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伸向远处而消失在山谷树丛之中。近景则实，以浓墨笔健画出树丛j组，错落于山石、土坡上，是画家着意描绘的对象，以“树为君，山为辅”的方式构图，主从分清，疏密有致，中问一组起着支撑作用，树高干粗叶茂，两边各一组为辅，只取陪衬作用。处理得自然合乎情理。近景石坡树丛间，小桥曲径隐现，林间幽居的房舍，可见人物行踪。一人转过山石，过小桥，沿着弯曲的小路向坡下的茅屋走去，可见这是一幅诱人的静谧境界。\n整个画面虚实相映，以虚代实，虚实结合。善于利用空白来体现大自然的辽阔、深远。整个画面上疏下密，左实右虚，起到虚实相间，疏密有致，且显示了黑白对比的强烈。全画构图简赅而意蕴深远，前后层次分明，笔墨苍润，水墨淋漓。它不是江南景色的写生，而是以少胜多，以简就繁，以精致的笔墨表达无尽的诗意。而笔法简劲、墨气潮润。作者善用水笔涂抹画面，再用墨笔破之，以此拖泥带水皴法，水墨淋漓之气来表现江南烟雨迷漾之韵致。画近景坡石以秀笔作斧劈皴，充满质感及力度。此画树法以点线为主，树枝干用草率而劲健；山石土坡以线条勾勒轮廓，做到勾皴结合，线面互用，皴中有染，染中有皴，带水斧劈，一气呵成，呈现出水墨淋漓的效果，因此，夏圭山水艺术灵活多样，纵横奔放，精致秀润兼而有之。款署“夏圭”二字，此幅有项元汴、高士奇等藏印共五方。",[23,24,188,77,28,60,99,189,80,7,190,27],"扇面","云雾","宁静","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29dd1c63e1b60626ee479c62c6069bd4.jpg",[],72,{"id":195,"slug":196,"title":197,"dynasty":94,"author":95,"museum":20,"description":96,"tags":198,"thumbUrl":202,"material":203,"size":204,"collection":64,"collections":205,"showCount":206,"zanCount":89,"manualWeight":11,"mainColor":43},290960,"gu-kou-chun-geng-tu-wang-meng-290960","谷口春耕图",[53,24,25,98,77,28,27,29,199,7,200,201,85,84],"老树","田亩","春耕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec2e70b6711706e72d0fd7a32ef37df4.jpg","纸本,水墨","124.9x37.1",[],63,{"id":208,"slug":209,"title":210,"dynasty":125,"author":211,"museum":50,"description":212,"tags":213,"thumbUrl":226,"material":64,"size":64,"collection":64,"collections":227,"showCount":228,"zanCount":11,"manualWeight":11,"mainColor":43},229005,"shi-er-yue-ling-shan-shui-ce-ye-gong-xian-229005","十二月令山水册页","龚贤","以淡墨晕染出郊野冬韵，枯木疏朗错落，枝桠褪尽繁叶，萧索间藏着山野幽居的静穆意趣。坡地以短笔皴擦，层层铺陈出浑厚质感，留白化作寒溪浅流，晕开冬日清寂。茅舍掩映在坡坳间，篱墙蜿蜒环绕，高悬的酒旗孤静无扰，不见行人踪迹，愈衬出林居的幽谧冷寂。笔墨简淡却意韵悠长，将冬日荒寒与山居恬然融作一处，淡墨轻皴间，把山野闲居的安然意绪缓缓铺展，尽显静穆淡远的林下风致。",[24,77,214,55,215,216,217,218,219,220,221,7,27,222,223,224,225],"册页","冬日","枯木","茅舍","篱墙","酒旗","寒溪","坡地","幽谧","静穆","恬然","荒寒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee1e413a3bcf06fadb00a852fcadfc1f.jpg",[],62,{"id":230,"slug":231,"title":232,"dynasty":73,"author":233,"museum":234,"description":235,"tags":236,"thumbUrl":238,"material":239,"size":240,"collection":41,"collections":241,"showCount":242,"zanCount":170,"manualWeight":11,"mainColor":43},218374,"shan-shui-tu-li-yong-chang-218374","山水图","李永昌","北京故宫博物院","层岩叠嶂间，笔墨勾勒出山川苍劲骨力。主峰巍峨，披麻皴皴染结合显浑厚质感；侧峰错落，林木点缀其间，松针挺劲，杂树枯枝带萧散之态。山间屋舍隐于林麓，或傍崖或临溪，似有幽人栖居之意。\n\n线条简劲，墨色层次分明，干笔皴擦见苍率，湿墨点染显润泽。近景树木扶疏，中景峰峦起伏，远景云雾含藏，虚实相生间得山水深远之致。整幅画存宋元遗韵，又具新安画派初兴的清逸之气，简淡中见古雅，丘壑间寄幽情，仿佛可闻林泉响，可感山居静。",[23,24,77,27,98,85,28,29,30,115,99,237,7],"房屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F547c8176db772742ccf265437f537614.jpg","纸本,设色","纵125.7cm，横58.8cm",[41],61,{"id":244,"slug":245,"title":232,"dynasty":73,"author":246,"museum":20,"description":247,"tags":248,"thumbUrl":256,"material":203,"size":257,"collection":41,"collections":258,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":43},214729,"shan-shui-tu-qian-gu-214729","钱谷","这幅画描绘了一位士子读书，一位客人拿着琵琶来访。完全基于文征明的方法，这幅画的构图密集而优雅，充满了书卷气。",[24,25,98,77,27,249,85,28,29,30,100,99,250,32,189,251,252,253,254,255,7],"题字","山峰","山路","林间","峭壁","层岩","古木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F455082ac469620323dfec9e54692861c.jpg","117.6x24.6",[41],55,{"id":261,"slug":262,"title":232,"dynasty":18,"author":185,"museum":50,"description":263,"tags":264,"thumbUrl":266,"material":62,"size":63,"collection":64,"collections":267,"showCount":268,"zanCount":11,"manualWeight":11,"mainColor":68},289596,"shan-shui-tu-xia-gui-289596","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。",[23,24,77,28,199,100,80,7,27,265],"幽寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F470f91faa56e9550e9e42f9fcf92e22a.jpg",[],48,{"id":270,"slug":271,"title":272,"dynasty":125,"author":211,"museum":273,"description":274,"tags":275,"thumbUrl":278,"material":203,"size":64,"collection":41,"collections":279,"showCount":268,"zanCount":11,"manualWeight":11,"mainColor":68},220283,"fang-dong-ju-shan-shui-tu-gong-xian-220283","仿董巨山水图","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。",[23,24,25,98,28,276,27,250,189,30,277,164,29,7],"积墨","溪流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa59a83655a20a43f31c61d9dc139d6bb.jpg",[41],{"id":281,"slug":282,"title":283,"dynasty":73,"author":284,"museum":285,"description":286,"tags":287,"thumbUrl":296,"material":297,"size":298,"collection":41,"collections":299,"showCount":301,"zanCount":11,"manualWeight":11,"mainColor":68},222583,"fang-yi-feng-shan-shui-lan-ying-222583","仿一峰山水","蓝瑛","天津博物馆","蓝瑛（1585-1664），一说（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂” ，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻嶒，与文征明、沈周并重。