[{"data":1,"prerenderedAt":809},["ShallowReactive",2],{"subject-qiao-bi":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},522,"qiao-bi","峭壁","峭壁画高清赏析","精选中国历代峭壁题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf040e47284dc102e28f33fc8b5d84fc.jpg",0,63,[14,54,72,89,115,132,148,163,178,194,210,238,250,263,276,287,297,314,330,342,354,371,384,397,409,419,430,440,449,459,467,477,487,497,504,512,523,534,541,554,564,579,594,604,616,627,635,645,655,670,679,687,698,709,721,730,741,749,755,766,777,785,799],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":47,"material":48,"size":49,"collection":49,"collections":50,"showCount":51,"zanCount":52,"manualWeight":11,"mainColor":53},234149,"lin-shen-zhou-shan-shui-juan-cheng-zheng-kui-234149","临沈周山水卷","清","程正揆","北京故宫博物院","此幅画秋景山水，是程正揆的精谨之作，图中层峦叠谳，怪石嶙岣，山路崎岖，烟水微茫，层舍俨然，再缀以溪水树木，其境地则很深邃幽奥。此图笔墨枯劲，画风静秀。",[23,24,25,26,27,28,29,30,31,32,33,34,35,36,37,38,39,40,41,42,7,43,44,45,46],"高清","国画","书画","长卷","临摹","水墨","设色","山水","皴法","书法","行书","山石","树木","流水","小桥","亭","房屋","远山","人物","溪流","茅屋","小径","秋树","竹林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93fb462b100c634b5e8b6cacc9798383.jpg","纸本，水墨","",[],1141,6,"BDBDBD",{"id":55,"slug":56,"title":57,"dynasty":58,"author":59,"museum":60,"description":61,"tags":62,"thumbUrl":67,"material":68,"size":49,"collection":49,"collections":69,"showCount":70,"zanCount":11,"manualWeight":11,"mainColor":71},234196,"fang-shen-zhou-qiu-shan-shu-wu-juan-zhang-hong-234196","仿沈周秋山书屋卷","明","张宏","藏地不详","山水画方面此时吴门画派最为兴盛。他们重视继承古代人的笔墨传统，把对风格的追求作为艺术的重要目的。而且，由于他们具有深厚的文化修养，有各自的美学追求，从而也具有一定的创造性。他们的笔墨技巧和表现手法，对后来画坛有很大影响。涌现出一批师法自然，重视写生的优秀画家，张宏便是其中的佼佼者。张宏师法沈周，又重视写生，作品笔力峭拔，墨色湿润，层峦叠嶂，丘壑深邃。他在继承吴门画派风格和特色的基础上，加以创新，强调回归自然，到大山里去写生，师自然造化。在画中体现出超凡脱俗的精神境界，使山水画活了起来。的画以石面连皴带染为特色。又能画写意人物，形神俱佳，散聚得宜，在文人山水画方面另辟蹊径，创作出了富有生活气息的绘画作品。其代表作品有：《西山爽气图》、《延陵挂剑图》、《杂技游戏图》、《击缶图》、《阊门舟阻图》、《溪亭秋意图》、《浮岚暖翠图》、《兰亭雅集图》，藏首都博物馆《琳宫晴雪图》等十多种，其中《西山爽气图》被国家教委编入高二地理限选新教材，当做古代文人画的范例；收藏于台北故宫博物院的《布袋罗汉图》被台湾邮政设计成了邮票。受吴门派影响的晚期画家还有程嘉燧、李流芳、卞文瑜、邵弥、杨文骢等人。程嘉燧的山水枯简疏放，李流芳爽朗清秀，卞文瑜细秀，邵弥简逸，杨文骢兼具枯笔、秀润两种风貌。",[24,25,26,27,29,28,31,30,35,34,37,36,63,38,41,43,40,64,7,65,66],"孤舟","近岸","植被","船只","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05ab01647707656c2100c6df41243d83.jpg","纸本，设色",[],230,"795548",{"id":73,"slug":74,"title":75,"dynasty":58,"author":76,"museum":77,"description":78,"tags":79,"thumbUrl":83,"material":28,"size":84,"collection":85,"collections":86,"showCount":87,"zanCount":88,"manualWeight":11,"mainColor":53},219331,"kong-shan-guan-pu-tu-tang-yin-219331","空山观瀑图","唐寅","台北故宫博物院","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”。",[24,25,80,28,31,30,81,82,34,41,7,42],"立轴","松树","瀑布","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c0f9b1868f56ffcbda8eabd2eb3efa9.jpg","60.5x38.6公分","山水画精选",[85],213,1,{"id":90,"slug":91,"title":92,"dynasty":93,"author":94,"museum":95,"description":96,"tags":97,"thumbUrl":108,"material":109,"size":110,"collection":111,"collections":112,"showCount":114,"zanCount":88,"manualWeight":11,"mainColor":71},220420,"shan-shi-qing-lan-tu-xia-gui-220420","山市晴岚图","宋","夏圭","美国大都会艺术博物馆","昭山，位于湘潭，长沙交界处，离城20公里，突兀挺立在湘江东岸，是湘潭市的北大门。每逢雨后新晴，或是旭日破晓，万丈霞光撒在山间，雨气氤氲，色彩缤纷，美而壮观。北宋大书画家米芾将这一景观绘成《山市晴岚图》，列为潇湘八景之一，昭山自此声名大震.明代周九烟曾以《山市晴岚》为题，赋诗一首“蜃楼曾诧海门东，此处奇峰便不同。天宇诈收朝霞后，人家都在旭光中。金银气眩千岩丽，龙虎云凝七国雄。谁信湖南培 地，举头缈缈似瑶宫。”",[24,25,28,30,80,31,98,35,99,34,100,7,101,102,103,104,105,106,107],"山峦","雾气","小筑","云雾","晴岚","杂树","坡岸","村舍","水墨渲染","南宋山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc36e5dcf9afd9b288e69532ac5390b9f.jpg","绢本,水墨","24.8×21.3cm","宋画精选",[111,113],"水墨画精选",212,{"id":116,"slug":117,"title":118,"dynasty":58,"author":119,"museum":120,"description":121,"tags":122,"thumbUrl":127,"material":128,"size":129,"collection":85,"collections":130,"showCount":131,"zanCount":88,"manualWeight":11,"mainColor":71},217914,"fang-ma-yuan-shan-shui-tu-yi-ming-217914","仿马远山水图","佚名","费城艺术博物馆","仿马远山水图是明朝时期的一种山水画风格，它是以著名画家马远的作品为蓝本进行模仿创作的。\n\n明朝时期，由于对绘画艺术的高度重视，山水画风格得到了很大的发展。马远是当时最著名的山水画家之一，他的作品以其精细的写实技巧和丰富的想象力而闻名。他创作的山水画给人以自然、宁静、雅致的感受，为后世的山水画家提供了很大的启发。\n\n仿马远山水图是在明朝时期由许多艺术家模仿马远的作品创作的山水画。这种山水画风格的特点是注重写实，力求将自然景观如实再现。在这种画风中，山水景观往往是主要的构图元素，山峰、河流、树木等都被描绘得栩栩如生。同时，仿马远山水图也注重用色，使用柔和的色彩来表现自然界的美。\n\n总的来说，仿马远山水图是明朝时期山水画艺术的一个重要流派，其精细的写实技巧和丰富的想象力为后世的山水画家所借鉴和启发。",[123,24,25,26,30,28,31,27,81,63,40,124,7,35,125,126,101],"名画","近水","小船","亭台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd04ecb12a12eb5a7e8edd5189b39040a.jpg","纸本,设色","27.8x96cm",[85],175,{"id":133,"slug":134,"title":135,"dynasty":136,"author":137,"museum":138,"description":139,"tags":140,"thumbUrl":145,"material":49,"size":49,"collection":49,"collections":146,"showCount":147,"zanCount":88,"manualWeight":11,"mainColor":53},220493,"zhang-da-qian-fang-zhang-seng-yao-wu-xia-qing-qiu-tu-zhang-da-qian-220493","张大千仿张僧繇巫峡清秋图","民国","张大千","四川博物院","此作用没骨青绿之法绘就，奇崛山峰以石青、赭石重色晕染，峰顶留白拟晴雪，丹红古木点缀其间，明丽堂皇。留白作云气横断山峦，虚实相生，尽显巫峡高华幽深之态。下方江帆孤悬，山居隐于翠岭，飞泉叠落，于雄奇间晕开雅致秋意。