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《秋林野兴图》笔法表现多见李成、郭熙、董源、巨然诸家之法，笔墨稳健清润，意境虚和冲融，气韵秀逸隽永。",[54,24,23,25,55,27,28,7,30,34,31,56,57,58],"高清","立轴","水域","孤石","疏林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F119a5ae094663913abafe92db0881216.jpg","纵九十七厘米，横六十八点五厘米",[41],249,2,{"id":65,"slug":66,"title":67,"dynasty":18,"author":68,"museum":69,"description":70,"tags":71,"thumbUrl":75,"material":76,"size":77,"collection":41,"collections":78,"showCount":79,"zanCount":63,"manualWeight":11,"mainColor":80},218137,"qiu-lin-gao-shi-tu-sheng-mao-218137","秋林高士图","盛懋","台北故宫博物院","这幅画上绘着一位身穿红衣的高士，坐于秋林坡地上，作侧身远眺之状。图分前、中、远三景，前景画杂树数株，高低参差、疏密有致，运笔极为老到；树下高士在画面上显得极为细小，反衬出青山丛林的崇峻，高士姿态生动自然，勾画简练闲放，颇具逸致。溪边苇荻数丛，布局、运笔富于变化，亦得风吹草动之态。隔溪中景秋林，不作勾勒，纯以浓淡墨积点为之，树梢浓浓淡淡，隐现于层云薄雾之中，着墨不多，笔简意足。远景层峦叠嶂，重重雾锁。两座主峰的画法，以披麻皴间以乱柴皴，结构转折处以浓墨打苔点树，雄峻逸秀，气格高朗，得秋天清旷情趣。",[54,23,25,29,72,27,73,30,34,35,28,7,74],"人物","设色","草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78bb700dfdd2f5ed8ea30c6490135420.jpg","绢本,设色","纵135.3厘米、横59厘米",[41],125,"795548",{"id":82,"slug":83,"title":84,"dynasty":85,"author":86,"museum":69,"description":87,"tags":88,"thumbUrl":93,"material":94,"size":95,"collection":96,"collections":97,"showCount":99,"zanCount":11,"manualWeight":11,"mainColor":80},221393,"qiu-lin-fei-pu-zhou-fan-kuan-221393","秋林飞瀑轴","宋","范宽","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。",[54,24,23,25,55,28,27,29,7,89,90,91,30,92],"飞瀑","岩石","溪流","山林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1ab091b4703f6d101e17af7a9a05d6d.jpg","绢本","纵：181厘米，横：99.5厘米","宋画精选",[96,41,98],"水墨画精选",103,{"id":101,"slug":102,"title":103,"dynasty":85,"author":104,"museum":20,"description":105,"tags":106,"thumbUrl":113,"material":76,"size":114,"collection":41,"collections":115,"showCount":116,"zanCount":63,"manualWeight":11,"mainColor":80},217869,"qiu-lin-die-zhang-tu-jiang-can-217869","秋林叠嶂图","江参","秋林叠嶂图描绘的是一片秋天的山林，这片山林位于海拔较高的地方，因此能看到远处的秋天的山林。这幅画的画面非常宁静，令人感到非常舒适。画中有许多树木，其中有许多松树，还有一些枫树。这些树木都长得非常茂盛，充满了生机。画中还有许多山峰，山峰之间相互倚靠，形成了一道道叠嶂。画中还有几只鸟儿，它们在枫树的枝头上唱着歌。\n\n总的来说，这幅秋林叠嶂图是一幅非常优秀的山水画作品，江参的画风独特，山水画作品非常出名。