[{"data":1,"prerenderedAt":2136},["ShallowReactive",2],{"subject-shan-feng":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},313,"shan-feng","山峰","山峰画高清赏析","精选中国历代山峰题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f20d93f26356080007a065386847cf3.jpg",0,211,[14,49,69,92,108,124,139,153,168,183,194,208,221,233,244,255,269,283,296,314,326,337,347,361,371,383,395,405,417,426,437,449,464,479,491,502,512,521,535,546,559,571,580,591,601,613,625,635,647,656,667,677,687,697,706,718,729,739,749,759,768,778,789,816,825,833,843,857,869,881,892,901,915,925,937,946,955,966,979,989,1003,1015,1024,1035,1047,1055,1066,1074,1082,1091,1100,1110,1120,1129,1137,1144,1156,1163,1170,1182,1191,1203,1213,1223,1232,1242,1249,1258,1268,1284,1295,1304,1314,1322,1334,1344,1352,1363,1373,1382,1389,1398,1408,1418,1426,1436,1442,1450,1459,1468,1477,1488,1497,1504,1514,1522,1530,1538,1548,1554,1564,1574,1580,1587,1596,1605,1614,1622,1629,1635,1641,1649,1655,1665,1672,1683,1691,1699,1705,1711,1717,1726,1737,1748,1754,1760,1768,1775,1781,1787,1793,1803,1816,1825,1834,1843,1852,1859,1865,1871,1877,1883,1892,1899,1907,1918,1925,1933,1944,1950,1959,1967,1976,1984,1991,1998,2011,2019,2027,2038,2046,2054,2062,2070,2078,2086,2095,2103,2111,2119,2127],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":39,"material":40,"size":41,"collection":42,"collections":43,"showCount":46,"zanCount":47,"manualWeight":11,"mainColor":48},221381,"qian-li-jiang-shan-tu-juan-wang-xi-meng-221381","千里江山图卷","宋","王希孟","北京故宫博物院","《千里江山图》卷是北宋画家王希孟传世的唯一作品。此图描绘了祖国的锦绣河山。画面上峰峦起伏绵延，江河烟波浩淼，气象万千，壮丽恢弘。山间高崖飞瀑，曲径通幽，房舍屋宇点缀其间，绿柳红花，长松修竹，景色秀丽。山水间野渡渔村、水榭楼台、茅屋草舍、水磨长桥各依地势、环境而设，与山川湖泊相辉映。此卷以概括精练的手法、绚丽的色彩和工细的笔致表现出祖国山河的雄伟壮观，一向被视为宋代青绿山水中的巨制杰构。\n画家在构图上充分利用传统的长卷形式所具有的多点透视之特点，在十余米的巨幅长卷中将景物大致分为六部分，每部分均以山体为主要表现对象，各部分之间或以长桥相连，或以流水沟通，使各段山水既相对独立，又相互关联，巧妙地连成一体，达到了步移景异的艺术效果。高远、深远、平远多种构图方式的穿插使用更使画面跌宕起伏，富有强烈的韵律感，引人入胜。\n《千里江山图》卷在设色和用笔上继承了传统的“青绿法”，即以石青、石绿等矿物质为主要颜料，敷色夸张，具有一定的装饰性，被称为“青绿山水”。此种表现方法是我国山水画技法中发展较早的一种，在隋唐时期如展子虔、李思训、李昭道等许多画家均擅长青绿山水画。纵观宋代画坛，虽然也有一些画家用此法创作，但从目前存世作品看，尚无一件可以超越《千里江山图》卷。王希孟在继承前法的基础上，表现出更趋细腻的画风，体现了北宋院画工整严谨的时代风格。此图用笔精当，一点一画均无败笔。人物虽细小如豆，却动态鲜明。微波水纹均一笔笔画出，渔舟游船荡曳其间，使画面平添动感。综观全幅，又不失雄阔的境界和恢宏的气势，远观近睹均令人折服。在用色上，画家于单调的蓝绿色中求变化，虽然以青绿为主色调，但在施色时注重手法的变化，色彩或浑厚，或轻盈，间以赭色为衬，使画面层次分明，色如宝石，光彩夺目。元代著名书法家溥光对此卷推崇备至，在卷后题跋中赞道：“在古今丹青小景中，自可独步千载，殆众星之孤月耳。”此论可谓公允之见。\n从此卷所描绘的景物看，系以南方清丽秀润的山水为主体，在部分山峦的表现上加进了一些北方山水的特征，可谓集南北山水于一体的精心之作。从画面表现的建筑形式以及江南水乡的生活场景、生产劳作使用的工具等方面看，画家对江南地区有着较为深刻的了解，其艺术创作当来源于生活，而王希孟于18岁时即创作出如此宏幅巨制，不可能没有深厚的生活积累，由此笔者推测，画家王希孟应是江南人，至于具体籍贯便无从知晓了。",[23,24,25,26,27,28,29,30,7,31,32,33,34,35,36,37,38],"高清","国画","书画","长卷","青绿","设色","工笔","山水","河流","湖泊","小船","树木","房屋","桥梁","云雾","植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d4787ef8c440e7ab09e9fddb2ac7117.jpg","绢本，设色","纵51.5厘米，横1191.5厘米","宋画精选",[42,44,45],"人物画精选","设色画精选",22979,181,"795548",{"id":50,"slug":51,"title":52,"dynasty":53,"author":54,"museum":55,"description":56,"tags":57,"thumbUrl":61,"material":62,"size":63,"collection":64,"collections":65,"showCount":66,"zanCount":67,"manualWeight":11,"mainColor":68},220765,"fu-chun-shan-ju-tu-sheng-shan-tu-huang-gong-wang-220765","富春山居图-剩山图","元","黄公望","浙江省博物馆","《富春山居图》是元朝画家黄公望于1350年创作完成的纸本水墨画，被誉为“画中之兰亭”，是中国十大传世名画之一。\n该作品是黄公望为师弟郑樗（无用师）所绘，以浙江富春江为背景，全图用墨淡雅，山和水的布置疏密得当，墨色浓淡干湿并用，极富于变化。\n《富春山居图》，始画于至正七年(1347)，于至正十年完成。虽黄公望晚年定居今富阳市境内,但画卷内容对比宽敞平坦的富阳江和山峰峻奇峡谷雄伟的桐庐江,就可得知,富春山居图所画内容约80%在桐庐境内富春江的景色,20%为富阳的景色.，画面表现出秀润淡雅的风貌，气度不凡，以浙江富春江为背景，是黄公望的代表作。明朝末年富春山居图传到收藏家吴洪裕手中，吴洪裕极为喜爱此画，每天不思茶饭的观赏临摹。甚至在临死前下令将此画焚烧殉葬，幸被吴洪裕的侄子及时从火中抢救出，但此时画已被烧成一大一小两段，前段较小，称“剩山图”；后段画幅较长，称“无用师卷”。\n前半卷名称：《富春山居图·剩山图》黄公望《富春山居图·无用师卷》\n馆藏：浙江省博物馆尺幅：纵31.8厘米，横51.4厘米浙江博物馆《富春山居图》（《剩山图》）\n后半卷名称：《富春山居图·无用师卷》馆藏：台北故宫博物院尺幅：纵33厘米，横636.9厘米仿本名称：《富春山居图·子明卷》馆藏：台北故宫博物院名称：《富春山居图·沈周临摹本》馆藏：北京故宫博物院",[23,24,25,26,58,59,30,34,7,31,60],"水墨","皴法","村落","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3a787b3411565c7d5dc5dd29005c0c6.jpg","绢本","横51.4公分，高31.8公分","山水画精选",[64,45],6110,22,"BDBDBD",{"id":70,"slug":71,"title":72,"dynasty":73,"author":74,"museum":75,"description":76,"tags":77,"thumbUrl":86,"material":87,"size":88,"collection":64,"collections":89,"showCount":90,"zanCount":91,"manualWeight":11,"mainColor":68},214285,"fang-fan-kuan-shan-shui-tu-tang-dai-214285","仿范宽山水图","清","唐岱","台北故宫博物院","唐岱（1779-1853）是清代著名的画家，他擅长仿范宽山水画，其作品被视为中国画史上的杰出代表作。\n\n唐岱的画风受到范宽的影响，他追求写实，注重山水造型的和谐美。他在画山水的同时，还注重人物的写实，将人物融入山水之中，使作品更加生动。\n\n唐岱的代表作有《山水图》、《松鹤楼图》、《赏鸟图》等。这些作品展现了他对山水的深刻理解和传统山水画的精湛技艺。他的作品常常被收藏家所喜爱，具有很高的收藏价值。",[78,24,25,79,28,30,59,80,81,7,37,34,82,83,84,85,38],"名画","立轴","临摹","印章","松树","岩石","亭子","山峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3962d8e255212dd550a88ad89458204f.jpg","绢本,设色","287.2x155.2",[64],371,1,{"id":93,"slug":94,"title":95,"dynasty":18,"author":96,"museum":75,"description":97,"tags":98,"thumbUrl":101,"material":102,"size":103,"collection":42,"collections":104,"showCount":106,"zanCount":107,"manualWeight":11,"mainColor":68},221338,"xi-shan-qiu-se-tu-zhou-zhao-ji-221338","溪山秋色图轴","赵佶","此画种在北宋末成为宫廷皇室所喜爱的一种风格。本图中实景多被安排在画面左半侧，占据不到二分之一的面积，其余以留白来表现云雾、烟霭和野水。此种设计与北宋初期，取中轴构图的巨轴山水画有所不同，可以见到山水画从雄伟风格转变为带有抒情气氛的趋势。细看《溪山秋色图》这幅画的点景人物，多半描绘渔夫在渔钓或捕鱼的情景，这代表著君子所向往与世无争、远离尘俗的生活典型。此类渔父的画题，在进入北宋之后逐渐流行，成为山水画不可或缺的重要题材。",[23,24,25,79,58,59,30,7,34,99,100,37,81],"溪流","孤舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F730927eed7d948f9cfd62cda6491af50.jpg","纸本,水墨","纵97cm,横53cm",[42,64,105],"水墨画精选",183,2,{"id":109,"slug":110,"title":111,"dynasty":18,"author":112,"museum":75,"description":113,"tags":114,"thumbUrl":119,"material":120,"size":121,"collection":42,"collections":122,"showCount":123,"zanCount":91,"manualWeight":11,"mainColor":48},221244,"xi-hu-shi-jing-hua-xin-ye-xiao-yan-221244","西湖十景画芯","叶肖严","该册以西湖十景为题，西湖在浙江省杭州市城西，亦名钱塘湖，苏轼诗有“欲把西湖比西子”之句，因又名西子湖，三面环山，有南北两高峰对峙；湖中有苏，白两堤，四时风物清佳，以十景驰名於世。山石以大斧劈法，着重烘染，用笔简洁有韵致，构景设色取意都见巧思\n叶肖岩作人物小景，颇类马远，然其迹世多不见也。 如“雷峰夕照”之远山后缘用淡朱稍加施染，霞光微露，已然夕阳西沉。余诸页亦如是，虽细微处，亦细洁圆润。描绘花港观鱼的景色。寺宇掩映于柳林之间，湖中一人泛舟，悠游自得。峭峰直下，不见其顶，构图方式与马远山水同出一辙。用笔洁简，著重烘染，清雅秀润。\n该册页采用诗画合一的形式，以杭州工笔技法专为该画册页创作的西湖十景，其风格似马远而略拘谨，山石多用湿笔轻染，石顶稍加小斧劈皴，与夏珪的大笔拖染、磅礴挥洒不同。西湖四时风物清佳，以及乾隆皇帝钦定的西湖十景诗作为册页的主要内容，辅以西湖十景图",[23,78,24,25,115,58,28,59,30,116,34,100,7,117,118],"册","亭","远山","水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F326d0fb6069b73edd75991a2f5e6a450.jpg","白纸本","对幅23.9x20.2公分",[42,64],152,{"id":125,"slug":126,"title":127,"dynasty":128,"author":129,"museum":130,"description":131,"tags":132,"thumbUrl":136,"material":137,"size":137,"collection":137,"collections":138,"showCount":123,"zanCount":91,"manualWeight":11,"mainColor":68},220493,"zhang-da-qian-fang-zhang-seng-yao-wu-xia-qing-qiu-tu-zhang-da-qian-220493","张大千仿张僧繇巫峡清秋图","民国","张大千","四川博物院","此作用没骨青绿之法绘就，奇崛山峰以石青、赭石重色晕染，峰顶留白拟晴雪，丹红古木点缀其间，明丽堂皇。留白作云气横断山峦，虚实相生，尽显巫峡高华幽深之态。下方江帆孤悬，山居隐于翠岭，飞泉叠落，于雄奇间晕开雅致秋意。\n\n笔墨追摹古法，又暗合新意，将巫峡清秋的萧瑟绮丽相融，既有六朝青绿的厚重堂皇，又带着秀逸灵韵，让古雅的没骨山水焕发清新生机，尽显秋山的雄浑与秀雅。",[23,24,25,27,28,30,7,133,134,37,34,135,80,59,81],"峭壁","瀑布","山间小屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde65b4dfacc5eae3a51cc3afe86bfb23.jpg","",[],{"id":140,"slug":141,"title":142,"dynasty":73,"author":143,"museum":144,"description":145,"tags":146,"thumbUrl":150,"material":102,"size":151,"collection":64,"collections":152,"showCount":123,"zanCount":91,"manualWeight":11,"mainColor":68},220080,"fang-huang-zi-jiu-shan-shui-tu-wang-shi-min-220080","仿黄子久山水图","王时敏","大英博物馆","王时敏（1592—1680），字逊之，号烟客、西庐老人。太仓（今属江苏）人。王时敏的祖父王锡爵、父亲王衡都是高官，他也荫仕太常寺少卿，故人称“王奉常”。王时敏家富收藏，每遇名迹，即不惜重金搜求，曾遍摩家藏的宋、元真迹。王翚、吴历及其孙王原祁均经他传授画艺。与王鉴并称“二王”、加上王翚、王原祁被称为“四王”。山水笔墨苍润秀疏，为四王之首。 作品介绍: 王时敏家藏历代名画甚丰，得以充分观摩研习，其绘画以山水见长，为正统山水画派的领袖人物。他的作品多摩古之作，颇具先人遗风。此画册摩写了宋元大家巨然、米友仁、黄公望、王蒙、倪瓒、吴镇等人的山水画作，画幅小而精致，清新悦目，各家风格迥异，绘制精微细腻，显示出王时敏深厚的功底和纯熟技法。",[23,24,58,79,80,59,30,147,148,34,149,134,35,7],"小桥","流水","山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F327760a064cea89ccaf8862ca234e649.jpg","177.5x56.9",[64],{"id":154,"slug":155,"title":156,"dynasty":73,"author":157,"museum":158,"description":159,"tags":160,"thumbUrl":163,"material":87,"size":164,"collection":64,"collections":165,"showCount":166,"zanCount":167,"manualWeight":11,"mainColor":48},218715,"peng-lai-xian-jing-tu-xu-wen-218715","蓬莱仙境图","徐玟","旅顺博物馆","这幅青绿山水边框画属于赵伯驹、赵孟頫、仇英一脉，山石皴擦少，傅色细雅，边框画精美。",[23,24,28,161,29,30,162,34,37,7],"界画","楼阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d5656eb494ec10d4f4e9a3529db76a4.jpg","172x100cm",[64],150,3,{"id":169,"slug":170,"title":171,"dynasty":53,"author":54,"museum":20,"description":172,"tags":173,"thumbUrl":178,"material":179,"size":180,"collection":64,"collections":181,"showCount":182,"zanCount":91,"manualWeight":11,"mainColor":48},220763,"jiu-feng-xue-ji-tu-huang-gong-wang-220763","九峰雪霁图","是图作于元至正九年（1349年），为黄公望81高龄之作。作者以水墨写意的手法汇集画出了江南松江一带的九座道教名山，时称“九峰”，体现了作者对道教全真教的崇拜。该图系画赠江浙儒学提举班惟志，时值正月春雪，有感雪霁寒意，画意肃穆静谧。图中的中、近景以干笔勾廓叠石，坡边微染赭黄，远处九峰留白，以淡墨衬染出雪山，是黄公望简繁合一的精品作。",[23,24,30,58,59,79,7,174,31,83,175,176,177],"雪","枯树","屋舍","雪景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff21dcb6d646fd85003b240e46bb59dd9.jpg","纸本，墨笔","纵117厘米，横55.5厘米",[64,105],143,{"id":184,"slug":185,"title":186,"dynasty":53,"author":187,"museum":75,"description":188,"tags":189,"thumbUrl":190,"material":120,"size":191,"collection":64,"collections":192,"showCount":193,"zanCount":107,"manualWeight":11,"mainColor":48},220769,"zhong-shan-tu-juan-wu-zhen-220769","中山图卷","吴镇","中山图卷，吴镇，元代，纸本，墨笔，纵26.4厘米，横90.7厘米，台北故宫博物院藏。高清作品全卷详见月雅书画高清数字博物馆。\n中山图，白纸本，高七寸九分，长二尺六寸六分，水墨。羣山叠嶂，杉木丛深，通幅无一杂树，全宗北苑，用粗麻披皴法，山头苔点，横竪相间，眾山之坳，突以浓墨晕二峰尖，低於四面，更為奇绝。\n图绘逶迤起伏的层峦迭嶂。画家以淡墨皴染群山，浓墨画丛树点苔，勾皴时见乾笔，笔墨雄浑厚重。自识「至元二年春二月，奉为可久戏作中山图，梅花道人书」。按至元二年即公元1336年，吴氏时年57岁。此图为元人集锦卷中之一段。",[23,24,25,26,58,59,30,7,34,85,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d37bf8402ad35b55e27d8d9eb9501b2.jpg","横90.7厘米，纵26.4厘米",[64,105],142,{"id":195,"slug":196,"title":197,"dynasty":73,"author":198,"museum":20,"description":199,"tags":200,"thumbUrl":203,"material":204,"size":205,"collection":137,"collections":206,"showCount":207,"zanCount":11,"manualWeight":11,"mainColor":68},232890,"xie-yi-shan-shui-tu-zhou-hong-ren-232890","写意山水图轴","弘仁","据作者款题而知，此图是作者应“雄右”（王炜）之嘱托，为“旦先居士”（吕应昉）所绘。该图在设陈布势上取法倪瓒“一河两岸式”构图，中景画一片不着笔墨晕染的水域，水域的两岸分别绘起伏的山峦和空亭、秋木。整幅画面于简约疏旷的格调中表达出作者孤傲清高的情怀，堪称作者艺术成熟期的代表之作。",[23,24,58,79,201,59,25,30,7,34,147,148,134,116,202],"写意","石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b8ebd02e1d7203160c9e5da77aedc77.jpg","纸本，设色","纵133.1厘米，横62.7厘米",[],119,{"id":209,"slug":210,"title":211,"dynasty":53,"author":212,"museum":213,"description":214,"tags":215,"thumbUrl":217,"material":218,"size":219,"collection":64,"collections":220,"showCount":207,"zanCount":11,"manualWeight":11,"mainColor":68},219742,"dan-shan-ying-hai-tu-wang-meng-219742","丹山瀛海图","王蒙","上海博物馆","此图描绘东海蓬瀛诸岛壮阔奇伟的景色。水面上洲岛参差涌列，岛上岗峦层叠重深，长松挺立，树木稠密。岛有木桥通向对岸，山隈深处楼屋掩映。海水浩淼无际，点点舟樯扬帆风行。笔墨师承董源，缜密的披麻皴屈曲律动，峰顶密赞苔点。树木交织使用各种夹叶、勾叶、点叶法，极得荣茂之意。是王蒙笔意繁缛灵活的别体之作。",[24,25,26,58,59,30,7,34,147,100,37,81,149,216],"亭台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb73e4abea682397150fdd3d71415104f.jpg","纸本,设色","纵28.5厘米 横80厘米",[64],{"id":222,"slug":223,"title":224,"dynasty":73,"author":225,"museum":20,"description":226,"tags":227,"thumbUrl":229,"material":87,"size":230,"collection":64,"collections":231,"showCount":232,"zanCount":11,"manualWeight":11,"mainColor":48},218366,"lu-shan-bai-yun-tu-wang-hui-218366","庐山白云图","王翚","此图绘于清康熙三十六年（1697年），作者时年66岁，是其晚年诸多仿古作品中的代表性画作之一。据王翚自题，因30年前曾观北宋关仝《庐山白云图》，故今用其法绘制此图，以遵“古香主人”之嘱。王翚曾与其师王时敏遍游大江南北，尽得观摹收藏家之秘本，故其摹古功力极高。王时敏称赞他：“集古人之长，尽趋笔端，故能妙绝千古。前诸制作，固足乱真，此则更为脱化，每仿一家曲尽其致，而超逸之趣则又过之。”这幅作品恰恰印证了王时敏对王翚的评价。\u2028　　“古香主人”即爱新觉罗·岳乐，王翚为其创作极为精心。画面上峰峦起伏，云雾迷茫，其中间的瀑布、杂树、竹亭、山石以浓密的雨点皴出之，正是仿关仝一路北方山水画法。全图工整谨密，秀润苍浑，深得关仝“笔简景少，气壮意长”之旨。",[23,24,25,26,58,28,30,228,7,34,134,116,37,149,35,59],"白云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa38fdd2ef1404824446ef2999ef18a75.jpg","纵35厘米，横323.5厘米",[64],117,{"id":234,"slug":235,"title":236,"dynasty":18,"author":237,"museum":238,"description":239,"tags":240,"thumbUrl":241,"material":28,"size":137,"collection":42,"collections":242,"showCount":243,"zanCount":11,"manualWeight":11,"mainColor":48},221441,"shan-shui-tu-li-cheng-221441","山水图","李成","藏地不详","李成（公元 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-967年），字咸熙，北宋初年营丘（今山东淄博临淄）人，世称李营丘。擅画山水，师承荆浩、关仝，后师造化，自成一家。多画郊野平远旷阔之景。平远寒林，画法简练，气象萧疏，好用淡墨，有“惜墨如金”之称；画山石如卷动的云，后人称为“卷云皴”；画寒林创“蟹爪”法。为山水画大家,被誉为中国山水画之父。他不但开创了齐鲁画派，在宋初画坛独树一帜；而且由其独创的营丘山水画法成为后世山水画家的楷模。《圣朝名画评》把李成的画列为“神品”，并称其“思清格老，古无其人”。《宣和画谱》谓“凡称山水者，必以成为古今第一。”",[23,24,25,78,58,59,28,30,7,147,148,100,34,83,162],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff23e2e7aedc6bcb6c6eb704e9474b131.jpg",[42,64,105],107,{"id":245,"slug":246,"title":247,"dynasty":73,"author":248,"museum":144,"description":249,"tags":250,"thumbUrl":251,"material":218,"size":252,"collection":137,"collections":253,"showCount":254,"zanCount":11,"manualWeight":11,"mainColor":68},214888,"shan-shui-tu-ce-5-shi-tao-214888","山水图册-5","石涛","大英博物馆在1965年7月购进的这套八开本《山水图》册是一件相当出色的石涛真迹精品。\n该图分别画夜泊采石太白楼下、游浦汀溪、登灵隐飞来峰、登雨花台、登岳阳楼、登幕山大观亭、登天印山、访东山等八景，涉及苏、浙、皖三地的名胜，亦可谓是“搜尽奇峰汇成册”，这个时期，他已从新安画派集中表现黄山险境的格局中脱离了出来，更加注重广取博揽天下有特性的景物。其画渐渐趋于老，行笔凝重沉静，用花青、赭石轻轻淡染，顿显生机；其构图巧用“Z”形和“S”形，十分灵活且紧凑，变化自然，动感鲜明，景象开阔深邃，令人遐想无限。",[23,24,58,28,115,59,30,162,34,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69c7502bb24d845dbe3fdcd70b9b300d.jpg","20.3x27.5cm",[],105,{"id":256,"slug":257,"title":258,"dynasty":53,"author":259,"museum":260,"description":261,"tags":262,"thumbUrl":265,"material":102,"size":266,"collection":64,"collections":267,"showCount":268,"zanCount":91,"manualWeight":11,"mainColor":48},217908,"yun-shan-tu-gao-ke-gong-217908","云山图","高克恭","费城艺术博物馆","云山图是元朝时期画家高克恭的代表作之一。它是一幅山水画，以精细的笔墨和色彩表现出美丽的山水风光。画中的山川曲折，云雾缭绕，景色壮美。高克恭在画中运用了多种技法，包括透视法、深浅对比和色彩叠加，使得画面栩栩如生，充满了立体感。\n\n高克恭的云山图吸引了众多观众的目光，因为它不仅展现了美丽的山水风光，还展现了元朝时期画家对自然的深刻观察和对细节的精确捕捉。同时，云山图还蕴含着对中国传统文化的热爱和尊重。画中的山水景观被渲染得如此逼真，令人流连忘返。高克恭的云山图是中国传统山水画的精品，值得欣赏和珍藏。",[24,58,59,30,263,264,7],"云","树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89c75652c5efc54f87590867c62f5b03.jpg","114x52cm",[64],91,{"id":270,"slug":271,"title":272,"dynasty":18,"author":273,"museum":274,"description":275,"tags":276,"thumbUrl":278,"material":279,"size":280,"collection":42,"collections":281,"showCount":282,"zanCount":11,"manualWeight":11,"mainColor":68},221664,"qing-jiang-gui-zhao-tu-juan-xia-gui-221664","晴江归棹图卷","夏圭","美国大都会艺术博物馆","夏圭（生卒年不详），字禹玉，临安（今浙江杭州）人，南宋绘画大师。“南宋四家”之一，早年画人物，后来以山水著称。他与马远同时，号称“马夏”。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他的山水画师法李唐，又吸取范宽、米芾、米友仁的长处而形成自己的个人风格。虽然与马远同属水墨苍劲一派，但却喜用秃笔，下笔较重，因而更加老苍雄放。用墨善于调节水分，而取得更为淋漓滋润的效果。