作品有：《秋山红叶图》《江皋话古图》《白云红树图》《松岳高秋图》《苍岩嘉树图》等，其画派在晚明影响甚大，传其画法者甚多。\n蓝瑛 （1585-1664），一作（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂”，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n蓝瑛一生以绘画为职业，曾漫游南北，饱览名胜，眼界开阔，因而不断丰富了创作内容。他的传派，直接继承衣钵的有蓝氏一家子孙，如蓝孟、蓝深、蓝涛等，弟子刘度、王奂等都各有成就。明末同时和稍后的如陈洪绶以及金陵八家等著名画家，也都受他的影响。\n蓝瑛绘画对明末清初影响很大，被后人称为“武林派”。画史上称之为“后浙派”，将其与戴进、吴伟合称“浙派三大家”。 [2] 但实际上他的画风与戴进等不同，不能完全附属于“浙派”之后。蓝瑛字田叔，号蜨叟，晚号石头陀，又号东郭老农，所居榜额曰“城曲茅堂”。\n蓝瑛是我国明末清初的画家，曾有美术史家把他列为“浙派”，对此，有专家学者提出异议认为：蓝瑛与戴进之间既无师承关系，在绘画面貌、艺术风格上也大相径庭，故不应因二人同处浙江杭州而列为同一画派“浙派”。\n清代沈宗骞在《芥舟学画编》中提出“蓝瑛倡为武林派”，蓝瑛和他的追随者们应称为“武林派”。我们知道，画史上有一些画家因种种原因没有留下更多的生平资料，使后人很难从他们一生的行踪、生活背景、个性脾气、思维方式中去了解他们所形成的艺术风格、审美理念，只能从他们留存于世的绘画作品中去洞察其艺术之轨迹，蓝瑛就是这众多画家中的一位。长期以来，学术界对文人画家及其作品比较重视，由于蓝瑛是一位职业画家，又没有诗文和著作留存于世，因此在画史上很少有关于他的记载和涉及。本文试通过对蓝瑛绘画作品的具体分析，来阐述蓝瑛山水绘画的艺术特色和所取得的成就。\n画家的创作理念和他个人所生活的时代、环境、文化素养、审美标准是分不开的。蓝瑛作为明末清初的画家，他的绘画风格同样也脱离不开他所生活的时代。因此，在探讨蓝瑛山水绘画的艺术特色之前，我们首先要对蓝瑛的生平及师承有所了解。\n蓝瑛，生于公元1585年，卒年不详，1664年尚在，字田叔，号蜨叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号西湖外民、西湖外史、东郭老农、吴山农等，所居榜额曰“城曲茅堂”。生长于“浙派”发源地钱塘(今浙江杭州)，二十三岁寓居松江，后来长期活动于杭州、嘉兴、南京、扬州、绍兴等地，卖画授徒，影响深远，追随者主要集中于杭州一带，被称为“武林派”(武林为今杭州别称)，在明末万历到清初康熙年间足以与“松江派”抗衡。其画风融合南北两宗，自成一家，属于一位文人画的职业画家。清代以来不少学者把蓝瑛称为“浙派”的“后劲”或“殿军”。\n他工书善画，长于山水、竹石、梅兰、人物、花鸟等，技法全面，尤以山水画著名，是明末清初颇具影响力的山水画家。他的绘画特点比较明显的是用笔有顿挫，以疏秀苍劲取胜，善写秋景。在其作品的题款中，常署仿某家之作，如“仿张僧繇”、“法荆浩”、“仿李成”等，实则所画均为他自己的面目。他的山水绘画画法有两种：一种作钩勒浅绛法，另一种作没骨法，设色鲜艳夺目，所画青山、红树、白云，运用石青、石绿、朱砂、赭石、铅粉诸色，点染别致，是晚明时期富有变化的山水绘画作品。蓝瑛享年八十有余，一生以绘画为职业，笔耕不辍，传世的绘画作品面貌多样，数量众多。\n从蓝瑛传世的作品看，他的山水画创作大致可分为早、中、晚三个时期。早期为其五十岁以前。从现存蓝瑛早期的绘画作品中可以看出，他在临习古人绘画作品的过程中，打下了扎实的笔墨功底。在艺术成就的取得上，他主要得益于黄公望、王蒙、倪瓒、吴镇的助力。元四家的笔墨虽不尽相同，但蓝瑛在学习他们的绘画技法时却能择良而取，并注意吸取对自己有用的东西，藉以丰富个人的表现能力。博采众长，应该是一个艺术家取得成就的途径之一，这也是我国艺术史上久经证明的成功经验。此时蓝瑛作品呈现出的面貌基本是以中锋运笔，皴法以长披麻皴、解索皴、荷叶皴为主。山石的画法润泽浑圆，没有过多的棱角，苔点圆润。树木的画法则是多种多样，体现了他绘画技法的娴熟。在构图上，近景的树木与远景的山峦之间具有明显的空间感。设色平淡和润，风格秀润清和，疏松简略。\n《溪山秋色图》为癸丑新秋(1613年)，画家29岁时创作的一件传世绘画佳作。画卷右起为辽阔的水域，远山朦胧，云气蒸腾。中部山石突起，溪水潺潺，蜿蜒的水流从山石间缓缓淌过，坡石上零星地分布着杂草树木。整幅画作淡泊宁静，用笔柔和，山石少皴，偶有淡淡的荷叶皴，构图松秀，设色清和，墨色滋润，从中可看出蓝瑛此时的绘画受“松江派”绘画风格影响之痕迹。\n《仿李唐山水图》是蓝瑛早年创作的一件绘画作品。图中景物茂密，近景岩石累累，形成坡坨，处于曲流之畔。坡石上树木茂蔚，造型古朴，刻画细致，疏密枯润，各显生态。树林间有一茅亭临于溪边，亭内二隐士对坐畅聊。隔溪远景是巨石高峰，岩石突兀奇特，下有瀑布，泻入清溪。整个画面山石崚嶒，古树结节，山石的皴法，以小斧劈皴、刮铁皴相济并用，稍以色彩点簇，水墨晕染，刚中见柔。布局稳当，气氛清谧。远山近树，继承了李唐院体画派的风范而自有发挥，作品较多地留有宋代遗风。\n中期为五十至六十五岁之间。这时他不但取法郭熙、李唐及马远、夏圭，而且对二米、云山也精心研究，对黄公望的画更是悉心尤力。时人吴门画派沈周、文徵明的笔法他也热心师效。加之他漫游南北涉猎广泛，眼界宽广，兼融南北，形成了苍劲雄强、骨力刚硬的个人风格，此时的蓝瑛已经达到能“分别宋元家数，某人皴梁法脉，某人蹊径勾点，毫不差谬”的水平。他以自己对各家绘画特色的见解，以中锋、侧锋交替运笔，用各种皴法、点苔法熟练地画出各种形态的山石、树木。以各家的典型构图，或高远或平远，或简或繁，显现出一种笔墨苍劲、气势雄浑的境界，反映出他在三十余年仿古绘画的实践中渐渐脱开单纯的临与仿，开始形成了自己独立的绘画风格。\n《仿古山水册》作于乙亥春仲(1635年)，画家时年51岁。此山水画册的风格以临黄子久为主，笔触粗短，用笔方折，山石少皴，偶用折带、荷叶皴，略加修饰，山石敷以淡青绿和浅绛，加浓墨苔点醒神，用笔简练，设色淡雅。全册共计十二幅，每幅均可见蓝瑛中年绘画之风格。首幅水墨画枯树数株，槎枒矗立，画上题云：“云林之法，妙在简远。瑛法之，未必耳。笑笑。”第二幅浅设色画，一红衣士人立于松下，隔岸观瀑，画上题云：“偶法郭河阳画。西湖外史蓝瑛。”第三幅设色画临水岩上，桃红满树，舟人浮江而行，款“蓝瑛画”。第四幅设色画村舍数间，丛树环绕，小桥流水，画上自题：“赵令穰画法，蓝瑛。”第五幅设色画层峦飞瀑，草阁间士人独坐，画上自题“蓝瑛法大痴画”；第六幅水墨画水畔虚亭，自题：“梅华道人画法，画于富春之吉祥山房。蓝瑛。”第七幅设色画青山红树，画上题云：“元之高彦敬尚书画法米南宫，有白云红树画。蓝瑛仿之。”第八幅设色画层峦蓊郁，群树繁茂，士人独坐水岸，观泉听瀑，自题“王黄鹤听泉图。蓝瑛法。”第九幅设色画苍松红树，孤舟临岸，画上题云：“赵仲穆画似其翁，一段秀古，自成别门。蓝瑛法。”第十幅设色画秋林丹翠，篷舟沿溪，自题：“乙亥春仲法李唐画。西湖外史蓝瑛。”第十一幅设色画秋林丛聚，清雾弥漫，士人独行，自题：“法松雪斋秋林觅句。蓝瑛。”第十二幅设色画，白雪覆树，水岸亭间，士人观景，自题：“乙亥春仲法右丞画。蓝瑛田叔。”\n《乔岳松年图》是蓝瑛55岁时为宁庵祝寿时所绘。画上的景物，笔墨苍劲，山石突兀嶙峋，白云在山间缭绕，远处的楼阁隐现于流动的烟雾之中，时隐时现，增加了画面的动感。画之近处有九株苍干虬枝的古松，繁密的松针，碧绿青翠，使得画面苍浑郁茂，平添了清新的气氛。在松树的掩映下有一茅亭，亭内一老者正在观赏那飞流而下的瀑布。整个画面笔墨精到，用色灵巧，再加上山石间有规律的点以苔藓，使得画中的景物更加雄奇壮观。\n晚年为六十五岁以后，这是蓝瑛一生中最精彩的时期。此时他在融会贯通前人技法的基础上，自立门户，形成了自己的绘画风貌。有人评其晚年画风“绝似仲圭，复似启南”，一语道出蓝瑛画风在渊源上与文人画的关系和晚年苍劲雄浑的画风。从此时期的作品来看，笔法苍劲疏宕，伟峻老练，画风呈多种面貌，有些作品笔墨含蓄隽雅，有些作品青绿重设色，画法工细，色调浓丽，愈老而愈工。这一时期他主要以敏捷快速的粗笔山水为主，山石的轮廓线短小、破碎、躁动，以破笔点苔，以侧锋皴擦；树木的画法更加曲屈苍老和类型化。构图上也基本形成了一种统一的样式：巍峨雄伟的山体以棱角分明的几何体组成并繁复堆积，占据画面的大部分且多偏向一侧，而于另一侧留出一定的空间，山顶突出。山间有飞瀑丛树，山脚以渔樵隐士、老树茅屋点缀。同时出现了山体的立轴画中纵向拉长，在手卷中则横向延伸的变形现象。晚年的作品中没有了早期所保留的一定的空间感，代之以一种逼人的气势，无论是仿荆浩、董源还是仿黄公望，在风格和笔墨上已经没有了差别，它们都已化为蓝瑛的典型山水样式。蓝瑛晚年的作品，笔益精良，构图高嶂巨壁，丘壑深远，重山叠翠，更加苍浑古朴。\n《华岳高秋图》作于1652年，画家时年68岁。画中远景，高山耸立，山顶作平台状，山隈深处，楼阁崔嵬，流泉飞溅，山石勾勒线条硬折，运用荷叶皴、折带皴和牛毛皴，树草稀少，显得崚嶒。中景，群山环绕之中，筑有楼榭，溪流淙淙而下，老树粗壮，用短笔勾成，树叶采用双勾夹叶填色，松针用传统笔法，排列有序，挺拔有力，不失古气。水口用笔转折生硬，受南宋影响，类似浙派。近景，山径迂回，满山红树，二高士漫步小道，观瀑笑语。构图气势雄伟，笔势刚健豪迈。山石用荷叶皴，参以折带皴加水墨渲染，罩花青赭色，树木苍劲，枫叶明丽，描绘出华岳的深秋景色。\n《秋壑飞泉图》为蓝瑛74岁时所作的传世佳作。该画尺幅巨大，气势磅礴，画心高近四米，颇见蓝氏构图设景之能力所在，作品凝聚了画家毕生的技艺与功力。画面层峦耸翠，幽谷深邃，轻岚浮动，红树青山。山谷间的飞瀑和桥上的高士顾盼有情，高远及深远相结合，是典型的蓝氏山水画之模式。画中的高山巨峰，上部的山石重叠峻峋，瀑布悬崖，飞泉溅落。中部巨石杂树间有一茅亭，一人于内赏景，稍下建筑数座，红叶映天，浮桥卧地，小桥上二叟持杖交谈，颇有生活意趣。从这幅绘画的技法上，可以看出他在融汇前人技法方面的成就，也能看出他在创新方面的景物。作者采用“荷叶皴”，在形式与内容方面得到了和谐的结合，取得了较好的效果。