fc14796d667cb7.jpg",[],{"id":4572,"slug":4573,"title":4574,"dynasty":674,"author":4575,"museum":260,"description":4576,"tags":4577,"thumbUrl":4579,"material":105,"size":265,"collection":107,"collections":4580,"showCount":217,"zanCount":11,"manualWeight":11,"mainColor":52},230501,"shi-ting-shi-dai-si-ji-shan-shui-tu-xia-xue-zhou-230501","室町时代 四季山水图（夏）","雪舟","雪舟（1420～1506） Sesshū 日本画家。名等杨，又称雪舟等杨。生于备中赤浜（今冈山县总社市）。曾入相国寺为僧，可能随同寺的山水画家周文学过画。作品广泛吸收中国宋元及唐代绘画风范。后被维也纳世界和平大会通过决定公认他为世界文化名人。",[23,24,60,26,61,27,29,30,152,210,63,4467,4578,379,7],"桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e5c2ade0bff3d25429ac2e9dbccb1f0.jpg",[],{"id":4582,"slug":4583,"title":4584,"dynasty":115,"author":2456,"museum":260,"description":4585,"tags":4586,"thumbUrl":4588,"material":107,"size":107,"collection":107,"collections":4589,"showCount":217,"zanCount":11,"manualWeight":11,"mainColor":52},228246,"luo-fu-shan-qiao-tu-zhou-chen-ru-yan-228246","罗浮山樵图轴","一幅中国古画，作者 ，现为 收藏。\n此图画是应当地望族王氏后人的请求而画。\n近景以平房为主体，全用直线，随意交错；远山近树及宽阔溪流的描绘，笔法工致细微。\n于古画中亦为奇格。\n【名称】荆溪图 【规格】轴，绢本，浅设色，纵129厘米 横52.7厘米 【馆藏】台北故宫博物院 石渠宝笈续编重华宫著录， 画荆溪胜景，无名款。\n本画作题跋较多，有倪瓒、周砥、遂昌郑元佑、成都虞堪、王蒙、张经、王光大、陈植、张田、荆南樵人、陆大本、张监等题诗、钤印，鉴藏宝玺八玺全、嘉庆御览之宝、宣统御览之宝，收传印记□□画□、□□□印、一半印不可辨 。\n陈汝言，生卒不详，画家、诗人，字惟允，号秋水，临江（今江西清江）人，随父移居吴中（今江苏苏州）。\n元末明初时期的画家，擅山水兼工人物。\n其山水画法宗赵孟頫、董源、巨然，颇有元人遗意山水画风清润、古雅。\n传世之作《荆溪图》、《百丈泉图》（均藏台北故宫博物院），均图录于《故宫书画集》，《仙山图》、《罗浮山樵图》（均藏美国克利夫兰艺术馆 ）著有《秋水轩稿》。",[23,24,60,26,61,27,29,30,7,31,33,179,4587,341,85],"近石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59cd7beb58ec0a49ebb374be04846481.jpg",[],{"id":4591,"slug":4592,"title":4593,"dynasty":674,"author":482,"museum":260,"description":4594,"tags":4595,"thumbUrl":4597,"material":107,"size":107,"collection":107,"collections":4598,"showCount":217,"zanCount":11,"manualWeight":11,"mainColor":94},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。",[2680,2681,165,29,7,31,30,35,86,120,4596],"水花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c29268bc35bbb814405c3712ecfca34.jpg",[],{"id":4600,"slug":4601,"title":4602,"dynasty":132,"author":482,"museum":260,"description":4603,"tags":4604,"thumbUrl":4605,"material":107,"size":107,"collection":107,"collections":4606,"showCount":217,"zanCount":11,"manualWeight":11,"mainColor":52},223669,"xue-jing-shan-shui-tu-ye-yi-ming-223669","雪景山水图页","此作铺展寒山素裹之境，层峦覆雪，山石棱线硬朗留白缀霜，似凝住凛冬清寒。虬曲枯木错落林间，枝桠积雪斑驳，萧疏间尽显苍劲古拙。山坳里山居隐现，木构廊轩错落排布，窗畔似含淡淡暖意，于冰寒天地晕开一隅烟火温情，静穆底色里暗蕴生机。\n\n画师以干笔皴擦勾勒山石肌理，淡墨晕染铺就雪地留白，虚实相生间尽显冬山空蒙清寂。将荒寒丘壑与幽居雅趣相融，绘就冬日山居的静惬之美，仿若可踏雪穿林，坐看林峦雪色，于冷寂山景中体味悠然避世的澹泊意韵。",[23,24,60,529,61,165,27,29,1006,195,196,30,7,2310],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed0d320b8b831560b39f3f2cf7b4c401.jpg",[],{"id":4608,"slug":4609,"title":4610,"dynasty":132,"author":4188,"museum":351,"description":4611,"tags":4612,"thumbUrl":4613,"material":4614,"size":4615,"collection":107,"collections":4616,"showCount":217,"zanCount":11,"manualWeight":11,"mainColor":52},221891,"za-hua-tu-ce-xi-shi-tu-ye-chen-hong-shou-221891","杂画图册-溪石图页","本册共八开，每开均有作者题跋及款印。所画题材有山水、人物、花鸟，全以工笔写之。山岩之结构，花蝶之动态，人物形象之奇特，均已加入了画家个人之造型意念，精彩绝伦。其中一册，以变形夸张的手法表现古拙奇崛的特征，描写佛教传说中的罗汉拄杖坐于大石上，对面跪拜一人，衣饰长摆，异国情调，突出了装饰性趣味，图页上自题名为“無法可說”，颇具禅机。另一册《玉兰柱石图》，图右侧一太湖石竖立，玲珑剔透，紧靠石下伸出一支玉兰花，石另一侧后面也露出一支海棠花，花上一只彩蝶。画家把握住不同的物象特征进行描绘，湖石的稳重坚硬，衬托出花朵的轻盈柔美，浓重的色调托出了玉兰的洁白。画面层次清晰，设色明丽温和，在线条的表现形式上，均用细劲的墨线勾勒，刚柔相济，巧拙互用，于对比中求统一。\n从署款和绘画风格看，此图是陈洪绶中前期作品，为其代表作之一。",[23,24,60,100,626,165,27,29,34,63,30,86,31,7,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1898512a53945eaeb81e5c56068af5f9.jpg","绢本、设色","纵30.2＊横25.1ＣＭ",[],{"id":4618,"slug":4619,"title":4620,"dynasty":295,"author":482,"museum":235,"description":4621,"tags":4622,"thumbUrl":4623,"material":213,"size":107,"collection":107,"collections":4624,"showCount":217,"zanCount":11,"manualWeight":11,"mainColor":52},219271,"qun-hou-xi-shui-shuang-ping-er-yi-ming-219271","群猴戏水双屏(二)","松枝虬曲如铁，斜逸于空濛山影间，瀑布自崖巅倾泻而下，溅起碎玉似的水花。山石之上，群猴情态鲜活：或相偎亲昵，或探臂戏波，或追逐跃动，灵动身姿与潺潺流水相映成趣。墨色浓淡交错，细致勾勒出猴毛的蓬松纹理与山石的苍劲质感，流水则以婉转线条摹写奔腾之势。古雅绢本的暖棕底色，衬得画面静谧而富有生机，仿佛能闻猴啼与水声相和，尽显自然野趣与生命的鲜活意趣，将山林间的灵动瞬间凝于笔端。",[24,60,26,61,209,27,29,2215,63,7,65,152,600],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd01f16953ecc4f7107f745ae261e1887.jpg",[],{"id":4626,"slug":4627,"title":2165,"dynasty":295,"author":2893,"museum":117,"description":4628,"tags":4629,"thumbUrl":4630,"material":107,"size":107,"collection":48,"collections":4631,"showCount":217,"zanCount":11,"manualWeight":11,"mainColor":4632},202185,"guan-pu-tu-zhou-xiang-sheng-mo-202185","画面以层叠飞瀑为脉络，苍松虬枝横斜，枝干劲挺如铁，松针细密若织。小桥跨于流泉之上，一人安坐凭栏，静赏瀑流奔涌，松风与水声相和。笔墨间，山石以皴擦显嶙峋肌理，瀑布用留白衬灵动之势，水墨晕染出清润空濛之气。整体意境清幽淡远，尽显文人雅士寄情山水的闲适心境，笔墨精妙处见匠心，于简淡中藏深致，将自然之趣与人文情怀融于尺幅之间。",[24,61,29,152,34,7,27,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2af1a7a792af2da76914347d431b1f8.jpg",[48],"ae9f92",{"id":4634,"slug":4635,"title":1732,"dynasty":295,"author":4636,"museum":117,"description":4637,"tags":4638,"thumbUrl":4639,"material":107,"size":107,"collection":48,"collections":4640,"showCount":217,"zanCount":11,"manualWeight":11,"mainColor":4641},201973,"shan-shui-tu-zhou-yong-rong-201973","永瑢","这幅山水图以水墨为基调，笔墨清润雅致。层叠的山石以皴法勾勒纹理，线条劲挺又不失灵动，岩壁间飞瀑垂落，添了几分生机。山脚林木错落，枝叶以淡墨点染，疏密有致；几间屋舍隐于树丛后，若隐若现，更显静谧幽深。整体构图虚实相生，意境悠远，尽显文人山水的淡泊雅致，仿佛让人置身于清幽的山林间，忘却尘嚣。",[24,61,29,27,31,412,7,30,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2192d62200bae7e87d4518378ae704bf.jpg",[48],"bb9c7a",{"id":4643,"slug":4644,"title":4645,"dynasty":295,"author":597,"museum":117,"description":4646,"tags":4647,"thumbUrl":4649,"material":107,"size":107,"collection":581,"collections":4650,"showCount":217,"zanCount":11,"manualWeight":11,"mainColor":4651},201769,"mei-zhu-zhi-ji-tu-zhou-shen-quan-201769","梅竹稚鸡图轴","画面展现寒冬景致，苍劲梅枝虬曲伸展，疏竹点缀岩间，流泉自石上潺潺而下。两只稚鸡立于崖顶，一昂首观物，一俯身啄食，羽毛勾勒细腻，神态鲜活灵动。作者以工笔手法绘就，线条精准流畅，设色淡雅却层次丰富，梅竹的挺秀、山石的浑厚、禽鸟的生动皆跃然纸上。整幅作品动静相谐，于清冷冬景中透出盎然生机，尽显清代花鸟画作的精致意趣与自然之美。",[209,577,1507,436,4648,165,30,7,2787,23],"稚鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febed5b7b28330ee4bb7551c948e53036.jpg",[581],"9e8a71",{"id":4653,"slug":4654,"title":4655,"dynasty":132,"author":761,"museum":117,"description":4656,"tags":4657,"thumbUrl":4658,"material":107,"size":107,"collection":48,"collections":4659,"showCount":217,"zanCount":11,"manualWeight":11,"mainColor":4660},201613,"han-yu-niang-yun-tu-zhou-wu-bin-201613","含雨酿云图轴","画面峰峦奇崛，云雾如缕缠绕山间，似含雨酿云之态。山石以多变皴法勾勒，纹理苍劲，尽显险峻之势；瀑布飞流直下，与林木相映成趣。山间楼阁以界画技法精细描绘，结构严谨，于烟霞中隐现，添古雅之韵。近景孤舟泛于水面，林木葱郁，亭舍错落，传递出文人雅士寄情山水的超脱心境。整幅画设色淡雅，意境清幽，将自然之奇与人文之趣融于一体，尽显画家独特的山水意趣。",[24,29,26,165,195,7,178,27,1773,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92f0111b6fa02fa9ea1fcb52eecb4084.jpg",[48],"c4baa7",{"id":4662,"slug":4663,"title":4664,"dynasty":295,"author":482,"museum":260,"description":4665,"tags":4666,"thumbUrl":4667,"material":107,"size":107,"collection":107,"collections":4668,"showCount":4669,"zanCount":11,"manualWeight":11,"mainColor":52},235667,"yuan-yao-shan-shui-ping-ping-liu-yong-pu-yi-ming-235667","袁耀山水屏-平流湧瀑","此作撷取江南水居之景，远景山峦轻笼烟霭，晕染出空濛悠远之致。山巅双松挺秀如盖，与朱栏山亭相映，山畔飞瀑叠落如碎玉，汇入清溪沿着山涧蜿蜒淌向平湖。\n\n左岸幽轩藏于繁荫翠幄间，与山亭遥遥对坐，凭栏便可尽览天光水色。平湖波平如镜，数艘渔舟静泊水面，将水畔栖居的闲静意趣晕染开来。\n\n画作工写相兼，山石皴擦苍润生姿，林木晕染清润秀雅，设色轻淡柔和，将园林雅致与山水野趣相融，铺展出江南水畔悠然世外的栖居图景，尽显清雅闲逸的诗意氛围。",[100,24,165,27,1773,29,195,63,178,210,34,7,31,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa87a11aea2d5863fd9ee7ef32eededec.jpg",[],11,{"id":4671,"slug":4672,"title":4673,"dynasty":132,"author":4674,"museum":260,"description":4675,"tags":4676,"thumbUrl":4677,"material":107,"size":107,"collection":107,"collections":4678,"showCount":4669,"zanCount":11,"manualWeight":11,"mainColor":52},234490,"shan-shui-shan-ye-yin-shi-234490","山水扇页","殷諟","明清时期，每逢中秋佳节，文人墨客们总会创作许多关于中秋赏月的扇面小品，相互赠予，以表思念团聚之情。",[529,24,60,61,27,29,30,31,7,63,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84869b58427aca239d1b651bb8eab1ba.jpg",[],{"id":4680,"slug":4681,"title":4682,"dynasty":295,"author":4683,"museum":351,"description":4684,"tags":4685,"thumbUrl":4686,"material":182,"size":107,"collection":107,"collections":4687,"showCount":4669,"zanCount":11,"manualWeight":11,"mainColor":94},234197,"fu-chun-tu-juan-shen-zong-jing-234197","富春图卷","沈宗敬","沈宗敬（1669—1735）《清朝画徵录》作雍正三年（1725）卒，清朝书画家笔录从之。字恪庭、南季，号狮峰、狮峰道人、双鹤老人、双杏草堂主人、卧虚山人等，华亭（今松江属上海市）人，沈荃之子。今依历代画史汇传。",[23,24,82,61,29,27,30,31,7,33,210,34,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2aa965d8172e9441cd6e732859da4e7b.jpg",[],{"id":4689,"slug":4690,"title":4691,"dynasty":295,"author":2485,"museum":351,"description":4692,"tags":4693,"thumbUrl":4694,"material":107,"size":107,"collection":107,"collections":4695,"showCount":4669,"zanCount":280,"manualWeight":11,"mainColor":94},233226,"jin-ling-zhu-jia-shan-shui-hua-hui-ce-shan-shui-ye-gao-cen-233226","金陵诸家山水花卉册-山水页","自17世纪初到18世纪上半叶，以南京为中心的江南地区，产生了比历史上任何时代和地区都要多的画派和画家。《明画录》记载的画家有800多人，其中江苏约有370人，浙江占了200多人，两地画家占总数的75%。尤其是执书画坛牛耳者几乎均为江南人。特别是在明清之际，画坛显得异常活跃，在提倡师古的正统派和注重文学意味的文人画这两种绘画思想影响下，文人画家一方面追求自己的个性，同时，师承相同、风格相近者也在各地活动，或聚合一处，倡导变革风气，形成了许多画派，如以松江人董其昌为首的“松江派”，以常熟画家王石谷为代表的“虞山派”，以明末画坛泰斗王时敏之孙王原祁为首的“娄东派”，以梅清为首的“黄山派”等。南京作为江南首府，明代南都的风姿、历史的悠久、山川的秀丽，赢得了诗人画家不绝的歌咏描绘。其文化的昌盛，经济的繁荣，生活时尚的风流，与书画有关的各行业的便利，皇亲国戚、富商大贾和书画收藏家的存在，使其具有磁铁般的大都会的吸引力，孕育出一批本地画家，也将来自四面八方的艺术家凝聚一起，各派画家聚合会晤，或过往相从，使南京自然成了这种时代潮流的汇合处，产生了为史所称的以“金陵八家”为首的一批画家，以其令人瞩目的创作纵横画坛一个世纪之久。\n\n一、金陵艺术家和金陵八家\n金陵的画坛，自14世纪明初建都至16世纪中期，在明代皇室的偏爱下，先由浙派画家领风气之先，承继北宋以来范宽式的布置茂密、山势伟岸巨嶂山水的整体构图，运用大斧劈皴和墨汁淋漓、快速运笔而形成强劲粗放笔墨效果的所谓浙派绘画，得到明皇室贵族的青睐。自永乐初浙派第一代实力人物戴进到达南京，随后有第二代浙派画家吴伟于1475年挟画技到南京，17岁的小伙子很快便以其笔墨酣畅、雄气横发、纵笔挥洒的绘画风格，受到了金陵贵族的喜爱。吴伟曾与诸王孙交游甚欢，年年踏春杏花村，而吴伟所喜爱的狂欢剧饮、挟妓喧闹以刺激绘画创作的方式，也在著名的秦淮河上得到了实现。继吴伟之后，第三代的浙派画家活跃于金陵的有蒋嵩、张路、汪肇等。\n自16世纪始，由于南京文化界中文人士大夫升为主流，其品味的改变，逐渐导致对绘画品味的改变，意趣深秀、若有所寄的以沈周和文徵明为首的吴派文人山水画影响渐大。随着金陵当地文人的兴起，至嘉靖中期，开始了“金陵初盛之时”，许多来自苏州、华亭的文人和因宫廷政治斗争中被贬谪的保守派成员离开北京至南京，形成一些凝聚力极强的文士集团，互相唱和。