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未竟之业。考虑到阿姆尔-萨纳还没有感染水痘，在寒冷的冬季，听众在夏宫举行。",[23,24,25,26,27,28,29,30,31,32,7],"高清","名画","国画","设色","人物","马","马术","飞鸟","历史画","郊野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8c5d061082897e962ce93759d1385c0.jpg","绢本,设色","223.4x426.2","人物画精选",[36],254,4,"795548",{"id":42,"slug":43,"title":44,"dynasty":45,"author":46,"museum":20,"description":47,"tags":48,"thumbUrl":58,"material":59,"size":60,"collection":61,"collections":62,"showCount":64,"zanCount":65,"manualWeight":11,"mainColor":40},220867,"qiu-jiao-yin-ma-tu-juan-zhao-meng-fu-220867","秋郊饮马图卷","元","赵孟頫","赵孟頫擅长人马图，总体追求刻意写实，一笔不苟。具体画风有两类：一是宗唐人韩干之法，马尚丰肥，用色华丽，衬以山水树石背景，人、马、景合为一体；一是仿北宋李公麟之作，笔墨清淡，着力于线条，注重描法与形象、质感的统一，不施色彩，以墨代色加以轻染。人马画中的人物均著唐装，风格既具“复古”的唐画之韵，又带浓郁的文人气息，有一定的创新性。\n此图属仿唐人的工笔设色画法。清秋郊野，一唐装圄官在池畔牧马，红色衣袍在大青绿的草坪映衬下显得尤为夺目，有力地突出了主体人物。所率十匹骏马均骨肉停匀，活跃多姿，它们或奔腾追逐，或徐步缓行，或俯首就饮，或引颈长鸣，意态生动。\n此图在布局上富有特色，以中景露地不露天及右开式构图，把平视、仰视、俯视三种造景方式有机地加以揉合，灵活地处理景物，使画面开阔舒展，疏密有致。画法亦将唐人的青绿重彩法与宋以来的文人笔墨法加以融合，别具新意。如人物线描工细劲健，又类似篆籀用笔，古朴中见隽秀；树石、坡陀行笔凝重，勾、皴、破、染并用，工谨中含清逸；青绿、大红重色中又兼施赭石、水墨，于浓丽中显清雅。总体风格行、利相兼，妙、逸并具，精逸技巧与文人雅韵结合，反映了赵孟頫晚年成熟的人马画面貌。",[23,25,49,50,26,51,52,53,28,27,54,7,55,56,57],"书画","长卷","工笔","行书","书法","树","草地","流水","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F923838da80859608e45f25b27e081087.jpg","绢本，设色","纵23.6厘米，横59厘米","花鸟画精选",[61,63],"设色画精选",206,2,{"id":67,"slug":68,"title":69,"dynasty":70,"author":71,"museum":72,"description":73,"tags":74,"thumbUrl":83,"material":34,"size":84,"collection":85,"collections":86,"showCount":88,"zanCount":89,"manualWeight":11,"mainColor":40},218832,"qiu-pu-ting-zhou-tu-yi-ming-218832","秋浦停舟图","宋","佚名","台北故宫博物院","这幅画描绘了秋天开阔的河面，青山绿水，两个渔民坐在岸边的一棵老树下，高兴地拿着一壶酒互相问候。这幅画的风格是两岸，笔法、墨法和青绿颜色都可以归入盛懋画派的范畴。",[23,25,49,24,75,26,76,77,27,78,79,80,7,81,82],"山水","册","孤舟","树木","岸","水","孤石","坡岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2edb5d6704f3fcb03ac84af6ce8e6b23.jpg","","宋画精选",[85,87],"山水画精选",172,1,{"id":91,"slug":92,"title":93,"dynasty":70,"author":94,"museum":95,"description":96,"tags":97,"thumbUrl":105,"material":106,"size":107,"collection":87,"collections":108,"showCount":109,"zanCount":39,"manualWeight":11,"mainColor":40},218586,"gu-mu-yao-shan-tu-zhou-guo-xi-218586","古木遥山图轴","郭熙","上海博物馆","全图画秋景山水，画文人士夫出行的情形，系平 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从他现存作品中即可见风格和用笔，既能放得开，又能收得住。在绘画史上，陈淳与徐渭并称为“白阳、青藤”， 陈淳的绘画当属文人隽雅一路的，即“白阳”一派画家。\n陈淳少年作画以元人为法，深受水墨写意的影响。他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。他能诗文，擅书法，尤精绘画。陈淳与徐渭并称白阳、青藤。陈氏少年作画工细，中年后笔法放纵，自立门户。陈淳从师文徵明，在其门下声誉最高。擅长写意花卉，其作品虽表现一花半叶，却淋漓疏爽，深受当时文人士大夫的赞赏；他是继沈周、唐寅之后对水墨写意花鸟画的发展作出了重要贡献的画家。\n陈淳中年以后间作山水，技法学米友仁、高克恭，多以江南风景为题材，手法简练，极具文人生活情趣，文徵明曾微笑着说：“吾道复举业师耳，渠书、画自有门径，非吾徒也。”存世作品有《红梨诗画图》《山茶水仙图》《葵石图》《罨画图》等。其子陈括继承父风、擅花卉。\n陈淳绘山水，效法米友仁、高克恭，水墨淋漓，颇得氤氲之气。他的泼墨之功，往往见于画烟云之中。在写意花卉方面，陈淳独得玄门，笔法挥洒自如，富有疏朗轻健的风姿，用墨设色，则如徐沁所谓“浅色淡墨之痕俱化矣！”王世贞在《州续稿》中说：“胜国（元朝）以来，写花卉者无如吾吴郡，而吴郡自沈启南（周）后，无如陈道确，陆叔平（治）”。近代画家如蒲华、吴昌硕、齐白石等，在诗文题书画中，都对陈淳做出了极高的评价。明万历年间即有人曾评价过陈淳在花卉方面的造诣和声誉都超过了文征明，成为继沈周之后的吴门大家。明清以来画家，尤其在花鸟画方面，受他的影响很深。他与徐渭齐名，人称“青藤白阳”。现存的陈淳作品大部分均在博物馆收藏，民间甚少得见。",[23,25,98,99,26,202,217,218,219,220,221,222,223,7,224,225,226,227,152,228,229,230],"花鸟","荷花","莲蓬","鸭子","水草","芦苇","明代","禽鸟","花卉","植物","淡彩","写意花鸟","水墨设色","明代绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57ed2c1673a772976ff5fcf779defb76.jpg","纸本设色","90.8x36.2厘米",[61,63],95,{"id":237,"slug":238,"title":239,"dynasty":70,"author":131,"museum":148,"description":240,"tags":241,"thumbUrl":242,"material":26,"size":243,"collection":85,"collections":244,"showCount":245,"zanCount":89,"manualWeight":11,"mainColor":40},221431,"qiu-yi-tu-li-shan-fan-kuan-221431","秋意图立軕","范宽（约950—约1032），又名中正，字中立，陕西华原（今陕西铜川耀州区）人，宋代绘画大师。因为性情宽厚豁达，时人称之为“宽”，遂以范宽自名。范宽、董源、李成，并称“北宋三大家”。艺术成就使得范宽与李成齐名，并称“李范”，又与同为华原人的柳公权合称“柳范”。\n初学李成，后感悟“与其师于人者，未若师诸造化”，遂隐居终南、太华，对景造意，写山真骨，自成一家。其画峰峦浑厚端庄，气势壮阔伟岸，令人有雄奇险峻之感。用笔强健有力，皴多雨点、豆瓣、钉头，山顶好作密林，常于水边置大石巨岩，屋宇笼染黑色。作雪景亦妙。\n存世作品有《谿山行旅图》《雪山萧寺图》《雪景寒林图》等。\n2004年，美国《生活》杂志将范宽评为“上一千年对人类最有影响的百大人物”第59位。",[23,25,49,98,26,75,123,135,78,56,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3263c8c2537dc9bc31283a3c58aea08c.jpg","50.8x36.5",[85,87,63],92,{"id":247,"slug":248,"title":249,"dynasty":70,"author":250,"museum":251,"description":252,"tags":253,"thumbUrl":256,"material":106,"size":257,"collection":85,"collections":258,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":40},220312,"xi-yang-qiu-se-tu-ma-lin-220312","夕阳秋色图","马麟","根津美术馆","《夕阳秋色图》画面上的淡云浅山已经褪色，水流处一片苍茫。这种岁月的沧桑，在画墨的点线之中且隐且行，既刻录了时间的优雅，又释放出历史的气味。\n宋理宗赵昀在欣赏《夕阳秋色图》时忘乎所以，把一切朝中繁杂置之脑后，流连画中苍茫山水、江南秋色。在几只燕子嬉戏的场景里，忽然想起活泼可爱的周汉公主。在膝下无子的岁月里，这位掌上明珠得到理宗的万般宠爱。",[25,75,26,123,254,155,78,30,255,7],"夕阳","水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcd624d868e1bf9f63b27d62406ca745.jpg","51.3X26.6厘米",[85,140],90,{"id":261,"slug":262,"title":263,"dynasty":70,"author":264,"museum":265,"description":266,"tags":267,"thumbUrl":268,"material":173,"size":269,"collection":84,"collections":270,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":40},221375,"xi-shan-qiu-ji-tu-wang-shen-221375","溪山秋霁图","王诜","美国弗瑞尔美术馆","《溪山秋霁图》是北宋 创作的绢画淡设色画，现藏于美国华盛顿弗利尔美术馆。\n图绘秋日雨过天晴后的山青水秀。