这幅画的描绘的秋天的山林非常真实，令人感觉非常自然，是一幅非常美丽的画作。",[23,26,7,107,108,109,110,33,111,112],"叠嶂","松树","枫树","飞鸟","楼阁","宁静","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1988e2d8ba1187067f488aa5793dcca.jpg","168.7x96.3cm",[41],98,{"id":118,"slug":119,"title":120,"dynasty":121,"author":122,"museum":69,"description":123,"tags":124,"thumbUrl":128,"material":76,"size":129,"collection":41,"collections":130,"showCount":131,"zanCount":132,"manualWeight":11,"mainColor":80},214741,"qiu-lin-shu-wu-tu-zhao-zuo-214741","秋林书屋图","明","赵左","这幅画表现的是一个男人独自坐在森林下的书房里，云雾笼罩着远处的山。构图很简单，将河流和天空留白，加上一些水墨，这幅画的特点是柔和和优雅。",[23,26,27,28,55,125,7,126,30,34,33,127,110],"印章","书屋","远山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83c65d9c974db8e736b5c1f04d0b6cde.jpg","103.1x51.4",[41],93,1,{"id":134,"slug":135,"title":136,"dynasty":137,"author":138,"museum":139,"description":140,"tags":141,"thumbUrl":144,"material":145,"size":145,"collection":145,"collections":146,"showCount":147,"zanCount":63,"manualWeight":11,"mainColor":80},232623,"wan-song-qiu-lin-tu-quan-juan-zhang-zao-232623","万松秋林图全卷","唐","张璪","藏地不详","论画山水树石》中说到“山水之变，始于吴，成于二李”之后，紧接着便说“树石之状，妙于韦偃，穷于张通(张璪)”。在唐人心目中，张璪的画还是高于王维等人的。张璪作画喜用紫毫秃笔，属于吴道子型激情一派画家，他往往秃笔抹写，画至得意处，忘乎所已。干脆以手醮色，挥涂起来，久而久之，形成习惯，乃至于发展为王默的“脚蹙手抹”。后世的指画当受其影响。\n张璪的山水画另一大特色就是以墨为主，不贵五彩。荆浩《笔法记》云“张藻员外树石，气韵俱盛，笔墨积微，真思卓然，不贵五彩，旷古绝今，未之有也。”这种“不贵五彩”、“笔墨积微”水墨画法在绘画技法上是一个极大的突破。",[54,24,23,25,142,27,73,28,29,143,7,30,34],"长卷","松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c33524bed7f62604513b963bc367865.jpg","",[],91,{"id":149,"slug":150,"title":151,"dynasty":152,"author":153,"museum":139,"description":154,"tags":155,"thumbUrl":162,"material":76,"size":163,"collection":164,"collections":165,"showCount":166,"zanCount":11,"manualWeight":11,"mainColor":45},218288,"qiu-lin-dui-yin-tu-ren-yi-218288","秋林对吟图","清","任颐","秋林如染，丹红似火的枝桠与橙黄若霞的树冠交叠，墨绿深影衬出沉郁，青蓝树影添了清奇。虬曲树干上斑驳树瘤如岁月印记，苍劲中藏着灵动。林间两人对吟，衣袂轻扬间似有清声随林风漫溢，闲逸之态与秋林绚烂相映成趣。笔墨兼具工致与写意，树色浓淡、枝干皴擦透着自然生机；人物简笔勾勒，更显文人雅集的悠然。整卷将秋的浓郁与人文之趣融于一体，观之如临其境，仿佛触到林风温润，听见诗句回响。",[54,23,73,156,7,72,29,33,157,158,159,160,161],"秋景","写意","工笔","文人雅集","闲逸","虬干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff74afa578b5504f46957f28934b0ca53.jpg","144x77.5","人物画精选",[164],66,{"id":168,"slug":169,"title":170,"dynasty":85,"author":171,"museum":139,"description":172,"tags":173,"thumbUrl":177,"material":94,"size":178,"collection":96,"collections":179,"showCount":180,"zanCount":132,"manualWeight":11,"mainColor":80},221417,"qiu-lin-tu-ye-xu-dao-ning-221417","秋林图页","许道宁","此卷作平遠的構圖，山巒重疊向兩面展開，叢林間隱藏寺院和佛塔。