\n\n笔墨追摹古法，又暗合新意，将巫峡清秋的萧瑟绮丽相融，既有六朝青绿的厚重堂皇，又带着秀逸灵韵，让古雅的没骨山水焕发清新生机，尽显秋山的雄浑与秀雅。",[23,24,25,141,29,30,142,7,82,101,35,143,27,31,144],"青绿","山峰","山间小屋","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde65b4dfacc5eae3a51cc3afe86bfb23.jpg",[],152,{"id":149,"slug":150,"title":151,"dynasty":93,"author":94,"museum":152,"description":153,"tags":154,"thumbUrl":157,"material":158,"size":159,"collection":85,"collections":160,"showCount":161,"zanCount":162,"manualWeight":11,"mainColor":71},218571,"xia-shan-bi-shu-tu-xia-gui-218571","夏山避暑图","私人收藏","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。",[24,123,25,30,28,31,38,82,101,34,35,40,42,7,155,156],"古松","山涧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb50cf148ebc8bbac9a702b14d084294e.jpg","绢本,设色","81x35cm",[85],143,4,{"id":164,"slug":165,"title":166,"dynasty":18,"author":167,"museum":168,"description":169,"tags":170,"thumbUrl":173,"material":128,"size":174,"collection":85,"collections":175,"showCount":177,"zanCount":11,"manualWeight":11,"mainColor":71},220430,"you-gu-tu-kun-can-220430","幽谷图","髡残","耶鲁大学艺术博物馆","髡（kūn）残(1612-1692)，清画家。本姓刘，出家为僧后名髡残，字介丘，号石溪、白秃、石道人、残道者、电住道人。湖广武陵(今湖南常德)人。与石涛合称“二石”。髡残一生中大部分时间都在山水中度过，经常驻足于名山大川，在山林泽薮之间，侣烟霞而友泉石，踯躅峰巅，留连崖畔，以自然净化无垢之美，对比人生坎坷、市俗机巧，从中感悟禅机画趣。\n髡残在明末遗民中享有很高的声望，他的画也为世人所瞩目。当时著名的文人兼大鉴赏家周亮工就十分景仰、看重髡残的人品和画学，在《读画录》中为他写小传，谓：“人品笔墨俱高人一头地……绘事高明，然轻不为人作。”张怡在髡残的《仿米山水册》中是这样评价这位心灵相契的老友的：“举天下言诗，几人发自性灵?举天下言画，几人师诸天地?……此幅自云效颦米家父子，正恐米家父子有未到处，所谓不恨我不见 髡残古人，恨古人不见我耳。”他认为髡残的诗，是写出了自己的性灵；髡残的画是直师造化，甚至比宋代米芾父子还好；髡残的佛学是直指本心，而没有出家人开堂说法的那种俗套。张庚《国朝画征录·髡残传》云：“奥境奇辟，缅邈幽深，引人入胜。笔墨高古，设色精湛，诚元人之胜概也。此种笔法不见于世久矣!” [4] 这段话说明髡残的画深得元季四大家的精髓。总之，三百多年来，髡残一直以其人品与画品并重的高华之气，影响着画坛，成为画家心目中的丰碑",[23,24,25,80,30,29,31,171,36,34,35,101,41,172,81,7],"楼阁","山谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F784ed53c41b7939b3a557817b650a269.jpg","143.19 × 59.21",[85,176],"设色画精选",117,{"id":179,"slug":180,"title":181,"dynasty":93,"author":182,"museum":77,"description":183,"tags":184,"thumbUrl":188,"material":189,"size":190,"collection":49,"collections":191,"showCount":192,"zanCount":193,"manualWeight":11,"mainColor":53},232841,"chi-bi-tu-wu-yuan-zhi-232841","赤壁图","武元直","此图描绘了《赤壁赋》中苏轼与客泛舟的情景。大江两岸，石壁陡峭，主山连嶂如屏，江岸古松林立。江水波浪激涌处，一小舟顺流飘然而下，徜徉其中，苏子与二客泰然而坐，谈笑风生，似在吟诗作赋，指点江山。而船夫撑篙，顺流而下，泛舟荡漾于江水之上。长江远去，江面渐渐宽阔，烟波浩荡，而在高耸险峻的山壁之下，小舟及其载客，却是显得那么的渺小\n作者采用开阔的长卷形式，描绘了赤壁的山光水色。画中烟波浩森，巨峰矗立，山石嶙峋、草木葱郁，风声、松声、水声、鸟声在这萧瑟的人迹罕至的地方显得更为凄楚，似乎展现出当年军队悲壮厮杀的场面。近景左右两岸呈开合之势，冈坡崖石起伏，许多松树在这险绝之处更加盘桓突兀、傲立不屈，使人肃然起敬。中景江水湍急，拍岸有声，巨石横江。瞪目而视，中部危峰矗立，断岸千尺。仰首而观，山顶上郁郁葱葱的树木错落有致。远处峰峦起伏，烟雨溟濛。江心一叶小舟逆流而上，舟中是苏轼等四人，怀古寄情，饮酒赋诗，尽情地感受江山变幻无穷的魅力。\n此图无款印，卷后有金代赵秉文行书和苏轼《赤壁词》一阕，前隔水上明代大鉴藏家项元汴题曰：“北宋朱锐画赤壁图。赵闲闲追和坡仙词真迹。李天籁珍秘”。\n赵秉文大行书全文：追和坡仙赤壁词韵。清光一片，问苍苍桂影，其中何物。一叶扁舟波万倾，四顾粘天无壁。叩枻长歌，姮娥欲下，万里挥冰雪。京尘千丈，可能容此人杰。回首赤壁矶边，骑鲸人去，几度山花发。淡淡长空今古梦，只有归鸿明灭。我欲乘云，从公归去，散此麒麟发。三山安在，玉箫吹断明月。正大五年重九前一日，书于玉堂之署。秉文。\n在黄州时，苏轼曾邀友人坐着小船泛游于赤壁之下，凭吊三国时代周瑜与诸葛亮共同击败曹操的地方，写下了《赤壁怀古》、《赤壁赋》等名作，以抒发对古今兴亡的感慨和对大自然雄伟、壮阔的赞美。在这之后，赤壁就成为文人画家作画的常见素材。而武元直所画的《赤壁图》正是以苏轼的《赤壁赋》为题材，表达了苏轼诗文中所描写的境界。\n金灭北宋，南宋偏安江南，政治上宋金对立，然而，文化上金呈现汉化倾向。从北宋掠夺来的书画，成为金代画家学习研究的主要依据，他们的绘画技法日趋成熟，涌现出一批卓有成就的画家，武元直就是其中的一位，而他的《赤壁图》就是在这样的背景下诞生的。\n该画几百年来一直被认为北宋朱锐所作。但是近人感觉此图的笔墨，多类似“斧劈皴”，似乎不是北宋画家所为，加上金代元好问所著《遗山集》中，有“题赵闲闲书赤壁词”一条，末云：“《赤壁图》，武元直所画”，于是马衡著文将此图归于武元直名下。\n《赤壁赋》创作于苏轼被贬黄州的困难时期，画面形象地再现了苏轼携友乘舟夜游赤壁的情景，表现了苏轼受诬遭贬黄州后的清闲生活和豁达胸怀，抒发了苏轼《赤壁赋》从怀古伤今升华到人生超脱的豪放胸臆。\n画中人物虽小，其精神面貌却可得其大略；扁舟虽小，但以小点连缀成形，似音符叮当有声。画家细致地描绘出风动松折，动态逼真，山石笔意健劲，质感坚硬；远山空朦悠然；松杉苍郁，层次分明。\n此图画法，直接以北宋北方画派的传统，用笔比较湿润，江水用流畅曲线，两出波纹，愈远愈细淡。近山用浓墨的斧劈皴，再加淡墨直皴，竖斜交织，表现了山石的质感。远山远树用淡墨画出，不点苔，略加皴染山石和树木，刚柔适中，立体感强，产生浓淡墨色的渗化现象。这种注重空气透视变化的画法，造就一卷颇具特色的作品。\n面的选景在长江的一个弯道处，观者的位置刚好可以看到左右两侧越来越远的景致，而中间部分的高山是它们的分界，体现了画面左右的水平空间感。\n此图采用横卷形式，以便于展开长江两岸的景物，画山穷其凹凸，写水状其盘涡。画中左、右下角各有一组陡峭的山壁，让出屹立于江面的赤壁矶头。从左面到画面二分之一的地方都是连绵不断的临江峭壁，远处山壁以淡墨勾皴，山巅略点重墨，画而中心的赤壁矶头十分突出，赤壁矶后是大片江岸，便左边拥塞的江面至此顿时开阔起来。\n此外，此图采用了全景式的构图方式，使画面整体看起来较为雄伟、壮观。\n中国画家林树中：这是一幅十分成功的杰作。特别是在少数民族统治的金国，画家画出这样高水平的山水画尤为难能可贵，可以认为是今存金国最有代表性的山水面作品。",[23,24,25,26,28,31,30,63,185,35,186,40,187,98,101,7],"悬崖","江水","近石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ceb70b5888eae4415468dbb93cdafeb.jpg","纸本","纵50.8厘米，横136.4厘米",[],92,2,{"id":195,"slug":196,"title":197,"dynasty":93,"author":198,"museum":152,"description":199,"tags":200,"thumbUrl":206,"material":158,"size":207,"collection":85,"collections":208,"showCount":209,"zanCount":193,"manualWeight":11,"mainColor":71},218233,"shen-shan-fang-yin-tu-yu-jian-218233","深山访隐图","玉涧","枯松斜倚崖边，松针以墨线疏疏勾出，苍劲中带着荒寒之韵。山石轮廓用简练笔触皴擦，肌理分明，层层向远延伸，山岚似轻烟漫过谷间，模糊了远近界限。林麓深处，几椽屋舍隐现，被松影与雾气轻掩，恰是访隐者追寻的幽居。画面色调古雅，绢本沉郁质感衬得水墨清寂。墨笔题识错落右上角，文气与画意相融，似诉说访隐心境。整幅画以简淡之笔勾勒深山静谧幽深，每一线条、每块墨色都透着对隐逸之境的向往，让人仿佛听见山风穿松的轻响，触摸到林间清寒气息。",[24,28,201,31,202,30,81,34,40,35,203,7,204,101,205],"山水画","写意","小屋","路径","深山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46171ff02094154282d5be54ddfea031.jpg","93x40cm",[85],78,{"id":211,"slug":212,"title":213,"dynasty":214,"author":215,"museum":60,"description":216,"tags":217,"thumbUrl":232,"material":233,"size":234,"collection":235,"collections":236,"showCount":237,"zanCount":11,"manualWeight":11,"mainColor":71},225700,"sha-mo-zhong-de-sheng-fang-ji-ge-qiao-fan-ni-bei-li-ni-225700","沙漠中的圣方济各","不详","乔凡尼·贝利尼","乔凡尼·贝利尼，（Giovanni Bellini， 1430—1516）意大利威尼斯画派画家。