\n图上群山叠嶂起伏，江水空阔浩淼；近处雨后树木更愈翠绿，江边草屋掩映于树林中；山中可见数座屋脊；远处云雾下的山峦更显妖娆。\n本图以长卷形式表现 雨过天晴后郊野的清丽风光。\n卷中忽而两山夹峙野水逶迤，忽而重岩叠嶂连绵而起，忽而江水横陈浩渺空阔，其中点缀高人逸士渔夫钓者，表现其悠闲生活情趣。\n此图画风清润秀雅，用笔尖利。\n整幅画面布置有序，意境优美，正如宋人论画山水所写：出于可游可居之景。\n王诜，字晋卿，北宋画家，所作烟江云山、寒林幽谷，水墨清润，设色高古绝俗",[25,24,50,99,123,52,57,75,78,135,176,121,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4cbc8e85c993c64e82f3c902744c596.jpg","纵45.2厘米，横206厘米",[],88,{"id":273,"slug":274,"title":275,"dynasty":18,"author":276,"museum":148,"description":277,"tags":278,"thumbUrl":279,"material":161,"size":162,"collection":84,"collections":280,"showCount":281,"zanCount":65,"manualWeight":11,"mainColor":165},290538,"bei-tang-qiu-ying-yun-shou-ping-290538","北堂秋影","恽寿平","恽南田（1633年—1690年），即恽寿平，原名格，字寿平，后以字行，改字正叔，号南田，别号云溪外史，晚居城东，号东园草衣，后迁居白云渡，号白云外史，明末清初著名书画家，常州画派的开山祖师，后来成为清六家之一。",[25,76,26,217,225,51,53,57,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30507f70fa4d4d14fa0b8ae423c42c20.jpg",[],87,{"id":283,"slug":284,"title":285,"dynasty":45,"author":286,"museum":72,"description":287,"tags":288,"thumbUrl":293,"material":34,"size":294,"collection":87,"collections":295,"showCount":281,"zanCount":296,"manualWeight":11,"mainColor":165},218654,"qiu-xi-chui-diao-tu-sheng-mao-218654","秋溪垂钓图","盛懋","层岩叠嶂间，秋水如练，映着远岫淡影。近岸木叶疏落，老树枝桠横斜，似凝霜天清寂。溪畔茅舍隐于丛树，一人独倚矶石，丝纶轻垂，任流水悠悠。笔墨工细却灵动，山峦以秀润皴法写出，草木点染有致，秋意漫溢绢素。无喧嚣，唯溪声山风，垂钓者背影透着遗世悠然，将元代文人向往的隐逸之趣，凝作圆扇中静美天地。每一处笔触皆藏丘壑，淡墨晕染出空濛，浓墨点染显生机，于方寸间铺展山水之幽，尽显文人画的清逸风骨。",[23,25,99,75,123,56,77,289,154,159,157,7,290,155,291,292],"蓑笠","岸树","溪面","垂钓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7b40c0295b55457d6444dccd16084d5.jpg","28.7x30cm",[87],3,{"id":298,"slug":299,"title":300,"dynasty":45,"author":301,"museum":72,"description":302,"tags":303,"thumbUrl":305,"material":34,"size":306,"collection":84,"collections":307,"showCount":308,"zanCount":65,"manualWeight":11,"mainColor":40},221801,"fang-guo-xi-qiu-shan-xing-lv-zhou-tang-di-221801","仿郭熙秋山行旅轴","唐棣","元文宗天历二年(1329)应诏在南京龙翔寺绘制画壁，至顺四年(1333)第二次北上大都，奉诏在宫廷作画。\n在郴州、处州、江阴、嘉兴、休宁、兰溪州、吴江等地均做过官，有政绩。工山水，近学赵孟頫，远师李成、郭熙，亦工诗文，晚年返乡埋头读书作画，生活较凄苦。\n传世作品有元统二年(1334)作《林荫聚饮图》轴、至元四年(1338)作《霜浦归渔图》轴，图录于《中国绘画史图录》上册；《携琴远眺图》轴现藏四川省博物馆；《雪港捕渔图》轴藏上海博物馆；《云浦驾舟图》册页、《仿郭熙秋山行旅图》轴藏台北故宫博物院。",[23,24,25,49,98,99,26,75,135,78,304,123,7],"行旅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8381f79ff9423e46f2961c5ae4ff6f0.jpg","151.9x103.7",[],79,{"id":310,"slug":311,"title":312,"dynasty":70,"author":71,"museum":72,"description":313,"tags":314,"thumbUrl":319,"material":106,"size":320,"collection":87,"collections":321,"showCount":308,"zanCount":296,"manualWeight":11,"mainColor":40},218783,"qiu-shan-tu-yi-ming-218783","秋山图","这幅关于山脉的画作从画板底部向上延伸，将纸张堆叠起来，在复杂而庞大的岩石中，随着溪流的流动，创造出山峦和沟壑的变化，并在现实和想象中创造出一种兴趣。山石像范宽的彩虹，寒林和枯枝的画法像郭熙的蟹爪法，而整体画风与《荆浩的匡庐》非常相似。",[23,25,24,75,99,98,123,315,175,316,135,317,318,56,190,7],"蟹爪法","沟壑","寒林","枯枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcecae8ef9513b49779e89a829d40705.jpg","172.9x62.7",[87],{"id":323,"slug":324,"title":325,"dynasty":18,"author":326,"museum":95,"description":327,"tags":328,"thumbUrl":331,"material":34,"size":84,"collection":87,"collections":332,"showCount":333,"zanCount":89,"manualWeight":11,"mainColor":165},218266,"guan-shan-qiu-ji-tu-zhou-wang-jian-218266","关山秋霁图轴","王鉴","布局紧凑，丘壑较琐碎，皴笔尖峭，转折方峻。但笔力不够浑厚，时有抖擞之笔，墨色也偏于枯索，画面气势不及盛年时雄伟华滋。",[25,49,98,26,123,53,57,75,329,80,78,122,176,330,7,121],"山","小径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8b6b7652eda8f2b82c3adc186ddd27f.jpg",[87],72,{"id":335,"slug":336,"title":337,"dynasty":70,"author":338,"museum":148,"description":339,"tags":340,"thumbUrl":344,"material":161,"size":162,"collection":84,"collections":345,"showCount":346,"zanCount":89,"manualWeight":11,"mainColor":40},288540,"qiu-jiang-yu-ting-tu-xu-dao-ning-288540","秋江渔艇图","许道宁","此画将一望无际的山峰罗列于江岸，挺拔陡峭，险峻之极。山头用竖直细线皴出，也就是肺胃的“峰头直皴而下”，用笔之挺劲突出了岩石坚硬锋利的质感。山坡上，楼阁精致，树木峥嵘；两山间，潺潺的溪流由近及远婉转地汇入江中。平静的江面上有一窄小的木桥，两位行者正从桥上走过；江中几只渔舟游弋，上面忙碌的人像是在捕鱼。所有的景物都被描绘得既自然又贴切，显得那么和谐。",[23,24,25,50,99,341,123,75,342,77,119,343,304,7],"山水画","江河","渔者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa11d66b790819b514ce094377a357ca9.jpg",[],71,{"id":348,"slug":349,"title":350,"dynasty":146,"author":214,"museum":148,"description":351,"tags":352,"thumbUrl":355,"material":84,"size":84,"collection":84,"collections":356,"showCount":357,"zanCount":89,"manualWeight":11,"mainColor":165},231011,"qiu-tang-hua-ya-tu-chen-chun-231011","秋塘花鸭图","此作用淡墨轻铺底色，墨色晕染出花鸭绒羽蓬松柔润，青灰头羽、赭黄喙部鲜亮醒目，鸭身浮沉秋水，憨态悠然，尽显野趣生机。残荷枯黄老叶以赭石、花青晕染，莲蓬挺秀，败菊缀于右上角，淡彩点染出秋意阑珊。汀草、蓼花细笔勾勒，干湿浓淡的墨色交织，衬出水波澹澹。