那独具特点的置苔，尤显得画面苍润而厚重。有些树叶以赭色画出，突出了节令气氛，使画面秋意盎然。该画构图雄伟，气势阔大，足见蓝瑛博大精深的笔墨造诣。\n纵观蓝瑛早、中、晚三个时期的绘画作品，大体可以得到这样一些认识：早年的作品，是学宋代诸大家的笔法，尤其是学元四家的作品。此时笔法较细润，明显地呈现出某派的笔法痕迹。中年，在学习前人技法的基础上开始变法，也就是向开创独特风格的途程上逐步迈进。晚年则开创了一种雄伟浑穆的独特面貌，画不离苔以及多画秋景，善施赭色，巧用荷叶皴等等，也都是蓝瑛作品的特点。\n蓝瑛的山水画艺术成就，得益于他“性耽山水”。虽然他下苦功夫临习了晋唐宋元诸家，并达到了精妙乱真的程度，但他不以摹仿为能事。他不仅擅于师古人之意进行变革创新，而且还注重生活，注重行万里路，饱游饫看，“游闽粤荆襄，历燕秦晋落，涉猎既多，眼界弘远”。因为他胸中有真丘壑的观察积累，眼界开阔，所以能落笔纵横，水墨淋漓，独创一格一派—武林派。蓝瑛的绘画，影响广泛，师法他的人可分成三类：一类是蓝瑛的嫡传弟子，如早期的刘度、蓝孟等人；第二类是出自蓝瑛的嫡传弟子门下或模仿蓝瑛画风的职业画家，如蓝涛等；第三类是早年曾经出自蓝氏门下，后来自立门户创立了独立画风的陈洪绶、禹之鼎等。千百年来，为祖国锦绣山河传神写貌的画家，能够开宗立派的屈指可数。蓝瑛的绘画崛起于江南，熔铸古今，独开门庭，这是难能可贵的。",[23,24,26,27,28,30,29,100,237,31,288,277,289,290,291,78,7,32,292,293,294,295],"建筑","松","峰峦","丘壑","苔点","淡赭","山石皴染","树木勾勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2731e556314b70131bad67ebbce5091.jpg","纸本，水墨","74.1×161.7cm",[41,300],"水墨画精选",41,{"id":303,"slug":304,"title":305,"dynasty":94,"author":306,"museum":50,"description":307,"tags":308,"thumbUrl":310,"material":62,"size":63,"collection":64,"collections":311,"showCount":312,"za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（珂罗版）","黄公望","黄公望（1269年9月12日—1354年11月10日） ，元代画家。自称浙东平阳人。陶宗仪《辍耕录》称其“本姓陆”，出继温州平阳黄氏为义子，因改姓黄，名公望，字子久，号一峰、大痴道人等。\n黄公望曾任中台察院掾吏，一度入狱；后加入全真教，往来杭州、松江等地卖卜；晚年居住杭州筲箕泉，元顺帝至正十四年（1354年）十月二十五日逝世，享年八十六岁。\n黄公望工书法，通音律，善诗词散曲。尤擅画山水，曾得赵孟頫指授，宗法董源、巨然、荆浩、关仝、李成等。水墨、浅绛俱作，以草籀奇字法入画，气势雄秀，笔简神完，自成一家，得“峰峦浑厚，草木华滋”之评。名列“元四家”（黄公望、吴镇、倪瓒、王蒙）之首。传世画作有《富春山居图》《水阁清幽图》《天池石壁图》《九峰雪霁图》《富春大岭图》等。著有画论《写山水诀》。",[23,24,77,28,27,29,30,7,100,80,31,84,85,309],"兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19cc32f6b467d1055b76d9b1b43ef70e.jpg",[],36,{"id":314,"slug":315,"title":316,"dynasty":94,"author":317,"museum":50,"description":318,"tags":319,"thumbUrl":321,"material":62,"size":63,"collection":64,"collections":322,"showCount":323,"zanCount":11,"manualWeight":11,"mainColor":68},290820,"xi-shan-yu-yi-tu-zhou-wu-zhen-290820","溪山雨意图轴","吴镇","吴镇（1280年—1354年），字仲圭，号梅花道人，浙江嘉兴人。元代画家、书法家、诗人。\n吴镇擅画山水、梅花、竹石，与黄公望、倪瓒、王蒙合称“元四家”。\n由于吴镇以董巨起家，其画中山、石、树、水、房屋、小桥都显得格外宁静、平和，但吴镇有时也着意打破这种气氛，使宁静中增几分动荡，那就是近景大树和山石的表现，特别是三两棵树的表现尤其明显。如果说吴画山、石、水、小桥、屋舍、群树的表现乃至整体气息是以董巨面目出现的话，那么其局部的大树则主要是以马夏的面目出现的。结构布局上立于近景，形象表现上夸张变形，树种的选择上以松柏寓人格。这种形象的树出现在平和、宁静的境界里显得格外突出。它们或直立挺拔、俯势向上；或倚斜偃蹇、欲倒还立；或技条倒挂、曲折盘桓。而且吴镇对大树的形象也是情有独钟的，几乎每幅山水画均有此类形象。这一个个形象频繁出现于其笔下，有何深刻含义？如果联系一下元代的民族岐视政策，联系一下同样比邻而居，盛氏求画者门限为穿，自家之门阒然的事实，或许透露出个中消息。在大树的塑造上，如果把吴镇放在“元四家”其他三家中做一比较，吴镇的独特个性尤能充分展现。黄公望、王蒙为了表现高士的居住环境，用平和、冷静的笔触画群山诸峰，力量均匀，气势平缓，树木郁郁葱葱，均为山的点缀，很少突出某一大树。倪瓒、吴镇在景物取舍上有极强的一致性，均喜画几棵树。倪瓒的树是纤细、弱小的，树干上长出几条树枝，枝上顶着几片叶子，立在空旷的荒野里显得孤独而又凄凉。而且倪瓒的树往往是叫不出名字的，并无具体所指；吴镇在树的种类上往往是有选择的，他最喜欢选取被赋予隐逸人格象征的古松来充实画面。在近景中吴镇很少画杂树而是喜爱强调几棵大树，个个粗壮而枝叶茂密，富有顽强的生命力。",[53,24,25,98,77,28,27,80,7,199,320,84,85],"雨景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d46bbb9394f7778397efac4b923ef92.jpg",[],35,{"id":325,"slug":326,"title":327,"dynasty":125,"author":328,"museum":20,"description":329,"tags":330,"thumbUrl":332,"material":37,"size":333,"collection":41,"collections":334,"showCount":323,"zanCount":11,"manualWeight":11,"mainColor":43},219471,"qiu-ri-shan-ju-tu-gu-da-shen-219471","秋日山居图","顾大申","主峰浑穆苍润，烟霭轻缠峰腰，谷内隐见飞瀑流泉，侧畔古寺露檐，幽寂空灵。山坳林木蓊郁，丹黄点染枝叶，暗合秋意。近滩怪石错落，古木虬曲偃仰，苍皮黛叶间杂霜色。溪岸茅舍柴扉轻掩，静听溪石漱水。\n\n以干笔皴擦写山峦肌理，湿墨晕染铺就空蒙烟岚，设色清隽雅致，将林泉幽居的萧散意趣尽数铺展，把幽人忘俗寄迹丘山的襟怀融在尺素间，淡远冲和，尽显秋日山居清旷之美。",[24,25,98,26,28,27,7,30,29,189,56,80,31,100,331],"秋日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e23cb5e36ed224305684f548d71d341.jpg","179.1x70厘米",[41],{"id":336,"slug":337,"title":338,"dynasty":94,"author":317,"museum":50,"description":318,"tags":339,"thumbUrl":340,"material":62,"size":63,"collection":64,"collections":341,"showCount":342,"zanCount":89,"manualWeight":11,"mainColor":68},290830,"shan-shui-zhou-wu-zhen-290830","山水轴",[24,53,25,98,77,27,28,30,56,80,31,29,7,84,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facd82f292a0555682f810ce48433f32c.jpg",[],33,{"id":344,"slug":345,"title":346,"dynasty":125,"author":347,"museum":50,"description":348,"tags":349,"thumbUrl":353,"material":62,"size":63,"collection":64,"collections":354,"showCount":342,"zanCount":11,"manualWeight":11,"mainColor":43},289978,"qiu-shan-you-jing-tu-zhou-kun-can-289978","秋山幽静图轴","髡残","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、石溪道人，残道者、电住道人。湖广武陵（今湖南常德）人。与石涛合称“二石”，又与八大山人，弘仁，石涛合称为“清初四画僧”。好游名山大川，后寓南京牛首山幽栖寺，与程正揆交往密切。擅画山水，师法王蒙，喜用干笔皴擦，淡墨渲染，间以淡赭作底，布置繁复，苍浑茂密，意境幽深。善书法，能诗。