代表作品有《在花园里苦恼》，《小树与圣母像》，《诸神之宴》等。",[218,219,220,29,41,221,35,222,223,224,225,226,227,40,7,228,229,230,231],"油画","宗教","写实","岩石","建筑","牛","天空","洞穴","围栏","草地","枯木","绿植","村庄","城堡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26cc60d2e59375840eec3fddb295d915.jpg","未知","Xcm*Xcm","油画精选",[235],67,{"id":239,"slug":240,"title":241,"dynasty":58,"author":242,"museum":77,"description":243,"tags":244,"thumbUrl":247,"material":109,"size":248,"collection":85,"collections":249,"showCount":237,"zanCount":11,"manualWeight":11,"mainColor":71},219837,"shan-shui-tu-dai-jin-219837","山水图","戴进","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。",[24,25,123,31,28,29,30,37,36,63,38,35,82,41,34,80,42,98,7,245,246],"舟楫","屋舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5184f9099fce9f5215427da498fc29cc.jpg","本幅 184.5x109.4公分",[85],{"id":251,"slug":252,"title":253,"dynasty":18,"author":254,"museum":77,"description":255,"tags":256,"thumbUrl":259,"material":128,"size":260,"collection":85,"collections":261,"showCount":262,"zanCount":11,"manualWeight":11,"mainColor":53},220382,"qing-wang-hui-fang-zhao-meng-fu-chun-shan-fei-pu-wang-hui-220382","清王翚仿赵孟俯春山飞瀑","王翚","细皴粗染入神知。春水初生落涧迟。书识重光诗正叔。天瓶小册合评时。辛亥（西元一七九一年）新正用恽寿平韵。御题。",[24,25,29,141,257,31,27,30,258,81,34,7,35,42],"工笔","飞瀑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3734e913cfe0bffb73c6f8b6b761edf6.jpg","89.5x37.7",[85,176],64,{"id":264,"slug":265,"title":266,"dynasty":58,"author":267,"museum":77,"description":268,"tags":269,"thumbUrl":272,"material":158,"size":273,"collection":176,"collections":274,"showCount":275,"zanCount":11,"manualWeight":11,"mainColor":71},219328,"chun-shan-tai-xie-zhou-liu-du-219328","春山台榭轴","刘度","此图描写翠巖积秀，碧树繁花，楼阁台榭，临水错落。一人坐于阁中休憩，僮仆捧茶碗侍候，另有一童正在煮茶。台阁用界尺画，工细而不呆板，青绿设色妍丽而生动。山光水影，一派清秀。 据作者款题，此幅乃应友人之请而作，所绘的内容是昔日在西湖精舍见到宋人的《春山台榭》图卷，受到深刻的启发有感而作。 刘度的生卒年不详，存世作品见于1630年至1660年间。此幅画于1636年（崇祯九年丙子），是刘氏传世画作中较早期的作品。",[123,24,25,80,29,257,31,30,171,38,37,36,34,35,270,271,42,7],"台榭","庭院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe971e96e88677a3473d270d202a8981f.jpg","119.9x47.8",[176],62,{"id":277,"slug":278,"title":279,"dynasty":18,"author":280,"museum":60,"description":281,"tags":282,"thumbUrl":284,"material":233,"size":234,"collection":85,"collections":285,"showCount":286,"zanCount":88,"manualWeight":11,"mainColor":53},235611,"hong-ren-shan-shui-ce-hong-ren-235611","弘仁山水册","弘仁","弘仁（1610—1663年），俗姓江，名韬，字六奇，出家后释名弘仁，号渐江学人，又号无智、梅花古衲，安徽歙县人。明亡后入武夷山为僧，云游各地后回歙县，住西郊太平兴国寺和五明寺，常往来于黄山、白岳之间。善画山水，早年从学于孙无修，中年师萧云从。其画取法元代倪瓒、黄公望，构图洗练简逸，笔墨苍劲整洁，善用折带皴和干笔渴墨。他重视师法自然，善画黄山、武夷山诸景，传达山川之美，意境伟峻秀逸，“得黄山之真性情”，与石涛、梅清同成为“黄山画派”的代表人物。在安徽与查士标、孙逸、汪之瑞并称“海阳四家”，形成“新安派”。同时，与石涛、八大、髡残合称“清初四僧”。",[24,25,28,30,171,81,185,34,7,283,31,33,144],"册页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff9adc4adea84818538ce7cff5131eed.jpg",[85],59,{"id":288,"slug":289,"title":290,"dynasty":93,"author":94,"museum":77,"description":291,"tags":292,"thumbUrl":293,"material":29,"size":294,"collection":85,"collections":295,"showCount":296,"zanCount":11,"manualWeight":11,"mainColor":53},221225,"shan-shui-zhou-xia-gui-221225","山水轴","诗塘 王铎题云。老干不事纤细小巧。骨格坚凝韶秀。有大家气。即此一画。雪色蒙晦。石寒铁色。噫。阴晴不可知。有天道寓于中。谓画者果无意欤。夏圭钱塘人。宁宗时擅名。师范宽李唐。宗有其俪。凡以觕粝冒圭者非其真也。丙戌三月时居燕。为二弟仲和题。王铎。钤印一。铎。",[23,24,201,80,28,29,31,34,35,7,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4da237f95d56b5840f04b1a93af93930.jpg","该幅47.6x32.5公分；诗塘28x32.6公分",[85,113],58,{"id":298,"slug":299,"title":241,"dynasty":58,"author":300,"museum":77,"description":301,"tags":302,"thumbUrl":309,"material":310,"size":311,"collection":85,"collections":312,"showCount":313,"zanCount":11,"manualWeight":11,"mainColor":53},214729,"shan-shui-tu-qian-gu-214729","钱谷","这幅画描绘了一位士子读书，一位客人拿着琵琶来访。完全基于文征明的方法，这幅画的构图密集而优雅，充满了书卷气。",[24,25,80,28,31,303,144,30,34,35,38,81,142,44,101,304,305,7,306,307,308],"题字","山路","林间","层岩","古木","山居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F455082ac469620323dfec9e54692861c.jpg","纸本,水墨","117.6x24.6",[85],55,{"id":315,"slug":316,"title":317,"dynasty":18,"author":318,"museum":60,"description":319,"tags":320,"thumbUrl":327,"material":49,"size":49,"collection":49,"collections":328,"showCount":329,"zanCount":88,"manualWeight":11,"mainColor":53},224543,"shan-shui-hua-juan-luo-mei-224543","山水画卷","罗枚","此卷水墨山水以平远之境铺陈开，山峦层叠逶迤，林舍错落点缀溪谷间。线条清劲简括，皴染淡逸萧疏，留白虚处见云水空濛，尽显丘壑幽寂。题诗与画境相融，笔墨脱略凡俗，以淡墨写林泉雅意，简而不薄，淡而有味，将林峦清润之态化为纸上幽境，尽显寄情山水的文人雅怀，清寂出尘的意韵溢满卷间。",[23,24,25,26,28,321,31,30,34,35,126,322,98,323,324,325,81,7,326,101,37],"白描","河流","远岫","近景","远景","村落","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F007e50ac54acef202389bbd66e88ceb5.jpg",[],50,{"id":331,"slug":332,"title":333,"dynasty":334,"author":335,"museum":152,"description":336,"tags":337,"thumbUrl":338,"material":310,"size":339,"collection":85,"collections":340,"showCount":341,"zanCount":88,"manualWeight":11,"mainColor":53},218097,"yun-lin-zhong-xiu-tu-fang-cong-yi-218097","云林钟秀图","元","方从义","这幅画描绘了一片苍茫的云海和山脉，山峰高耸，山腰上漂浮着一条厚厚的云带，朦朦胧胧，山下的两岸长满了树木，树木的影子在白云带中时隐时现，突出了苍茫云海的运动。画中一高一低的山峰耸立在白云之上，山峰的顶端用墨水着色，下面是深谷和溪流。在画的右端是几棵古松，用浓墨点出了浓密的树枝和树干。在画面的最后，密林中出现的房屋像是道教寺庙的集中地，有门、有墙、有宫殿，应该是龙虎山上清宫的主殿，而其他寺庙则散落在各处。这幅画的用墨很随意，不拘一格。云山上的大笔水墨，苍茫润泽，富于变化。",[23,123,24,25,26,28,30,31,144,33,98,101,35,126,42,40,124,7,65,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F876493dc3425bb5b3eb370d2bc11a31c.jpg","24x105cm",[85],44,{"id":343,"slug":344,"title":345,"dynasty":18,"author":280,"museum":60,"description":346,"tags":347,"thumbUrl":350,"material":49,"size":351,"collection":49,"collections":352,"showCount":353,"zanCount":11,"manualWeight":11,"mainColor":53},238032,"hong-ren-shan-shui-tu-ce-hong-ren-238032","弘仁山水图册","弘 仁（1610-1664），清画家。俗姓江，名韬，字六奇，又名舫，字鸥盟。明亡后于福建武夷山出家为僧，字渐江，号梅花古衲。安徽歙县人。为清初四画僧之一。