在山石的皴法上， 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。",[23,24,25,26,58,59,30,100,277,264,7,37],"江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69a2f6dbc10edb0bfb220d50ae3f71d2.jpg","纸本 水墨","29.3x376",[42,64,105],89,{"id":284,"slug":285,"title":286,"dynasty":128,"author":129,"museum":287,"description":288,"tags":289,"thumbUrl":292,"material":293,"size":137,"collection":137,"collections":294,"showCount":295,"zanCount":11,"manualWeight":11,"mainColor":68},220500,"e-mei-jin-ding-heng-pi-zhang-da-qian-220500","峨嵋金顶（横披）","中央美术学院美术馆","云海翻涌将山峦裁出虚实层次，一侧以浅赭勾勒山石，枯涩皴笔尽显崖壁嶙峋苍劲，另一侧以青绿重彩晕染坡峦，层叠笔触晕开蓊郁生机。山巅楼宇隐于翠色之上，在流云间恍若仙阙。\n画作糅合北派山水的雄浑大气与南宗的秀润空灵，打破青绿旧有范式，以色调对冲凸显山川刚柔并济的质感，将峰岳的高华巍峨与清虚空灵凝于尺幅。边角题跋朱印呼应，文气与画韵相融，引观者神游绝顶，揽云听松，坠入烟霞之中。",[24,25,28,27,30,59,7,290,34,291,37],"云海","悬崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1bb0493805dbede2bd10a16c58db9f5.jpg","纸本设色",[],88,{"id":297,"slug":298,"title":299,"dynasty":53,"author":300,"museum":213,"description":301,"tags":302,"thumbUrl":310,"material":62,"size":311,"collection":64,"collections":312,"showCount":313,"zanCount":91,"manualWeight":11,"mainColor":68},220846,"yan-jiang-die-zhang-tu-shi-juan-zhao-meng-fu-220846","烟江叠嶂图诗卷","赵孟頫","《元赵孟頫题烟江叠嶂图》是元代时期赵孟頫创作的书法作品。\n赵孟頫实际书写的是北宋苏东坡题咏王诜《烟江叠嶂图》诗一首：江上愁心千叠峰，浮空积翠如云烟。\n山耶云耶远莫知，烟空云散山依然。\n赵孟頫墨迹传世虽多，惟大字却少见。\n从中不难看出其大字功夫之深。\n后文征明在赵孟頫书苏轼题王诜《烟江叠嶂图》诗后补水墨米家山水。",[23,24,25,26,58,303,304,30,59,305,306,7,148,307,34,100,308,31,309],"行书","书法","烟江","叠嶂","云气","飞鸟","船只","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc09865d188801b8adc163e953c06a614.jpg","49·8x413.9cm",[64,105],82,{"id":315,"slug":316,"title":317,"dynasty":73,"author":318,"museum":20,"description":319,"tags":320,"thumbUrl":323,"material":102,"size":324,"collection":64,"collections":325,"showCount":313,"zanCount":11,"manualWeight":11,"mainColor":68},218482,"he-lin-yan-yu-tu-cha-shi-biao-218482","鹤林烟雨图","查士标","查士标（1615-1698）字二瞻，号梅壑散人，懒老。安徽休宁人，后寓扬州。明末生员，家富收藏，故精鉴别，擅画山水，为“海阳四家”之一。清初著名画家，书法家和诗人。专事书画，家藏甚富，鼎彝及宋、元真迹皆有，遂精鉴赏，他的山水画，笔墨疏简，风神嫩散，气韵荒寒，晚年画风突变。是明末清初新安派“海阳四家”（江韬、查士标、孙逸、汪之瑞）之一。他的书法以行书、草书见长，书出米、董，上追颜真卿，颇得精要。时称米、董再生，名重天下。行笔俊逸豪放、神韵深邃。入清后不应举，工研书画。精鉴赏，家藏多鼎彝及宋元人真迹。书法学董其昌，纵逸处近米芾。山水初学倪瓒，后参用吴镇、董其昌法，笔墨疏简，空旷荒寒。与弘仁、孙逸、汪之瑞并称“新安四大家”（即海阳四家）。著有《种书堂遗稿》等。",[23,24,25,79,58,59,30,37,82,7,321,322,149,34],"茅屋","烟雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f6f5fc63963b4d7a5fd292f187630f0.jpg","159.5x53.3cm",[64],{"id":327,"slug":328,"title":329,"dynasty":330,"author":331,"museum":75,"description":332,"tags":333,"thumbUrl":334,"material":102,"size":137,"collection":64,"collections":335,"showCount":336,"zanCount":11,"manualWeight":11,"mainColor":68},214614,"fang-song-yuan-ren-suo-ben-hua-ji-ba-ce-fang-gao-ke-gong-shan-shui-dong-qi-chang-214614","仿宋元人缩本画及跋册-仿高克恭山水","明","董其昌","董其昌是中国明清时期的画家、书法家，出生于浙江省杭州市。他的作品有许多著名的山水画，其中包括《虞山图》。此外，董其昌还有许多仿宋元人缩本画和跋册，其中包括《仿高克恭山水》。\n\n《仿高克恭山水》是董其昌的一幅仿宋元人缩本画，其中描绘了秀美的山水风光。在这幅画中，董其昌运用了仿宋元人风格的画法，使得画面充满了古朴的气氛。他通过笔触的流畅和墨色的变化，表现出了山水的秀美和自然的灵动。整幅画浑然一体，充满了生机和活力。\n\n《仿高克恭山水》是董其昌的杰作之一，它被广泛收藏和展览，并被认为是中国仿宋元人风格山水画的代表作之一。董其昌的作品对中国书画史上的发展起到了重要的作用，并且被认为是中国书画史上的经典之作。",[24,25,115,58,28,30,7,34,37,149,99,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1523aa0b726e258ba37810ef1a4d3eeb.jpg",[64],77,{"id":338,"slug":339,"title":340,"dynasty":73,"author":341,"museum":238,"description":342,"tags":343,"thumbUrl":344,"material":137,"size":137,"collection":137,"collections":345,"showCount":346,"zanCount":11,"manualWeight":11,"mainColor":68},230198,"xi-hu-quan-jing-tu-ping-zhou-shang-wen-230198","西湖全景图屏","周尚文","此作用大青绿设色晕染山峦，石青石绿敷色明丽雅致，兼以勾勒皴擦表现山体肌理，糅合浅绛晕染的柔和质感。山峦层叠排布，以留白烘衬云气，虚实相生间烘托出空濛悠远的江南湖山意境。山间苍松虬劲古雅，林木错落点缀，将温润灵秀的山水气质尽显。构图错落递进，层层铺展出悠远舒展的山水格局，尽显工丽秀雅的格调，把江南湖山的清润诗意融于笔底，兼具可观可游之趣。",[23,24,25,27,28,59,30,82,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c1d10b61a0a4df84f3479e4933db94a.jpg",[],76,{"id":348,"slug":349,"title":350,"dynasty":73,"author":198,"museum":213,"description":351,"tags":352,"thumbUrl":356,"material":357,"size":358,"collection":137,"collections":359,"showCount":360,"zanCount":91,"manualWeight":11,"mainColor":68},231483,"jiu-xi-feng-he-tu-hong-ren-231483","九谿峰壑图","弘仁（1610-1664），俗姓江，名韬，字六奇，又名舫，字鸥盟。明亡后出家为僧，字无智，号渐江，又号梅花古衲。安徽歙县人。山水学宋元笔意，直追元代的倪瓒，多写黄山松石，为清初“四画僧”之一。\n\n所画山水有强烈的写实性，山石形状多取自他熟悉的黄山和武夷山，坚硬峭拔，石面干净。用笔多方折，墨色干而单，构图简洁，形成一种空旷冷郁的境界。",[24,25,30,353,58,59,7,354,175,149,355,81],"白描","壑谷","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc394a8eac2513dc3a8eac76d6356b43f.jpg","纸本","纵110.6厘米，横58.9厘米",[],73,{"id":362,"slug":363,"title":364,"dynasty":73,"author":143,"museum":238,"description":365,"tags":366,"thumbUrl":368,"material":137,"size":137,"collection":137,"collections":369,"showCount":370,"zanCount":107,"manualWeight":11,"mainColor":48},224431,"song-feng-die-zhang-tu-wang-shi-min-224431","松风叠嶂图","此作用全景式构图铺展丘壑，主峰崔嵬凌天，层峦迤逦延展，兼具高远之雄与深远之幽。以披麻皴写山石肌理，笔触松秀温润，浅绛设色晕染柔和，古雅苍润间带着清和明丽。\n苍松虬枝横斜，涧谷飞泉隐现，山居茅舍错落掩映于林麓间，处处透着幽寂闲逸的林下意趣。题款书法清雅隽秀，与山水笔墨浑然相融，尽显宋元文人画平淡天真的意韵，将林泉高致的静穆之美，尽数凝于尺幅之间，是追摹古意又暗含己心的山水佳制。",[23,24,367,28,59,82,7,148,34,149,321,147,134],"山水画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84858b1ff2685d5dbd3bc173639e5d99.jpg",[],71,{"id":372,"slug":373,"title":374,"dynasty":330,"author":375,"museum":238,"description":376,"tags":377,"thumbUrl":380,"material":137,"size":137,"collection":137,"collections":381,"showCount":382,"zanCount":91,"manualWeight":11,"mainColor":48},228430,"jiang-shan-zao-chun-tu-juan-chou-ying-228430","江山早春图卷","仇英","此卷以青绿敷色晕染山峦，石青浅绛晕出早春烟岚空濛之态，平远构图铺展百里江南。层峦如螺黛迤逦，汀渚蜿蜒如带，茂林村居散缀江畔，渔舟横波独行，将早春清灵秀雅尽数铺陈。\n\n笔墨工致细腻，青绿设色古雅妍丽却无俗艳之感，远山轻描淡写含黛色，近树苍劲已带新翠，茅庐隐于林泉，尽显逸世幽居之趣。画作融院体精工与文人山水淡远意境于一体，暗藏清寂悠然，将山水静穆与早春生机相融，引人身临其境，静赏江南早春的温柔诗意。",[23,24,25,26,29,27,28,59,30,7,34,162,147,148,378,379],"村庄","人家","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff08aa96f29fa17783d88d6937cda876e.jpg",[],66,{"id":384,"slug":385,"title":386,"dynasty":18,"author":387,"museum":388,"description":389,"tags":390,"thumbUrl":392,"material":87,"size":393,"collection":137,"collections":394,"showCount":382,"zanCount":11,"manualWeight":11,"mainColor":68},218039,"song-di-ming-ti-ce-shi-ma-yuan-218039","宋帝命题册(十)","马远","私人收藏","这画册共含十页，每页左侧为一幅绘画，右侧配一书法。画心尺寸长28厘米、高27厘米，设色绢本，水墨与青绿设色间有。\n在“开禧北伐”之后，宋败给了金国，还有了“嘉定议和”。议和之后的宋宁宗便失去了大权。之后，宋宁宗开始钟情于山水。本十开册页描绘的是当时临安凤凰山皇宫的十个不同景点。\n根据考证，图中的白衣高士均是宁宗的化身，他将自己融入到自然山水中，写下了这10幅诗，再命当时的御前画师马远配图。\n10幅画作皆是根据杨万里、王安石等前贤及宋徽宗的诗句而创作，册页里的10幅配诗书法作品皆为宋宁宗所书。",[23,24,25,115,58,28,59,391,30,82,7,37,304,81],"边角山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c290a29cb2476ddf0147882bbc77cf5.jpg","纵28厘米、横27厘米",[],{"id":396,"slug":397,"title":398,"dynasty":330,"author":331,"museum":399,"description":400,"tags":401,"thumbUrl":402,"material":293,"size":137,"collection":64,"collections":403,"showCount":404,"zanCount":11,"manualWeight":11,"mainColor":68},220960,"fang-shu-yao-feng-tu-dong-qi-chang-220960","芳树遥峰图","天津博物馆","绘河两岸景色，远处山峰高耸，最高峰中部留白，山顶半悬，实乃绝妙之笔；近处河岸上树木林立，叶已枯槁，杆直修长，与河对岸的山峰遥遥相望。画项端题诗一首：桂树及冬荣，瑶草待春发。惟闻鸾鹤声，寥寥上烟月。",[23,24,25,79,58,59,30,7,83,31,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25884801024ed867821988d30206d287.jpg",[64,105],63,{"id":406,"slug":407,"title":408,"dynasty":53,"author":54,"museum":75,"description":409,"tags":410,"thumbUrl":412,"material":413,"size":414,"collection":137,"collections":415,"showCount":416,"zanCount":107,"manualWeight":11,"mainColor":48},290348,"jiu-zhu-feng-cui-tu-zhou-huang-gong-wang-290348","九珠峰翠图轴","此图以杨维祯寓居之“九峰三泖”（在今之上海市松江区）的九峰为背景，画中树木造形及山石的皴法，与《富春山居图》皆有关连相似之处。画山石以披麻皴法为主，长短兼施，淡墨勾皴再用浓墨逐层醒破，由于画在绫本中，受其织纹之影响，笔墨之韵味显得较为独特。但山石、树木皆加螺青染色，用笔特擅中锋使笔，雄健沈著，笔调变化丰富，将山石点染得苍莽秀逸。\n左上角有王逢题诗:层峦叠嶂青寝，深坞露儒人宫。睛霏裔裔吹不断，下覆春水光蒙。谁家相对缘溪住，石梯蛇折黄华路。何当着我沙蒙舟，放歌流下前滩去。溪王逢为草玄道人题大师画。下有王原氏、俭德堂，茂林修竹之所三印。引首一印:不识。中间有杨铁崖题诗:九球峰翠接云间，无数人家住碧湾。老子堪春三目醉，梦回疑对铁崖山。铁下有杨维印、铁笛道人、二印。诗堂之上有乾隆御书“寄”四个大字。右上角则有乾隆的题诗:神笔不择铜与鼓，郁葱闪密千百层，运以元气含以古，弗入世态其明征九珠之峰在何所，老铁分明为我语。弁藏已久始括题，当面失之每叹古。丁百新春御题下有机取怡情、得佳趣二章。清皇室鉴藏玺甚多，有:乾隆御览之宝、石果宝笈、石渠继鉴、乔心殿鉴藏宝、乾隆鉴，三希堂精，宜子孙、嘉庆御览之宝、宣统御览之宝。其他收藏印章则有:清如许、冰壶秋月、阿尔喜普之印、东平、也国珍赏、九如清玩、部氏容春堂书画印、玄斋、造玄道人、礼用、各印。",[78,24,25,79,58,30,7,34,148,116,411,59,304,81,303],"孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0078660b9d4ba83a449e1cffec2f767e.jpg","未知","Xcm*Xcm",[],62,{"id":418,"slug":419,"title":420,"dynasty":330,"author":331,"museum":75,"description":421,"tags":422,"thumbUrl":424,"material":102,"size":137,"collection":64,"collections":425,"showCount":416,"zanCount":91,"manualWeight":11,"mainColor":68},214613,"shu-hua-ce-yu-shan-dong-qi-chang-214613","书画册-虞山","董其昌（1794年－1856年）是中国明清时期的画家、书法家。他出生于浙江省杭州市，是中国书画史上著名的画僧之一。董其昌在书法和画画方面都有很高的造诣，尤其擅长山水画，其中以写意山水画最为出名。他的著名作品有《虞山图》，这幅画描绘了浙江省虞山的秀美景色。\n\n《虞山图》是董其昌的代表作之一，它展现了他对自然风光的独特描绘方式。在这幅画中，董其昌运用了大量的写意手法，使得画面充满了浓郁的气氛。他通过笔触的流畅和墨色的变化，表现出了山水的秀美和自然的灵动。整幅画浑然一体，充满了生机和活力。\n\n董其昌的《虞山图》不仅是他自己的杰作，也是中国书画史上的经典之作。它被广泛收藏和展览，并被认为是中国山水画的代表作之一。",[24,25,115,58,59,304,30,7,34,35,83,423,85,38],"小径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff04f9ae98aa539c6d04e4ab22c644a70.jpg",[64],{"id":427,"slug":428,"title":429,"dynasty":18,"author":273,"museum":20,"description":430,"tags":431,"thumbUrl":433,"material":62,"size":434,"collection":137,"collections":435,"showCount":436,"zanCount":11,"manualWeight":11,"mainColor":48},223340,"yun-feng-yuan-tiao-tu-xia-gui-223340","云峰远眺图","图绘群山相拥，山腰中云雾霭霭，一平坦处二人观景寒暄，一小童拿一长竿站立其后；远处松木成林，楼台庭院坐落于山腰中，隐约的山峰高耸陡峭，侧面如刀削般平整。此画画风近夏圭风格，画面简而不空，所画山峰线条刚劲、峰顶尖利！",[23,78,24,25,58,30,59,432,7,37,34],"人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F728ca2ae2c5d24dda0b691a4c2b1e73f.jpg","24.8*26.4cm",[],61,{"id":438,"slug":439,"title":440,"dynasty":330,"author":441,"museum":20,"description":442,"tags":443,"thumbUrl":444,"material":445,"size":446,"collection":64,"collections":447,"showCount":448,"zanCount":91,"manualWeight":11,"mainColor":48},236933,"qian-yan-wan-he-tu-zhou-wu-bin-236933","千岩万壑图轴","吴彬","图绘千岩万壑，层林飞泉，楼阁幻隐，景致幽僻，雄奇险峻，超情入神，骇目洞心。构图繁缛而不迫塞，笔法严整清峭，山石皆以缜密细笔勾皴并以淡墨晕染，突出了山体的阴阳向背和突兀嶙峋。画面的云气弥散在前后重叠的奇峰之间，并以墨色的浓淡分出山间树木枝叶的前后层次，从而使整幅具有丰厚的立体感。\n《画史会要》称吴彬：“善山水，布置绝不摹古，皆对真景描写。”实际上，吴彬画中的山水仍受古画的影响，但其境界主要来自其云游各地之奇景，加之想象而得。作者的绘画能从古人窠臼中脱迈而出，又深受自然界山水之熏陶，因而在明末的山水画坛迥异时流，独树一帜。",[24,79,58,59,30,7,83,34,216,134,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e68b23f635d47b17a1c9a8d30178a5e.jpg","绫本，设色","纵170.5厘米，横46.7厘米",[64,105],56,{"id":450,"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70.6x30.3公分、全幅 44.5公分",[64,105],51,{"id":560,"slug":561,"title":562,"dynasty":330,"author":563,"museum":564,"description":565,"tags":566,"thumbUrl":567,"material":357,"size":568,"collection":137,"collections":569,"showCount":570,"zanCount":91,"manualWeight":11,"mainColor":48},231837,"qi-feng-gao-yin-tu-tang-yin-231837","奇峰高隐图","唐寅","印第安纳波利斯艺术博物馆","弘治十年（1497年），唐寅参加录科考试期间与好友张灵宿妓喝酒，放浪形骸。提学御史方志十分厌恶这种行径，唐寅在录科考试中名落孙山。苏州知府曹凤爱惜人才，为唐寅求情，方志录于榜末。注：方志，字信之，成化二十三年进士。 弘治十一年（1498年），唐寅中应天府乡试第一，在他的《领解元后谢主司》一诗之中写道：壮心未肯逐樵渔，秦运咸思备扫除。剑责百金方折阅，玉遭三黜忽沽诸。红绫敢望明年饼，黄绢深惭此日书。三策举场非古赋，上天何以得吹嘘。唐寅作《送文温州序》和《金粉福地赋》。 弘治十二年（1499年），唐寅与江阴徐经入京参加会试，因牵连徐经科场案下狱，后被罢黜为吏。 弘治十三年（1500年），唐寅被罢黜为浙藩小吏，个人深以为耻坚决不去就职。唐寅归家后夫妻失和，休妻。",[23,24,25,79,28,59,30,7,147,148,34,149,134,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24db9aed0cc0e34002c0bec4c6d5e69f.jpg","75x56",[],50,{"id":572,"slug":573,"title":574,"dynasty":73,"author":248,"museum":238,"description":575,"tags":576,"thumbUrl":577,"material":137,"size":137,"collection":137,"collections":578,"showCount":579,"zanCount":11,"manualWeight":11,"mainColor":68},234168,"yuan-ji-shan-shui-tu-juan-shi-tao-234168","原济山水图卷","原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[23,24,25,26,58,59,30,7,34,35,31,37,303,304,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F815dd148ee14a764573968a252a39549.jpg",[],48,{"id":581,"slug":582,"title":583,"dynasty":73,"author":584,"museum":585,"description":586,"tags":587,"thumbUrl":589,"material":102,"size":137,"collection":64,"collections":590,"showCount":579,"zanCount":11,"manualWeight":11,"mainColor":48},220283,"fang-dong-ju-shan-shui-tu-gong-xian-220283","仿董巨山水图","龚贤","美国克利夫兰艺术博物馆","龚贤（1618—1689），又名岂贤，字半千，号野遗、柴丈人、半亩等。昆山人，居金陵。性格孤癖，与人落落难合。既对明末宦官专权腐朽黑暗不满，又对清政府采取不合作态度，是一位刚直不阿有骨气的文人，能诗，懂书，善画。其书画另辟蹊径独出幽异，超然脱俗，对其画作有此评价：“画有繁简（减），乃论笔墨，非论境界也。北宋人千丘万壑，无一笔不减。元人枯枝瘦石、无一笔不繁。通此解者，其半千乎？”从其作品中看，龚贤继承传统有着一条鲜明的轨道可概略为，董巨、二米，倪黄、沈周及董其昌。他的作品面目清晰鲜明，并有各时期的特点。如白龚、灰龚、黑龚之说。尽管如此，他还是坚持不泥古人古法而师法自然师法造化。他说：“古人之书画，与造化同根、阴阳同候，非若今人泥粉，本无先天，奉师说为上智也。”龚贤的作品，最大的特点就是善于用墨。继承和发展了“积墨法”，形成了浓重浑厚，朴实滋润的特点。其作《溪山无尽图》巨制长卷，表现江南重山复水，连绵起伏，丛林房舍，飞瀑流泉，小榭栈道，亭台楼阁，烟云萦绕等自然万物应有齐全，浑厚苍润、丰茂明丽，是积墨法之精品。此图可局部临习；也可通幅临习，用墨应由淡人深，层层叠加，点染数遍。使山石之轮廓和结构与多次皴擦之干湿用笔浑然一体。也可以把龚贤的创作过程理解为由实至虚达厚现润生韵的过程。关于这一点需要我们认真体会。",[23,24,25,79,30,588,59,7,37,34,99,134,149,475],"积墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa59a83655a20a43f31c61d9dc139d6bb.jpg",[64],{"id":592,"slug":593,"title":594,"dynasty":18,"author":595,"museum":238,"description":596,"tags":597,"thumbUrl":598,"material":137,"size":137,"collection":137,"collections":599,"showCount":600,"zanCount":91,"manualWeight":11,"mainColor":463},231022,"xia-shan-tu-qu-ding-231022","夏山图","屈鼎","此作以全景铺展夏景山水，层峦叠嶂间烟岚轻萦，将盛夏山野的湿润苍翠晕染开来。山脚林木蓊郁繁茂，涧水穿林漱石，奔涌有声；江面波平水阔，帆影悠悠漾开水乡清宁。\n笔墨兼南北之妙，山石以硬朗勾勒配浅淡皴擦，既塑出雄奇山势，又以水墨晕染衬出山岚水汽的空濛柔润。整体意境兼具山野深幽与江天开阔，将盛夏山林的蓬勃生机与静谧空寂相融，尽显山水间的诗意野趣，藏着宋画写实又写意的隽永意韵。",[23,78,24,25,26,58,28,30,7,34,31,100,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F923d6bb1796e097af3fbb0e3372b8990.jpg",[],47,{"id":602,"slug":603,"title":604,"dynasty":73,"author":143,"museum":238,"description":605,"tags":606,"thumbUrl":608,"material":609,"size":610,"collection":64,"collections":611,"showCount":600,"zanCount":11,"manualWeight":11,"mainColor":48},224408,"shu-hua-shi-liu-kai-1-wang-shi-min-224408","书画十六开-1","王时敏（1592—1680），明末清初画家。江苏太仓人。王时敏一生寄情诗文书画，家藏历代法书名画甚多。他擅山水，主张艺术应施法古人，专师黄公望。其画在清代影响极大，王翚、吴历及其孙王原祁均得其亲授。与王鉴、王翚、王原祁并称四王，外加恽寿平、吴历合称“清六家”。开创了山水画的“娄东派”，艺术史上位居清初画家“四王”之首。",[23,24,25,115,28,59,30,7,134,99,34,35,309,83,607],"草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4285d78bec5736d0c6c8df96ff8a6e9a.jpg","墨色绢本","48x32",[64,612,45],"书法精选",{"id":614,"slug":615,"title":616,"dynasty":18,"author":617,"museum":213,"description":618,"tags":619,"thumbUrl":621,"material":28,"size":622,"collection":137,"collections":623,"showCount":624,"zanCount":11,"manualWeight":11,"mainColor":48},221376,"yan-jiang-die-zhang-tu-wang-shen-221376","烟江叠嶂图","王诜","《烟江叠嶂图》绘崇峦叠嶂陡起于烟雾迷漫浩渺空旷的大江之上，空灵的江面和雄伟的山峦形成巧妙的虚实对比。奇峰耸秀，溪瀑争流，云气吞吐，草木丰茂，显得蓬勃富有生气。画家以墨笔皴山画树，用青绿重彩渲染， 既有李成之清雅，又兼李思训之富丽。\n此图凄迷的诗意化山水景致，充满着丧失爱情、希望与友谊的悲痛之情，表达了他于惨遭放逐期间内心荒寂的梦幻世界。\n此图平远布局，起首浅岸一隅，江面辽阔，波心渔舟泛泛如鸥。中幅峰峦迭起，前后拱揖，呈奇耸秀。山间烟云缭绕，百道飞泉，萦林络石，下赴谷口。楼阁隐现于白云青峰之间。后段烟水迷蒙。全图表现出“江上愁心干叠山，浮空积翠如云烟”、“春风摇江天漠漠，暮云卷雨山娟娟”的清空深秀意境。用笔结合唐人勾斫法和李成的颖利笔法，凝练清劲。树木参用勾叶、点叶多种方法，层次参差，显得葱倩郁密。山峦敷染青绿重色，花青染叶，深墨渍涧，色泽鲜丽厚实，将唐人的古朴和宋人的精密融成一体，开创出青绿山水的新格调。\n在构图上，远近疏离，似有一透视感，远山隐映于云雾之中，悠远秀丽。\n作者用笔凝炼，骨法端重而不板刻，山石用墨笔勾皴，不方不圆，似行似隶，因而画中的气韵十分生动；此图用青绿着色，重彩复皴，再用花青运墨点苔，益见山色之奇丽多姿。画树多夹叶或点笔，著色有石青，石绿、浅绿及赭红等。苍翠之中愈见青葱鲜丽，无煊耀之燥气，又有静穆的庄严。以深墨渍出山涧，留白以状飞瀑，形成了黑白相映的反差。青山间有白云缭绕，用工笔浅描，线划空明，使重叠的山峦在炯云中时显时隐。石皴不方不圆之间，山石形态各异。界画工整的楼阁、屋宇，隐显于青山白云之间，极富雅趣。