\n\n画作兼工带写，水墨为主略施淡彩，笔意纵逸又不失秀雅，将深秋塘间清寂又鲜活的意趣尽数铺展，笔情墨趣间尽显文人写意的雅致随性，揉合秋日池溏的萧疏与生机，淡远空灵的意境扑面而来。",[24,25,49,98,202,99,26,217,353,354,219,221,7,57],"荷","鸭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13db65695720260f6c24cc85f7896486.jpg",[],70,{"id":359,"slug":360,"title":361,"dynasty":362,"author":363,"museum":72,"description":364,"tags":365,"thumbUrl":366,"material":367,"size":368,"collection":87,"collections":369,"showCount":370,"zanCount":11,"manualWeight":11,"mainColor":40},226700,"qiu-shan-tu-zhou-ju-ran-226700","秋山图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847",[],56,"F48FB1",{"id":433,"slug":434,"title":435,"dynasty":70,"author":131,"museum":132,"description":133,"tags":436,"thumbUrl":438,"material":137,"size":138,"collection":85,"collections":439,"showCount":440,"zanCount":11,"manualWeight":11,"mainColor":40},221392,"yan-lan-qiu-xiao-tu-shou-juan-fan-kuan-221392","烟岚秋晓图手卷",[23,25,49,50,75,123,26,135,78,121,204,7,176,437,153],"路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e46fdf1ba9c7c72c2074be0b953a710.jpg",[85,87,140],54,{"id":442,"slug":443,"title":444,"dynasty":146,"author":445,"museum":72,"description":149,"tags":446,"thumbUrl":447,"material":137,"size":448,"collection":63,"collections":449,"showCount":450,"zanCount":11,"manualWeight":11,"mainColor":165},222595,"xi-shan-qiu-se-tu-quan-juan-lan-ying-222595","溪山秋色图全卷","蓝瑛",[23,25,49,50,26,75,123,52,57,78,155,415,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa0d35e8af764e515efb05842ae219d1.jpg","27×183cm",[63],53,{"id":452,"slug":453,"title":454,"dynasty":18,"author":71,"museum":455,"description":456,"tags":457,"thumbUrl":461,"material":34,"size":462,"collection":36,"collections":463,"showCount":464,"zanCount":296,"manualWeight":11,"mainColor":40},219453,"yuan-ren-qiu-lie-tu-yi-ming-219453","元人秋猎图","私人收藏","描绘了北方少数民族在高山密林间行军、围猎、休憩、露营的情形。\n画卷以人物活动为主线，山水树石作为场景铺垫，既是人物活动展开的背景，又形成各段情节之间的自然间隔和过渡。十二米的长卷中场面宏大，情景众多，共画有七百余人，人物身份不一，有的衣饰华贵，气宇轩昂，被众人簇拥，俨然王族之相。多数是兵将勇士之属，其中甚至还有女兵的身影。\n此卷布局繁密有序，山峦错落，画面是静止和片段性的，而人物活动则有一定的时间性和延续性，如何将二者结合就很考验画家的创作能力了。表现带有情节性和故事性的山水人物，中国传统绘画的惯用手段就是利用长卷的形式，画卷的展开赋予画面一种流动性，画中人物的活动随观赏者的目光而移动，时间的维度就在不知不觉中展开了。",[23,25,50,26,51,27,28,75,78,458,459,7,460],"帐篷","狩猎","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9edf607c039286a054fe9cb75697a771.jpg","纵59厘米，横1240厘米",[36,87],51,{"id":466,"slug":467,"title":468,"dynasty":70,"author":469,"museum":148,"description":470,"tags":471,"thumbUrl":476,"material":161,"size":162,"collection":84,"collections":477,"showCount":478,"zanCount":296,"manualWeight":11,"mainColor":165},288356,"qiu-chuang-du-yi-tu-liu-song-nian-288356","秋窗读易图","刘松年","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。",[23,25,472,49,26,51,473,75,474,188,53,52,57,7,475],"扇面","界画","松树","读易","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c6dadc0e51fb4a03d05372ce1324e11.jpg",[],47,{"id":480,"slug":481,"title":482,"dynasty":18,"author":483,"museum":132,"description":484,"tags":485,"thumbUrl":486,"material":178,"size":487,"collection":87,"collections":488,"showCount":489,"zanCount":11,"manualWeight":11,"mainColor":165},220415,"qiu-jing-shan-shui-tu-wang-hui-220415","秋景山水图","王翚","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。",[23,25,99,26,123,75,135,78,56,154,7,175,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3155ce21c8b276af793c7fd0c681c43.jpg","57.2x40.6厘米",[87],46,{"id":491,"slug":492,"title":493,"dynasty":45,"author":71,"museum":72,"description":494,"tags":495,"thumbUrl":496,"material":34,"size":497,"collection":87,"collections":498,"showCount":499,"zanCount":11,"manualWeight":11,"mainColor":40},218164,"lin-ting-qiu-se-tu-yi-ming-218164","林亭秋色图","沿江罔陵起伏，霜气已深，岁将暮矣。满山寒林卓力，寒松翠柏而外，偶有红叶点缀。山道中，行人负戴，河岸上，旅人步骑趱行。远方水上，渔艇鼓枻收纲，朝起江村，各有所事。本幅树木造形，干细长，分枝如蟹爪，为典型元朝承续宋代李成、郭熙一派寒林画法。画上烟水空濶，气象萧疏，使人凛然而有寒意。无款印。",[23,25,151,50,123,26,75,158,159,154,155,56,7,82,77,78,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e709e86501c656c68df5e59cba6c64f.jpg","纵27.3,横50.4公分",[87],45,{"id":501,"slug":502,"title":503,"dynasty":70,"author":71,"museum":72,"description":504,"tags":505,"thumbUrl":509,"material":34,"size":510,"collection":85,"collections":511,"showCount":512,"zanCount":11,"manualWeight":11,"mainColor":165},219233,"qiu-tang-fu-yan-tu-yi-ming-219233","秋塘凫雁图","松枝如墨笔皴染，苍劲枝干斜倚塘边，松针细密如丝，织着秋的清寒。几只凫雁散落在岸石上：有的敛翅蜷身，似枕着午后秋光小憩；有的侧颈理羽，绒羽软意与石面凉硬相映成趣。塘水静如镜，淡褐水面漾着若有若无的烟霭，把远天晕成朦胧色块，连风都放缓了脚步。\n\n笔墨简淡却藏极致细腻：每根松针带秋的劲挺，每片羽翎裹塘边静气，连岸石纹理都浸着湿润凉意。这方圆景里，秋意非萧瑟，而是生灵与自然的温柔相拥——宋人把对天地万物的深情，凝在一笔一划、一禽一木的静谧中，让千年后的我们，仍能触到那份清旷与安然。",[23,24,25,26,51,472,506,78,507,80,508,7],"凫雁","池塘","石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F512ca8a7e13d31ef689e673f06c54768.jpg","24.8x25.2cm",[85,61],44,{"id":514,"slug":515,"title":516,"dynasty":70,"author":517,"museum":148,"description":518,"tags":519,"thumbUrl":522,"material":161,"size":162,"collection":84,"collections":523,"showCount":524,"zanCount":89,"manualWeight":11,"mainColor":165},288550,"cheng-huang-ju-lv-tu-zhao-ling-rang-288550","橙黄橘绿图","赵令穰","入秋的江南，暑气消尽，寒冬未至，正是一年当中最清爽宜人的时节。潺潺溪流，轻巧弯延地划过雾色苍茫的平野；两岸橘树遍植成林，一粒粒芬芳的黄果、绿实，像是地上的点点繁星。空气里弥漫着微润的甘甜，吸引三三两两的水鸟，自在地悠游在汀渚之间。幽静、迷蒙的景境，正是苏东坡笔底下“一年好景君须记，正是橙黄橘绿时”的诗情。虽然在这幅《橙黄橘绿》图里，画家直接用色点叶、画橘，笔线不够精准，可能不是赵令穰的作品，但是画中隐约的柔美，令人悠然神往。",[24,25,49,472,26,75,78,56,30,53,52,57,7,520,521],"橘树","橙树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d81ea92de40e98db5552b4feec83c05.jpg",[],42,{"id":526,"slug":527,"title":528,"dynasty":70,"author":529,"museum":148,"description":530,"tags":531,"thumbUrl":537,"material":161,"size":162,"collection":84,"collections":538,"showCount":524,"zanCount":11,"manualWeight":11,"mainColor":40},287642,"qiu-ting-xi-ying-tu-su-han-chen-287642","秋庭戏婴图","苏汉臣","《秋庭戏婴图》以细腻的笔法，描绘两个锦衣孩童在庭院玩着一种推枣磨的游戏。