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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。",[76,23,77,78,24,79,80,56,57,58,81,82,83,84,85,7,86],"扇面","名画","山水","皴法","小桥","竹林","远山","湖畔","幽居","人物","宁静","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49c2afeea3f577fe63a183d96a3c4ef6.jpg","未知","Xcm*Xcm",[],85,2,{"id":94,"slug":95,"title":96,"dynasty":97,"author":98,"museum":73,"description":99,"tags":100,"thumbUrl":109,"material":34,"size":34,"collection":34,"collections":110,"showCount":111,"zanCount":11,"manualWeight":11,"mainColor":112},233908,"hua-hui-shan-shui-ce-yun-shou-ping-233908","花卉山水册","清","恽寿平","恽寿平（1633-1690年），初名格，后以字行，又字正叔，别号南田，一号白云外史、云溪外史、东园客、巢枫客、草衣生、横山樵者。江苏武进人。清代著名画家。与“四王”、吴历并称“清初六大家”。其父恽日初诗文杰出，为“复社”中人。叔父恽向（道生）为著名山水画家，自创一派。恽寿平是清朝初期最享盛名的花鸟画家。其画作多写生，人称“写生正派”；更以徐崇嗣为宗，兼取各家之长，极大的发展了没骨画。所画花卉，很少勾勒，以水墨着色渲染，用笔含蓄，画法工整，明丽简洁，天趣盎然。恽寿平不仅画作出众，风格独具，而且兼工诗书，题句清丽流畅，诗格脱俗超逸，为“昆陵六逸”之冠。恽南田《山水花卉册》八帧，其中包括山水，花鸟及情景兼容的人物，攘括了恽南田所有的画种。画中有退耕堂藏印。退耕堂为徐世昌的室名。\n恽寿平一生坎坷，饱经困苦，他幼年聪颖玲利，遭遇战乱，与兄皆被俘，与父亲失散，后遇灵隐寺方丈相救，才得以与家人团聚，归家后，发奋读书学画。经刻苦钻研，于古文、诗词、书画无不精擅。他崇尚气节，誓不应科举，少时的忧患，留下深深的创痛，一生未尝忘情。却在绘画上取得了很高的成就；恽南田曾致书王（翚）说：“格于山水，终难打破一字关，曰‘窘’，良由为古人规矩法度所束缚耳。”又说：“君独步矣！吾不为第二手也”。于是恽寿平转攻花鸟，以后山水不过偶而为之。可见其艺术抱负。《山水花卉册》中的山水，取黄公望笔法，于荒率中见秀润，尖毫勾皴，浓墨点树、高旷清淡，浸润宋元诸家，吸取王蒙、二米等人之长，渐脱刻极。40岁左右作品最为精采，如43岁的《山水花鸟册》，技法灵活多变，表达各家风貌准确，艺术已臻成熟。他的花鸟画成就最为突出，取法徐崇嗣的没骨法，他的没骨花卉，揉合了黄（筌）、徐（熙）两派技法，既重视写生，力求形似，“每画一花，必折是花插之瓶中，极力描摹，得其生香活色而后已。”又强调“与花传神”。力去华靡，追求“ 澹雅”。此册中的花鸟更是形神兼备，清新淡雅，具有新的风貌。",[23,101,102,24,78,103,104,80,105,106,107,108,79,7],"册","书画","柳树","民居","林木","孤舟","印章","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdc695aa86b4de6eec57f11a4c771330.jpg",[],71,"BDBDBD",{"id":114,"slug":115,"title":116,"dynasty":71,"author":117,"museum":73,"description":118,"tags":119,"thumbUrl":124,"material":88,"size":89,"collection":34,"collections":125,"showCount":126,"zanCount":11,"manualWeight":11,"mainColor":39},290273,"wu-yi-shan-shui-tu-li-an-zhong-290273","武夷山水图","李安忠","李安忠，南宋画家。钱塘（今浙江杭州）人，生卒年不详。宋徽宗宣和（1119-1125）时为画院祗候，历官成忠郎。南渡后绍兴（1131-1162）间复职画院，赐金带。",[77,23,102,120,24,78,121,56,108,122,123,7],"立轴","山石","草书","仙山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9eecb676947138ecdd41692d5e9363b.jpg",[],30,{"id":128,"slug":129,"title":130,"dynasty":131,"author":132,"museum":73,"description":133,"tags":134,"thumbUrl":137,"material":88,"size":89,"collection":34,"collections":138,"showCount":139,"zanCount":11,"manualWeight":11,"mainColor":112},290833,"ping-lin-yuan-xiu-zhou-ni-zan-290833","平林远岫轴","元","倪瓒","倪瓒（1301年－1374年），初名倪珽，字泰宇，别字元镇，号云林子、荆蛮民、幻霞子，江苏无锡人，元末明初画家、诗人。\n倪瓒擅画山水和墨竹，师法董源，受赵孟頫影响。早年画风清润，晚年变法，平淡天真。疏林坡岸，幽秀旷逸，笔简意远，惜墨如金。以侧锋干笔作皴，名为“折带皴”。墨竹偃仰有姿，寥寥数笔，逸气横生。书法从隶书入，有晋人风度，亦擅诗文。洪武七年卒，时年七十四岁。\n倪瓒与黄公望、王蒙、吴镇合称“元四家”。倪瓒家中富有，博学好古，四方名士常至其门。元顺帝至正初年，散尽家财，浪迹太湖。