作者以诸种手法以表现，使北宋山水画达到了神妙的境界",[23,78,24,25,26,30,58,28,59,620,277,7,34,37],"烟霞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8df1d52102b8e94aadf1789685e44f7d.jpg","纵45.2厘米，横166厘米",[],44,{"id":626,"slug":627,"title":628,"dynasty":330,"author":331,"museum":585,"description":629,"tags":630,"thumbUrl":631,"material":632,"size":633,"collection":64,"collections":634,"showCount":624,"zanCount":11,"manualWeight":11,"mainColor":68},220905,"fang-huang-zi-jiu-jiang-shan-qiu-ji-tu-juan-dong-qi-chang-220905","仿黄子久江山秋霁图卷","在研习经史之余，董其昌与同僚诸友切磋书画技艺，纵论古今，品评高下。又从韩世能那里借阅晋、唐、宋、元法帖宝绘，心摹手追，有时废寝忘餐，因而学问大进，开始在京中有些名气。在家乡，董其昌筑“来仲楼”、“宝鼎斋”、“戏鸿堂”、“画禅室”、“香光室”等，牙签玉轴，左图右史，置身其中，著书立说，探究古今书画艺术。他不遗余力地搜集王羲之、王献之、谢安、桓温、赵估、米芾诸名家法书，于万历三十一年刊刻《戏鸿堂法帖》行世。病休松江时期，他正值四十余岁的盛年，广闻博识，采集众长，悠居林泉，心闲手熟，创作了《葑泾访古图》《鹤林春社图》《浮岚暖翠图》《神楼图》《西湖八景图》《溪回路转图》等许多描绘江南风光的著名山水画。",[23,24,25,26,58,80,59,304,81,30,7,34,148,411],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31afc9e40856158c191fd7216f9770fa.jpg","纸本，水墨","28.3*206cm",[64,45],{"id":636,"slug":637,"title":638,"dynasty":73,"author":143,"museum":20,"description":639,"tags":640,"thumbUrl":643,"material":179,"size":644,"collection":137,"collections":645,"showCount":646,"zanCount":11,"manualWeight":11,"mainColor":68},233402,"xian-shan-lou-ge-tu-zhou-wang-shi-min-233402","仙山楼阁图轴","上诗堂有清初吴伟业题云：“陈子静孚母夫人方太君七十，王烟客奉常、王湘碧郡伯绘仙山楼阁图以为祝。郡伯所制可以颉昂松雪，若太常此帧苍深高远，尺幅之中恍见仙真楼上，出入于烟云缥缈间，笔墨之奇非仅得子久三昧也。太夫人女箴妇德可镌琬琰，余将托诸诗歌，得两公妙染，真所谓画中有诗，不待九如之颂，可效凹觥之祝矣。吴伟业题。”\n此图是王时敏为友人陈静孚之母七十寿辰而作。画面上峰峦叠嶂，林木葱郁，流泉曲绕，长松挺立。山谷中点缀着茅亭草舍，环境清幽。在构图和笔墨方面都具备典型的中国画特征。首先，构图方面采用全景式构图，以散点透视的方法描绘景物，近景双松清晰挺拔，远景高山连绵巍峨，所画内容具有美好的象征意义，十分契合祝寿的主题。其次，在笔墨表现方面，继承董巨（董源、巨然）、元人的笔墨传统，尤其是黄公望的画法，以仿古见长，具有程式化的特点。笔法精绝老到，为王氏晚年佳作。",[24,25,79,30,162,34,7,99,35,58,59,149,117,641,642],"近树","路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e1c5058cf54925d7fcced41900d4ce1.jpg","纵133厘米，横63.3厘米",[],43,{"id":648,"slug":649,"title":650,"dynasty":18,"author":387,"museum":75,"description":651,"tags":652,"thumbUrl":653,"material":62,"size":654,"collection":137,"collections":655,"showCount":646,"zanCount":11,"manualWeight":11,"mainColor":68},231341,"hua-deng-shi-yan-tu-er-ma-yuan-231341","华灯侍宴图（二）","《华灯侍宴图》描绘了杨次山父子在上元节侍宴的场面，记述了南宋宫廷的重大活动。该画以俯视的角度写华灯初上时分官员们随皇帝宴饮观舞的情景，并在全景山水的描写中，烘托出了室内的豪华与欢乐气氛。图中隐约可见几位官员属身随侍皇帝饮宴官殿之外，乐舞的宫女摇曳着身姿，大殿之外的树木，好似也随着音乐起舞，姿态横生。这些树林，由近面远，渐渐隐设于雾色之中，只见宫殿后盛立着几棵松树，和远处云雾中抹青山。中景的松树刻而很具特色，用笔瘦硬如屈铁，枝条长面斜向出。\n画中，远山眉黛，松枝逶迤，前庭梅树十余棵，数名宫女执灯起舞于梅林中，舞姿曼妙。殿宇华厦，灯火明亮，有几位大约是官员的人物，背向微躬，恭谨陪侍酒宴。内堂则幽深不可窥测。\n宋宁宗题一首御制诗，云：“朝回中使传宣命，父子同班侍宴荣。酒捧倪觞祈景福，乐闻汉殿动驩声。宝瓶梅蕊千枝绽，玉栅华灯万盏明。人道催诗须待雨，片云阁雨果诗成。”\n马远是南宋宫廷画家，杨皇后是其主要的艺术赞助人。杨皇后多次为马远之作题诗题句，其创作也势必迎合杨皇后的要求，“臣马远”的款识当为此意。从《华灯侍宴图》的笔法与风格来看，当为马远晚年之作，而杨皇后的题记，也属晚年风格。换而言之，画作的年代应在宋宁宗时代。\n对于该画的主题，不同学者提出不同观点，毕嘉珍提出画中描绘的是“奢侈的赏梅盛宴”。彭慧萍则从画师的视角出发，指出此图反映了“深夜禁中大内的当差场景”。高居翰的分析是“马远想出了一个富于诗意的构图”，将宴席隐藏在向后延伸的宫殿图像里，只以庭园中的演艺者和侍从来传达娱乐的场景。\n也有观点指出，这次宴会是宋宁宗为迎接签订“嘉定和议”的丞相史弥远而举办的，所谓“朝回中使传宣命”，并召马远及其子马麟陪侍，马远用绘画记录了这一重大时刻。\n一座孤零零的殿宇，矗立在远山近林中。阶墀下方极少渲染。殿内的君臣侍从沉浸在一片歌舞之中。视线由梅树上顶之势领起，沿华堂左侧引上，由屋脊折而向右，绕出一个反S形，而到达松树与远山，然后下垂，落空于远方薄暮中。观者除了感受宴饮之乐，还可能被近景的梅树、中景的松树、远景的山及苍茫的夜空所吸引。\n此图以俯视的角度写华灯初上时分豪门达官酒宴的情景，但作者的兴趣并不是放在细写堂内宴席与众宾客的活动上，他的独特构思在于成功表现外部环境上，描写烘托出室内的豪华与欢乐气氛。图中表现松树很具特色，用笔瘦硬，如屈铁，枝条颀长，而斜向出，下笔严正，以雄奇简练的笔法，表现树枝的坚挺有力，有“拖枝马远”之称。\n该画山而不作全景式图，取一角或一峰给予突出的描写。这是马远在继承前人山水画传统的基础上的突破，是他对山水画形式美感探索的成就。",[24,25,367,29,59,28,162,34,7,83,304,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc9b868683d8127a8dd2bb9ff753b532.jpg","纵125.6厘米，横46.7厘米",[],{"id":657,"slug":658,"title":659,"dynasty":330,"author":660,"museum":144,"description":661,"tags":662,"thumbUrl":664,"material":218,"size":665,"collection":64,"collections":666,"showCount":646,"zanCount":11,"manualWeight":11,"mainColor":68},217878,"zhou-li-yuan-shang-kuan-shen-ce-hu-yu-kun-217878","周栎园上款什册","胡玉昆","层岩叠嶂以劲挺线条勾勒，皴擦间显山石嶙峋之态；山间林木疏朗，掩映幽径，远处峰岫隐现，留白处生悠远之境。左侧题跋笔意洒脱，文句含蕴哲思，诗画交融间，墨色与心境共生。山石的刚健与林木的清逸相映，题跋的禅意与山水的空灵相契，尽显传统文人画诗书画印一体的雅韵，传递出静观自然、叩问本心的清雅情怀。笔锋流转处，既有山水的雄浑气象，又藏文人的细腻思致，于尺幅间铺展一幅融视觉与心境于一体的雅致画卷。",[78,24,25,58,59,303,304,30,7,83,34,355,663],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7e4408ed38bf72fc6032dc84cddd4e5.jpg","24.7x32.3cm",[64],{"id":668,"slug":669,"title":670,"dynasty":330,"author":671,"museum":238,"description":672,"tags":673,"thumbUrl":674,"material":137,"size":137,"collection":137,"collections":675,"showCount":676,"zanCount":11,"manualWeight":11,"mainColor":48},228375,"lin-wang-meng-tai-bai-shan-tu-du-qiong-228375","临王蒙太白山图","杜琼","此作用笔苍劲秀密，以披麻皴绘就层峦叠嶂，苔点疏密错落，尽显山岩浑厚华滋，林麓幽深静谧。湖面空阔清寂，村舍星点隐于林木沟壑间，野趣悠然自生，将江南山居的幽恬之景铺展尽致。\n卷尾长题书法俊逸朴拙，诗画相融，复刻原作幽淡萧散的山水意韵，又自蕴沉静内敛的文人意趣。观之如随幽人策杖穿行泉石间，煮茶观云，坐看烟岚漫过山腰，隐见林泉雅事，把林下高致的隐逸之思晕染在笔墨山河中。",[23,24,25,26,58,28,59,80,30,7,34,35,31,100,308,147,148,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F357f6e010915680f847be1afbc23395f.jpg",[],42,{"id":678,"slug":679,"title":680,"dynasty":73,"author":198,"museum":20,"description":681,"tags":682,"thumbUrl":684,"material":357,"size":685,"collection":137,"collections":686,"showCount":676,"zanCount":11,"manualWeight":11,"mainColor":68},220328,"huang-shan-tu-ce-3-hong-ren-220328","黄山图册-3","《黄山图册》共六十开，装裱成六册，又有题跋一册。可以说是弘仁在黄山纪游写生的最集中展现，在他的每一幅作品上都题写了纪游写生的地名，著名的有天都峰、莲花庵、小心坡、观音岩、一线天、光明顶、白龙潭、慈光寺、文殊院、桃花沟等等。",[23,24,25,58,59,115,30,7,162,683],"松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdc1eb815cf62e85ff746ecaa76da231.jpg","21.5x18.3厘米",[],{"id":688,"slug":689,"title":690,"dynasty":330,"author":691,"museum":238,"description":692,"tags":693,"thumbUrl":694,"material":137,"size":137,"collection":137,"collections":695,"showCount":696,"zanCount":11,"manualWeight":11,"mainColor":48},235999,"chun-yun-die-zhang-tu-zhou-shen-zhou-235999","春云叠嶂图轴","沈周","此作以淡墨晕染远山，春云裹挟峰峦，虚实相融间晕开空濛的春日山色。山巅以浓墨点苔植林，清浅墨色衬出苍润的生机。中景林麓烟霭轻笼，村舍隐于幽林之中，漫着山居的静寂安闲。近岸水滨杂树错落，枝桠舒展间漾着春的暖意，临水策驴徐行的旅人，为山野添了鲜活意趣。\n\n整作笔墨苍秀兼具，以留白衬出云气流动，简淡的水墨里藏着古雅浑厚，将江南春山温润清远的意境铺展尽致，尽显文人山水独有的林下天真。",[24,25,79,58,59,30,263,7,34,148,116,423],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46ff3ecd13cea2367a22a0689c7f958e.jpg",[],41,{"id":698,"slug":699,"title":700,"dynasty":73,"author":248,"museum":238,"description":701,"tags":702,"thumbUrl":703,"material":137,"size":137,"collection":105,"collections":704,"showCount":705,"zanCount":11,"manualWeight":11,"mainColor":68},224531,"huang-xie-zhu-feng-tu-juan-shi-tao-224531","黄澥诸峰图卷","此作用水墨铺就群峰崔嵬，壁立危岩间奇松倒挂，烟云在幽谷间缓缓氤氲，将山川的苍莽灵秀晕染开来。干湿浓墨互衬，皴擦勾勒出山岩硬朗肌理，既铺展出峰峦雄奇气势，又晕出江南山水独有的空濛诗意。\n\n左侧题字笔势纵逸跌宕，笔墨酣畅淋漓，文气与山岚相融，将壮游山水的快意寄寓其中。诗画合璧，把天地山河之美与文人笔墨情志共生一处，尽显山水与文思交织的悠然意境。",[23,24,25,26,58,59,303,304,30,7,83,34,117,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f153cf680d5f5ec448dd4e9ab6b5e63.jpg",[105],40,{"id":707,"slug":708,"title":709,"dynasty":73,"author":225,"museum":710,"description":711,"tags":712,"thumbUrl":715,"material":218,"size":716,"collection":64,"collections":717,"showCount":705,"zanCount":91,"manualWeight":11,"mainColor":48},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。",[24,367,28,59,713,7,34,99,149,714,37,355],"层峦","秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F088fa3e078227eb0f8335ab5623452f8.jpg","142x66.1cm",[64],{"id":719,"slug":720,"title":236,"dynasty":330,"author":721,"museum":388,"description":722,"tags":723,"thumbUrl":726,"material":218,"size":727,"collection":64,"collections":728,"showCount":705,"zanCount":91,"manualWeight":11,"mainColor":48},218091,"shan-shui-tu-huang-qin-218091","黄溱","黄溱是明朝时期的一位著名山水画家。他的山水画风格独特，笔力清晰而富有张力，善于表现大自然的神韵和精神内涵。\n\n黄溱的山水图常常被视为“水墨山水画的巅峰之作”。他善于运用水墨画的特色，在画面中运用点、线、面三种基本元素，给人以一种清新自然、平和祥和的感觉。在他的山水图中，山峰挺拔，水流潺潺，构图精妙，富有层次感。同时，他还注重细节的表现，如树木的枝叶、山峰的峰顶、云的形态等都是细致而生动的。\n\n黄溱的山水图不仅对后世的山水画家产生了巨大的影响，也为我们展现了明朝时期浓郁的文化气息和自然风光。",[23,24,58,30,78,79,147,148,7,34,724,725,304,81,59],"亭舍","民居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea7f968486d57ed34a990414f516411c.jpg","89.4x47.6cm",[64],{"id":730,"slug":731,"title":732,"dynasty":18,"author":733,"museum":238,"description":734,"tags":735,"thumbUrl":736,"material":137,"size":137,"collection":137,"collections":737,"showCount":738,"zanCount":11,"manualWeight":11,"mainColor":48},227536,"wan-ai-tu-wen-tong-227536","晚霭图","文同","明代画评家汪砢玉曰：壬戌之秋，程季白飞霞舫成，招李君实及珂雪与余集舫中，看新得汉玉图书约三百方，因示文同画卷，曰《晚霭横看》，君实题其后，用东坡思无邪斋章钤记。余共珂雪各印诸玉作谱。娄东朱锦春拨阮，夺落叶响，吾辈无暇听也。归而思此图，树瘦于竹，艇小于叶，遥山远水，层出林端，暮烟凝霭，掩映亭阁，画中人应尔横看无尽，意跃跃焉。东坡尝称与可下笔兼众妙，而不言其善山水。乃山谷于吴君惠处见文湖州《晚霭横看卷》，兼有王摩诘、关仝笔力，而世以洋州一派竹称之，何足以尽石室?",[23,24,25,26,58,59,30,7,34,321,31,100,308,175,117,641,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06c4ec329a197b3748eae01a2384a486.jpg",[],39,{"id":740,"slug":741,"title":742,"dynasty":128,"author":129,"museum":743,"description":744,"tags":745,"thumbUrl":746,"material":747,"size":137,"collection":137,"collections":748,"showCount":738,"zanCount":11,"manualWeight":11,"mainColor":68},220505,"e-mei-zhang-da-qian-220505","峨眉","中国现当代美术文献研究中心","此作以云海托举雄峰，虚实相映间铺展蜀山灵韵。以青绿皴染勾勒峭崖肌理，晕染出层叠石壁的苍劲质感，石青石绿晕开山峦清润，赭石铺陈崖顶厚重。翻涌云涛以泼墨晕染而成，将群峰半掩半露，生出缥缈仙气。崖巅古松劲拔、梵宇隐现，为雄奇山景添上清寂禅意。既恪守传统笔墨法度，又以泼彩新意晕化山色，将巍峨与灵秀糅合，尽显天地造化之奇，静穆之中自有磅礴大气，藏着蜀中山河的万千意趣。",[24,25,30,28,58,59,7,37,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a6a494de0efa8d16398fba50d5288ec.jpg","纸本水墨设色",[],{"id":750,"slug":751,"title":752,"dynasty":73,"author":753,"museum":238,"description":754,"tags":755,"thumbUrl":756,"material":137,"size":137,"collection":137,"collections":757,"showCount":758,"zanCount":91,"manualWeight":11,"mainColor":68},235674,"huang-shan-tian-dou-feng-tu-zhou-mei-qing-235674","黄山天都峰图轴","梅清","此作用高远章法铺陈景致，方折硬皴刻画嶙峋山石，层叠岩壁尽显峰峦雄崛之势。留白摹写空濛云海，衬出天都峰的高拔清逸。松下孤亭旁二人策杖对语，在雄奇山景晕染出世外幽意。\n题诗与山水相融，以书入画尽显新安画派灵秀苍劲。水墨晕染出清冷空寂的意境，既绘出黄山天险之姿，又寄寓画家对林泉高致的向往，笔致清隽，将自然奇绝与文人雅趣合为一体。",[24,25,78,79,58,59,30,7,37,116,34,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04c78ff500e4796524b4ff31de712606.jpg",[],38,{"id":760,"slug":761,"title":762,"dynasty":18,"author":505,"museum":20,"description":763,"tags":764,"thumbUrl":765,"material":179,"size":766,"collection":137,"collections":767,"showCount":758,"zanCount":11,"manualWeight":11,"mainColor":68},221484,"yun-shan-mo-xi-tu-mi-you-ren-221484","云山墨戏图","本幅题识：“余墨戏气韵颇不凡，他日未易量也。元晖书。”又有清乾隆御题诗一首：“看山愁步山巑岏，看水爱听水潺湲。山水情似未浃洽，与浃洽之云漫漫。元气回合绝模拟，妙境恍惚思跻攀。真有子矣米海岳，那能混之高房山。乾隆御题。”钤“几暇怡情”白文方印，“乾隆宸翰”朱文方印。另钤有吴希元、朱辉、梁清标、安岐鉴藏印及清内府藏印计22方。尾纸有董其昌题跋：“米元晖山水卷皆为元高尚书所混。即余收《潇湘白云》长图，宋元名公题咏甚富，沈石田以晚年始觏为恨，余犹疑题咏虽真，似珠椟耳。神物或已飞去。不若此卷之元气淋漓，布境特妙也。丙子（崇祯九年，1636年）六月三日，其昌题。”之后有冯铨、龚心钊二跋。钤有吴国逊、刘珍、朱辉、冯铨、梁清标、安岐等鉴藏印15方。\n此图描绘沿江景色，近处岸边一条细径曲曲弯弯，间有板桥相连，远方峰峦起伏，云烟密布，溪流缓缓，林木森郁，屋舍隐现。此图采用“米家山水”的典型画法，山峦坡渚先用淡墨染就，继以大小各异的横向墨点反复在山头、山脊等部位再次图写，从而达到表现江南风光润泽华滋、雾气迷蒙的独特效果。明代董其昌曾携此图往游洞庭湖，惊叹米友仁的写生本领，云：“舟次斜阳，篷底一望空阔，长天云物，怪怪奇奇，一幅米家墨戏也。”\n本幅曾经卞永誉《式古堂书画汇考》画卷十三、《墨缘汇观》卷三《名画上》、《石渠宝笈续编》卷十七著录。\n《云山墨戏图》原题为米友仁所绘，但徐邦达先生根据其画法、题款的用笔及书写部位等因素认为并非米友仁原作。不过，此图画法全从“米家山水”而来，董其昌称其“元气淋漓，布境特妙”毫不夸张，对研究此派山水的重要价值显而易见。",[23,24,25,26,58,30,37,34,7,59,303,81,304,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66167bb6cc21347584025b2d972b0ccf.jpg","纵21.4厘米，横195.8厘米",[],{"id":769,"slug":770,"title":771,"dynasty":73,"author":772,"museum":75,"description":773,"tags":774,"thumbUrl":775,"material":218,"size":776,"collection":45,"collections":777,"showCount":758,"zanCount":11,"manualWeight":11,"mainColor":68},219432,"shi-yi-gao-zong-yu-bi-ni-gu-shi-zhou-zou-yi-gui-219432","诗意高宗御笔拟古诗轴","邹一桂","峰峦层叠，飞瀑如练倾泻空谷，溅起雾霭氤氲。山腰林麓间，几椽村舍隐现，溪畔小舟轻泊，似待归人。近处松石挺秀，竹影婆娑，笔墨清润雅致，皴染相济——山石以干笔皴出嶙峋肌理，草木以细墨勾描葱茏生机。诗与画浑然交融，将御笔诗意中的幽寂旷达凝注尺幅：烟霞绕舍，幽花弄晴，村居闲适与山水灵秀相映成趣，尽显文人笔墨的韵致与超然尘外的情怀。",[24,25,79,58,59,303,81,30,34,134,148,7,35,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3428ddd92601e9917eff9c609bc5362e.jpg","188.7x55.8",[45],{"id":779,"slug":780,"title":781,"dynasty":73,"author":782,"museum":20,"description":783,"tags":784,"thumbUrl":785,"material":87,"size":786,"collection":64,"collections":787,"showCount":788,"zanCount":11,"manualWeight":11,"mainColor":68},218507,"fang-shan-qiao-shan-shui-zhou-wang-yuan-qi-218507","仿山樵山水轴","王原祁","干笔皴擦的峰峦如黛，层层积墨间藏着云气轻烟。近处松枝横斜，溪畔孤舟静泊，山间隐约露人家檐角。笔墨苍劲却不失秀润，构图繁复仍显空灵，将山樵淡远意境与自家沉雄笔力相融。尺幅间铺展静谧悠远的山水天地，峰峦跌宕里见林木繁密，溪涧蜿蜒处映云雾缭绕，尽显文人画的气韵生动与笔墨精神，仿佛能听见山风掠过松涛、溪水潺潺流过石滩的轻响，把传统山水的沉雄气象凝于一纸之上。",[23,24,79,58,59,30,7,149,34,82,148,100,216,423],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c6d1ab3c13a67e13f50739433bb5efa.jpg","纵95.5cm，横51.5cm",[64],37,{"id":790,"slug":791,"title":792,"dynasty":330,"author":793,"museum":238,"description":794,"tags":795,"thumbUrl":813,"material":137,"size":137,"collection":137,"collections":814,"showCount":815,"zanCount":91,"manualWeight":11,"mainColor":48},228346,"wan-li-xun-qin-tu-juan-huang-xiang-jian-228346","万里寻亲图卷","黄向坚","《寻亲图》是清代画家吴伟业创作的纸本设色画，现藏于 。\n该图画远山高耸，巉崖陡壁。\n笔法细腻，层次丰富。\n远山用没骨法淡淡渲染，山石以小笔皴擦。\n画面空蒙秀雅，构境奇险，景物有纪实风。\n画中巉崖陡起，群山峭拔，白云缭绕，下瞰山城、城外危桥上一人荷伞穿行，走向前方的城镇，应是黄向坚自写。\n其后层层坡岫，远峰矗立，苍苍茫茫。\n山溪急満穿插倒悬为飞瀑，奔腾直泻，村落屋宇在丛林中或隐或现。\n画面上作者长题识：“浪穹县城在崖危屿之下。\n途次松杉行列，葱翠蔚然。\n予度溪桥，旋陟山顶，白云片片如擘絮，辄致侵入，飘绕襟袂，且喜不迷古道，无劳一拨耳。\n噫！畴谓荒缴无佳境哉。\n黄向坚并志。\n”钤“向坚”（朱文）“端木”（白文）印各一。\n此图画作者万里寻父之所见所闻，并自作《纪行一编》，所写山水，皆其所历，吴人为作乐府传其事。\n黄向坚其父孔昭，明末在云南作官，因云南姚州（今姚安县）兵乱阻隔不得归，黄向坚于清顺治八年（1651）开始徒步前往找寻，历时两年，徒步万里，终于在白盐开县把父亲迎回家乡，沿途绘中山水。\n名曰《寻亲图》，点出了主题。\n画中虽以较大的片幅描写这里的崇山峻岭和奇险的景色，但主要集中于黄氏寻亲，尤其是突出黄氏荷伞穿越危桥的情景，点出了此画的主题。\n虽在画面上所占的比例很小，但却主题突出，起到画龙点睛效果。\n此画构景奇险，明显带有西南山川的特点。\n此图为纪游山水，有着浓郁的生活气息和地域特征，如画中村落的安排，瓦眷围墙的结构，具有西南边睡的特色。\n这有力地表达了他万里寻父的忠孝情怀。\n将作者此时此景的情怀跃然纸上。\n山石的点皴和渲染一气可成，画中焦墨干笔勾勒皴擦，用渴笔干皴，线条较多转折顿挫，大体用解索皴一路。\n笔势峭利刚劲，石骨感极强。\n表现大面积的巉崖石壁，如万仞插地，极具气势。\n画树木，主要表现中、远景中的树木的形态，故不作精心匀绘，均用枯墨草草点出，显得幽深苍茫，与险峻的巉崖陡壁浑成一体，两者相辅相成，达到了和谐完美的艺术境地。\n由于他万里徒步旅行的途中，饱览了西南山川的景色，对这里的山山水水有着切身的体验。\n黄向坚（169—167），明末清初画家。\n字端木，吴（今江苏苏州）人，孔昭子。\n善画山水，师法王蒙，结构严密，干笔苍秀。\n传世作品有《巉崖陡壁图》轴、《秋山听瀑图》、《寻亲图》轴、《万里寻亲图》册（十二册）。",[23,24,26,293,367,796,59,797,798,799,800,801,802,803,60,804,805,806,228,807,117,808,809,810,811,812,7],"纪游山水","渴笔干皴","解索皴","没骨法","崇山峻岭","巉崖陡壁","飞瀑","山溪","屋宇","危桥","古道","松杉","城镇","船舶","万里寻亲","忠孝情怀","丛林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff46e7e77fdb44845a43436b89bdad273.jpg",[],36,{"id":817,"slug":818,"title":819,"dynasty":18,"author":273,"museum":238,"description":275,"tags":820,"thumbUrl":822,"material":137,"size":137,"collection":137,"collections":823,"showCount":824,"zanCount":91,"manualWeight":11,"mainColor":48},227764,"qian-shan-jing-xiu-tu-juan-jiang-cun-tu-juan-xia-gui-227764","千山竞秀图卷(江村图卷)",[78,24,25,26,58,59,30,7,31,34,100,33,821,83,38],"岛屿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd06419bf5596dd1b67981bd77f2bdefa.jpg",[],35,{"id":826,"slug":827,"title":236,"dynasty":73,"author":828,"museum":238,"description":829,"tags":830,"thumbUrl":831,"material":28,"size":137,"collection":64,"collections":832,"showCount":824,"zanCount":91,"manualWeight":11,"mainColor":48},219836,"shan-shui-tu-ren-xiong-219836","任熊","此作以明黄为底，石青石绿晕染峰峦，跳脱传统山水的柔和基调，浓烈撞色醒目张扬。群山如利刃攒聚拔地而起，线条苍劲硬朗，勾勒出奇崛陡峭的山石肌理，带着金石般古朴质感。\n\n层叠峰峦错落排布，水色留白穿插山林间，虚实相映，令逼仄山景生出灵动空阔之意。