近景作河流、坡岸，幾棵大樹，挺拔疏朗，有小道、橋樑通往遠處；二局士遠眺，有騎士與隨從似正遊覽歸來。表現了華北黃土地清曠的晚秋景色。其構圖與美圍納爾遜·艾京斯美術館藏《秋江漁艇圖》屬同一類型。樹法作“蟹爪法”，鹿角、坡石皴法亦屬李成一派。本圖無款，傳為許道寧作。\n圖中描寫的是華北平原秋天時的蕭寒荒涼景色，與平原中活動的人物。最令人深感趣味的是從圖卷末開始，山坡上植滿大片樹叢，樹葉開始凋零，景色由此向右上方延伸，到中景則出現小片樹叢，並隱約可見在林間的寺院和閣樓。這就點出了此畫的主題，在樹叢下有幾名清雅高士正朝着丘陵的方向欣賞大自然美景。秋高氣爽，一陣陣秋風從秋林中沙沙吹響，好一個平原秋色的蕭寒荒涼，這使高士們如此喜悦，領略大自然恩賜的詩一般的愜意。\n此畫構圖的軸線是順着道路漫延到卷末。作者重點佈置秋色的蕭條，四周同將枯竭的泉水，及背後莊嚴的山脈，使人感受到強烈的蕭條之氣。可是在樹叢下有幾名清雅高士採風賞景、談笑風生，頓使畫面意趣盎然、生氣充盈。圖中人物雖小，但能神形逼肖。此圖乍看似乎是李成寒林平原山水的模式。從此圖中不僅能看到許道寧擅長的林木，平野山水，及斜面構圖模仿寒林龍形山脈等，更可以看出白唐、五代以來長安繪畫保守的傳統風格",[54,23,24,25,174,27,28,29,175,176,7],"册","老树","枯藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F265c7ee4e15765a1f3229516a46ee0b3.jpg","36× 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52.5x27.4公分、全幅 59.2x82公分",[],{"id":331,"slug":332,"title":333,"dynasty":85,"author":186,"museum":216,"description":334,"tags":335,"thumbUrl":338,"material":339,"size":340,"collection":96,"collections":341,"showCount":342,"zanCount":11,"manualWeight":11,"mainColor":80},223605,"qiu-lin-fang-du-tu-zhou-yi-ming-223605","秋林放犊图轴","画面描绘了一个男孩在岸边与平坡之间的秋林中给牛溪喂食的场景。 牛肥壮，孩子调皮。",[54,24,23,55,73,158,7,30,336,337,125],"牛犊","坡地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27c9fbfac81e21e219709419b2fe821c.jpg","绢本，设色","96.3＊53.2cm",[96,41,98],25,{"id":344,"slug":345,"title":346,"dynasty":18,"author":68,"museum":51,"description":347,"tags":348,"thumbUrl":349,"material":350,"size":351,"collection":145,"collections":352,"showCount":353,"zanCount":11,"manualWeight":11,"mainColor":80},221758,"qiu-lin-yu-yin-tu-sheng-mao-221758","秋林渔隐图","《传世名画题诗品赏》是26年 出版的图书。\n本书以“一图一文”的组合形式构成，为每幅名画配上一篇品赏文字，内容包括画幅收藏处，画家、诗人生平简介，画幅技巧、布局、意境的评述，诗篇词语典故的诠释，技巧、诗境的阐发等。\n开本: 2开 ISBN: 72224564 条形码: 978722245644 尺寸: 21 14.2 4.2 cm 重量: 721 g 绘画艺术品受战乱兵燹等社会因素和风化水蚀等自然因素的损毁和破坏，大量散佚，很难传留。\n因此，传世名画更显名贵，成为我国文化遗产宝库中的重要部分，值得珍视。\n画上题诗，是诗画艺术结合的产物，“诗书画”三绝，构成一件艺术珍品，使图像、线条、色彩、笔情、墨趣、诗境、画意，和谐地融合在一起，形成东方民族美学的独特艺术形态，集中反映和体现华夏民族的审美观念和文化精神，足以屹立于世界艺术之林。