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其与郭熙《早春图》、范宽《溪山行旅图》，合称为“宋画之三大精品”",[23,24,25,26,27,28,29,30,7,31],"名画","国画","山水画","水墨","皴法","山石","松树","流水","瀑布","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a14a762dc0039a1efab5f1ab4cdccfa.jpg","未知","Xcm*Xcm","",[],285,2,"37474F",{"id":41,"slug":42,"title":43,"dynasty":44,"author":45,"museum":46,"description":47,"tags":48,"thumbUrl":59,"material":60,"size":61,"collection":62,"collections":63,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":66},220430,"you-gu-tu-kun-can-220430","幽谷图","清","髡残","耶鲁大学艺术博物馆","髡（kūn）残(1612-1692)，清画家。本姓刘，出家为僧后名髡残，字介丘，号石溪、白秃、石道人、残道者、电住道人。湖广武陵(今湖南常德)人。与石涛合称“二石”。髡残一生中大部分时间都在山水中度过，经常驻足于名山大川，在山林泽薮之间，侣烟霞而友泉石，踯躅峰巅，留连崖畔，以自然净化无垢之美，对比人生坎坷、市俗机巧，从中感悟禅机画趣。\n髡残在明末遗民中享有很高的声望，他的画也为世人所瞩目。当时著名的文人兼大鉴赏家周亮工就十分景仰、看重髡残的人品和画学，在《读画录》中为他写小传，谓：“人品笔墨俱高人一头地……绘事高明，然轻不为人作。”张怡在髡残的《仿米山水册》中是这样评价这位心灵相契的老友的：“举天下言诗，几人发自性灵?举天下言画，几人师诸天地?……此幅自云效颦米家父子，正恐米家父子有未到处，所谓不恨我不见 髡残古人，恨古人不见我耳。”他认为髡残的诗，是写出了自己的性灵；髡残的画是直师造化，甚至比宋代米芾父子还好；髡残的佛学是直指本心，而没有出家人开堂说法的那种俗套。张庚《国朝画征录·髡残传》云：“奥境奇辟，缅邈幽深，引人入胜。笔墨高古，设色精湛，诚元人之胜概也。此种笔法不见于世久矣!” [4] 这段话说明髡残的画深得元季四大家的精髓。总之，三百多年来，髡残一直以其人品与画品并重的高华之气，影响着画坛，成为画家心目中的丰碑",[49,24,50,51,52,53,27,54,30,28,55,56,57,7,29,58],"高清","书画","立轴","山水","设色","楼阁","树木","云雾","人物","峭壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F784ed53c41b7939b3a557817b650a269.jpg","纸本,设色","143.19 × 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‘\n此图描绘清江两岸的美丽风光。此画可以分为远景、中景、近景三段式。远景即江之左岸，山峦叠嶂，山峰林立，山巅主峰耸立，直插云天，整体山势巍峨壮观，山坡左侧的山泉和落差形成的瀑布倒挂于两山之间，奔腾直泻，如一匹银白帛布在风中吹拂似的。山坳或山坡平坦处筑有庙宇亭台楼阁，有的仅露出一角，有的半露半隐，屋宇楼阁，用笔工整细致，近似界画。山脚下河岸旁，树木成林，排列齐整，在丛林荫下座落几间房舍，溪水两岸有一座板桥相连接。中景为宽阔的河水，河面平静如镜，无一丝波纹，唯有小扁舟在河面中心荡漾，小舟上坐有四五人，十分悠闲自然，或论经说道，或尽情地观赏清江两岸的山山水水。人物用笔极简练，寥寥数笔一挥而就，但各人的神情、姿态各异，生动逼真，可见作者有着极强的写实能力。近处即为此画的主景，在崎岖不平的丘陵上，山势较为平缓，平坡上长有苍松翠柏，江心岛上也有房舍数间，各江心岛皆架有木桥，用来接连坡岸。可谓小桥流水人家，一派世外桃源的平和景象。这些舟桥，虽比例较小，不曾起眼，但它们却以其小巧与大山相映成趣，又将整个画面各处景物连贯在一起，有机地组成一个和谐的整体，在构图上别具匠心。此画远山采用水墨渲染，用淡墨勾勒出山之轮廓，然后加以皴擦，坡上的苍松翠柏只是用笔尖勾画出一些小点点，以介字点树叶，山峰采用渴笔皴法，山巅上的花草树木采用写意的画法，用笔尖墨点来表现。",[24,25,26,76,77,78,27,79,80,31,81,82,83,84,85,86,29,87,7,88,57,89,90],"渴笔皴法","写意","界画","高山","远山","山泉","亭台楼阁","房舍","木桥","清江","扁舟","丛林","江心岛","世外桃源","平和","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78c6ab37569f3f8b0024781bd1f59370.jpg","墨笔画","纵114．7厘米，横100．6厘米",[62],57,1,{"id":98,"slug":99,"title":100,"dynasty":18,"author":101,"museum":20,"description":102,"tags":103,"thumbUrl":116,"material":35,"size":35,"collection":35,"collections":117,"showCount":118,"zanCount":96,"manualWeight":11,"mainColor":66},228400,"shu-shan-zhan-dao-tu-guo-xi-228400","蜀山栈道图","郭熙","此作以全景铺展蜀中山川，层峦叠嶂氤氲在淡墨轻岚之中，岩壁苍劲厚重，林木蓊郁苍润。栈道盘桓于幽谷险峰之间，山坳间村舍山居错落，行旅、舟桥点缀其间，将蜀道的奇崛险峻与山野烟火相融。