这批自居清流的士大夫对艺术的见解，也因政治、历史的原因，而产生一种不愿妥协现实，而以私人化“遣兴”于书画的形式作为一种对自尊的维护和对现实的抗议，故以吴派为代表的文人山水画得以兴盛，而浙派在其大本营的金陵，终因文人文化势力的高涨，而终于完全失去了势力，由此开始了中国文人画的高峰。\n16世纪，南京云集了本地和来自各地的画家，1669年，龚贤曾在周亮工所集《名人画册》上题曰：“今日画家以江南为盛，江南十四郡以首郡（南京）为盛，郡中著名者且数十辈，但能吮毫者奚啻千人”，享有画名的许多画家如文徵明、徐渭、董其昌、石谿、石涛、程正揆等，或造访、或游历、或寓居，都与南京有关。史称的金陵八家，亦有大半为外地来南京寓居者，因此使画家们相互间的学习、切磋和激励也有了许多机会。例如，龚贤自少年时便师董其昌，与石谿、石涛和程正揆等画家都有交往，也与金陵画家共同作画。据记载，1679年，龚贤便与邹喆、吴宏、樊圻、高岑、高遇、王概、柳堉、谢荪一起为伴翁作《山水花卉册》（故宫博物院藏）。画家程邃也在一个手卷的题跋中记述其与吴宏、戴本孝、龚贤、柳堉等常常饮酒论画的友情。\n南京得以凝聚画家的原因，首先与南京作为东南大都会所具有的吸引力和悠久的文化传统有关，并且在明亡后，南京又作为明代故都和故国之象征，从心理上和精神上凝聚了一代遗民艺术家；其次，从艺术的发展来看，因其为大都会，得以广纳百川、融会诸家，较少门户之见，虽然也许不易产生如小城镇所易形成的因血缘和师徒关系为主的派别，但却利于艺术家自由追求和发展其个性和风格；此外，南京为贵戚、富商、高官汇聚之地，有相当的收藏书画的潜力，例如当时著名的官僚、文人和收藏家周亮工，身为朝廷命官，但心喜书画，他不遗余力地收藏品评作品，奖掖提拔画家，也像一块重要的磁铁，将画家们纷纷吸引前来。龚贤在1669年为周亮工题其所集《名人画册》中曾有记述：“诗人周栎园先生有画癖，来官兹土（指南京）结读画楼。楼头万轴千箱，集古勿论，凡寓内以画鸣者，闻先生之风，星流电激，唯恐后至。而况先生以书召，以币迎乎？”周与许多书画家来往密切，他在南京秦淮河畔的居处便成为众好友的活动中心。为史所称的“金陵八家”都与周亮工有密切的联系，龚贤便为其府上的常客，周氏汗牛充栋的藏书藏画使他大饱眼福。龚贤与周亮工有将近20年的友谊，诗画唱酬，造访论道，不绝于时。1672年，周亮工卒，龚贤悲痛地作有《哭栎下先生》七律四首，有句云“哭公独我头全白，在世人谁眼更青”。其他如樊圻在丁酉年（1657）为周亮工而作《江浦风帆图卷》（辽宁省博物馆藏），叶欣在丁亥年（1647）为周亮工而作《山水册》（故宫博物院藏），高岑作《金陵四十景图》，由周亮工题跋，邹喆亦与周亮工诗画 往来。\n凭着对南京画家的了解，周亮工对南京画风的演变和发展曾提出一些观点：“秣陵画，先知惟魏考叔兄弟，翰之出，而秣陵之画一变，士夫衲子无不宗之。”继被视为金陵画派先驱人物的魏之璜（字考叔）、魏之克兄弟和朱翰之后，又由周亮工率先提出“金陵八家”一说，他所列名的八位画家为：陈卓、吴宏、樊圻、邹喆、高岑、武丹、蔡泽、李又李。然而认同者仅有乾隆年间成书的《上元县志》，稍后活动于雍乾时期的张庚，在《国朝画徵录》中合称龚贤、樊圻、高岑、邹喆、吴宏、叶欣、胡慥、谢荪为“金陵八家”，得到较多人的认可。清末秦祖永的《桐荫论画》、李浚之的《清画家诗史》等均主其说，虽然这八家并不一定代表当时知名度最高的画家，且因其师承不同，风格迥异，也难以简单地以“画派”一词来归纳，但这一个松散的画家群体，都有着相近的生活经历和思想感情，在动荡的明清之际，有亡国之痛，有忠君之义，不事新朝，遁迹山林，以诗画寄兴，虽然个性各异，但都安贫乐道，洁身自好，在当地享有“高士”之名，彼此间亦有诗文书画往来，并有共同的朋友圈子相交往。他们之间也有较多共同的创作思想，如借绘画抒写真情，不拘于派系之争，不论浙派吴派，善法必学，故能自辟蹊径，标树己风。在笔墨技法上也有相似之处，如常用硬直之笔，作整饬的线条，画面结构清晰，注重笔墨的整体感，讲究墨色的对比和映衬等，在作画题材上多以南京近郊山水为粉本，均表现出一种简朴平实的绘画风格，由此形成17世纪金陵山水画的独特 面貌。\n\n二、17世纪金陵山水画的文化特征\n金陵画家所创的山水画，具有比较鲜明的地方特色。首先是表现了南京及附近的山水特点。南京虽然为青山环绕，但基本上是以小山头为主的丘陵地带，钟山最高峰也不过海拔442米，然而山色秀美苍润。时人顾起元曾赞叹道：“金陵之山，形家言为南龙尽处，精华之气发露无馀，故其山多妍媚，而郁纡烟容岚气，遝翠霏青，望之如古佛顶上之螺，美人眉间之黛，而特未有奇峰削壁拔地刺天，如瑶篸玉剑突起于云霄之上者。江水一泻千里，沙腾浪涌，天日为昏，最为怪伟。至静夜无风，江声隐起，余尝夜卧洪济燕矶听之，汹汹如欲崩四壁也。后湖泓渟坦沲，堤杨洲菼，绰约媚人，山色四围，如靓妆窥镜。湖山之美，何减虎林。所少者独瀑布与寒泉耳。”金陵画家创作的山水便多以此山景水色为蓝本，起伏的丘陵，苍秀的林木，而北方的那种雄浑伟岸的大山大势则比较少见。第二是南京连接江南水乡，河湖港汊较多，行船泊舟，最是司空见惯，故画家笔下江汀舟楫之景多见，岸矶草亭也成了常见的景色。第三，江南的空气湿润，云雾时起于山林，烟霭常生于河湖，尤其南京冬天昼夜温差有异，水面易生烟气，夏天炎热闷湿，暑气常多漫漫，又似薄雾轻烟，与天相接。在诗人画家的笔下，这氤氲的云烟是别饶情趣的。唐代诗人杜牧在《夜泊秦淮》中歌咏道“烟笼寒水月笼沙”，罗隐在《金陵夜泊》中歌咏“冷烟轻淡傍衰丛”，明代诗人顾梦游则有诗句道“落日淡生烟”，龚贤有诗道“老柳迷夕阳，烟波涨南浦”。画家笔下的金陵山水因此亦多云烟缭绕之状，几乎每个画家都有描绘，其表现或柔和或飘逸或湿润或轻扬，因景因情，因画家的感受不同而富于变化。第四，金陵山水中表现当地特色的景物较多见，例如：钟山的松树。据记载，钟山自东晋时便人工植松，宋代也曾种植，明代在钟山建造明代开国皇帝太祖朱元璋的孝陵，更是植松十万株。钟山青松便成为此一时期常见的山水画题材。第五，金陵山水画中有许多表现了当时文人生活时尚和爱好的内容，如山居、书屋、旅行、品茗、赏妓等，因南京为一著名的山林城市，这些反映时尚的画面也大多安置在秀丽的自然景观中。\n金陵山水画中也映现出浓重的怀旧情结。南京以名胜古迹、文化遗风和风流时尚著称，其处处可成为触景生情的诗、落笔成文的画。在诗人墨客的笔下，金陵怀古是一个永恒的题材，尤其是六朝的名胜典故，更是一个千古难解的情结，令一代又一代的文人陶醉。自唐代以来，诗人李白、杜甫、李商隐、刘禹锡都有著名的诗句传世，此后历代的诗人都不乏佳句。明末清初的文人诗作中或金陵山水画中若题有诗歌的，常常都会流露出这种对以往历史的追怀，六朝的名胜典故总像幽灵一样地在文人的诗画中徘徊。龚贤曾作《金陵怀古》二诗道：“短笛唤愁生，江船夜复清。月明争战地，潮打受降城。残柳欲无影，哀鸿只一声。石矶飞不去，凄绝古今情。”以西晋克吴、孙皓受降的六朝典故，抒发自己亡国的哀痛情怀。又有诗道：“江南六代风流地，白下多年翰墨场。古物已无王逸少，名人独剩顾长康。量宽嗜酒难逢醉，才大论诗莫禁枉。急办青钱买山隐，坐听深树候莺簧。”诗中综述六朝的文化和影响，表现出对王羲之、顾恺之等名人和六朝饮酒论诗等风流时尚的倾慕追往。\n即使那些暂居或游访过南京的画家，对南京也是难以忘怀。17世纪的著名画家石涛曾有册页名《秦淮忆旧》，为应友人之邀而作，回忆昔日与友人同在南京秦淮赏梅聚会的往事，亦引用六朝典故，其中一幅题画诗道：“沿溪四十九回折，搜尽秦淮六代奇。雪霁东山谁著屐，风高西壑自成诗。应怜孤瑟长年伴，具剩槎矛只几枝。满地落花春未了，酸心如豆耐人思。”六朝的文化，就像是一种范式，在明末清初的文人心中反复地出现和被吟咏，足见这种历史怀旧情结的坚韧。\n其三，金陵山水画反映出强烈的热爱故乡的情怀。17世纪，以地方景色为题的山水画比较流行，例如南京博物院收藏有明代宋懋晋的《江南十八景图册》、吴县一带的画家以虎丘山为题的绘画等，是文人画走向社会的表现，也是市民文化发达的结果，而以金陵风景名胜为题的山水画尤其突出。南京人爱恋故乡的强烈和真挚的程度是其他古都历史上所少见的。早在六朝之初的孙吴时期（甘露元年，265年），当吴末帝孙皓由建邺（今南京）迁都湖北武昌，百姓便有童谣道：“宁饮建邺水，不食武昌鱼。宁还建邺死，不止武昌居。”这种不计生死的眷恋，只得让吴帝于次年还都建邺，这在中国历史上恐怕也是绝无仅有的。另一个著名的例子是南唐后主李煜在被宋人俘获北上后，所作诗词中透露对故国山河的深深怀念，令人愁绝痛绝，“恰似一江春水向东流”，是超越时空界限的永远的伤怀。明清之际，金陵八家中，除樊圻和胡慥为本地人外，其余都为外地或郊县寓居南京的画家，但都表现出对南京的情有独钟，书画署名喜用“石城”“金陵”等南京的古称，将自己称作南京人。金陵八家之首的龚贤虽然自昆山移居南京，但对南京的感情很深，视南京为家，在外的奔波使他愁苦伤怀，“身老愁为客，迢迢返旧京”，亟盼着早些回到南京，并把南京选作自己最终的生活地点。明亡后，当他与友人费密同游金陵胜景，登上石头城，遥望长江，触景生情，激起了满腔难平的民族意识，遂发出“橐驼尔何物，驱入汉家营”的悲愤呼号。这种热爱故乡，热爱南京的情感，在艺术家们的笔下便诞生了金陵山水的另一种表现形式—“金陵四十八景”，将金陵的历史典故，风景名胜以山水画的形式和诗歌的吟诵来表现，并借着雕版印刷的简便，而得到雅俗的共赏。\n《金陵四十八景》的形成约在清代初年，其他则先后有零星的以金陵景色为题的书画，较为人知者如《金陵八景》《金陵十景》《金陵十八景》《金陵二十四景》《金陵四十景》等。《金陵八景》据画末题跋可知，作于万历庚子年（1600）春月，为江宁人郭存仁所绘，“八景”为“钟阜祥云、石城瑞雪、凤台秋月、龙江夜雨、白鹭晴波、乌衣晚照、秦淮渔唱、天印樵歌”，一图一咏，多基于六朝以来的历史典故和著名诗作。《金陵十景》，据《石渠宝笈续编》记载，是吴派画家之首的文徵明，在游览了金陵山水名胜后所作。《金陵十八景》为文徵明的侄子文伯仁（1502-1575）所绘，他号称摄山老农（摄山即今栖霞山），曾居住在南京，为金陵美丽的风光所感动而绘此图册。《金陵二十四景》，据1956年在湖南省长沙市发现的文物，是由文学家吴敬梓（1701-1754）所写《金陵景物图咏》，每篇诗末都注明所仿的碑帖，诗句工整，对南京的历史了如指掌。《金陵四十景》为太史朱之蕃所作。朱之蕃，江宁人，字元竹，号兰嵎，万历二十三年（1595）进士第一，工山水画，注意收集家乡江宁的山水名胜资料，“共得四十景，属陆生寿柏策蹇浮舫，躬历其境，图写逼真，撮举其概，各为小引，系以俚句”。图咏成后，朱之蕃命名为《金陵四十景图考诗咏》，并与当时的另一位太史杜士全常在金陵雅游，相互凭图咏唱。清初，金陵八家之一的高岑，字蔚生，虽老家在杭州，客居南京，但也倾心相爱这个城市，常署名“石城高岑”，平时也注意收集南京的历史资料，遍游南京的风景名胜，并在前人研究金陵胜景的基础上，精心绘制了《金陵四十景图》。清户部右侍郎、著名文人周亮工（1612-1672）为该图册写了题跋，这些图以后被刊入康熙年间的《江宁府志》。清代初年，又发展成为“金陵四十八景”。\n金陵画家包括八家的山水画中，亦有许多以金陵胜景为题的作品，甚至几代画家都钟情于此，父子者如邹典、邹喆，便都介入这一题材的创作。美国学者高居翰的景元斋收藏的《晚明人山水册》，共有10页，为不同的画家所绘，但都以南京的景色为题，如魏节“燕子矶”、黄益“献花岩”、龚达“龙江关”、谢成“幕府台”、龚贤“清凉台”、黄益“鸡笼山”、盛于斯“天阙山”、陆瑞征“玄武湖”、邹典“灵谷”、张翀“报恩塔”。又如，龚贤有《摄山栖霞图》《清凉环翠图》（故宫博物院藏），其他的金陵画家：樊圻有《江浦风帆图》、高岑有《天印樵歌图》（天津艺术博物馆藏），描绘南京附近天印山的景观，邹喆有《石城霁雪图》（上海博物馆藏），描绘南京的雪景，叶欣作《锺山图》（故宫博物院藏），描绘南京这一名山的景色。樊圻的《金陵寻胜图》，按照画后的题跋来看，应当还有吴宏的“燕矶”“莫愁”，龚贤的“清凉”“摄山”，陈卓的“天坛”“冶城”，柳堉的“天印”等画，皆是依金陵名胜的各景点而作的命题画。\n更难能可贵的是，柳堉在樊圻所绘的《金陵寻胜图卷》的题跋中还记载了当时南京人收藏金陵山水画，并以邀得名家作此命题画为荣的风尚，被视为金陵胜事，并引用一句“唯有家山不厌看”的古诗来解释这种特殊的现象。虽然这些地方山水画的繁荣或许与商业有一定的关系，但这种来自社会的热情要求和支持，足见南京人对自己故乡的热爱，这确实也是促使17世纪金陵山水画发达的原因之一。\n总之，以金陵八家为首的金陵画家，虽然各有师承，面目不一，但都能深入生活，以金陵近郊的山山水水为其粉本，融六法之精髓，入天然之丘壑，将热爱故国故乡的一腔真情和满腹怀恋都倾注于山岚变幻、草木蔚然的山水画中，故使金陵山水画独树一帜，在17世纪的画史上留下了辉煌的一页。古人道：诗为心声，画为心印，书为心画。明末清初的17世纪，金陵画家们所具有的独特艺术面貌，正是由特定的历史文化环境所造成的，从画家们无限的伤心和满怀勃郁的精神气质升华而来。那种强烈的民族意识和爱国情结，正是金陵画派山水作品内涵的共鸣、精神的统一和灵魂的所在。一位西方学者曾指出，南京是中国古都中最引人注目的城市，因为她曾经是并将永远是中国最令人怀旧和动情的城市。确实，那千古的金陵历史，千古的诗泉画源，千古的文人之魂，正是17世纪南京文化艺术繁荣的历史基因，也正是她的永恒魅力所在。",[24,61,27,626,29,30,31,152,7,238,4016,179,196,34,63,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F449593877e596f876b9b25838d1ec1e9.jpg",[],{"id":4697,"slug":4698,"title":4699,"dynasty":295,"author":4700,"museum":260,"description":4701,"tags":4702,"thumbUrl":4703,"material":107,"size":107,"collection":107,"collections":4704,"showCount":4669,"zanCount":280,"manualWeight":11,"mainColor":52},230918,"bi-hu-zhu-shu-tu-shang-guan-zhou-230918","闭户著书图","上官周","此作用高远之法铺展画面，主峰奇崛危耸，皴笔苍劲老辣，勾勒出山岩瘦硬嶙峋的风骨，烟云轻笼山间，衬出幽谷空寂。下方山居隐于松竹之间，堂内文人凭窗凝思，沉心著述，周遭流泉、奇石环合，将幽居雅静之境铺陈开来。\n\n右上角题诗呼应幽隐主题，笔意苍秀兼具，把山林雄浑气象与闭门潜修的文人意趣相融，尽显出世忘俗的林下风流，是文人寄情林泉、醉心笔墨的心境写照。",[23,24,60,26,165,27,29,152,30,7,63,195,412,86,31,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F687ba4930841677cb3b5816f725bdc2f.jpg",[],{"id":4706,"slug":4707,"title":4708,"dynasty":674,"author":482,"museum":260,"description":4709,"tags":4710,"thumbUrl":4719,"material":105,"size":265,"collection":107,"collections":4720,"showCount":4669,"zanCount":11,"manualWeight":11,"mainColor":94},230488,"fu-shi-hui-125-yi-ming-230488","浮世绘125","浮世绘，也就是日本的风俗画，版画。它是日本江户时代（1603～1867年间，也叫德川幕府时代）兴起的一种独特的民族艺术，是典型的花街柳巷艺术。主要描绘人们日常生活、风景和演剧。浮世绘常被认为专指彩色印刷的木版画（日语称为锦绘），但事实上也有手绘的作品。\n从其绘画素材看，70%以上内容是妓画（暂称为“美人画”）和伎画（暂称为“艺人画”），也就是说，作品主角是娼妓和艺伎，女性，裸体，性感美，色情是其标志性特征。用现代艺术眼光看，可算“人体绘画艺术”，其中的大胆的性爱题材引起注意，成为古代东方一种人本主义的新研究方向。在日本，存在着对这类作品的争议，也有的认为是乐而不淫，肯定其价值。\n浮世绘的艺术渊源，一来自绘画，师承了中国的“春画”，房中术绘画也；二来自文学，浸染了“浮世草子”（草子：小说），西鹤《好色一代女》、《好色一代男》和近松《曾根崎情死》、《情死天网岛》等等，是文学“浮世写”直接彰显，主题和题材无非色情和妓女（当然，文学价值与作品题材并非正比例关系）。\n因此，“浮世绘”是一个绘画艺术的专有名词，有其特定的内涵外延。印象派大师如德加等也受到浮世绘的感染，模仿当时日本的出口商品的包装的风格创作了不少绘画。近现代西方人体绘画艺术借鉴了日本“浮世绘”主题和技法，这是积极的方面，有着艺术审美的价值。\n望文生义的理解“浮世绘”，想当然的以为就是关于尘世风俗的绘画，类似于《清明上河图》那种风俗画。再扩大到文学领域运用这个专有名词，泛化为关于尘世风俗的描写，则偏离约定俗成的语义越来越远，差不多等于是错别字了。搞绘画的人很难接受这样的定义，日本人当诧异一个日本词汇出口到中国以后居然发生了那么大的歧义。",[2680,2681,165,7,31,30,63,86,87,839,542,4711,1933,4712,4713,4714,4715,4716,4717,4718],"浴场场景","山石景观","人物活动","传统建筑","自然景观","彩色版画","线条勾勒","色彩渲染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadb8451450e532362118b932c616a263.jpg",[],{"id":4722,"slug":4723,"title":4724,"dynasty":132,"author":2374,"museum":260,"description":4725,"tags":4726,"thumbUrl":4727,"material":107,"size":107,"collection":107,"collections":4728,"showCount":4669,"zanCount":11,"manualWeight":11,"mainColor":94},228910,"tian-dou-xiao-ri-tu-ding-yun-peng-228910","天都晓日图","此作全景铺展山岳胜境，远景群峰刺破晓雾，朝日晕染出暖红云色，嶙峋峰峦间银瀑垂落，汇入翻涌云海。中下部以苍劲笔法绘虬松怪石，古松盘曲交错，松针层叠蓊郁，谷中流云如浪，晕出缥缈仙气。溪涧蜿蜒穿林，文士临流闲坐，幽意悠然。\n\n画作工写兼备，设色清雅沉稳，山石勾勒皴擦尽显苍朴质感，云霞以卷云法绘就柔润灵动，既撷取黄山奇崛之态，又融入文人隐逸山居的雅趣，是明代山水画里实景写生与抒情写意相融的精妙之作。",[23,24,26,29,165,209,27,136,7,461,152,33,86,31,35,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10a01ea600daad7995372d79e13f6114.jpg",[],{"id":4730,"slug":4731,"title":4732,"dynasty":18,"author":4733,"museum":260,"description":4734,"tags":4735,"thumbUrl":4737,"material":107,"size":107,"collection":107,"collections":4738,"showCount":4669,"zanCount":11,"manualWeight":11,"mainColor":52},227957,"tian-tai-shi-qiao-luo-han-tu-zhou-chang-ji-lin-ting-gui-227957","天台石桥－罗汉图","周常季、林庭珪","此作画境清寂出尘，飞瀑垂泻于危崖之间，古木横生为桥，连通绝险山径。下方三罗汉神态各殊，或抬首凝神远望云端仙侣，或侧身静听，衣纹以铁线描勾勒，敷色调和古雅，将僧者的肃穆憨态刻画入微。\n\n远景云气翻涌，琼楼半隐烟岚，虚实相映衬出凡尘寻仙的幽远意境。画作将禅意融于山水丘壑，人物点缀林泉之间，罗汉的沉静好奇与云山缥缈相融，尽显清逸禅韵，把世外寻仙的悠远意趣藏于笔墨之中，雅致空灵，余味悠长。",[23,24,100,60,165,209,786,86,29,30,7,4736,35],"古木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd599052eea77d54ae9e6e164b8670b7.jpg",[],{"id":4740,"slug":4741,"title":4742,"dynasty":18,"author":78,"museum":260,"description":4743,"tags":4744,"thumbUrl":4745,"material":107,"size":107,"collection":107,"collections":4746,"showCount":4669,"zanCount":11,"manualWeight":11,"mainColor":52},227603,"wo-long-shan-tu-san-li-gong-lin-227603","卧龙山图三","李公麟（1049～1106），舒州(今安徽桐城)人，宋代杰出画家。字伯时，号龙眠居士，享年五十七岁。熙宁三年（公元1070年）进士。李龙眠即李公麟，字伯时，安徽桐城人，因桐城县北有一龙眠山，李公麟曾长居于山下，所以又自号龙眠居士或龙眠山人。\n\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。长于诗文，行楷书有晋人风。与王安石、苏轼、米芾、黄庭坚为至交，系驸马王诜之座上客。熙宁三年（1070）中进士，为中书门下省删定官，后官至朝奉郎。元符三年（1100）病痹告老，居家乡桐城龙眠山，号龙眠居士。