点缀的林木或敷红或点白，为冷硬山石晕开鲜活暖意，让瑰奇山景兼具富丽堂皇与悠远意境，以极具装饰性的手法，演绎出独树一帜的工笔山水新韵。",[23,24,28,27,59,30,7,34,99,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b13f78b1724169dff99021f61857a8a.jpg",[64],{"id":834,"slug":835,"title":836,"dynasty":53,"author":525,"museum":75,"description":837,"tags":838,"thumbUrl":839,"material":218,"size":840,"collection":137,"collections":841,"showCount":842,"zanCount":91,"manualWeight":11,"mainColor":68},231417,"shen-yue-qiong-lin-tu-fang-cong-yi-231417","神岳琼林图","此图以写意的笔法，画层峦琼林之景观，画面山色苍茫，意境幽深。\n此图危峰耸立，气势磅礴。近景坡岸延伸，杂树丛生，几条潺泼的小溪汇聚成潭，断岸溪桥，屋字隐伏，流水人家。一条小径蜿蜒曲折，若隐若现，通往山林的深处。远处高峰矗立，山腰云气氤氲，恍惚缥缈，隐约可见一条山径顺着山势盘绕而上。一高上注目远眺，神情闲雅，寄情于山光水色之中。\n此图自题：“岁在旃蒙天荒落三月十一日，鬼谷山人方方壶为南溟真人作神岳琼林图。”",[24,25,79,58,30,7,34,147,148,83,99,471,59,81,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad2cb1101f18f7f0c099bd9034314950.jpg","纵120.3cm，横55.7cm",[],34,{"id":844,"slug":845,"title":846,"dynasty":18,"author":847,"museum":238,"description":848,"tags":849,"thumbUrl":855,"material":137,"size":137,"collection":137,"collections":856,"showCount":842,"zanCount":11,"manualWeight":11,"mainColor":48},227599,"qiu-jiang-yu-ting-tu-yuan-se-xu-dao-ning-227599","秋江渔艇图（原色）","许道宁","许道宁，中国北宋画家。生卒年不详，活跃于北宋中期。长安（今陕西西安）人，一说河北河间人。擅画山水，师法李成而能自成一家之体。\n\n早年在汴京（今河南开封）以卖药为生，以画吸引顾客，随药送画，逐渐得名，公卿士大夫争相延请。许氏长于画林木、平远、野水三种景色，晚年笔法简快，所画峰峦树木，峭拔劲硬。\n\n被认为是继李成、范宽之后山水画第一人。米芾和黄庭坚等大家都对其画作极为赞赏。许道宁性格豪放，嗜酒如命，人号“醉许”，黄庭坚更是曾在《答王道济寺丞观许道宁山水图》诗中描绘了许道宁醉中作画的神情举止",[23,78,24,25,26,58,59,30,85,7,34,175,850,37,33,851,432,852,853,854],"江水","舟楫","岸坡","秋江","渔艇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd47cf3d4177d2091033e8ed520bc3298.jpg",[],{"id":858,"slug":859,"title":860,"dynasty":330,"author":861,"museum":20,"description":862,"tags":863,"thumbUrl":864,"material":865,"size":866,"collection":64,"collections":867,"showCount":868,"zanCount":91,"manualWeight":11,"mainColor":68},237122,"xi-shan-zi-cui-tu-zhou-wang-duo-237122","溪山紫翠图轴","王铎","此幅是画家为其三弟王鑨所绘，以高远之法图写，远处雄峰峻岭，气势壮阔，中景飞瀑烟岚，尽显空灵，近处碧树流泉，生机盎然，更有文士二人坐于石上观泉品茗，实则表达出王铎希望与兄弟能安居世间、神游物外的一种愿望。王铎的山水画师承广泛，不专一家，观其作品可以看到画家在宗法五代荆浩、关仝以气势与境界奇胜为长的北方画派之外，尚能融入南方画派董源、巨然借水墨晕染烘托山川气韵之法，故而笔墨技巧变化丰富，令人眼目一新。创作中，王铎能有意避开清雅潇洒的画苑时风，落笔从容不迫，轻重缓急收放自如，凭借粗劲中见质朴的艺术面目，在明末清初的艺坛上独树一帜。是图即为画家晚年的此类佳作。",[24,25,79,58,59,30,7,34,99,37,83,38,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95d5685508e133e9c63badafd9045c0e.jpg","纸本墨笔","纵95厘米，横36.4厘米",[64,612],33,{"id":870,"slug":871,"title":872,"dynasty":73,"author":873,"museum":874,"description":875,"tags":876,"thumbUrl":877,"material":218,"size":878,"collection":64,"collections":879,"showCount":880,"zanCount":11,"manualWeight":11,"mainColor":68},218102,"xin-an-yi-yun-ce-han-zhu-shan-shui-han-zhu-218102","新安逸韵册(韩铸山水)","韩铸","香港中文大学文物馆","郑旼的 《新安逸韵图册》 是他的代表作之一，也是他的最后一部作品。这本书由三卷组成，收录了郑旼创作的大量诗歌、书法作品和图画。《新安逸韵图册》的内容丰富，涵盖了许多不同的题材，如自然风光、人物生活、历史故事等。\n\n郑旼在 《新安逸韵图册》 中结合了文字、图画和韵律，创造出了一种独特的艺术形式。他的诗歌融合了中国传统的五言绝句和七言律诗的形式，并加入了自己的创新和个人风格。郑旼的书法作品也颇具特色，他善于运用自然的笔法，使字体看起来更加流畅和优美。\n\n郑旼的 《新安逸韵图册》 被认为是一部杰出的艺术作品，对中国的文学、艺术和文化发展都产生了重要的影响。它不仅是郑旼的代表作，也是中国文学史上的一座里程",[24,25,115,28,59,30,149,34,7,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b8e42768e6ff7fa17a5e7182b49522e.jpg","30.6x20.7cm",[64],32,{"id":882,"slug":883,"title":884,"dynasty":73,"author":885,"museum":20,"description":886,"tags":887,"thumbUrl":888,"material":179,"size":889,"collection":64,"collections":890,"showCount":891,"zanCount":11,"manualWeight":11,"mainColor":68},237610,"shan-shui-zhou-wang-jian-237610","山水轴","王鉴","此幅是祝寿题材画，作者在构图上巧意安排：近景绘常青不衰有贺寿寓意的苍松以突出主题；远景绘起伏叠嶂的山峦，寓寿比南山、生命连绵持续之意。中景是清波碧水，其曲折的水面不仅为画面增添了诗意，而且将远、近景有机地相连成一体，令全图的空间层次分明，同时不失画面的完整性。",[24,58,59,79,30,149,34,147,148,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc811fcb2decec93770fba981f9fb35b6.jpg","纵155.3厘米，横86.9厘米",[64,105],31,{"id":893,"slug":894,"title":895,"dynasty":330,"author":550,"museum":144,"description":896,"tags":897,"thumbUrl":898,"material":102,"size":899,"collection":64,"collections":900,"showCount":891,"zanCount":11,"manualWeight":11,"mainColor":68},219741,"fang-ni-yun-lin-shan-shui-tu-lu-zhi-219741","仿倪云林山水图","陆治（1496年－1576年），字叔平，明代画家。吴县（今江苏苏州）人，因居包山，自号包山。倜傥嗜义，以孝友称。",[23,24,58,59,80,79,30,7,149,34,116,148,411],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cbdb0c6553b0cd9204aeeef9b88a4a8.jpg","纵136.7横32.1厘米",[64],{"id":902,"slug":903,"title":904,"dynasty":53,"author":905,"museum":75,"description":906,"tags":907,"thumbUrl":911,"material":87,"size":912,"collection":137,"collections":913,"showCount":914,"zanCount":91,"manualWeight":11,"mainColor":68},290256,"yan-lan-qiu-jian-tu-zhu-de-run-290256","烟岚秋涧图","朱德润","朱德润（公元1294年～公元1365年），元代著名画家、诗人。字泽民，号睢阳山人，又号旹杰。归德府（今河南商丘睢阳区）人。曾任国史院编修、镇东行中书省儒学提举等职。他得到了当时的刑部尚书、画坛巨匠高克恭和艺术大师赵孟頫的推崇，可见其艺术成就甚高。\n他善诗文，工书法，格调遒丽。擅山水，初学许道宁，后法郭熙，多作溪山平远、林木清森之景，重视观察自然，当北游居庸关时，尝作“画笔记行稿”。",[78,24,79,58,30,908,149,148,909,714,910,134,7],"老树","烟岚","枯木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e9766931c05722889a90dd2c2c96c59.jpg","102.6x44.3",[],30,{"id":916,"slug":917,"title":918,"dynasty":73,"author":225,"museum":213,"description":919,"tags":920,"thumbUrl":921,"material":922,"size":923,"collection":64,"collections":924,"showCount":914,"zanCount":11,"manualWeight":11,"mainColor":48},237152,"guan-shan-qiu-ji-zhou-wang-hui-237152","关山秋霁轴","清朝初年，占据画坛时间最长的是“四王”一派 ，即王时敏、 王鉴、 王原祁、 王翚四位王姓山水画代表画家。“四王”视宋元名家的笔法为最高标准，致力于临摹古画或在摹古中追求变化。他们看重笔墨，大多以古人丘壑搬前挪后，构成一种古人已经达到过的理想境界，表现平静安闲的情感状态，体现所谓“士气”与“书卷气”，却较少观察自然，描写具体感受。因为受到统治者的重视和提倡，被尊为正宗，确立了正统地位。他们分为两代人，第一代的王时敏与王鉴是大书画家董其昌的朋友；第二代的王原祁是王时敏之孙，王翚是王鉴的学生。\n《关山秋霁图》正是“四王”之一、王鉴的作品。王鉴，字玄照，号湘碧，自称染香庵主，苏州太仓人，出身于书香门第，是明代文史大家王世贞的曾孙。王鉴擅长画山水，早年曾经得到董其昌的亲自传授，画风向上追溯至五代南唐画家董源、 巨然，多拟仿宋元诸家。他擅长画青绿山水，着色妍丽，又兼长皴染画法。\n什么叫皴染呢？皴（cun村）染是中国画的一种画法。皴，是画中用来表现山石、峰峦和树身表皮的脉络纹理的画法，作画时先勾出轮廓，再用淡干墨侧笔而画；染，是用墨水或淡彩润刷画面，不露或少露笔痕，用来分辨阴阳向背，加强物象的立体感。王鉴的画作风格华润，纤细且不失雅致。他从临摹入手，但并不忽视对丘壑的形象塑造，作品比较平实。\n《关山秋霁图》是王鉴晚年效仿北宋画家范宽的山水画风格所作。此轴为吴大澂、吴湖帆递藏之物，也就是祖孙二人次第传承收藏。吴大澂在裱边处题跋“湘碧老人早年多泼墨淋漓之笔，其精细之作皆在六七十岁……其用意之缜密虽极小处无一懈笔”，写出了王鉴晚年在用笔敷色方面，绘画风格与早年不同之处。值得一提的是，吴湖帆也临摹过一幅《关山秋霁图》，为友人祝寿而作。",[24,79,58,59,30,147,148,116,134,34,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2aedd467187047bf2529e2a163cf58ec.jpg","绢本 ，墨笔","纵215.9cm，横113.8cm",[64,105],{"id":926,"slug":927,"title":928,"dynasty":73,"author":453,"museum":75,"description":929,"tags":930,"thumbUrl":934,"material":87,"size":935,"collection":137,"collections":936,"showCount":914,"zanCount":11,"manualWeight":11,"mainColor":68},214663,"qian-long-ke-si-shan-shui-gua-ping-si-zhou-2-yi-ming-214663","乾隆缂丝山水挂屏四轴-2","此四轴用挑经显纬的刻丝之法绘就仙山楼阁，有仙鹤和白云，象征着吉祥如意。在山体的岩石部分用蓝色和赭石绘制的织品，使其与丝绸和纸上的绘画完全相同，显示出乾隆时期丝绸织品的精致。",[931,28,24,30,82,7,308,263,162,932,149,933],"缂丝","瓶","水浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9418f3bf0b0fc968da053932573886c.jpg","93.8x25.6",[],{"id":938,"slug":939,"title":940,"dynasty":73,"author":885,"museum":20,"description":941,"tags":942,"thumbUrl":943,"material":137,"size":137,"collection":64,"collections":944,"showCount":945,"zanCount":11,"manualWeight":11,"mainColor":68},236460,"fang-huang-gong-wang-shan-shui-tu-zhou-wang-jian-236460","仿黄公望山水图轴","王鉴（1609-1677，旧作1598-1677），字圆照（圆字一作元，或玄，或员），一作元炤，号湘碧，别号染香庵主，因官廉州(今广西合浦县)知府，世称王廉州，江苏太仓人，为明南京刑部尚书王世贞曾孙。康熙元年后，王鉴因避讳，将玄照改为圆照，往往又写作元照、员照或元炤。王鉴与王时敏同为董其昌弟子，三人同为“画中九友”。王鉴精通画理，摹古尤长，于董源、巨然尤为深诣，被称为“后学津梁”。有清秦祖永辑录的《染香庵跋画》传世。",[24,25,79,58,59,80,30,264,83,134,7,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facf2a8130da7b657943ce3313f4b98b7.jpg",[64,105],29,{"id":947,"slug":948,"title":949,"dynasty":73,"author":950,"museum":20,"description":951,"tags":952,"thumbUrl":953,"material":204,"size":137,"collection":64,"collections":954,"showCount":945,"zanCount":11,"manualWeight":11,"mainColor":68},234719,"huang-shan-tu-ce-jiang-zhu-234719","黄山图册","江注","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。",[24,25,58,59,304,303,115,30,149,148,37,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faac352676967682ac8c718cbf1f9170a.jpg",[64],{"id":956,"slug":957,"title":958,"dynasty":330,"author":959,"museum":960,"description":961,"tags":962,"thumbUrl":963,"material":204,"size":964,"collection":137,"collections":965,"showCount":945,"zanCount":11,"manualWeight":11,"mainColor":68},234181,"shan-shui-tu-juan-zhang-fu-234181","山水图卷","张復","烟台市博物馆","张复（1403-1490）：道士。字复阳，以字行，号南山，浙江平湖人。自幼学书专法古人，能运帚作大字。径寸字极有风骨，小行楷秀整不凡。工画，山水仿吴镇，苍郁淋漓，几欲乱真。草树人物，各臻其妙。\n图绘群山之间，有楼阁高架于溪流之上，几参天古松临溪而立，松下一老者笼袖信步，二童子其后跟随。布景繁密，笔墨秀润，设色清丽。画幅中题：“洞有仙人箓，山藏太史书。”与画面内容相呼应，作于作者八十四岁时。",[23,24,25,26,58,59,30,7,31,148,34,35,147,308,411,806,432],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2e9c0cc103d6a4c046cf2fb9d13af6e.jpg","161．50x89．50cm",[],{"id":967,"slug":968,"title":969,"dynasty":53,"author":970,"museum":75,"description":971,"tags":972,"thumbUrl":975,"material":28,"size":976,"collection":64,"collections":977,"showCount":978,"zanCount":91,"manualWeight":11,"mainColor":48},221847,"ji-xue-tu-zhou-liu-guan-dao-221847","积雪图轴","刘贯道","画江山积雪，山影崷崒，其上干霄。江畔一舟，冲寒远至。全图构局雄伟，用笔泼辣而迅疾，画枯木寒枝，采取郭熙蟹爪枝的表现技法，笔力雄健。此幅旧传为刘贯道作，然画风已入明际。",[23,24,367,79,58,59,973,149,175,162,7,35,974,100,118],"积雪","寒树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb4fbd93c8effabe9b96d446d99996c5.jpg","该幅139.8x76.2公分&全幅 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360.8厘米",[],26,{"id":1004,"slug":1005,"title":1006,"dynasty":73,"author":453,"museum":20,"description":1007,"tags":1008,"thumbUrl":1010,"material":1011,"size":1012,"collection":137,"collections":1013,"showCount":1014,"zanCount":11,"manualWeight":11,"mainColor":68},223383,"nan-yue-quan-tu-yi-ming-223383","南岳全图","《南岳全图》正是以充分表现南岳秀美景色为宗旨，采用了中国传统的山水画画法，以水平方向自右向左形象生动地描绘了长沙省城、湘潭县城、衡山县城、衡州府城等省府县城池，以及寺庙名胜、古塔古木、江中行船等景色。全图色彩淡雅别致，绘制精美细腻，形象生动逼真，使人有如身临其境之感。这是现存已为数不多的南岳图中的一幅不可多得的地图。",[23,24,28,26,59,30,7,34,355,309,31,37,1009,116,147],"塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1e02d4a14616d856e621cceee56f519.jpg","彩绘","纵32厘米，横210厘米",[],25,{"id":1016,"slug":1017,"title":1018,"dynasty":73,"author":753,"museum":238,"description":1019,"tags":1020,"thumbUrl":1021,"material":137,"size":137,"collection":137,"collections":1022,"showCount":1023,"zanCount":107,"manualWeight":11,"mainColor":68},235673,"huang-shan-tu-zhou-mei-qing-235673","黄山图轴","《梅清黄山图轴》是清代画家梅清创作的一幅纸本设色画。\n图绘被世人称为“黄山绝胜处”的文殊台。\n群峰松林以平行的斜线构成，白云蒸腾而上，气势雄浑。\n作者用豪放、泼辣的笔法突出了黄山奇、峻、险、秀的意境，山石以皴勾画，繁而不乱，松树枝叶墨气浓郁，独树一帜，别开生面。\n本幅自题诗一首，款署：“瞿山梅清并题”，钤“瞿山清”白文印、“渊公”朱文印。\n梅清（1624—1697年），原名士羲，后改梅清，字渊公，号瞿山、敬亭山农，宣城（今属安徽省）人。\n清初画家、诗人。\n工诗善画，以画山水、松石、梅花著称，时有“画山水入妙品”，“松入神品”，画梅花“枝干奇古”之评。\n山水画大多是黄山景致，风格雄奇豪放，为宣城地区画坛领袖。\n梅清的山水画远承宋元诸家的遗绪，近学“元四家”和沈周的笔墨技法，又尝与石涛相互切磋画艺，故功力尤深。\n他的创作最重师法自然，曾在各地游历名山大川，终日面对青山描摹写生。\n黄山和家乡宣城是梅清绘画中最着力表现的题材。\n著有《天延阁集》、《梅氏诗略》等书。",[24,25,79,58,59,30,82,37,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e76d80fe37e232fb28534fb90d10bcd.jpg",[],24,{"id":1025,"slug":1026,"title":1027,"dynasty":128,"author":1028,"museum":1029,"description":1030,"tags":1031,"thumbUrl":1032,"material":137,"size":137,"collection":137,"collections":1033,"showCount":1034,"zanCount":11,"manualWeight":11,"mainColor":68},220510,"wan-he-song-feng-tu-huang-jun-bi-220510","万壑松风图","黄君璧","龙美术馆西岸馆","层叠峰岩以赭红晕染崖顶，苍劲古松扎根嶙峋山石间，挺秀卓立尽显风神。两道飞瀑自云端峭壁垂落，撞碎成白练跌汇入溪涧，流水穿绕矶石，带着鲜活生机破山而出。山间云气轻笼远峰，虚实掩映间晕开空濛烟岚，将雄浑山势揉进柔婉留白中。\n\n笔墨兼具北派山水的刚健苍劲与岭南画韵的秀润清灵，斧劈皴刻画出山石硬朗肌理，松针攒簇尽显苍郁意态，以动静相生的章法，将松涛与泉鸣交融的山林幽寂盛境铺展眼前，藏着天人共生的东方山水意趣。",[23,24,25,79,28,59,30,82,134,83,37,99,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bb4ec9913ffc4e9d465df3a7b1c47b3.jpg",[],23,{"id":1036,"slug":1037,"title":1038,"dynasty":73,"author":453,"museum":1039,"description":1040,"tags":1041,"thumbUrl":1044,"material":102,"size":1045,"collection":64,"collections":1046,"showCount":1034,"zanCount":11,"manualWeight":11,"mainColor":68},219980,"luan-shan-za-wu-tu-yi-ming-219980","乱山杂雾图","美国弗利尔美术馆","以水墨晕染层叠峰峦，远山隐在淡墨烟岚间，朦胧空灵似被晨雾轻裹。近崖怪石虬松错落，山坳殿宇半藏，清溪蜿蜒漱石有声，水畔幽人凭石观流。\n\n笔墨干湿互用，勾勒皴擦兼具，写意间不失精微，将朝雾初散的林泉清寂铺陈开来。呼应题画诗意，空山晓境里，仿佛能听见啄木轻响混着梵音溪声，禅意漫溢，尽揽山林静穆之美。",[23,24,58,30,79,59,303,81,7,37,162,34,83,1042,432,1043],"溪水","寺庙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F560f7ee714f936fe6b5bf9c7c3125307.jpg","107.9 × 38.5 cm",[64],{"id":1048,"slug":1049,"title":1050,"dynasty":330,"author":550,"museum":238,"description":1051,"tags":1052,"thumbUrl":1053,"material":137,"size":137,"collection":137,"collections":1054,"showCount":67,"zanCount":91,"manualWeight":11,"mainColor":68},235164,"san-feng-chun-se-zhou-lu-zhi-235164","三峰春色轴","此作以淡绛浅绘铺展春日丘壑，取高远构图，层峦奇崛苍劲，勾勒皴擦尽显山石嶙峋骨相。空阔春水横陈其间，汀渚错落，寒林带浅红新芽，村居隐于林麓溪畔，淡远清寂里暗蕴初春风光。\n笔墨秀挺劲爽，设色清简克制，只以淡赭轻染峰林枝梢，衬出春寒未褪的润雅生机，将江南早春的疏朗清远晕染纸上，意境萧散淡和，尽显文人山水雅淡出尘之致。",[24,79,58,59,30,7,34,118,116,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb50e2117ede6573ff78446f0cb4dcf51.jpg",[],{"id":1056,"slug":1057,"title":1058,"dynasty":18,"author":1059,"museum":238,"description":1060,"tags":1061,"thumbUrl":1064,"material":137,"size":137,"collection":137,"collections":1065,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":68},227418,"feng-xue-song-shan-tu-quan-juan-li-shan-227418","风雪松杉图全卷","李山","《风雪松杉图》卷，金， 李山作品，绢本墨笔，29.7cm×79.2cm，美国福利尔美术馆藏。图中一排劲松顶天立地，犹如一天然屏嶂，背景雪山寒雾之中，隐现雪竹、庭院、溪流，立意别出心裁，技法有北宋李成画风的迹象。",[23,78,24,25,26,58,28,59,304,303,81,30,807,1062,7,1063,34,149],"风雪","庭院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1de0b693786da0eb66983f3e2c958492.jpg",[],{"id":1067,"slug":1068,"title":1069,"dynasty":73,"author":225,"museum":238,"description":1070,"tags":1071,"thumbUrl":1072,"material":137,"size":137,"collection":137,"collections":1073,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":68},224453,"fu-chun-da-ling-tu-wang-hui-224453","富春大岭图","此作用高远、深远法铺陈丘壑，以云气留白切割层峦，将大岭的雄秀与幽深次第铺展。以干笔披麻皴写山石，兼施浅绛淡赭晕染，复刻元人苍润笔意，又糅合宋人丘壑的繁复精细。\n\n层岩间林泉迂曲，村居掩映于深林，林木疏密错落，枯荣相济，静穆萧散的山居意趣盈满纸面。师法富春古意却自出机杼，笔底既有山野的苍茫清旷，又带着秀整雅致的文人心韵，尽显林泉高致。",[23,24,25,79,28,30,59,7,37,34,99,83,355],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F185770931e69346f81a2ed45e421ddf6.jpg",[],{"id":1075,"slug":1076,"title":1077,"dynasty":73,"author":753,"museum":238,"description":1078,"tags":1079,"thumbUrl":1080,"material":137,"size":137,"collection":137,"collections":1081,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":48},224342,"huang-shan-tian-dou-feng-tu-mei-qing-224342","黄山天都峰图","《梅清黄山天都峰图轴》是清代梅清创作的纸本墨笔画。\n本幅款署：“十年幽梦系轩辕，身历层岩始识尊。\n天上云都供吐纳，江南山尽列儿孙。\n峰抽千仞全无土，路入重霄独有猿。\n谁道丹台灵火息，朱砂泉水至今温。\n天都峰。\n仿荆关笔意。\n瞿山梅清并题。\n”钤“瞿硎清”白文印、“渊公”朱文印。\n天都峰为黄山三大主峰之一。\n古时有“群仙所都”之称，意为天上都会，故名。\n此峰卓立地表，险峭雄奇，气势博大，最为雄伟壮丽。\n图中天都峰陡立奇险，冲出云天，山腰间云气缭绕，矮岩上的古寺为林木掩映，两位文士静立观赏山的峻峭与云的变幻。\n在艺术表现手法上，画家突出表现天都峰奇险雄秀的气势而不求形似，通过顶天立地式的布局与弥漫山间的浮云相配合，从侧面烘托了画面气氛，避免直白的艺术表现，增加了观者的空间感，展示出兼具雄浑奔放和清秀空灵的绘画风格，给人以强烈的艺术感染。\n此外，墨色的浓淡相宜既显示了画家非比寻常的绘画技巧，也使得画面完整而统一，没有杂乱无章之感。\n梅清（1624—1697年），原名士羲，后改梅清，字渊公，号瞿山、敬亭山农，宣城（今属安徽省）人。\n清初画家、诗人。\n工诗善画，以画山水、松石、梅花著称，时有“画山水入妙品”，“松入神品”，画梅花“枝干奇古”之评。\n山水画大多是黄山景致，风格雄奇豪放，为宣城地区画坛领袖。\n梅清的山水画远承宋元诸家的遗绪，近学“元四家”和沈周的笔墨技法，又尝与石涛相互切磋画艺，故功力尤深。\n他的创作最重师法自然，曾在各地游历名山大川，终日面对青山描摹写生。\n黄山和家乡宣城是梅清绘画中最着力表现的题材。