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—1692）题跋，此作在江南与〈鹊华秋色〉、〈师子林图〉等名迹并重。由于这两件名迹已经入藏宫中，因此当乾隆皇帝得到李士行此作时，才会欣喜地写下「鹊华师子仍同，足傲重光诩润州」。",[23,24,26,28,53,27,128,147,32,31,148,7,149,150],"近山","湖泊","村庄","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce5206a99d97c02c0778d6f18c6a6eb3.jpg","纸本,设色","31x117.4cm",[39],81,{"id":157,"slug":158,"title":159,"dynasty":18,"author":19,"museum":160,"description":161,"tags":162,"thumbUrl":166,"material":167,"size":168,"collection":114,"collections":169,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":43},287427,"xia-jing-shan-kou-dai-du-tu-juan-hua-xin-dong-yuan-287427","夏景山口待渡图卷画心","藏地不详","用笔气势停匀，疏密浓淡，层层生发，甚为自然，笔笔皆活。其皴笔结体紧密，与冈峦的体势相生，融而为一。且有水晕墨章之妙，水坡之上，林木繁茂，而坡上浓淡，时以淡墨渲染，林间如透出阳光，极为生动。皴笔入骨，透于绢素，用笔一势，具方向感，运笔与气势，节奏相依存，为圆熟之境了。值得注意的还在于在其远山峰顶用笔有虚实、淡浓、隐现，极生动地表现了烟云出没，阳光明灭的空气感和空间感，真切地表现了夏山丽日下的神韵。与沈括所形容的董源《落照图》“远峰之顶，宛有反照之色，此妙处也”或米芾形容董源“峰顶不工”、“率多真意”，可以对看，一样佳妙。",[23,103,24,25,26,90,28,53,148,56,163,33,58,7,164,165],"林木","水岸","静谧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32afd29366d0913db08119a85bdb0e2a.jpg","未知","Xcm*Xcm",[],48,{"id":172,"slug":173,"title":174,"dynasty":175,"author":176,"museum":177,"description":178,"tags":179,"thumbUrl":181,"material":114,"size":114,"collection":114,"collections":182,"showCount":183,"zanCount":11,"manualWeight":11,"mainColor":68},228312,"xun-yang-qiu-se-tu-quan-juan-lu-zhi-228312","浔阳秋色图全卷","明","陆治","美国弗利尔美术馆","近岸坡坨疏林错落，霜叶点染秋意，远渚青岫浮沉烟霭，一江秋水空濛无际，铺展出江天寥廓的清寂秋光，暗合江州送客的孤凉心境。\n\n整卷诗书画共生，卷首擘窠大字雄沉苍劲，小楷录《琵琶行》全诗文雅端润，笔意随文辞跌宕，把迁客失意羁愁，融在水墨秋光中。画境萧瑟清和，书意或沉郁或秀雅，将曲中天涯沦落的怅惘落寞，与江色秋容织为一体，尽显诗画共情的文人雅趣。",[23,24,25,26,29,53,180,150,27,32,31,33,128,7],"行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F312ff3b95e0169d0f7879fc0be151e48.jpg",[],30,{"id":185,"slug":186,"title":187,"dynasty":188,"author":189,"museum":160,"description":190,"tags":191,"thumbUrl":194,"material":167,"size":168,"collection":114,"collections":195,"showCount":196,"zanCount":11,"manualWeight":11,"mainColor":43},288945,"xiao-xiang-ba-jing-ping-sha-luo-yan-wang-hong-288945","潇湘八景-平沙落雁","宋","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。",[24,103,26,28,90,192,7,127,164,193],"老树","平沙落雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe13cd89090be5aaafbe4eced628d317f.jpg",[],26,{"id":198,"slug":199,"title":200,"dynasty":175,"author":201,"museum":202,"description":203,"tags":204,"thumbUrl":209,"material":210,"size":211,"collection":114,"collections":212,"showCount":196,"zanCount":11,"manualWeight":11,"mainColor":114},220736,"yan-jiang-die-zhang-tu-hua-xin-you-wen-bo-ren-220736","烟江叠嶂图画心右","文伯仁","香港中文大学文物馆","此作用笔清隽秀雅，以平远之境铺展烟江盛景。左侧峰峦层叠，苍木氤氲在烟岚之中，山石皴擦简淡却见苍劲；右侧江岸怪石嶙峋，棕榈摇曳生姿，野意盎然。\n\n浩渺江面之上，帆影错落穿梭，岛屿隐现于烟波之间，云雾晕染柔化了山水边界，虚实相生间尽显江南烟水的朦胧柔婉。笔墨晕染柔和清润，将水雾空濛的氛围感尽数铺陈，把观者带入静穆又灵动的烟水天地，尽显吴门画派的写意风神，藏着文人画清雅淡远的诗意。",[23,24,25,26,28,27,53,205,206,207,33,127,32,208,7],"山峰","江水","烟雾","山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F775d4d497ec1f44b4dd939d7664eb627.jpg","设色,纸本","25.6 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