一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。人物、道释深得吴道子旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。",[23,100,24,60,365,165,27,29,7,86,65,31,33,354],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86cf7dfa3ac26e73c0d8e4ff415bef90.jpg",[],{"id":4748,"slug":4749,"title":4750,"dynasty":115,"author":482,"museum":20,"description":3972,"tags":4751,"thumbUrl":4752,"material":1529,"size":3975,"collection":107,"collections":4753,"showCount":4669,"zanCount":11,"manualWeight":11,"mainColor":52},223407,"tai-xing-xue-ji-tu-zhou-yi-ming-223407","太行雪霁图轴",[23,24,26,165,27,29,1006,30,196,7,86,1418,63,65,4270],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe095a1bc944a9d299c160ca73f1ffd9a.jpg",[],{"id":4755,"slug":4756,"title":4757,"dynasty":132,"author":4758,"museum":20,"description":4759,"tags":4760,"thumbUrl":4761,"material":1062,"size":4762,"collection":107,"collections":4763,"showCount":4669,"zanCount":11,"manualWeight":11,"mainColor":52},222443,"chun-shan-tu-zhou-lin-guang-222443","春山图轴","林广","溪山深邃处。临水筑榭。青松卓然高立。山坳处。春花怒放。士人于此静坐。享受着无限的春光。此图用笔方劲。以刚硬之气。画妩媚春景。亦别具一格。\n林广（明末清初），广陵人，是久居金陵的职业画家。山水、人物初学宫廷画家李在（？-1431）与蓝瑛，居金陵后，融入了金陵画派地域画风的时潮，发展出典型的金陵面目。作为职业画家，林广的绘画能力很强，金陵各种风格都有涉猎，既有类似吴宏、高岑一路的山水风格，亦有接近武丹的面目（《上元县志》版“金陵八家”即有武丹）。",[100,24,60,26,61,27,29,389,30,31,7,238,354,86,4329],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F117261838ffba9ce00a6cadb6ef82d48.jpg","182.8x103.8厘米",[],{"id":4765,"slug":4766,"title":4767,"dynasty":132,"author":4768,"museum":20,"description":4769,"tags":4770,"thumbUrl":4771,"material":165,"size":4772,"collection":107,"collections":4773,"showCount":4669,"zanCount":11,"manualWeight":11,"mainColor":94},222320,"qian-li-jiang-cheng-tu-juan-1-zhou-long-222320","千里江程图卷-1","周龙","周龍（明熹宗天啟一年（1621））",[100,24,60,82,61,27,29,31,7,30,35,63,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a5e82d606bd4790ed080e73a7e5d886.jpg","该幅32.2x825.7厘米，隔水一11厘米，隔水二10.4厘米",[],{"id":4775,"slug":4776,"title":4777,"dynasty":295,"author":4128,"museum":351,"description":4778,"tags":4779,"thumbUrl":4780,"material":213,"size":4781,"collection":107,"collections":4782,"showCount":4669,"zanCount":11,"manualWeight":11,"mainColor":52},219139,"yang-zhou-si-jing-tu-ping-liu-yong-pu-yuan-yao-219139","扬州四景图-平流涌瀑","这组画屏是袁耀晚年的佳作，所绘为南京北郊的到处名胜景区，均为写生之作。 “春台明月”绘一派怡人春色，湖岸枝头新绿，垂柳依依，用笔细润秀媚，设色典雅。“平流涌瀑”画夏日高树掩映，茂茂森森，以独特的落墨点染，华滋苍润。“万松叠翠”写秋时寂寥之意，构图平远、空明，远景山石以简笔勾勒，林木萧疏，只有常青的柳树依然叠翠。“平岗艳雪” 绘冬季大地覆雪，老梅独立，神态潇洒，枝干用笔老练苍劲，再以胭脂、白粉点染敷色。画家将瘦西湖两岸的亭台楼阁、名园胜景置于春夏秋冬四季的大自然中，以特色界画的娴熟技法把扬州曾经“两堤花柳全依水，一路楼台直到山”的繁盛景象真切形象地展现在观者面前。",[23,24,100,60,1773,165,29,195,63,7,210,31,1600,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc653a6bdb7a5f3f5ea8cd089f68aff1.jpg","纵57厘米，横66.1厘米",[],{"id":4784,"slug":4785,"title":4786,"dynasty":295,"author":350,"museum":117,"description":3946,"tags":4787,"thumbUrl":4788,"material":276,"size":3949,"collection":107,"collections":4789,"showCount":4669,"zanCount":11,"manualWeight":11,"mainColor":94},216982,"fang-song-yuan-shan-shui-ce-5-wang-jian-216982","仿宋元山水册-5",[23,24,399,1261,165,27,61,136,326,34,31,152,238,877,7,65,341],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F869a411b8f05c5295dbd50546c1ce7f4.jpg",[],{"id":4791,"slug":4792,"title":4793,"dynasty":295,"author":350,"museum":235,"description":4794,"tags":4795,"thumbUrl":4796,"material":276,"size":107,"collection":107,"collections":4797,"showCount":4669,"zanCount":11,"manualWeight":11,"mainColor":94},215016,"fang-gu-shan-shui-ce-13-wang-jian-215016","仿古山水册-13","王鉴（1669-1725）是清朝时期著名的画家，以其精湛的仿古山水画而闻名。王鉴出生于江苏省，自幼便对绘画有着浓厚的兴趣。他从小就开始学习绘画，后来在北京的私塾深造，并在考试中取得了优异的成绩。\n\n王鉴的仿古山水画以其精细的笔法和优美的构图而著称。他的画作经常使用细腻的线条和深浅不一的色彩来表现山水的美感。王鉴的作品常常充满了沉静、凝重的气氛，能够让人感受到中国古代山水画的韵味。\n\n王鉴的仿古山水画在当时广受欢迎，并且被广泛收藏和传承。他的画作经常被收录在仿古山水册中，并被视为中国古代山水画的经典之作。王鉴的画风对后代画家也产生了深远的影响，被认为是清朝时期仿古山水画的代表人物之一。",[23,24,61,27,625,626,29,31,30,33,238,7,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffff0a327c7574c7a82bd7738402c35c8.jpg",[],{"id":4799,"slug":4800,"title":4801,"dynasty":295,"author":2433,"museum":260,"description":4802,"tags":4803,"thumbUrl":4804,"material":107,"size":107,"collection":107,"collections":4805,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":94},238235,"shan-jing-ri-zhang-tu-ce-zhang-yu-sen-238235","山静日长图册","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》。",[24,165,27,626,29,210,436,63,86,137,7,65,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8eb87917cc8e4bd3c1e2cc295c8f548a.jpg",[],{"id":4807,"slug":4808,"title":4801,"dynasty":295,"author":2433,"museum":260,"description":4802,"tags":4809,"thumbUrl":4810,"material":107,"size":107,"collection":107,"collections":4811,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":1946},238233,"shan-jing-ri-zhang-tu-ce-zhang-yu-sen-238233",[100,24,60,626,165,29,27,195,34,63,31,30,7,210,2589],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dee0f1c9c19b2e448314352461182f0.jpg",[],{"id":4813,"slug":4814,"title":4169,"dynasty":295,"author":4815,"museum":260,"description":4816,"tags":4817,"thumbUrl":4818,"material":107,"size":107,"collection":107,"collections":4819,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":94},237868,"shan-shui-tu-ce-jin-xue-jian-237868","金学坚","字成峰，秀水（今浙江嘉兴）人。王翚弟子，山水初宗元人，从参宋法，笔意古健，布局极为绵密。贫而能守，不为豪势所屈。《国[清]朝画征录》",[100,24,60,626,165,639,27,29,63,7,210,195,31,30,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64517cd7ee2952962838567eedf10546.jpg",[],{"id":4821,"slug":4822,"title":2821,"dynasty":295,"author":2718,"museum":351,"description":4823,"tags":4824,"thumbUrl":4825,"material":819,"size":107,"collection":107,"collections":4826,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":94},237189,"shan-shui-ce-sun-yi-237189","孙逸(1604—约1658) ，字无逸，号疎林，亦号石禅，明朝末清朝初海阳（今安徽休宁）人，与萧云从齐名，合称孙萧，与弘仁、汪之瑞、查士标为新安派四大家；字仲举。",[24,165,27,626,29,31,30,7,63,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc0a71d69b81b3eb593f0c14c2772351.jpg",[],{"id":4828,"slug":4829,"title":4830,"dynasty":295,"author":482,"museum":260,"description":4831,"tags":4832,"thumbUrl":4833,"material":107,"size":107,"collection":107,"collections":4834,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":94},235675,"mei-qing-bai-long-tan-tu-zhou-yi-ming-235675","梅清白龙潭图轴","此作以危崖飞瀑为骨，苍松虬枝为魂。高远构图铺展层叠山势，老松古干敷色褐金，松针攒簇如墨团，奇崛苍劲，扎根崖壁间尽显傲岸生机。白龙潭飞瀑破壁而出，从层岩间奔涌倾泻，水雾蒸腾漫上山谷，晕染出氤氲空濛的清幽意境。\n\n右下角崖顶立红衣高士，凭栏观瀑，渺小身影衬出山峦空阔辽远，暗合观照山水、澄怀味道的文人心境。笔墨苍润兼具，以水墨晕染流云雾气，勾勒皴擦写尽山石肌理，题诗佐景，将出世之思融于丘壑之间，尽显山水间的超尘禅趣。",[24,60,26,61,165,29,7,152,86,35,30,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d3f8912653273167c09890b0c1d1fcc.jpg",[],{"id":4836,"slug":4837,"title":2821,"dynasty":295,"author":1566,"museum":351,"description":4538,"tags":4838,"thumbUrl":4839,"material":463,"size":4542,"collection":107,"collections":4840,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":94},235018,"shan-shui-ce-wu-li-235018",[24,60,626,61,27,29,34,63,31,30,7,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9497d85d651bdc314e42e380565f3109.jpg",[],{"id":4842,"slug":4843,"title":4844,"dynasty":295,"author":1659,"museum":351,"description":4845,"tags":4846,"thumbUrl":4847,"material":819,"size":4848,"collection":107,"collections":4849,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":94},233440,"huang-shan-tu-ce-mei-qing-233440","黄山图册","黄山位于安徽省南部，歙县西北，山脉绵延三百余里，拥有72峰，以奇松、怪石、云海、温泉“四绝”名闻于世。清初安徽地区的著名画家弘仁、梅清、石涛等多以黄山奇景入画，形成了“黄山画派”。其中，梅清笔下的黄山以气势取胜，不同凡响。\n这套《黄山图》册是梅清晚年的精心之作。全册共八开，分别绘天都峰、莲花峰等黄山８景，或孤峰千仞，或云海茫茫，或苍松蔽日，或雄关峻岭，景色各异，气象万千。梅清画黄山之法有三，一以线条勾勒为主，二以墨色渲染为重，三是融勾勒与渲染为一炉。此图册便是采用第三种方法绘制而成。\n梅清的山水画远承宋元诸家的遗绪，近学“元四家”和沈周的笔墨技法，又尝与石涛相互切磋画艺，故功力尤深。他的创作最重师法自然，他曾在燕、吴、齐、楚之地游历名山大川，终日面对青山描摹写生。黄山和家乡宣城是梅清绘画中最着力表现的题材。在《赠慕潭黄山十六景》册上，他自题“余游黄山，凡有笔墨，大半皆黄山矣。”可见他对黄山景色用功之勤。梅清图写黄山自写生入手，又加入自己的主观感受，再以豪放、泼辣的用笔，突出黄山奇、峻、险、秀的意境，独树一帜，别开生面。",[24,60,626,61,165,29,7,152,86,30,27,121,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc236d28b17519fc86d6c9864560c9254.jpg","纵26厘米，横33厘米",[],{"id":4851,"slug":4852,"title":4853,"dynasty":674,"author":4854,"museum":260,"description":4855,"tags":4856,"thumbUrl":4857,"material":105,"size":265,"collection":107,"collections":4858,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":52},230583,"si-ji-shan-shui-tu-ping-feng-di-yi-ping-zhou-wen-230583","四季山水图屏风第一屏","周文","圣国寺的僧人，后来成为室町幕府的画家。生卒年不详。雪舟和小栗在建立诗歌和日本水墨风格及其弟子方面发挥了重要作用。",[23,24,60,677,61,27,29,178,250,210,152,7,179,4587,3578],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90625f9167db424f96348cc9de928d36.jpg",[],{"id":4860,"slug":4861,"title":4862,"dynasty":18,"author":482,"museum":260,"description":4863,"tags":4864,"thumbUrl":4865,"material":107,"size":107,"collection":107,"collections":4866,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":1946},223633,"lian-she-tu-shou-juan-quan-juan-yi-ming-223633","莲社图手卷全卷","此作以淡墨白描铺展雅集盛景，开篇台阁之上，高士凭栏凝睇林泉，随后次第铺陈林下雅聚：沙门与文人或围坐清谈，或横琴拨弦，或展卷品题，动静相生。茂林修竹、幽泉奇石错落点缀，线条圆劲秀逸，设色浅淡古雅，尽显宋画谨严清雅的笔意风神。\n\n留白疏密得宜，将林下高致晕染开来，长卷题跋与画作相映成趣，诗画合璧，把魏晋文人的超迈风雅具象呈现，古意盎然，尽显对前代名流雅事的精妙追摹。",[23,24,60,82,365,61,27,786,86,29,602,152,65,7,226,34,63,103,944,85,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6eca59a9af4ab78ae9bd2f9989a1e28c.jpg",[],{"id":4868,"slug":4869,"title":4870,"dynasty":4024,"author":4871,"museum":117,"description":4872,"tags":4873,"thumbUrl":4876,"material":107,"size":107,"collection":581,"collections":4877,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":4878},203070,"zi-teng-yuan-yang-tu-zhou-cheng-zhang-203070","紫藤鸳鸯图轴","程璋","画面中紫藤虬枝垂落，紫花串串点缀其间，叶色浓淡相宜，藤蔓舒展自然。下方双鸳鸯相偎青石，一俯一啄，姿态亲昵，羽毛纹理细腻入微，设色清雅却鲜活灵动。背景瀑布潺潺而下，山石以淡墨皴染，虚实相映，衬出清幽之境。