兄妹两人无论从头发、眉目，衣饰，都精心刻画，丝染兼备，而且变化极为丰富，以长而圆润的线条，画出衣纹，再仔细点染衣服上的花纹，不仅画出质料的柔软细致，更赋予衣服华丽的质感，这些细微的处理，使得子孩丰润、柔软、细致的模样，跃然于纸上。",[25,51,26,532,533,534,535,7,536],"人物画","孩童","嬉戏","庭院","童趣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb87ac74071d0fe4c61c5f135fd4de6b5.jpg",[],{"id":540,"slug":541,"title":542,"dynasty":18,"author":543,"museum":20,"description":544,"tags":545,"thumbUrl":547,"material":84,"size":548,"collection":87,"collections":549,"showCount":524,"zanCount":89,"manualWeight":11,"mainColor":40},238136,"jiang-shan-qiu-ji-tu-juan-yun-xi-238136","江山秋霁图卷","允禧","允禧字谦斋，号紫琼，亦作紫噊，别号紫琼崖道人、春浮居士等。康熙皇帝二十一子。善书画，该图层次分明，笔法老到，颇具文人画之风韵。",[23,24,25,49,50,26,123,75,329,80,121,78,153,546,7],"小船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F614009d1680a009126009a62d024bfab.jpg","22.5×143.2厘米",[87,63],{"id":551,"slug":552,"title":553,"dynasty":18,"author":554,"museum":72,"description":555,"tags":556,"thumbUrl":567,"material":34,"size":568,"collection":87,"collections":569,"showCount":524,"zanCount":11,"manualWeight":11,"mainColor":165},220431,"dan-shan-bi-shu-tu-wang-yuan-qi-220431","丹山碧树图","王原祁","以其典型的笔法、墨迹与构图，描绘北方山川的自然景致，上部远景绘峰峦连绵、云霭轻飘；中景绘平湖水岸、苇草繁茂，湖岸边建有数间水榭，平坡和山顶筑有茅屋草舍，一派人与自然和谐的画面；近景绘坡角横陈，其上杂树竞秀、错落有致，江上渔舟停岸。全图使用典雅的“四王皴法”和青绿、赭石、朱红颜色，层林浸染、万木缤纷，完美展现出秋林远黛的深邃意境，观后有提神醒目之效。",[24,25,341,98,557,26,123,558,559,560,561,562,563,564,565,56,7,566],"青绿","峰峦","云霭","水岸","水榭","茅屋","苇草","杂树","渔舟","和谐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf797e0643207dbeedf01646f8127d12.jpg","111.7x49.3",[87,63],{"id":571,"slug":572,"title":573,"dynasty":18,"author":326,"museum":574,"description":575,"tags":576,"thumbUrl":579,"material":173,"size":580,"collection":87,"collections":581,"showCount":582,"zanCount":11,"manualWeight":11,"mainColor":40},224480,"guan-shan-qiu-ji-tu-wang-jian-224480","关山秋霁图","广州艺术博物院","此是王鉴摹吴镇的一幅名画，相同的画董其昌在其《小中见大》册中也临摹有一幅，构图相同，说明两人都是忠实于原作的临摹。此幅水墨淋漓，与吴镇用笔用墨十分相似，可见王圆照摹古功力之深。",[23,25,49,98,26,123,75,577,78,188,157,56,154,135,7,176,190,189,558,578,121],"山脉","栈道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F312f5a5f9f6caa2841fbb84103d97470.jpg","177x95厘米",[87,140],41,{"id":584,"slug":585,"title":586,"dynasty":146,"author":587,"museum":588,"description":589,"tags":590,"thumbUrl":593,"material":594,"size":595,"collection":87,"collections":596,"showCount":582,"zanCount":11,"manualWeight":11,"mainColor":165},222572,"wan-he-qiu-tao-tu-he-hao-222572","万壑秋涛图","何浩","辽宁省博物馆","此幅作品就画的是松树。据此笔者认为这个名叫何浩的画家，是一位明代中期与画家林良同时或略晚于林良的供职宫廷的职业画家。那么，现在又可以多出一名明朝的宫廷画家了，又可以增加一幅明朝的宫廷绘画作品了。",[23,25,49,50,99,75,123,78,135,56,121,57,223,7,591,592],"山谷","植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c2dc1674f138f535644c5f04d9896db.jpg","纸本","纵27厘米、横448厘米",[87,140],{"id":598,"slug":599,"title":600,"dynasty":45,"author":71,"museum":72,"description":601,"tags":602,"thumbUrl":605,"material":34,"size":606,"collection":36,"collections":607,"showCount":582,"zanCount":11,"manualWeight":11,"mainColor":40},219494,"qiu-jing-xi-ying-zhou-yi-ming-219494","秋景戏婴轴","秋郊明月下，六婴儿穿各色绣花长衫，在大树坡石间嬉戏，或捧花提篮，或抚弄兔儿，或招呼同伴，前有盤，盛秋季应时水果。",[25,98,26,51,27,533,7,54,135,225,603,604],"水果","婴戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1427670394fd3c7c1a634e14fcc05070.jpg","127x61公分；全幅 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的收藏印，及比較院藏其他梁清標之題簽，推測此冊可能為梁清標所集，顯示明末清初所理解的宋元畫。",[25,26,51,76,224,640,353,221,7],"水渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8245c17cd680d5c6db12441e68758697.jpg","白纸本","27.3x28.7",[],{"id":646,"slug":647,"title":648,"dynasty":18,"author":483,"museum":649,"description":650,"tags":651,"thumbUrl":655,"material":206,"size":656,"collection":87,"collections":657,"showCount":619,"zanCount":89,"manualWeight":11,"mainColor":40},219912,"ceng-luan-qiu-ji-tu-wang-hui-219912","层峦秋霁图","南京博物院","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。",[25,341,26,123,652,653,78,176,135,7,121,654],"层峦","山峰","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F088fa3e078227eb0f8335ab5623452f8.jpg","142x66.1cm",[87],{"id":659,"slug":660,"title":661,"dynasty":45,"author":71,"museum":20,"description":662,"tags":663,"thumbUrl":664,"material":137,"size":665,"collection":85,"collections":666,"showCount":667,"zanCount":11,"manualWeight":11,"mainColor":209},223604,"qiu-shan-xing-lv-tu-yi-ming-223604","秋山行旅图","全图结构图清晰，便于查看。如果从下到上，根据景物的类型和排列方式和画家的描绘，将图片分成两组显示，三个部分在一个小概览中查看。画面会发现，这幅画气势磅礴，动感十足，透视感极深。首先，这幅画有一个从下面看的视角。创作者应该在这样的山脚下作画，在这样的山脚下作画，给观者一种真实的感觉。其次，这幅画的画面感不是很强，因为它也有深度感。如果你仔细观察，你会捕捉到无数小场景，包括天坑。例如，树木进入若隐若现的亭台、台阶、围栏等，给观者一种未来的无限视觉体验。\n一开始的山间小路，路​​上的行人等等，这些照片的全图空间把辫子拉得很好，在画面的空间和空间上进行了借鉴，让画面变得生动和对透气性的向往。你看到的是它带来的良好的中间立场。简练却又很写实，如尖山亭，是对亭子的细致刻画，笔触细腻，顶景近楼勾勒。三种节奏，给画面带来强烈的节奏感，这也是大师的心声。\n最真实的秋天很轻松。通过分析图片，不难发现，这幅《山间游记》与西方的素描是一样的。对象有近、大、远、小、近、近、细、统一。光源从哪里来。画底的山石，墨色深沉，体量大，影重。像山和树一样，墨色淡，整体不大，但也画了一个简单的介绍，而不是看风景的内在特征和魅力。例如，在风景部分，山的稍左侧和受光面部分较远，可能是朝阳的一面，所以墨色会低于光面，数字污渍会相对少一些。\n这样，在远景中，山体被许多朴素的松树压缩，使山体的一部分具有想象性和结构性，从而在画面中产生特定的整体统一感，真实而不冲动的视觉效果。仔细观察，你会发现，这些松树虽然是画出来的，但也能描绘出来。在统一中，各有特色，做到内涵丰富、厚度小、特殊性强，值得观者细细品味。\n还有一件事值得学习。中间作画的方法和水墨的轻快关系到景物的画和轻快。例如，岩石的长度被薄片覆盖，厚厚的大岩石被卷云薄片覆盖。树的种类为浅墨色，用较重的墨色挤压浅墨画，打开空间和树木之间的杂乱空间，避免树木之间的杂乱群落。凭借精湛的包装，观众拥有精致的视觉体验。\n如果用诗词介绍来形容整幅画，“枯藤老树昏鸦，小桥流水一家”。 “主题是艺术家用精湛的手工技艺和浪漫诗意的艺术创作观者，并附上了细致而巧妙的《秋山之旅》。",[23,25,49,99,26,123,75,175,135,78,119,77,7,437],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1647631e1d4bc460e54daf2facef359.jpg","161*112厘米",[85,87,140],38,{"id":669,"slug":670,"title":671,"dynasty":70,"author":131,"museum":148,"description":672,"tags":673,"thumbUrl":675,"material":161,"size":162,"collection":84,"collections":676,"showCount":677,"zanCount":11,"manualWeight":11,"mainColor":209},287736,"qiu-lin-fei-pu-tu-fan-kuan-287736","秋林飞瀑图","图绘秋山栈道瀑布流泉，远处岩关列岫隐约可见，气势磅礴，景色宜人。",[25,98,75,56,674,135,78,123,26,7],"鹿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4ec449c0eceec6cc01b1d9ec1ce3d6e.jpg",[],37,{"id":679,"slug":680,"title":681,"dynasty":146,"author":71,"museum":148,"description":682,"tags":683,"thumbUrl":693,"material":84,"size":84,"collection":84,"collections":694,"showCount":677,"zanCount":89,"manualWeight":11,"mainColor":40},234931,"ming-ren-qiu-jing-huo-lang-tu-zhou-yi-ming-234931","明人秋景货郎图轴","当“双十一”掀开一个全民购物狂欢的序幕，放眼远在千百年前的临安街头，货郎们一人一担一声叫卖，仅凭这种最原始的“人肉购物车”，便足以吸引市井众人的注目，引出一番欢悦的情景。李嵩等画家以此为题奋笔挥毫，定格了过去一段段市井风貌。沉醉于塞满购物车再一朝清空快感的，不光只有21世纪的网购达人，中国古人的“购物车”更是让人眼花缭乱，甚至叹为观止。 在历代流传下来的“货郎图”图示中，我们便可略窥一二。宋代绘画是写实主义的巅峰，《货郎图》则是这一巅峰上的一片奇岫。南宋吴自牧《梦粱录》中提到，当时杭州的小贩在沿街叫卖时“挑担抬盘架”，“担瑜石钉铰金装架儿”，《清明上河图》中，也有货郎在一根扁担的两头各挑一个货架，说明这种一根扁担挑两个货架的销售形式，在两宋很是普遍。因此，画中这位货郎和他的货担，可谓是对十一至十三世纪的流动小商贩的忠实记录。“货郎图”是宋代较为流行的一种表现当时流动小商品买卖的绘画形式。如今存世较为知名的主要有四幅南宋李嵩的《货郎图》（分别藏于北京故宫博物院、台北故宫博物院、美国大都会博物院、美国克利夫兰美术馆）以及一幅传为北宋苏汉臣所作的《货郎图》。",[25,26,51,98,27,684,685,686,78,687,135,688,689,7,690,691,692,226],"儿童","妇女","货郎","栏杆","花草","器物","服饰","货郎担","棚架","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b38b5a780482a0e4fa98b8ed68079b5.jpg",[],{"id":696,"slug":697,"title":698,"dynasty":18,"author":699,"museum":148,"description":700,"tags":701,"thumbUrl":704,"material":161,"size":162,"collection":84,"collections":705,"showCount":706,"zanCount":11,"manualWeight":11,"mainColor":40},288024,"zhong-qiu-shi-yi-tu-li-zhou-chen-mei-288024","中秋诗意图立轴","陈枚","陈枚，字载东，号殿抡，晚号枝窝头陀，娄县（今上海市松江）人。是一名清朝画家。",[23,25,98,51,26,27,159,158,702,7,703],"古道","萧瑟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1a7bb60651726dc7bcd46e396118a9e.jpg",[],36,{"id":708,"slug":709,"title":145,"dynasty":45,"author":710,"museum":148,"description":711,"tags":712,"thumbUrl":713,"material":84,"size":84,"collection":84,"collections":714,"showCount":715,"zanCount":11,"manualWeight":11,"mainColor":40},228084,"xi-shan-qiu-se-tu-juan-wang-meng-228084","王蒙","此作为全景山水，层峦叠嶂逶迤铺展，林木蓊郁繁密，尽显苍润秀雅的笔墨意致。山居茅舍错落嵌于岩岫林泉之间，野水回环，渔隐泛棹，将秋日溪山清寂又温雅的意趣铺陈开来。\n\n画面以繁密皴法写山石肌理，苔点错落，把秋山厚重朴拙的质感细细勾勒，隐逸悠游的文人林下之趣融于烟岚丘壑。后接诸家题跋，诗画相映，笔墨文心共生，尽显幽淡的文人风骨。",[23,25,49,50,75,123,26,78,135,176,7,204,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7e2c899842d74a718116e60d41448c9.jpg",[],35,{"id":717,"slug":718,"title":719,"dynasty":146,"author":199,"museum":148,"description":720,"tags":721,"thumbUrl":722,"material":161,"size":162,"collection":84,"collections":723,"showCount":724,"zanCount":11,"manualWeight":11,"mainColor":165},283737,"qiu-xing-ba-jing-tu-ce-ba-kai-dong-qi-chang-283737","秋兴八景图册（八开）","董其昌（1555年2月10日—1636年10月26日），字玄宰，号思白、香光居士，松江华亭（今上海市）人。明朝后期大臣、书画家。正如李志敏所说：“主张学古变古，但在书法神韵问题上的迷信观念，却比古人尤有过之”。\n万历十七年，考中进士，授翰林院编修。一度担任皇长子朱常洛的讲官。历任湖广提学副使、福建提学副使、河南参政，因病辞职。泰昌元年（1620年），明光宗朱常洛继位，授太常少卿、国子司业，参修《明神宗实录》。天启五年（1625年），出任南京礼部尚书，因事辞官。崇祯五年（1632年），出任太子詹事。崇祯七年（1634年），回归乡里。崇祯九年，去世，谥号“文敏”。\n董其昌擅于山水画，师法于董源、巨然、黄公望、倪瓒，笔致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡；青绿设色，古朴典雅。以佛家禅宗喻画，倡“南北宗”论，为“华亭画派”杰出代表，兼有“颜骨赵姿”之美。存世作品有《岩居图》《明董其昌秋兴八景图册》《昼锦堂图》《白居易琵琶行》《草书诗册》《烟江叠嶂图跋》等。画作及画论对明末清初的画坛影响甚大。书法出入晋唐，自成一格。作品《戏鸿堂帖》（刻帖）。颇能诗文，著有《画禅室随笔》《容台文集》等。",[25,49,76,341,26,52,53,57,75,329,54,56,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79bc40c5e2273545f34270f3d8b5316c.jpg",[],34,{"id":726,"slug":727,"title":728,"dynasty":146,"author":199,"museum":95,"description":200,"tags":729,"thumbUrl":731,"material":178,"size":84,"collection":84,"collections":732,"showCount":724,"zanCount":11,"manualWeight":11,"mainColor":40},214657,"qiu-xing-ba-jing-tu-ce-2-dong-qi-chang-214657","秋兴八景图册-2",[24,25,49,76,99,26,123,730,27,54,508,330,7,75],"白描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F883a53c2374ee28565293f083f1f9beb.jpg",[],{"id":734,"slug":735,"title":736,"dynasty":70,"author":737,"museum":148,"description":738,"tags":739,"thumbUrl":741,"material":161,"size":162,"collection":84,"collections":742,"showCount":743,"zanCount":11,"manualWeight":11,"mainColor":209},290861,"qiu-shan-yu-ting-zhou-li-cheng-290861","秋山渔艇轴","李成","李成（919～967）五代及北宋画家。字咸熙，唐宗室后裔。原籍长安（今陕西西安），先世系唐宗室，祖父李鼎曾任苏州刺史，于五代时避乱迁家营丘（今山东昌乐），故又称李成为李营丘。他博学多才，胸有大志，但不得施展，遂放意诗酒书画，后醉死陈州（今河南淮阳）客舍。擅山水，师承荆浩、关仝，并加以发展，多画郊野平远旷阔之景。