\n画师以温润秀劲的笔墨，兼工带写晕染山石肌理，赭石敷色古雅沉静，以高远、平远交替的章法，尽显山川宏阔清旷的苍莽意境，将蜀地山水的雄秀灵奇和行旅幽情完美相合，尽显全景山水的雄浑雅致。",[49,104,24,50,105,52,53,27,106,107,108,55,109,110,57,111,112,7,113,114,115],"宋画","长卷","山峦","岩石","栈道","房屋","桥梁","马匹","溪流","路径","书法","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ce8e773a25ce85e5e2190d4006eead8.jpg",[],50,{"id":120,"slug":121,"title":122,"dynasty":123,"author":124,"museum":73,"description":125,"tags":126,"thumbUrl":129,"material":60,"size":130,"collection":64,"collections":131,"showCount":132,"zanCount":11,"manualWeight":11,"mainColor":66},219340,"jue-he-gao-xian-tu-wen-zheng-ming-219340","绝壑高闲图","明","文徵明","深林密荫，悬壁周环，瀑布清冷，淙淙然仿佛可闻流水声。主来客坐，别无其它通径，真有与世隔绝之概。此图与其八十岁所作「古木寒泉」有相通之处，但不及其简链。",[24,50,26,53,27,127,52,57,55,28,31,7,128],"文人画","老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c19e7ef475d412fcce34d90c5a2f1f7.jpg","148.9x177.9cm",[64],49,{"id":134,"slug":135,"title":136,"dynasty":123,"author":137,"museum":138,"description":139,"tags":140,"thumbUrl":141,"material":142,"size":143,"collection":35,"collections":144,"showCount":145,"zanCount":96,"manualWeight":11,"mainColor":146},232954,"wan-he-song-feng-tu-zhou-wen-bo-ren-232954","万壑松风图轴","文伯仁","北京故宫博物院","作者绘高峰巨嶂、松竹叠翠和隐庐数间，构图和笔墨、造型尽得元代王蒙的形与神。构图繁密而不拥塞，行笔细密却不琐碎，山路松声，云壑泉涌，满幅风动。气韵浑然一体，纯系文徵明传派的风韵。",[24,50,51,52,26,27,29,28,31,7,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f80f6c03b7173bd4fc3b16e9e9bfec6.jpg","纸本，设色","纵104.7厘米，横25.8厘米",[],47,"BDBDBD",{"id":148,"slug":149,"title":150,"dynasty":123,"author":151,"museum":152,"description":153,"tags":154,"thumbUrl":158,"material":159,"size":160,"collection":62,"collections":161,"showCount":163,"zanCount":11,"manualWeight":11,"mainColor":146},222572,"wan-he-qiu-tao-tu-he-hao-222572","万壑秋涛图","何浩","辽宁省博物馆","此幅作品就画的是松树。据此笔者认为这个名叫何浩的画家，是一位明代中期与画家林良同时或略晚于林良的供职宫廷的职业画家。那么，现在又可以多出一名明朝的宫廷画家了，又可以增加一幅明朝的宫廷绘画作品了。",[49,24,50,105,26,52,27,55,28,30,56,115,155,156,7,157],"明代","秋景","植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c2dc1674f138f535644c5f04d9896db.jpg","纸本","纵27厘米、横448厘米",[62,162],"水墨画精选",41,{"id":165,"slug":166,"title":167,"dynasty":44,"author":168,"museum":138,"description":169,"tags":170,"thumbUrl":179,"material":180,"size":181,"collection":62,"collections":182,"showCount":163,"zanCount":11,"manualWeight":11,"mainColor":146},220372,"song-he-ming-qin-tu-wu-li-220372","松壑鸣琴图","吴历","本图为吴历中年之作，自识：“忆予与天球学琴於山民陈先生，不觉二十馀年矣。予欲写松壑呜琴图以寄意，常苦少暇。今从客归，久雨初晴，仅得古人形似并题七言：'琴声忆学鸟声圆，辛苦同君二十年。今日听松与涧瀑，高山流水不须弦。甲寅年小春廿日延陵渔山子吴历’。”