\n著有《天延阁集》、《梅氏诗略》等书。",[23,24,25,30,58,59,79,7,82,37,116,432,81,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fead2c64c87e758f439ebdbbe68526dc0.jpg",[],{"id":1083,"slug":1084,"title":1085,"dynasty":330,"author":453,"museum":274,"description":1086,"tags":1087,"thumbUrl":1088,"material":62,"size":1089,"collection":64,"collections":1090,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":48},223457,"shan-shui-ce-ye-yi-ming-223457","山水册页","魏晋南北朝时期，山水画逐步摆脱了作为人物画背景的角色，并发展成为一门独立的画种。此时的山水画技法与人物画大体相似，所运用的都是勾线填彩法，即以线描勾勒出山石树木的轮廓，再用颜色渲染出其形体。从现存的宋人摹顾恺之《洛神赋图》中可以看出当时的大致风貌。山水画发展到唐代，呈现出一片繁荣的景象，画家们已不满足于只用人物画的勾线填色法来表现自然山水，新的画法竞相出现。以李思训、李昭道父子为代表的青绿山水画派，其画法是在继承了魏晋以来的山水画勾线填色法的基础上，着重以青、绿二色为主的一种风格。此画法在唐代影响较大，从学者众多，被后世认为是最能体现唐代山水画风貌的流派。南宋的赵伯驹、赵伯骕便是此画派集大成者。如《龙舟竞渡图》《仙山楼阁图》都属于继承此种风格的作品。此外李思训、李昭道亦长于楼阁界画，后世从学者众多，在宋代小品画中也有体现，如《蓬莱仙馆图》《高阁凌空图》《层楼春眺图》等。",[23,24,25,115,58,28,59,30,7,37,149,35,423],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfa61be3e6ce1f76dc236feac0ec9224.jpg","38.1×40",[64,105],{"id":1092,"slug":1093,"title":1094,"dynasty":330,"author":993,"museum":274,"description":1095,"tags":1096,"thumbUrl":1097,"material":293,"size":1098,"collection":64,"collections":1099,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":68},222230,"heng-tang-yu-xie-tu-juan-wen-bo-ren-222230","横塘雨歇图卷","全卷画层峦叠谳，千岩万壑，岗岭蜿蜒，龙脉起伏不断，峦间飞瀑如练，苍松依聚溪畔坡石。野色桥边，树石掩映，露出茅屋草亭。人物幽闲，或俯临秋水，或曳杖渡桥，或对坐观瀑，颇得游山观水之乐。署“嘉靖戊子冬日，五峰山人文伯仁。”",[23,24,25,26,28,30,59,7,134,34,31,83,216,432,37,148],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78539aa02e216d5b6930b22af81d1ea0.jpg","18x123cm",[64,45],{"id":1101,"slug":1102,"title":1103,"dynasty":73,"author":1104,"museum":238,"description":1105,"tags":1106,"thumbUrl":1107,"material":137,"size":137,"collection":137,"collections":1108,"showCount":1109,"zanCount":11,"manualWeight":11,"mainColor":68},226633,"si-shi-shan-shui-06-pu-ru-226633","四时山水06","溥儒","溥儒(1895-1963)，满族，北京人。近代国画大师，出身清皇族，姓爱新觉罗，字心畲，又号羲皇上人﹑西山逸士。曾留学德国，笃嗜诗文、书画，皆有成就。画工山水、兼擅人物、花卉及书法，昔时与张大千有“南张北溥”之誉，又与吴湖帆并称“南吴北溥”。",[23,24,25,115,58,59,30,7,34,83,148,308],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a07a1da90f3721a821c6ce420630cd0.jpg",[],20,{"id":1111,"slug":1112,"title":1113,"dynasty":18,"author":1114,"museum":75,"description":1115,"tags":1116,"thumbUrl":1117,"material":120,"size":1118,"collection":612,"collections":1119,"showCount":1109,"zanCount":11,"manualWeight":11,"mainColor":68},221682,"chi-bi-tu-juan-quan-juan-wu-yuan-zhi-221682","赤壁圖卷全卷","武元直","系根据宋代文学家苏轼的《赤壁赋》创作而成。画面长江浩荡，烟波渺茫，两岸峭壁陡立，山势险峻延绵，山顶崖岸间树木葱茏，江中一舟顺流而下，苏轼及同游诸友对坐舱中饮酒，形象地再现了苏轼携友乘舟夜游赤壁(即黄州赤鼻矶)的情景，表现了苏轼受诬遭贬黄州后的清闲生活和豁达胸怀。",[23,24,25,26,30,58,59,304,303,7,554,100,34,83,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F484f34a336a6c9ed140b16b6ef47561c.jpg","纵50.8厘米，横136.4厘米",[612],{"id":1121,"slug":1122,"title":884,"dynasty":73,"author":1123,"museum":20,"description":1124,"tags":1125,"thumbUrl":1126,"material":137,"size":137,"collection":64,"collections":1127,"showCount":1128,"zanCount":11,"manualWeight":11,"mainColor":48},236413,"shan-shui-zhou-mei-geng-236413","梅庚","清初著名画家、诗人梅庚（1640—1716），原名以庚，一字藕长、子长，号雪坪、雪坪子，又号听山翁。梅庚的曾祖父是大戏剧家、诗人、藏书家梅鼎祚。他的父亲梅朗中是复社名士，善于书画诗文，在当时被称为“三绝”，可惜36岁就英年早逝。\n梅庚（1640—1716），字子长，号雪坪，又号听山翁 清朝，安徽宣城人。梅清从孙。康熙二十年（一六八一）举人，官泰顺知县。善篆、隶，画山水、花卉，脱略凡格，不宗一家，偶尔落笔，韵致翩然。兼工白描人物。康熙三十六年（一六九七）尝作山水扇，今藏故宫博物院。工诗，著《吴市吟》《山阳笛漫兴集》《玉笥游草》，临卒作诗，署曰《推枕吟》。",[24,25,79,58,59,30,7,134,34,35,116,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8715f76cda3e05968cada9cadfa0b11.jpg",[64,105],19,{"id":1130,"slug":1131,"title":1132,"dynasty":73,"author":225,"museum":238,"description":1133,"tags":1134,"thumbUrl":1135,"material":137,"size":137,"collection":137,"collections":1136,"showCount":1128,"zanCount":11,"manualWeight":11,"mainColor":68},224444,"fang-li-cheng-xue-ji-tu-wang-hui-224444","仿李成雪霁图","此作用淡墨晕染山石，以留白托出积雪的莹白蓬松，将雪裹山峦的厚重萧寒尽数铺展。枯木虬枝劲挺错落，枝梢缀着残雪，溪面凝冰仍暗藏水意潺潺，悬瀑似冻未绝，于冷寂间暗寓生机。\n\n整幅画作尽得冬日空山的清寂辽远，师法宋人笔意，苍浑之中兼具秀润雅致，把雪后山川的荒寒冷寂，晕化为淡逸悠远的诗意，令人恍若置身冰封雪覆的空山，浸溺在这份清绝尘嚣的静谧之中。",[23,24,25,79,80,58,59,30,177,7,83,34,134,973,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9125d4abb2b29d2399e2e24c79ab71e9.jpg",[],{"id":1138,"slug":1139,"title":1140,"dynasty":73,"author":198,"museum":20,"description":681,"tags":1141,"thumbUrl":1142,"material":357,"size":685,"collection":137,"collections":1143,"showCount":1128,"zanCount":11,"manualWeight":11,"mainColor":68},220306,"huang-shan-tu-ce-21-hong-ren-220306","黄山图册-21",[23,24,25,30,115,58,28,59,7,411,82,162,37,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb293f3d4e7ddae656d41c4cbe335d40d.jpg",[],{"id":1145,"slug":1146,"title":1147,"dynasty":53,"author":259,"museum":75,"description":1148,"tags":1149,"thumbUrl":1151,"material":1152,"size":1153,"collection":137,"collections":1154,"showCount":1155,"zanCount":11,"manualWeight":11,"mainColor":48},232266,"qun-feng-qiu-se-tu-gao-ke-gong-232266","群峰秋色图","画中峰峦多用淡墨浅色皴染，主峰用墨最重，山顶并缀以横笔“米点”，有水墨淋漓之趣。石绿、石青之渍染润厚秀雅，显得峰峦更为浑厚稳重。",[24,25,79,58,28,59,367,7,85,37,34,1150,149,498,116,908],"秋色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd24f2fae530aea5dd8da8ae53c3bd081.jpg","绢本,水墨","该幅159.9x104.8公分；全幅105.8公分",[],18,{"id":1157,"slug":1158,"title":1159,"dynasty":73,"author":198,"museum":20,"description":681,"tags":1160,"thumbUrl":1161,"material":357,"size":685,"collection":137,"collections":1162,"showCount":1155,"zanCount":11,"manualWeight":11,"mainColor":68},220324,"huang-shan-tu-ce-6-hong-ren-220324","黄山图册-6",[23,24,58,30,115,59,7,82,99,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F444eb2f5d664d438978d3574031f3a9d.jpg",[],{"id":1164,"slug":1165,"title":1166,"dynasty":73,"author":198,"museum":20,"description":681,"tags":1167,"thumbUrl":1168,"material":357,"size":685,"collection":137,"collections":1169,"showCount":1155,"zanCount":11,"manualWeight":11,"mainColor":68},220317,"huang-shan-tu-ce-12-hong-ren-220317","黄山图册-12",[23,24,25,78,115,58,28,59,30,7,82,37,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3b54d3c4af734c0a0632bca860be3cf.jpg",[],{"id":1171,"slug":1172,"title":1173,"dynasty":18,"author":847,"museum":75,"description":1174,"tags":1175,"thumbUrl":1178,"material":62,"size":1179,"collection":137,"collections":1180,"showCount":1181,"zanCount":11,"manualWeight":11,"mainColor":48},290299,"hua-xue-jing-zhou-xu-dao-ning-290299","画雪景轴","崇山峻岭，峰峦积雪，百木俱凋，苍松挺立。雪江中，渔夫披簑垂钓，溪畔上，三人围炉饮酒。通幅以墨渲染水天，更觉阴冷萧瑟。",[24,367,79,177,7,175,1176,59,58,1177],"寒林","萧瑟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff213122db4f95a5a16f09c320c5b6ab0.jpg","169.2x103.2",[],17,{"id":1183,"slug":1184,"title":1185,"dynasty":330,"author":375,"museum":238,"description":1186,"tags":1187,"thumbUrl":1188,"material":413,"size":414,"collection":137,"collections":1189,"showCount":1190,"zanCount":11,"manualWeight":11,"mainColor":68},228446,"mo-li-tang-zhong-jiang-die-zhang-tu-chou-ying-228446","摹李唐重江叠嶂图","绘大江高岭，长松红枫，游人往来于山中茅舍，一派江村深秋美景，览之忘世外之情。设色雅静，用笔精诣，是仇英传世摹古浅绛山水精品。",[23,24,25,26,29,28,80,30,850,7,34,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5a57fdde2240683083bccd12c1185c9.jpg",[],16,{"id":1192,"slug":1193,"title":1194,"dynasty":73,"author":1195,"museum":158,"description":1196,"tags":1197,"thumbUrl":1198,"material":1199,"size":1200,"collection":137,"collections":1201,"showCount":1202,"zanCount":11,"manualWeight":11,"mainColor":68},231350,"fang-gao-fang-shan-shan-shui-tu-wang-fang-231350","仿高房山山水图","汪昉","清代绘画,在同时期的政治、经济、思想、文化诸因素的影响下,呈现出特定的时代风貌。它承接元、明以来的趋势发展,士大夫文人画日益占据画坛主流,在明代后期形成的诸画派,到此时更是分支繁衍。清代历朝皇帝,大多爱好绘画艺术,倡导社会风气,使更多的人热心投入画家的行列。全清有史可稽的画家,多至近六千人,可谓繁盛。总的看来,以山水画、花鸟画比较发达,成绩较好,人物画次之。其发展大致可分为前、中、后三个时期。\n前期(顺治至康熙中),受皇室扶植的 四王 画派,以王时敏、王鉴、王翚、王原祁为代表,成为画坛的正统派,他们以摹古为主旨,崇尚董其昌和元四家,讲究笔墨趣味,技巧功力超卓,但缺少鲜活的生趣。他们的山水画风影响到整个有清一代。同时的江南地区,却出现了一批反正统的画家,他们大多是明末遗民,政治上不与清统治者合作,艺术上反对陈陈相因,主张抒发个性,所以作品往往感情真挚强烈,风格独特新颖。代表画家有弘仁、髠残、朱耷、石涛合称的 四僧 ,以龚贤为首的 金陵八家 ,以弘仁、查士标、梅清为代表的 新安派 等。其中 四僧 的成就最为突出,给后世的有益影响也更大。中期(康熙晚年至乾隆、嘉庆年间),随着政权的巩固、疆域的统一、社会的安定,经济的繁荣,出现了 康、乾盛世.此时宫廷绘画在皇室扶植下活跃一时,内容和形式都比较多样,人物画的成就显著。而经济发达的扬州出现以 扬州八怪 为代表的 扬州画派 ,他们接过石涛、朱耷 反正统 的旗帜,以革新的面貌出现于画坛,用绘画抒发自己郁懑愤激的情怀,表达心灵高洁的向往,形式上意到笔随,狂放怪异,不拘一格,作品具有鲜明的个性,对近代和现代的花鸟画都产生深远的影响。\n后期(道光至宣统),中国逐渐沦为半封建半殖民地的社会,画坛也发生了急剧变化。怡情养性的士大夫文人画日见衰微,而在辟为通商口岸的商业城市上海、广州,分别出现了以赵之谦、任颐、吴昌硕为代表的 海上画派 和由居巢、居廉首创的 岭南画派 ,开拓了文人画的途径,以新颖活泼的面貌,博得广大市民阶层的喜爱,直接启导了近代和现代的画风。\n《仿高房山云山图轴》描绘的是江南春天雨后的山村景色:近处坡石高树,茅舍旁柳丝飘拂,小桥边溪水潺潺,远处峰峦高耸,丛树幽深,白云浮动。此图云山采用元人高克恭法,横点皴染,并用焦墨破醒,富有厚重的感觉。构图以高远兼平远,得遥深飘渺之意。由于他受到皇室青睐,政治地位显赫,当时追随他的人很多,遂形成娄东派,主要画家有唐岱、董邦达、黄鼎等人。唐岱出王原祁门下,兼法宋元,笔墨工稳深沉。董邦达上追董其昌、黄公望,兼承王鉴、王原祁遗意。黄鼎多用干笔皴擦,淡墨渴染,有苍郁之趣,发展了王原祁的干笔画法。",[23,24,58,79,30,59,80,147,148,116,908,7,134,432],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b83397f21c92d94a99103bc798b15a1.jpg","设色纸本","110cmx55cm",[],15,{"id":1204,"slug":1205,"title":1206,"dynasty":73,"author":248,"museum":20,"description":575,"tags":1207,"thumbUrl":1208,"material":1209,"size":1210,"collection":137,"collections":1211,"showCount":1212,"zanCount":11,"manualWeight":11,"mainColor":68},235005,"yuan-ji-shan-shui-tu-ce-shi-tao-235005","原济山水图册",[24,58,30,100,59,34,7,37,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbd784b91f6631c5f760dc9d90bdcebb.jpg","纸本 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横688cm",[],{"id":1224,"slug":1225,"title":1226,"dynasty":330,"author":1227,"museum":238,"description":1228,"tags":1229,"thumbUrl":1230,"material":137,"size":137,"collection":137,"collections":1231,"showCount":1212,"zanCount":11,"manualWeight":11,"mainColor":68},228353,"hu-zhou-shi-ba-jing-yu-tai-feng-song-xu-228353","湖州十八景－玉台峰","宋旭","危崖之上古松虬劲，松针层叠如翠盖，崖间曲径蜿蜒，三两行人策杖徐行，野趣悠然。浩渺烟波铺陈于眼前，水天相接处帆影轻漾，远山黛色晕染朦胧，尽展江南山水温润灵秀之态。\n\n笔墨苍劲老辣，干笔皴擦勾勒崖石肌理，写松则笔致灵动，尽显古松凌云傲骨。设色浅淡雅致，将水墨清寂与设色明润相融，藏登临纵目的快意于丘林烟水之间，带着萧散意趣，把凭高远眺的胜景晕染得悠远澹泊，尽显清旷悠然的山水意境。",[23,78,24,25,28,59,81,30,7,908,82,432,423,498,117,308],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58a89a51f78f356e57a9d3dcd1e9812e.jpg",[],{"id":1233,"slug":1234,"title":1235,"dynasty":73,"author":828,"museum":20,"description":1236,"tags":1237,"thumbUrl":1238,"material":1239,"size":1240,"collection":137,"collections":1241,"showCount":1212,"zanCount":11,"manualWeight":11,"mainColor":48},223145,"shi-wan-tu-ce-9-ren-xiong-223145","十万图册9","《十万图》册是任熊晚年创作的10幅山水精品，因题目均以“万”字起首而得名，即“万卷诗楼”、“万点青莲”、“万峰飞雪”、“万笏朝天”、“万竿烟雨”、“万松叠翠”、“万林秋色”、“万壑争流”、“万丈空流”、“万横香雪”，以寓至多尽善、完满俱足之意。该图册多取材于苏州太湖一带的山水而内容又有所扩大，如“万笏朝天”、“万横香雪”即以苏州天平山和香雪海为素材，“万点青莲”描绘的应是杭州西湖的景色，而“万丈空流”、“万竿烟雨”则是想象中的海岛和潇湘奇景。总之，画家是以“十”、“万”来概括天下美景与赏心乐事。作品笔法细腻，构思精微，意境深邃，并富有装饰趣味，于写实中充满浪漫情调。尤其是作者充分运用金笺纸的底色作用，使青绿设色逾显得绚丽多彩，浓艳华贵而不失雅逸的艺术效果。",[23,24,28,27,29,59,115,30,149,34,134,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16d728f0cbb935384c6ccb8053cd6f93.jpg","泥金笺，设色","纵26.3厘米，横20.5厘米",[],{"id":1243,"slug":1244,"title":1245,"dynasty":73,"author":198,"museum":20,"description":681,"tags":1246,"thumbUrl":1247,"material":357,"size":685,"collection":137,"collections":1248,"showCount":1212,"zanCount":11,"manualWeight":11,"mainColor":68},220296,"huang-shan-tu-ce-30-hong-ren-220296","黄山图册-30",[23,24,25,78,115,58,28,59,30,683,7,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c09aaaaede0cee18cd178663a3a981b.jpg",[],{"id":1250,"slug":1251,"title":1252,"dynasty":18,"author":1253,"museum":75,"description":1254,"tags":1255,"thumbUrl":1256,"material":62,"size":137,"collection":137,"collections":1257,"showCount":1212,"zanCount":11,"manualWeight":11,"mainColor":68},218671,"xi-hu-shi-jing-tu-liang-feng-cha-yun-ye-xiao-yan-218671","西湖十景图-两峰插云","叶肖岩","画面以淡墨晕染湖山底色，双峰对峙如黛，破云而出，尽显“插云”之姿。云雾以留白与淡墨交织，虚虚实实间，峰峦似隐似现，缥缈若仙境。近处亭台依水而立，屋宇线条简练精巧，与远山朦胧影相映成趣。左侧书法笔意流畅，墨色浓淡相宜，诗画相融，更添文人雅致。整幅作品以简驭繁，用清逸之笔勾勒西湖山水的空灵悠远，将两峰插云的朦胧意境凝于尺幅。观之如临西子湖畔，见双峰在云间若隐若现，心随景远，顿生悠然之思，尽显宋画清雅秀逸之态。",[23,24,25,115,58,28,30,7,37,162,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F621724a098a46f28b1031499dc6f3bd9.jpg",[],{"id":1259,"slug":1260,"title":1261,"dynasty":73,"author":198,"museum":238,"description":1262,"tags":1263,"thumbUrl":1265,"material":413,"size":414,"collection":137,"collections":1266,"showCount":1267,"zanCount":11,"manualWeight":11,"mainColor":68},235612,"hong-ren-shan-shui-ce-hong-ren-235612","弘仁山水册","弘仁（1610—1663年），俗姓江，名韬，字六奇，出家后释名弘仁，号渐江学人，又号无智、梅花古衲，安徽歙县人。明亡后入武夷山为僧，云游各地后回歙县，住西郊太平兴国寺和五明寺，常往来于黄山、白岳之间。善画山水，早年从学于孙无修，中年师萧云从。其画取法元代倪瓒、黄公望，构图洗练简逸，笔墨苍劲整洁，善用折带皴和干笔渴墨。他重视师法自然，善画黄山、武夷山诸景，传达山川之美，意境伟峻秀逸，“得黄山之真性情”，与石涛、梅清同成为“黄山画派”的代表人物。在安徽与查士标、孙逸、汪之瑞并称“海阳四家”，形成“新安派”。同时，与石涛、八大、髡残合称“清初四僧”。",[24,25,58,59,30,303,304,7,34,35,60,149,1264],"水墨画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48b314950d8ff3a520a30e7311eeaa3f.jpg",[],13,{"id":1269,"slug":1270,"title":1271,"dynasty":330,"author":1272,"museum":238,"description":1273,"tags":1274,"thumbUrl":1282,"material":204,"size":137,"collection":137,"collections":1283,"showCount":1267,"zanCount":91,"manualWeight":11,"mainColor":68},234183,"shan-shui-juan-chen-lian-234183","山水卷","陈廉","陈廉（？－？），字威如，直隶大名府元城县人，民籍，明朝政治人物\n顺天府乡试第八十二名，万历十一年（1583年）癸未科会试第二百八名，登二甲第四十四名进士\n曾祖陈绶，曾任知府；祖父陈鸿雷，曾任镇抚；父陈秉忠，曾任王府审理正。母刘氏",[23,24,25,26,58,30,59,1275,1276,34,37,7,83,1277,812,99,1278,423,1279,38,1280,530,175,1281,60,216],"山","水","远岫","丘壑","坡地","层峦叠嶂","平畴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8a358cb8317b17bc86b3b68fad90017.jpg",[],{"id":1285,"slug":1286,"title":1287,"dynasty":1288,"author":1289,"museum":238,"description":1290,"tags":1291,"thumbUrl":1293,"material":413,"size":414,"collection":137,"collections":1294,"showCount":1267,"zanCount":11,"manualWeight":11,"mainColor":68},231790,"ming-qing-ri-ben-gu-hua-fen-ben-shan-shui-juan-he-guo-xiao-zhai-231790","明清日本古画粉本-山水卷","不详","河锅晓斋","河鍋曉齋是日本幕末至明治時期的浮世絵師。評論家認為他是「一個獨立的帶有個人主義的，可能是傳統日本畫的最後大師」。",[23,24,26,58,28,30,7,37,34,1292,177,31],"花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d12f5d72d96918e6b40bcf86252f60d.jpg",[],{"id":1296,"slug":1297,"title":1298,"dynasty":73,"author":885,"museum":238,"description":1299,"tags":1300,"thumbUrl":1302,"material":413,"size":414,"collection":137,"collections":1303,"showCount":1267,"zanCount":11,"manualWeight":11,"mainColor":48},224475,"jiu-feng-du-shu-tu-zhou-wang-jian-224475","九峰读书图轴","图绘崇山峻岭，苍松平溪，一高士在茅舍内读书。其展卷吟诵的细微举止点明了惬意“读书”的创作主题，寄托着画家的隐逸思想。本幅构图为高远法取势，山脚松木以工整的线条精心刻画，显现出作者以线造型的能力。山顶处以浓墨戳点，有浑点、破竹点、胡椒点、破墨点等，灵活多变的各种点法增强了江南山峦湿润华滋、沉郁深秀的气象。山石的脉络是以元人王叔明（即王蒙）典型的解索皴表现，其拖墨而下，屈曲密集的线条与山石的陡峭走向相一致，增强了山体的雄伟之势。此图堪称王鉴仿王叔明的佳作，全面地展示了其对王蒙画法得心应手的娴熟的运用程度。",[23,78,24,25,79,58,30,59,82,7,149,1301,148,34],"小屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee4c33a56f8a8f213d47350c092aa3c8.jpg",[],{"id":1305,"slug":1306,"title":1307,"dynasty":73,"author":1308,"museum":238,"description":1309,"tags":1310,"thumbUrl":1312,"material":137,"size":137,"collection":137,"collections":1313,"showCount":1267,"zanCount":11,"manualWeight":11,"mainColor":68},224192,"ge-shui-yin-chuang-tu-zhou-hua-yan-224192","隔水吟窗图轴","华嵒","《馆藏精品选（上海博物馆4共张）\u002F东方画谱》是218年文物出版社出版的图书，作者是（元）张中，[清] 高岑，华喦。