擅画山水，初学宋人，晚法萧云从、倪瓒，笔法清刚简逸，意趣高洁俊雅。尤好绘黄山松石，为“新安画派”创始人，和查士标、孙逸、汪立瑞等四人并称“新安四大家”。兼写梅竹，工诗。存世作品有《枯槎短荻图》《西岩松雪图》《黄海松石图》等。",[24,28,31,283,30,81,34,7,348,36,349,144],"竹子","孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ebf488d534c551f08afd778cd7b6d19.jpg","50×36",[],35,{"id":355,"slug":356,"title":357,"dynasty":93,"author":358,"museum":77,"description":359,"tags":360,"thumbUrl":367,"material":368,"size":369,"collection":111,"collections":370,"showCount":353,"zanCount":11,"manualWeight":11,"mainColor":71},221661,"shan-yao-lou-guan-tu-zhou-xiao-zhao-221661","山腰楼观图轴","萧照","此图右侧，仅画江水、浅滩、远渚、烟树，山间一条小路迂回盘旋，经前峰山腰渡口直抵后峰山巅，临近山巅处有一片楼台亭阁，一登山行人已走近。右下临水山岩上两人指看远方美景；左侧最高峰画得半壁实半壁虚，虚处乃为江上水气所迷，上升成岚，后面还添上几座淡淡峭峰，启人高远不可测的“仰止”之叹。山际径路盘曲，有两人策杖而上，而楼观却深深埋藏在山坳幽谷中。该图近山浓重，远山清淡，又形成虚实对比。",[23,24,123,80,30,29,171,63,36,361,362,363,7,364,365,366,31],"浅滩","远渚","山岩","行人","烟岚","径路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ea4c55e52a1cb2248ca13b56096d3fa.jpg","绢本","纵179.3cm，横112.7cm",[111,85,176],{"id":372,"slug":373,"title":374,"dynasty":93,"author":119,"museum":60,"description":375,"tags":376,"thumbUrl":379,"material":380,"size":381,"collection":111,"collections":382,"showCount":383,"zanCount":11,"manualWeight":11,"mainColor":71},223503,"song-yan-xian-guan-yi-ming-223503","松严仙馆","图绘崇山中的多处建筑群，自上而下分部。画面顶端在绿树的围绕中，多座房顶露出，房屋建造宏伟，青瓦飞檐，四方端正，应为图名“仙馆”了；画中部所绘山石断面很有特色，细线勾勒整齐而光滑；近处流水涓涓，两边绿树苍翠，实为世外桃源之美景。",[23,24,25,201,29,257,31,377,171,34,35,36,40,101,222,7,378],"松","林木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc06f5b71e8e16df60afd252093360347.jpg","绢本，设色","60x89.15cm",[111,85,113],34,{"id":385,"slug":386,"title":387,"dynasty":18,"author":388,"museum":389,"description":390,"tags":391,"thumbUrl":393,"material":128,"size":394,"collection":85,"collections":395,"showCount":396,"zanCount":11,"manualWeight":11,"mainColor":53},218102,"xin-an-yi-yun-ce-han-zhu-shan-shui-han-zhu-218102","新安逸韵册(韩铸山水)","韩铸","香港中文大学文物馆","郑旼的 《新安逸韵图册》 是他的代表作之一，也是他的最后一部作品。这本书由三卷组成，收录了郑旼创作的大量诗歌、书法作品和图画。《新安逸韵图册》的内容丰富，涵盖了许多不同的题材，如自然风光、人物生活、历史故事等。\n\n郑旼在 《新安逸韵图册》 中结合了文字、图画和韵律，创造出了一种独特的艺术形式。他的诗歌融合了中国传统的五言绝句和七言律诗的形式，并加入了自己的创新和个人风格。郑旼的书法作品也颇具特色，他善于运用自然的笔法，使字体看起来更加流畅和优美。\n\n郑旼的 《新安逸韵图册》 被认为是一部杰出的艺术作品，对中国的文学、艺术和文化发展都产生了重要的影响。它不仅是郑旼的代表作，也是中国文学史上的一座里程",[24,25,392,29,31,30,34,35,142,7],"册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b8e42768e6ff7fa17a5e7182b49522e.jpg","30.6x20.7cm",[85],32,{"id":398,"slug":399,"title":400,"dynasty":93,"author":401,"museum":60,"description":402,"tags":403,"thumbUrl":406,"material":49,"size":49,"collection":49,"collections":407,"showCount":408,"zanCount":88,"manualWeight":11,"mainColor":71},227768,"shan-shui-ye-li-tang-227768","山水页","李唐","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）。",[23,24,25,123,28,31,283,30,171,63,35,34,404,66,222,40,324,325,405,7],"水域","枯树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45201661780ca97b7873407544fff787.jpg",[],29,{"id":410,"slug":411,"title":412,"dynasty":18,"author":413,"museum":60,"description":414,"tags":415,"thumbUrl":416,"material":233,"size":234,"collection":49,"collections":417,"showCount":418,"zanCount":11,"manualWeight":11,"mainColor":71},230137,"qiu-song-qiao-bi-tu-wu-li-230137","虬松峭壁图","吴历","吴历（1632年—1718年）清初书画家，天主教传教士。字渔山，号墨井道人、桃溪居士，江南常熟（今属江苏）人 。少时学诗于钱谦益，学画于王鉴、王时敏。康熙二十一年入天主教，继至澳门进耶稣会，前后在嘉定、上海等处传教三十年。著有《墨井诗钞》《三巴集》《桃溪集》《墨井画跋》。",[23,24,80,28,31,144,30,81,7,34,171,36,35,222],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2360df74dde1940bb17a7183928f6ea7.jpg",[],27,{"id":420,"slug":421,"title":422,"dynasty":18,"author":423,"museum":60,"description":424,"tags":425,"thumbUrl":427,"material":49,"size":49,"collection":85,"collections":428,"showCount":429,"zanCount":11,"manualWeight":11,"mainColor":53},238243,"sai-shan-er-shi-si-jing-ce-zhang-ruo-cheng-238243","塞山二十四景册","张若澄","以淡墨勾勒皴擦，写尽峰峦层叠之态，危岩高耸，林木依石而生，留白处似云气萦回山谷，将幽寂的山巅清景铺展开来。笔致苍秀细腻，山石纹理尽显嶙峋质感，枯松错落萧疏，带着塞地萧寒之气，仿佛可闻山风穿林而过。\n\n右侧大片留白与左侧繁密山景形成强烈虚实对照，朱红鉴藏印点缀素纸，墨色丹印相映成趣，既有荒寒山境的冷逸清寂，又添古雅金石意趣，将塞上山川的静穆荒寒凝于尺幅，悠悠古意扑面而来。",[24,25,28,257,31,392,30,426,81,34,7,101],"山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3004413fb4a3a4c945a56f3045298730.jpg",[85],23,{"id":431,"slug":432,"title":433,"dynasty":58,"author":434,"museum":60,"description":435,"tags":436,"thumbUrl":438,"material":233,"size":234,"collection":49,"collections":439,"showCount":429,"zanCount":11,"manualWeight":11,"mainColor":53},236801,"chi-bi-tu-shan-mian-liu-yuan-qi-236801","赤壁图扇面","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",[24,25,437,28,30,31,63,34,35,41,322,7,144],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd85014b4daa5b192d99d625c5a10d25b.jpg",[],{"id":441,"slug":442,"title":443,"dynasty":18,"author":280,"museum":20,"description":444,"tags":445,"thumbUrl":446,"material":189,"size":447,"collection":49,"collections":448,"showCount":429,"zanCount":11,"manualWeight":11,"mainColor":53},220325,"huang-shan-tu-ce-5-hong-ren-220325","黄山图册-5","《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。",[23,24,25,392,28,31,30,349,81,41,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc48c1a6440b9359b890d503ad1a69aae.jpg","21.5x18.3厘米",[],{"id":450,"slug":451,"title":452,"dynasty":18,"author":453,"museum":60,"description":454,"tags":455,"thumbUrl":456,"material":49,"size":49,"collection":49,"collections":457,"showCount":458,"zanCount":11,"manualWeight":11,"mainColor":53},234692,"ri-zhang-shan-jing-tu-zhou-cha-shi-biao-234692","日长山静图轴","查士标","《查士标日长山静图轴》是清代的图轴。