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形”山势引导，将视线从后方的主峰、山岚，中景的楼阁、流泉、行旅等，顺势牵引至近景，空间铺陈手法，是为“深远”。\n干长挺拔的大松伫立岩盘上，佐以蟹爪为树枝、梢末，而浑厚的“鬼面皴”大石雄踞中轴下方，有助于画面重心的稳固。而时值日暮，右方的渔樵收拾起渔网、泊舟登岸，左岸手抱婴孩的妇女及随侧稚童，也笑迎肩挑两担鱼篓的渔夫归来，邻近搭建的房舍，则是一家人准备共进晚餐，享天伦乐的居所。\n综观全幅，赋予观赏者北方大山大水的真实感受，从而能引发可行、可望、可游、可居共鸣的乐趣。",[23,24,25,26,27,28,29,30,31,32,33,34,7,35,36,37,38],"高清","国画","书画","水墨","皴法","三远法","山水","山石","树木","流水","瀑布","云雾","岩石","苔点","溪流","峰峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b56c53237741c6f94685ae05f95e012.jpg","绢","纵158.3公分，横108.1公分","宋画精选",[42,44,45],"山水画精选","水墨画精选",2376,17,"795548",{"id":50,"slug":51,"title":52,"dynasty":53,"author":54,"museum":55,"description":56,"tags":57,"thumbUrl":65,"material":66,"size":67,"collection":44,"collections":68,"showCount":69,"zanCount":70,"manualWeight":11,"mainColor":71},219219,"fang-huang-gong-wang-fu-chun-shan-ju-tu-juan-shen-zhou-219219","仿黄公望富春山居图卷","明","沈周","北京故宫博物院","此图为沈周背临黄公望《富春山居图》之作。图中坡岗起伏，景物幽美，布局开合有度，用笔方圆兼备，刚柔并济，结合了披麻皴法与矾头皴法，对原作的临摹达到了形神兼似的境界，而笔力间又体现出沈周自己个人的特色。黄公望《富春山居图》后被焚毁作两段，分别辗转流传，今前一段藏于浙江省博物馆，后一段藏于台北故宫博物院。沈周此幅临作基本上保留了原作被毁以前的面貌，故这幅作品除具备本身的艺术价值之外，还带有重现黄氏原作的重要意义。尾纸有姚绶、董其昌、吴宽、文彭、周天球、谢凇洲诸家题跋。",[23,24,25,58,26,27,59,60,61,62,29,63,31,32,7,34,64],"长卷","临摹","书法","行书","印章","孤石","孤舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1efe58b722df64f77e022a8a8fc2de6.jpg","纸本,设色","纵36.8厘米，横855厘米",[44],1987,11,"BDBDBD",{"id":73,"slug":74,"title":75,"dynasty":53,"author":76,"museum":77,"description":78,"tags":79,"thumbUrl":90,"material":91,"size":92,"collection":44,"collections":93,"showCount":95,"zanCount":96,"manualWeight":11,"mainColor":48},222208,"tao-yuan-xian-jing-tu-zhou-chou-ying-222208","桃源仙境图轴","仇英","天津博物馆","此为明代“吴门四家”之一的仇英所作的青绿山水人物画\n仇英（1494—1561），字实父，号十洲，江苏太仓人，寓居苏州。漆工出身，后师周臣学画。善画人物、山水等，所绘山水以青绿重色为多，师法赵伯驹、刘松年。长于临摹，功力精湛，是明代中期画坛的巨擘。与沈周、文徵明、唐寅并称“明四家”。\n《桃源仙境图》的题材取自《桃花源记》。《桃花源记》是晋代脍炙人口的文学名篇。《桃源仙境图》即描绘了文人理想中的隐居之乐。画面远景峰峦耸峙，山间白云缭绕，殿宇楼台时隐时现，展现了恬静、远离世俗、虚幻缥缈的人间仙境。前景清泉沿石壁顺势而下，汇成宽阔的河面，曲折的古松、星星点点的桃花树，有三位白衣高士临流而坐抚琴清谈，两个书童随侍。全画作者用大青绿着色，山石以勾斫的笔法，较少皴染，色彩华丽而不艳俗，用笔工致而不呆板。\n此图画面右下角石上有行楷小字，款署“仇英实父为怀云先生制”，是仇英为其好友陈官（号怀云，江苏富豪）所作。据史料记载，仇英于四五十岁时受陈官延请至其家中驻馆作画。仇英为其所绘的作品中最著名的要数《桃源仙境图》轴和《职贡图》卷。仇英的传世作品较多，有关桃源题材的作品还有《桃花源图》《玉洞仙源图》《仙山楼阁图》《云溪仙馆图》等等。",[23,24,25,80,81,82,83,29,84,85,86,31,30,34,87,88,7,37,89],"立轴","青绿","设色","工笔","人物","楼阁","小桥","建筑","植被","仙境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14ade6201174dd570a6a6f1b1b739de8.jpg","绢本 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年齿大沈周十馀岁的刘珏（1410-1472）极爱周之画，每与珏晤面，不问“寒暑风雨日夜冗暇醒醉”，皆强之作画。据沈周於画上自题云，知此幅乃作于酒后，笔墨清朗率略，与细致疏秀的“崇山修竹”有同工之趣，二幅成画时间当甚接近，约于1470（成化庚寅）之际，时沈周四十四岁。 沈周不善饮，自谓平生于酒至痛饮处仅升许，而於六十五岁（弘治辛亥，1491）作〈老杯酒轩诗引〉中尝言之所以不戒酒者，“以其有醉之乡，处之可以佚吾老也。”三两小杯醺醺然为乐，益可增添画趣，周之不欲绝者当非无因。 此画亦为刘珏作，画成于醉后。据沈周自跋，刘珏极爱沈周之画，每一晤面，輙求周作，不间醒醉冗暇寒暑，甚致夜亦张灯，强之作画云。",[24,26,80,29,27,64,133,31,7,32,35,134],"蓑笠","垂柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82bbfa00972ccac2b880ca0da9cc7539.jpg",[44,45],1229,4,{"id":140,"slug":141,"title":142,"dynasty":143,"author":144,"museum":145,"description":146,"tags":147,"thumbUrl":152,"material":153,"size":154,"collection":44,"collections":155,"showCount":156,"zanCount":157,"manualWeight":11,"mainColor":71},214390,"yu-fu-tu-juan-wu-zhen-214390","渔父图卷","元","吴镇","上海博物馆","这卷描绘了江南水乡的景象，地势辽阔，云山不分，水天一色。在苍茫的景象中，散落着十四个渔民快乐地来回操纵着他们的船，他们的动作各不相同，有的醉卧在夕阳下，有的独自在烟波中捕鱼，有的在网中捕鱼，有的在帐篷的窗户上听雨，丰富而生动。吴镇的技法成熟，墨色浓淡相宜，将精细的轮廓线与厚重的表现力结合起来，用阴沉的墨色和强烈的笔触，仅用有限的笔墨就描绘出长江以南广阔而混杂的风景。",[23,104,24,25,58,26,148,27,64,133,149,31,7,150,151,61,62],"山水画","渔乐","河流","小船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dd51c8d826dddc7c4be19c56c6b51be.jpg","纸本,水墨","33x651.6",[44],887,6,{"id":159,"slug":160,"title":161,"dynasty":18,"author":162,"museum":130,"description":163,"tags":164,"thumbUrl":169,"material":26,"size":170,"collection":44,"collections":171,"showCount":172,"zanCount":173,"manualWeight":11,"mainColor":48},218544,"yu-qi-nong-yan-tu-mi-fei-218544","雨气浓烟图","米芾","烟雨濛濛，墨色轻染山峦，云雾似纱般缠绕峰峦，远近层次在虚实间晕开。近处林木苍劲，几椽茅舍隐于树影，水面上一叶扁舟悠然，似载着湿意的风。米氏笔法写意传神，将雨气的氤氲、烟岚的缥缈凝于尺幅，于淡墨间见悠远之境，仿佛能嗅到湿润的草木气息，听山间细雨沙沙，心境也随之沉静旷达。",[24,58,26,27,29,165,166,34,150,167,114,168,7,31,86,60,62],"远山","近树","小舟","村落","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31ca15d5c9196dbbf7ceb73083e5d937.jpg","40x438",[44,42],865,8,{"id":175,"slug":176,"title":177,"dynasty":18,"author":178,"museum":55,"description":179,"tags":180,"thumbUrl":183,"material":184,"size":185,"collection":42,"collections":186,"showCount":187,"zanCount":125,"manualWeight":11,"mainColor":48},221557,"qing-lv-shan-shui-chang-juan-liu-song-nian-221557","青绿山水长卷","刘松年","刘松年工山水人物，山水皴法受李唐影响， 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近景处于侧面下端，一泓涧水间，有船夫悠然地撑着一叶扁舟欲停船靠岸，顺石坡而行，山麓中有屋宇院落筑立其间，竹篱树木环绕。屋后石径环山逶迤而上，长堤板桥，赶驴行人都被画家一一摄入笔端。中景里面，两崖之间有瀑布飞倾而下，击石溅花，轰然作响。瀑布之下座木桥横亘于溪涧之巅，一路上危壁嶙峋，松柏参差，这其间还坐落一方整庭院，可见画家幽居深隐的情感趋向。最高处的景致虽然深远，却格外醒目：画面中轴有主峰赫然而立，直入云霄，浩渺烟岚，尽出其下，远近如屏的诸峰环拥相簇，映衬着主峰的高险与威仪。群峦之间，一条白练般的瀑布直落山涧。\n中国山水画发展到晚唐、五代时，具备了更加丰富多样的表现形式，其中的水墨山水更是逐渐走向了成熟。\n荆浩提倡作画要忠实于自然对象，“远取其势，近取其质”，他善于创造富有概括力的形神兼备的艺术形象。除此之外，他还在学习传统的基础之上加以发展创造。他强调笔墨并重，曾对人说：“吴道子画山水，有笔无墨；项容有墨无笔，吾当采二子之所长，成一家之体。”他集唐人山水画法之大成，并努力创造革新，终成一代山水大家。荆浩在笔墨的结合上较前人进了一大步，他的《笔法记》是山水画的重要论著，其中山石皴法、树木画法的论述对山水画的发展起了很大作用。《匡庐图》便是体现他绘画理论的代表作。\n《匡庐图》画中的描绘山水究竟是太行山还是庐山尚存争议。