存世作品有《渔庄秋霁图》《六君子图》《容膝斋图》《清閟阁集》。",[23,120,24,78,135,58,136,57,108,107,79,7],"山峦","河流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04dfa51199c3ad35772c52d3f5762112.jpg",[],26,{"id":141,"slug":142,"title":143,"dynasty":97,"author":144,"museum":73,"description":145,"tags":146,"thumbUrl":150,"material":88,"size":89,"collection":34,"collections":151,"showCount":139,"zanCount":11,"manualWeight":11,"mainColor":39},288523,"shan-shui-ye-yuan-jiang-288523","山水页","袁江","袁江（1662年—1735年），字文涛，号岫泉，江都（今江苏扬州）人，清代画家。",[49,23,77,101,24,79,78,135,147,58,148,149,7],"云雾","古塔","平岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a4a3d1ad5f6a140a5de6f967f195038.jpg",[],{"id":153,"slug":154,"title":155,"dynasty":131,"author":156,"museum":73,"description":157,"tags":158,"thumbUrl":159,"material":88,"size":89,"collection":34,"collections":160,"showCount":161,"zanCount":11,"manualWeight":11,"mainColor":39},290434,"yan-he-you-ju-tu-huang-gong-wang-290434","岩壑幽居图","黄公望","此作构图与《层岩曲涧》雷同，然更显狭长，并简省许多细节。其画风受正统派影响似不强烈，反有以类沈周风格重组原作之感，推测亦为明末清初时的临仿之作。",[77,23,102,120,78,24,79,121,105,84,80,56,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02ab7be7ec04e051dc29fbf91e546aa7.jpg",[],24,{"id":163,"slug":164,"title":165,"dynasty":71,"author":166,"museum":167,"description":168,"tags":169,"thumbUrl":181,"material":182,"size":183,"collection":34,"collections":184,"showCount":185,"zanCount":11,"manualWeight":11,"mainColor":39},221548,"qiu-chuang-du-yi-tu-liu-song-nian-221548","秋窗读易图","刘松年","辽宁省博物馆","这件作品笔墨工致严谨，气格宁静雅逸，具有一种宫廷的富贵气息，是刘松年细腻、典雅画风的杰出代表。也有专家认为，他的山水画是把李唐开创的风格“向后拉”(所谓“向后拉”，就是把李唐刚猛的画风进行减缓和柔化)，而马远、夏圭则是把李唐的画风“向前拉”，此说颇为形象。画面表现的是读书的场景。水畔树石掩映之下，书斋门窗敞开，主人在窗前展卷沉思，一书童在门外侍立。景色清幽，主人儒雅，童子恭敬，各尽其态。房屋、院落、树木、篱笆墙，都是精工细写，一丝不苟，将秋天的氛围渲染得恰到好处。一片湖光水色之外，更有远景的山石隐现。山石的画法明显是学自李唐，先用健朗的线勾轮廓，然后施以斧劈皴，精巧、有力，青绿设色，杂树用夹叶法，这些都是典型的南宋画法。但细读之下，却也不尽然。《秋窗读易图》同时呈现出另一种风貌。我们拿这张作品和刘松年的《四景山水图》做比较，就会发现这个问题。《四景山水图》画山石用斧劈皴和淡墨渲染，具有刚硬的特点。树的弯曲，用笔偏于方折，远山仅画一角。虽然画面的总体感觉上是湿润的，但具体景物却是干裂的。再看《秋窗读易图》的山石画法，很明显地具有董源、巨然的风格——长披麻皴的运用和具有江南柔美的韵致。另外，从树木、苔点、远山、秀水的画法中，我们可以感觉得到一种萧散和淳厚，这又具有元人的绘画风韵。\n总体而言，《秋窗读易图》较之《四景山水图》，硬朗之风略逊，而优雅、闲适之气则胜之。从这个意义上讲，刘松年的作品突破了时代的风格，以典雅、秀丽的风貌预示了元代山水画的走向。虽然元代山水画的一个典型的特征是排斥南宋绘画传统，但刘松年绘制的这件作品，正好从另一个方面说明了元代山水画家或者说南宗山水画家将反对的对象集中在马远和夏圭上的主要原因。",[49,23,170,76,171,172,173,174,52,175,176,177,121,58,178,59,179,7,180,108,107],"山水画","工笔","斧劈皴","披麻皴","青绿","夹叶法","书斋","湖光水色","童子","读书场景","闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc7f7a8a4570c2aef05e8549b15cb55c.jpg","绢本设色","25.7×26厘米",[],22,{"id":187,"slug":188,"title":189,"dynasty":71,"author":190,"museum":73,"description":191,"tags":192,"thumbUrl":197,"material":88,"size":89,"collection":34,"collections":198,"showCount":199,"zanCount":11,"manualWeight":11,"mainColor":39},288736,"xiao-xiang-ba-jing-tu-juan-er-wang-hong-288736","潇湘八景图卷二","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。",[77,23,193,24,170,194,58,106,82,195,196,7],"长卷","江岸","江河","平坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e14357e1abb377052d447c26398dbb0.jpg",[],16