多作平远寒林，画法简练，笔势锋利，好用淡墨，有“惜墨如金”之称；画山石好像卷动的云，后人称这种表现技法为“卷云皴”。",[25,98,75,157,56,77,740,154,188,123,7],"渔乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a95e63285ff12ebf6a02129e321d325.jpg",[],33,{"id":745,"slug":746,"title":747,"dynasty":18,"author":748,"museum":148,"description":749,"tags":750,"thumbUrl":753,"material":161,"size":162,"collection":84,"collections":754,"showCount":743,"zanCount":11,"manualWeight":11,"mainColor":165},289978,"qiu-shan-you-jing-tu-zhou-kun-can-289978","秋山幽静图轴","髡残","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。",[24,25,98,99,75,157,56,77,188,154,158,159,751,123,57,53,7,752],"幽静","山居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec2ddd0155bf080eb2a2b6efcf533b5c.jpg",[],{"id":756,"slug":757,"title":758,"dynasty":45,"author":759,"museum":148,"description":760,"tags":761,"thumbUrl":763,"material":161,"size":162,"collection":84,"collections":764,"showCount":765,"zanCount":89,"manualWeight":11,"mainColor":165},290839,"wan-he-qiu-ting-zhou-ni-zan-290839","万壑秋亭轴","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》。",[24,25,49,98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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。",[24,25,98,99,75,77,119,996,7,53,57,159,997,155],"江水","渔村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F784a4481f5c3f29eef9d999b06c8ee20.jpg",[],{"id":1001,"slug":1002,"title":1003,"dynasty":45,"author":1004,"museum":72,"description":1005,"tags":1006,"thumbUrl":1010,"material":76,"size":1011,"collection":84,"collections":1012,"showCount":981,"zanCount":11,"manualWeight":11,"mainColor":165},221803,"jiang-xiang-qiu-wan-juan-li-shi-xing-221803","江乡秋晚卷","李士行","此卷画江村平远景色，近处树石掩映，矮屋傍崖。远处行人骑马渡桥，汀渚处处，渔舟往还。石用长皴，山头石间苔点繁密。画幅透视呈现前后高低不同的两个水面，至为奇特。",[23,25,24,50,341,99,75,1007,1008,157,785,28,565,1009,56,123,53,57,7],"树石","矮屋","汀渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F941d89f7717939388ed4acf286c77356.jpg","该幅31x117.4公分",[],{"id":1014,"slug":1015,"title":1016,"dynasty":70,"author":993,"museum":148,"description":994,"tags":1017,"thumbUrl":1020,"material":161,"size":162,"collection":84,"collections":1021,"showCount":1022,"zanCount":11,"manualWeight":11,"mainColor":165},289592,"qiu-tang-ke-hua-tu-li-tang-289592","秋堂客话图",[23,24,25,99,27,1018,1019,75,7,53,52,57],"古树","厅堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa79bcac3d55cf0b2f8dd57920cedcd6.jpg",[],23,{"id":1024,"slug":1025,"title":1026,"dynasty":146,"author":1027,"museum":649,"description":1028,"tags":1029,"thumbUrl":1030,"material":594,"size":84,"collection":87,"collections":1031,"showCount":1022,"zanCount":11,"manualWeight":11,"mainColor":165},220149,"qiu-shan-qing-xing-tu-chen-huan-220149","秋山清兴图","陈焕","陈焕是明代吴门画派画家，他是苏州人，生活在明代中后期。陈焕的传世作品不多，画史中关于他的记载仅有三两句，其中最关键的一句说他私淑侯懋功。私淑是文化人的说法，指不能拜入师门但心存向往，一心临习。侯懋功是文徵明一脉的后辈弟子，画风雅致，在江南一带名气很大。从私淑二字就可以看出来，陈焕的学画之路并不顺畅，不过再多的坎坷也阻挡不住他对艺术的向往。",[23,25,99,98,75,135,78,474,157,154,123,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45500562d0218a2947f633f2ac87f1e3.jpg",[87],{"id":1033,"slug":1034,"title":1035,"dynasty":146,"author":71,"museum":1036,"description":1037,"tags":1038,"thumbUrl":1040,"material":34,"size":84,"collection":87,"collections":1041,"showCount":1022,"zanCount":11,"manualWeight":11,"mainColor":165},217983,"lin-liu-guan-qiu-tu-yi-ming-217983","临流观秋图","布里斯托尔博物馆","临流观秋图是明朝时期佚名所作的一幅著名图画。这幅图画描绘了一个秋天的景象，主要内容是一条清澈见底的河流，周围是绿树成荫的山坡。在河对岸，可以看到一座小山丘，上面建有一座庙宇。\n\n在河流中，可以看到许多游鱼，它们在水面上跃起，似乎在欢迎秋天的到来。此外，还可以看到许多水鸟在河上飞翔，整幅画面非常宁静而美丽。\n\n临流观秋图被认为是明朝时期中国绘画史上的杰作之一，其中融合了自然风景和人文景观，使得画面更加丰富多彩。该图画被认为是明朝绘画的一个典型代表，其中体现了明朝时期中国文人画的特点。",[25,99,26,75,56,154,119,81,30,123,7,155,1039,202,78],"淡墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff11e058cdac214e74ff20a01c13c4c98.jpg",[87],{"id":1043,"slug":1044,"title":1045,"dynasty":70,"author":1046,"museum":148,"description":1047,"tags":1048,"thumbUrl":1050,"material":161,"size":162,"collection":84,"collections":1051,"showCount":1052,"zanCount":89,"manualWeight":11,"mainColor":209},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”。",[23,24,25,75,98,26,123,157,56,188,135,78,627,1049,7],"红树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad91b75dccb4b91ad72e5c123b39c43f.jpg",[],22,{"id":1054,"slug":1055,"title":1056,"dynasty":70,"author":71,"museum":148,"description":1057,"tags":1058,"thumbUrl":1060,"material":161,"size":1061,"collection":84,"collections":1062,"showCount":1052,"zanCount":11,"manualWeight":11,"mainColor":165},287554,"qiu-shan-wen-hui-tu-yi-ming-287554","秋山文会图","此作以全景山水铺陈，高远与深远兼具，层峦叠嶂以青绿晕染，古雅苍朴。山峦以披麻皴细致勾勒，苔点攒簇，尽显秋山蓊郁厚重的质感。林麓间隐见亭台雅集，文士幽会于泉石山林间，将山居幽趣与文人情致相融。\n\n虽岁久色褪，仍可见精工雅致的风骨，以秋山沉厚底色衬出文会清逸，将林泉高致寄于层叠山岚之中，尽显天人合一的文人画意趣。",[25,24,49,98,557,26,123,75,27,188,154,78,135,7,1059],"文会","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60265df5aad0964cb0673dcbec174592.jpg","95x24.8",[],{"id":1064,"slug":1065,"title":1066,"dynasty":146,"author":199,"museum":148,"description":720,"tags":1067,"thumbUrl":1068,"material":161,"size":162,"collection":84,"collections":1069,"showCount":1052,"zanCount":11,"manualWeight":11,"mainColor":165},283739,"bao-hua-shan-zhuang-tu-ce-ba-kai-dong-qi-chang-283739","宝华山庄图册（八开）",[25,76,99,123,75,7,154,157,56,78,188,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F751091c3049470a475a93a684e5e6fa8.jpg",[],{"id":1071,"slug":1072,"title":1073,"dynasty":146,"author":1074,"museum":72,"description":1075,"tags":1076,"thumbUrl":1077,"material":84,"size":84,"collection":87,"collections":1078,"showCount":1052,"zanCount":11,"manualWeight":11,"mainColor":165},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》",[25,98,26,75,7,78,627,27,135,57,123],"https:\u002F\u002Foss.chuangqi.store\u002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是文人墨客睡觉的理想场所。 