存世作品有《层岩叠壑图》《卧游图》《苍翠凌天图》《清髠残江上垂钓图》等。",[53,24,98,77,28,80,31,58,56,100,350,199,351,27,85,84,352,7],"枯藤","幽静","秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec2ddd0155bf080eb2a2b6efcf533b5c.jpg",[],{"id":356,"slug":357,"title":358,"dynasty":94,"author":95,"museum":20,"description":96,"tags":359,"thumbUrl":362,"material":203,"size":363,"collection":64,"collections":364,"showCount":365,"zanCount":11,"manualWeight":11,"mainColor":68},290416,"hua-xi-yu-yin-zhou-wang-meng-290416","花溪渔隐轴",[53,24,25,98,77,28,27,31,58,78,7,360,84,85,361],"渔乐","溪涧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5204529040d8f0ef17bf6db6a77301ce.jpg","129x58.3cm",[],29,{"id":367,"slug":368,"title":369,"dynasty":94,"author":370,"museum":50,"description":371,"tags":372,"thumbUrl":376,"material":62,"size":63,"collection":64,"collections":377,"showCount":365,"zanCount":11,"manualWeight":11,"mainColor":68},290413,"shan-shui-tu-juan-wei-zhao-meng-fu-290413","山水图卷（伪）","赵孟頫","赵孟頫[fǔ]（1254年10月20日－1322年7月30日），字子昂，汉族，号松雪道人，又号水晶宫道人（一说水精宫道人）、鸥波，中年曾署孟俯。吴兴（今浙江省湖州市）人，原籍婺州兰溪。南宋晚期至元朝初期官员、书法家、画家、诗人，宋太祖赵匡胤十一世孙、秦王赵德芳嫡派子孙。\n赵孟頫于南宋末年曾任真州司户参军。宋亡后隐居不仕。至元二十三年（1286年），赵孟頫经行台侍御史程钜夫举荐，赶赴大都，受元世祖赏识，授兵部郎中。此后历任集贤直学士、济南路总管府事、江浙等处儒学提举、翰林侍读学士等职，累官翰林学士承旨、荣禄大夫。自世祖至武宗、仁宗、英宗四朝皆加礼敬。晚年逐渐隐退，延祐六年（1319年）借病乞归。至治二年（1322年），赵孟頫逝世，年六十九。获赠江浙中书省平章政事、魏国公，谥号“文敏”，故称“赵文敏”。著有《松雪斋文集》等。\n赵孟頫博学多才，能诗善文，通经济之学，工书法，精绘艺，擅金石，通律吕，解鉴赏。在绘画上，他开创元代新画风，被称为“元人冠冕”。其绘画取材广泛，技法全面，山水、人物、花鸟无不擅长。其书取法钟繇、“二王”、李邕、赵构等，于篆、隶、真、行、草诸体皆擅，尤以楷书、行书著称；其书风遒媚、秀逸，结体严整、笔法圆熟，创“赵体”书，与欧阳询、颜真卿、柳公权并称“楷书四大家”。此外，赵孟頫倡导师法古人，强调“书画同源“。其绘画、书法和画学思想对后代影响深远。",[23,24,25,54,373,26,28,374,237,30,375,7],"青绿","村落","农田","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff568bd01744e2038c0a18a7d77628d07.jpg",[],{"id":379,"slug":380,"title":381,"dynasty":73,"author":382,"museum":50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字实父，号十洲，原籍江苏太仓，后移居吴县（今苏州），明代绘画大师。\n仇英出身寒门，幼年失学，曾习漆工，后拜师周臣，成为画家。\n仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。",[24,151,26,373,385,28,103,99,7,31,386],"工笔","闲逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19f11f6d7c4c8cd8fe72e4bdca237d88.jpg",[],27,{"id":391,"slug":392,"title":393,"dynasty":94,"author":95,"museum":50,"description":96,"tags":394,"thumbUrl":396,"material":62,"size":63,"collection":64,"collections":397,"showCount":398,"zanCount":11,"manualWeight":11,"mainColor":68},290442,"qiu-shan-du-shu-tu-ke-luo-ban-wang-meng-290442","秋山读书图（珂罗版）",[23,24,53,77,98,28,164,30,7,80,31,395,102,27],"文人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c5464f995e7c474f65e7423200238cf.jpg",[],26,{"id":400,"slug":401,"title":402,"dynasty":18,"author":403,"museum":50,"description":404,"tags":405,"thumbUrl":408,"material":62,"size":63,"collection":64,"collections":409,"showCount":398,"zanCount":11,"manualWeight":11,"mainColor":68},283636,"hai-tian-xu-ri-tu-juan-zhao-bo-ju-283636","海天旭日图卷","赵伯驹","赵伯驹（生卒不详），宋代画家，字千里，宋宗室。主要活动在12世纪中前期。工山水、花果、翎毛、楼台，青绿山水尤善。他将水墨山水的趣味与技法融入唐代李思训、李昭道父子的大青绿画法中，形成了一种介于院体画和文人画之间的“精工之极，又有士气”的风格。",[23,24,53,54,373,26,28,406,407,7,56],"岛屿","云气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27ff9b82a5d0dcd32cd304f2da2955de.jpg",[],{"id":411,"slug":412,"title":413,"dynasty":73,"author":414,"museum":50,"description":415,"tags":416,"thumbUrl":417,"material":62,"size":63,"collection":64,"collections":418,"showCount":419,"zanCount":11,"manualWeight":11,"mainColor":43},283698,"shan-ju-tu-shan-ye-dong-qi-chang-283698","山居图扇页","董其昌","董其昌（1555年2月10日—1636年10月26日），字玄宰，号思白、香光居士，松江华亭（今上海市）人。明朝后期大臣、书画家。正如李志敏所说：“主张学古变古，但在书法神韵问题上的迷信观念，却比古人尤有过之”。\n万历十七年，考中进士，授翰林院编修。一度担任皇长子朱常洛的讲官。历任湖广提学副使、福建提学副使、河南参政，因病辞职。泰昌元年（1620年），明光宗朱常洛继位，授太常少卿、国子司业，参修《明神宗实录》。天启五年（1625年），出任南京礼部尚书，因事辞官。崇祯五年（1632年），出任太子詹事。崇祯七年（1634年），回归乡里。崇祯九年，去世，谥号“文敏”。\n董其昌擅于山水画，师法于董源、巨然、黄公望、倪瓒，笔致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡；青绿设色，古朴典雅。以佛家禅宗喻画，倡“南北宗”论，为“华亭画派”杰出代表，兼有“颜骨赵姿”之美。存世作品有《岩居图》《明董其昌秋兴八景图册》《昼锦堂图》《白居易琵琶行》《草书诗册》《烟江叠嶂图跋》等。画作及画论对明末清初的画坛影响甚大。书法出入晋唐，自成一格。作品《戏鸿堂帖》（刻帖）。颇能诗文，著有《画禅室随笔》《容台文集》等。",[188,24,53,77,28,199,7,100,29,84,83,85,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f9638a03be3887c4a4369454edfa5e3.jpg",[],23,{"id":421,"slug":422,"title":423,"dynasty":125,"author":424,"museum":234,"description":425,"tags":426,"thumbUrl":427,"material":166,"size":428,"collection":64,"collections":429,"showCount":419,"zanCount":11,"manualWeight":11,"mainColor":43},220300,"huang-shan-tu-ce-26-hong-ren-220300","黄山图册-26","弘仁","《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。",[23,24,25,151,77,28,29,30,31,164,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33296ed6c8f1aa652e3297eebc981cad.jpg","21.5x18.3厘米",[],{"id":431,"slug":432,"title":433,"dynasty":73,"author":434,"museum":50,"description":435,"tags":436,"thumbUrl":439,"material":62,"size":63,"collection":64,"collections":440,"showCount":441,"zanCount":11,"manualWeight":11,"mainColor":68},288827,"shan-zhuang-gao-yi-tu-li-zai-288827","山庄高逸图","李在","此画曾传为郭熙作，实为李在手笔。