下钤“吴历”、“家在桃溪深处”二印。",[49,24,50,51,26,27,52,171,28,172,173,7,55,57,112,106,56,174,175,176,177,178],"松","建筑","小路","庭院","石阶","苔点","笔法","墨色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43f1ae5df2a2b2579a5aa0ea6073745c.jpg","设色,水墨","纵103cm，横50.5cm",[62],{"id":184,"slug":185,"title":186,"dynasty":18,"author":187,"museum":20,"description":188,"tags":189,"thumbUrl":191,"material":35,"size":35,"collection":35,"collections":192,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":39},227725,"shan-gu-ji-liu-tu-xia-gui-227725","山谷激流图","夏圭","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",[24,23,50,52,26,27,51,28,55,190,30,7],"悬崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e099048944fdf9181b06d03954f9172.jpg",[],30,{"id":195,"slug":196,"title":197,"dynasty":71,"author":198,"museum":20,"description":199,"tags":200,"thumbUrl":203,"material":33,"size":34,"collection":35,"collections":204,"showCount":205,"zanCount":11,"manualWeight":11,"mainColor":66},290828,"yan-he-you-ju-tu-zhou-huang-gong-wang-290828","岩壑幽居图轴","黄公望","此作构图与《层岩曲涧》雷同，然更显狭长，并简省许多细节。其画风受正统派影响似不强烈，反有以类沈周风格重组原作之感，推测亦为明末清初时的临仿之作。",[24,51,25,26,27,28,201,202,7],"林木","幽居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ad0c66dcfa047dafcfc3525eaeea6bf.jpg",[],26,{"id":207,"slug":208,"title":209,"dynasty":44,"author":210,"museum":20,"description":211,"tags":212,"thumbUrl":220,"material":35,"size":35,"collection":35,"collections":221,"showCount":222,"zanCount":96,"manualWeight":11,"mainColor":146},224471,"liang-chang-shan-guan-tu-wang-hui-224471","良常山馆图","王翚","此画以高远构法铺展丘壑，主峰巍峨矗立，以细密披麻皴勾勒山石苍厚肌理，崖壁挺拔如削，尽显山川雄浑气魄。山间林木错落枯荣交织，深谷幽坳里茅庐隐现，清溪绕石穿林，携着潺潺野趣蜿蜒而出。\n笔墨兼工带写，秀润中透着苍劲，浅淡晕染柔和雅致，将山野沉郁的厚重与山居的清寂相融，把幽居丘园的隐逸雅兴，尽数藏进咫尺山水间，尽显静穆淡远的林下雅韵。",[49,23,24,25,51,213,214,53,28,201,215,216,7,217,218,219],"披麻皴","兼工带写","茅庐","清溪","隐逸","清寂","静穆淡远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20794c152eb9e022b762b85b450fba70.jpg",[],17,{"id":224,"slug":225,"title":226,"dynasty":123,"author":227,"museum":228,"description":229,"tags":230,"thumbUrl":231,"material":159,"size":232,"collection":35,"collections":233,"showCount":234,"zanCount":11,"manualWeight":11,"mainColor":146},232643,"you-he-ming-qin-wen-zheng-ming-232643","幽壑鸣琴","文徴明","美国克利夫兰艺术博物馆","此画题诗：“万千层峦叠翠，千丈飞瀑洗尘心。愿我红弦的和声，是对松风古老的卑微回答。歌曲。” 这幅画存在不同的版本。学者们认为，这里看到的岩体的实体效果图和体积山体的构造更像是文征明的学生陆治（1496-1576）的特征。\n文徵明（1470年11月28日－1559年3月28日），原名壁（或作璧），字征明，四十二岁起，以字行，更字征仲。因先世为衡山人，故号衡山居士，世称“文衡山”。南直隶苏州府长洲县（今江苏苏州）人。明代画家、书法家、文学家、鉴藏家。",[23,24,50,51,53,27,52,28,31,55,112,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb01cc776866ad354558b4fa54af76059.jpg","132 x 50.5 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画名重于时，为吴门画派中高手。善绘山水、兰竹，意趣古淡，疏朗清新，风格近其师。工书法，笔力见功夫，挥洒自如，有屋漏之痕、折钗之势。传世作品有《虎丘前山图》轴、《求志图》，均藏北京故宫博物院；《苍山茅舍图》轴，藏上海博物馆。",[24,51,25,26,27,260,261,245,30,262,263,264,265,7,266,267],"雪景","雪山","枯树","苍松","行旅人物","马","屋舍","冬日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda3c0d9a198fbba7297e3d5b3a912b68.jpg","纸本,水墨","288.2x56.1",[162],11,{"id":274,"slug":275,"title":276,"dynasty":277,"author":278,"museum":20,"description":279,"tags":280,"thumbUrl":292,"material":33,"size":34,"collection":293,"collections":294,"showCount":295,"zanCount":11,"manualWeight":11,"mainColor":146},226127,"the-valley-of-the-creuse-at-fresselines-1889-mo-nai-226127","The Valley of the Creuse at Fresselines, 1889","不详","莫奈","奥斯卡-克劳德·莫奈（法文：Oscar-Claude Monet，1840年11月14日-1926年12月5日），法国画家，被誉为“印象派领导者”，是印象派代表人物和创始人之一。