\n这幅图的真实感很强，能够看出画家在隐居生涯中，对自然景观的深刻体验和虚怀若谷的淡泊情思。《匡庐图》营造了一幅雄伟刚劲与寂寞幽静相互交融的远离人间烟火的空灵世界。\n《匡庐图》采用的是立轴构图，鸟瞰式纵向全景布局，层次分明，山水壮阔。画家将“高远”、“平远”、“深远”结合运用，群峰耸峙的巍峨山峦与开阔平旷的山野幽谷，山径盘旋的山中小路及渐远渐淡的远处诸峰相映成趣，自然地呈现在画卷之中。\n在荆浩之前的山水画很少有表现雄伟壮阔的大山大水以及全景式的构图布局。而荆浩的《匡庐图》整幅画上面留天，下面留地。右下角临水浅坡，画的左下角至右面是静静的水面，远处和天色相连接，体现的是大山大水，开图千里的局面。他不满足于局部山水的描绘，而是放眼于广阔空间气势磅礴的自然景观。\n所谓的“全景山水”，其章法是指中心全景式布局，即主峰为中心，用云帕烟霞断白，衬托出中、前景的全局安排。此图以全景构图方式描绘出了山路蜿蜒、巨峰凌空、飞瀑如练，整幅画面体现出百尺危峰、屹立于青冥间的雄伟气势。全景式构图给人以旷远、峻拔、雄壮、博大而深远的审美感受。《匡庐图》大致分为三个层次，由远到近，虽为远景，但很醒目，突兀的主峰轮廓线与留白的天际相照应，峻伟耸拔的高峰在画而上部中央，是全画的视点，给人以开阔、博大、挺拔的意境。主峰被两侧缥缈的烟岚围绕着，主峰如屏，相互映照，充满张力的形式感把观者视野引向画外，联想到更辽远广阔的空间。中景画面丰富，既有飞瀑流水奔流于两崖之间，攀援而上，溪洞之巅横架一桥，两边用小斧劈皱描绘的岩壁，松柏古树参差之变，使画面富有节奏和韵律。近景表现一洗江水，一叶扁舟，树木描绘酣畅淋漓。整幅画而渲染着一种壮关、气脉相通的主旋律。\n此图在用笔上，勾、皴、染法并举，尤其是皴法的运用，是荆浩对山水画发展的重要贡献。画家以中锋画山石，边缘整齐，仿佛切割过般。山头和暗处用类似小斧劈的皴法，再施以淡墨多层晕染，表现出阴阳向背的质感，突出了画面的立体感和厚重感。在墨色变化上，画家注重用色浓、淡及黑、白的对比。且在画云时，一改前人细勾填粉的方法，仅以水墨渲染，衬托出云的空灵飘荡之态，画水也不再使用前人鱼鳞瓦片的勾线之法，而以淡墨烘染水面，显示出水面的明暗变化，兼用舟、桥等物象暗示水的存在，创造了水晕墨章的表现技法。\n《匡庐图》的透视方法，山峰用仰视，不仅令观者觉得山的高大，而且给人以庄严和雄伟的感觉。山腰的峰峦和庐舍、道路用平视，使自然景观给人以自然和亲切的感觉。山脚下的林木、树舍和山洞的流水、桥、松、房舍及行旅等用俯视，显示观者居高临下，给人以心旷神怡的感觉。尤其是山涧的布势，由于用平视，汀岸回转，伸向远方的山坳之中，不但增加了画面的力度，也增加了深度。\n在整幅画中，树的形态也是不一样的。树枝曲中见直，瘦劲有力。画中的树排列得很有曲线，群山把树林当做是一种屏障，而树林也把山当做是一种依靠。在树林森密的地方有一旅店，在旅店的旁边有一古渡，古渡旁边有水，水面显得十分宽阔。\n荆浩在这幅《匡庐图》中把后面的叠水以及水墨微妙的层次处理得很好，避免了山中的瀑布因为线条的处理而显得生硬，画采用了水墨晕染的方法，以丰富的层次体现了山、水、树和景物之间的距离\n画作通篇以中锋刻画山石，辅以侧锋“解索皴”、“钉头皴”、“豆瓣皴”等笔法烘托气氛，山头阳面和暗处皴法类似于小斧劈，间施以淡墨多层晕染，以表现阴阳向背之状。此方式能在唐代李思训父子的青绿山水中找到痕迹。荆浩则善于使用效、染兼具的复笔，错置排列又层次井然，多用小披麻皴，以各种点与效的笔形墨痕与峥嵘崔巍的景致浑然一体，将北方山石质地坚硬、结体曲致的表相，随笔墨运动的各种装饰性皴法，呈现主体心性与人格追求高度统一的“荆氏笔法”。\n五代韩屿：“翠微深处著轩楹，绝瞪悬崖瀑布明。”\n元代书画家柯九思：“岚溃晴薰滴翠浓，苍松绝壁影重重。瀑流飞下三千尺，写出庐山五老峰。”\n清代孙承泽：“其山与树，皆以秃笔细写，形如古篆隶，苍古之甚，非关、范所能及也。”\n现代中国书画理论家王伯敏《中国绘画通史》：“中国山水画的表现，在六朝时期即画有‘卧对其间可至数万里’的作品，到了荆浩的时期，获得更大发展，遂成为宋人所称的‘全景山水’……今传荆浩所作的《匡庐图》就体现了这种山水画的特点。《匡庐图》正是中国宋以前一件具有山水全景模式的典型作品。”",[24,25,80,29,26,27,7,33,31,35,34,37,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80349a4e9c08adb4ee01161f322fb590.jpg","绢本","纵185.8厘米，横106.8厘米",[],621,{"id":231,"slug":232,"title":233,"dynasty":221,"author":234,"museum":130,"description":235,"tags":236,"thumbUrl":239,"material":240,"size":241,"collection":122,"collections":242,"showCount":243,"zanCount":157,"manualWeight":11,"mainColor":48},289890,"wan-he-song-feng-tu-ju-ran-289890","万壑松风图","巨然","图中烟岚松涛，山中层岩丛树，山顶矾头重叠，深谷里瀑泉奔涌，溪畔浓荫森森，并架一木桥。沿着曲折的山脊，是一片片浓密的松 林，“丰”字形的松树随风摇曳，百姿千态，栩栩如生。沟壑里聚起团团云雾，缓缓地向上升腾。山脚下的林木中坐落着数间茅屋，其中一榭依石临水，有白衣人坐其中。此乃世外桃源里之人间烟火。从白衣人的房后望去，蜿蜒山路沿谷涧上去。在两山之间、谷涧之上，有一巨大的楼阁，且又有山楼水榭、远寺长桥，掩映在万松山壑间。",[23,104,24,26,29,80,27,237,33,32,86,85,7,238],"松树","溪谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ab2e4354bdfebe101d6dc37437481b2.jpg","未知","Xcm*Xcm",[],523,{"id":245,"slug":246,"title":247,"dynasty":221,"author":222,"museum":130,"description":248,"tags":249,"thumbUrl":250,"material":240,"size":241,"collection":122,"collections":251,"showCount":252,"zanCount":157,"manualWeight":11,"mainColor":253},287714,"kuang-lu-tu-tiao-se-ban-jing-hao-287714","匡庐图（调色版）","《匡芦图》是荆浩现存作品中比较可信的真作之一，图上有南宋高宗赵构所书“荆浩真迹神品”六字，另有元人韩屿和柯九思两人题诗。全图由下而上，由近至远，大致可分为近景、中景、远景三个层次，境界上也从“有人之境”渐入“无人之境” 近景处于侧面下端，一泓涧水间，有船夫悠然地撑着一叶扁舟欲停船靠岸，顺石坡而行，山麓中有屋宇院落筑立其间，竹篱树木环绕。屋后石径环山逶迤而上，长堤板桥，赶驴行人都被画家一一摄入笔端。中景里面，两崖之间有瀑布飞倾而下，击石溅花，轰然作响。瀑布之下座木桥横亘于溪涧之巅，一路上危壁嶙峋，松柏参差，这其间还坐落一方庭院，可见画家幽居深隐的情感趋向。最高处的景致虽然深远，却格外醒目：画面中轴有主峰赫然而立，直入云霄，浩渺烟岚，尽出其下，远近如屏的诸峰环拥相簇，映衬着主峰的高险与威仪。群峦之间，一条白练般的瀑布直落山涧。",[104,24,25,80,26,29,27,7,33,31,181,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a8ad00d8855331e31469eec858e44e4.jpg",[],505,"37474F",{"id":255,"slug":256,"title":257,"dynasty":221,"author":258,"museum":259,"description":260,"tags":261,"thumbUrl":264,"material":153,"size":265,"collection":44,"collections":266,"showCount":267,"zanCount":268,"manualWeight":11,"mainColor":48},220441,"ping-lin-ji-se-tu-dong-yuan-220441","平林霁色图","董源","美国波士顿博物馆","此图绘山峦并峙，古寺深藏，山脚下有茅屋，行旅之人在平林小径间穿行。另一侧是开阔的水面，岸边有人等待泊舟。山石用短线皴，画法尚存北宋遗风，而与南宋画风无涉。董其昌将此图题为董源，实与董源的画法有较大的距离。近年有学者指出图中茅屋里的曲尺形炕是金元时典型的北方屋室特点，为推断此图系金代作品提借了有力的佐证。此图曾经清王时敏、张应甲、完颜景贤收藏。\n董源最擅长山水，其水墨及着色轻淡者，不为奇峭之笔，山石用麻皮皴，作峰峦出没，云雾显晦，溪桥渔浦，洲渚掩映的江南景色，评者以为平淡天真，唐无此品；其着色浓重者，山石皴纹甚少，景物富丽，宛然李思训风格。\n董源的水墨山水画，巨然加以发展，世称“董巨”，为五代北宋间南方山水画的主要流派，对元朝及其后画坛影响甚大，与李成和范宽并为“宋三家”。相传的作品有〈潇湘图〉、〈夏山图〉、〈夏景山口待渡〉、半幅〈溪山行旅〉和〈溪岸图〉等。",[23,104,24,25,58,26,27,29,262,31,7,34,64,32,263,181],"平林","岸渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2add91492c6c896c12d7f559661ce12b.jpg","37.5×150.8cm",[44,45],498,5,{"id":270,"slug":271,"title":272,"dynasty":221,"author":258,"museum":20,"description":273,"tags":274,"thumbUrl":280,"material":40,"size":281,"collection":44,"collections":282,"showCount":283,"zanCount":284,"manualWeight":11,"mainColor":48},221156,"long-su-jiao-min-tu-dong-yuan-221156","龙宿郊民图","该图中以两重大山为主体，向画面的纵深走去。左边则是浩渺长江，也向画面的纵深流去，使画面很有深远感。该图在色彩的运用上也别具特色，作者将墨与青绿巧妙地合为一体，墨色和青绿色相得益彰却不相碍。作者用墨笔勾勒渲染后，在坡面峰峦等处略敷青绿，颇有郁郁葱葱，草木繁茂之意。",[23,24,104,25,80,29,82,275,31,30,150,168,84,7,88,37,276,277,278,184,279,27],"披麻皴","民居","自然景观","传统技法","南派山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F488a9480f5fb0b143be257ea8e941809.jpg","纵156厘米，横160厘米",[44,45],422,2,{"id":286,"slug":287,"title":288,"dynasty":18,"author":289,"museum":20,"description":290,"tags":291,"thumbUrl":296,"material":212,"size":297,"collection":44,"collections":298,"showCount":299,"zanCount":284,"manualWeight":11,"mainColor":48},214668,"shan-shui-tu-guo-zhong-shu-214668","山水图","郭忠恕","远处，两排大雁在天际尽头飞起；中间，两座山峰对峙，中间，一条河和一个湖缓缓浮现；附近，坡岸上有树木，河岸边隐约可见几座帐篷。