\n本书共收录了部画作，包括：《隔水吟窗图轴》《芙蓉鸳鸯图》《江山无尽图》。\n《隔水吟窗图轴》采用平远构图法，画法运用没骨法，描绘了秀美的江南山水景色。\n远山用云海烘托，宽广的江面用留白法来衬托。\n近景树木高挺，枝繁叶茂。\n江岸上有茅屋几间，隐逸者于舍内休憩，观赏院中的丹顶鹤，此情此景，给人心旷神怡如入仙境之美感。\n《芙蓉鸳鸯图》描绘了鸳鸯戏水的情景。\n画中溪水缓缓而流，一对鸳鸯在清波中嬉游。\n雄鸟低头弄波，雌鸟仰头鸣叫。\n岸边野花丛生，与水草交错其间，石旁长着一棵枝繁叶茂、花开争艳的芙蓉树，整幅画面显得唯美秀雅。\n张中用笔细致圆柔，以淡墨勾出芙蓉花瓣，再稍作晕染，用笔简括，显得活灵活现，生动清艳。\n再用浓墨描绘芙蓉叶之向背，有没骨之韵，叶脉清晰可见。\n山石略以苔点修饰，具有唐代画风。\n《江山无尽图》兼用多种构图法绘制而成，有马远“一角式”构图法和郭熙的“三远法”构图法。\n描绘了江南山清水秀、风和日丽的美景。\n画面群山连绵，树木繁茂，百草复苏，一派春意盎然之景象。\n高山流水、水村人家、茅屋楼阁、渔舟泛江，所有景致，无不生动。\n设色淡雅，用笔圆润，无尽之江山景色，尽收眼底。\n《隔水吟窗图轴》 《芙蓉鸳鸯图》 《江山无尽图》 华喦（1682—1756），一作华岩，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、白沙道人、离垢居士等。",[23,24,25,79,28,29,30,34,35,147,148,100,37,7,82,1311],"竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F249d982ffce7384142d527b785ca8c69.jpg",[],{"id":1315,"slug":1316,"title":1206,"dynasty":73,"author":248,"museum":20,"description":575,"tags":1317,"thumbUrl":1319,"material":1209,"size":1210,"collection":137,"collections":1320,"showCount":1321,"zanCount":11,"manualWeight":11,"mainColor":68},235006,"yuan-ji-shan-shui-tu-ce-shi-tao-235006",[24,25,58,30,59,303,115,7,149,1318],"书法题字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ec9d3f7466864419bc306fe52d74c45.jpg",[],12,{"id":1323,"slug":1324,"title":1325,"dynasty":73,"author":753,"museum":238,"description":1326,"tags":1327,"thumbUrl":1331,"material":413,"size":414,"collection":137,"collections":1332,"showCount":1333,"zanCount":11,"manualWeight":11,"mainColor":68},283626,"huang-shan-san-shi-liu-feng-tu-juan-mei-qing-283626","黄山三十六峰图卷","梅清（1623---1697），字渊公，号瞿山，安徽宣城人。生于明熹宗天启三年（1623年），卒于清圣祖康熙三十六年（1697年）。",[23,24,25,26,78,367,58,28,59,303,1328,304,81,1329,7,149,1330],"草书","黄山","林木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd8bad92c70028501261096bc6d435b4.jpg",[],11,{"id":1335,"slug":1336,"title":1337,"dynasty":73,"author":1338,"museum":238,"description":1339,"tags":1340,"thumbUrl":1342,"material":137,"size":137,"collection":137,"collections":1343,"showCount":1333,"zanCount":11,"manualWeight":11,"mainColor":48},235815,"bian-di-chun-se-zhou-fu-shan-235815","汴堤春色轴","傅山","此作用笔简率纵逸，枯淡萧疏间晕染早春意趣。近岸奇石嶙峋，寒枝虬曲错落，淡彩轻点枝梢，暗透初萌春色；中景水榭孤舟静泊，山寺隐于林间，愈显清寂安闲。远景峰峦以枯笔皴擦，简淡空灵，不着浓墨便将山石苍莽质感晕开。\n\n整幅画作脱略形似，以意驭笔，将早春料峭荒寒里的疏朗生机藏于淡墨轻岚间，借林泉丘壑寄寓幽远襟怀，简而不寡淡而有味，尽显文人画重意趣的特质，藏着画者寄情山水的雅致心性。",[24,79,58,59,30,7,83,908,1341,162,34],"枯枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcba132a5e459634108c4ac7de4013e2e.jpg",[],{"id":1345,"slug":1346,"title":949,"dynasty":73,"author":753,"museum":20,"description":1347,"tags":1348,"thumbUrl":1349,"material":204,"size":1350,"collection":137,"collections":1351,"showCount":1333,"zanCount":11,"manualWeight":11,"mainColor":68},233891,"huang-shan-tu-ce-mei-qing-233891","黄山位于安徽省南部，歙县西北，山脉绵延三百余里，拥有72峰，以奇松、怪石、云海、温泉“四绝”名闻于世。清初安徽地区的著名画家弘仁、梅清、石涛等多以黄山奇景入画，形成了“黄山画派”。其中，梅清笔下的黄山以气势取胜，不同凡响。\n这套《黄山图》册是梅清晚年的精心之作。全册共八开，分别绘天都峰、莲花峰等黄山８景，或孤峰千仞，或云海茫茫，或苍松蔽日，或雄关峻岭，景色各异，气象万千。梅清画黄山之法有三，一以线条勾勒为主，二以墨色渲染为重，三是融勾勒与渲染为一炉。此图册便是采用第三种方法绘制而成。\n梅清的山水画远承宋元诸家的遗绪，近学“元四家”和沈周的笔墨技法，又尝与石涛相互切磋画艺，故功力尤深。他的创作最重师法自然，他曾在燕、吴、齐、楚之地游历名山大川，终日面对青山描摹写生。黄山和家乡宣城是梅清绘画中最着力表现的题材。在《赠慕潭黄山十六景》册上，他自题“余游黄山，凡有笔墨，大半皆黄山矣。”可见他对黄山景色用功之勤。梅清图写黄山自写生入手，又加入自己的主观感受，再以豪放、泼辣的用笔，突出黄山奇、峻、险、秀的意境，独树一帜，别开生面。",[24,25,115,58,28,30,59,304,81,7,264,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F291696afa7319434a5c86ab9e6c655f8.jpg","纵26厘米，横33厘米",[],{"id":1353,"slug":1354,"title":1355,"dynasty":73,"author":1356,"museum":20,"description":1357,"tags":1358,"thumbUrl":1359,"material":179,"size":1360,"collection":137,"collections":1361,"showCount":1362,"zanCount":11,"manualWeight":11,"mainColor":68},235025,"shan-shui-ce-wu-li-235025","山水册","吴历","此图册布局饱满，笔墨苍拙，文人画气息浓郁，具有作者所追求的“神逸”韵味。无年款，从书画笔法来看，应为吴氏晚年画作精品。\n第一开：自识：“月中疏处最秋多，叶叶斜斜映浅波。曾折长条赠行客，只今黄落未归何。予秋柳诗也，并书。墨井道人。”钤“延陵”、“墨井” 朱文印二方。\n第二开：自识：“远岫接烟光，斜阳在钓航。众渔归已尽，独自过横塘。东楼暑薄写此。墨井。”钤“渔山”朱文印二方。\n第三开：自识：“林鸠唤雨不成雨，山鹊呼晴亦未晴。尽日声声是何意，欲催泼墨米图成。梅雨乍霁。延陵历。”钤“吴历”朱文印、“吴历之印”白文印。\n第四开：自识：“春事已云莫，落花门外无。何为井上树，四月尚如枯。渔山子。”钤“渔山”、“墨井”朱文印二方。\n第五开：自识：“墨井道人雨窗拟古，竹醉日。”钤“延陵”、“墨井” 朱文印二方。\n第六开：自识：“萧萧踈踈，木落草枯。空山无人，夜吼於菟。墨井道人。”钤“吴历之印”白文印、“延陵”朱文印。\n第七开：自识：“写元人画，大抵要简澹趣多，曲折有韵。五月小尽日，墨井历。”钤“吴历”、“渔山” 朱文印二方。\n第八开：自识：“石激水流处，天寒松色间。墨井道人。”钤“渔山”、“墨井” 朱文印二方。\n第九开：自识：“前人草草涂抹，自然天真绚烂。小重阳后一日，渔山子。”钤“延陵”朱文印、“吴历之印”白文印。\n第十开：自识：“不是看山定画山，的应娱老不知还。商量水阔云多处，随意茆茨着两间。墨井道人从上洋归，写于东楼。”钤“吴历之印”白文印、“延陵”朱文印、“墨井”朱文印。\n鉴藏印有“虚斋审定”、“莱臣心赏”等17方。",[78,24,25,115,58,28,30,7,34,100,37,81,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4512c003399075cc8ca9078c54db47a0.jpg","23.2厘米，横28厘米",[],10,{"id":1364,"slug":1365,"title":1366,"dynasty":330,"author":1367,"museum":20,"description":1368,"tags":1369,"thumbUrl":1370,"material":357,"size":1371,"collection":137,"collections":1372,"showCount":1362,"zanCount":11,"manualWeight":11,"mainColor":68},232961,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232961","文徵明山水册","文徴明","根据图册末页张风翼等人的跋得知，此图册是文徴明为教授徒弟朱朗而绘制的山水画作，其中有他摹学五代董源、巨然的笔法，亦有他师法元四家黄公望、王蒙、倪瓒等人的笔墨。",[24,25,115,58,59,303,81,30,7,34,148,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3286f6a78c1eeff4fe8f6820da3f1413.jpg","28.5×15.8厘米",[],{"id":1374,"slug":1375,"title":1376,"dynasty":73,"author":225,"museum":238,"description":1377,"tags":1378,"thumbUrl":1379,"material":137,"size":137,"collection":137,"collections":1380,"showCount":1362,"zanCount":11,"manualWeight":11,"mainColor":1381},231000,"fang-dong-bei-yuan-shan-shui-tu-wang-hui-231000","仿董北苑山水图","此作以披麻皴写山峦层叠，淡墨晕染出烟雨空濛的江南氤氲之态，高远与平远景致相融，铺陈出山水的幽深阔远。苍松杂木错落点缀于岩岫间，山脚村居田舍隐现，将烟火气融于林泉丘壑，让幽寂山水多了几分温润生机。\n笔墨苍秀温润，皴擦尽显山石浑厚质感，淡墨轻染晕化出云气浮动的朦胧意境，既保有师法对象的平淡天真，又糅合自身清丽工致的笔意，将江南山水的静穆悠远诠释尽致，氤氲出文人山水独有的雅致闲澹之韵。",[23,24,25,30,58,59,80,7,34,149,37,38,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe42c82dcbca07f113bc6bb5f1e5aee9.jpg",[],"F48FB1",{"id":1383,"slug":1384,"title":1385,"dynasty":73,"author":198,"museum":20,"description":681,"tags":1386,"thumbUrl":1387,"material":357,"size":685,"collection":137,"collections":1388,"showCount":1362,"zanCount":91,"manualWeight":11,"mainColor":68},220279,"huang-shan-tu-ce-45-hong-ren-220279","黄山图册-45",[23,24,25,30,115,58,59,7,82,162],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa132847aaeea9e72131397153387266a.jpg",[],{"id":1390,"slug":1391,"title":1392,"dynasty":330,"author":453,"museum":238,"description":1393,"tags":1394,"thumbUrl":1395,"material":413,"size":414,"collection":137,"collections":1396,"showCount":1397,"zanCount":11,"manualWeight":11,"mainColor":68},239357,"ming-ren-fang-huang-gong-wang-jiu-feng-xue-ji-tu-juan-yi-ming-239357","明人仿黄公望九峰雪霁图卷","此作以水墨晕开雪后丘壑，留白铺陈皑皑雪意，山峦素裹、枯木错落，村居隐于岩畔，萧寒清寂尽现冬日山林的荒寒淡远。长卷书画合璧，题跋行笔苍劲雅致，文辞与山水意趣相融，托寄文人静穆观照的审美本心。\n\n仿作追摹原作的极简萧寒，以淡墨晕染山石肌理，以空为雪，尽显元人山水萧散简远之致，借古抒怀，以笔墨写胸中丘壑，将群峰雪后岑寂空灵的意境复刻淋漓，尽显文人山水的雅逸风神，是一件颇具意韵的仿古佳制。",[23,24,25,26,58,59,80,304,303,81,30,7,174,34,83,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d1ba8894fb65bed006c1b198de90cf2.jpg",[],9,{"id":1399,"slug":1400,"title":1401,"dynasty":73,"author":453,"museum":20,"description":1402,"tags":1403,"thumbUrl":1404,"material":1405,"size":1406,"collection":137,"collections":1407,"showCount":1397,"zanCount":11,"manualWeight":11,"mainColor":48},234909,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234909","唐岱小园闲咏图册","唐岱（1673—1752后），字毓东，号静岩，又号默庄，满洲正蓝旗人。康熙中以荫官参领。从王原祁学画，丘壑似王原祁，远宗宋人，“泼墨淋漓，气韵生动”。康熙后期常将其召入宫中作画，品题其画为当时第一手，赐称“画状元”。\n第一开：曲径通幽。对开题：“为隔尘氛远，应怜曲径长。迂回山势抱，逦迤竹垣藏。鹤歩苔痕合，春归花气香。板桥流水外，别有读书堂。”\n第二开：芳屿围棋。对开题：“乘兴步芳屿，逍遥任所之。已看苔作席，最爱柳成帷。漫煮蒙溪茗，闲抛赌墅棋。东山称盛事，吟望寄遐思。”\n第三开：桃溪步履。对开题：“山桃开也未，杖策试探寻。好景春来遍，芳溪曲处深。明霞千树叠，傍水一枝临。何必武陵路，随缘物外心。”\n第四开：竹坞春深。对开题：“闲过山坞里，粉脱见新篁。劲节当春绿，踈竿泛籁长。萧骚寒雨夜，彷佛辋川庄。不肯裁为管，无劳引凤凰。”\n第五开：芳港闻莺。对开题：“春色堂堂去，莺声恰恰来。缗蛮听处涩，风景暗中催。长日慵摊饭，新缸喜拨醅。笙簧随分有，何必舞三台。”\n第六开：春湖涵碧。对开题：“碧水漾平湖，空明一镜铺。须眉应可鉴，尘壤杳然无。点点浮青荇，双双下白鳬。春风浴沂水，视此意何殊。”\n第七开：石坂烹云。对开题：“敲火乌卿炽，烹云玉液清。龙团曾未点，鱼目已旋生。漫说肠堪润，应知眼倍眀。披襟成小啜，孤鹤一声鸣。”\n第八开：广厦冰壶。对开题：“天伏三庚永，堂开六月凉。深深屏隔暑，叠叠簟含霜。底事挥纨扇，无劳问蔗浆。冰壶供坐卧，乐意自相忘。”\n第九开：镜水荷香。对开题：“半夜芙蓉雨，三间水月楼。清香随处度，风景一时收。干密妨鱼跃，花深隐鹭游。诗情频入座，不必问渔舟。”\n第十开：月楼夕幌。对开题：“雨洗尘氛静，天空花鸟闲。月楼开一面，夕幌卷千山。牧笛耳边过，征鸿眼里还。桂香依旧发，付与阿谁攀。”\n第十一开：兰桡独钓。对开题：“秋湖鱼怯饵，把钓事如何。绿水一竿竹，清风几领簑。蒹葭尘外老，星月个中多。夜静独归去，清光挂女萝。”\n第十二开：竹篱鹤歩。对开题：“结社松为宅，看家鹤守门。偏知人客至，不负稻粱恩。宿月精神古，梳风毛羽繁。由来好僮仆，不必贵乘轩。”\n第十三开：芦岸秋晴。对开题：“秋色知多少，芦花尽白头。战风摇夕浦，饮露亚寒洲。生意知将谢，随时未肯休。苍茫烟水里，好去弄扁舟。”\n第十四开：板桥霜迹。对开题：“隔溪亭子迥，为架板桥通。秋老碧天白，寒流枫叶红。卷帘吟夜月，着屐歩霜风。爱此双双迹，扶笻过水东。”\n第十五开：雪径梅姿。画心左下款署“唐岱恭画”。对开题：“四时花木足，最喜是园梅。傲雪三冬里，因风几朵开。清香流玉骨，冷润滴氷腮。独有幽人赏，巡檐杖策来。右《小园闲咏》十五首，雍正乙卯夏五月，宝亲王长春居士著”。梁诗正谨书。",[24,25,115,28,27,59,30,149,34,37,7,304,303],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43b62b1e5bd3d7a5f2f180e1ad3242ac.jpg","绢本设色","25.7×33厘米",[],{"id":1409,"slug":1410,"title":1411,"dynasty":330,"author":1412,"museum":238,"description":1413,"tags":1414,"thumbUrl":1415,"material":1199,"size":1416,"collection":137,"collections":1417,"showCount":1397,"zanCount":11,"manualWeight":11,"mainColor":68},231592,"qing-lan-cui-nuan-tu-lan-ying-231592","晴岚翠暖图","蓝瑛","蓝瑛（1585-1664），字田叔，号蜨叟，又号东郭老农，晚号石头陀、山公、万篆阿主者、西湖研民，钱塘（今浙江杭州）人，所居榜额曰：“城曲茅堂”。工书擅画，长于山水、花鸟、梅竹，尤以山水著名。其山水初从黄公望入门，遍摹元代诸家笔法，后上窥晋、唐、两宋，俱得古人精蕴。中年自立门庭，涉猎既多，眼界宏远，故落笔纵横奇古。晚年渐趋苍劲疏宕，气象崚嶒，虽力追古法，但能融会贯通，自成风范。其绘画对明末清初绘画影响甚远，被后人称为“武林派”，画史亦称之为“后浙派”。\n此图为蓝瑛先生摹黄公望《晴岚暖翠》所作，上绘峰峦迭翠，银链飞瀑，峭石嵯峨，云雾弥漫。中绘水榭楼台，依山傍水，苍浑郁茂，清泉蜿流，临窗对语，悠然其间。下绘湖水空明，临渚茅亭，古木苍郁，清趣秀逸。纵观此幅，构图奇伟，落笔纵横，顿挫有致。其境高雅飘逸，其意苍劲疏秀。宋元文人之风，悠然可见其中。亦见其运笔得大痴神韵，勾勒浅绛，又参自法，清简秀润，乃为田叔之佳构也。\n一峰老人即元代画家黄公望。黄公望（1269-1354），元代画家。本姓陆，名坚，江浙行省常熟县人。后过继永嘉府（今浙江温州市）平阳县（今划归苍南县）黄氏为子，居虞山（今宜山）小山，因改姓黄，名公望，字子久，号一峰、大痴道人。中年当过中台察院椽吏，后皈依全真教，在江浙一带卖卜。擅画山水，师法董源、巨然，兼修李成法，得赵孟頫指授。所作水墨画笔力老到，简淡深厚。又于水墨之上略施淡赭，世称“浅绛山水”。晚年以草籀笔意入画，气韵雄秀苍茫，与吴镇、倪瓒、王蒙合称“元四家”。擅书能诗，撰有《写山水诀》，为山水画创作经验之谈。存世作品有《富春山居图》、《九峰雪霁图》、《丹崖玉树图》《天池石壁图》等。",[23,24,25,26,30,28,59,29,7,149,34,37,1277,683],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51301e878118487eeaa8028a0ad77ec5.jpg","161×42.9cm",[],{"id":1419,"slug":1420,"title":236,"dynasty":73,"author":143,"museum":238,"description":1421,"tags":1422,"thumbUrl":1424,"material":413,"size":414,"collection":137,"collections":1425,"showCount":1397,"zanCount":11,"manualWeight":11,"mainColor":68},224436,"shan-shui-tu-wang-shi-min-224436","王时敏（1592年－1680年），初名赞虞，字逊之，号烟客，晚号西庐老人，直隶太仓州（今江苏太仓市）人，明末清初重要画家。万历首辅王锡爵孙，翰林王衡独子。崇祯初年荫官为太常寺少卿，入清后不仕。\n王时敏擅画山水，少时学董其昌，并临摹家藏宋元名作，以黄公望为宗，笔墨含蓄，浑厚清逸，唯构图略少变化。王时敏开创了山水画的“娄东派”，对清代画坛影响很大。他与王鉴、王翚、王原祁并称“四王”，加上恽寿平和吴历，合称“清六家”。王翚、吴历皆出其门下，孙王原祁亦得其指授。",[23,24,1423,58,30,59,34,355,7,81],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88dd2455359266ee4edecf48f9ce10fd.jpg",[],{"id":1427,"slug":1428,"title":1429,"dynasty":330,"author":1430,"museum":20,"description":1431,"tags":1432,"thumbUrl":1433,"material":204,"size":137,"collection":137,"collections":1434,"showCount":1435,"zanCount":11,"manualWeight":11,"mainColor":68},234142,"yun-bai-shan-qing-tu-juan-ding-yun-peng-234142","云白山青图卷","丁云鹏","丁云鹏是中国明代画家，于1547年出生，字南羽，号圣华居士，安徽休宁人。\n天启五年（1625）尚在作《白马驭经图》，瓒子，詹景凤门人。工书法，学钟繇、王羲之。画善白描人物、山水、佛像，无不精妙。白描酷似李公麟，设色学钱选。丝发之间而眉睫意态毕具，非笔端有神通者不能也。兼工山水、花卉。中年用笔细秀，略近文征明、仇英画法，晚年风格朴厚苍劲，自成一家。 [1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。\n丁云鹏是仇英之后最著名的人物画家，他工给的笔法不下仇英，而高古文雅似又过之。他最擅长的是佛教题材，佛祖、菩萨、罗汉在他笔下既栩栩如生，又庄严肃穆。此帧李公麟《维摩演教图》画人物五十三，动物数头，趁具法器、峰峦堂宇、树石祥云，皆精密工给，非费一两月之功不能为此。董其昌与丁云鹏为挚交，曾题丁氏所绘《五像观音图卷》云：“丁南羽写此时，在吾松为顾光禄正心所馆，年三十馀，故极工妙。自后不复能事，多老年漫应。”\n传世作品有《待朝图》轴，图录于《中国绘画史图录》下册；《伏虎尊者图》轴，现藏安徽省博物馆；《白马驭经图》轴，藏台北故宫博物院；《洗象图》轴，藏中国美术馆；罗浮花月图〉轴及《漉酒图》轴，藏上海博物馆；《龙王拜观音图》卷，藏中国美术馆；《溪山烟霭图》卷藏南京博物院；《丛山樵径图》轴，藏天津艺术博物馆；《达摩图》轴，藏沈阳故宫博物院；《煮茶图》轴，藏无锡市博物馆；《六祖像图》轴，藏荣宝斋。",[23,24,26,58,30,59,7,37,34,147,148,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88fe8ffb55ad3c48f2bb14ff4bd9d273.jpg",[],8,{"id":1437,"slug":1438,"title":949,"dynasty":73,"author":753,"museum":20,"description":1347,"tags":1439,"thumbUrl":1440,"material":204,"size":1350,"collection":137,"collections":1441,"showCount":1435,"zanCount":11,"manualWeight":11,"mainColor":68},233435,"huang-shan-tu-ce-mei-qing-233435",[24,58,30,59,149,34,37,7,115,423,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b212879f959dce763fc65f14db00d25.jpg",[],{"id":1443,"slug":1444,"title":1445,"dynasty":73,"author":198,"museum":20,"description":681,"tags":1446,"thumbUrl":1448,"material":357,"size":685,"collection":137,"collections":1449,"showCount":1435,"zanCount":91,"manualWeight":11,"mainColor":68},220276,"huang-shan-tu-ce-48-hong-ren-220276","黄山图册-48",[23,24,58,28,59,115,30,7,82,149,1447],"屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4574e545438de69607808d7b56574def.jpg",[],{"id":1451,"slug":1452,"title":1018,"dynasty":73,"author":753,"museum":20,"description":1453,"tags":1454,"thumbUrl":1455,"material":445,"size":1456,"collection":137,"collections":1457,"showCount":1458,"zanCount":11,"manualWeight":11,"mainColor":68},236387,"huang-shan-tu-zhou-mei-qing-236387","图绘黄山的西海门。此图构思巧妙，自下而上的万千石峰，如戟似剑穿云而出，它们即成为巨大的崖石下垂的支点，稳定了画面，又以其弯曲细长的石壁烘托出西海门崖石的危耸之势。图中山石轮廓以细线勾勒，石面略作晕染，并以灵动的墨点加以点缀，其精简的色、墨在表现出山石雄奇的壮美之外，更使山石的纯洁柔秀之美跃然纸上。",[24,58,79,59,30,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb409a8ff9adb11343df5071b68e3f9d6.jpg","纵186.6厘米，横56.8厘米",[],7,{"id":1460,"slug":1461,"title":1462,"dynasty":73,"author":1463,"museum":20,"description":1464,"tags":1465,"thumbUrl":1466,"material":632,"size":137,"collection":137,"collections":1467,"showCount":1458,"zanCount":11,"manualWeight":11,"mainColor":68},234301,"yu-mu-shang-xin-ce-shan-shui-ce-gao-cen-234301","娱目赏心册-山水册","高岑","盛唐诗人高适和岑参的合称，为盛唐边塞诗歌代表诗人的专称。但“高岑”并称，则始于他们的好友杜甫《寄彭州高三十五使君适、虢州岑二十七长史参三十韵》：“高岑殊缓步，沈鲍得同行。”说他们两人成名较晚，而才学堪比沈约、鲍照，原非专称\n高适、岑参的诗以“悲壮为宗”(胡应麟《诗薮》)。他们都积极进取，但长期功名失意。一再出塞谋求报国立功，对仕途坎坷和边塞生活有着深刻体验。所作主要以边塞战争、塞上风光和仕途艰难为题材，善于运用七言古诗等体裁，表现报国安边、治国安民的壮志和奋发进取的精神，或抒发怀才不遇、功业无成的悲愤。其诗意气豪迈，情辞慷慨，奇偶相生，手法多样。这是他们共同的地方。\n由于生活经历、个性、文学思想和渊源等差异，高适、岑参的诗又有重要区别。“高悲壮而厚，岑奇逸而峭”（王士禛《师友师传续录》）。高适善于反映战士和农民的疾苦，暴露现实，笔调严谨，直抒胸臆，以常语感人；岑参擅长讴歌胜利，描绘奇境，抒发豪情，寓情于景，以奇语动人。\n高、岑边塞诗成就最高。近人以“高岑”并称往往是因其边塞诗。同时，唐代边塞诗派也被称为“高岑诗派”，诗风相近的王之涣、王翰、王昌龄、崔颢、李颀等人均被列入此派。\n高适（700—765) ，汉族。唐代边塞诗人。字达夫、仲武，沧州(今河北省景县)人,居住在宋中(今河南商丘一带)。少孤贫，爱交游，有游侠之风，并以建功立业自期。天宝八载(749)，经睢阳太守张九皋推荐,应举中第,授封丘尉。十一载,因不忍“鞭挞黎庶”和不甘“拜迎官长”而辞官，又一次到长安。次年入陇右、河西节度使哥舒翰幕，为掌书记。安史乱后，曾任淮南节度使、彭州刺史、蜀州刺史、剑南节度使等职，官至,封渤海县侯。世称“高常侍”。 有《高常侍集》等传世。永泰元年（765年）卒，终年64岁，赠礼部尚书，谥号忠。高适为唐代著名的边塞诗人，与岑参并称“高岑”。笔力雄健，气势奔放，洋溢着盛唐时期所特有的奋发进取、蓬勃向上的时代精神。早年曾游历长安，后到过蓟门、卢龙一带，寻求进身之路，都没有成功。在此前后，曾在宋中居住，与李白、杜甫结交。其诗直抒胸臆，不尚雕饰，以七言歌行最富特色，大多写边塞生活。\n岑参 (约715年—770年)唐代诗人，原籍南阳（今属河南新野），迁居江陵（今属湖北）。汉族，荆州江陵（湖北江陵）人，去世之时56岁，是唐代著名的边塞诗人。其诗歌富有浪漫主义的特色，气势雄伟，想象丰富，色彩瑰丽，热情奔放，尤其擅长七言歌行。",[24,25,115,58,59,303,81,30,411,116,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbb9dbfb8440fa8e56bd1b0b7a1a5c52.jpg",[],{"id":1469,"slug":1470,"title":1471,"dynasty":18,"author":453,"museum":238,"description":1472,"tags":1473,"thumbUrl":1475,"material":137,"size":137,"collection":137,"collections":1476,"showCount":1458,"zanCount":11,"manualWeight":11,"mainColor":48},227836,"wu-yun-lou-ge-tu-ye-yi-ming-227836","五云楼阁图页","此作以淡墨晕染铺就空濛底色，危峰如削，拔地耸峙，尽显山石嶙峋硬朗。山脚苍松错落，林麓间野路蜿蜒隐现，以边角取景营造出幽远无际的山野氛围，水墨皴擦勾勒出峭拔山势，将烟霞缥缈的世外秘境晕染得清冷出尘。