整体笔墨工写结合，花鸟传神，山水雅致，于细节处见生机，尽显自然意趣与温情。",[24,577,165,209,4874,4875,7,30,27,26,23],"紫藤","鸳鸯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe59823ed39c5f4545af129ee17d8cf9e.jpg",[581],"b6a996",{"id":4880,"slug":4881,"title":3970,"dynasty":115,"author":482,"museum":3971,"description":3972,"tags":4882,"thumbUrl":4883,"material":1529,"size":3975,"collection":107,"collections":4884,"showCount":201,"zanCount":11,"manualWeight":11,"mainColor":52},290958,"tai-xing-xue-ji-tu-yi-ming-290958",[24,100,29,1006,196,30,7,34,63,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fab5a9bdaeb560a420cfd40002b9c65.jpg",[],{"id":4886,"slug":4887,"title":4888,"dynasty":295,"author":4889,"museum":260,"description":4890,"tags":4891,"thumbUrl":4893,"material":107,"size":107,"collection":107,"collections":4894,"showCount":201,"zanCount":11,"manualWeight":11,"mainColor":94},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。",[24,60,626,4892,209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一首。\n钤乾隆内府诸收藏印。\n画面钤有石渠宝笈、宝笈重编等印四方，对开钤有 等印玺。\n全画用笔粗豪，画风近李唐一派而有创新。\n曾经清内府收藏。\n此图原载《宋人名流集藻册》，两边石山挟泉水奔腾，重击大石，水花飞溅。\n阁后老树、丛竹葱郁。\n瀑布高悬直下，平中寓险。\n意境恬静清幽。\n对开有清高宗弘历题诗。\n裱边旧题签为燕文贵纳凉观瀑七字，观其画风，与燕氏无涉，显系后人误题。\n此页绘清溪一湾，溪畔水阁掩映在蓊郁的翠树秀竹之中，背景峭壁坚崚，飞瀑如练，溪流急湍击石，清波拂岸，充满着夏日大自然的勃勃生机。\n水阁之中一高士白衣袒胸踞席而坐，凝视潺湲，若有所思。\n整幅不用界尺，粗笔徒手绘水榭，人物、树石、建筑颇有生拙之趣，极具文人画气息，是“意笔楼阁”的早期作品。",[23,100,24,60,209,165,27,29,30,195,7,31,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64712f5a7f4711445c135f242ae95dd1.jpg",[],{"id":4952,"slug":4953,"title":4954,"dynasty":295,"author":825,"museum":351,"description":2252,"tags":4955,"thumbUrl":4956,"material":123,"size":2255,"collection":107,"collections":4957,"showCount":201,"zanCount":11,"manualWeight":11,"mainColor":94},220269,"huang-shan-tu-ce-54-hong-ren-220269","黄山图册-54",[23,24,60,626,61,27,29,30,31,7,63,34,210,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F401bec41f44a4edc09937bc3c7c92336.jpg",[],{"id":4959,"slug":4960,"title":4961,"dynasty":4024,"author":4962,"museum":117,"description":4963,"tags":4964,"thumbUrl":4966,"material":107,"size":107,"collection":48,"collections":4967,"showCount":201,"zanCount":11,"manualWeight":11,"mainColor":4968},203286,"lu-shan-yao-shi-yi-tu-zhou-fu-bao-shi-203286","庐山谣诗意图轴","傅抱石","笔墨纵逸洒脱，抱石皴法赋予山峦嶙峋肌理，墨色浓淡交织间，云雾如流岚漫过山脊，数道飞泉倾泻而下，与苍松虬枝相映成趣。虚实相生的构图里，庐山的雄奇壮阔与诗意空灵交融，似将李白诗中“飞流直下三千尺”的豪情与“云蒸霞蔚”的悠远意境凝于一纸，尽显山水灵韵与文人笔墨情致。",[24,29,61,165,4965,7,35,152,26,23],"抱石皴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F009092f8b200ac9b1aad04ca964388b5.jpg",[48],"a3937d",{"id":4970,"slug":4971,"title":4972,"dynasty":295,"author":457,"museum":117,"description":4973,"tags":4974,"thumbUrl":4976,"material":107,"size":107,"collection":48,"collections":4977,"showCount":201,"zanCount":11,"manualWeight":11,"mainColor":4978},201533,"lin-luo-gao-yi-tu-zhou-gong-xian-201533","林萝高逸图轴","层峦叠嶂间，林木苍劲幽深，瀑布如银练垂落，隐于林间的茅舍透着恬淡超然。画家以积墨之法层层皴染，山石纹理厚重而富有层次，墨色浓淡交织中尽显自然生机；树木枝干挺拔，笔触老辣，与幽深林麓相映成趣。整体意境静谧超脱，仿佛能闻流水潺潺，观之如入隐逸之境，尽显高逸情怀。",[2110,27,61,26,29,31,7,4975,23],"茅舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bcf74f5cfce21a396f85597fd5f770f.jpg",[48],"ccc6bc",{"id":4980,"slug":4981,"title":1790,"dynasty":132,"author":4982,"museum":260,"description":4983,"tags":4984,"thumbUrl":4985,"material":105,"size":265,"collection":107,"collections":4986,"showCount":4987,"zanCount":11,"manualWeight":11,"mainColor":52},290968,"qian-yan-wan-he-tu-zhou-qin-yi-290968","钦揖","钦揖，清江苏吴县人，字远猷。善画山水，书法褚遂良、欧阳询。寄寓僧寺，终身不娶。",[100,24,26,29,61,31,238,7,30,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8d30cb9e82bbf6f05c74144ce2071a3.jpg",[],8,{"id":4989,"slug":4990,"title":2821,"dynasty":295,"author":3277,"museum":260,"description":4907,"tags":4991,"thumbUrl":4992,"material":107,"size":107,"collection":107,"collections":4993,"showCount":4987,"zanCount":11,"manualWeight":11,"mainColor":94},238163,"shan-shui-ce-yun-xi-238163",[24,60,626,165,121,85,27,29,136,326,31,34,7,65,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40745d9a471ce441393f4b4751514414.jpg",[],{"id":4995,"slug":4996,"title":2821,"dynasty":132,"author":2822,"museum":351,"description":2823,"tags":4997,"thumbUrl":4998,"material":2692,"size":2826,"collection":107,"collections":4999,"showCount":4987,"zanCount":11,"manualWeight":11,"mainColor":94},236908,"shan-shui-ce-song-xu-236908",[24,60,626,61,165,27,29,7,34,63,31,30,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2f50c72816fffe8cbf23304031d9beb.jpg",[],{"id":5001,"slug":5002,"title":2821,"dynasty":132,"author":5003,"museum":260,"description":5004,"tags":5005,"thumbUrl":5006,"material":107,"size":107,"collection":107,"collections":5007,"showCount":4987,"zanCount":11,"manualWeight":11,"mainColor":94},234871,"shan-shui-ce-zhao-pu-234871","赵璞","此作用笔枯淡简远，近岸老木虬枝槎枒错落，间杂丛树幽石，对岸危崖层叠，以干笔勾勒皴擦山石，尽显嶙峋硬朗之态，林麓烟霭隐现，意境空疏冷寂。\n左侧题咏与画境相契，以顽石自喻尽显文人孤高淡远的林下襟怀。整体以极简笔墨营造出萧散简逸的文人意趣，淡墨轻岚间藏着静穆澹泊的精神世界，诗画合璧，尽显传统文人画诗境与画境交融的雅致韵致。",[24,60,626,61,29,30,31,7,179,121,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed6f22d9caf6819b527380e04973e855.jpg",[],{"id":5009,"slug":5010,"title":621,"dynasty":295,"author":622,"museum":260,"description":5011,"tags":5012,"thumbUrl":5013,"material":182,"size":5014,"collection":107,"collections":5015,"showCount":4987,"zanCount":11,"manualWeight":11,"mainColor":94},234714,"fang-gu-shan-shui-ce-wang-hui-234714","《仿古山水册》共计十二页，其中设色二页，水墨十页。仿董源、巨然、米芾、赵大年、赵孟頫、吴镇、倪瓒、王蒙、黄公望、管道升、曹知白、陈汝言等而作。每幅均自题七律一首，末开款署“壬寅六月王翚”，册尾有顾复初题跋。前选一图，系仿曹云西山水，写柳汀板桥、芦荻孤舟，晓风残月，雁影徘徊。笔墨疏秀，意境苍莽迷蒙。\n王翚得名家传授，又博览古人佳作和游历真山实水，画艺日臻成熟，40岁时即名闻海内。王翚出生于绘画世家，他的曾祖王伯臣、祖父王载仕、父亲王云客都是画家，幼时即得到家学熏陶，初学画于同乡画家张珂。顺治年间王鉴游虞山时，见王翚画扇，极为赏识，赞其天资超人，收为弟子。后转师王时敏，得以临摹许多历代名家真迹，镕铸造南北画派于一炉，技艺大进。尝与王时敏遍游大江南北，广识著名收藏家，观摹宋、元真迹。其摹古功力极得王时敏赞赏：“（石谷）凡唐宋诸名家无不摹仿逼肖，偶一点染展卷即古色苍然，毋论位置溪径，宛然古人，而笔墨神韵一一夺真，且仿某家，则全是某家，不杂一他笔，使非题款，虽善鉴者，不能辨。”于是他在摹古仿古的基础上，综合诸家之长，晚年画风简练苍浑，有独到的艺术风格，在“四王”中，王翚的艺术成就最为显著，门生弟子很多，以杨晋较为著名，其山水画的影响极为深广。",[24,61,27,625,626,29,7,31,602,839,179,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49868da8cf21daec366c99bda4056446.jpg","25.6厘米，横：20.5厘米",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此画山石似卷轴，画似鹿角、蟹爪，李成郭熙宗法。",[23,24,61,27,26,29,1006,7,226,31,30,63,86,33,1418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F009fe5fe9cca646998616ea81e1f75c7.jpg","97.4x41.2厘米",[],{"id":5044,"slug":5045,"title":1077,"dynasty":4024,"author":4025,"museum":117,"description":5046,"tags":5047,"thumbUrl":5048,"material":107,"size":107,"collection":48,"collections":5049,"showCount":4987,"zanCount":11,"manualWeight":11,"mainColor":5050},203407,"shan-shui-zhou-xiao-jun-xian-203407","此作水墨淋漓，皴染相济。层岩叠嶂间，飞瀑穿林而下，苍松虬枝旁逸，屋宇隐于溪畔山坳，得山林幽寂之致。笔墨兼具沉雄与清逸，山石以皴法写其肌理，树木枝干古拙有生趣，留白处衬出空濛意境，尽显文人山水的雅致清旷，引人入山林栖居之思。",[24,61,29,27,7,412,1844,26,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f32c1ed2995018b3739085e0ac13e95.jpg",[48],"cbc6bb",{"id":5052,"slug":5053,"title":5054,"dynasty":4024,"author":4962,"museum":117,"description":5055,"tags":5056,"thumbUrl":5058,"material":107,"size":107,"collection":48,"collections":5059,"showCount":4987,"zanCount":11,"manualWeight":11,"mainColor":5060},203311,"you-gu-ting-pu-tu-zhou-fu-bao-shi-203311","幽谷听瀑图轴","峭壁如削，瀑布飞漱而下，云雾在幽谷间流转，晕染出朦胧诗境。山道上几人缓步前行，衣袂飘飘，似为瀑声所引，探幽寻趣。笔墨挥洒间，散锋皴擦出山石苍劲肌理，水墨与青绿交织，层次丰富且气韵生动。瀑布的动感与山林的静谧相映，文人雅士的闲情与自然壮美相融，尽显画面意境之美与笔墨之妙。",[24,29,61,165,86,7,35,5057,27,23],"山道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F416154d95732b48de800768c63845416.jpg",[48],"99876d",{"id":5062,"slug":5063,"title":5064,"dynasty":132,"author":5065,"museum":117,"description":5066,"tags":5067,"thumbUrl":5068,"material":107,"size":107,"collection":48,"collections":5069,"showCount":4987,"zanCount":11,"manualWeight":11,"mainColor":5070},201539,"ting-zhou-xian-tiao-tu-zhou-qian-gu-201539","停舟闲眺图轴","钱穀","画面中山峦层叠，飞瀑自岩间垂落，水雾弥漫。山麓林木疏密有致，枯枝与繁叶交错，兼具苍劲与秀润。近水处孤舟静泊，舟中士人凭栏远眺，神态闲适。笔墨运用精妙，山石以皴法写就，线条灵动；树木枝桠虬曲，墨色浓淡相衬。整体意境清幽淡远，尽显文人画的雅致韵味，传递出寄情山水、超然物外的闲逸之趣。",[61,27,29,178,7,31,24,26,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba89f1ee59a83e6c66508fcdc84c84c1.jpg",[48],"b4a084",{"id":5072,"slug":5073,"title":4241,"dynasty":295,"author":2433,"museum":260,"description":5074,"tags":5075,"thumbUrl":5076,"material":105,"size":265,"collection":107,"collections":5077,"showCount":5078,"zanCount":11,"manualWeight":11,"mainColor":94},290583,"fang-fan-kuan-shan-shui-zhang-yu-sen-290583","张雨森，清朝画家。初名雨，字作霖，一字紫琅，号苍野，经子，工山水，得文家风韵。善泼墨，惜用墨皆渗以胶。亦善画花鸟。",[24,29,83,165,27,412,34,63,7,1844,626],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c982027a7845bc86ee5ad75f2bd249.jpg",[],7,{"id":5080,"slug":5081,"title":1975,"dynasty":18,"author":482,"museum":260,"description":5082,"tags":5083,"thumbUrl":5084,"material":105,"size":265,"collection":107,"collections":5085,"showCount":5078,"zanCount":11,"manualWeight":11,"mainColor":52},288225,"gao-shi-guan-pu-tu-yi-ming-288225","此作咫尺含千里之趣，左侧坡岸幽竹扶苏，两位高士凭岩闲坐，静看飞瀑破崖奔落，坠入烟霭空蒙的寒潭。远山以淡墨晕染，虚实相生，将深山林壑的空寂清远铺展开来。\n画师以极简笔触勾勒物象，墨色清润淡雅，留白处尽显空灵悠远，将寄情林泉、寻幽遁世的雅趣藏于画中。观之如临其境，仿佛能聆听见松风与瀑鸣，沉浸式触摸这份山林间的幽寂淡然。",[23,529,24,60,399,436,7,30,86,63,61,27,2048],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70c0c4e0cda867db4d92d66a9d575fad.jpg",[],{"id":5087,"slug":5088,"title":3059,"dynasty":295,"author":5089,"museum":260,"description":5090,"tags":5091,"thumbUrl":5094,"material":107,"size":107,"collection":107,"collections":5095,"showCount":5078,"zanCount":11,"manualWeight":11,"mainColor":94},238951,"shan-shui-ce-ye-xu-ji-238951","徐稷","此作用笔秀润温婉，取景错落有致。远景山峦以淡墨铺底，敷染浅青淡赭，晕染出空蒙氤氲的烟岚之态，一道飞瀑垂落山坳，破了山林沉静，添入灵动生机。近景苍松虬劲挺拔，坡岸林木错落，茅庐隐于松荫竹篱间，浅滩静水如镜，将草木坡岸揽入其中。\n\n整体画风恬静淡远，以文人意趣写山居幽境，笔墨间带着松弛的闲雅之感，落款题字与朱印排布和谐，文气盎然，仿若将观者带入林泉高致的世外山居，尽显悠然淡逸的林下之风。",[24,60,626,165,29,152,7,30,31,238,33,64,27,5092,5093],"传统","古典","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad4c1aa378028f3d4780004c5b4b9bfc.jpg",[],{"id":5097,"slug":5098,"title":5099,"dynasty":132,"author":482,"museum":260,"description":5100,"tags":5101,"thumbUrl":5102,"material":105,"size":265,"collection":107,"collections":5103,"showCount":5078,"zanCount":11,"manualWeight":11,"mainColor":94},237804,"shao-mi-guan-pu-tu-shan-yi-ming-237804","邵弥观瀑图扇","此作用边角取景，以淡墨晕染嶙峋峭壁，留白虚写飞瀑，隐现泉流的灵动。