湖面开阔而平静，一艘小独木舟，船头有一个渔夫在独自钓鱼，两只苍鹭，一只站在船边，另一只伸出翅膀盘旋，似乎在寻找水下的动静。",[24,104,29,292,64,149,293,294,32,7,295,82],"飞鸟","枯树","老树","屋舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2e63ec359e565f04c7e56a4c5ceb37a.jpg","53x72.2",[44],412,{"id":301,"slug":302,"title":303,"dynasty":143,"author":304,"museum":305,"description":306,"tags":307,"thumbUrl":308,"material":309,"size":310,"collection":44,"collections":311,"showCount":312,"zanCount":313,"manualWeight":11,"mainColor":48},221810,"song-xuan-chun-ai-tu-zhou-zhang-yu-221810","松轩春霭图轴","张羽","美国大都会艺术博物馆","此图表现了春山“纵使晴明天雨色，入云深处亦沾衣”的意态。近景处坡石曲折，树林阴翳，一湾溪水逶迤而过，茅舍数椽隐于林中，静谧无人；中景山腰白云缭绕，亭台楼阁闪现其间；远景画一主峰突兀，山色浓重浑然。山石的结构以披麻皴勾写，层次丰富，脉络井然；山体以米氏横点层层积染，并以墨点和色点相互交错。尤其是主峰的刻画，丰富而充满生机，能与高克恭相媲美。全图笔调粗放，墨色氤氲，青、蓝、墨、赭，融合于一片春色之中。",[23,24,25,80,26,82,29,237,34,7,31,27,30,87],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bbf82b9a395bf951704715997109750.jpg","纸本设色","纵91.5cm，横31.5cm",[44,94],396,1,{"id":315,"slug":316,"title":317,"dynasty":53,"author":76,"museum":130,"description":318,"tags":319,"thumbUrl":325,"material":240,"size":241,"collection":122,"collections":326,"showCount":327,"zanCount":313,"manualWeight":11,"mainColor":48},287636,"mo-li-zhao-dao-ming-huang-xing-shu-tu-quan-juan-chou-ying-287636","摹李昭道明皇幸蜀图全卷","仇英（约1498年—约1552年）， 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”。",[23,24,58,59,83,81,82,29,84,320,321,86,7,322,323,324],"马","古道","历史画","侍从","出行","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F962a3f309aa3a5c7f24e8b0909e8b7c2.jpg",[],380,{"id":329,"slug":330,"title":331,"dynasty":332,"author":333,"museum":20,"description":334,"tags":335,"thumbUrl":338,"material":212,"size":339,"collection":44,"collections":340,"showCount":341,"zanCount":313,"manualWeight":11,"mainColor":71},214285,"fang-fan-kuan-shan-shui-tu-tang-dai-214285","仿范宽山水图","清","唐岱","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。",[104,24,25,80,82,29,27,59,62,336,34,31,237,35,337,7,88],"山峰","亭子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3962d8e255212dd550a88ad89458204f.jpg","287.2x155.2",[44],371,{"id":343,"slug":344,"title":345,"dynasty":221,"author":258,"museum":305,"description":346,"tags":347,"thumbUrl":348,"material":226,"size":349,"collection":44,"collections":350,"showCount":351,"zanCount":313,"manualWeight":11,"mainColor":48},221159,"xi-an-tu-dong-yuan-221159","溪岸图","《溪岸图》描绘江南溪岸景象，上半部左右相对两座山峰，两峰之中远山隐现，两山夹壑中一条山溪自远而近，至山前汇成大溪。溪岸左有楼台水榭，水榭中有幽人雅士正观望溪景。左面山中亦有泉瀑飞注入大溪，画的最下方溪岸坡冈上杂树耸立。中景、远景山峦上丛林茂密，草木葱茏。\n《溪岸图》构图雄伟，笔法严谨，兼具北方派的气度和南方派的温润，是董源从唐人山水过渡到南方水墨山水阶段的作品。",[23,24,25,29,27,275,26,82,35,31,32,33,181,165,166,37,7,88,87],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdee3a8ea2ec5b0766e929d242272f70a.jpg","纵220.3厘米，横109.2厘米",[44,45],366,{"id":353,"slug":354,"title":355,"dynasty":143,"author":356,"museum":20,"description":357,"tags":358,"thumbUrl":363,"material":226,"size":364,"collection":44,"collections":365,"showCount":366,"zanCount":284,"manualWeight":11,"mainColor":71},220767,"fu-chun-shan-ju-tu-wu-yong-shi-juan-huang-gong-wang-220767","富春山居图-无用师卷","黄公望","《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",[23,24,25,58,26,27,29,64,32,31,359,7,86,113,360,63,117,34,361,362],"江","沙洲","岸滩","松竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbec3a49bb34d871d2edb2e4c8e3d2c45.jpg","横636.9公分，高33公分",[44,45],349,{"id":368,"slug":369,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":370,"thumbUrl":371,"material":372,"size":41,"collection":122,"collections":373,"showCount":374,"zanCount":313,"manualWeight":11,"mainColor":48},231408,"zao-chun-tu-guo-xi-231408",[23,24,104,25,80,26,82,27,29,7,35,31,32,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3107c7f430c4249bafcf20275e778fe2.jpg","绢本水墨",[],338,{"id":376,"slug":377,"title":378,"dynasty":332,"author":379,"museum":305,"description":380,"tags":381,"thumbUrl":384,"material":122,"size":122,"collection":44,"collections":385,"showCount":386,"zanCount":313,"manualWeight":11,"mainColor":71},222627,"shui-mo-shan-shui-gong-xian-222627","水墨山水","龚贤","这组作品画风浑厚沉郁，秀气灵动。作者采用积墨法，用润墨一点点积累。墨色中留有空间，使画面极富层次感。独特的构图更是带给读者耳目一新的感觉。龚贤，明末清初著名画家，金陵八大家之一，早年曾参加复社活动，明末战乱时漂泊流离，生活清苦。他工诗文，善行草，著有《香草堂集》。",[23,104,24,25,26,29,382,7,31,181,35,383],"积墨法","层次感","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35053c93def9c553bcb519e4e19a558e.jpg",[44,45],335,{"id":388,"slug":389,"title":390,"dynasty":143,"author":391,"museum":392,"description":393,"tags":394,"thumbUrl":397,"material":153,"size":122,"collection":122,"collections":398,"showCount":399,"zanCount":313,"manualWeight":11,"mainColor":71},214569,"shan-shui-ce-8-wang-meng-214569","山水册-8","王蒙","私人收藏","王蒙是一位中国元朝时期的著名文人、画家、书法家。他最著名的作品之一是《山水册》。\n\n《山水册》是一本包含王蒙的山水画作品的册子。这本册子包含了王蒙的许多杰出的山水画作品，其中包括他的著名作品《黄山图》。王蒙的山水画作品以其精细的线条、细腻的填充和浓郁的气氛而闻名。他的画作展现出自然界的美丽和神奇，表达了他对自然的敬畏和尊重。\n\n王蒙的《山水册》是中国山水画史上的一个重要里程碑，对后世的山水画家产生了深远的影响。