这幅画的右下角有「河阳郭熙写」的签款，因此长期被古人误认为北宋郭熙的画作。但是经过研究，发现此签款为后人伪造，从风格、技法来比对，本幅画应该是明初宫廷画家李在的真迹。",[23,24,98,77,27,28,56,80,31,58,350,199,164,437,7,103,438],"塔","高逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7de78491754e0443afe228850bafd56.jpg",[],22,{"id":443,"slug":444,"title":445,"dynasty":18,"author":111,"museum":50,"description":446,"tags":447,"thumbUrl":450,"material":62,"size":63,"collection":64,"collections":451,"showCount":441,"zanCount":11,"manualWeight":11,"mainColor":452},288506,"qiu-shan-xing-lv-tu-guo-xi-288506","秋山行旅图","峰峦高耸，山间构楼阁，山脚下丛树掩映着村居。溪桥上、山径间有往来的行旅。是图采取北宋大山堂堂、位于中央的全景式构图，具高远、平远的效果。题材、构图、笔墨气韵都十分接近郭熙的画风。元代山水画家多有承袭郭熙风格者，若论笔墨最为接近者应属唐棣。画幅左上自识“吴兴唐棣子华作”，未署年款。此图摹仿的痕迹较浓，或为画家稍早时的作品。图中钤有明司马“司马兰亭家藏”印，清初耿昭忠“都尉耿信公书画之章”及清内府“宣统御览之宝”等鉴藏印。",[23,24,53,55,77,27,448,29,78,31,58,7,449],"秋意","行旅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F288e7ca9f20e1578206e7ed6d99bcb96.jpg",[],"37474F",{"id":454,"slug":455,"title":456,"dynasty":18,"author":457,"museum":50,"description":458,"tags":459,"thumbUrl":462,"material":64,"size":64,"collection":64,"collections":463,"showCount":441,"zanCount":11,"manualWeight":11,"mainColor":68},227353,"xue-jing-shan-shui-tu-ye-yi-ming-227353","雪景山水图页","佚名","雪地实景，苍茫而润泽，冰雪覆盖了自然界中的山川树木，使人们的视觉不再被五彩缤纷的万物所迷惑，从而使人们更为关注于白茫茫的冰雪积压、融变的过程，这种自然属性恰好与水墨形式相得益彰。因此，雪景山水画一直是中国山水画中的一个很有特色的部分。",[23,24,53,25,188,77,26,28,114,30,237,29,27,460,7,31,60,461],"寒林","积雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cfc4556f00600874ca160553f7402e2.jpg",[],{"id":465,"slug":466,"title":467,"dynasty":94,"author":468,"museum":20,"description":469,"tags":470,"thumbUrl":473,"material":203,"size":474,"collection":41,"collections":475,"showCount":476,"zanCount":11,"manualWeight":11,"mainColor":43},290342,"qiu-shan-xing-lv-zhou-ma-wan-290342","秋山行旅轴","马琬","崇山叠峦，行旅骑驴荷物而行。全图构景系密，用笔多属中锋，用墨简澹，设色淡雅。压顶一峰皴笔疏简，以平点层层作小树，特觉清逸秀出。该幅无作者款印，幅上有董其昌题，云：“马文璧秋山行旅图”。",[24,53,98,55,77,26,471,449,80,31,29,30,56,472,7,85],"秋山","古道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9701795d9df53db4d67bf8d7090ab986.jpg","124.5x33.3",[41],21,{"id":478,"slug":479,"title":480,"dynasty":125,"author":481,"museum":50,"description":482,"tags":483,"thumbUrl":485,"material":62,"size":63,"collection":64,"collections":486,"showCount":476,"zanCount":11,"manualWeight":11,"mainColor":43},288284,"fang-wang-meng-xia-ri-shan-ju-tu-wang-yuan-qi-288284","仿王蒙夏日山居图","王原祁","王原祁，明崇祯十五年（1642年）生，清康熙五十四年（1715年）卒。字茂京，号麓台、石师道人，江南省苏州府太仓人(今江苏太仓)，王时敏孙。康熙九年（1670年）进士，观政于吏部、任顺天乡试同考官，后任直隶顺德府任县（今河北省邢台市任县）知县，地当九河下流，滏漳诸水复久壅塞，腴田变为污渚，圪刘累泊等处，即古大陆泽为患，尤甚甲子乙丑秋雨连旬，水势陡发，堤岸尽壊，田莱俱成巨浸。\n原祁请照淮扬例，永免水荒田赋三千余金，民困以苏其余如，筑堤以防水宪，建桥以通水道，毙盗贼以安民命，明僎介以昭典礼，发仓储以救羸，着迹难以枚举。丙寅，奉命行取擢谏垣，改翰林，累官少司农，卒于位，赐祭葬如例，康熙五十九年入祀名宦。\n以画供奉内廷，康熙四十四年奉旨与孙岳颁、宋骏业等编《佩文斋书画谱》，五十六年主持绘《万寿盛典图》为康熙帝祝寿。擅画山水，继承家法，学元四家，以黄公望为宗，喜用干笔焦墨，层层皴擦，用笔沉着，自称笔端有金刚杵。与王时敏、王鉴、王翚并称“四王”，形成娄东画派，左右清代三百年画坛，成为正统派中坚人物。享年七十四。\n其所著画论有《雨窗漫笔》与《麓台题画稿》。擅长做诗，有《罨画楼集》3卷。\n晚清娄东画派代表人物秦祖永论王原祁画风：『中年秀润，晚年苍浑」；论其画曰：『沈雄验右，元气淋漓，笔端金刚杵之语不虚也」",[24,53,25,98,28,77,27,484,60,30,56,31,80,7,85],"临摹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa815f93b91dc942a5a6d9712d40cbc0d.jpg",[],{"id":488,"slug":489,"title":490,"dynasty":125,"author":491,"museum":50,"description":492,"tags":493,"thumbUrl":495,"material":62,"size":63,"collection":64,"collections":496,"showCount":497,"zanCount":11,"manualWeight":11,"mainColor":68},288448,"fang-you-tu-gao-cen-288448","访友图","高岑","高岑（1621-1691），字善长，又字蔚生，杭州人，居金陵（今南京）。高阜弟，为“金陵八家”之一 。\n为人清高，相貌俊美，淡于功名，性好佛门始从法门道昕卧伏腊寺，居茹蔬淡……。 早年学朱翰，后学蓝瑛，所画平实，晚乃以己意行之 。 善山水及水墨花卉，写意入神。",[23,24,53,55,27,26,99,60,29,7,494,78,77],"访友","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c57893b576a57047bbcea7bcd2995a8.jpg",[],19,{"id":499,"slug":500,"title":501,"dynasty":73,"author":502,"museum":50,"description":503,"tags":504,"thumbUrl":507,"material":62,"size":63,"collection":64,"collections":508,"showCount":509,"zanCount":89,"manualWeight":11,"mainColor":68},290615,"fang-zhang-seng-yao-shan-shui-zhou-zhang-cheng-long-290615","仿张僧繇山水轴","张成龙","张成龙[明]，字白云，大梁（今河南开封）人。