构图十分多样，笔墨精美，色彩点缀恰到好处。",[25,49,75,123,99,26,329,54,56,135,7,122,189,176,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95db5f648889bd0b3227e7193ab2e761.jpg","绢本 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释文：柔兆涒滩八月望。余侍原实孙先生过杨翁。留饮竟日。焚香啜茗。雅论清事。酒余。翁出扶风马文壁氏所画树石一幅。上有臧祥卿沤鸟。求孙先生题咏。翌日诗成。命予作篆。乃书于上。姑此以识岁月云。南村陶九成",[24,25,49,98,99,75,378,77,56,1277,343,7,53,57],"茅舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F034c21b2cf2060d651f01a28ac02e451.jpg","92x38",[],13,{"id":1283,"slug":1284,"title":1285,"dynasty":18,"author":1286,"museum":148,"description":1287,"tags":1288,"thumbUrl":1290,"material":161,"size":162,"collection":84,"collections":1291,"showCount":1281,"zanCount":11,"manualWeight":11,"mainColor":165},235664,"shan-shui-ping-yuan-jiang-235664","山水屏","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。",[25,26,51,473,75,77,1049,175,255,1289,98,254,78,7,123],"舟人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61b4a4034a49030300ed4a23692b7679.jpg",[],{"id":1293,"slug":1294,"title":1295,"dynasty":70,"author":1296,"museum":148,"description":1297,"tags":1298,"thumbUrl":1301,"material":84,"size":84,"collection":84,"collections":1302,"showCount":1281,"zanCount":11,"manualWeight":11,"mainColor":40},227975,"yan-cun-qiu-ai-tu-li-an-zhong-227975","烟村秋霭图","李安忠","这幅画以淡墨轻晕铺就烟霭秋郊，虚实相生间尽显幽远意境。左侧茂林攒聚，细密点染出秋叶苍润的质感，林梢掩映隐约村舍，藏着乡野的静谧烟火。右侧枯木斜倚水岸，孤清萧疏，与左侧的苍林形成疏密对照。\n\n画师以留白晕染烟水空濛，墨色浓淡自然过渡，将暮秋薄霭浮动的氛围感烘托得恰到好处，把秋日郊野的冷寂清旷尽数铺展。带着独有的平和疏淡意趣，将乡野秋日的萧散之美藏在朦胧烟色中，尽显淡远幽微的山水诗意。",[23,24,25,49,75,99,26,123,78,1299,1300,56,119,7],"村庄","雾气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2756c4f10a3cf56a3d7eba886bd268cd.jpg",[],{"id":1304,"slug":1305,"title":1306,"dynasty":362,"author":71,"museum":148,"description":1307,"tags":1308,"thumbUrl":1309,"material":161,"size":162,"collection":84,"collections":1310,"showCount":1311,"zanCount":11,"manualWeight":11,"mainColor":40},287373,"qiu-lin-qun-lu-tu-yi-ming-287373","秋林群鹿图","层林尽染，秋意漫溢林泽之间。红树似燃、白枝覆霜，深褐林木铺陈出苍郁底色，冷暖色调撞合出浓郁秋韵。\n鹿群或徐行、或伫立，身姿悠然灵动，和静谧秋林相融相生，将山野清闲的秋日意趣娓娓道来。设色古雅沉稳，晕染柔和自然，林木错落交织，层层铺就秋日山野的深邃意境，古拙笔法勾勒出灵动生机，将秋林野逸的澹远之美凝于绢素，尽显雅致古拙的秋日林下意致。",[24,25,98,26,460,674,378,78,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e6492740af92f3563de23b40fd0effd.jpg",[],12,{"id":1313,"slug":1314,"title":1315,"dynasty":146,"author":1316,"museum":148,"description":1317,"tags":1318,"thumbUrl":1320,"material":84,"size":84,"collection":84,"collections":1321,"showCount":1311,"zanCount":11,"manualWeight":11,"mainColor":165},234493,"qiu-lin-ya-zhen-shan-ye-wei-xue-lian-234493","秋林鸦阵扇页","魏学濂","魏学濂（1608年—1644年），明代官员。字子一，号内斋，一作容斋，浙江嘉善人，魏大中次子，崇祯十六年（1643年）进士，擢庶吉士，明亡后先降李自成，不久又羞愧自缢。平生擅画山水，兼工花鸟。",[25,472,99,123,78,30,135,155,1319,7],"竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe92dd15adde64d03325d8a441afab8aa.jpg",[],{"id":1323,"slug":1324,"title":1325,"dynasty":146,"author":445,"museum":148,"description":1326,"tags":1327,"thumbUrl":1328,"material":84,"size":84,"collection":84,"collections":1329,"showCount":1311,"zanCount":11,"manualWeight":11,"mainColor":40},228428,"chu-shan-qiu-ji-tu-zhou-lan-ying-228428","楚山秋霁图轴","危峰穿破流云，干湿浓淡的墨色皴擦出岩体质感，云雾轻笼半山，将丘壑裁作数重，虚实相生间铺展出山林深邃意境。山腰隐现山居屋舍，斜松探入烟霭，丹黄枝叶点染浓浓秋意。\n\n山麓飞瀑漱石汇成浅溪，策杖行人于危桥上徐行，野趣悠然自生。整画兼得元人写意简淡与宋人丘壑之实，晕染清润，烘托出秋霁初晴的空濛澄澈。简淡笔墨里藏着朴茂苍劲，将楚山秋日的高旷明洁尽藏尺幅间，尽显浙派晚期山水苍劲秀润的独特风貌。",[23,25,49,98,26,99,123,75,54,474,157,27,188,508,121,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ee7d130be7372a1498bcb77806080ed.jpg",[],{"id":1331,"slug":1332,"title":1333,"dynasty":45,"author":1334,"museum":148,"description":1335,"tags":1336,"thumbUrl":1337,"material":84,"size":84,"collection":84,"collections":1338,"showCount":1311,"zanCount":11,"manualWeight":11,"mainColor":40},228254,"jiang-shu-qiu-sheng-tu-ye-cao-zhi-bai-228254","江树秋声图页","曹知白","平远取景铺展江天浩渺，远山以淡墨轻笼，晕染出空濛悠远的秋意。近岸枯木萧疏遒劲，枝桠清瘦如篆，茅庐隐于林下，悄然静立在清寒暮色里。\n\n笔墨简淡秀润，以干笔皴擦写山峦肌理，线条松灵虚和，墨色层层晕染，淡而不薄。题画小诗与山水相映，将江乡秋夜的孤清乡思揉进尺幅之中。整幅画以简驭繁，褪去浓丽，尽显尚意之趣，把深秋江渚的寂寥、幽居林泉的隐逸澹然融为一体，淡墨里藏着清寂的心境，寥寥数笔便绘就了江乡秋声里的悠远闲情。",[24,25,49,76,99,123,75,119,135,255,7,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00bbf747142db1b200e064b2ce56cf2e.jpg",[],{"id":1340,"slug":1341,"title":1342,"dynasty":146,"author":445,"museum":148,"description":1343,"tags":1344,"thumbUrl":1346,"material":84,"size":84,"collection":84,"collections":1347,"showCount":1348,"zanCount":11,"manualWeight":11,"mainColor":165},234633,"fang-wang-shu-ming-qiu-jiang-shi-si-shan-ye-lan-ying-234633","仿王叔明秋江诗思扇页","蓝瑛（1585-1664），一说（1585-约1666），明代画家。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。