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松石格是兴起于八世纪的绘画，或画松石、树石，含松柏及其他树木。它是山水画范围的一部分。\n飞泉激漱于涧石之间，下潴成窟，浪花腾溅。两松劲挺立於涧右，树身扭曲，多瘤杈枒。松针作圆形，先用浓墨画，再用淡墨罩一次，又用墨水烘渍，最后用小弹弓弹墨花于其上，如宋人弹雪法。涧左枯树两株，较两松更甚，画小枝用李郭蟹爪。树后层滩叠渚，愈远愈淡，上接烟霾天宇，一门浑囵。松身结体，颇似武元直赤壁图卷；烘染厚润，颇似李山风雪杉松图卷。",[23,24,25,26,27,28,29,7,30,31,32,33,34],"国画","书画","立轴","水墨","皴法","山水","松树","磐石","小桥","流水","山石","树木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab46279c4e10e9f75620f23fefae0de6.jpg","绢本","160.3x96.8cm","宋画精选",[38,40,41],"山水画精选","水墨画精选",123,"795548",{"id":45,"slug":46,"title":47,"dynasty":48,"author":49,"museum":50,"description":51,"tags":52,"thumbUrl":56,"material":57,"size":58,"collection":40,"collections":59,"showCount":60,"zanCount":61,"manualWeight":11,"mainColor":43},219974,"song-quan-tu-wu-zhen-219974","松泉图","元","吴镇","南京市博物馆","此图用秃笔勾勒树石,干墨皴擦,描绘松针则用笔尖,可看出画家的特有风格。画上有画家的自题诗:“长松兮亭亭,流泉兮泠泠, 漱白石兮散晴雪,舞天风兮吟秋声。景幽佳兮足静赏,中有人兮眉青青。松兮泉兮何所拟,研池阴阴兮清澈底,挂高堂兮素壁间,夜半风雷兮忽飞起。”署款“至元四年夏至日,奉为子渊戏作松泉，梅花道人书。”钤有“嘉兴吴镇,仲圭书画记”。",[53,23,24,25,26,27,28,29,7,33,54,55],"高清","书法","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdefdfbd5e2d90e3f8ec272a86ef27862.jpg","纸本,水墨","105.3厘米 横31.7厘米",[40],90,1,{"id":63,"slug":64,"title":65,"dynasty":66,"author":67,"museum":20,"description":68,"tags":69,"thumbUrl":72,"material":73,"size":74,"collection":40,"collections":75,"showCount":77,"zanCount":11,"manualWeight":11,"mainColor":78},222372,"song-quan-shi-si-zhou-zhou-chen-222372","松泉诗思轴","明","周臣","周臣（1460–1535），字舜卿，号东村，中国明代著名画家。吴（今江苏苏州）人。擅画。\n中国明代中期的著名职业画家。他生活在成化至嘉靖年间。字舜卿，号东村，吴（今江苏苏州）人，生年不详，卒于明世宗嘉靖十四年（即1535年）。擅长画人物和山水，画法严整工细。他有两个学生特别著名，一个唐寅，另一个仇英。唐寅、仇英青出于蓝，风格上极为接近，但当时名气已超过老师。\n周臣山水师承陈暹。曾刻苦临摹李成、郭熙、李唐、马远等作品，其主要取法于李唐派系。画山石坚凝，章法严谨，用笔纯熟。曾与戴进并驱，则互有所长。人物画也非常出色，古貌奇姿，绵密萧散，各极意态。南京博物院收藏的周臣代表作《柴门送别图》 ，描绘一文人携琴访友后，主客分别时依依不舍的情景，明月早已挂在高空，船工也已在船头熟睡，直至客人快要上船了，他还未酲来，说明主客送别时间之长，友谊之深，这其中也融含周臣画体的“院体画”与“文人画”的相融之处。周臣被人们称为非院派的“院派”画家。",[53,23,24,25,26,70,28,29,33,7,71,27,55],"设色","人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9ced993c13860c65afb437b92e109b6.jpg","纸本设色","114.6x53.1",[40,76],"设色画精选",79,"BDBDBD",{"id":80,"slug":81,"title":82,"dynasty":18,"author":83,"museum":20,"description":84,"tags":85,"thumbUrl":90,"material":91,"size":92,"collection":93,"collections":94,"showCount":95,"zanCount":11,"manualWeight":11,"mainColor":43},219611,"song-quan-shuang-niao-tu-ma-yuan-219611","松泉双鸟图","马远","画士人执拂麈坐于松根，溪涧泉石环绕于前，双鹊低飞饮啄，生意盎然。水色烟岚气氛，画面留出空白，表现旷阔之空间及浓郁诗意。人物衣纹细笔勾勒，松石简笔浅触。以斧劈皴表现坚石挺劲，松树枝桠笔势斜偃劲疾，有如屈铁，故有拖枝马远之称。",[53,23,86,70,87,27,29,7,88,71,33,32,89],"名画","工笔","飞鸟","古树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fbf9bf28988f8ff5408f7b8b0a37cf5.jpg","绢本,设色","26.8x53.8cm","人物画精选",[93],66,{"id":97,"slug":98,"title":99,"dynasty":18,"author":19,"museum":100,"description":101,"tags":102,"thumbUrl":105,"material":106,"size":107,"collection":108,"collections":109,"showCount":110,"zanCount":11,"manualWeight":11,"mainColor":43},289657,"song-quan-pan-shi-tu-li-cheng-289657","松泉磐石图","藏地不详","访幅之题材与风格，属“松石格”之作品，描绘双松挺立于磐石上，两侧有枯木为伴，兼具寒林之景象。