这本册子被誉为“中国山水画的经典之作”，至今仍广为流传。",[24,26,82,27,395,29,237,117,7,396,31,32],"册","石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa979705b9e03b4cc5259e511244f05ad.jpg",[],316,{"id":401,"slug":402,"title":403,"dynasty":18,"author":404,"museum":405,"description":406,"tags":407,"thumbUrl":413,"material":212,"size":414,"collection":42,"collections":415,"showCount":416,"zanCount":313,"manualWeight":11,"mainColor":48},220073,"xue-jing-shan-shui-tu-fan-kuan-220073","雪景山水图","范宽","大英博物馆","范宽（约950—约1032），又名中正，字中立，陕西华原（今陕西铜川耀州区）人，宋代绘画大师。因为性情宽厚豁达，时人称之为“宽”，遂以范宽自名。范宽、董源、李成，并称“北宋三大家”。艺术成就使得范宽与李成齐名，并称“李范”，又与同为华原人的柳公权合称“柳范”。\n初学李成，后感悟“与其师于人者，未若师诸造化”，遂隐居终南、太华，对景造意，写山真骨，自成一家。其画峰峦浑厚端庄，气势壮阔伟岸，令人有雄奇险峻之感。用笔强健有力，皴多雨点、豆瓣、钉头，山顶好作密林，常于水边置大石巨岩，屋宇笼染黑色。作雪景亦妙。\n存世作品有《谿山行旅图》《雪山萧寺图》《雪景寒林图》等。\n2004年，美国《生活》杂志将范宽评为“上一千年对人类最有影响的百大人物”第59位。",[23,104,24,25,58,29,408,27,26,82,409,410,411,293,237,412,7],"雪景","山","石","树","雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54eeadf145b59befb0339a43d1468bb6.jpg","31.6X422",[42,44],315,{"id":418,"slug":419,"title":420,"dynasty":53,"author":76,"museum":20,"description":421,"tags":422,"thumbUrl":425,"material":212,"size":426,"collection":94,"collections":427,"showCount":428,"zanCount":284,"manualWeight":11,"mainColor":48},219320,"chun-shan-yin-shang-zhou-chou-ying-219320","春山吟赏轴","此图绘溪山胜景，高士游春。虽是青绿之作，不见富贵，唯有逸气绕耳目，学赵伯驹，仇英得其韵矣。",[24,25,80,82,83,27,29,84,181,31,33,30,37,87,423,7,424],"柳树","春景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7562c788ce2b4470b544a9e0121bd8b5.jpg","157.5x63.2",[94],295,{"id":430,"slug":431,"title":432,"dynasty":143,"author":391,"museum":392,"description":393,"tags":433,"thumbUrl":434,"material":153,"size":122,"collection":122,"collections":435,"showCount":436,"zanCount":11,"manualWeight":11,"mainColor":71},214568,"shan-shui-ce-9-wang-meng-214568","山水册-9",[24,25,26,27,395,29,86,32,31,30,7,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F577bb7f080f7a1cc56e6588d150fe042.jpg",[],293,{"id":438,"slug":439,"title":440,"dynasty":53,"author":54,"museum":305,"description":441,"tags":442,"thumbUrl":446,"material":447,"size":448,"collection":44,"collections":449,"showCount":450,"zanCount":138,"manualWeight":11,"mainColor":71},222100,"si-song-tu-ce-ye-shen-zhou-222100","四松图册页","四松图册页》画的是山野小景，虽然画面的中央是四棵形态各异的松树，但仔细观察会发现画的左下角杂树掩映之下，有小径通向人家。也正是这幽径人家，给充塞画面的寂静山野增添了活力。整幅作品分三个层次，前景是松树和人家，中景是以墨笔勾皴的浅绛山石，远景是以没骨法描绘的远山。从山石的画法看，既不属于前期的“细沈”，亦不属于晚年的简约“粗沈”，风格介乎二者之间。皴法以短披麻皴为主，有王蒙牛毛皴的影子。墨笔为主的整体基调，间以淡赭和花青点染，营造出视觉上很舒服的隽雅格调。",[23,104,24,25,443,444,26,27,29,237,30,109,7,445],"册页","文人画","写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8a9aeacd8f3be7883b8b8e7a825467d.jpg","纸本水墨","纵154厘米，横60.39厘米",[44,94],290,{"id":452,"slug":453,"title":454,"dynasty":332,"author":455,"museum":456,"description":457,"tags":458,"thumbUrl":459,"material":153,"size":122,"collection":44,"collections":460,"showCount":461,"zanCount":313,"manualWeight":11,"mainColor":71},214492,"fang-gu-shan-shui-tu-cheng-ting-lu-214492","仿古山水图","程庭鹭","旅顺博物馆","清代画家程庭鹭的仿古山水图是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了程庭鹭对自然的热爱和对传统文化的尊重。他运用了仿古山水画的特点，使得整件作品显得舒缓而优美。\n\n程庭鹭是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在仿古山水图中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，程庭鹭的仿古山水图是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了程庭鹭对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到程庭鹭的画风魅力，还能了解中国传统的山水风情。",[24,26,27,59,25,62,61,29,63,32,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0fa5973203512efafa690cc0c52a465.jpg",[44],285,{"id":463,"slug":464,"title":465,"dynasty":18,"author":466,"museum":130,"description":467,"tags":468,"thumbUrl":469,"material":212,"size":470,"collection":44,"collections":471,"showCount":472,"zanCount":473,"manualWeight":11,"mainColor":48},218542,"qing-lv-shan-shui-tu-wang-shen-218542","青绿山水图","王诜","绢本之上，青绿设色古雅沉静。石青与石绿随山石肌理晕染，既有郭熙山水的雄健气势，又含文人画的清逸韵致。近处山石皴染结合，松枝苍劲挺拔；山间云雾淡墨轻扫，牵起远近峰峦呼应，营造深远空间感。林麓间隐现的小屋，与葱茏草木相映，藏着古人林泉高致的向往。古朴绢色衬出岁月沉淀的温润，自然山水的雄浑与文人情怀的雅致在此相融共生，尽显北宋青绿山水的独特韵味。",[24,25,81,82,27,29,7,31,30,37,87,237],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa963a4c7fe39c603be18f16b97851252.jpg","93x36",[44],268,3,{"id":475,"slug":476,"title":477,"dynasty":53,"author":54,"museum":55,"description":478,"tags":479,"thumbUrl":480,"material":481,"size":482,"collection":122,"collections":483,"showCount":484,"zanCount":473,"manualWeight":11,"mainColor":71},234233,"lu-mu-tu-shen-zhou-234233","庐墓图","故宫博物院收藏有一卷沈周《庐墓图》，画分四段，从不同角度描绘了山中墓地景色。因墓地题材并非古代山水画的主流，故而学者关注不多。尽管实物遗存有限，然从文献记载来看，描绘先人茔域的山水画，自元末以来直至沈周生活的明代中期应当颇为流行。本文试从沈周《庐墓图》出发，讨论这类茔域山水画的形成与使用及其流行背后的文化观\n构成《庐墓图》的四幅画面，皆纵37.5厘米，横65厘米，推测其原本的形式应为册页。根据卷前题跋，其被合装成手卷的时间约在咸丰初年[1]。第一、二、四开，画面左侧有沈周落款及印鉴；唯第三开未见沈周署款，画面右上方空白处钤有“锦衣徐将军画”朱文印一枚，清末的观者杨棨和李誉据此推测这一幅的作者为徐将军[2]。然而，此幅无论是尺幅、用纸，还是构建画面时选取的元素及其造型特点，都与其他三幅无异。从笔墨及其风格来看，当与其他三幅出自同一作者手笔，故而现代学界认为此幅作者亦是沈周。从印章本身提供的信息来看，如果印章主人确为画家，“锦衣”二字显示了其身份与宫廷的关联。然而，尽管不乏有明代宫廷画家被授予“锦衣指挥”“锦衣千户”等武职[3]，却未见有自称“锦衣将军”的例子。综上，不应将此枚印记理解为作者署款。\n乍一看来，此幅与常见于沈周笔下的山水并无二致：以墨笔写出层峦山脉，山前一湾清泉，坡岸上杂树丛生，山石罩染着一层淡淡的赭色，树木则以淡花青色渲染，营造出幽寂的氛围。这样的环境，不但是文人理想的隐居之所，也是反复出现在以沈周为代表的吴地画家笔下的山居景色。然而，画面中并未出现供文士居住和活动的房舍，取而代之的是一个圆形的土丘，丘前立有一块方碑，其隐现于山脚下茂密的柏林之中。尽管画家并未描绘更多的细节，但这足以说明，画家所要描绘的，乃是山中的墓地。或许因为此幅直接表现了故去之人的坟墓，为表敬重，故而沈周未加署款。其余三开，尽管未出现墓体与墓碑，但皆出现了相对而立的望柱，暗示了画面空间并非是单纯的山景，而是墓园。\n杨棨在题跋中说此图“首尾不完”。从四幅画面来看，每幅独立成景，然彼此之间又有联系，无法确知是否还有其他画幅与之一同被绘制，却在流传过程中如杨棨所言散佚了；亦没有同时代的题跋，提供可信的诸如绘制年代、受画人等信息。