\n为帮助爱好诗画艺术的朋友们欣赏传世名画上的题画诗，笔者特意从海内外各大博物馆（院）以及私家收藏的传世名画中，遴选出若干幅作品，品赏评析画上题诗，编撰成这本《传世名画题诗品赏》，并就题画诗的艺术特质和艺术功能，题画诗的发展轨迹，以及本书的编写体例等问题，详作阐述，以说明笔者的编撰意图。\n上篇 两宋 第一图 赵佶《蜡梅山禽图》 第二图 徐禹功《雪中梅竹图》 第三图 马远《踏歌图轴》 第四图 梁楷《泼墨仙人图》 第五图 马麟《层叠冰绡图》 第六图 马麟《漳冷梅康馨图页》 第七图 赵孟坚《墨兰图》 第八图 龚开《骏骨图》 元代 第九图 玉涧《庐山瀑布图》 第十图 陆文圭《扁舟傲睨图》 第一一图 钱选《归去来辞图》 第一二图 钱选《 》 第一三图 钱选《山居图卷》 第一四图 钱选 《牡丹图》 第一五图 高克恭《黑竹坡石图》 第一六图 赵孟頫《人骑图卷》 第一七图 赵孟頫《秀石疏林图》 第一八图 黄公望《天池石壁图》 第一九图 曹知白《疏松幽岫图轴》 第二十图 吴镇《松石图》 第二一图 吴镇《芦花寒雁图轴》 第二二图 吴镇《草亭诗意图》 第二三图 吴镇《多福图轴》 第二四图 吴镇《松泉图》 第二五图 吴镇《芦滩的艇图》 第二六图 吴镇《渔父图》 第二七图 张渥《竹西草堂图》 第二八图 王渊《牡丹图卷》 第二九图 盛懋《秋江待渡图》 第三十图 盛懋《秋林渔隐图》 第三一图 王冕《墨梅图》 第三二图 王冕《墨梅图卷》 第三三图 王冕《寒梅图》 第三四图 王冕《南枝春早图》 第三五图 倪瓒《古木幽篁图》 第三六图 倪瓒《江岸望山图》 第三七图 倪瓒《虞山林壑图》 第三八图 倪瓒《梧竹秀石图》 第三九图 倪瓒《琪树秋风图》 第四十图 倪瓒《六君子图》 第四一图 倪瓒《幽涧寒松图》 第四二图 倪瓒《秋林新兴图》 第四三图 倪瓒《水竹居图》 第四四图 倪瓒《秋亭嘉树图》 第四五图 倪瓒《雨后空林图》 第四六图 倪瓒《渔庄秋霁图》 …… 明代 下篇 清代 下册",[54,23,271,27,28,29,7,287,110,290,190,34,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F264a3578244bd0799ebe3b6cf74625e3.jpg","绢本，淡设色","26.7×33.7cm",[],23,{"id":355,"slug":356,"title":357,"dynasty":85,"author":358,"museum":69,"description":359,"tags":360,"thumbUrl":364,"material":76,"size":365,"collection":366,"collections":367,"showCount":368,"zanCount":11,"manualWeight":11,"mainColor":45},219936,"qiu-lin-shui-niao-tu-gao-ke-ming-219936","秋林水鸟图","高克明","图绘柳岸水边,凫雁或飞或憩,地上与柳树上两只山鹊或觅食或远眺.小小尺幅内作全幅花鸟,气韵悠远,秋意盎然",[54,23,25,174,73,29,7,361,30,362,28,363],"水鸟","水面","岸边","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09cfd1d3015da9ffdea2e6f7cf2a880f.jpg","26.5x26.6","花鸟画精选",[366],22,{"id":370,"slug":371,"title":372,"dynasty":18,"author":373,"museum":374,"description":375,"tags":376,"thumbUrl":378,"material":76,"size":145,"collection":164,"collections":379,"showCount":380,"zanCount":11,"manualWeight":11,"mainColor":45},219394,"qiu-lin-du-qi-tu-zhao-yong-219394","秋林独骑图","赵雍","上海龙美术馆","赵雍，字仲穆，湖州人。赵孟頫次子。官至集贤待制、同知湖州路总管府事。书画承家学，擅山水，师法董源；尤精人马，得曹霸、韩幹法；兰竹则腴润洒落。书善正、行、草、篆，体势清劲。",[23,25,271,73,29,72,232,7,30,34,377,205,125,302,158,28],"古道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa82362cf51743c1d61b49e21bf59d4c8.jpg",[164],21,{"id":382,"slug":383,"title":384,"dynasty":121,"author":186,"museum":385,"description":386,"tags":387,"thumbUrl":390,"material":76,"size":391,"collection":164,"collections":392,"showCount":393,"zanCount":132,"manualWeight":11,"mainColor":80},219619,"ming-ren-qiu-lin-mu-yang-tu-yi-ming-219619","明人秋林牧羊图","耶鲁大学艺术博物馆","丹红叶色覆满古木虬枝，晕染出深秋萧疏又温煦的氛围。