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 ，与文征明、沈周并重。",[472,99,26,123,75,77,78,1345,996,135,7,57],"亭子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31b9e0bcf75000775f2e827ede181c39.jpg",[],11,{"id":1350,"slug":1351,"title":1352,"dynasty":1353,"author":1354,"museum":148,"description":1355,"tags":1356,"thumbUrl":1357,"material":161,"size":162,"collection":84,"collections":1358,"showCount":1348,"zanCount":11,"manualWeight":11,"mainColor":40},230503,"shi-ting-shi-dai-si-ji-shan-shui-tu-qiu-xue-zhou-230503","室町时代 四季山水图（秋）","不详","雪舟","雪舟（1420～1506） Sesshū 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御制五律一章，以宠其行，行至山东临清以病卒。",[25,24,50,75,99,341,78,135,154,1490,57,53,7],"湖泊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23648be720832d58f975e3904b328687.jpg",[],{"id":1494,"slug":1495,"title":1496,"dynasty":70,"author":71,"museum":148,"description":1497,"tags":1498,"thumbUrl":1501,"material":161,"size":162,"collection":84,"collections":1502,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":40},290237,"liu-tang-qiu-cao-tu-yi-ming-290237","柳塘秋草图","左边柳树成行,枝叶如云,右边是一片池塘,塘中草色迷离和柳树互为应和.水面平静,草色由近到远,将人们的视线和遐思引至远方.",[472,25,99,75,7,1499,860,507,32,1500],"柳树","静水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef19b74b36ee7e003ac698299af8d6b.jpg",[],{"id":1504,"slug":1505,"title":1506,"dynasty":18,"author":71,"museum":148,"description":1507,"tags":1508,"thumbUrl":1510,"material":161,"size":162,"collection":84,"collections":1511,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":165},288196,"mi-you-ren-kuan-chu-shan-qiu-ji-yi-ming-288196","米友仁款楚山秋霁","此作追摹米家云山之法，以淡墨层层晕染山峦林麓，间以浓墨错落点苔，不着意勾勒山石轮廓，纯以水墨干湿浓淡的层次变化，晕染出楚山秋霁后烟岚浮动、空濛湿润的清灵景致，萧散简远，尽显文人山水的淡逸禅意。\n整卷拖尾题跋琳琅，钤印错落，层层递加的鉴藏印记晕开厚重的流传脉络，精准还原了米家山水的烟雨空蒙之韵，将秋日楚山初晴的温润灵秀，藏入氤氲墨色之中。",[23,24,25,49,50,99,75,53,52,1509,57,7,175,922],"草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cedc727e28733e55d4168e8b27dd6d8.jpg",[],{"id":1513,"slug":1514,"title":1515,"dynasty":146,"author":1516,"museum":148,"description":1517,"tags":1518,"thumbUrl":1520,"material":161,"size":162,"collection":84,"collections":1521,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":165},237848,"qiu-wan-xiu-tu-shan-ye-yang-bu-yan-237848","秋晚秀图扇页","杨补岩","此作用笔苍润松秀，以淡赭晕染金笺，铺陈深秋清寂之境。水渚横斜间杂木错落，丹红点染枝头，晕开秋深意趣，林麓间茅舍隐现，藏山居幽寂之态。远景山峦以短披麻皴写就，苔点错落缀于丘壑，衬出山野空阔。题款小字清雅安闲，与画面浑然相融。盈尺扇面间疏密得宜，将秋晚萧散空寂揽于方寸，尽显幽淡闲远的林下雅趣，笔墨间浸透文人画简淡天真的意致。",[25,472,99,26,75,78,135,123,7,1519],"坡地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b1421a75fc47696237fbe9ef9283ed1.jpg",[],{"id":1523,"slug":1524,"title":1525,"dynasty":146,"author":71,"museum":148,"description":1526,"tags":1527,"thumbUrl":1528,"material":161,"size":162,"collection":84,"collections":1529,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":165},236298,"sha-shi-geng-qiu-mu-li-huai-tu-shan-ye-yi-ming-236298","沙士鲠秋暮离怀图扇页","秋郊暮色晕染出萧索况味，疏木寒林间藏着黯然离情。左侧车旁，旅人执手话别，衣袂轻扬，将千言万语凝在指尖；右侧故友勒马回首，马蹄徐缓，把不舍系在晚风里。\n\n浅设色铺就秋野底色，枯荣交织的林木点染暮秋清寂，留白处似漫着霜天薄霭，将缱绻离愁悄然晕开。线条清劲秀逸，人物神态宛然，把文人别离的含蓄深挚收在咫尺扇面中，淡墨轻皴写尽秋日送别的悠远意境，尺幅之间，铺展出绵长羁旅别愁。",[472,25,26,75,27,28,157,78,135,702,123,57,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c7233616f75777a8d6189fd1a0fb46c.jpg",[],{"id":1531,"slug":1532,"title":1533,"dynasty":146,"author":1534,"museum":148,"description":1535,"tags":1536,"thumbUrl":1538,"material":161,"size":162,"collection":84,"collections":1539,"showCount":296,"zanCount":11,"manualWeight":11,"mainColor":40},236671,"qiu-lin-mi-ju-tu-shan-zhu-yun-236671","秋林觅句图扇","朱鈗","鲁端王，朱观，朱健杙、嫡一子，在位时间：1528年—1549年嘉靖七年袭封。二十八年薨。",[472,99,75,378,135,30,53,123,78,7,1537],"文人活动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd86676b798481bc5766a18fd4e3f860a.jpg",[],{"id":1541,"slug":1542,"title":1543,"dynasty":70,"author":71,"museum":20,"description":1544,"tags":1545,"thumbUrl":1548,"material":137,"size":1549,"collection":84,"collections":1550,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":165},234021,"qiu-jiang-ming-po-tu-ye-yi-ming-234021","秋江瞑泊图页","秋天，黄昏，江岸楸树，水中孤舟，对岸迷茫的山林，林中隐现的庙宇，山下蜿蜒流淌的小溪，《秋江暝泊图》勾勒出了一幅典型的秋江景致。宋代院体山水画，对自然景物有丰富的表现力，从画风看应为南宋翰林院中高手所为。\n《秋江暝泊图》上钤有“御书之宝”、“信公珍赏”、“庞莱臣珍藏宋元真迹”等印多方，说明此图曾经南宋内府、清人耿昭忠、近人庞莱臣等收藏。《虚斋名画录》著录。此画传为宋高宗作品，经启功、徐邦达、刘九庵等鉴定大家鉴定为南宋绘画精品。\n宋高宗赵构（1107－1187），字德基，宋朝第十位皇帝，南宋开国皇帝，宋徽宗赵佶第九子。赵构精于书法，善真、行、草书，笔法洒脱婉丽，自然流畅，颇得晋人神韵。著有《翰墨志》，传世墨迹有《草书洛神赋》等",[25,49,76,99,26,75,54,77,996,135,123,7,1546,1547],"瞑泊","暮色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8612cfd66e5d358d524ad043ce2f177d.jpg","23.7×24.3cm",[],{"id":1552,"slug":1553,"title":1554,"dynasty":18,"author":71,"museum":148,"description":1555,"tags":1556,"thumbUrl":1559,"material":161,"size":162,"collection":84,"collections":1560,"showCount":89,"zanCount":11,"manualWeight":11,"mainColor":40},281504,"ri-ben-zhi-rong-shan-shui-tu-zhou-yi-ming-281504","日本织绒山水图轴","这幅织绒山水取峡谷秋景，两侧危崖壁立，苍松扎根石罅，丹黄秋叶晕染出暖融融的秋意，与冷灰色岩崖形成鲜明冷暖对冲。谷底湍流击石，浪涛翻涌，远处峰峦隐在烟霭之中，虚实相生。\n\n织绒工艺精妙复刻山石嶙峋肌理、林木深浅层次，将东方山水的空寂禅意融入绒线经纬之间。兼具日式山水的幽寂诗意与宋元山水的雄浑气度，仿佛能耳闻涧水轰鸣、山风穿林动叶，把秋日溪山的辽远苍茫，定格成触手可及的温润质感。",[98,26,75,7,1557,415,30,474,628,122,1558],"峡谷","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f8a69733a1c2285f4fb9e4850df1d53.jpg",[],{"id":1562,"slug":1563,"title":1564,"dynasty":18,"author":554,"museum":148,"description":1565,"tags":1566,"thumbUrl":1570,"material":84,"size":84,"collection":84,"collections":1571,"showCount":89,"zanCount":11,"manualWeight":11,"mainColor":165},235106,"shan-shui-ce-wang-yuan-qi-235106","山水册","此作以平远之法铺展湖山景致，烟波浩渺的水面占据画面大半，留白尽显清旷空濛之意。近岸怪石错落，幽篁杂木傍水而生，茅庐隐于林麓间，暗合幽居之趣。远山以淡墨轻勾浅染，简淡空灵，与开阔水面相映，烘托出萧疏静谧的秋郊水岸氛围。\n\n笔墨苍润松秀，干笔皴擦间带着浑朴意韵，淡墨晕染铺就空濛水色，不着浓艳设色，以简淡之笔追摹元人山水的隐逸格调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