因此，若要讨论沈周为何制作这样一套描绘墓园的册页及其背后的文化观念，需将其置入描绘墓地的绘画传统中，才有可能得到比较清晰的答案。",[23,24,25,58,26,82,27,29,7,31,209,32,30,181,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa085321cfa540a2ba8b92e25281a0a0c.jpg","纸本，设色","37.5×65cm×4",[],266,{"id":486,"slug":487,"title":488,"dynasty":489,"author":490,"museum":130,"description":491,"tags":492,"thumbUrl":495,"material":240,"size":241,"collection":122,"collections":496,"showCount":497,"zanCount":473,"manualWeight":11,"mainColor":48},289005,"wang-chuan-tu-wang-wei-289005","辋川图","唐","王维","《辋川图》主画面亭台楼榭掩映于群山绿水之中，古朴端庄。别墅外，山下云水流肆，偶有舟楫过往。《辋川图》里的人物，弈棋饮酒。投壶流觞。一个个的都是儒冠羽衣，意态萧然。\n《辋川图》开启了后人诗画并重的先河。《辋川图》在韩国获得了极高的赞誉，并对韩国古代的文人山水画和山水田园诗的创作产生了深远影响。在评价中国文人山水画时，韩国文人往往以《辋川图》作为最高的境界或标准。",[23,104,24,58,148,82,27,29,85,31,150,64,493,494,295,7],"山居","园林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a16151940e7ec69c8d6735f55d11672.jpg",[],250,{"id":499,"slug":500,"title":501,"dynasty":18,"author":502,"museum":20,"description":503,"tags":504,"thumbUrl":505,"material":212,"size":506,"collection":44,"collections":507,"showCount":508,"zanCount":268,"manualWeight":11,"mainColor":48},218230,"shang-lin-tu-juan-zhao-bo-ju-218230","上林图卷","赵伯驹","赵伯驹（生年不详，约卒于西元一一六二年），字千里，宋太祖七世孙，赵大年之子。仕至浙东兵马钤辖。善画山水、花果、翎毛及人物，楼阁界画尤妙。上林苑乃秦朝旧苑，汉武帝扩建。周围三百里，离宫七十所，规模宏伟。苑中饲养禽兽多种,，春秋二季皇帝时常至此围猎。本卷青绿设色，画上林苑帝王围猎情景。人物众多，车辇仪仗无一不备。",[23,24,25,58,81,82,29,84,85,31,292,30,7,88,87],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc4585d7f14f3b12fabf2d53658317cb.jpg","44x1169.4",[44],244,{"id":510,"slug":511,"title":512,"dynasty":143,"author":356,"museum":55,"description":513,"tags":514,"thumbUrl":516,"material":226,"size":517,"collection":44,"collections":518,"showCount":519,"zanCount":284,"manualWeight":11,"mainColor":48},220764,"tian-chi-shi-bi-tu-huang-gong-wang-220764","天池石壁图","此图描绘的是苏州城西吴县境内天池山的景色。天池山与灵岩山、天平山一脉相连，峰巅矗立巨石，远望巧若莲花，人称“华山”。山一侧的半山坳中长年积有一泓碧水，名曰“天池”，故山之这一面亦被称为“天池山”。\n画面兼用高远和深远的构图方法。近景丘陵溪涧，长松茂树。山径迂曲，通向主峰。画面正中层峦叠嶂，天池居于右上，两侧石壁对峙，池中水阁数椽。主峰两侧烟云流润，使画面虚实相生。\n此幅构图繁复，高坡陡崖错落分布，雄秀多姿。画家状物之笔虽较简略，杂树多用横点，山石作披麻皴，但线条却显得自然流畅，起落有序；笔法朴厚苍润，变化多端。设色采用“浅绛法”，多用淡赭，并以墨青、墨绿合染，冷暖互补，极佳地表现出山色的青葱与阳光的和煦。正如清吴修所云：“赭色微黄画里春，墨青墨绿染精神。”\n黄公望擅长的“浅绛法”在中国古代山水画的发展中具有重要地位，此图即其典范作品。另，本幅柳贯长题中称黄公望为“吴兴室内大弟子”，说明黄公望曾就学于赵孟頫，这是画史研究中的重要资料。",[23,27,26,82,29,7,515,109,37,35,411,181],"石壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1df5e8d7eaf93e6a6599ee59965a71b.jpg","纵139.4厘米，横57.3厘米",[44,45],237,{"id":521,"slug":522,"title":523,"dynasty":332,"author":524,"museum":130,"description":525,"tags":526,"thumbUrl":527,"material":122,"size":122,"collection":122,"collections":528,"showCount":529,"zanCount":268,"manualWeight":11,"mainColor":71},224525,"sou-jin-qi-feng-da-cao-gao-tu-juan-shi-tao-224525","搜尽奇峰打草稿图卷","石涛","原济《搜尽奇峰打草稿图》卷，中国清代画家原济代表作。\n原济(1642～约171)原名朱若极，字石涛，号大涤子、清湘老人等。\n广西人。\n明宗室后裔，明亡后出家为僧。\n擅画山水、花卉。\n此图纸本，墨笔，纵42.8厘米，横285.5厘米。\n画面崇山峻岭，茂树参天，泉水淙淙，山道崎岖，纡回盘旋。\n城垣、楼阁、亭桥、书屋、渔舟等分布其间。\n全幅构图繁密，画法用披麻皴参以点子皴，信手涂抹，自然流畅，笔墨苍劲，气势磅礴。\n画幅右上方自题“搜尽奇峰打草稿”7字。\n并题记一则，内容涉及其绘画艺术思想，是研究其艺术创作的宝贵资料。\n本幅后有墨香堂、杨重英、陈奕禧、徐云、叶河音布、潘季彤各家题诗、题记及鉴藏印数十方。\n《听楼书画记》著录。\n现藏故宫博物院。",[23,24,25,58,26,445,27,61,60,62,29,7,150,31,63,181],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13975dcc09a4d534503a0ad3b0211bc2.jpg",[],228,{"id":531,"slug":532,"title":533,"dynasty":18,"author":534,"museum":305,"description":535,"tags":536,"thumbUrl":546,"material":547,"size":548,"collection":42,"collections":549,"showCount":550,"zanCount":313,"manualWeight":11,"mainColor":48},220420,"shan-shi-qing-lan-tu-xia-gui-220420","山市晴岚图","夏圭","昭山，位于湘潭，长沙交界处，离城20公里，突兀挺立在湘江东岸，是湘潭市的北大门。每逢雨后新晴，或是旭日破晓，万丈霞光撒在山间，雨气氤氲，色彩缤纷，美而壮观。北宋大书画家米芾将这一景观绘成《山市晴岚图》，列为潇湘八景之一，昭山自此声名大震.明代周九烟曾以《山市晴岚》为题，赋诗一首“蜃楼曾诧海门东，此处奇峰便不同。天宇诈收朝霞后，人家都在旭光中。金银气眩千岩丽，龙虎云凝七国雄。谁信湖南培 地，举头缈缈似瑶宫。”",[24,25,26,29,80,27,7,31,537,30,538,539,34,540,541,542,543,544,545],"雾气","小筑","峭壁","晴岚","杂树","坡岸","村舍","水墨渲染","南宋山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc36e5dcf9afd9b288e69532ac5390b9f.jpg","绢本,水墨","24.8×21.3cm",[42,45],212,{"id":552,"slug":553,"title":554,"dynasty":53,"author":54,"museum":130,"description":555,"tags":556,"thumbUrl":560,"material":240,"size":241,"collection":122,"collections":561,"showCount":562,"zanCount":313,"manualWeight":11,"mainColor":48},287522,"shu-shan-qin-shu-tu-juan-shen-zhou-287522","蜀山秦树图卷","沈周（1427年11月21日—1509年8月2日），字启南，号石田，晚号白石翁，明代绘画大师，书法家，文学家，医学家，长洲（今江苏苏州）人。\n沈周出身富裕的书香绘画世家，少时师从陈宽学习诗文， 青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格，在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[23,104,24,58,25,148,26,82,27,7,109,557,493,86,32,558,559,61,60,62],"竹林","亭舍","行人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F092ad35e202a88d58b87a0f168f8fe23.jpg",[],211,{"id":564,"slug":565,"title":566,"dynasty":221,"author":234,"museum":20,"description":567,"tags":568,"thumbUrl":573,"material":40,"size":574,"collection":122,"collections":575,"showCount":576,"zanCount":284,"manualWeight":11,"mainColor":48},226701,"ceng-yan-cong-shu-tu-ju-ran-226701","层岩丛树图","此图描绘了江南雨后山林烟岚浮动的自然景象，画中峰峦耸峙，丛林茂密，山路深曲，充满清新潮湿的气息。作者用独特的画法表现出一种秀逸、静寂、朦胧的美，是一幅具有代表性的山水画作。",[23,104,24,25,80,26,27,29,569,570,30,31,7,571,109,572],"层岩","丛树","叠嶂","岩峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce4699ce8ccb516e2fed794a4a198591.jpg","纵144.1厘米，横55.4厘米",[],201,{"id":578,"slug":579,"title":580,"dynasty":143,"author":581,"museum":55,"description":582,"tags":583,"thumbUrl":585,"material":212,"size":586,"collection":44,"collections":587,"showCount":588,"zanCount":313,"manualWeight":11,"mainColor":48},218083,"xi-shan-xing-lv-tu-yi-ming-218083","溪山行旅图","佚名","溪山行旅图是元朝时期的一幅名画，出自佚名画家之手。