林下坡岸，一人踞坐拨弦，一人垂首静听，意态闲散悠然，尽显林下雅趣。坡麓双羊缓行啮草，野逸闲寂的田园意致油然而生。\n\n画作笔墨简淡秀润，设色清雅沉稳，人物意态生动传神，林木皴染细致写实，将秋日郊野的幽寂清旷与文人士子的山居闲情相融，勾勒出超脱尘俗的林下雅兴图景，尽显写意尚趣的审美意韵。",[23,73,158,72,388,7,175,34,389,30,156,191],"羊","花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaedaedf3332b4fb0340859744f2680b.jpg","纵100.5横51.5厘米",[164],19,{"id":395,"slug":396,"title":397,"dynasty":152,"author":186,"museum":216,"description":398,"tags":399,"thumbUrl":406,"material":304,"size":407,"collection":196,"collections":408,"showCount":409,"zanCount":11,"manualWeight":11,"mainColor":45},239528,"hong-li-ji-lu-tu-xiang-zhou-yi-ming-239528","弘历击鹿图像轴","秋林谷壑间秋意铺陈，丹叶杂着枯木，晕染出疏朗温润的郊野氛围。锦鞍纹饰细致的骏马静立坡侧，侍从持鞭席地而坐，神色安然。右下角麋鹿惊觉抬首，似将疾走而去，瞬间打破林间宁寂，暗藏狩猎将启的张力。\n\n此作未绘主角，却以侍从、鞍马衬出狩猎的氛围感，静中藏动，笔触工细入微，枝叶、坡石层次分明，设色雅致柔和，将郊野秋狩的闲雅与机巧相融，尽得纪实绘事的含蓄意趣。",[24,23,55,158,73,72,232,189,400,7,401,402,403,404,405],"郊野","狩猎","枯木","坡石","闲雅","静中藏动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc877bf2a729dcbf25c434ed1db163c5.jpg","纵259cm; 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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",[24,23,25,55,27,29,7,287,33,439,440,156,205,125],"茅舍","渔者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F034c21b2cf2060d651f01a28ac02e451.jpg","92x38",[],13,{"id":446,"slug":447,"title":448,"dynasty":121,"author":449,"museum":139,"description":450,"tags":451,"thumbUrl":454,"material":275,"size":276,"collection":145,"collections":455,"showCount":444,"zanCount":132,"manualWeight":11,"mainColor":45},239412,"qiu-lin-li-zhang-tu-zhou-sun-zhi-239412","秋林藜杖图轴","孙枝","孙枝（公元16-17世纪初，生卒年不详），明代画家。字叔达、微之，号华林、华林居士，吴县（今江苏苏州）人。工书善画，长于山水，师法文征明，明姜绍书《无声诗史》谓其“石树葱秀，毫素间有洒然出尘之致，亦吴中佳手也”。所作山水意境幽深，风格秀整。花卉、人物亦佳，曾学唐寅而气韵笔力不逮。为吴门派画家之一。其画法出自文征明，石树葱秀，毫素间有洒然出麈之致。花卉、人物亦佳，人物且注重大型画面如画卷移居图。北京故宫博物院藏有其所作九龙山居图卷，盖学唐寅而不及者。",[23,25,55,27,29,28,7,34,72,32,127,30,452,453,35],"枯枝","小径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f73c7d36a9cd4d75b5cc1f1c0fb19b9.jpg",[],{"id":457,"slug":458,"title":459,"dynasty":18,"author":284,"museum":216,"description":460,"tags":461,"thumbUrl":463,"material":94,"size":464,"collection":145,"collections":465,"showCount":444,"zanCount":11,"manualWeight":11,"mainColor":45},233204,"qiu-lin-chui-diao-tu-ye-zhu-ze-min-233204","秋林垂钓图页","画上一老翁坐于船头专心致志钓鱼，岸上二株松树耸立，画面简洁、幽静。