虬曲苍劲的古树枝桠斜出枝头，几朵新花点破清寂。凭崖而立的文士衣袂简括，静望飞泉，似在听赏訇然水声。\n\n整幅笔墨简淡清疏，以空灵留白衬出山景的幽寂，将林泉高致融于尺幅扇面，尽显文人寄情山水、静悟自然的闲雅意趣。泛黄的扇底晕开浅淡赭色，为画面更添古雅沉静的旧时光晕，极简的画面铺陈出清远深邃的山水意境。",[24,60,529,61,27,29,86,137,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1af9bea2148ad7c70c4cc2589e8de2f3.jpg",[],{"id":5105,"slug":5106,"title":5107,"dynasty":295,"author":4103,"museum":260,"description":5108,"tags":5109,"thumbUrl":5110,"material":123,"size":5111,"collection":107,"collections":5112,"showCount":5078,"zanCount":11,"manualWeight":11,"mainColor":94},234877,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234877","王原祁仿古山水册","丁巳为康熙十六年（1677年），王原祁时年三十六岁。册前王时敏款署西庐八十七老人题，应为康熙十七年（1678年）所题，即王原祁创作该册后的次年所书。以丁巳下推至庚午，不足十五年，而自跋中今阅十五年，当是王原祁笔误。\n画前副页有王时敏隶书灵心自悟四大字。画册后跋纸为王原祁自题：此余丁巳春间往云间笔也。先奉常见之谓余为'可教'，题识四字。个阅十五年矣，于古人笔墨终未梦见，殊愧先大父指授，为之泫然。康熙庚午长夏观于毘陵舟次谨题，原祁。钤原祁之印（白文）、麓台（朱文）、兴与烟霞会（白文），画册首副页，尾纸只有庞元济藏印11方。\n该册仿古山水，是王原祁早期绘画的代表作品。所仿元六家山水各具形貌，笔墨或设色又颇具苍润、恬淡、秀丽等不同特点，所以王时敏以灵心自悟夸赞其孙王原祁在仿古的同时，边学习古人的画法，同时又寻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日月山水图屏风-日屏","此作以云气横分天地，上半段飞泉叠流于苍绿岩岫，金地衬出山野清旷仙气，留白的水色灵动通透，晕染出幽寂空远的山林意趣。\n\n下半段苍崖伴着涡卷水纹，苔点轻缀石面，古雅朴拙的设色带着侘寂况味。敷色古旧厚重，却将山水灵秀融于沉静笔意间，以简驭繁，把悠远禅意藏于斑驳绢面，尽显东方山水空濛虚灵之美，笔简意足，勾勒出幽谧出尘的山水之境。",[23,24,165,639,677,29,7,461,30,5540,5541,5542],"水纹","日","月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74a5a169c7bb1db40e61ea5461dce240.jpg",[],{"id":5546,"slug":5547,"title":5548,"dynasty":674,"author":482,"museum":260,"description":5549,"tags":5550,"thumbUrl":5551,"material":107,"size":107,"collection":107,"collections":5552,"showCount":255,"zanCount":11,"manualWeight":11,"mainColor":94},225339,"fu-shi-hui-92-yi-ming-225339","浮世绘92","层叠奔涌的飞瀑是画面的灵魂，蓝白水纹带着磅薄动感顺着赭黄、赤红的山崖倾泻而下，冷暖色调相撞，迸发出强烈的视觉张力。\n\n右上角负鼓攀山的行者，与下方驻足观瀑的旅人，让雄阔山水晕开人间烟火气，动静相映，让幽深山林多了鲜活的意趣。利落刚劲的勾勒线条，明快浓烈的平涂色彩，尽显浮世绘版画的典型风韵，将飞瀑的雄浑奔涌与山林的清幽苍润融为一体，把寄情山水的江户风雅藏在寸尺画幅中，既有着自然造物的震撼冲击力，也传递出松弛闲适的人文意涵。",[2680,2681,165,29,7,31,86,63,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c62916bb5162e51217d00a2aa5f5f3b.jpg",[],{"id":5554,"slug":5555,"title":5556,"dynasty":674,"author":482,"museum":260,"description":5557,"tags":5558,"thumbUrl":5559,"material":107,"size":107,"collection":107,"collections":5560,"showCount":255,"zanCount":11,"manualWeight":11,"mainColor":94},225334,"fu-shi-hui-87-yi-ming-225334","浮世绘87","飞流直下的瀑布以劲挺利落的蓝白线条铺就，仿佛携着轰然水声自崖头倾泻而下。崖畔朱色小屋静立，暖调破开冷冽水汽，让奔涌的山水多了一丝人间暖意。右下角旅人负具驻足观瀑，衬出飞瀑的宏阔，将人与自然的尺度铺展开来。\n\n设色明丽雅致，青绿山石晕染出山野苍翠，钴蓝飞瀑撞入眼底，暖棕崖壁点缀其间，尽显浮世绘独有的装饰质感。画作揉合幽谷飞瀑的壮阔与山居的幽寂烟火，将日式山水特有的诗意幽玄之美尽显无余。",[2680,2681,165,29,7,195,34,63,86,31,238,35,65,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd712d7caa336d20298db6aa8156e555f.jpg",[],{"id":5562,"slug":5563,"title":5564,"dynasty":295,"author":5565,"museum":260,"description":5566,"tags":5567,"thumbUrl":5571,"material":105,"size":265,"collection":107,"collections":5572,"showCount":255,"zanCount":11,"manualWeight":11,"mainColor":290},224143,"luo-han-pindola-bharadvaja-tang-ka-224143","罗汉Pindola Bharadvaja","唐卡","唐卡（Thang-ga）也叫唐嘎，唐喀，系藏文音译，指用彩缎装裱后悬挂供奉的宗教卷轴画。唐卡是藏族文化中一种独具特色的绘画艺术形式，题材内容涉及藏族的历史、政治、文化和社会生活等诸多领域，传世唐卡大都是藏传佛教和本教作品。\n唐卡是藏族文化中一种独具特色的绘画艺术形式。具有鲜明的民族特点、浓郁的宗教色彩和独特的艺术风格，用明亮的色彩描绘出神圣的佛的世界；颜料传统上是全部采用金、银、珍珠、玛瑙、珊瑚、松石、孔雀石、朱砂等珍贵的矿物宝石和藏红花、大黄、蓝靛等植物为颜料以示其神圣。这些天然原料保证了所绘制的唐卡色泽鲜艳，璀璨夺目，虽经几百年的岁月，仍是色泽艳丽明亮。因此被誉为中国民族绘画艺术的珍品，被称为藏族的”百科全书”也是中华民族民间艺术中弥足珍贵的非物质文化遗产。\n传统唐卡的绘制要求严苛、程序极为复杂，必须按照经书中的仪轨及上师的要求进行，包括绘前仪式、制作画布、构图起稿、着色染色、勾线定型、铺金描银、开眼、缝裱开光等一整套工艺程序。制作一幅唐卡用时较长，短则半年完成，长则需要十余年。",[2787,786,165,209,86,29,31,7,5568,65,5569,5570],"花草","侍从","传统绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95871379da0bdda1ebc726dd21f8badd.jpg",[],{"id":5574,"slug":5575,"title":5576,"dynasty":132,"author":5577,"museum":117,"description":5578,"tags":5579,"thumbUrl":5582,"material":107,"size":107,"collection":107,"collections":5583,"showCount":255,"zanCount":11,"manualWeight":11,"mainColor":5584},203348,"fang-song-yuan-shan-shui-ce-bian-wen-yu-203348","仿宋元山水册","卞文瑜","此帧山水取宋元笔意，山峦层叠如卷，皴擦间见古雅韵致。飞瀑自岩隙倾泻，与缭绕云雾相映，添几分空濛灵动。山间隐现屋舍，枯木疏枝点染其间，更显林泉之趣。墨色干湿浓淡相宜，淡墨晕染出烟岚缥缈，山石轮廓以细劲线条勾勒，兼具宋元山水的雄浑与秀逸。整体构图疏密有致，虚实相生，将自然之清幽与文人之静思融于尺幅，尽显摹古而不泥古的匠心。",[24,29,626,61,27,5580,35,7,412,5581],"摹古","枯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a76b1b7633362d4c7c229057bfb4309.jpg",[],"bcb096",{"id":5586,"slug":5587,"title":5588,"dynasty":4024,"author":5218,"museum":117,"description":5589,"tags":5590,"thumbUrl":5592,"material":107,"size":107,"collection":48,"collections":5593,"showCount":255,"zanCount":11,"manualWeight":11,"mainColor":5594},203199,"mei-jing-shu-wu-tu-zhou-wu-hu-fan-203199","梅景书屋图轴","此图以雅致笔触勾勒梅林掩映下的书屋景致。虬曲梅枝缀满繁花，似雪覆枝头；山石嶙峋间瀑布飞泻，溪流潺潺；云雾轻笼山峦，添空濛之趣。书屋隐于梅林深处，窗棂隐约，尽显文人居停的清幽意境。技法上，设色淡雅温润，皴染结合：山石以皴法表现苍劲质感，梅花用点染出繁密之态，整体风格清丽秀逸，兼具传统笔墨韵味与个人意趣，传递出画者对文人雅致生活的向往与追寻。",[5591,29,1507,165,27,249,1212,35,7,30,23],"标签：国画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89f4a7eb1dfa2df7298aedaab7d94373.jpg",[48],"bbad9d",{"id":5596,"slug":5597,"title":5598,"dynasty":295,"author":2402,"museum":117,"description":5599,"tags":5600,"thumbUrl":5601,"material":107,"size":107,"collection":48,"collections":5602,"showCount":255,"zanCount":11,"manualWeight":11,"mainColor":5603},201677,"bai-chi-ming-xia-tu-zhou-xiao-yun-cong-201677","百尺明霞图轴","这幅山水图中，山石嶙峋，皴法细腻，线条勾勒出岩崖的苍劲质感；古松虬枝盘结，立于涧边，与层叠峰峦相衬。山间楼阁隐现，飞瀑垂落，似携泠泠水声，营造出空灵悠远的氛围。笔墨清雅，意境幽深，尽显文人山水的雅致韵致。",[24,29,27,61,30,719,195,7,209,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e8badbd03f90d384578c9b4ac29e715.jpg",[48],"cdc2b2",{"id":5605,"slug":5606,"title":5607,"dynasty":295,"author":482,"museum":260,"description":5608,"tags":5609,"thumbUrl":5613,"material":105,"size":265,"collection":107,"collections":5614,"showCount":157,"zanCount":11,"manualWeight":11,"mainColor":52},272967,"zi-tan-mu-bian-hua-fa-lang-ren-wu-tu-gua-ping-yi-ming-272967","紫檀木边画珐琅人物图挂屏","飞瀑垂坠松石间，远山含黛隐着村舍。暖棕台地上，眷侣依偎而坐，男子执笛似在回味余韵，女子怀拥稚童，衣袂柔丽鲜亮，鎏黄、茜红的珐琅釉色晕染出细腻质感。脚边小犬伏卧，添了几分灵动生机。\n整幅图景将欧式田园的缱绻温情，融于明润通透的珐琅彩中，木纹边框衬得画面愈显雅致端庄。东方珐琅工艺诠释西洋闲情，晕开旧时光里悠然静谧的闲居意趣，是东西审美碰撞而生的精巧之作。",[5610,4524,86,165,5611,7,31,1200,2048,5612],"琺瑯器","狗","户外","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6be8778271e907db842e086d1e7dc9d.jpg",[],{"id":5616,"slug":5617,"title":5618,"dynasty":295,"author":4043,"museum":260,"description":5619,"tags":5620,"thumbUrl":5621,"material":107,"size":107,"collection":107,"collections":5622,"showCount":157,"zanCount":11,"manualWeight":11,"mainColor":94},239413,"fang-gu-shan-shui-ping-qin-zu-yong-239413","仿古山水屏","此作用青绿浅绛晕染桃源春涧之景，层叠山峦以披麻皴勾勒，苔点错落晕出山峦苍润生机。山坳水畔村居错落排布，板桥飞泉萦纡林间，桃松杂木各含清姿，将世外山居的幽寂闲雅铺陈眼前。\n\n右上角题诗自叙追仿元人笔意，以笔墨复刻林泉雅趣，丘壑间既承古法意韵，又自含萧散出尘的静穆意境，尽显传统山水画里寄情山水的文人逸致。",[24,60,26,165,27,625,29,34,63,31,7,238,311,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd31d7174efa971295b9e6bc389b44049.jpg",[],{"id":5624,"slug":5625,"title":5626,"dynasty":295,"author":622,"museum":20,"description":5627,"tags":5628,"thumbUrl":5629,"material":123,"size":107,"collection":107,"collections":5630,"showCount":157,"zanCount":11,"manualWeight":11,"mainColor":94},237381,"shan-shui-ce-yang-jin-chu-shan-qing-xiao-tu-ye-wang-hui-237381","山水册-杨晋楚山清晓图页","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王”，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n王翚自幼嗜画，继承家学，又随学黄公望画法的同乡张珂学画，很早便表现出非凡的绘画才能。王翚师从王时敏、王鉴。但他所画山水不拘于一家，广采博揽，集唐宋以来诸家之大成，熔南北画派为一炉。王翚在王时敏、王鉴发展南宗画派的基础上，借鉴北宗的某些技法，比较全面地对山水画传统进行整理，形成具有综合概括性质的法则。王翚将黄公望、王蒙的书法性用笔与巨然、范宽的构图完美地结合起来，创造出一种华滋浑厚、气势勃发的山水画风格。因而他所画的江南小景往往生趣盎然，清幽灵动。王翚作画喜好干笔、湿笔并用，而且多以细笔皴擦，画面效果比较繁密。曾说“以元人笔墨，运宋人丘壑，而泽以唐人气韵，乃为大成”。他早期画风清丽工秀，晚期则倾向苍茫浑厚。章法富于变化，水墨与浅绛渲染得法。也有评者指出王翚用笔过于圆熟，某些画则显得刻露，墨法少有变化，构图略感壅塞。",[24,60,626,61,27,399,29,640,35,195,31,7,1348],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ba8eddc6857a2d1b33ce8c82ff0ef6d.jpg",[],{"id":5632,"slug":5633,"title":2821,"dynasty":295,"author":5634,"museum":260,"description":5635,"tags":5636,"thumbUrl":5637,"material":105,"size":265,"collection":107,"collections":5638,"showCount":157,"zanCount":11,"m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，字渔仙，号桃溪居士，后号墨井道人，江苏常熟人。曾笃信天主教，并往澳门逗留。工诗、善画山水，师事王时敏 (1592-1680)与王鉴 (1598-1677) ，连同王翚 (1632-1717)、王原祁 (1642-1715)和恽寿平 (1633-1690) 合称「四王吴恽」或称「清初六家」，为清代正统派绘画代表。\n\n该画为吴历应友人侯大年（约1641-约1710）之命所作，并以友人之号「凤阿」命名，绘于康熙十六年（1677）之后，为吴氏中晚年之作。画面山峦起伏，高树竹丛、屋舍数间，屋前小桥流水，一人策杖过桥。整幅作品尺幅虽不大，却构图繁密，墨色苍润，流露对笔墨的追求与讲究，是吴历的精品。事实上，吴历与侯大年交谊深厚，曾应命绘制多幅《凤阿山房图》，以表达侯氏「述祖德，守先业」并归隐的志向，然而凤阿山房终未建成。据记载，侯大年在吴历绘制完立轴后，另请他绘制小册并请诸友题咏，正是此册。全册共分上、下两册，引首朱彝尊　(1629-1709) 书「凤阿山房」，后有吴历、朱彝尊、姜宸英、梁佩兰、宋骏业、王撰、陆遵、梅庚、钱大昕等六十六家诗题，其中陆遵、梅庚补图并题诗。吴历此作无疑是全册点睛之笔，见证了他与侯大年的交谊。",[23,24,60,626,61,27,29,137,7,3805,210,85,84,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0947d8a7d1ff2847a29d70d56bed1f9b.jpg","水墨,设色,纸本,册页","18×34.5厘米",[],{"id":5737,"slug":5738,"title":5739,"dynasty":4024,"author":5740,"museum":117,"description":5741,"tags":5742,"thumbUrl":5743,"material":107,"size":107,"collection":48,"collections":5744,"showCount":157,"zanCount":11,"manualWeight":11,"mainColor":5745},203396,"fang-dong-yuan-shan-shui-tu-zhou-wu-qin-mu-203396","仿董源山水图轴","吴琴木","这幅山水取法前贤，笔墨清润雅致。层叠山峦以披麻皴写就，线条舒缓，皴染相济间尽显苍润质感；山间林木疏密有致，浓淡墨色交织，枝桠伸展自然。谷底瀑布垂落，小径蜿蜒穿林，几椽茅舍隐于岩畔，添得人间烟火气；远处山巅亭台隐约，似邀人登临远眺。整体构图开合有度，意境悠远恬淡，既承江南山水的秀逸神韵，又融个人笔墨意趣，尽显传统山水画可居可游的雅致之境。",[24,29,339,61,26,27,210,4975,7,1844,83,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5b4542a91b64d87b680c50fed884daf.jpg",[48],"aa937f",{"id":5747,"slug":5748,"title":5749,"dynasty":4024,"author":5218,"museum":117,"description":5750,"tags":5751,"thumbUrl":5752,"material":107,"size":107,"collection":48,"collections":5753,"showCount":157,"zanCount":280,"manualWeight":11,"mainColor":5754},203243,"hu-shan-qiu-se-tu-zhou-wu-hu-fan-203243","湖山秋色图轴","墨色晕染的山峦层叠起伏，秋意清旷。