这幅画描绘了一位旅人在溪山间游玩的情景。\n\n在画面的左侧，可以看到一座小山丘，上面种满了树木。旅人正站在山丘的山顶上，俯视着前方的景色。他手持竹筒，似乎是在欣赏周围的美景。\n\n在画面的右侧，是一条清澈的小溪，溪水潺潺流过。旅人似乎正准备沿着小溪走去，去寻找下一个游玩的地方。\n\n整幅画的画风浑然天成，笔触轻柔，描绘了大自然的美丽景色。这幅画不仅是一幅艺术作品，也是对元朝时期生活的一个精彩纪录。",[24,26,82,27,29,64,30,294,32,7,31,584],"行旅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50f2b220aace68ac2f2e8d66ba147f2c.jpg","110.5x176.5cm",[44],198,{"id":590,"slug":591,"title":288,"dynasty":143,"author":592,"museum":20,"description":593,"tags":594,"thumbUrl":596,"material":597,"size":598,"collection":44,"collections":599,"showCount":600,"zanCount":313,"manualWeight":11,"mainColor":48},221788,"shan-shui-tu-cao-zhi-bai-221788","曹知白","《山水图》本幅画隔水江岸，主山峰峦水墨淋漓，前中景作双松耸立，笔墨造型皆从北宋李郭传统中汲取特色，再以焦浓黑墨提醒主题，营造出更有墨趣的元代李郭画风新意。",[23,104,24,26,29,237,7,595,30,62,60],"江岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3665a4d5c8569bf27af312555ab7bab.jpg","纸本，水墨","纵86.1厘米横34.3厘米",[44,45],184,{"id":602,"slug":603,"title":604,"dynasty":18,"author":605,"museum":130,"description":606,"tags":607,"thumbUrl":608,"material":240,"size":241,"collection":122,"collections":609,"showCount":610,"zanCount":11,"manualWeight":11,"mainColor":48},287569,"jiang-shan-lou-guan-tu-gao-qing-ban-yan-wen-gui-287569","江山楼观图（高清版）","燕文贵","此图绘长江两岸初冬始雪时景色，是将山水、人物相结合的一件画作。画卷上，寒风凄厉，初雪纷飞，江岸小桥，渔人行旅，浩瀚江水，涟漪层层，枯树黄芦迎风摇曳。苦于生计的渔民们，或驾着小舟穿梭江面，或架设网罟捕鱼，或卷起裤脚在冰冷的浅水处布网，衣单裳薄的纤夫逆风拖船，骑驴奔波的商旅在寒风中瑟缩着身子艰难前行，寒冷之景，宛然在目。全卷人物神态生动，刻画准确，鱼鳞般的水纹用尖细流利的线条绘成，一丝不苟。绘坡石及树木大多用笔简劲老硬，皴法与墨染浑融，表现出一种清刚利畅的情趣，天空则用洒粉法弹出轻盈飘舞的飞雪，技法颇为别致。",[23,104,24,25,58,26,29,7,106,34,85,31,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9c0dcc60066b1e64a74cc691d005bae.jpg",[],179,{"id":612,"slug":613,"title":614,"dynasty":332,"author":379,"museum":615,"description":616,"tags":617,"thumbUrl":619,"material":620,"size":621,"collection":44,"collections":622,"showCount":610,"zanCount":313,"manualWeight":11,"mainColor":48},222610,"qian-yan-wan-he-tu-gong-xian-222610","千岩万壑图","南京博物院","此图绘山岩丘壑连绵不断，繁复无尽，其间茂林嘉村云气烟，飞泉高，孤村落，江流小舟，景致表现得真实生动、完美自然，秀丽、壮伟兼具，引人入胜。\n此图前部分为作者投入精力最多的部分，以实境为主，大力渲染峰峦的伟岸、雨后景色变化的美丽。开篇对岸远山微抹，远方江水静静地流来，以江面的宁静把观者带入画面之中，使之心境舒缓，为高潮的出现作出铺垫，然后徐徐拉开全画的序幕。在这一部分中，最让观者意纵神耸的是作者有意刻画的万千峰峦、千岩万壑，让人惊心动魂。山峰峦头各具情态，或挺拔耸出，或欲语带笑，或蹲伏侧卧，或起立欲奔，或伸展顾盼。峰峦的辉光和明亮，如银辉一般与雾气的明亮互相掩映包容，形成一道道光带缓行屈伸于山峦树丛之中，若断若连，若生若灭。古木丛林此起彼伏，在峰峦间绵延不绝，凝聚着无以复加的郁郁之气。山间流泉则细细垂下，沿山谷汇成清澈的溪流。屋舍、寺塔点缀于山峰、谷坞间。山岚、烟蔼出没升腾，在旷野树丛山谷间徐徐飘出。雾气渐渐聚集，月光如梦境笼罩四野，一切部静悄无语。夏日午后的宁静、冬日温暖阳光照耀下的气象、雨后空气中的澄静凝练、明月照耀里的朦胧境象，也都被作者收拢笔下，幻化为大自然变幻不定的复合境象。此部分布景深远辽阔，静寂的氛围透出苍茫肃穆的深沉。\n后部分则以大江为描绘的主体。四面至此，汀面广阔，远帆从江面缓缓而求，近处江岸停泊营数点渔舟，掩映在树下爷从中，再向庄则是与右岸相对的山峰，然后夹江之外又有坡岸山峦笼束，以作终老，与千岩万壑相呼应。山于此部图像是虚境，同前一段的实境描绘相比，显得清明宁静，寂静优美的氛围终含有舒畅开阔的愉悦情怀。\n此画构图饱满充实，满而不塞，画中时露空白，形成黑白对比强烈。整个画面景象壮阔，景物繁多，但繁而不乱，在布局构图上达到了奇与安、实境与幻境的统一。此画给人们最为深刻印象，即也是此画的最大特点，即善于用墨，把墨色的运用达到淋漓尽致的地步，继承和发展了宋人的“积墨法”，“一遍点、二遍加、三遍皴，便歇了，待干又加浓点，又加淡点一道，连总数是为七遍”（《柴丈画说》），山石是先勾出轮廓，然后积染，皴擦，而且先干后湿，这样，轮廓线与皴染浑为一体，层次分明，显得十分浑厚。树木也是层层烘染的墨法，湿润、浓郁。在用墨时，还注意黑白、虚实对比，强调明暗分明，使山林景色富有深远、光照感。\n纵观全图，作者特别注意横向景物的展开，在构图上注意远境近境的联络映带，既有一放一收、 实境一虚境、 一开一合大聋法的纵横驰骋，也有在小范围上虚实开合的变化，因而整体构图显得密而不乱，疏丽不空。山川气脉隔而不断，既有空间的深远，又有视觉上的无穷变化。",[23,24,104,58,26,27,29,7,35,31,33,34,64,618,182],"水域","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ced805626c55f7b7026ef63267ca5df.jpg","纸本","纵27.8厘米，横980厘米",[44,45],{"id":624,"slug":625,"title":626,"dynasty":332,"author":627,"museum":305,"description":628,"tags":629,"thumbUrl":633,"material":212,"size":634,"collection":195,"collections":635,"showCount":636,"zanCount":138,"manualWeight":11,"mainColor":48},219728,"kang-xi-nan-xun-tu-juan-san-zhi-ji-nan-zhi-tai-shan-wang-hui-219728","康熙南巡图卷三之济南至泰山","王翚","《康熙南巡图》第三卷描绘康熙南巡至山东境内的情景。画面开始为丘陵地带，一座城池出现在众山环抱之中，此即济南府，康熙在城墙上视阅，随从若干，城门大开，南巡的先行骑兵正从城里出发，行进于绵延的山丘之间，山势雄伟，草木葱茏。队伍翻山过、河，穿过村落，群山逐渐高耸、险峻，画面出现了泰安州和泰山，康熙率扈从诸臣到泰山致礼。过泰山后，山势略趋平缓，画面至蒙阴县止。",[23,24,58,83,82,27,29,84,85,86,32,181,31,630,631,632,320,150,7,34],"山脉","村庄","道路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dc011338cc729f142df0823217c6b83.jpg","纵67.8厘米，横1393厘米",[195,44],175,{"id":638,"slug":639,"title":640,"dynasty":143,"author":391,"museum":20,"description":641,"tags":642,"thumbUrl":643,"material":153,"size":644,"collection":45,"collections":645,"showCount":646,"zanCount":11,"manualWeight":11,"mainColor":71},218773,"hua-xi-shu-wu-tu-wang-meng-218773","花溪书屋图","层峦叠嶂如卷舒展，林木葱茏间，溪流蜿蜒穿石而过，花溪的清浅便藏在这潺潺声里。山腰隐现书屋一角，竹窗半启，似有文人临窗对景，墨韵与山风悄然相融。王蒙以解索皴勾勒山石肌理，线条如藤蔓缠石，墨色浓淡相济，将山峦的厚重与草木的清润织成幽深之境。画面繁密却不失空灵，每一处皴擦点染皆见匠心——峰峦层叠、树木错落、书屋静谧，交织出元代文人避世栖居的诗意。山鸟啼鸣仿佛入耳，涧水清香似可轻嗅，尽显山水间的隐逸之趣与笔墨的精妙神韵。",[23,24,25,26,82,27,29,7,31,30,182,37,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe82e97f416bf5d962388fc7adab04d04.jpg","31.2x51.9",[45],164,{"id":648,"slug":649,"title":650,"dynasty":53,"author":54,"museum":130,"description":555,"tags":651,"thumbUrl":653,"material":240,"size":241,"collection":122,"collections":654,"showCount":655,"zanCount":11,"manualWeight":11,"mainColor":71},290928,"jiang-shang-qing-shan-shen-zhou-290928","江上青山",[24,25,395,26,29,27,7,31,652,321,84,320,60,62],"村居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4db2a42b30a37fb39b0e95fca436c6c.jpg",[],163,{"id":657,"slug":658,"title":659,"dynasty":18,"author":660,"museum":55,"description":661,"tags":662,"thumbUrl":664,"material":597,"size":665,"collection":42,"collections":666,"showCount":667,"zanCount":284,"manualWeight":11,"mainColor":71},221460,"chang-jiang-wan-li-tu-juan-zhao-fu-221460","长江万里图卷","赵黻","展开此卷，可看到万里江山中的烟云风雨、山石峻岭、山间小道、樵夫行旅、乘风破浪的小舟、穿云破雾的飞鸟、山谷中的屋宇、村落、归庄的农民、深山古寺等等，可谓东起吴越、西至巴蜀、万里江山、气势宏大、一气呵成。