\n对页题诗与画境相融，笔墨间浸透文人幽居林泉的雅趣，简淡构图里藏着辽远的天地气象，尽显宋人对山水意境的极致追寻，静穆间带着出世的空灵韵味。",[23,78,24,25,1474,1423,28,303,59,161,30,162,7,34,37,81],"册页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ea704ebcc05fe27f9924065ef24fb0e.jpg",[],{"id":1478,"slug":1479,"title":1480,"dynasty":330,"author":1481,"museum":213,"description":1482,"tags":1483,"thumbUrl":1485,"material":357,"size":1486,"collection":137,"collections":1487,"showCount":1458,"zanCount":11,"manualWeight":11,"mainColor":68},222494,"shang-bo-hua-ji-xuan-36-2-zhang-lu-222494","上博画集选36-2","张路","张路（1464—1538 ，一作1464—1537）明代画家。字天驰，号平山，汴梁（今河南省开封）人，明代画家。绘人物，师法吴伟，山水学戴进“狂态”，用笔豪放纵逸，水墨酣畅淋漓，与朱端、蒋嵩、汪肇等同为“浙派”名家 。亦工鸟兽、花卉。\n早年画学戴进，临摹能肖其神，画法工细。至南京后，又宗法吴伟，变为粗笔写意。他善画人物，多绘神仙、士子、渔夫，形象质朴，神态清朗，具高昂向上的气质。景致简略，笔墨遒劲，风格豪放，然少秀逸和蕴藉之致；为浙派健将，亦开后来学者粗率之风。他具有典型风貌的水墨写意作品较多，人物多用顿折的重墨线条勾勒，山石以粗犷的笔触作大斧劈皴，运笔迅捷，水墨淋漓，具有豪放动荡的气势。亦能画写意花鸟。",[23,24,58,28,30,59,7,82,1484],"夕阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F377dfdee156b7a0ee7585d9c2cafa0bd.jpg","55.88厘米 27.94厘米",[],{"id":1489,"slug":1490,"title":1491,"dynasty":330,"author":1367,"museum":238,"description":1492,"tags":1493,"thumbUrl":1494,"material":137,"size":1495,"collection":137,"collections":1496,"showCount":1458,"zanCount":11,"manualWeight":11,"mainColor":68},222024,"wan-shan-ji-yu-wen-zheng-ming-222024","万山积玉","文征明是明代吴门四家之一，沈周而后，在吴中艺坛执牛耳数十年。他生于1470年，与唐寅同年，卒于1559年，享年90，是艺术家中有数的寿星之一。其祖父为举人，父亲为进士，母亲祁氏亦工诗善画。文征明幼年不慧，至11岁“始能言语”，但父亲不离不弃，请当时吴中状元吴宽教授古文，号称“国朝第一”的中书舍人李应祯（祝允明的岳父）教授书法，又请吴中文人领袖沈周教授绘画。一时风云际会，文征明很快就与唐寅、祝允明、徐祯卿并名为“吴中四才子”。\n文征明是明代吴门四家之一，沈周而后，在吴中艺坛执牛耳数十年。他生于1470年，与唐寅同年，卒于1559年，享年90，是艺术家中有数的寿星之一。其祖父为举人，父亲为进士，母亲祁氏亦工诗善画。文征明幼年不慧，至11岁“始能言语”，但父亲不离不弃，请当时吴中状元吴宽教授古文，号称“国朝第一”的中书舍人李应祯（祝允明的岳父）教授书法，又请吴中文人领袖沈周教授绘画。一时风云际会，文征明很快就与唐寅、祝允明、徐祯卿并名为“吴中四才子”。",[24,25,115,58,28,30,7,59,304,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01c6206d5ccf2ea4aa660b1242fc9714.jpg","32x39.2",[],{"id":1498,"slug":1499,"title":1500,"dynasty":73,"author":198,"museum":20,"description":681,"tags":1501,"thumbUrl":1502,"material":357,"size":685,"collection":137,"collections":1503,"showCount":1458,"zanCount":11,"manualWeight":11,"mainColor":68},220272,"huang-shan-tu-ce-51-hong-ren-220272","黄山图册-51",[23,78,24,25,115,58,59,30,7,149,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F878124d4212b5065f64f157660ee3b03.jpg",[],{"id":1505,"slug":1506,"title":1507,"dynasty":73,"author":1508,"museum":238,"description":1509,"tags":1510,"thumbUrl":1511,"material":137,"size":137,"collection":137,"collections":1512,"showCount":1513,"zanCount":11,"manualWeight":11,"mainColor":68},239207,"san-da-ming-shan-shi-er-tu-ce-xu-fang-239207","三大名山十二图册","徐枋","此开以淡墨写意写就黄山胜境，峰峦清癯空灵，仅以极简皴擦晕染出山石肌理，古松错落、山居隐现于烟云之间，意境萧疏淡远，尽得山川清寂风神。对页行书题跋笔意苍劲舒展，笔墨朴拙老辣，诗书与画境相融相合。\n\n整幅以简驭繁，以淡墨写尽丘壑之美，将沉潜的林泉之志寄寓其中，尽显文人山水的冲淡雅致，是笔简意丰的水墨佳构。",[24,25,115,58,59,303,81,30,7,82,116,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dd3f13e622a4c489abe8da03a5dc739.jpg",[],6,{"id":1515,"slug":1516,"title":1018,"dynasty":73,"author":753,"museum":20,"description":1517,"tags":1518,"thumbUrl":1519,"material":445,"size":1520,"collection":137,"collections":1521,"showCount":1513,"zanCount":11,"manualWeight":11,"mainColor":48},236385,"huang-shan-tu-zhou-mei-qing-236385","此图在布局上打破常规，没有绘出完整的山形地貌，而是通过无形的云霭遮挡住山头、山脚，仅突出了山崖的一角，从而重点表现了画作的主题，即黄山的炼丹台。旧传轩辕黄帝与浮丘公曾在此采朱砂炼丹，此地遂成为黄山上一处重要的道教活动场所。梅清擅长于画黄山的怪石、松、云等景致，但他在此图中并没有以专门的色彩或者线条来特别地表现云，而是巧妙地借助了以虚托实的手法，以不着一笔的留白来表现云的实体所在，并且通过山石的空隙，表现出云飘浮的动感和若有若无的透明空间。",[24,25,79,58,59,30,82,83,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F324e669c24ab5358976f2f1f1915036f.jpg","纵186.5厘米，横56.7厘米",[],{"id":1523,"slug":1524,"title":1355,"dynasty":73,"author":782,"museum":238,"description":1525,"tags":1526,"thumbUrl":1528,"material":137,"size":137,"collection":137,"collections":1529,"showCount":1513,"zanCount":11,"manualWeight":11,"mainColor":68},236049,"shan-shui-ce-wang-yuan-qi-236049","这幅画作以层峦叠嶂铺展章法，高远、深远兼具，山势开合藏露，尽显山川的浑茫厚重。以干笔积墨皴擦山峦，墨色干湿浓淡层次丰富，笔力苍劲浑厚，带着醇厚的古拙意趣。山径蜿蜒穿梭岩岫之间，水渚回环、村居掩映林麓，野木错落点染，将江南山水的清润含蓄融于笔墨法度之中，萧散淡远的文人雅趣跃然纸上，于规整的笔墨程式里，流露平淡天真的林下风致，尽显正统山水画的沉郁苍润之美。",[24,25,115,58,59,30,7,99,34,216,1527,411],"石阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff73d6255fbd42c680ae4c75448644853.jpg",[],{"id":1531,"slug":1532,"title":1355,"dynasty":330,"author":1533,"museum":238,"description":1534,"tags":1535,"thumbUrl":1536,"material":137,"size":137,"collection":137,"collections":1537,"showCount":1513,"zanCount":11,"manualWeight":11,"mainColor":68},235823,"shan-shui-ce-li-liu-fang-235823","李流芳","此作以枯淡松灵之笔绘秋山幽居，孤峰挺立于淡墨岚气之中，疏林苍劲带秋意，村居错落隐于岩壑林间，不见喧嚣，尽是萧散闲寂。笔墨秀润简雅，不作浓丽设色，以水墨晕染出远山空濛，淡墨枯枝尽显秋韵清寒。\n左侧题诗书意清雅，与画作相映成趣，将幽栖林泉的高逸情志融于尺幅之间，尽显静穆淡远的文人雅趣，把晚明文人疏朗淡逸的精神风骨藏于山水丘壑之中。",[24,25,115,58,28,59,30,7,34,35,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0307ac5dedc1a3a065d5342083a3cbb.jpg",[],{"id":1539,"slug":1540,"title":1541,"dynasty":73,"author":782,"museum":238,"description":1542,"tags":1543,"thumbUrl":1545,"material":357,"size":1546,"collection":137,"collections":1547,"showCount":1513,"zanCount":11,"manualWeight":11,"mainColor":68},234888,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234888","王原祁仿古山水册","丁巳为康熙十六年（1677年），王原祁时年三十六岁。册前王时敏款署西庐八十七老人题，应为康熙十七年（1678年）所题，即王原祁创作该册后的次年所书。以丁巳下推至庚午，不足十五年，而自跋中今阅十五年，当是王原祁笔误。\n画前副页有王时敏隶书灵心自悟四大字。画册后跋纸为王原祁自题：此余丁巳春间往云间笔也。先奉常见之谓余为'可教'，题识四字。个阅十五年矣，于古人笔墨终未梦见，殊愧先大父指授，为之泫然。康熙庚午长夏观于毘陵舟次谨题，原祁。钤原祁之印（白文）、麓台（朱文）、兴与烟霞会（白文），画册首副页，尾纸只有庞元济藏印11方。\n该册仿古山水，是王原祁早期绘画的代表作品。所仿元六家山水各具形貌，笔墨或设色又颇具苍润、恬淡、秀丽等不同特点，所以王时敏以灵心自悟夸赞其孙王原祁在仿古的同时，边学习古人的画法，同时又寻求开创个人独特艺术特点的创作方向。该册是研究工原祁早期绘画的宝贵材料。",[24,25,115,58,303,81,30,34,7,59,1544],"仿古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13eb612a522e976a4f720a6a8e790580.jpg","纵21厘米，横27厘米",[],{"id":1549,"slug":1550,"title":949,"dynasty":73,"author":753,"museum":20,"description":1347,"tags":1551,"thumbUrl":1552,"material":204,"size":1350,"collection":137,"collections":1553,"showCount":1513,"zanCount":11,"manualWeight":11,"mainColor":68},233888,"huang-shan-tu-ce-mei-qing-233888",[24,25,11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，字二瞻，号梅壑、懒老、梅壑散人，安徽休宁人。安徽休宁人。\n查士标（1615-1698）与弘仁、孙逸、汪之瑞称“新安四大家”。在新安四家中，是位高产书画家，就技法而言，以他为最高，作品也最多。后流寓扬州、镇江、南京。善书画、工诗文、精鉴赏。工书画，精鉴别。用笔不多，惜墨如金。与弘仁、孙逸、汪之瑞称“新安四大家”。\n山水师法黄公望、吴镇、倪瓒、董其昌，笔墨疏简，格调秀远，书法受董其昌影响。在新安四家中，是位高产书画家，他学倪黄，但能广泛吸收前人各家各派画法。就技法而言，以他为最高，作品也最多。\n其作品高达百万，甚至数百万。\n最早提出“新安画派”名称的是清朝康熙所间的艺术理论家张庚，张庚之后，人多沿用，“新安画派”遂成定称。新安画派成员众多，力量雄厚。画艺可观者近80人，其中卓然自成一家者约有20人，分为四个层面：先驱程嘉燧、李永昌、李流芳；画派领袖僧渐江；鼎盛期主要成员方式玉、王瘭素、吴山涛、程邃、汪家珍、戴本孝、吴龙、顺田生、程正揆、郑旼、汪之瑞、孙逸、查士标、汪洪度、雪庄；现代后继者黄宾虹。",[24,25,115,58,303,30,100,1601,34,7,81,59],"蓑笠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5d4423d2071fd4ef4be46b9a1bbc130.jpg",[],4,{"id":1606,"slug":1607,"title":1608,"dynasty":73,"author":225,"museum":75,"description":1609,"tags":1610,"thumbUrl":1612,"material":357,"size":137,"collection":137,"collections":1613,"showCount":1604,"zanCount":11,"manualWeight":11,"mainColor":68},237381,"shan-shui-ce-yang-jin-chu-shan-qing-xiao-tu-ye-wang-hui-237381","山水册-杨晋楚山清晓图页","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。",[24,25,115,58,59,367,30,7,37,162,34,134,1611],"草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ba8eddc6857a2d1b33ce8c82ff0ef6d.jpg",[],{"id":1615,"slug":1616,"title":1355,"dynasty":73,"author":1617,"museum":238,"description":1618,"tags":1619,"thumbUrl":1620,"material":137,"size":137,"collection":137,"collections":1621,"showCount":1604,"zanCount":11,"manualWeight":11,"mainColor":68},236080,"shan-shui-ce-shen-zong-jing-236080","沈宗敬","此作用笔松秀平和，以淡墨铺陈江南水岸之景。近岸杂木错落，苍枝与柔柯相互掩映，板桥轻卧浅波，林麓间隐见村居茅舍，暗合幽居林泉的隐逸意趣。远山以淡墨轻勾浅皴，留白写就浩渺江天，墨色清润层次柔和，尽显娄东一脉温婉苍秀的画风特质。整幅不作刻意繁复刻画，简淡朴拙间铺展出萧疏清寂的山水之境，将文人幽栖林下的闲静心绪藏于浅淡笔墨中，意境空澄闲雅，尽显正统山水画的文人气韵。",[24,25,58,59,30,147,148,34,7,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F852936f910c7d535395c9891b41760a6.jpg",[],{"id":1623,"slug":1624,"title":1355,"dynasty":330,"author":1533,"museum":238,"description":1625,"tags":1626,"thumbUrl":1627,"material":137,"size":137,"collection":137,"collections":1628,"showCount":1604,"zanCount":11,"manualWeight":11,"mainColor":68},235822,"shan-shui-ce-li-liu-fang-235822","以淡墨晕染远山，留白作覆雪，素净间尽显冬日萧寒清寂。近岸枯木虬枝错落舒展，苍劲疏朗，石畔点缀数丛青枝，于冷寂中暗生机趣。简淡笔墨勾勒出空寂出尘的水滨冬色，洗尽繁缛，尽显幽远雅致。\n\n此作笔墨简而意足，承晚明文人画尚淡尚简之风，将林下幽居的清冷雅趣藏于尺幅之间，题跋小字与清寂画面相映成趣，诗画合璧中，尽见画者寄情山水的悠远襟怀，淡而有味，余韵悠长。",[24,25,115,58,30,177,34,7,973,149,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb08e5af6b2c199a9c37238e00bf4918.jpg",[],{"id":1630,"slug":1631,"title":949,"dynasty":73,"author":950,"museum":20,"description":951,"tags":1632,"thumbUrl":1633,"material":204,"size":137,"collection":137,"collections":1634,"showCount":1604,"zanCount":11,"manualWeight":11,"mainColor":68},234762,"huang-shan-tu-ce-jiang-zhu-234762",[24,25,115,353,58,303,304,81,30,411,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05887aa4adaf32ffa4c1d46dedaa148b.jpg",[],{"id":1636,"slug":1637,"title":949,"dynasty":73,"author":950,"museum":20,"description":951,"tags":1638,"thumbUrl":1639,"material":204,"size":137,"collection":137,"collections":1640,"showCount":1604,"zanCount":11,"manualWeight":11,"mainColor":68},234725,"huang-shan-tu-ce-jiang-zhu-234725",[24,25,115,58,59,30,7,37,304,303,81,1301,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39eb46fac96cea86c89a4ad8652a2241.jpg",[],{"id":1642,"slug":1643,"title":1644,"dynasty":73,"author":453,"museum":238,"description":1645,"tags":1646,"thumbUrl":1647,"material":137,"size":137,"collection":137,"collections":1648,"showCount":1604,"zanCount":11,"manualWeight":11,"mainColor":68},234685,"ba-jia-shan-shui-ce-qiu-yue-chu-jiang-qiu-se-tu-ce-ye-yi-ming-234685","八家山水册-丘岳楚江秋色图册页","图绘远山,小舟,一游人在江上饮酒",[24,25,115,58,28,59,304,303,81,30,100,34,7,31,308],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e2a414c045a663e86e12799aae06760.jpg",[],{"id":1650,"slug":1651,"title":949,"dynasty":73,"author":753,"museum":20,"description":1347,"tags":1652,"thumbUrl":1653,"material":204,"size":1350,"collection":137,"collections":1654,"showCount":1604,"zanCount":11,"manualWeight":11,"mainColor":68},233439,"huang-shan-tu-ce-mei-qing-233439",[24,58,30,115,59,303,81,7,34,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b1d26b63541bbc140b68dde5d3bd3a7.jpg",[],{"id":1656,"slug":1657,"title":1658,"dynasty":73,"author":782,"museum":20,"description":1659,"tags":1660,"thumbUrl":1661,"material":1662,"size":1663,"collection":137,"collections":1664,"showCount":1604,"zanCount":11,"manualWeight":11,"mainColor":68},233164,"cao-tang-shi-zhi-tu-ce-wang-yuan-qi-233164","草堂十志图册","此册山水是王原祁据唐代卢鸿《草堂十志图》图意，分别仿宋、元诸家笔意，重新加以艺术创作而成。卢鸿原作早已失传，今尚存宋人的临仿本，与此册相较甚殊，是画家师其意而不师其迹之作。该册无纪年，以画笔之苍劲，当是画家晚年之作。10页画，有6开设色，并兼用墨笔，色、墨兼施，浑然一体，清丽中有苍厚之致，为画家毕生努力所形成的特色。其晚年曾请告老还乡，屡为康熙帝所挽留，难免有“身在魏阙，心存江湖”之想，此图册似即追慕前贤草堂之隐的无奈心境的写照，为其晚年代表作。",[24,25,115,58,30,59,7,37,34,35,149,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a094f728ed5c0a0d0fe30bf0a96562c.jpg","纸本，墨笔或设色","纵29厘米，横29.5厘米",[],{"id":1666,"slug":1667,"title":1668,"dynasty":73,"author":753,"museum":20,"description":1347,"tags":1669,"thumbUrl":1670,"material":204,"size":1350,"collection":137,"collections":1671,"showCount":1604,"zanCount":11,"manualWeight":11,"mainColor":68},231389,"huang-shan-tu-ce-8-zhen-mei-qing-231389","黄山图册8帧",[24,58,59,115,30,7,37,34,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec21768437056d5d3bfa94ad15fa026b.jpg",[],{"id":1673,"slug":1674,"title":1675,"dynasty":1288,"author":1676,"museum":238,"description":1677,"tags":1678,"thumbUrl":1681,"material":413,"size":414,"collection":137,"collections":1682,"showCount":167,"zanCount":11,"manualWeight":11,"mainColor":48},287660,"shan-shui-tu-ping-feng-yi-zhou-wen-287660","山水図屏風一","周文","圣国寺的僧人，后来成为室町幕府的画家。生卒年不详。雪舟和小栗在建立诗歌和日本水墨风格及其弟子方面发挥了重要作用。",[78,24,58,30,82,7,162,806,100,1679,1680],"屏风","烟波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3acffa5b80431d6a8394417295966c7b.jpg",[],{"id":1684,"slug":1685,"title":1355,"dynasty":73,"author":1686,"museum":238,"description":1687,"tags":1688,"thumbUrl":1689,"material":137,"size":137,"collection":137,"collections":1690,"showCount":167,"zanCount":11,"manualWeight":11,"mainColor":68},239348,"shan-shui-ce-lin-fu-chang-239348","林福昌","这幅小品以留白摹写流云雾气，将层叠山峦衬得灵动缥缈，山居藏于松石崖壁间，似隐似现。近坡林木错落苍润，屋舍依傍溪岸野林，尽显幽居闲寂之态。设色清淡雅致，以青绿轻晕山石，浓墨点染苍松古木，笔致简逸秀雅，带着文人画特有的萧散意趣，将山林间悠然避世的栖居诗意尽数铺展，处处透着林下幽居的静谧闲适，淡而有味，简中见雅。",[24,25,115,58,28,30,82,149,37,35,34,7,38,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbbb01ddef5faace5b120a79ec8e46e5.jpg",[],{"id":1692,"slug":1693,"title":1355,"dynasty":73,"author":1694,"museum":238,"description":1695,"tags":1696,"thumbUrl":1697,"material":413,"size":414,"collection":137,"collections":1698,"showCount":167,"zanCount":11,"manualWeight":11,"mainColor":48},238674,"shan-shui-ce-dong-bang-da-238674","董邦达","董邦达（1696－1769），清代官员、书画家。字孚存、争存，号东山、非闻，浙江富阳人。雍正十一年进士，乾隆二年授编修，官终礼部尚书，谥文恪。好书、画，篆、隶得古法，山水取法元人，善用枯笔。其风格在娄东、虞山派之间。与董源、董其昌并称“三董”。",[24,25,58,59,115,30,82,7,134,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff0bfcc71ea8b9701792dcbe5c2294a9.jpg",[],{"id":1700,"slug":1701,"title":949,"dynasty":73,"author":950,"museum":20,"description":951,"tags":1702,"thumbUrl":1703,"material":204,"size":137,"collection":137,"collections":1704,"showCount":167,"zanCount":11,"manualWeight":11,"mainColor":68},234756,"huang-shan-tu-ce-jiang-zhu-234756",[24,25,115,58,59,30,7,149,34,304,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F817b29bc28c64686275ade62604e8073.jpg",[],{"id":1706,"slug":1707,"title":949,"dynasty":73,"author":950,"museum":20,"description":951,"tags":1708,"thumbUrl":1709,"material":204,"size":137,"collection":137,"collections":1710,"showCount":167,"zanCount":11,"manualWeight":11,"mainColor":68},234752,"huang-shan-tu-ce-jiang-zhu-234752",[24,30,28,59,115,7,149,37,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe871b89fd827ad062001df9635ce5b4d.jpg",[],{"id":1712,"slug":1713,"title":949,"dynasty":73,"author":950,"museum":20,"description":951,"tags":1714,"thumbUrl":1715,"material":204,"size":137,"collection":137,"collections":1716,"showCount":167,"zanCount":11,"manualWeight":11,"mainColor":68},234728,"huang-shan-tu-ce-jiang-zhu-234728",[78,24,25,115,58,30,7,37,1301,34,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F398f34688994bd33315f53250866d2b1.jpg",[],{"id":1718,"slug":1719,"title":1720,"dynasty":73,"author":1338,"museum":20,"description":1721,"tags":1722,"thumbUrl":1723,"material":1405,"size":1724,"collection":137,"collections":1725,"showCount":167,"zanCount":11,"manualWeight":11,"mainColor":68},233815,"shan-shui-ce-4-fu-shan-233815","山水册4","此册共计六开，每开有对题，分别为“文笔双峰”、“瓮泉难老”、“？（左“山”右“屋”）？（左“山”右“韦”）红叶”、“天门积雪”、“土堂怪柏”、“古郭夕照”。此画笔致超越，颇有古拙之风趣，正如清代张庚《国朝画征录》评价傅山“善画山水，皴擦不多，丘壑磊珂，以骨胜”，实应属傅山的精品之一。以“土堂怪柏”而言，远处为高山峭壁，近景是雄气敦厚之悬岩山石，有古柏相衬托，别具幽致。