朱德润，字泽民，号睢阳山人，善诗文，工书法，格调遒丽。",[24,23,25,27,28,29,462,190,287,291,288,7],"林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7b4212db7815938d8172fc55510bf7a.jpg","28.1X26.6cm厘米",[],{"id":467,"slug":468,"title":469,"dynasty":152,"author":470,"museum":139,"description":471,"tags":472,"thumbUrl":474,"material":145,"size":145,"collection":145,"collections":475,"showCount":444,"zanCount":132,"manualWeight":11,"mainColor":80},230895,"qiu-lin-yi-ju-tu-lan-meng-230895","秋林逸居图","蓝孟","《秋林逸居图》是中国清代画家 的国画作品。\n该画为立轴绢本，纵217.米，横68.厘米现藏于旅顺博物馆。\n蓝孟，生卒年不详，清代画家。\n字次公、亦舆，又字鸾，钱塘(今浙江杭州)人。\n著名画家蓝瑛之子。\n善画山水，师法宋元诸家。\n笔法疏秀，能传家法。\n约活动于顺治至康熙年间。\n《秋林逸居图》以鸟瞰手法写山水，具有立体感和空间感。\n山石多作矶头，磊落灵秀，树法朴拙，高拔劲挺，与山势相协调，村舍有曲径板桥可通，益增纵深感，溪边碎石大小相间，颇多奇趣，可谓匠心独运。\n全图笔墨苍润，一气呵成，是一幅丰富多彩的小青绿山水佳作。",[54,23,25,55,27,73,158,28,29,7,473,30,34,32,33,31],"房屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7bd02babbd73a0bb4302e9b8ccc3806.jpg",[],{"id":477,"slug":478,"title":479,"dynasty":18,"author":373,"museum":139,"description":480,"tags":481,"thumbUrl":483,"material":484,"size":485,"collection":145,"collections":486,"showCount":444,"zanCount":11,"manualWeight":11,"mainColor":80},221867,"qiu-lin-yuan-xiu-tu-ye-zhao-yong-221867","秋林远岫图页","赵雍 （公元1289—？年），字仲穆，吴兴（今浙江湖州）人，赵孟頫次子。赵雍承家学诗文书画皆精，善鉴赏，人物、山水、界画、花鸟、鞍马无所不能。幼即勤奋，得母指教，稍懈母即严责之。稍长，“所画浓淡浅深皆至理”。山水宗父法，参学董、巨、李、郭、萧散清远，笔力劲健，有个人面貌。兰竹师其母，腴润洒脱，颇有风致，尤精人物鞍马，法唐人，有古意，行走滚卧，驰骤奔跳，浴水啮草，各式姿容神态皆生动，深得文人学士甚至皇帝好评。书善正、行、草，亦长篆书，体势清劲。",[54,24,23,25,174,27,28,29,7,482,30,34,362,289,175],"远岫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc71628b63edcc8a6d2dd2ebba0b6fdf9.jpg","扇","68X77",[],{"id":488,"slug":489,"title":490,"dynasty":185,"author":186,"museum":139,"description":491,"tags":492,"thumbUrl":493,"material":275,"size":276,"collection":145,"collections":494,"showCount":495,"zanCount":11,"manualWeight":11,"mainColor":80},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。",[24,23,55,73,191,189,7,30,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