着重描写江山壮丽景色，气势雄伟，笔法学李唐而略纵逸，但仍未脱南宋院体画之痕迹。卷末款署“赵黻作”三字，钤“黻”朱文印，画面有明代钱惟善、张宁、陆树声等诗跋 。",[23,24,58,26,148,27,29,106,7,34,31,64,663,263],"桥梁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0eb0dc545b1ef144816ffc97adc20f8.jpg","纵45.1厘米，横992.5厘米",[42,44,45],161,{"id":669,"slug":670,"title":671,"dynasty":18,"author":404,"museum":130,"description":672,"tags":673,"thumbUrl":675,"material":240,"size":241,"collection":122,"collections":676,"showCount":677,"zanCount":284,"manualWeight":11,"mainColor":253},289985,"lin-liu-du-zuo-tu-fan-kuan-289985","临流独坐图","《临流独坐图》表现层峦叠蟑，山势起伏，溪谷间，云烟弥漫动荡，使深山幽小充盈着活力。",[104,24,25,29,26,27,7,30,109,674,32],"小屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46c82f81787e5b0d6aa5b30a4e34620d.jpg",[],155,{"id":679,"slug":680,"title":681,"dynasty":18,"author":534,"museum":130,"description":682,"tags":683,"thumbUrl":687,"material":212,"size":688,"collection":44,"collections":689,"showCount":690,"zanCount":473,"manualWeight":11,"mainColor":48},218593,"feng-yu-gui-zhou-tu-xia-gui-218593","风雨归舟图","画面墨气淋漓，骤雨如丝斜织，远山隐入烟霭，近树被风揉得枝叶翻卷。蓑衣客躬身疾行，斗笠遮不住风雨，脚步却向着归途匆匆；江畔小舟半隐雾中，舟子撑篙破雨而来，船篷上似有雨珠滚落。墨色浓淡相济，湿笔晕染出天地苍茫，干笔勾勒出人物的急切与树石的坚韧。风雨的喧嚣仿佛透过绢素传来，归人的匆忙与自然的浩渺相映，既有生活的烟火气，又藏着山水间的悠远意境。寥寥几笔便将骤雨归舟的情景写尽，湿墨晕开的雨雾里，似能触到那份湿润的诗意，以及归心似箭的温暖底色。",[24,26,29,27,684,84,31,7,292,685,686],"舟","风雨","蓑衣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffeefa85c6c7e634a1e82deccf9bee42a.jpg","58x25",[44],154,{"id":692,"slug":693,"title":694,"dynasty":332,"author":695,"museum":77,"description":696,"tags":697,"thumbUrl":698,"material":66,"size":699,"collection":44,"collections":700,"showCount":701,"zanCount":313,"manualWeight":11,"mainColor":48},220004,"shan-shui-hua-fang-huang-zi-jiu-wang-shi-min-220004","山水画-仿黄子久","王时敏","王时敏出身于仕宦之家，祖父王锡爵是万历内阁首辅大臣。由于父亲王衡早逝，而他又是独子，自小就是和祖父生活在一起。《国朝画征录》记载，王锡爵极为喜爱这个孙子，专心培养他的“好古之心”。王时敏在董其昌和陈继儒等的辅导下，绘技大进。董其昌把他视为南宗画派的不二继承人，“可备传灯一宗，真源嫡派”。王时敏受祖荫出仕后担任尚宝丞和太常寺少卿等官，降清后作为明朝的遗民，退隐山野，专心绘事。他继承和扩大了南宗画派影响，发展了清代绘画的笔墨，创建了著名的娄东画派，成为当时艺术界不可撼动的泰斗，被视为清代正统画派的开山鼻祖。",[23,24,82,81,29,59,27,86,32,31,7,182,30,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb68a290c2795698c616b7dc02b7d5c03.jpg","22.5x27.5",[44],151,{"id":703,"slug":704,"title":705,"dynasty":332,"author":627,"museum":130,"description":706,"tags":707,"thumbUrl":708,"material":122,"size":122,"collection":122,"collections":709,"showCount":710,"zanCount":313,"manualWeight":11,"mainColor":71},224470,"xi-shan-xing-lv-tu-juan-wang-hui-224470","溪山行旅图卷","此作用长卷铺展千里江山，起首烟水澹澹，汀洲村舍隐在轻岚淡墨之中，随卷徐徐铺陈，峰岭渐次崛立。山石以披麻皴写就，笔力苍秀沉厚，林木攒簇郁茂，晕染出葱茏古雅的生机。\n\n山道、津渡间错落行旅身影，暗合林泉行游之趣，云烟流荡于峰腰谷壑，虚实相生，将平远、高远、深远诸法相融，层层延伸出咫尺含千里的山水格局。笔墨兼取元人松灵与宋人丘壑之密，既摹写出实景山水的清润幽深，亦藏着文人寄情林泉的澹然意绪，整卷气息静雅浑融，尽揽山川悠远之致。",[23,24,58,26,29,27,30,31,34,33,37,7,84,320],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0aa1cd0866746b8aa5e4cf195a58da69.jpg",[],146,{"id":712,"slug":713,"title":714,"dynasty":143,"author":144,"museum":55,"description":715,"tags":716,"thumbUrl":718,"material":226,"size":719,"collection":44,"collections":720,"showCount":721,"zanCount":313,"manualWeight":11,"mainColor":48},220779,"xi-shan-gao-yin-tu-wu-zhen-220779","溪山高隐图","《溪山高隐图》是元代画家吴镇创作的绢本墨笔画，现藏于北京故宫博物院。\n图绘高山巨石层峦重叠，远山云雾朦胧栈道顺山崖伸延，迂回盘绕，树林后溪水一湾，水榭半露，充满夏日中葱郁气氛，山石以水墨渲染，淡施披麻皴，圆点浓墨点苔。笔法稳健，墨气湿润。全画构图呈长方形，上不留天，下不留地，构图虽饱满，但密而不塞，疏密相间，故布局十分得宜。\n该图以深远式构图，远处高山叠嶂，群峰突起，高高耸起，山巅处云蒸霞蔚，山色柔和绵连。山坡和山坳处荆棘和杂木丛生。中间山腰处山石嶙峋突兀，山石或纵立，或横卧于山腰间，山径顺山脚伸延，蜿蜒迂回盘旋，成为上下山的一栈道、近景茂密的丛林后有溪水一湾，在山脚下临溪边有一间水榭，在山石和丛树的掩映下半露半隐，环境十分清静幽雅，充满夏日丰饶葱茏的气氛。\n吴镇的绘画题材大多为渔父、古木、竹石之类，均表现江南名山景色。《溪山高隐图》是他山水画中的代表作之一。《溪山高隐图》是其取法”巨然的一张典型作品。因为和巨然的作品《秋山问道图》比较，《溪山高隐图》似乎是临摹《秋山问道图》而比较萧散的作品。\n作者纯用水墨，利用其深浅浓淡，创造出一个静谧安详的环境，画幅较为孤寂、冷清的情凋也是画家处世态度的生动写照。山石以水墨渲染，淡披麻皴。这种皴法从巨然披麻皴出，把笔拉得垂直。他后来创造的“刮铁皴”，仿佛又硬又直，却硬中有婉，直中有收，笔头不枯硬，灵气从笔端间轻轻逸出，以圆点浓墨点苔，笔法稳健，墨气湿润，画法源于董源、巨然一路。近处坡石的用墨，以及秃笔随意点写树叶苔草的画法，是他的典型风格。\n《溪山高隐图》皴笔沉厚，坡角山边用笔大胆，横扫而出，用笔意味更似写意。主要山石皴笔提按变化明显，用笔奔放，是“写”出而非“皴”出。此图主峰最上部有一组巨石，用横侧笔势刷出，显然出自李唐马夏一系的斧劈皴。\n宋画研究学者寿勤泽：这幅画气势不凡，层峦叠岭，雄伟高峻，下方丛树溪水，临溪筑有草房两间，屋旁有小径通向山间。仅一片房屋处略施淡赭，通篇皆水墨。此图和常见的吴镇画有所区别，皴法以长披麻皴为主，法巨然画派画格，但线条较长，细长而且疏朗，似有不胜其力之感。",[23,24,25,717,80,26,27,29,7,30,31,237,32],"古画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b125a83a0553db70e8f576523b37fb5.jpg","纵160.5厘米，横73.4厘米",[44,45],144,{"id":723,"slug":724,"title":725,"dynasty":143,"author":144,"museum":20,"description":726,"tags":727,"thumbUrl":728,"material":729,"size":730,"collection":44,"collections":731,"showCount":732,"zanCount":284,"manualWeight":11,"mainColor":48},220769,"zhong-shan-tu-juan-wu-zhen-220769","中山图卷","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。",[23,24,25,58,26,27,29,336,31,7,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d37bf8402ad35b55e27d8d9eb9501b2.jpg","白纸本","横90.7厘米，纵26.4厘米",[44,45],142,{"id":734,"slug":735,"title":736,"dynasty":53,"author":54,"museum":145,"description":737,"tags":738,"thumbUrl":739,"material":212,"size":740,"collection":44,"collections":741,"showCount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设色","26cmx111cm",[44,94],134,{"id":761,"slug":762,"title":763,"dynasty":143,"author":764,"museum":20,"description":765,"tags":766,"thumbUrl":769,"material":153,"size":770,"collection":44,"collections":771,"showCount":772,"zanCount":284,"manualWeight":11,"mainColor":71},219902,"zhong-jiang-die-zhang-tu-zhao-meng-fu-219902","重江叠嶂图","赵孟頫","图绘江水辽阔绵延，群山重叠逶迤，舟楫往来江中，画境清旷。