善山水，临摹名画，久而弥化。",[24,98,26,373,28,7,505,506,60,85],"秋树","红叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82161c2c56f361b67f76a012805e6208.jpg",[],18,{"id":511,"slug":512,"title":513,"dynasty":73,"author":514,"museum":515,"description":516,"tags":517,"thumbUrl":518,"material":166,"size":519,"collection":64,"collections":520,"showCount":509,"zanCount":11,"manualWeight":11,"mainColor":68},231945,"gu-mu-you-ju-tu-sheng-mao-ye-231945","古木幽居图","盛茂烨","私人收藏","盛茂烨的画作题材除了少量的人物及花鸟外，以山水为主，“大幅山水，浑厚而有气势，多得范宽之法，小幅作品，清新活泼，自成一种情趣。”盛氏活跃于仿古之风弥漫的时代，其对古人虽有用心之处，然而却极少仿古之作。\n根据种种的文献记载，盛氏在当时颇负盛名，虽古意不足，然饶有趣味，在笔墨造型和布局方面均有所开拓，形成了自身独特的画风。这种风格的形成，不仅在于他对浙派和吴派兼收并蓄，更在于他对古人的画法进行了选择性的采纳和吸收。\n他的作品中，有对大自然的真实描写，也有一些夸张变形的因素，这些均是宋代山水画传统在晚明画坛中复兴的征象。",[23,53,24,25,98,55,27,26,255,29,60,189,7,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb575d9feb5a80e4189ee444b2fb5180a.jpg","157.5×54cm",[],{"id":522,"slug":523,"title":524,"dynasty":18,"author":457,"museum":50,"description":525,"tags":526,"thumbUrl":536,"material":64,"size":64,"collection":64,"collections":537,"showCount":509,"zanCount":11,"manualWeight":11,"mainColor":68},227858,"dai-du-tu-yi-ming-227858","待渡图","这幅小品以淡墨晕染远山，将烟岚与水色晕成一片朦胧，远山如卧，隐在暮色薄雾之间，铺展出空濛悠远的天地格局。\n\n水岸柳丝垂柔，依依拂过浅滩，石畔扁舟系泊，艄公立于船头静立等候。右侧山居檐角轻挑，轩下有人凭栏眺望，有人缓步阶前，皆引颈望向江面，将待渡的期盼藏在松弛的神态里。\n\n整幅设色清润淡雅，以虚衬实，将江南暮色里的闲寂悠然揉进烟水间。咫尺圆帧之中，把等候的怅惘与静谧尽数铺陈，留白处尽是诗意余韵，尽显山水小品的雅致意境。",[23,53,24,527,188,26,77,28,103,56,31,58,528,529,530,7,531,532,533,534,535],"山水小品","柳树","远山","烟岚","孤石","闲寂悠然","怅惘","静谧","江南暮色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15adff5cce028e04ac85a7f12eb420ea.jpg",[],{"id":539,"slug":540,"title":541,"dynasty":125,"author":542,"museum":20,"description":543,"tags":544,"thumbUrl":545,"material":239,"size":546,"collection":64,"collections":547,"showCount":509,"zanCount":89,"manualWeight":11,"mainColor":43},219486,"qiu-ri-shan-ju-zhou-huang-ding-219486","秋日山居轴","黄鼎","此作用笔沉厚细腻，主峰雄峙云端，斧劈皴刻画出山石冷峻筋骨，两道飞瀑垂挂崖间，为沉静山林注入灵动生机。苍松虬枝舒展如盖，丹叶秋林点染暖意，晕开融融秋意。山坳间屋舍错落，板桥横卧浅溪，溪石隐现似漾着潺潺水音，将幽寂山林与闲淡山居揉合一处。远景峰峦叠嶂渐隐烟岚，留白晕染出空濛悠远的诗意。\n画作兼取先贤笔墨意趣，融苍郁繁复与秀润简淡于一体，设色雅致清和，铺展出秋日山居的安闲静谧，将文人寄情林泉、归卧丘山的隐逸之思藏入每一处勾勒晕染中。",[24,25,53,98,28,26,27,29,30,289,506,80,31,164,7,237,277,331,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff442355ddacad4cede5834c399118b29.jpg","64.5x38",[],{"id":549,"slug":550,"title":551,"dynasty":73,"author":552,"museum":553,"description":554,"tags":555,"thumbUrl":10,"material":64,"size":64,"collection":41,"collections":557,"showCount":558,"zanCount":11,"manualWeight":11,"mainColor":559},203250,"fang-gu-shan-shui-tu-ce-shen-hao-203250","仿古山水图册","沈颢","上海博物馆","这幅山水册页笔墨清逸，山石以简淡皴法勾勒晕染，云气缠绕峰峦间，丘壑藏幽韵。左侧山居隐于松枫之下，几案陈设隐约可见，流露文人雅逸；右侧溪流蜿蜒，岸树疏朗，远山层叠如黛，意境空灵悠远。画风承古意而蕴新致，设色淡雅却见生机，将山水之幽与居停之静融为一体，尽显文人山水的空灵与雅致。",[24,28,151,26,27,99,7,277,529,556,23],"文人画",[41],17,"d3cec6",{"id":561,"slug":562,"title":563,"dynasty":125,"author":148,"museum":50,"description":564,"tags":565,"thumbUrl":568,"material":64,"size":64,"collection":64,"collections":569,"showCount":570,"zanCount":11,"manualWeight":11,"mainColor":68},235892,"yuan-ji-huang-shan-you-tu-ce-shi-tao-235892","原济黄山游图册","此作以奇崛危崖撑起画面骨架，焦墨勾勒崖壁嶙峋肌理，淡墨晕染出云气在峰谷间漫漶，明暗虚实铺就山谷的空寂幽深。谷内林麓掩映茅舍，三两旅人或策杖徐行，或围坐晤谈，将山水静穆与林下雅集的悠然意趣相融，动静相生。\n\n笔墨兼具苍润，湿笔晕染出山间空蒙水汽，枯笔皴擦刻画出岩石坚实质感，尽显黄山的清灵出尘。边角题诗与山水呼应，将探幽问道的雅趣藏于丘壑，尽显文人林泉栖隐之思。",[24,25,151,77,27,85,84,83,28,566,103,567,29,30,7],"孤峰","马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff96f0d743602994e646e67e90a61dcf4.jpg",[],16,{"id":572,"slug":573,"title":574,"dynasty":94,"author":317,"museum":50,"description":318,"tags":575,"thumbUrl":576,"material":62,"size":63,"collection":64,"collections":577,"showCount":578,"zanCount":11,"manualWeight":11,"mainColor":68},290264,"shan-shui-tu-ke-luo-ban-wu-zhen-290264","山水图（珂罗版）",[23,53,24,25,98,77,28,27,80,31,30,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F567aa9a65c7f4ddf17f2f831344484e3.jpg",[],15,{"id":580,"slug":581,"title":582,"dynasty":125,"author":583,"museum":50,"description":584,"tags":585,"thumbUrl":587,"material":62,"size":63,"collection":64,"collections":588,"showCount":578,"zanCount":11,"manualWeight":11,"mainColor":43},235365,"qun-feng-ji-cui-tu-zhou-liu-yan-chong-235365","群峰积翠图轴","刘彦冲","刘彦冲（1807～1847）清代画家、诗人。初名荣，字咏之，四川铜梁（今重庆铜梁）人，侨寓吴门（今江苏苏州），朱昂之弟子。家贫事母孝，不妄干人。工诗文，善绘事，山水、人物、花卉，一意师古，深造自得。山水初从朱昂之游，心得其秘。复肆力于古，临摹各家，无不得其精髓。泼墨作小米云山，亦翁郁可观。