e6492740af92f3563de23b40fd0effd.jpg",[],12,{"id":497,"slug":498,"title":499,"dynasty":152,"author":500,"museum":139,"description":501,"tags":502,"thumbUrl":503,"material":145,"size":145,"collection":145,"collections":504,"showCount":495,"zanCount":11,"manualWeight":11,"mainColor":80},224180,"qiu-lin-guan-quan-tu-juan-hua-yan-224180","秋林观泉图卷","华嵒","古木虬枝盘绕，繁叶如幄将溪岸轻笼，清寂秋意漫开。右侧石台之上，逸士围坐晤言，襟怀散朗，似伴淙淙泉声叙尽雅怀。\n\n浅墨勾出水波萦回，溪石错落排布，撞出幽远潺潺之意。山石以斧劈兼披麻皴写就，朴拙老辣，林木细笔点染、疏密相生，清雅古淡的设色晕开沉静古雅的氛围，将林泉清旷与文人情致相融，把秋日观泉的萧散林下之趣，藏进尺幅间的静穆诗意里。",[54,23,25,142,73,28,29,7,91,90,72,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3fbf31cff307ebed96fcbb978417b13.jpg",[],{"id":506,"slug":507,"title":490,"dynasty":185,"author":186,"museum":139,"description":508,"tags":509,"thumbUrl":510,"material":275,"size":276,"collection":145,"collections":511,"showCount":512,"zanCount":11,"manualWeight":11,"mainColor":80},288514,"qiu-lin-qun-lu-tu-yi-ming-288514","秋林漫染，丹红、莹白与墨绿交织晕开，将深秋的层林意韵铺陈开来。林泽之间，群鹿姿态各异，或昂首缓行，或垂耳憩息，灵动身影栖于幽寂林间，让萧疏秋景染上鲜活野趣。\n古雅厚重的设色带着朴拙质感，将秋意的清寂与生灵的暖意相融，把山野林麓的静谧生机娓娓道来。画面兼具山水的悠远层次与花鸟的细腻意趣，笔触苍古，意境澹然，藏着秋日林野独有的荒疏温柔。",[23,24,55,73,191,189,7,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6f0e7a22edefcd1e0615fddd912d838.jpg",[],11,{"id":514,"slug":515,"title":516,"dynasty":121,"author":517,"museum":139,"description":518,"tags":519,"thumbUrl":521,"material":275,"size":276,"collection":145,"collections":522,"showCount":523,"zanCount":11,"manualWeight":11,"mainColor":80},237909,"qiu-lin-ce-zhang-shan-ye-chen-hong-shou-237909","秋林策杖扇页","陈洪绶","插图》《水浒叶子》《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[23,271,158,28,7,34,108,72,520],"策杖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd6dfde261e22391f0116d67e6bc7d8a.jpg",[],10,{"id":525,"slug":526,"title":527,"dynasty":152,"author":528,"museum":139,"description":529,"tags":530,"thumbUrl":531,"material":275,"size":276,"collection":145,"collections":532,"showCount":523,"zanCount":11,"manualWeight":11,"mainColor":45},236551,"xu-gu-qiu-lin-du-tiao-shan-ye-xu-gu-236551","虚谷秋林独眺扇页","虚谷","虚谷（1823～1896），清代著名画家，海上四大家之一，有“晚清画苑第一家”之誉。俗姓朱，名怀仁，僧名虚白，字虚谷，别号紫阳山民、倦鹤，室名觉非庵、古柏草堂、三十七峰草堂。籍新安（今安徽歙县），居广陵（今江苏扬州）。初任清军参将与太平军作战，意有感触，后出家为僧。工山水、花卉、动物、禽鸟，尤长于画松鼠及金鱼。