\n自题：“日长山静净无尘，风下松花满葛巾。\n自是人间清回处，辋川盘谷总天真。\n丙辰九月画。\n请象老道年翁教正。\n弟查士标。\n”钤“士标私印”白文印、“查二瞻”朱文印。\n款识中的“丙辰”为清康熙十五年（1676年），查士标时年62岁。\n图绘远景山峦高耸如壁。\n近水岸边，长松杂树。\n一高士携童子踱桥而至。\n布局以高远法取势，笔法轻快疏秀，墨气华润蕴藉，意境荒寒清旷，是作者在仿倪瓒的基础上的变体画，堪称其艺术成熟期的代表作。",[24,25,80,28,30,31,34,35,81,41,37,36,7,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23b3052f2ac3b856b3b70c157b198284.jpg",[],22,{"id":460,"slug":461,"title":462,"dynasty":18,"author":280,"museum":20,"description":444,"tags":463,"thumbUrl":465,"material":189,"size":447,"collection":49,"collections":466,"showCount":458,"zanCount":11,"manualWeight":11,"mainColor":53},220321,"huang-shan-tu-ce-8-hong-ren-220321","黄山图册-8",[23,24,25,392,28,30,34,81,185,98,31,464,7],"干笔淡墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F164a5154287c4247eb45586ab3ab5bbe.jpg",[],{"id":468,"slug":469,"title":470,"dynasty":58,"author":471,"museum":60,"description":472,"tags":473,"thumbUrl":474,"material":189,"size":49,"collection":85,"collections":475,"showCount":476,"zanCount":11,"manualWeight":11,"mainColor":53},237027,"shan-shui-ce-zhang-yan-237027","山水册","张彦","张彦（？－？），字伯美，号无诤道人，嘉定（今属上海市）人，一作江苏苏州人，明朝画家。\n与董其昌同时，善于画山水、人物、花卉，与苏州张宏齐名。",[24,25,392,28,31,30,34,35,7,144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f632a06e9383dc4a5468b0b3c0a111b.jpg",[85,176],21,{"id":478,"slug":479,"title":480,"dynasty":334,"author":335,"museum":20,"description":481,"tags":482,"thumbUrl":483,"material":48,"size":484,"collection":49,"collections":485,"showCount":486,"zanCount":11,"manualWeight":11,"mainColor":53},233220,"wu-yi-fang-zhao-tu-zhou-fang-cong-yi-233220","武夷放棹图轴","此图画武夷山景。武夷山在今福建省崇安县西南，绵亘百余里，有36峰、37岩，水流其间，分为九曲，为我国南方风景名胜之地。古代，道家将它称为第十六洞天，是道教活动较为集中的地区。此图是方从义为同道周敬堇而作。画面右侧一峰高耸，峰下水中一叶小舟徐徐划行，岸上怪石嶙峋，林木丛生其间。笔墨浓润，酣畅淋漓，山体用纵向长线条皴染，以增其峭砺高耸之感。布局奇特，笔法多变，融古法为己用，表现出独具特色的艺术格调。",[24,25,80,28,31,30,63,7,35,40,144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ce68dbca86ab65c25a6f0e74749f9db.jpg","纵74.4厘米，横27.8厘米",[],19,{"id":488,"slug":489,"title":490,"dynasty":93,"author":358,"museum":60,"description":491,"tags":492,"thumbUrl":495,"material":49,"size":49,"collection":49,"collections":496,"showCount":486,"zanCount":11,"manualWeight":11,"mainColor":71},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。",[23,123,24,25,201,493,31,29,34,35,494,63,82,7,171,40,64],"界画","江河","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cbb108bac6d25aa9774d3238cd413a6.jpg",[],{"id":498,"slug":499,"title":279,"dynasty":18,"author":280,"museum":60,"description":281,"tags":500,"thumbUrl":501,"material":233,"size":234,"collection":49,"collections":502,"showCount":503,"zanCount":11,"manualWeight":11,"mainColor":53},237616,"hong-ren-shan-shui-ce-hong-ren-237616",[24,25,392,28,31,33,144,30,349,35,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c67fe135fe740c9acc2ed77ec079c59.jpg",[],18,{"id":505,"slug":506,"title":507,"dynasty":18,"author":280,"museum":20,"description":444,"tags":508,"thumbUrl":510,"material":189,"size":447,"collection":49,"collections":511,"showCount":503,"zanCount":11,"manualWeight":11,"mainColor":53},220316,"huang-shan-tu-ce-13-hong-ren-220316","黄山图册-13",[23,24,25,123,392,28,31,34,98,7,35,509],"雪景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc417d6e1a625c43032297da4992c2db5.jpg",[],{"id":513,"slug":514,"title":515,"dynasty":93,"author":119,"museum":60,"description":516,"tags":517,"thumbUrl":520,"material":233,"size":234,"collection":49,"collections":521,"showCount":522,"zanCount":11,"manualWeight":11,"mainColor":71},290228,"feng-yu-gui-zhou-tu-yi-ming-290228","风雨归舟图","该画描绘近处巨岗高树，中部为广漠的江河，并置沙渚、坡岸、板桥、行舟、人物等，远处山峦耸峙，景色具有江南水乡山崇水阔的特点。",[24,123,25,201,28,31,518,7,35,36,63,519],"风雨","蓑笠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbbb9931dc8c8d644cebbb3637b2a6ce.jpg",[],17,{"id":524,"slug":525,"title":526,"dynasty":93,"author":119,"museum":77,"description":527,"tags":528,"thumbUrl":530,"material":109,"size":531,"collection":111,"collections":532,"showCount":533,"zanCount":11,"manualWeight":11,"mainColor":71},290773,"dou-he-fei-quan-zhou-yi-ming-290773","陡壑飞泉轴","以奇崛构图绘一山涧悬崖旁嶙峋的奇石、松枝、流瀑，画面主体位置为两棵重墨勾勒而成姿态生动的松树，背景衬以淡墨挥洒而成、水气淋漓的瀑布，干湿浓淡交融中传达出一种空谷幽泉所特有的宁静氛围",[24,123,80,30,28,31,34,7,529,36,307,38],"飞泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0908aaa9682157e972aa17ccd080b28.jpg","252.7x82.1",[111],16,{"id":535,"slug":536,"title":537,"dynasty":18,"author":280,"museum":20,"description":444,"tags":538,"thumbUrl":539,"material":189,"size":447,"collection":49,"collections":540,"showCount":533,"zanCount":11,"manualWeight":11,"mainColor":53},220305,"huang-shan-tu-ce-22-hong-ren-220305","黄山图册-22",[23,24,25,28,31,392,30,34,81,41,98,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d4f2c0db79efbfbcf1ca03a0c9769e3.jpg",[],{"id":542,"slug":543,"title":544,"dynasty":58,"author":545,"museum":546,"description":547,"tags":548,"thumbUrl":550,"material":368,"size":551,"collection":49,"collections":552,"showCount":553,"zanCount":11,"manualWeight":11,"mainColor":53},232647,"wu-xie-shan-tu-chen-hong-shou-232647","五泄山图","陈洪绶","美国克利夫兰艺术博物馆","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。",[123,24,25,80,28,31,30,35,405,34,82,42,7,549],"丛林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe63046bcfa80469e93c5b952548b3d1.jpg","118.3×53.2cm",[],15,{"id":555,"slug":556,"title":557,"dynasty":18,"author":558,"museum":20,"description":559,"tags":560,"thumbUrl":561,"material":68,"size":562,"collection":85,"collections":563,"showCount":553,"zanCount":11,"manualWeight":11,"mainColor":53},222668,"shang-shan-si-hao-tu-huang-shen-222668","商山四皓图","黄慎","此图描绘的是秦末东园公、绮里季、夏黄公、甪里隐于商山（今陕西省商县东南）的故事。