惜中年殁。",[24,53,98,55,26,27,586,30,56,7,58,31],"群峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb09b0faca13edb8b101856f7129f43a9.jpg",[],{"id":590,"slug":591,"title":592,"dynasty":94,"author":593,"museum":20,"description":594,"tags":595,"thumbUrl":598,"material":203,"size":599,"collection":64,"collections":600,"showCount":601,"zanCount":11,"manualWeight":11,"mainColor":43},290400,"qiu-lin-xiao-yin-tu-zhou-tao-fu-chu-290400","秋林小隐图轴","陶复初","陶复初，字明本，号介轩，元中叶石曲人。",[24,98,77,55,596,7,29,189,30,31,85,84,27,597,352],"秋林","隐居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff085a8e059a6fc77f2a467fae1d4d8c5.jpg","70x28.7",[],14,{"id":603,"slug":604,"title":338,"dynasty":73,"author":605,"museum":50,"description":606,"tags":607,"thumbUrl":609,"material":62,"size":63,"collection":64,"collections":610,"showCount":611,"zanCount":11,"manualWeight":11,"mainColor":43},290356,"shan-shui-zhou-gu-zheng-yi-290356","顾正谊","顾正谊 ， 明代画家、诗人。字仲方，号亭林。华亭（今上海松江）人。父中立，官至参知政事。正谊以父荫，于万历时由太学生官中书舍人。晚年筑小亭园于江畔以终老，故号亭林。工画，早年即以诗画驰名江南，后游长安，名声大噪。董其昌曾记云：“吾郡画家，顾仲方中舍最著。其游长安，四方士大夫求者填委，几欲作铁门限以却之，得者如获拱璧。",[24,98,77,28,27,608,29,31,237,189,85,7],"古松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c18bdacdfc802b4d0c4f82866a078d5.jpg",[],13,{"id":613,"slug":614,"title":615,"dynasty":125,"author":616,"museum":50,"description":617,"tags":618,"thumbUrl":619,"material":62,"size":63,"collection":64,"collections":620,"showCount":611,"zanCount":11,"manualWeight":11,"mainColor":43},289908,"shan-shui-ce-ye-12-kai-shan-shui-ce-ye-dong-gao-289908","山水册页12开-山水册页","董诰","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），首席军机大臣，上书房总师傅，钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，赠太傅，赐谥号文恭，入祀贤良祠。嘉庆亲写哀诗“只有文章传子侄，绝无货币置田庄”，并亲自拨款建立“董公祠”。",[24,214,26,28,289,80,31,7,29,30,84,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0ad83cff15c87a280334ef33beaac0f.jpg",[],{"id":622,"slug":623,"title":624,"dynasty":125,"author":625,"museum":50,"description":626,"tags":627,"thumbUrl":628,"material":62,"size":63,"collection":64,"collections":629,"showCount":611,"zanCount":11,"manualWeight":11,"mainColor":43},288029,"shan-shui-tu-lin-quan-gao-shi-zhang-zong-cang-288029","山水图(临泉高士)","张宗苍","张宗苍（1686-1756），字默存，江苏苏州人，画家。\n师承清代娄东画派的传人黄鼎。擅山水画，代表作有《吴中十六景》。",[24,25,55,98,77,27,103,29,30,31,7,85,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdba40184baacbf9a11bf003631812cec.jpg",[],{"id":631,"slug":632,"title":338,"dynasty":73,"author":633,"museum":50,"description":634,"tags":635,"thumbUrl":636,"material":62,"size":63,"collection":64,"collections":637,"showCount":638,"zanCount":11,"manualWeight":11,"mainColor":43},290942,"shan-shui-zhou-qian-gu-290942","钱毂","钱毂，吴（今苏州）人。字叔宝，号磬室。明代画家。少孤贫，失学，成年开始读书。从文征明学诗文、书画，学习刻苦，传说曾抄古籍几万卷. 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。",[24,98,77,28,29,78,7,80,31,103,27,84,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8400b37a40e904224c5ba0f310bde0b0.jpg",[],12,{"id":640,"slug":641,"title":642,"dynasty":94,"author":95,"museum":50,"description":96,"tags":643,"thumbUrl":644,"material":62,"size":63,"collection":64,"collections":645,"showCount":638,"zanCount":11,"manualWeight":11,"mainColor":68},290061,"yun-lin-xiao-yin-tu-ke-luo-ban-wang-meng-290061","云林小隐图（珂罗版）",[23,53,24,25,54,77,84,83,55,28,78,29,7,136,556,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3caeca2af59eae88432c0aeed7ad6dfe.jpg",[],{"id":647,"slug":648,"title":649,"dynasty":73,"author":650,"museum":50,"description":651,"tags":652,"thumbUrl":653,"material":62,"size":63,"collection":64,"collections":654,"showCount":638,"zanCount":11,"manualWeight":11,"mainColor":43},288104,"shan-shui-tu-ye-wen-bo-ren-288104","山水图页","文伯仁","文伯仁（1502---1575）明代画家，字德承，号五峰、摄山长、葆生、摄山老农、五峰山人、五峰樵客，汉族，湖广衡山人，系籍长州（今江苏苏州）。文徵明侄子。\n性暴躁，好使气骂座，少年时曾与叔文徵明相讼，一度系狱。工画山水，效王蒙，学“三赵”（令穰、伯驹、孟頫），笔力清劲，岩峦郁茂，布景奇兀，时以巧思发之，名在文徵明之下。横披大幅颇负出蓝之誉，唯构图时有塞实之感。\n善画人物，亦能诗。其山水画有简、繁两种面貌。简者效文徵明细笔山水，景色疏朗，笔墨细秀，多抒情意趣；繁者出自王蒙，山林层叠，构图饱满，皴点繁密，境界郁茂。",[23,24,53,77,28,27,56,30,58,85,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf7db49b02c17bf4b327893457d6e909.jpg",[],{"id":656,"slug":657,"title":658,"dynasty":659,"author":660,"museum":50,"description":661,"tags":662,"thumbUrl":663,"material":62,"size":63,"collection":64,"collections":664,"showCount":665,"zanCount":11,"manualWeight":11,"mainColor":68},230503,"shi-ting-shi-dai-si-ji-shan-shui-tu-qiu-xue-zhou-230503","室町时代 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日本画家。名等杨，又称雪舟等杨。生于备中赤浜（今冈山县总社市）。曾入相国寺为僧，可能随同寺的山水画家周文学过画。作品广泛吸收中国宋元及唐代绘画风范。后被维也纳世界和平大会通过决定公认他为世界文化名人。",[23,53,24,98,26,28,56,30,352,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bc400973487eafe8b6a86e5eafe93c0.jpg",[],11,{"id":667,"slug":668,"title":669,"dynasty":73,"author":670,"museum":50,"description":671,"tags":672,"thumbUrl":673,"material":62,"size":63,"collection":64,"collections":674,"showCount":675,"zanCount":11,"manualWeight":11,"mainColor":43},290931,"bao-shan-shi-jing-ce-zhang-hong-290931","包山十景册","张宏","张宏（1577年－1652年后），字君度，号鹤涧，江苏苏州长洲县人，明代画家、篆刻家。