傅山笔下的树石造型十分引人注目，其中的柏树形象和一般文人画家所描绘的形象不同，这是因为柏树的形象比较适合傅山的用笔、用墨习惯。柏树的叶、干，既可用大笔粗写，表现厚重的感觉，又可用细笔碎点，使墨的干、湿、浓、淡得以充分展现。在粗写和细点之间，有很大的创作空间，这对于不守古法的傅山来说，柏树形象无疑是他传递内心情感的极好媒介。\n就体现时代精神而言，傅山的绘画虽然不及八大、石涛等人的作品醒目和逼真，表现技巧也显得有些业余，但蕴含于绘画中的笔墨和精神与其书法应是相通的。分析其绘画作品，无疑能加深对其书风转变的理解。从这一点说，傅山绘画自有其存在的艺术价值。",[24,25,115,304,1328,58,28,30,7,34,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2502d46b09f56b7c5887859cf95fb39e.jpg","纵36.5厘米，横37厘米",[],{"id":1727,"slug":1728,"title":1729,"dynasty":1288,"author":453,"museum":238,"description":1730,"tags":1731,"thumbUrl":1735,"material":137,"size":137,"collection":137,"collections":1736,"showCount":167,"zanCount":11,"manualWeight":11,"mainColor":68},225432,"fu-shi-hui-190-yi-ming-225432","浮世绘190","画面以雄峻山城起笔，天守阁踞于丹红崖石之上，石砌城垣古朴厚重，苍松虬枝斜倚岩壁，黑瓦层叠尽显肃穆巍峨。左侧浩渺青湖之上，扁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-1767）字士撰。乌程（今浙江吴兴）人，其父金鸿亦为小有名声的画家，廷标能绍父艺，擅画白描人物，亦善写真（肖像），兼能花卉、山水、乾隆二十二年（1757），乾隆帝第二次南巡时，金廷标进献《白描罗汉图》，得乾隆“称旨”，遂得以入宫供职，成为当时的一名宫廷画家。\n金廷标所作画，极得乾隆欣赏，御题诗句甚多，赞美之意溢于言表，如题其《放鹤图》云：“是谓善写照，传神在阿堵。”题其《江村图》云：”七情写毕皆得神，顾陆以后今几人。”又在他《临唐寅琵琶行图》后如此题道：“内府藏弆唐寅画琵琶行于江边扁舟直写一女抱琵琶，廷标此图不画琵琶女，而画居易等属耳之情，便觉高出其上。此与宋人画‘踏花归去马蹄香’以数蝶随骑意同。向未题句，兹偶见之，因拈其妙，然画院中能作如此解者实少也。”对金廷标能高出当时的宫廷画家，给予肯定。\n金廷标死后，乾隆在翻阅他的画作时又一再叹息，有诗这样写道：“去年命写寻常事，今日谁知珍惜加。”“足称世画无双画，可惜斯人作古人。”对金廷标的去世，表示无限的惋惜。一个自命“古稀天子”的帝王，能对一名宫廷画师如此的眷顾，极为难能，于此亦可见金廷标画艺的超群。\n清代未见有“书院”之称，（文献记载仅见“书院处”一词），更不像宋代书画院中设有具体的“待诏”、“艺学”等明确的官职。清代宫廷中供职的画家，一般情况均需有人举荐，有的还需要经过考核。文献记述金廷标只是自己进献作品以自荐，即得乾隆帝的“称旨”，可见他的画艺不凡。从本文介绍的这件作品来看，他也可以称得是当时画院中具有代表性的人物画家。\n传世作品有《拜石图》，图录于《故宫书画集》；《碧桃图》《孟母移居图》《枫林晚坐图》《萱花寿石图》册页图录于《中国历代名画集》；《高贤遇隐图》轴图录于《中国绘画史图录》下册；《春元瑞兆图》轴藏日本大阪市立美术馆；乾隆二十六年(1761)作《观音大士像》轴现藏沈阳故宫博物院；《婕妤挡熊图》轴、《瞎子说唱图》轴、《罗汉图》轴、《莲塘纳凉图》轴等藏故宫博物院。",[24,58,59,115,30,134,82,7,291],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0296a6485e76af46213abb7f1b76cce.jpg",[],{"id":1769,"slug":1770,"title":1771,"dynasty":73,"author":1338,"museum":20,"description":1721,"tags":1772,"thumbUrl":1773,"material":1405,"size":1724,"collection":137,"collections":1774,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":68},233816,"shan-shui-ce-5-fu-shan-233816","山水册5",[24,25,115,28,30,116,34,7,149,304,1328],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f4116bbd5f555a5007b54a3f3aff5fa.jpg",[],{"id":1776,"slug":1777,"title":949,"dynasty":73,"author":753,"museum":20,"description":1347,"tags":1778,"thumbUrl":1779,"material":204,"size":1350,"collection":137,"collections":1780,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":68},233436,"huang-shan-tu-ce-mei-qing-233436",[24,58,30,115,59,201,7,37,216,149,291,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabf5057451075fc3f6e26ecdc2281993.jpg",[],{"id":1782,"slug":1783,"title":949,"dynasty":73,"author":753,"museum":20,"description":1347,"tags":1784,"thumbUrl":1785,"material":204,"size":1350,"collection":137,"collections":1786,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":68},233434,"huang-shan-tu-ce-mei-qing-233434",[24,25,115,58,28,30,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8db1d887a87e2d82237fd51e35d9a40a.jpg",[],{"id":1788,"slug":1789,"title":949,"dynasty":73,"author":753,"museum":20,"description":1347,"tags":1790,"thumbUrl":1791,"material":204,"size":1350,"collection":137,"collections":1792,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":68},233154,"huang-shan-tu-ce-mei-qing-233154",[24,25,115,58,59,30,7,37,116,308,81,304,303],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec8efd096915179d5dadc044f0c44890.jpg",[],{"id":1794,"slug":1795,"title":1796,"dynasty":73,"author":1797,"museum":274,"description":1798,"tags":1799,"thumbUrl":1800,"material":1801,"size":137,"collection":137,"collections":1802,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":68},222717,"huang-shan-ba-jing-tu-ce-6-zheng-min-222717","黄山八景图册6","郑旼","郑旼 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传世作品有康熙二十一年作《雨气真寂图》及《林泉小亭图》二轴，现藏安徽省博物馆；《溪山泛舟图》轴藏浙江省博物馆；康熙十三年（1674）作《香烟诗意图》轴藏香港刘均量虚白斋；十二年（1673）作《九龙潭图》轴藏故宫博物院；同年作《山水图》轴藏上海博物馆。著有《拜经斋集》《致道堂集》《正己居集》等。",[23,24,25,115,58,59,30,7,148,134,34,149,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a2576cbfb62fe233cc4cb346af5ffbf.jpg","纸本水墨",[],{"id":1804,"slug":1805,"title":1806,"dynasty":73,"author":453,"museum":238,"description":1807,"tags":1808,"thumbUrl":1814,"material":413,"size":414,"collection":137,"collections":1815,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":48},252578,"bai-shou-shan-shi-tou-diao-shan-shui-lou-ge-shan-feng-xing-bi-jia-yi-ming-252578","白寿山石透雕山水楼阁山峰形笔架","此件以莹白寿山石为料，质地凝润若脂。借透雕技法随形造势，层叠山峦错落开合，岩岫间镂空留虚，既衬出幽谷洞天的深邃，又令石体虚实相生，宛若将咫尺案头化作林泉丘壑。\n\n山隅隐缀松石楼阁，藏于云岫之间，宛若写意山水小品。刀工圆融秀雅，顺着石性婉转施艺，将石材天然润感与人工匠心相融。它既是可置笔歇腕的文房雅器，亦是可清供赏玩的案头小景，把古人寄情山水的林泉之志，纳于方寸之间，静穆里藏着灵动意趣。",[1809,1810,1811,30,162,7,1812,1813],"白寿山石","透雕","雕刻","笔架","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74bed47bc1796cb1c618f34b5120970e.jpg",[],{"id":1817,"slug":1818,"title":1819,"dynasty":330,"author":453,"museum":238,"description":1820,"tags":1821,"thumbUrl":1823,"material":413,"size":414,"collection":137,"collections":1824,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":463},250817,"qing-yu-shan-feng-bi-jia-yi-ming-250817","青玉山峰笔架","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。 这一时期，以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[663,1822,1811,7,1813],"玉石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe75a0fff473082d2977a67995a81d28.jpg",[],{"id":1826,"slug":1827,"title":1828,"dynasty":73,"author":1829,"museum":238,"description":1830,"tags":1831,"thumbUrl":1832,"material":413,"size":414,"collection":137,"collections":1833,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":68},239155,"shan-shui-hua-hui-ce-chen-heng-ke-239155","山水花卉册","陈衡恪","陈师曾（1876年3月12日—1923年9月17日），男，原名衡恪，字师曾，号朽道人、槐堂，江西南昌义宁（今江西修水）人，著名美术家、艺术教育家。\n陈师曾出身书生门第，祖父是湖南巡抚陈宝箴，父亲是著名诗人陈三立。1902年东渡日本留学，1909年回国，任江西教育司长。从1911年2月至1913年4月，他受南通张謇之邀，至通州师范学校（今南通师范学校）任教，专授博物课程。1913年又赴长沙第一师范任课，后至北京任编审员之职。先后兼任北京女子高等师范学校、北京高等师范学校、北京美术专门学校教授。1923年9月为奔母丧回南京，不幸染病逝世，终年仅47岁。",[24,25,115,58,303,81,59,30,82,7,411,1301],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0ea724bc454d10e8804f9bfe42a487c.jpg",[],{"id":1835,"slug":1836,"title":1837,"dynasty":73,"author":1838,"museum":238,"description":1839,"tags":1840,"thumbUrl":1841,"material":137,"size":137,"collection":137,"collections":1842,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":68},238902,"fang-song-yuan-shan-shui-ce-dong-gao-238902","仿宋元山水册","董诰","这幅山水以水墨写就，主峰雄峙画面中央，皴笔苍劲老辣，将山石的嶙峋质感尽皆铺陈。山间烟岚轻漾，晕染出幽谷空濛，把远近山林的层次悄然拉开。水岸汀洲错落延展，村庐隐于疏林之间，板桥卧波连接野岸，枯木疏枝带着萧寒野趣。整体笔墨温润苍秀，追摹萧散简远的山水意境，淡墨轻岚里晕染出江南林泉的空澹闲雅，于尺幅间铺展出丘壑之深，尽显文人画静穆幽远的林下意趣，是颇具意韵的仿古佳构。",[24,58,30,80,59,115,7,148,100,34,147,37,117,641,99,852],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a344db5d2aae719cc6ae065d46043a0.jpg",[],{"id":1844,"slug":1845,"title":1846,"dynasty":73,"author":1847,"museum":238,"description":1848,"tags":1849,"thumbUrl":1850,"material":413,"size":414,"collection":137,"collections":1851,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":68},238501,"xun-xing-ji-cheng-shi-hua-ce-jiang-pu-238501","巡行纪程诗画册","蒋溥","蒋溥（1708—1761年），大学士蒋廷锡长子，字质甫，号恒轩，江苏常熟人，清朝大臣，画家，善画花卉，深得家传。雍正八年二甲第一名进士，官至东阁大学士兼户部尚书。性情宽厚而警敏，任职后，精心奉职，勤于政事，是乾隆时期的重臣，亦是蒋派花鸟画艺术的重要代表。\n乾隆二十六年（1761）四月，病逝于任上。乾隆皇帝亲临祭奠，加赠太子太保，谥曰文恪，入祀贤良祠。",[24,25,115,28,303,30,7,60,34,1484],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2da667abd57c6b6acebd0f2f04ae85d.jpg",[],{"id":1853,"slug":1854,"title":1355,"dynasty":73,"author":318,"museum":238,"description":1855,"tags":1856,"thumbUrl":1857,"material":137,"size":137,"collection":137,"collections":1858,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":68},236592,"shan-shui-ce-cha-shi-biao-236592","查士标（1615年—1698年），字二瞻，号梅壑散人、懒老，新安（今安徽歙县、休宁）人，流寓江苏扬州，明末秀才，清初著名画家、书法家和诗人。家富收藏，故精鉴别，擅画山水。与孙逸、汪之瑞、弘仁等书画家一起被称为“新安四家”。",[24,25,78,115,58,59,30,34,7,99,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39d2852e635d12944449bd69517b5894.jpg",[],{"id":1860,"slug":1861,"title":949,"dynasty":73,"author":950,"museum":20,"description":951,"tags":1862,"thumbUrl":1863,"material":204,"size":137,"collection":137,"collections":1864,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":68},234733,"huang-shan-tu-ce-jiang-zhu-234733",[24,58,115,59,304,303,30,7,83,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedb291bbf154b1db82d22c164405fd63.jpg",[],{"id":1866,"slug":1867,"title":949,"dynasty":73,"author":950,"museum":20,"description":951,"tags":1868,"thumbUrl":1869,"material":204,"size":137,"collection":137,"collections":1870,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":68},234723,"huang-shan-tu-ce-jiang-zhu-234723",[24,25,115,28,30,59,7,82,83,34,304,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F193c40f0f9dfbf4ba799c09fd7f729ec.jpg",[],{"id":1872,"slug":1873,"title":949,"dynasty":73,"author":950,"museum":20,"description":951,"tags":1874,"thumbUrl":1875,"material":204,"size":137,"collection":137,"collections":1876,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":68},234722,"huang-shan-tu-ce-jiang-zhu-234722",[24,25,115,58,59,303,30,7,34,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea75b1ed73b80a6c96ac1728e21339dc.jpg",[],{"id":1878,"slug":1879,"title":1355,"dynasty":73,"author":1763,"museum":238,"description":1764,"tags":1880,"thumbUrl":1881,"material":137,"size":137,"collection":137,"collections":1882,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":68},234337,"shan-shui-ce-jin-ting-biao-234337",[24,25,115,58,28,30,59,7,82,133,117,304,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5555c65778c6b7dae7d67875a19994a3.jpg",[],{"id":1884,"slug":1885,"title":1886,"dynasty":18,"author":453,"museum":20,"description":1887,"tags":1888,"thumbUrl":1889,"material":62,"size":1890,"collection":137,"collections":1891,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":68},234025,"shan-yao-lou-guan-tu-ye-yi-ming-234025","山腰楼观图页","山水画至宋代进入了全盛时期，百花齐放，名家竞起。正如元代汤垕在《画鉴》中所说：“唐画山水，至宋始备。”山水画的许多表现方法都发轫于宋代，创造这些画法的名家大师们都成了后世争相效仿的典范。宋代山水画成了人们心目中一座永远无法逾越的高峰。而山水小品画则可看作是宋代山水画发展中百家争鸣的一个缩影，从中也能看出宋代山水画的众多源流。\n魏晋南北朝时期，山水画逐步摆脱了作为人物画背景的角色，并发展成为一门独立的画种。此时的山水画技法与人物画大体相似，所运用的都是勾线填彩法，即以线描勾勒出山石树木的轮廓，再用颜色渲染出其形体。从现存的宋人摹顾恺之《洛神赋图》中可以看出当时的大致风貌。山水画发展到唐代，呈现出一片繁荣的景象，画家们已不满足于只用人物画的勾线填色法来表现自然山水，新的画法竞相出现。以李思训、李昭道父子为代表的青绿山水画派，其画法是在继承了魏晋以来的山水画勾线填色法的基础上，着重以青、绿二色为主的一种风格。此画法在唐代影响较大，从学者众多，被后世认为是最能体现唐代山水画风貌的流派。南宋的赵伯驹、赵伯骕便是此画派集大成者。如《龙舟竞渡图》《仙山楼阁图》都属于继承此种风格的作品。此外李思训、李昭道亦长于楼阁界画，后世从学者众多，在宋代小品画中也有体现，如《蓬莱仙馆图》《高阁凌空图》《层楼春眺图》等。\n唐代的水墨山水画尚处在发展阶段，并不能做到笔墨兼济。吴道子、项容、王维、张璪、王墨等人都使用了水墨来表现山水风光，他们在画法上各具特色，开启了后世水墨画的先声。直到五代十国时期，荆浩的出现才打破了笔墨之间的藩篱，他创造性地在山水画中使用了“皴法”，真正地做到了笔墨兼济的理想状态，并将自己的绘画心得记录下来，写成了《笔法记》一书。荆浩的弟子关仝继承其衣钵，后有出蓝之誉，与其师并称“荆关”。与此同时，南唐的董源在表现南方烟雨空濛的景色上独具面貌。其弟子巨然在“短披麻皴”的基础上发展出“长披麻皴”，画史将师徒二人称为“董巨”。至此，山水画中影响后世最为深远的两大流派已然形成，这也标志着中国山水画由此走向了成熟。\n北宋时期山水画迎来了历史性的高峰，其空前的成就堪称“百代标程”。北宋初年，山水流派出现了所谓“三家鼎峙”的局面，关仝、李成、范宽被画史誉为“北宋三大家”。其中关仝、李成乃至北宋中后期的郭熙、王诜都继承了荆浩“卷云皴”的画法流派，如山水小品中的《山店风帘图》《青山白云图》《风雨归舟图》《春江帆饱图》即属此种风格。范宽则在荆浩“斧劈皴”的基础上稍变其趣，独创“豆瓣皴”，如《云关雪栈图》《雪山萧寺图》都属范宽画派风格。北宋时期，并非所有的画家都钟情于描绘雄伟壮丽的宏阔之景，如惠崇、赵令穰便是以描绘湖山小景而著称，由此也开创了南宋山水小景之先河。山水小品中的《橙黄橘绿图》《秋塘图》《柳溪春色图》都是这类风格的典型作品。\n伴随着王朝更迭，赵宋南渡，山水画的风格面貌也发生了非常大的转变，其最为显著的特征就是南宋一改北宋山水画全景式的宏大构图，代之以空灵雅致的边角式构图。这是南北山河地貌的差异造成的：描绘的对象发生了改变，画家们的画法自然也会随之改变。这种画风上的变革却常常被后世附会为画家们用画作中的“残山剩水”寄托对故土的哀思，更以此去劝诫君王莫要偏安一隅。然而，正是南宋时期对山水画独特的审美追求造就了山水小品画空前繁荣，现存的宋代山水小品画也大多创作于这一时期。\n南宋时期山水画的主流是李唐画派。李唐的山水画早年师法荆浩、范宽，多以“小斧劈皴法”为主，晚年一变古法而创“大斧劈皴法”。小品画中署款李嵩所作的《赤壁赋图》、旧题为刘松年所作的《秋窗读书图》、旧题为燕文贵所作的《层楼春眺图》都属于受李唐早期“小斧劈皴”画法风格影响的典型作品。或许是江南的烟雨朦胧，加之其年逾古稀后的放达，李唐一改早年严谨且略带刻画的刚劲笔致，变为粗犷简阔的“大斧劈皴法”；用墨上也十分大胆，变“惜墨如金”为“水墨淋漓”。这种风格影响了其后众多名家，与李唐并称“南宋四大家”的马远、夏圭的山水画正是在李唐晚年画风影响下发展出来的。李唐画派正是在马远、夏圭的推动下极大地影响了其后绘画的发展，这也使得马、夏的画风堪称是南宋山水画的代名词。",[24,1423,58,59,161,304,81,30,162,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1e2993d2fd93e9d4f6b8f0edca7e429.jpg","22.6×23.7cm",[],{"id":1893,"slug":1894,"title":1895,"dynasty":73,"author":1797,"museum":274,"description":1798,"tags":1896,"thumbUrl":1897,"material":1801,"size":137,"collection":137,"collections":1898,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":463},222716,"huang-shan-ba-jing-tu-ce-5-zheng-min-222716","黄山八景图册5",[23,78,24,25,115,58,59,30,1275,148,34,411,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe008686d9db54867c58e095398184ce9.jpg",[],{"id":1900,"slug":1901,"title":1902,"dynasty":73,"author":453,"museum":238,"description":1903,"tags":1904,"thumbUrl":1905,"material":102,"size":137,"collection":137,"collections":1906,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":68},215622,"tian-xia-ming-shan-tu-3-yi-ming-215622","天下名山图-3","皴笔如鳞，勾勒出山峦嶙峋筋骨，层叠峰峦间藏着远近纵深感。前景溪流如带，绕乱石轻吟，几株古木枝桠虬曲，苍劲中透着疏朗。中景屋舍隐于林麓，或临流筑居，或倚山而卧，烟火气与林泉意趣悄然相融。远景峰峦愈显巍峨，留白处似有云雾流转，将视野引向天际。整幅画以线为骨，墨色分阶，布局疏密得宜：山石的厚重、流水的灵动、树木的姿态、屋宇的闲静，交织成一幅兼具雄浑与清幽的山水图景，尽显传统笔墨的意韵悠长与自然山水的灵秀之美。",[24,25,353,58,30,59,115,7,34,35,116,99,83,471,355],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb38434c15960d0719926ca3fa4cffd52.jpg",[],{"id":1908,"slug":1909,"title":1910,"dynasty":73,"author":453,"museum":238,"description":1911,"tags":1912,"thumbUrl":1916,"material":413,"size":414,"collection":137,"collections":1917,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":68},271262,"cheng-hou-cun-zhen-cang-re-he-tu-mo-chui-feng-luo-zhao-mo-yi-ming-271262","程后村珍藏热河图墨-锤峰落照墨","墨，中国传统文房用具之一，文房四宝之一，是书写、绘画的黑色颜料，后亦包括朱墨和各种彩色墨。\n墨的主要原料是煤烟、松烟、胶等，是碳元素以非晶质型态的存在。通过砚用水研磨可以产生用于毛笔书写的墨汁，在水中以胶体的溶液存在。古墨主要派别分徽墨、川墨。\n墨的水分及胶的成分不同，会影响到墨的黏度。在不同场合使用的墨，其黏度有所不同。另外，初制成的墨的水分亦较多。另有存放时间较长的墨，其致密度较高，并经过长年累月的干燥，使墨色的立体感更高。这种墨在日本被称为“古墨”。",[1913,1914,304,1484,7,1915],"墨","楷书","文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd838fd9cbf4d356d11317154b7eaa997.jpg",[],{"id":1919,"slug":1920,"title":1921,"dynasty":73,"author":453,"museum":238,"description":1911,"tags":1922,"thumbUrl":1923,"material":413,"size":414,"collection":137,"collections":1924,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":68},270681,"wang-zhi-chun-jin-huang-shan-tu-mo-cui-wei-feng-mo-yi-ming-270681","王之春进黄山图墨-翠微峰墨",[1913,1915,30,7,1811],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fc812dc41e4795982c998c31dba4fc4.jpg",[],{"id":1926,"slug":1927,"title":1928,"dynasty":73,"author":453,"museum":238,"description":1911,"tags":1929,"thumbUrl":1931,"material":413,"size":414,"collection":137,"collections":1932,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":68},270674,"wang-zhi-chun-jin-huang-shan-tu-mo-jiu-long-feng-mo-yi-ming-270674","王之春进黄山图墨-九龙峰墨",[1913,1811,1930,30,304,7],"龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a1b9e228a2d395ac5b63604768d5d0b.jpg",[],{"id":1934,"slug":1935,"title":1936,"dynasty":73,"author":453,"museum":238,"description":1937,"tags":1938,"thumbUrl":1942,"mate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