四人皆80高龄，为避秦暴政而隐居商山，时人称之为“商山四皓”。西汉初，高祖屡召之而不得。后，高祖欲废太子刘盈，改立戚夫人子赵王如意，群臣谏而不听。吕后用张良计，礼遇四皓。高祖以为太子既得此四皓，羽翼已成，只得打消了废太子之念。图中峰峦高耸，飞瀑流泉，意境幽雅。人物的分布错落有致，形貌神态生动自然，笔墨放纵而又不失法度，为黄慎晚年之佳作。",[23,24,28,29,31,30,41,81,185,82,221,44,35,7,42],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2950074f1e7dcfc0fcd64cd290cf3c9f.jpg","纵120.2厘米，横68.3厘米",[85,113],{"id":565,"slug":566,"title":567,"dynasty":93,"author":358,"museum":77,"description":568,"tags":569,"thumbUrl":575,"material":576,"size":577,"collection":49,"collections":578,"showCount":553,"zanCount":11,"manualWeight":11,"mainColor":53},221663,"guan-shan-xing-lv-xiao-zhao-221663","关山行旅","此图右侧，仅画江水、浅滩、远渚、烟树。山间一条小路迂回盘旋，经前峰山腰渡口直抵后峰山巅，临近山巅处有一片楼台亭阁，一登山行人已走近。右下临水山岩上两人指看远方美景。左侧最高峰画得半壁实半壁虚，虚处乃为江上为气所迷，上升成岚，后面还添上几座淡淡峭峰，启人高远不可测的“仰止”之叹。山际径路盘曲，有两人策杖而上，而楼观却深深埋藏在山坳幽谷中。近山浓重，远山清淡，又形成虚实对比。名款“萧照”二字楷书于幅中央之树石间，则与《西湖志余》所载相同。",[23,123,24,25,29,31,30,34,35,101,570,571,98,7,572,204,573,574],"古道","行旅","烟霭","天","马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2fe06d072d80ba657a4399c5a76700d.jpg","绢本设色","24.2 x 26.2 cm",[],{"id":580,"slug":581,"title":582,"dynasty":18,"author":453,"museum":60,"description":583,"tags":584,"thumbUrl":591,"material":49,"size":49,"collection":49,"collections":592,"showCount":593,"zanCount":11,"manualWeight":11,"mainColor":53},234175,"xi-xi-cao-tang-tu-juan-cha-shi-biao-234175","西溪草堂图卷","查士标（1615年—1698年），字二瞻，号梅壑散人、懒老，新安（今安徽歙县、休宁）人，流寓江苏扬州，明末秀才，清初著名画家、书法家和诗人。家富收藏，故精鉴别，擅画山水。与孙逸、汪之瑞、弘仁等书画家一起被称为“新安四家”。\n查士标专事书画，家藏甚富，鼎彝及宋、元真迹皆有，遂精鉴赏。\n他的山水画，笔墨疏简，风神嫩散，气韵荒寒，晚年画风突变，直窥元人之奥。",[23,24,26,28,30,31,426,585,38,586,39,63,221,587,323,43,588,7,589,590],"水","树","岸","柳树","沙洲","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f1795bf78bf2ed221b26be8f6242dad.jpg",[],13,{"id":595,"slug":596,"title":597,"dynasty":18,"author":598,"museum":60,"description":599,"tags":600,"thumbUrl":601,"material":233,"size":234,"collection":49,"collections":602,"showCount":603,"zanCount":11,"manualWeight":11,"mainColor":71},238956,"sheng-mao-san-xia-qu-tang-tu-ye-sheng-mao-238956","盛懋三峡瞿塘图页","盛懋","盛懋（生卒年未详），字子昭。父洪，临安（今杭州）人，寓魏塘，业画。懋承家学，善画人物、山水、花鸟。早年并得画家陈琳指点，画山石多用批麻皴或解索皴，笔法精整，设色明丽。",[24,25,437,29,30,7,186,63,35,40,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feef4ede6cc5bdcd57328bb710edec5db.jpg",[],10,{"id":605,"slug":606,"title":607,"dynasty":136,"author":608,"museum":609,"description":610,"tags":611,"thumbUrl":614,"material":49,"size":49,"collection":49,"collections":615,"showCount":603,"zanCount":11,"manualWeight":11,"mainColor":53},220458,"shi-men-guan-liang-220458","石门","关良","龙美术馆西岸馆","关良，字良公，广东番禺人。长于中国画、油画。1917 年入日本川端画学校学习油画，1918-1923 年于太平洋美术学校学习油画。1923 年回国，任上海美术专科学校教授。参加过北伐战争，任政治部艺术股长。三十至四十年代辗转于广州、上海、重庆等地的艺术院校任教，并于名山大川旅行写生。曾任浙江美术学院教授、上海中国画院画师。著有《关良艺事随谈》、《关良回忆录》。出版《关良京戏人物水墨画》、《关良油画集》等。",[24,29,30,7,36,38,612,586,613],"船","石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0ebef99d6af837be20ccb7bdc022a25.jpg",[],{"id":617,"slug":618,"title":619,"dynasty":58,"author":620,"museum":60,"description":621,"tags":622,"thumbUrl":624,"material":49,"size":49,"collection":49,"collections":625,"showCount":626,"zanCount":11,"manualWeight":11,"mainColor":53},234682,"shan-shui-dan-ye-wan-shou-qi-234682","山水单页","万寿祺","万寿祺（1603年－1652年），明末清初文学家、书画家。字年少，又字介若、内景，入清衣僧服，改名慧寿，又名明志道人、寿道人、寿若、若若，世称年少先生，祖籍江西南昌，曾祖辈迁至江苏徐州。 [1] 与陈子龙乡试同年，与沛县阎尔梅是同乡。曾参加抗清活动，兵败后隐居江淮一带。代表作有《秋江别思图》《松石图》《山水图》等等。 万寿祺为人风流倜傥，工书画，精于六书，癖嗜印章，辑有《沙门慧寿印谱》一册。其后裔第十六代后人万中华，在当今书画界也享有一定的声誉。",[623,28,321,31,303,144,30,81,41,34,40,7],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2162ccf18dc85ed28b0971b24faa8c9.jpg",[],9,{"id":628,"slug":629,"title":630,"dynasty":18,"author":119,"museum":60,"description":631,"tags":632,"thumbUrl":633,"material":49,"size":49,"collection":49,"collections":634,"showCount":626,"zanCount":11,"manualWeight":11,"mainColor":53},234485,"qing-jiang-zuo-wen-xin-ji-ce-zou-zhe-shan-shui-ce-ye-yi-ming-234485","清江左文心集册-邹喆山水册页","明末清初，金陵特殊的政治、经济、文化地位，使其集聚了一大批画家，用龚贤的话来说：“今日画家以江南最盛，江南十郡以首郡为盛，郡中著名者且数十辈，但能吮笔者岂止千人？”① 江南的首郡就是金陵。在这些画家中，却单单有八位画家因一个概念而被画史铭记，这就是“金陵八家”。但是，关于“金陵八家”的构成一直为画史争论不休。先后出现了多个版本，这些不同的“金陵八家”组合其实可以分为三类：①为张庚《国朝画征录》中提出的以龚贤为首的“金陵八家”。②为标明是周亮工品题的不包括龚贤，并以陈卓领衔的“金陵八家”，《上元县志》、《新修江宁府志》、《上江两县志》和《金陵通传》这4部南京地方志采用该说。前三书完全相同，而《金陵通传》略有不同，将武丹换成了武弁（很可能是传抄的错误）。《眼福编》的组合虽与张庚之说相似，但将龚贤换成了邹喆的父亲邹典，故将之归到这一类。③为《昆山景物志》，此说也以龚贤为首，大概因为龚贤是昆山人。新入3人：施霖、盛丹、王概。这三类“金陵八家”构成以第一种受到的附合最多。为什么会出现如此多的“金陵八家”说不同版本，“金陵八家”最初由谁品题，为什么会发生变化，其动因又是什么呢？",[24,28,29,31,392,30,34,35,246,404,98,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceffa03dc34c80a37f79d6bb2778e258.jpg",[],{"id":636,"slug":637,"title":638,"dynasty":58,"author":639,"museum":20,"description":640,"tags":641,"thumbUrl":643,"material":189,"size":49,"collection":49,"collections":644,"showCount":626,"zanCount":11,"manualWeight":11,"mainColor":53},233854,"shi-hua-he-bi-ce-zhou-yong-233854","诗画合璧册","周用","周用（1476—1547，一作1476-1548），字行之，号伯川，南直隶苏州府吴江县（今江苏省苏州市吴江区）人。