,{"id":201,"slug":202,"title":203,"dynasty":97,"author":204,"museum":73,"description":205,"tags":206,"thumbUrl":208,"material":88,"size":89,"collection":34,"collections":209,"showCount":210,"zanCount":11,"manualWeight":11,"mainColor":112},288275,"shi-hua-ce-ye-10-zhen-wang-hui-288275","诗画册页10帧","王翚","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。”",[49,23,24,102,101,78,106,207,121,108,107,79,7],"松树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7369b0cd92479004403e2a8f52e7ae8.jpg",[],12,{"id":212,"slug":213,"title":214,"dynasty":97,"author":204,"museum":215,"description":216,"tags":217,"thumbUrl":222,"material":223,"size":34,"collection":34,"collections":224,"showCount":225,"zanCount":11,"manualWeight":11,"mainColor":112},237380,"shan-shui-ce-shan-ting-yue-se-ye-wang-hui-237380","山水册-山亭月色页","台北故宫博物院","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。",[23,24,101,170,218,219,220,121,56,221,79,107,7],"山亭","枯树","明月","茅舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc323859920ccdeb03fb34af9ce6a88ad.jpg","纸本",[],5,{"id":227,"slug":228,"title":229,"dynasty":97,"author":230,"museum":231,"description":232,"tags":233,"thumbUrl":237,"material":34,"size":34,"collection":238,"collections":239,"showCount":225,"zanCount":11,"manualWeight":11,"mainColor":240},202048,"ting-yu-tu-zhou-zhang-ting-ji-202048","听雨图轴","张廷济","上海博物馆","水墨晕染出一方清幽天地，茅舍数间隐于松石侧，竹篱轻围，松枝苍劲斜逸，山石皴擦有致，墨色浓淡相间。笔意洒脱，墨韵生动，似可闻雨打茅顶、松叶簌簌之声，尽显文人雅士闲居听雨的悠然心境。简淡构图中藏深致情韵，将自然之趣与人文之思相融，传递出静谧旷达的氛围。",[24,79,234,207,121,235,30,236,7,49],"茅屋","竹篱","闲雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F839cecea8b6e327ed85aac2b9aaba442.jpg","水墨画精选",[238],"ccbca6",{"id":242,"slug":243,"title":244,"dynasty":97,"author":245,"museum":231,"description":246,"tags":247,"thumbUrl":252,"material":34,"size":34,"collection":253,"collections":254,"showCount":225,"zanCount":11,"manualWeight":11,"mainColor":255},201847,"xi-jing-qiu-xin-tu-zhou-wang-san-xi-201847","溪静秋新图轴","王三锡","秋光轻洒溪山，近岸树木错落，或枝叶疏朗，或垂丝摇曳，尽显秋意萧疏之态。山石以淡墨皴擦，纹理质朴，与坡地草痕相映。远处峰峦淡远，水面空濛，一派静谧悠远的秋景。笔墨简约却意韵悠长，线条勾勒与墨色晕染相融，将秋日溪山的清幽之美悄然铺展，似能感受林间风轻，水畔气清，引人沉醉于这份宁静雅致之中。",[24,78,248,79,58,121,249,250,251,7,49],"秋景","静谧","淡墨","意境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2926ca566a8f0452fc34262e171fcc17.jpg","山水画精选",[253],"966f3c",{"id":257,"slug":258,"title":259,"dynasty":97,"author":260,"museum":231,"description":261,"tags":262,"thumbUrl":264,"material":34,"size":34,"collection":34,"collections":265,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":266},202285,"shuang-lin-yue-se-tu-zhou-dong-bang-da-202285","霜林月色图轴","董邦达","简淡水墨晕染出霜林月夜的清寂之境。枯树虬枝与劲竹相依，墨色浓淡交织，尽显苍劲之姿。林间小亭半隐，石径隐约，月色虽未着笔，却在空濛氛围中流转。笔法疏朗，皴擦简练，山石以淡墨勾勒，苍润相生。整体意境空灵静谧，似能触到秋夜的微凉，文人画的清幽雅致尽显其间。",[24,79,78,57,219,263,121,7,30,49],"劲竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f10444ab9be269466fe38dadf0a311b.jpg",[],"bfa18c",1777535724929]