瀑布自岩间垂落，似带潺潺声；山间屋舍隐于林麓，添几分幽居之趣。近岸松枝挺秀，杂树错落，笔墨苍劲中含秀逸。画作以淡设色衬水墨，皴擦点染交织，传统章法里透着灵动气韵，将湖山秋色的静谧悠远铺展眼前。",[24,29,165,27,61,7,412,2437,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa43b429ef3b67d31e93b235ca86f66d2.jpg",[48],"d9cebd",{"id":5756,"slug":5757,"title":4169,"dynasty":295,"author":5758,"museum":117,"description":5759,"tags":5760,"thumbUrl":5761,"material":107,"size":107,"collection":48,"collections":5762,"showCount":157,"zanCount":11,"manualWeight":11,"mainColor":5763},203169,"shan-shui-tu-ce-wang-jian-203169","王鑑","画面以水墨晕染层叠山峦，皴法细腻勾勒山石肌理，树木葱茏间隐现茅舍，瀑布自崖间垂落，溪流蜿蜒映带前后。笔墨苍润雅致，构图疏密得宜，既承传统山水章法之严谨，又蕴清寂悠远的文人意趣，仿佛将观者带入“山静似太古”的静谧之境，尽显画家对山水神韵的深刻把握与笔墨功力。",[61,27,29,137,839,7,24,626,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f0eadd5ae849dc63cfc89b72924f06f.jpg",[48],"d2cac5",{"id":5765,"slug":5766,"title":1077,"dynasty":295,"author":5767,"museum":117,"description":5768,"tags":5769,"thumbUrl":5771,"material":107,"size":107,"collection":107,"collections":5772,"showCount":157,"zanCount":11,"manualWeight":11,"mainColor":5773},202609,"shan-shui-zhou-leng-mei-202609","冷枚","画面中山峦层叠，皴法细腻勾勒山石肌理，云雾轻笼间瀑布垂落，添灵动之气。山脚溪流蜿蜒，岸畔松柏苍劲，枯树疏朗，景致疏密相宜，意境清幽淡远。笔墨层次丰富，皴染结合，墨色浓淡有致，既显山石厚重，又衬林木挺秀。整体构图深远，于静谧中藏生机，尽显传统山水雅致韵味。",[24,29,61,27,26,5770,33,7,461],"松柏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8c71ec914d935a74865b0ef0ef15039.jpg",[],"afa396",{"id":5775,"slug":5776,"title":5777,"dynasty":132,"author":4035,"museum":117,"description":5778,"tags":5779,"thumbUrl":5781,"material":107,"size":107,"collection":107,"collections":5782,"showCount":157,"zanCount":11,"manualWeight":11,"mainColor":5783},201611,"shan-ju-qing-hua-tu-zhou-zhang-hong-201611","山居清话图轴","画面层峦叠嶂间云雾氤氲，飞瀑自崖壁倾泻而下，山腰屋宇半隐于林麓，山麓溪流潺潺绕茅舍而过，林木葱郁枝柯交错。笔墨苍润兼具细腻，山石以皴法勾勒纹理，皴染结合尽显肌理质感；树木点染有致，疏密相宜生机盎然。设色淡雅温润，整体意境清幽悠远，似有隐士于舍中促膝清谈，尽显山林栖居之趣，将自然之美与人文意趣相融。",[24,29,27,165,7,33,412,1844,5780],"立","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34ecf69ef387903be1d1a66053cf545e.jpg",[],"c1b4a4",{"id":5785,"slug":5786,"title":5787,"dynasty":295,"author":5788,"museum":117,"description":5789,"tags":5790,"thumbUrl":5794,"material":107,"size":107,"collection":107,"collections":5795,"showCount":157,"zanCount":11,"manualWeight":11,"mainColor":5796},201602,"qiu-shan-hua-jiu-tu-zhou-lan-meng-201602","秋山话旧图轴","蓝孟","层峦错落间，林木扶疏，红叶点染出秋的况味。飞瀑沿岩壑奔流，溅起清响；山间小径通幽，隐现的亭屋中似有故人促膝话旧。笔墨苍秀相济，皴法勾勒山石纹理，树木姿态各异，设色淡雅却见秋韵悠长。清幽意境里，藏着山林的静谧与文人雅聚的闲逸，尽显自然之趣与人文情怀。",[24,29,165,27,1379,7,34,5791,5792,5793],"亭屋","秋意","文人雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf7d87474b4c88d94c0561ee1a99c2c7.jpg",[],"907246",{"id":5798,"slug":5799,"title":5800,"dynasty":674,"author":482,"museum":260,"description":5801,"tags":5802,"thumbUrl":5803,"material":105,"size":265,"collection":107,"collections":5804,"showCount":186,"zanCount":11,"manualWeight":11,"mainColor":94},281567,"juan-ben-cai-hui-shan-shui-ren-wu-tu-zhou-yi-ming-281567","绢本彩绘山水人物图轴","此作画风清雅秀润，以水泽汀洲铺展意境，苍劲古松错落排布于渚岸，枝桠挺秀，葱郁华滋。构图以蜿蜒水面分割景致，平远取景搭配崖壁飞瀑的高远之态，层次舒展灵动。浅绛间掺青绿晕染山石，色调清和柔润，亭台山居、渡桥扁舟点缀其间，不着笔刻意刻画人物，却暗合林泉幽隐之趣。整体意境澹泊悠然，将文人林下栖居的避世闲情融于山川松涛中，尽显传统山水寄兴言情的雅致内核，观之如身临幽寂林泉，静享山野清宁。",[24,26,44,165,209,29,152,7,34,63,178,210,195,1053,2048],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c762a3713447f38fd382e4fabbc12af.jpg",[],{"id":5806,"slug":5807,"title":5808,"dynasty":295,"author":5809,"museum":5810,"description":5811,"tags":5812,"thumbUrl":5816,"material":5817,"size":5818,"collection":1737,"collections":5819,"showCount":186,"zanCount":11,"manualWeight":11,"mainColor":94},241090,"wu-yan-shi-zhou-jiang-chen-ying-241090","五言诗轴","姜宸英","四川省博物馆","姜宸英（1628－1699年），明末清初书法家、史学家，与 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Antoine Baudouin--La Nuit (Night)","暮色如纱笼罩幽林，小爱神雕像静立一旁，似是这场爱恋的沉默见证者。鎏金华服与柔粉长裙缱绻相拥，树影在衣料褶皱间晕开暧昧朦胧的光晕。\n\n林间水雾裹挟草木甜香漫溢，远处瀑布碎光揉进夜色晕染出湿润浪漫，明暗晕染勾勒出私密缱绻的相拥时刻，将洛可可式的柔美揉进晚风里，让耳鬓厮磨的心动，化作一帧温柔又私密的午夜恋歌，把偷来的片刻温情，凝固为永恒的温柔剪影。",[6067,86,6068,6069,6070,6071,7,6072,6073,6074],"油画","情侣","小爱神","月夜","树林","花卉","浪漫","古典风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd555ecb86c926cbd489ce2e5a49986d8.jpg",[],{"id":6078,"slug":6079,"title":6080,"dynasty":295,"author":6081,"museum":260,"description":6082,"tags":6083,"thumbUrl":6084,"material":105,"size":265,"collection":107,"collections":6085,"showCount":393,"zanCount":11,"manualWeight":11,"mainColor":94},239505,"lv-bi-shan-shui-ce-lv-bi-239505","吕璧山水册","吕璧","此页以淡墨晕空山秋境，危崖崔嵬，飞泉漱石而下，清溪蜿蜒穿林，溪畔杂木萧疏，山坳幽亭隐现，尽显空灵淡远之致。水墨皴擦轻柔秀润，山石简笔勾勒间，晕染出嶙峋质感；林木点染随性写意，带着萧散野逸的秋况。\n\n左侧题诗与画境相融，笔意清隽温雅，将山涧清秋的幽寂澄澈铺陈开来，诗画合璧尽显文人雅趣，藏着画者寄情林泉的幽怀，淡而不薄，简中见雅，悠悠秋意随墨色漫溢纸面。",[24,60,626,61,29,138,7,31,195,121,85,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2d06d232d5a2b7274b47e448ccffa36.jpg",[],{"id":6087,"slug":6088,"title":6080,"dynasty":295,"author":6081,"museum":260,"description":6089,"tags":6090,"thumbUrl":6091,"material":105,"size":265,"collection":107,"collections":6092,"showCount":393,"zanCount":11,"manualWeight":11,"mainColor":94},239502,"lv-bi-shan-shui-ce-lv-bi-239502","此页绘秋山幽寂之景，层峦间飞瀑垂落，汇作浅滩清流。坡岸枯木疏朗，茅舍掩映其间，远山以淡墨轻勾晕染，赭石点染崖身，晕出秋霜浸染的暖调苍寒意境。\n\n笔墨秀净松灵，以简淡皴擦写尽山石肌理，设色雅淡清润，秋意萧疏却无萧瑟之感，反倒透着幽居自适的静穆禅意。左侧题诗与画境呼应，诗书与绘事相得益彰，融文心与画意于尺幅之间，尽显文人山水的雅致意趣，将秋日山居的清寂闲逸铺陈尽致。",[24,60,626,165,29,27,121,85,30,7,31,354,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc63d090155399c4b4a0af8f02be62a11.jpg",[],{"id":6094,"slug":6095,"title":5270,"dynasty":295,"author":5271,"museum":260,"description":6096,"tags":6097,"thumbUrl":6098,"material":107,"size":107,"collection":107,"collections":6099,"showCount":393,"zanCount":11,"manualWeight":11,"mainColor":94},239199,"san-da-ming-shan-shi-er-tu-ce-xu-fang-239199","此帧绘天台桃源胜景，层岩峻岭拔地而起，飞瀑穿谷而下，溪湾回环间村居、板桥、渔舟错落隐现，林泉幽寂宛如化外仙境。以干笔皴擦勾勒山石苍莽肌理，淡墨晕染出空濛岚气，笔墨苍秀简远，尽显静穆清旷之致。左侧题咏桃源的行书笔致清劲疏朗，书画合璧，以文衬景，将世外幽居的澹逸与林下守志的襟怀融于一画，淡远萧散间，藏着幽栖丘山的雅意。",[24,61,27,626,84,85,29,34,63,210,31,30,7,354,86,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74ea69c09b056d642b6b126fa6049aec.jpg",[],{"id":6101,"slug":6102,"title":2821,"dynasty":295,"author":2535,"museum":260,"description":5838,"tags":6103,"thumbUrl":6104,"material":105,"size":265,"collection":107,"collections":6105,"showCount":393,"zanCount":11,"manualWeight":11,"mainColor":94},238707,"shan-shui-ce-dong-bang-da-238707",[24,61,29,27,626,30,31,238,7,35,33,179],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff776e073d0701ac91f35614a2dc3aeb6.jpg",[],{"id":6107,"slug":6108,"title":2821,"dynasty":295,"author":2535,"museum":260,"description":5838,"tags":6109,"thumbUrl":6110,"material":105,"size":265,"collection":107,"collections":6111,"showCount":393,"zanCount":11,"manualWeight":11,"mainColor":94},238706,"shan-shui-ce-dong-bang-da-238706",[24,60,61,27,626,29,31,7,33,65,152,179],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbd78c15d38978d0944a295171e9052d.jpg",[],{"id":6113,"slug":6114,"title":2821,"dynasty":295,"author":4043,"museum":260,"description":4044,"tags":6115,"thumbUrl":6116,"material":105,"size":265,"collection":107,"collections":6117,"showCount":393,"zanCount":11,"manualWeight":11,"mainColor":6118},238008,"shan-shui-ce-qin-zu-yong-238008",[24,60,626,121,85,61,29,27,30,31,7,34,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca2fe77bc493f6c0542d0054f47306eb.jpg",[],"FFFFFF",{"id":6120,"slug":6121,"title":6122,"dynasty":295,"author":6123,"museum":260,"description":6124,"tags":6125,"thumbUrl":6126,"material":105,"size":265,"collection":107,"collections":6127,"showCount":393,"zanCount":11,"manualWeight":11,"mainColor":94},237644,"li-yin-fang-gu-shan-shui-ce-li-yin-237644","李寅仿古山水册","李寅","李寅，清代扬州画家，字白也，号东柯，江都（今江苏扬州）人，擅画山水，楼阁及花鸟，画风工细，设色娟妍。",[24,60,626,61,27,83,625,84,85,29,136,7,31,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcd921af5ff2b9ce575dc8bcd48feb2e.jpg",[],{"id":6129,"slug":6130,"title":4844,"dynasty":295,"author":5116,"museum":351,"description":5117,"tags":6131,"thumbUrl":6132,"material":819,"size":107,"collection":107,"collections":6133,"showCount":393,"zanCount":11,"manualWeight":11,"mainColor":94},234749,"huang-shan-tu-ce-jiang-zhu-234749",[61,29,121,27,626,136,7,461,238,63,888],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08e5155c424c968405ab0a79b1b0bb24.jpg",[],{"id":6135,"slug":6136,"title":2821,"dynasty":295,"author":3137,"museum":260,"description":6137,"tags":6138,"thumbUrl":6139,"material":107,"size":107,"collection":107,"collections":6140,"showCount":393,"zanCount":11,"manualWeight":11,"mainColor":94},234342,"shan-shui-ce-jin-ting-biao-234342","金廷标，清代，字士揆，乌程(今浙江湖州)人，一作桐乡人，为当地望族。画家金鸿(字耕山)子，生卒年不详。继承父艺，工画人物、山水、写真、花卉，界画亦精致。尤擅白描，设色淡逸明洁，用线刚劲，转折处锋芒毕露，无不劲健。衣纹提按长描连绵不断，眉目传神。乾隆二十五年(1760)弘历南巡，其进呈白描罗汉》册称旨，得入内廷供奉。所画不以工致取胜，而以机趣为尚。入值数载，卒于京寓。其卒后，所作皆得高宗题咏，并命装裱收藏，此举可见这位内廷供奉画家受乾隆之器重程度。\n金廷标（ -1767）字士撰。乌程（今浙江吴兴）人，其父金鸿亦为小有名声的画家，廷标能绍父艺，擅画白描人物，亦善写真（肖像），兼能花卉、山水、乾隆二十二年（1757），乾隆帝第二次南巡时，金廷标进献《白描罗汉图》，得乾隆“称旨”，遂得以入宫供职，成为当时的一名宫廷画家。\n金廷标所作画，极得乾隆欣赏，御题诗句甚多，赞美之意溢于言表，如题其《放鹤图》云：“是谓善写照，传神在阿堵。”题其《江村图》云：”七情写毕皆得神，顾陆以后今几人。”又在他《临唐寅琵琶行图》后如此题道：“内府藏弆唐寅画琵琶行于江边扁舟直写一女抱琵琶，廷标此图不画琵琶女，而画居易等属耳之情，便觉高出其上。此与宋人画‘踏花归去马蹄香’以数蝶随骑意同。向未题句，兹偶见之，因拈其妙，然画院中能作如此解者实少也。”对金廷标能高出当时的宫廷画家，给予肯定。\n金廷标死后，乾隆在翻阅他的画作时又一再叹息，有诗这样写道：“去年命写寻常事，今日谁知珍惜加。”“足称世画无双画，可惜斯人作古人。”对金廷标的去世，表示无限的惋惜。一个自命“古稀天子”的帝王，能对一名宫廷画师如此的眷顾，极为难能，于此亦可见金廷标画艺的超群。\n清代未见有“书院”之称，（文献记载仅见“书院处”一词），更不像宋代书画院中设有具体的“待诏”、“艺学”等明确的官职。清代宫廷中供职的画家，一般情况均需有人举荐，有的还需要经过考核。文献记述金廷标只是自己进献作品以自荐，即得乾隆帝的“称旨”，可见他的画艺不凡。从本文介绍的这件作品来看，他也可以称得是当时画院中具有代表性的人物画家。