\n莫奈是法国最重要的画家之一，印象派的理论和实践大部分都有他的推广。莫奈擅长光与影的实验与表现技法。他最重要的风格是改变了阴影和轮廓线的画法，在莫奈的画作中看不到非常明确的阴影，也看不到突显或平涂式的轮廓线。光和影的色彩描绘是莫奈绘画的最大特色。\n2019年5月14日，法国印象派画家克劳德·莫奈的作品《干草堆》在纽约苏富比拍卖行以破纪录的1.107亿美元（当时1美元约合人民币6.87元）高价拍出。这是莫奈作品拍卖价格的最高纪录，也是印象派画作拍卖最高纪录。",[281,282,283,284,7,285,286,287,288,289,290,291],"印象派","油画","光影捕捉","色彩融合","河流","山坡","秋季植被","自然风景","天空","笔触灵动","色彩晕染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04d7bdbc745d0dfd28babbe4d5ac9558.jpg","油画精选",[293],7,{"id":297,"slug":298,"title":299,"dynasty":277,"author":278,"museum":20,"description":279,"tags":300,"thumbUrl":306,"material":33,"size":34,"collection":293,"collections":307,"showCount":295,"zanCount":11,"manualWeight":11,"mainColor":39},226064,"the-creuse-at-sunset-1889-mo-nai-226064","The Creuse at Sunset, 1889",[281,282,283,291,301,302,285,7,286,303,304,305],"笔触","夕阳","水面倒影","黄昏","自然景观","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb4c7ff91244b7ffccb2fc1c2abbc741.jpg",[293],{"id":309,"slug":310,"title":311,"dynasty":44,"author":210,"museum":20,"description":312,"tags":313,"thumbUrl":324,"material":35,"size":35,"collection":35,"collections":325,"showCount":326,"zanCount":11,"manualWeight":11,"mainColor":146},224472,"liang-chang-shan-guan-tu-zhou-wang-hui-224472","良常山馆图轴","此作用笔精谨秀润，以巍峨主峰撑起画面骨架，山石以披麻皴层层皴染，尽显苍劲浑厚，崖壁高耸险峻，尽显自然雄奇之态。山谷间林木蓊郁，屋舍幽藏于林麓之间，溪涧蜿蜒穿流于乱石浅滩，烘托出世外幽居的静谧闲雅。\n\n画作兼得北宋山水的雄浑格局与元人笔墨的秀逸温润，将山野林泉的朴茂生机与文人幽居的雅趣相融，于规整中见灵动，笔墨间尽抒山水清旷之美，尽显正统山水画的雅致意韵。",[49,24,23,51,25,26,213,28,314,7,201,266,315,316,317,318,319,320,321,322,323],"崖壁","溪涧","乱石","浅滩","静谧","闲雅","雄浑","秀逸","清旷","雅致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4681dcfa06a3c8190e72183fd3cb7d83.jpg",[],6,{"id":328,"slug":329,"title":330,"dynasty":44,"author":331,"museum":20,"description":332,"tags":333,"thumbUrl":348,"material":35,"size":35,"collection":35,"collections":349,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":146},238610,"ping-ding-liang-jin-chuan-de-sheng-tu-ce-yi-ming-238610","平定两金川得胜图册","佚名","这幅全景铜版画以环形营寨为核心，细密线条铺展出排布规整的帐幕，兵卒往来各司其职，操练值守、打理营务的细节清晰分明。连绵山峦环抱着战地营盘，将整座驻点框入苍茫山野间，零星驻点散落远景，呼应主寨的宏大格局。笔触冷峻写实，既复刻出征讨大军的整肃军容，也以开阔构图烘托出战事之下的雄浑气场，如实定格了平叛战事里的军营实景，兼具纪实的严谨质感与战地的厚重氛围感。",[334,335,336,337,106,55,57,338,285,28,339,340,341,342,7,157,343,344,345,346,347],"木刻","线描","军队","帐篷","旗帜","营寨","士兵","战马","战场","人群","营帐","围栏","武器","动物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60f3a3a919d8a5194982b18d8572bfca.jpg",[],1777535721837]