弘治十五年（1502）进士，授行人。正德初，迁南京兵科给事中，进言谏迎佛事及镇守江西中官不法事，迁广东布政司参议。嘉靖中，历官南京工部、刑部尚书。九庙灾，自陈致仕。后以工部尚书总督河道，官至吏部尚书。\n周用，字行之，吴江人。弘治十五年进士。授行人。正德初，擢南京兵科给事中。父忧服阕，留补礼科。已，乞南。改南京兵科。谏迎佛乌斯藏及以中旨迁黜尚书、都给事中等官，且请治镇守江西中官黎安罪。出为广东参议，预平番禺盗，有功。历浙江、山东副使。擢福建按察使，改河南右布政使。代监司鞫南阳滞狱，狱为之空。嘉靖八年擢右副都御史，巡抚南、赣。召协理院事。历吏部左、右侍郎。以起废不当，尚书汪鋐委罪僚属，乃调用南京刑部。就迁右都御史，工、刑二部尚书。九庙灾，自陈致仕。用端亮有节概。既罢，中外皆惜之，频有推荐。久之，以工部尚书起督河道，数月，改漕运。未上，召拜左都御史。二品九年满，加太子少保。二十五年代唐龙为吏部尚书。明年卒官。赠太子太保，谥恭肃。曾孙宗建，自有传。\n用掌宪时，慎自持而已，无所献替。其后宋景、屠侨继之，大略皆廉洁，与用相似。景未久卒，而侨居职八年。属严嵩柄政，风纪不振。议丁汝夔狱，受杖不能去。",[24,25,392,28,31,321,29,30,41,349,642,7,44,101],"老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33b239f8f751456574441785c55cb076.jpg",[],{"id":646,"slug":647,"title":648,"dynasty":18,"author":649,"museum":60,"description":650,"tags":651,"thumbUrl":652,"material":233,"size":234,"collection":49,"collections":653,"showCount":654,"zanCount":11,"manualWeight":11,"mainColor":53},237487,"shan-shui-tu-ce-yao-song-237487","山水图册","姚宋","姚宋（1648—1721），字雨金，一作雨京，号野梅。安徽新安（今安徽歙县）人。清代画家。\n姚宋寓居芜湖。擅长山水画，其初学弘仁，后期广学诸家，成为新安派画家之一。姚宋所画人物、花鸟、鱼虫、兰竹、无不工致。",[24,392,28,32,33,31,144,30,349,35,125,404,7,325,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86f53938c1969f1a58b6dd58cd34eed5.jpg",[],7,{"id":656,"slug":657,"title":658,"dynasty":18,"author":659,"museum":20,"description":660,"tags":661,"thumbUrl":668,"material":68,"size":49,"collection":49,"collections":669,"showCount":52,"zanCount":11,"manualWeight":11,"mainColor":71},236828,"fang-gu-shan-shui-ce-zhao-cheng-236828","仿古山水册","赵澄","[明]（一五八一至？）晚年得铜汉章改名澄，字雪江，一字湛之，颍州（今安徽阜阳）布衣。山水泼墨、细谨两擅其长。学宗董源、范宽、李唐诸家。又善临摹，见大内所藏皆缩为小幅，无一笔不肖。又仿古二十幅极精，为琉球国王所得，永为海外珍宝。并工写照，得意之作皆用铜章。以博学能诗称。顺治十一年（一六五四）仿各家山水册时年七十四。《国[清]朝画徵录、读画录、图绘宝鉴续纂、桐阴论画》",[24,662,30,29,31,426,663,35,101,171,222,65,98,7,44,664,665,666,667],"仿古","石","平台","枝叶","云气","古建","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0183adf33d938618193370ec0d4adcb1.jpg",[],{"id":671,"slug":672,"title":673,"dynasty":18,"author":674,"museum":60,"description":675,"tags":676,"thumbUrl":677,"material":49,"size":49,"collection":49,"collections":678,"showCount":52,"zanCount":11,"manualWeight":11,"mainColor":53},235100,"zheng-min-shan-shui-ce-zheng-min-235100","郑旼山水册","郑旼","此作以枯笔淡墨写危崖栈道，山石轮廓简约空灵，崖边古木虬曲苍劲，几位行旅缓步山径，为清寂的山水晕开几分灵动暖意。笔墨简淡疏朗，尽显萧疏淡远的荒寒意趣，是新安画派简逸清泠的典型风貌。\n\n左侧题跋笔力苍劲，书法与山水呼应相合，文气融于画意，让整幅小品兼具笔墨意趣与文人雅韵，淡而不寡，简而有神，将山水的幽寂清冷与文人情致相融，余韵悠长。",[24,25,392,28,31,32,33,30,41,642,349,7,570],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0534891de7a684db29a99a1dcb16ff93.jpg",[],{"id":680,"slug":681,"title":470,"dynasty":58,"author":682,"museum":60,"description":683,"tags":684,"thumbUrl":685,"material":49,"size":49,"collection":49,"collections":686,"showCount":52,"zanCount":11,"manualWeight":11,"mainColor":53},234869,"shan-shui-ce-zhao-pu-234869","赵璞","此作用笔苍劲老辣，层岩以枯笔皴擦出硬朗棱角，数道飞瀑以留白衬出奔涌之势，仿佛可听泠泠泉声。崖侧枯木虬曲，下方杂树蓊郁，动静相生，晕染出山林幽寂之态。\n左侧题诗笔墨清隽，诗画相映，将林泉高致寄于尺幅间。整体画风简淡萧散，以极简笔墨勾勒出山川空灵之美，把文人隐逸襟怀融于山水烟岚中，观之如临幽壑，暗合林下高逸之趣。",[24,25,392,28,31,30,82,35,34,7,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa38b6bbf651ae63cb2e41e8a0ad19e10.jpg",[],{"id":688,"slug":689,"title":690,"dynasty":18,"author":674,"museum":95,"description":691,"tags":692,"thumbUrl":693,"material":694,"size":49,"collection":49,"collections":695,"showCount":696,"zanCount":11,"manualWeight":11,"mainColor":697},222720,"huang-shan-ba-jing-tu-ce-9-zheng-min-222720","黄山八景图册9","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。",[23,24,25,392,28,31,33,144,30,349,81,98,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4a7c5f90d3f92150458ca74b74af4ee.jpg","纸本水墨",[],5,"37474F",{"id":699,"slug":700,"title":701,"dynasty":58,"author":702,"museum":703,"description":704,"tags":705,"thumbUrl":706,"material":128,"size":707,"collection":49,"collections":708,"showCount":696,"zanCount":11,"manualWeight":11,"mainColor":53},217873,"zhou-li-yuan-shang-kuan-shen-ce-wu-hu-yu-kun-217873","周栎园上款什册(五)","胡玉昆","大英博物馆","山石以斧劈皴出，棱角如削，似经岁月雕琢。松枝虬曲下垂，松针密簇如墨点，藤蔓轻垂若丝绦。树下一人抱膝闲坐，白衣素衫，似与山风对语，又或静听涧泉叮咚。左侧题跋笔墨酣畅，行草间见跌宕之气，与山水意境相契，文画相生。笔墨浓淡相济，留白处云气氤氲，山石的沉雄与草木的清逸相映，隐者的闲静与自然的生机交融，尽展文人山水的清幽淡远之趣，仿佛能闻松风阵阵，见云影悠悠，心境随之沉潜于这份与世无争的恬淡里。",[24,25,28,31,392,30,81,34,41,36,35,7,40,202],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F967f477abd8ecd0dbacfa2700ac1ab98.jpg","24.7x32.3cm",[],{"id":710,"slug":711,"title":712,"dynasty":58,"author":713,"museum":714,"description":715,"tags":716,"thumbUrl":718,"material":49,"size":49,"collection":49,"collections":719,"showCount":696,"zanCount":11,"manualWeight":11,"mainColor":720},202247,"chi-bi-shu-hua-he-juan-wen-zheng-ming-202247","赤壁书画合卷","文徵明","上海博物馆","书画合璧，墨韵相生。卷中山峦峭壁错落，江流蜿蜒，孤舟轻泛，林木萧疏，笔墨间尽展赤壁的旷远之境。书法笔意流畅，与画卷相得益彰，字里行间寄寓幽远情思。设色淡雅清润，皴法细腻传神，尽显文人画的雅致气韵，将赤壁的历史感与自然意趣融于一体，引人遐思。",[24,25,26,30,33,29,63,7,31,717,23],"江流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55a9c36ece7c2bae712534deac063bbe.jpg",[],"d3c7b5",{"id":722,"slug":723,"title":724,"dynasty":18,"author":725,"museum":20,"description":726,"tags":727,"thumbUrl":728,"material":68,"size":49,"collection":49,"collections":729,"showCount":162,"zanCount":11,"manualWeight":11,"mainColor":53},234750,"huang-shan-tu-ce-jiang-zhu-234750","黄山图册","江注","江注（1626～1685），字允凝，号若米舫。