亦擅写真，工隶书。作画有苍秀之趣，敷色清新，造型生动，落笔冷消，别具风格。性情孤僻，非相处情深者不能得其片纸。早年学界画，后以擅画花果、禽鱼、山水著名。风格冷峭新奇，绣雅鲜活，无一笔滞相，匠心独运，别具一格。亦能诗，有《虚谷和尚诗录》。传世作品有《梅花金鱼图》《松菊图》《葫芦图》《蕙兰灵芝图》《枇耙图》等。",[23,25,271,27,73,29,7,30,72],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bc42f5a51347d9182c4cf3497e332fb.jpg",[],{"id":534,"slug":535,"title":536,"dynasty":85,"author":186,"museum":139,"description":537,"tags":538,"thumbUrl":540,"material":145,"size":145,"collection":145,"collections":541,"showCount":523,"zanCount":11,"manualWeight":11,"mainColor":80},227379,"qiu-lin-mu-gui-tu-yi-ming-227379","秋林牧归图","就素材而论,其实所画的不过是历代都有人愿画的生产工具、人们爱好的动物——牛。可是,能够这样确切地活生生地把特殊的状况之下的牛的神态描写出来,构成特殊的境界,在一般画牛的作品中还不是容易碰见的。负荷着牧童的母牛,涉过了浅水,吃力地要爬上岸去,却又似乎要回头照顾那还没有跟上来的小牛。小牛,这一稚气的、生活经验还不丰富的幼小者,伸着脖子站在对岸,望着它的母亲,要前进又不曾前进。它在号叫,似乎是要求援助。这样来描写牛,不是一般的牛的描写。观赏者可以把它当成牛来观赏,又不只是单纯地观赏一般的牛。这种稚气的幼小者的神气和亲子关系的描写,能够唤起人的亲子关系的联想和对于幼小者的爱怜。由于画家对于他所要描写的对象着迷,深切地感到牛的可爱,当他塑造形象的时候,明确地以小牛观望的神态为重点,从而避免了肤浅的物象罗列的画法,生动地表现这一特殊状态之下的牛的神态和情感。正因为这样,这一好像我们从来没有见过又好像曾经在什么地方见过的情景,十分迷人。",[54,23,73,158,175,539,29,7,28],"牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e8bb3723de445fb263be83e42b090db.jpg",[],{"id":543,"slug":544,"title":545,"dynasty":546,"author":547,"museum":548,"description":549,"tags":550,"thumbUrl":10,"material":145,"size":145,"collection":41,"collections":551,"showCount":552,"zanCount":11,"manualWeight":11,"mainColor":553},203277,"qiu-lin-chui-diao-tu-zhou-he-xiang-ning-203277","秋林垂钓图轴","近代","何香凝","上海博物馆","画面以淡墨晕染山水，远山如黛，朦胧间见层叠之势；近岸秋林疏朗，枝干虬劲，柳叶轻垂似含秋意。一江秋水静谧流淌，孤舟独泛，渔者隐于舟中垂钓，意境清幽淡远。笔墨兼具写意之洒脱与工致之细腻：树木勾勒细致，枝桠交错见生机；山石以皴法表现肌理，苍劲中显质感；水纹简约却灵动，衬出江面空阔。整体氛围闲适悠然，透着文人画的雅致韵致，传递出远离尘嚣的淡然心境。",[23,27,29,287,7,28,290,55,54],[41],8,"c1b8aa",{"id":555,"slug":556,"title":557,"dynasty":85,"author":186,"museum":139,"description":558,"tags":559,"thumbUrl":560,"material":275,"size":276,"collection":145,"collections":561,"showCount":562,"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中，有沈周影响的风格很少，可能早年作品亦多不存，所以难以知道。\n唐寅较为人所理解的，是拜画家周臣为师。研究认为他也许是在泄题案之后，才开始向周臣请益。由于周臣的画风远摹南宋画家李唐、刘松年，所以唐寅的作品也多被人认为有李刘风格。美术史对唐寅山水画的讨论中有周臣代笔的问题，目前仍没有比较清晰的理解。唐寅的作品以山水画、人物画出名，亦有花鸟竹石的作品存世。一般而言，都将唐寅的绘画风格分做三期，但由于许多有纪年的作品多集中在唐寅的晚年，早年的风格分期便有许多争议。唐寅 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