\n传世作品有《拜石图》，图录于《故宫书画集》；《碧桃图》《孟母移居图》《枫林晚坐图》《萱花寿石图》册页图录于《中国历代名画集》；《高贤遇隐图》轴图录于《中国绘画史图录》下册；《春元瑞兆图》轴藏日本大阪市立美术馆；乾隆二十六年(1761)作《观音大士像》轴现藏沈阳故宫博物院；《婕妤挡熊图》轴、《瞎子说唱图》轴、《罗汉图》轴、《莲塘纳凉图》轴等藏故宫博物院。",[24,61,27,626,29,7,152,640,984],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0296a6485e76af46213abb7f1b76cce.jpg",[],{"id":6142,"slug":6143,"title":6144,"dynasty":295,"author":6145,"museum":351,"description":6146,"tags":6147,"thumbUrl":6148,"material":819,"size":6149,"collection":107,"collections":6150,"showCount":393,"zanCount":11,"manualWeight":11,"mainColor":94},233937,"dai-lu-fang-bei-tu-ce-huang-yi-233937","岱麓访碑图册","黄易","图名里的“岱”即指位于山东省中部的泰山。《岱麓访碑图》册共24开，以左文右图的形式描绘黄易在清嘉庆二年（1797年）由济宁到泰山访碑的种种情形。据作者本人题跋可知，其中一部分册页记录泰山的碑刻情况，如“岱顶”、“开元磨崖碑”、“石经谷”、“王母池”等，另一部分则是记录作者在往返途中所见的碑刻情况，如“大明湖”、“孟子庙”、“孔林”、“孔子庙”、“大汶口”等。除此之外，作者还在题跋中介绍了碑刻的具体状况，为后人研究提供了资料。\n黄易一生致力于金石碑版的研究，曾经四处寻访存世的残碣断碑，并较为系统地加以整理与著录，对我国传统金石学的发展起到了积极的作用。与众不同的是，他亲自用画笔将每次寻访古碑的过程都完整地记录下来，绘制成许多作品，被当时的艺术家们广为称颂。《岱麓访碑图》册便是其中的一套作品。\n纵观整套册页，作者采用了水墨与浅绛两种中国画表现技法，但呈现出的艺术风格却是统一的。具体而言，他注重线条的断续与转折，多用粗笔短线描写碑刻所在地周围的景色，使得画面景致简明，意境幽僻清寂，有平淡天真的艺术趣味。",[24,60,626,61,29,27,30,7,31,210,84,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F276f3de28b10255afb74c9a0e546ca8c.jpg","纵17.4厘米，横50.8厘米",[],{"id":6152,"slug":6153,"title":6154,"dynasty":295,"author":5390,"museum":351,"description":6155,"tags":6156,"thumbUrl":6157,"material":1062,"size":6158,"collection":107,"collections":6159,"showCount":393,"zanCount":11,"manualWeight":11,"mainColor":94},233813,"shan-shui-ce-2-fu-shan-233813","山水册2","此册共计六开，每开有对题，分别为“文笔双峰”、“瓮泉难老”、“？（左“山”右“屋”）？（左“山”右“韦”）红叶”、“天门积雪”、“土堂怪柏”、“古郭夕照”。此画笔致超越，颇有古拙之风趣，正如清代张庚《国朝画征录》评价傅山“善画山水，皴擦不多，丘壑磊珂，以骨胜”，实应属傅山的精品之一。以“土堂怪柏”而言，远处为高山峭壁，近景是雄气敦厚之悬岩山石，有古柏相衬托，别具幽致。傅山笔下的树石造型十分引人注目，其中的柏树形象和一般文人画家所描绘的形象不同，这是因为柏树的形象比较适合傅山的用笔、用墨习惯。柏树的叶、干，既可用大笔粗写，表现厚重的感觉，又可用细笔碎点，使墨的干、湿、浓、淡得以充分展现。在粗写和细点之间，有很大的创作空间，这对于不守古法的傅山来说，柏树形象无疑是他传递内心情感的极好媒介。\n就体现时代精神而言，傅山的绘画虽然不及八大、石涛等人的作品醒目和逼真，表现技巧也显得有些业余，但蕴含于绘画中的笔墨和精神与其书法应是相通的。分析其绘画作品，无疑能加深对其书风转变的理解。从这一点说，傅山绘画自有其存在的艺术价值。",[24,60,626,165,639,29,5960,27,195,34,63,31,1864,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F220efb4562ed1b81e99dc1d77f38e22b.jpg","纵36.5厘米，横37厘米",[],{"id":6161,"slug":6162,"title":6163,"dynasty":674,"author":6164,"museum":260,"description":6165,"tags":6166,"thumbUrl":6167,"material":105,"size":265,"collection":107,"collections":6168,"showCount":393,"zanCount":11,"manualWeight":11,"mainColor":52},231627,"shi-ting-shi-dai-shan-shui-tu-zhou-yue-weng-cang-qiu-231627","室町时代 山水图轴","岳翁藏丘","这幅水墨山水以枯笔勾皴山石肌理，淡墨晕染烟岚，层岩峻岫隐于空濛雾气中，虚实相生铺展出春日山野的清寂空阔。\n\n汀洲古松挺劲苍秀，溪畔行人策杖徐行，山腰楼宇藏于林峦间，动静相映，尽显林泉幽致。题诗与画境呼应，诗画合璧，将春山烟雨间的林下幽居意趣娓娓道来，笔简意赅尽显文人山水的萧散雅逸，观之如踏入烟岚春山，漫染林泉间的闲淡古韵。",[23,24,60,26,61,27,29,195,152,86,7,30,35,210,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3b5a4ac76cd422e8c48ebe8c84dbbe7.jpg",[],{"id":6170,"slug":6171,"title":6172,"dynasty":674,"author":482,"museum":260,"description":6173,"tags":6174,"thumbUrl":6175,"material":107,"size":107,"collection":107,"collections":6176,"showCount":393,"zanCount":11,"manualWeight":11,"mainColor":94},230523,"fang-gu-shan-shui-fen-ben-shou-ye-jia-tu-juan-5-yi-ming-230523","仿古山水粉本（狩野家图卷）-5","此作为水墨雪景山水，以冷月开篇，清辉穿透薄云，遍洒素裹峰峦。左畔寒林雪瀑垂落，银枝静立幽壑，将冬日萧寒藏于丘壑间。湖面如镜，渔舟三两泛波，棹影微动揉碎月影，漾开一湖清寂。\n\n远景层峦隐于烟霭，虚实相生铺展天地辽远。右侧危崖高耸，古松覆雪挺拔苍劲，崖畔山居藏于林岫，寥寥数笔勾勒出清旷山居意趣。全作用墨虚实相宜，淡墨晕染烟岚，浓墨塑山石肌理，以留白造幽远之境，将冬夜湖山的空寂淡远尽数铺展，尽显古雅萧疏的文人山水意韵。",[23,24,60,82,61,625,27,29,178,7,152,2425,3490,35,30,63,447],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F811b3cf455dffaa8550b3d1fe7817da3.jpg",[],{"id":6178,"slug":6179,"title":6180,"dynasty":295,"author":482,"museum":260,"description":6181,"tags":6182,"thumbUrl":6187,"material":105,"size":265,"collection":107,"collections":6188,"showCount":393,"zanCount":11,"manualWeight":11,"mainColor":290},229330,"yu-guan-pu-cha-ping-yi-ming-229330","玉观瀑插屏","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。 这一时期，以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[6183,6184,6185,2787,29,7,86,152,30,63,195,35,6186],"玉石","雕刻","浮雕","文字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4767ca873bc970f56d2f686eed93aba.jpg",[],{"id":6190,"slug":6191,"title":6192,"dynasty":674,"author":482,"museum":260,"description":6193,"tags":6194,"thumbUrl":6196,"material":107,"size":107,"collection":107,"collections":6197,"showCount":393,"zanCount":11,"manualWeight":11,"mainColor":94},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。",[2680,2681,165,29,7,31,86,65,4560,120,6195],"斗笠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5c93b7eda3a26f80b34802e454e99ef.jpg",[],{"id":6199,"slug":6200,"title":6201,"dynasty":674,"author":482,"museum":260,"description":6202,"tags":6203,"thumbUrl":6204,"material":107,"size":107,"collection":107,"collections":6205,"showCount":393,"zanCount":11,"manualWeight":11,"mainColor":52},225337,"fu-shi-hui-90-yi-ming-225337","浮世绘90","这幅作品以雄奇飞瀑为主体，水流自丹崖翠岭间奔涌直下，撞入深潭溅起朦胧水雾。画师以劲挺线条勾勒水流动势，以青绿与赭红撞色晕染山林，铺陈出磅礴开阔的山水意趣。\n\n画面下半段切入俗世日常，赤身脚夫在激浪中踩踏作业，茶屋静立一旁，旅人驻足旁观，将山林胜景与江户庶民的生活图景相融。动静相生间，尽显自然风物雄浑的同时，也带着浮世绘独有的市井温情，让幽深山景沾染了人间烟火的鲜活温度。",[2680,2681,165,29,7,31,30,63,86,87],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11871374ea7292f6db04d5a656e62a17.jpg",[],{"id":6207,"slug":6208,"title":6209,"dynasty":295,"author":4889,"museum":260,"description":6210,"tags":6211,"thumbUrl":6212,"material":1062,"size":6213,"collection":107,"collections":6214,"showCount":393,"zanCount":11,"manualWeight":11,"mainColor":94},223261,"yan-shan-ba-jing-tu-8-ju-yong-die-cui-zhang-ruo-cheng-223261","燕山八景图-8-居庸叠翠","此册以北京城著名的“燕京八景”为题而画。燕京八景一说始自金《明昌遗事》，当时金章宗完颜璟将燕京的八处风光名胜选定为燕京八景，即“居庸叠翠”、“玉泉垂虹”、“太液秋风”、“琼岛春荫”、“蓟门飞雨”、“西山积雪”、“卢沟晓月”和“金台夕照”。“燕京八景”历金、元、明、清四代，又有称“燕台八景”、“燕山八景”、“京师八景”、“京畿八景”者，虽景点相同，八景的名称在不同时期则有所变化。乾隆十六年（1751年），乾隆曾御制《燕山八景诗》，将八景定名为“琼岛春荫”、“太液秋风”、“玉泉趵突”、“西山晴雪”、“蓟门烟树”、“卢沟晓月”、“金台夕照”、“居庸叠翠”，沿用至今。该画册中建筑的刻画不用界尺，但是对建筑的特征却描绘得生动准确，表现手法活泼而不失稳重，是画家对景写实的佳作。",[23,24,165,27,29,64,7,31,238,63,34,341,1956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc343a62b6d8555ef1d8fb230e44efd87.jpg","34.7cm，横40.3cm",[],{"id":6216,"slug":6217,"title":6218,"dynasty":295,"author":6219,"museum":336,"description":6220,"tags":6221,"thumbUrl":6222,"material":1806,"size":107,"collection":107,"collections":6223,"showCount":393,"zanCount":11,"manualWeight":11,"mainColor":94},222717,"huang-shan-ba-jing-tu-ce-6-zheng-min-222717","黄山八景图册6","郑旼","郑旼 1632-1683年 传世作品有康熙二十一年作《雨气真寂图》及《林泉小亭图》二轴，现藏安徽省博物馆；《溪山泛舟图》轴藏浙江省博物馆；康熙十三年（1674）作《香烟诗意图》轴藏香港刘均量虚白斋；十二年（1673）作《九龙潭图》轴藏故宫博物院；同年作《山水图》轴藏上海博物馆。著有《拜经斋集》《致道堂集》《正己居集》等。",[23,24,60,626,61,27,29,640,63,7,31,30,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a2576cbfb62fe233cc4cb346af5ffbf.jpg",[],{"id":6225,"slug":6226,"title":6227,"dynasty":18,"author":6228,"museum":376,"description":6229,"tags":6230,"thumbUrl":6231,"material":89,"size":6232,"collection":107,"collections":6233,"showCount":393,"zanCount":11,"manualWeight":11,"mainColor":94},217965,"shi-liu-ying-zhen-tu-22-fan-long-217965","十六应真图-22","梵隆","本卷采用李公麟的白描风格，描写了16罗汉的境界，每一种境界都通过他所达到的三昧而表现出不同的奇异境界。",[23,61,27,365,29,30,63,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ab12845a648101c2cf916798a780e59.jpg","30.5x1062.5",[],{"id":6235,"slug":6236,"title":5427,"dynasty":295,"author":2485,"museum":117,"description":6237,"tags":6238,"thumbUrl":6239,"material":107,"size":107,"collection":107,"collections":6240,"showCount":393,"zanCount":11,"manualWeight":11,"mainColor":6241},202511,"fang-huang-gong-wang-shan-shui-zhou-gao-cen-202511","这幅山水轴层峦叠嶂，气势浑朴。笔墨间可见仿黄公望的苍劲笔意，山石以细腻皴法勾勒纹理，尽显嶙峋质感；瀑布从崖壁间蜿蜒倾泻，增添灵动之气。山间屋舍错落，隐于林木葱茏处，似有文人雅士居停其间；小桥跨溪，流水潺潺，与挺拔树木相映成趣，整体意境清幽雅致，尽显自然与人文相融之妙，传递出超脱尘俗的隐逸情怀。",[24,29,27,30,7,412,34,1844,83,5780],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92dc6ad303376b17e7d9d5c5b12252a1.jpg",[],"b1a18f",{"id":6243,"slug":6244,"title":2998,"dynasty":295,"author":1596,"museum":117,"description":6245,"tags":6246,"thumbUrl":6247,"material":107,"size":107,"collection":48,"collections":6248,"showCount":393,"zanCount":11,"manualWeight":11,"mainColor":6249},201641,"fang-huang-gong-wang-shan-shui-tu-zhou-huang-jun-201641","这幅山水以水墨晕染见长，层岩叠嶂间云雾轻笼，一道飞瀑自山间垂落，溪流蜿蜒穿林而过。近岸枯树虬枝错落，笔法苍劲老辣；山石勾勒兼用皴法，纹理细腻且富有质感。整体意境清幽淡远，尽显文人画的雅致风骨，仿黄公望笔意，神韵毕肖，于简淡中见深致。",[24,61,29,27,83,26,196,7,33,30,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F250d4fc1da551312d688da690cad6861.jpg",[48],"d4cac6",{"id":6251,"slug":6252,"title":1732,"dynasty":295,"author":6253,"museum":117,"description":6254,"tags":6255,"thumbUrl":6256,"material":107,"size":107,"collection":48,"collections":6257,"showCount":393,"zanCount":11,"manualWeight":11,"mainColor":6258},201467,"shan-shui-tu-zhou-wang-yu-201467","王昱","这幅山水图轴笔墨浑厚苍劲，山体以细密皴法勾勒，层层积墨尽显岩石纹理与厚重质感。近景林木葱茏，枝干虬劲，松针细密如织；中景屋舍隐于林间，溪流潺潺，瀑布飞泻添灵动；远景山峦层叠，云雾轻笼，意境幽深静谧。整体构图疏密有致，虚实相生，传递出文人雅士寄情山水的淡泊心境，尽显传统山水画注重笔墨传承与自然意趣的特色。",[29,27,61,26,31,412,7,2110,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0ec03f991f56b428da589fa971656ff.jpg",[48],"bfb5a0",{"id":6260,"slug":6261,"title":6262,"dynasty":674,"author":482,"museum":260,"description":6263,"tags":6264,"thumbUrl":6269,"material":105,"size":265,"collection":107,"collections":6270,"showCount":280,"zanCount":11,"manualWeight":11,"mainColor":94},289514,"bartholomeus-breenbergh-view-of-an-italian-town-yi-ming-289514","Bartholomeus Breenbergh--View of an Italian Town","这幅画以棕褐墨色晕染出明暗层次，暖光铺洒在崖壁与石屋之上，将粗糙的岩石肌理与砖石棱角晕出柔和暖意，背光的峡谷与林木沉在浓郁的棕调阴影里，明暗拉扯出深邃纵深感。\n\n依山错落的屋舍顺着崖坡排布，峡谷间隐现细瀑流泉，野树虬曲扎根岩壁，荒蛮野趣与烟火聚落融为一体。随性的笔触精准抓住南欧山城的慵懒质感，仿佛能听见山风裹着溪水声漫过石墙，将松弛沉静的乡野氛围娓娓道来，藏着旧时光里山城独有的安然意韵。",[6265,6266,6267,3840,3049,31,7,6268],"风景画","素描","山城","写实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe3a2ef1108fe29ec6bd2a85a4334ea1.jpg",[],{"id":6272,"slug":6273,"title":6274,"dynasty":674,"author":482,"museum":260,"description":6275,"tags":6276,"thumbUrl":6281,"material":105,"size":265,"collection":107,"collections":6282,"showCount":280,"zanCount":11,"manualWeight":11,"mainColor":94},289039,"louis-chaix-the-so-called-stables-of-maecenas-at-tivoli-yi-ming-289039","Louis Chaix--The So-Called Stables of Maecenas at Tivoli","以细密排线铺陈出幽邃的洞窟残迹，风化的拱券刻满时光剥蚀的纹路，荒弃木架攀附壁间晕开颓败古意。