善画山水、人物、翎毛。擅长山水，颇有意趣，亦能画兰，笔墨有元人古意，是明末吴门画坛的中坚人物。吴中学者尊崇之。另外近代学者指出他擅长“地图式绘画”，描绘旅游所见景色，是与其他吴派画家不同之处。",[24,151,28,114,78,7,77,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e629974fe896b8b1acd8fb8c21f64ae.jpg",[],10,{"id":677,"slug":678,"title":679,"dynasty":125,"author":680,"museum":50,"description":681,"tags":682,"thumbUrl":687,"material":64,"size":64,"collection":64,"collections":688,"showCount":675,"zanCount":11,"manualWeight":11,"mainColor":68},230175,"shu-hua-shi-liu-kai-wang-shi-min-230175","书画十六开","王时敏","此作用笔追法黄公望，山峦以披麻皴层层写就，浑厚苍润，尽显元人山水的沉古意趣。画面铺陈开阔，层峦叠嶂间飞泉直下，板桥连缀幽境，水畔村舍错落排布，山居人家隐于林木蓊郁的山坳里。\n\n淡施青绿晕染山石，糅合秀润与苍劲，整体意境静谧悠然。笔墨松秀温润，于摹古之中自出风神，将林泉雅逸的林下之趣藏于错落景致间，铺展出一派安闲淡远的世外山居图景。",[24,53,151,55,373,26,683,60,684,80,31,685,78,7,686,484],"披麻皴","飞泉","村舍","静谧悠然","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e4b15bc29a9bde98e7a633ac4b782f6.jpg",[],{"id":690,"slug":691,"title":692,"dynasty":125,"author":625,"museum":553,"description":693,"tags":694,"thumbUrl":695,"material":64,"size":64,"collection":41,"collections":696,"showCount":697,"zanCount":11,"manualWeight":11,"mainColor":698},202056,"cui-yan-shan-ju-tu-zhou-zhang-zong-cang-202056","翠巘山居图轴","画面山峦叠嶂，巘峰挺秀，林木葱郁间溪流蜿蜒，山居隐于幽谷，意境清幽淡远。用笔秀劲细腻，皴染结合，墨色层次丰富，既得沉厚之韵，又具灵动生机。山石勾勒与皴擦相济，树木枝干虬劲，叶簇繁密却不显杂乱，溪流潺潺似可闻声，山居小筑虽简却藏雅致，尽显文人山水的逸趣与自然之美。",[24,28,98,27,77,7,277,30,60,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd46fc77568dc43d343d9a63fc4406340.jpg",[41],9,"654f38",{"id":700,"slug":701,"title":702,"dynasty":125,"author":703,"museum":553,"description":704,"tags":705,"thumbUrl":706,"material":64,"size":64,"collection":41,"collections":707,"showCount":697,"zanCount":11,"manualWeight":11,"mainColor":708},201764,"shan-ju-chun-xiao-tu-zhou-lu-dao-huai-201764","山居春晓图轴","陆道淮","层峦叠嶂间云雾轻笼，春山似被晕染得空灵悠远。山麓茅舍错落，虬松倚石，疏柳含翠，小桥跨溪连岸，流水潺潺映带生机。亭中雅士凭栏，静赏春晓景致，山间楼阁隐于林麓深处，与自然浑然相融。笔墨细腻，皴染结合，山石肌理分明，树木姿态鲜活，浅淡设色更添春意融融。整幅画意境清幽淡远，既展山水之秀，又藏山居之闲，尽显文人寄情林泉的雅致心境。",[28,27,26,80,31,100,30,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F527771c6f2977ac0a0c29df0723dd004.jpg",[41],"c2ae9f",{"id":710,"slug":711,"title":712,"dynasty":73,"author":713,"museum":50,"description":714,"tags":715,"thumbUrl":719,"material":62,"size":63,"collection":64,"collections":720,"showCount":721,"zanCount":11,"manualWeight":11,"mainColor":43},288013,"qiu-lin-han-yan-tu-juan-sun-zhi-288013","秋林寒雁图卷","孙枝","孙枝（公元16-17世纪初，生卒年不详），明代画家。字叔达、微之，号华林、华林居士，吴县（今江苏苏州）人。工书善画，长于山水，师法文征明，明姜绍书《无声诗史》谓其“石树葱秀，毫素间有洒然出尘之致，亦吴中佳手也”。所作山水意境幽深，风格秀整。花卉、人物亦佳，曾学唐寅而气韵笔力不逮。为吴门派画家之一。其画法出自文征明，石树葱秀，毫素间有洒然出麈之致。花卉、人物亦佳，人物且注重大型画面如画卷移居图。北京故宫博物院藏有其所作九龙山居图卷，盖学唐寅而不及者。",[23,24,54,55,77,26,596,716,717,529,31,7,115,448,718,84,83,85],"寒雁","飞鸟","萧瑟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd12ca6b35db79bb43e21774644a2d1e9.jpg",[],7,{"id":723,"slug":724,"title":725,"dynasty":73,"author":726,"museum":50,"description":727,"tags":728,"thumbUrl":729,"material":64,"size":64,"collection":64,"collections":730,"showCount":721,"zanCount":11,"manualWeight":11,"mainColor":43},235827,"shan-shui-ce-li-liu-fang-235827","山水册","李流芳","此帧画面松枝虬劲苍郁，针叶攒簇如盖，笔法清逸松秀。淡赭晕染坡石村落，浅青轻笼远山层峦，空寂山居隐于松下，尽显悠远萧散的林下意趣。\n题跋自言取法前贤却自出机杼，笔墨脱略常格，将画理与文思相融，暗合晚明文人的审美意趣。整体以淡墨轻岚营造幽淡沉静的氛围，既有元人山水的简远疏朗，又藏着创作者幽隽沉静的文心，淡远空濛间，山居雅趣扑面而来。",[24,25,151,26,77,28,289,7,374,529,83,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24c929e9232e406ffa2b55e017c3ed19.jpg",[],{"id":732,"slug":733,"title":734,"dynasty":125,"author":126,"museum":50,"description":735,"tags":736,"thumbUrl":737,"material":64,"size":64,"collection":64,"collections":738,"showCount":721,"zanCount":11,"manualWeight":11,"mainColor":43},235776,"qing-chu-liu-da-jia-ji-ce-xia-ri-shan-ju-ye-wang-hui-235776","清初六大家集册-夏日山居页","此作以苍松为前景，虬干层枝劲秀郁茂，松下溪畔草庐隐于繁林之间，左见飞泉落涧，对岸烟水柔波漾着垂杨。以干笔皴擦、湿墨晕染交织出山林层次，苍润相生。繁密笔致却毫无拥塞之感，疏密错落间铺展出夏日山居的清和意趣。将林泉高致的隐逸襟怀寄寓尺幅，实景丘壑与文人幽怀相融，萧散悠然的林下之风漫溢纸面，尽显淡远恬和的山水雅韵。",[24,25,53,151,77,27,85,28,289,100,31,531,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90fc4bdee8bb93e59055c54cda66ee5d.jpg",[],{"id":740,"slug":741,"title":742,"dynasty":125,"author":743,"museum":234,"description":744,"tags":745,"thumbUrl":746,"material":747,"size":64,"collection":64,"collections":748,"showCount":721,"zanCount":11,"manualWeight":11,"mainColor":43},234758,"huang-shan-tu-ce-jiang-zhu-234758","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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