寒林之后隐约可见清涧折曲而来，至磐石处急泻而下，激起漩涡与浪花。",[53,23,86,25,26,28,29,7,103,104,32,27,55],"孤石","枯树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f220f1417c19f0f96eedf7c750a5ade.jpg","未知","Xcm*Xcm","",[],45,{"id":112,"slug":113,"title":114,"dynasty":115,"author":116,"museum":20,"description":117,"tags":118,"thumbUrl":122,"material":108,"size":108,"collection":40,"collections":123,"showCount":124,"zanCount":11,"manualWeight":11,"mainColor":78},222851,"hua-qiu-si-ming-quan-zhou-ai-xin-jue-luo-yong-rong-222851","画秋寺鸣泉轴","清","爱新觉罗永瑢","爱新觉罗·永瑢（1744年1月28日—1790年6月13日），号九思主人，又号西园主人。少时居圆明园碧桐书院，亦称碧桐书院阿哥。清朝宗室，乾隆帝第六子，皇三子永璋同母弟，母为纯惠皇贵妃苏氏。\n乾隆二十四年十二月，出继慎靖郡王允禧，封贝勒，管理内务府、充《四库全书》玉牒馆总裁、监管钦天监事务。三十七年（1772）年，晋质郡王。五十四年（1789），晋封质亲王。\n乾隆五十五年（1790年），去世，时年四十八岁，谥号为庄。工诗擅画，主要作品有《岁朝图》《枫溪垂钓图轴》。",[53,23,24,25,70,27,28,119,7,31,32,34,33,120,121],"寺庙","房屋","云雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5aa9f2b95b9bde32a8dedfb17b22ed5c.jpg",[40,76],40,{"id":126,"slug":127,"title":128,"dynasty":18,"author":83,"museum":20,"description":129,"tags":130,"thumbUrl":132,"material":133,"size":134,"collection":108,"collections":135,"showCount":136,"zanCount":11,"manualWeight":11,"mainColor":78},221526,"song-quan-shuang-niao-ma-yuan-221526","松泉双鸟","画士人执拂尘坐于松根，溪涧泉石环绕于前，双鹊低飞饮啄，生意盎然。水色烟岚气氛，画面留出空白，表现旷阔之空间及浓郁诗意。人物衣纹细笔勾勒，松石简笔浅触。以斧劈皴表现坚石挺劲，松树枝枒笔势斜偃劲疾，有如屈铁，故有拖枝马远之称。",[53,23,24,26,70,28,29,88,103,7,27,131],"长卷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa31ef069753d13621bc1dbd599e4da8c.jpg","绢本设色","41.5x60厘米",[],21,{"id":138,"slug":139,"title":140,"dynasty":48,"author":141,"museum":100,"description":142,"tags":143,"thumbUrl":148,"material":106,"size":107,"collection":108,"collections":149,"showCount":150,"zanCount":11,"manualWeight":11,"mainColor":43},290260,"quan-sheng-song-yun-tu-ke-luo-ban-wang-meng-290260","泉声松韵图（珂罗版）","王蒙","王蒙（1308－1385年），字叔明，号黄鹤山樵、香光居士，吴兴（今浙江湖州）人。元朝画家。赵孟頫外孙。\n元末弃官，隐居杭州黄鹤山（今浙江杭州临平），自号“黄鹤山樵”，直至晚年才下山出仕，于明初任山东泰安知州。洪武十八年（1385年），因“胡惟庸案”牵累，死于狱中。\n王蒙的山水画受到赵孟頫的直接影响，后来进而师法王维、董源、巨然等人，综合出新风格。王蒙与黄公望、吴镇、倪瓒合称“元四家”。兼攻人物、墨竹，并擅行楷。存世作品有《青卞隐居图》《葛稚川移居图》《夏山高隐图》《丹山瀛海图》《太白山图》等。",[53,23,26,144,27,145,29,7,31,32,146,147,54,55],"山水画","山峦","孤舟","楼阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ca815d4b818f75839f95fe04da5d062.jpg",[],19,{"id":152,"slug":153,"title":154,"dynasty":66,"author":155,"museum":100,"description":156,"tags":157,"thumbUrl":160,"material":106,"size":107,"collection":108,"collections":161,"showCount":12,"zanCount":11,"manualWeight":11,"mainColor":78},237791,"wang-shi-song-yin-guan-quan-shan-yi-ming-237791","王式松荫观泉扇","佚名","此作以松泉雅集摹写林泉逸致，古松虬枝舒展，浓荫覆下，将山涧谷林的清幽之气铺陈开来。四位高士情态悠然，或踞坐观泉，静听涧水淙淙；或执手晤谈，私语平生快意，侧旁侍童携物徐趋，更衬出雅集闲淡松弛之态。\n笔墨清隽秀雅，淡墨皴擦山石，晕染出岩崖苍润质感，松针细劲工致，尽显古松苍劲之姿。人物衣纹简练灵动，寥寥数笔便将高士风神勾勒尽致，浅淡设色晕染，整体格调简雅清逸，将追慕林下风流、寄情林泉的出世襟怀，融于这一方尺幅扇面之中，小景见幽远，尽显雅逸之趣。",[158,23,24,159,26,27,29,7,33,34,71],"明代","扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63e49af57c79edc4c8df2c22d30433df.jpg",[],{"id":163,"slug":164,"title":165,"dynasty":115,"author":166,"museum":167,"description":168,"tags":169,"thumbUrl":173,"material":174,"size":108,"collection":108,"collections":175,"showCount":176,"zanCount":61,"manualWeight":11,"mainColor":78},234764,"huang-shan-tu-ce-jiang-zhu-234764","黄山图册","江注","北京故宫博物院","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。",[23,24,170,171,26,28,33,34,7,172,54],"册","白描","行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff34d4c6cd51f6b34db21d2b508f7f395.jpg","纸本，设色",[],8,1777535733655]