一些美术画论和辞典称其又字允冰，徽州歙县桃源坞人，僧渐江之侄，能诗善画，著有《允凝诗草》，幼从渐江学画，意境幽僻，用笔清劲，笔墨苍古，清远冷峻，常年隐于黄山，曾陪伴弘仁在黄山纪游写生，搜胜穷幽，颇得渐江真传，与姚宋、祝昌、吴定并称为“渐江四弟子”。\n江注《黄山图册》册页五十帧，现收藏于故宫博物院。由于渐江亲授，在绘画思想和风格上“酷肖弘仁”。他常和渐江结伴出游，一样痴迷黄山，有“渐公坐文殊台上吹笛，江允凝倚歌和之，发音嘹亮，上彻云表”之故事。",[24,25,392,28,31,33,144,30,426,38,586,663,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34e9b9c3c9203fe957f25772430a0170.jpg",[],{"id":731,"slug":732,"title":290,"dynasty":18,"author":733,"museum":714,"description":734,"tags":735,"thumbUrl":737,"material":49,"size":49,"collection":49,"collections":738,"showCount":739,"zanCount":11,"manualWeight":11,"mainColor":740},202424,"shan-shui-zhou-wang-yan-202424","王巘","峭壁如削，皴法苍劲勾勒纹理，山间云气轻笼，添悠远之致。近景松石错列，古松虬劲，松下亭榭临崖而筑，一人凭栏凝睇，似与山水相融。水面开阔，渔舟三两，笔墨简练却意韵悠长。设色淡雅，水墨与浅绛交织，尽显传统山水之静谧闲逸，于咫尺间展天地之宽。",[24,30,80,28,29,31,377,38,63,7,736,23],"渔舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89fa5faa1f4fca83403f0d555e49f8cf.jpg",[],3,"bb975d",{"id":742,"slug":743,"title":470,"dynasty":58,"author":744,"museum":60,"description":745,"tags":746,"thumbUrl":747,"material":189,"size":49,"collection":49,"collections":748,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":53},237036,"shan-shui-ce-li-hang-zhi-237036","李杭之","李杭之[明]（？―一六四四）字僧筏，流芳（一五七五―一六二九）子。\n年未四十，弃诸生放浪山水。好古彝器，然遇人困难辄赠之。诗文书画，酷似其父。有月泛图，张鸿磐题云：“小李风流继阿翁，萧疏笔墨见心胸。”崇祯十二年（一六三九）尝作山水扇，现藏故宫博物馆。《列朝诗集小传》、《小松圆阁书画跋》、《南翔志》",[24,28,31,392,30,34,35,41,7,642],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c94e6f6eb75e6357521ddf5ad3d7a29.jpg",[],{"id":750,"slug":751,"title":724,"dynasty":18,"author":725,"museum":20,"description":726,"tags":752,"thumbUrl":753,"material":68,"size":49,"collection":49,"collections":754,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":53},234732,"huang-shan-tu-ce-jiang-zhu-234732",[24,25,392,28,31,30,34,101,7,35,32,33,144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cb20278557b5536d5dd83267f755541.jpg",[],{"id":756,"slug":757,"title":758,"dynasty":18,"author":119,"museum":60,"description":759,"tags":760,"thumbUrl":764,"material":233,"size":234,"collection":49,"collections":765,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":71},229668,"qian-long-qia-si-fa-lang-chi-bi-bian-hu-yi-ming-229668","乾隆 掐丝珐瑯赤壁扁壶","珐琅又称“佛郎”、“法蓝”，是由中国隋唐时古西域地名拂菻音译而来。珐琅器是以珐琅为材料装饰而制成的器物，其基本成分为石英、长石、硼砂和氟化物，与陶瓷釉、琉璃、玻璃同属硅酸盐类物质。依据具体加工工艺的不同，又可分为掐丝珐琅器、錾胎珐琅器、画珐琅器和透明珐琅器等几个品种。\n珐琅就是将经过粉碎研磨的珐琅釉料，涂施于经过金属加工工艺制作后的金属制品的表面，经干燥、烧成等制作步骤后，所得到的复合性工艺品。珐琅工艺的制作分类很多，一般根据制作方法和胎地种类将其分类。 [2] 珐琅依据具体加工工艺的不同，又可分为掐丝珐琅器、錾胎珐琅器、画珐琅器和透明珐琅器等几个品种。其中掐丝珐琅器就是俗称的“景泰蓝”，15世纪中期明代景泰年间的制品尤为著称，故有景泰蓝之称。\n清代，西洋珐琅从广州传入中国，广州生产的珐琅俗称“广珐琅”，是朝廷的贡品，其中最著名的是画珐琅 ，錾胎珐琅的制作中心也在广州，透明珐琅器也以广州出产的最为著名。",[761,29,30,63,36,221,7,35,66,762,763],"掐丝珐瑯","器","珐瑯器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70127ae1756bbbbd292dad47eb66b7f3.jpg",[],{"id":767,"slug":768,"title":769,"dynasty":18,"author":119,"museum":60,"description":770,"tags":771,"thumbUrl":775,"material":233,"size":234,"collection":49,"collections":776,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":53},238619,"ping-ding-liang-jin-chuan-de-sheng-tu-ce-yi-ming-238619","平定两金川得胜图册","全景式构图铺展战事全貌，左侧清军整肃列阵，将官立马调度，部伍森严规整；右侧短兵相接，人马错杂扭打，喊杀之气似透纸而出。苍劲山石为幕，将运筹帷幄的沉稳与喋血搏杀的悍烈形成强烈对冲。\n刻绘线条精细入微，山峦皴擦写实，人马姿态纤毫毕现，既借中式山水营造出宏大意境，又以西洋铜版技法勾勒出战场细节，写实再现征伐平叛的肃杀与雄浑，定格冷兵战事的张力，将平叛武功的威赫与战场残酷融为一体。",[257,28,392,31,30,41,574,34,35,322,98,7,772,773,774],"士兵","兵器","战争","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa79202de1deed1a2e8b1f9aff06432e0.jpg",[],{"id":778,"slug":779,"title":470,"dynasty":18,"author":780,"museum":60,"description":781,"tags":782,"thumbUrl":783,"material":49,"size":49,"collection":49,"collections":784,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":53},234337,"shan-shui-ce-jin-ting-biao-234337","金廷标","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。",[24,25,392,28,29,30,31,142,81,7,40,32,144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5555c65778c6b7dae7d67875a19994a3.jpg",[],{"id":786,"slug":787,"title":788,"dynasty":18,"author":789,"museum":60,"description":790,"tags":791,"thumbUrl":797,"material":28,"size":49,"collection":49,"collections":798,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":53},216792,"zhan-zheng-tong-ban-hua-55-lang-shi-ning-216792","战争铜版画-55","郎世宁","这一系列铜质战争版画是由清朝乾隆皇帝旨令制作的，描绘了他在位期间在内陆省份和边疆的军事行动场景。这些版画主要由当时在宫廷服务的欧洲传教士绘制，如郎世宁、王志成、艾启蒙和安德烈。柏林国家图书馆的东亚部分拥有五个系列的64幅版画。",[792,793,220,257,30,221,35,41,794,795,304,7,42,772,796,774],"铜版画","雕刻","军队","旗帜","战马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c5971384ad44b8656acf718f1ffc8ed.jpg",[],{"id":800,"slug":801,"title":802,"dynasty":18,"author":119,"museum":60,"description":803,"tags":804,"thumbUrl":807,"material":310,"size":49,"collection":49,"collections":808,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":53},215608,"tian-xia-ming-shan-tu-14-yi-ming-215608","天下名山图-14","笔墨勾勒的峰峦如剑戟般刺破云霭，线条如流水游走于山石肌理间，皴擦点染藏着草木的低语。近景峭壁纹理清晰，似能触到岩石冷硬；中景山势层叠，隐现的屋宇漏出人间烟火；远景云气缭绕，将天地连成浩渺一片。整幅画以线为骨、以意传神，静穆中透着山河壮阔，仿佛能听见山风穿峡的回响，看见云雾在峰尖缓缓流动。每一笔都凝着对自然的敬畏，把名山的雄奇与灵秀收于尺幅，让观者心随画游，沉醉在这片笔墨构筑的山水秘境里。",[24,25,321,30,426,805,35,7,806],"云","峰峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94287d078c1957cca19cd0f5038dfe0d.jpg",[],1777535707438]