叠瀑从洞窟深处奔涌而下，分阶砸向深谷，水流的柔润和石质粗粝形成强烈对冲，明暗排布让水汽仿佛顺着纸面漫溢而出。\n\n边角野木虬枝肆意滋长，将人工造物彻底揉入山野荒境，将荒废古迹与自然生息缠织一处。沉郁苍劲的氛围里，既写尽古建残败的寂寥，又借飞瀑生机打破死寂，苍凉与鲜活在画面共生，勾勒出时间冲刷下人文与自然交融的沉静图景。",[6277,6278,6266,6279,7,33,65,341,6280],"风景","版画","山洞","建筑遗迹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe18162a71e43b6092490550f46361d04.jpg",[],{"id":6284,"slug":6285,"title":6286,"dynasty":115,"author":482,"museum":260,"description":6287,"tags":6288,"thumbUrl":6292,"material":105,"size":265,"collection":107,"collections":6293,"showCount":280,"zanCount":11,"manualWeight":11,"mainColor":94},246024,"yang-mao-zao-ti-hong-guan-pu-tu-ba-fang-pan-yi-ming-246024","“杨茂造”剔红观瀑图八方盘","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。\n中国古代漆器的工艺，早在新石器时代就已经出现，夏代的木胎漆器不仅用于日常生活，也用于祭祀，并常用朱、黑二色来髹涂。殷商时代已有“石器雕琢，觞酌刻镂”的漆艺。1973年河南成蒿成台西村商代遗址中出土的漆器残片，在木胎上雕饰饕餮纹，并涂上朱、黑两色的漆。 [2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[6289,6290,6184,29,7,86,30,31,6291],"漆器","剔红","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9a1a0dfbc642c87d4e7f622241d07a1.jpg",[],{"id":6295,"slug":6296,"title":6297,"dynasty":132,"author":6298,"museum":260,"description":6299,"tags":6300,"thumbUrl":6304,"material":105,"size":265,"collection":107,"collections":6305,"showCount":280,"zanCount":11,"manualWeight":11,"mainColor":94},240380,"shi-ye-wang-yi-240380","诗页","王宜","王宜，字嶰谷，江苏太仓人。乾隆年间，官新建知县。凤仪弟，原祁会孙。山水善承家学，笔意松秀，与兄齐名",[60,84,121,85,626,1774,7,485,6301,6302,136,6303,138],"江","海","虹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89bbe2396b0268171903e777b805d4db.jpg",[],{"id":6307,"slug":6308,"title":6309,"dynasty":295,"author":5667,"museum":260,"description":6310,"tags":6311,"thumbUrl":6312,"material":107,"size":107,"collection":107,"collections":6313,"showCount":280,"zanCount":11,"manualWeight":11,"mainColor":94},238979,"shan-shui-ce-fang-huang-zi-jiu-bi-yi-wang-chen-238979","山水册－仿黄子久笔意","此作用笔苍秀松灵，以披麻皴绘山峦，尽显元人山水萧散淡远之态。山峦层叠间，飞瀑垂落，草亭临渊静立，坡岸杂木扶疏，姿态苍古。淡赭敷色清润雅致，构图虚实相生，高远深远兼具，既恪守黄子久简淡天真的笔意，又融入自身笔墨的苍厚老辣。林泉间幽寂隐逸之致尽显，将文人寄情山水的林下风流藏于尺幅之间，师古而不失己意，清寂淡远的意境漫溢纸面，是摹古自出机杼的佳构。",[24,60,626,61,27,83,29,34,63,210,31,30,7,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f968b7da59c6e8be88ba70997f38a3d.jpg",[],{"id":6315,"slug":6316,"title":2821,"dynasty":295,"author":2535,"museum":260,"description":5838,"tags":6317,"thumbUrl":6318,"material":105,"size":265,"collection":107,"collections":6319,"showCount":280,"zanCount":11,"manualWeight":11,"mainColor":94},238698,"shan-shui-ce-dong-bang-da-238698",[24,61,27,626,136,326,7,31,152,33,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0642f435e06708383640bbb83432e9d1.jpg",[],{"id":6321,"slug":6322,"title":2821,"dynasty":295,"author":6323,"museum":20,"description":6324,"tags":6325,"thumbUrl":6326,"material":165,"size":6327,"collection":107,"collections":6328,"showCount":280,"zanCount":11,"manualWeight":11,"mainColor":94},238265,"shan-shui-ce-zhang-yan-238265","张演","此作用笔秀润，以浅绛设色铺就林泉幽境。层叠山峦以披麻皴写就，云气留白晕出山峦空濛深远，山坳瀑流垂落，浅滩回环串联远近，让整幅山水灵动鲜活。\n\n前景林木蓊郁，古松虬枝盘曲，杂树点叶各具意态。树荫下幽坐一人，静听松风涧鸣，右侧岩畔野鹿闲游，为山林添生机。设色清隽柔和，淡赭铺底石青缀苔点叶，全无浓艳堆砌，将幽居林泉的静穆隐逸之趣铺陈开来，把林下幽栖的闲雅心境融在烟岚林壑间，尽显江南山林温润淡远的文人意趣。",[24,165,27,626,29,31,34,63,86,30,7,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbdcc83f55b3d7182015c6e2645c45f4.jpg","37.1x31.7",[],{"id":6330,"slug":6331,"title":2821,"dynasty":295,"author":6332,"museum":260,"description":6333,"tags":6334,"thumbUrl":6335,"material":107,"size":107,"collection":107,"collections":6336,"showCount":280,"zanCount":11,"manualWeight":11,"mainColor":94},238190,"shan-shui-ce-song-jun-ye-238190","宋骏业","此帧融书画为一体，右幅山水以浅绛晕染，笔墨松灵秀雅。坡岸疏林错落，村居隐于林下，汀渚烟霭轻笼，远山含黛，将秋日水乡的清寂诗意铺展纸上，尽显淡宕闲远之致。\n\n左侧行书题诗笔致俊逸流畅，诗书与画境呼应相生，文气墨韵交融无间。整作以简淡之笔勾勒林泉幽居，不事雕琢，天真自然，将文人隐逸的闲雅意趣藏于尺幅之间，于浅淡晕染、疏朗构图里，揽尽林泉丘壑之美，恬淡悠然的林下之趣溢于楮墨。",[24,60,626,29,27,165,136,326,31,238,7,65,121,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7546b52c1fb5dd2d70cccfaf22daf74f.jpg",[],{"id":6338,"slug":6339,"title":2821,"dynasty":295,"author":6332,"museum":260,"description":6340,"tags":6341,"thumbUrl":6342,"material":107,"size":107,"collection":107,"collections":6343,"showCount":280,"zanCount":11,"manualWeight":11,"mainColor":94},238182,"shan-shui-ce-song-jun-ye-238182","此作用笔苍润秀雅，以淡墨皴擦晕染出山林丘壑。远山崔巍，近岸林木扶苏，溪泉潺潺绕村，茅舍山居隐于葱郁林木间，勾勒出幽寂出尘的山居胜境。\n\n左侧题诗与山水相映成趣，诗画合璧，将林下幽栖的雅怀融于尺幅之中。笔墨静穆萧散，带着澹远空灵的古意，把高人幽居林泉、抚琴自适的雅韵铺陈开来，尽显传统文人山水画寄情于景的雅致品格，将出世闲逸的襟怀藏在山光水色之间。",[24,60,626,121,61,27,29,136,7,31,33,65,238,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8a49cb91dd8a04320ad2b00a3766861.jpg",[],{"id":6345,"slug":6346,"title":4547,"dynasty":295,"author":6347,"museum":260,"description":6348,"tags":6349,"thumbUrl":6350,"material":107,"size":107,"collection":107,"collections":6351,"showCount":280,"zanCount":11,"manualWeight":11,"mainColor":94},234606,"shan-shui-wan-shan-he-wei-pu-234606","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。",[24,60,529,61,29,27,34,63,178,210,31,64,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fead678894b438df0db08e139fb584e16.jpg",[],{"id":6353,"slug":6354,"title":2821,"dynasty":295,"author":3137,"museum":260,"description":6137,"tags":6355,"thumbUrl":6358,"material":107,"size":107,"collection":107,"collections":6359,"showCount":280,"zanCount":11,"manualWeight":11,"mainColor":94},234335,"shan-shui-ce-jin-ting-biao-234335",[24,165,61,27,626,29,7,63,210,178,31,30,6356,1379,6357],"野草","芦苇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34846dcf9ef1f18d02f22e70333a216b.jpg",[],{"id":6361,"slug":6362,"title":6363,"dynasty":295,"author":2535,"museum":260,"description":6364,"tags":6365,"thumbUrl":6366,"material":107,"size":107,"collection":107,"collections":6367,"showCount":280,"zanCount":11,"manualWeight":11,"mainColor":52},228963,"fang-lu-guang-song-he-yun-tao-tu-dong-bang-da-228963","仿陆广松壑云涛图","此作以长卷铺展林壑幽境，古松虬曲苍劲，鳞皴老干擎起繁密松针，尽显凌寒风骨，错落扎根于嶙峋山石间。云气以淡墨勾留白，如素练流卷山谷，将层叠峰峦晕染出虚实层次，飞瀑自崖间奔泻而下，与流云动静相生。\n\n山石以干笔皴擦出苍厚质感，设色浅淡清雅，既有元人山水的萧散简远，又暗含规整雅致的笔墨法度，将松之苍、山之峻、云之柔、泉之动相融，铺陈出空山松涛翻涌、云气氤氲的幽绝尘嚣之景，引人身临其境，静听松风，坐观云起。",[23,24,82,29,165,27,152,30,2609,7,63,85,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F312204cf7c5e2be0be0353f86c77c900.jpg",[],{"id":6369,"slug":6370,"title":6371,"dynasty":674,"author":482,"museum":260,"description":6372,"tags":6373,"thumbUrl":6374,"material":107,"size":107,"collection":107,"collections":6375,"showCount":280,"zanCount":11,"manualWeight":11,"mainColor":52},225344,"fu-shi-hui-97-yi-ming-225344","浮世绘97","幽谷飞瀑直坠入渊，丹岩翠麓相拥，铺展山野盛景。下方浴场里，一众力士持杆立于激流水间，借飞瀑激流濯洗，粗粝的肌肉线条满是力量感；一旁茶寮静立，侍者闲坐旁观，动静之间将日常烟火揉入山水胜景。\n\n画作以明快鲜亮的平涂色彩晕染山林，刚劲利落的线条勾勒出飞瀑的奔涌之势与人物的鲜活神态，将自然的雄浑壮阔与江户平民的休憩日常相融，尽显浮世绘独有的市井意趣与绘景张力，让山水盛景与俗世温情交织成鲜活绘卷。",[2680,2681,165,86,7,29,31,87,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb68b7192a787416213589d42c52910e.jpg",[],{"id":6377,"slug":6378,"title":6379,"dynasty":674,"author":482,"museum":260,"description":6380,"tags":6381,"thumbUrl":6382,"material":107,"size":107,"collection":107,"collections":6383,"showCount":280,"zanCount":11,"manualWeight":11,"mainColor":94},225343,"fu-shi-hui-96-yi-ming-225343","浮世绘96","采用俯角构图，将山居茶寮与溪瀑水岸融于一帧。石砌驳岸苍朴古拙，坡岗青松蓊郁，青翠绿调铺就雅致底色，晕染出郊野的沉静清幽。\n\n茶寮外宾客闲游行止悠然，尽显町人游赏郊野的松弛意趣；前景纤夫躬身牵绳，又添几分世俗烟火暖意。柔和笔触晕染山石松色，明快色调平衡山水清寂与市井鲜活，将郊野游憩的雅俗日常揉作一处，既有文人山水的澹远意境，又藏着浮生市井的鲜活温度。",[2680,2681,165,86,31,7,63,238,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F507ad8486d719b9ac5bbaaedb7d0135e.jpg",[],{"id":6385,"slug":6386,"title":6387,"dynasty":18,"author":6228,"museum":376,"description":6229,"tags":6388,"thumbUrl":6389,"material":89,"size":6232,"collection":107,"collections":6390,"showCount":280,"zanCount":11,"manualWeight":11,"mainColor":94},217964,"shi-liu-ying-zhen-tu-23-fan-long-217964","十六应真图-23",[23,100,24,60,61,27,29,30,63,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e2c17f2a596f3db7d7d45922873b855.jpg",[],{"id":6392,"slug":6393,"title":6394,"dynasty":18,"author":6228,"museum":376,"description":6229,"tags":6395,"thumbUrl":6396,"material":89,"size":6232,"collection":107,"collections":6397,"showCount":280,"zanCount":11,"manualWeight":11,"mainColor":94},217961,"shi-liu-ying-zhen-tu-26-fan-long-217961","十六应真图-26",[23,24,100,365,61,786,29,86,65,31,7,63,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F551e027cb4e85514c732159837a3133c.jpg",[],{"id":6399,"slug":6400,"title":6401,"dynasty":132,"author":5999,"museum":260,"description":6000,"tags":6402,"thumbUrl":6403,"material":123,"size":107,"collection":107,"collections":6404,"showCount":280,"zanCount":11,"manualWeight":11,"mainColor":290},217131,"shui-hu-quan-tu-64-du-jin-217131","水浒全图-64",[24,60,626,365,86,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bd48455727e582ada7dcf8cec9c3451.jpg",[],{"id":6406,"slug":6407,"title":6408,"dynasty":295,"author":482,"museum":260,"description":6409,"tags":6410,"thumbUrl":6411,"material":89,"size":107,"collection":107,"collections":6412,"showCount":280,"zanCount":11,"manualWeight":11,"mainColor":94},215594,"tian-xia-ming-shan-tu-25-yi-ming-215594","天下名山图-25","峰峦层叠，崖壁陡峭如削，山间隐现亭台楼阁，似藏幽人踪迹。溪流蜿蜒穿谷而过，林木葱茏点缀崖间，笔墨勾勒见骨力，线条流畅显韵致。远近层次分明，虚实相生间，尽显山林深远之趣。崖下小径曲折，似引观者入胜，探寻那隐于山水间的静谧与悠然。整幅画作以简练之笔绘山川秀色，意境清幽，引人遐思——仿佛能闻林间风声、涧水潺潺，于方寸间见天地之阔，尽显自然之美与人文意趣。",[365,626,29,136,65,31,326,87,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fade7d100fd53be776137b0f7d177cede.jpg",[],{"id":6414,"slug":6415,"title":6416,"dynasty":4024,"author":6417,"museum":117,"description":6418,"tags":6419,"thumbUrl":6420,"material":107,"size":107,"collection":107,"collections":6421,"showCount":280,"zanCount":11,"manualWeight":11,"mainColor":6422},202762,"xi-ting-mi-ju-tu-zhou-qian-hong-yu-202762","溪亭觅句图轴","钱鸿遇","画面中山峦层叠，皴笔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