山石的形态、皴染的方法、乔松和虬曲的蟹爪形枯枝，一看即知画家采用的是李成、郭熙的山水画程式。但略带乾笔的勾皴，简逸的笔法又透着画家的新意，已不是对李成、郭熙画风的简单因袭和重复。",[23,24,104,25,58,26,27,61,62,29,106,64,31,7,767,768],"岛屿","远岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff21c533677896e4ab5303907c07fc418.jpg","纵28.4、横176.4厘米",[44],133,{"id":774,"slug":775,"title":776,"dynasty":53,"author":777,"museum":130,"description":778,"tags":779,"thumbUrl":780,"material":240,"size":241,"collection":122,"collections":781,"showCount":782,"zanCount":473,"manualWeight":11,"mainColor":71},283732,"qing-bian-tu-zhou-dong-qi-chang-283732","青卞图轴","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。",[24,104,25,80,26,29,27,30,31,32,7,60,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34d6a3abb2d15fedf1da6bba94a512ac.jpg",[],132,{"id":784,"slug":785,"title":786,"dynasty":53,"author":787,"museum":788,"description":789,"tags":790,"thumbUrl":791,"material":309,"size":792,"collection":44,"collections":793,"showCount":782,"zanCount":138,"manualWeight":11,"mainColor":71},221947,"wan-he-zheng-liu-tu-zhou-wen-zheng-ming-221947","万壑争流图轴","文徴明","南京博物馆","图绘峡峨山势，山泉争流而下，山下溪水淙淙，坡上林木葱郁。画山用湿润的披麻破，行笔细节秀润，满纸青绿，场面壮观。\n满纸青绿设色，其法是先将浅赭色普染山石，然后留下石根之赭色，再将石绿、石青，而至墨青(花青和墨)色，薄薄地按序自下而上，分层积染。但文徵明匠心独运：其一，青绿中调和淡墨，清润幽雅，已不似以往大青绿之奇艳夺目；其二，石色薄敷，不掩墨骨，故仍是元初赵孟頫青绿设色方法的演变，无愧为文徵明晚年细笔青绿山水中的精品。",[23,24,25,80,82,29,27,32,31,30,84,33,237,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23ec8b65dd08d53416021b6376bc9a1c.jpg","纵132.4cm，横35.2cm",[44,94],{"id":795,"slug":796,"title":797,"dynasty":221,"author":222,"museum":20,"description":798,"tags":799,"thumbUrl":800,"material":226,"size":122,"collection":122,"collections":801,"showCount":802,"zanCount":313,"manualWeight":11,"mainColor":48},226543,"liang-kuang-lu-tu-zhou-jing-hao-226543","梁匡庐图轴","五代的隐逸画家荆浩是水墨山水画演变的关键人物，他将唐代吴道子的笔描与项容的泼墨技法结合，扩展笔墨描写山水的能力。荆浩的画风后来由关仝、李成和范宽继承，演变成永恒不朽的巨碑式山水。《匡庐图》是一幅仿古作品，保留五代山水的特征，但是结合了北宋宫廷画院的风格，再现与隐逸主题相关的山水形象，向荆浩这位雄伟风格山水之父致敬。",[104,24,25,80,26,27,29,7,33,31,37,35,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39a19f97daa491bb204eb9d64ccb256d.jpg",[],131,{"id":804,"slug":805,"title":806,"dynasty":332,"author":627,"museum":807,"description":808,"tags":809,"thumbUrl":813,"material":309,"size":814,"collection":44,"collections":815,"showCount":802,"zanCount":11,"manualWeight":11,"mainColor":48},222812,"fang-gu-si-ji-shan-shui-tu-fang-xia-yu-yu-yu-zhuang-wang-hui-222812","仿古四季山水图-仿夏禹玉渔庄","辽宁省博物馆","王翚 （1632─1717），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。王翚的山水画宗旨：唐人的气韵、宋人的丘壑、元人的笔墨，也是王时敏、王鉴的绘画审美理想。所以，王鉴一见王翚便如获至宝的情形，就不难理解了。这种审美理想是建立在崇古、知古、学古的基础上的运用和化解古意、古法。王时敏认为：“廉州(王鉴)刻意摹古，所作卷轴一树一石必与宋元诸名家血战，力厚功深，久而与之俱化，不但笔墨位置咄咄逼真，而取神去粗，秀逸高华，骎骎殆将过之。”青林红树荫渔庄, 樯集江边艇子忙. 稍等风吹烟雾散, 千帆竞发沐秋阳. 他的仿古功力更深厚，渐次从“血战”中进入“过之”的目的。王翚的挚友恽寿平说王翚临黄公望的《富春山居图卷》，“前十年曾为半园唐氏摹长卷，时犹为古人法度所束，未得游行自在。最后为笪江上借唐氏本再摹，遂为弹丸脱手之势。",[23,24,810,27,82,29,31,7,150,113,182,294,811,812],"仿古","坡地","水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d4ce2d809c541ba55a4b9f30395ec5f.jpg","82cm × 51 cm",[44,94],{"id":817,"slug":818,"title":819,"dynasty":53,"author":820,"museum":77,"description":821,"tags":822,"thumbUrl":827,"material":212,"size":828,"collection":44,"collections":829,"showCount":830,"zanCount":157,"manualWeight":11,"mainColor":71},219124,"jin-jiang-tu-juan-sun-zhi-219124","锦江图卷","孙枝","孙枝，明，字叔达、微之，号华林、华林居士，吴县（今江苏苏州）人，生卒年不详。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",[23,24,58,81,82,29,27,7,150,767,823,31,114,88,812,824,825,826],"船只","舟楫","远岫","近山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80c919032926458bb7688a31b9f9ffdb.jpg","37X595cm",[44],128,{"id":832,"slug":833,"title":834,"dynasty":143,"author":391,"museum":130,"description":835,"tags":836,"thumbUrl":838,"material":240,"size":241,"collection":122,"collections":839,"showCount":840,"zanCount":313,"manualWeight":11,"mainColor":48},287593,"chun-shan-du-shu-tu-wang-meng-287593","春山读书图","王蒙（1308－1385年），字叔明，号黄鹤山樵、香光居士，吴兴（今浙江湖州）人。元朝画家。赵孟頫外孙。\n元末弃官，隐居杭州黄鹤山（今浙江杭州临平），自号“黄鹤山樵”，直至晚年才下山出仕，于明初任山东泰安知州。洪武十八年（1385年），因“胡惟庸案”牵累，死于狱中。\n王蒙的山水画受到赵孟頫的直接影响，后来进而师法王维、董源、巨然等人，综合出新风格。王蒙与黄公望、吴镇、倪瓒合称“元四家”。兼攻人物、墨竹，并擅行楷。存世作品有《青卞隐居图》《葛稚川移居图》《夏山高隐图》《丹山瀛海图》《太白山图》等。",[24,104,26,80,29,27,237,30,181,117,837,493,60,84,7],"读书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08f4beaf0ca1e1f9e9ad8ca3a4d4a7f2.jpg",[],126,{"id":842,"slug":843,"title":844,"dynasty":332,"author":627,"museum":807,"description":845,"tags":846,"thumbUrl":852,"material":184,"size":853,"collection":122,"collections":854,"showCount":840,"zanCount":11,"manualWeight":11,"mainColor":48},222815,"fang-gu-si-ji-shan-shui-tu-fang-xing-hua-chun-yu-jiang-nan-wang-hui-222815","仿古四季山水图-仿杏花春雨江南","王翬 （1632─1717），字石谷，號耕煙散人、劍門樵客、烏目山人、清暉老人等。江蘇常熟人。清代著名畫家。被稱為清初畫聖。王翬作畫喜好干筆、濕筆並用，而且多以細筆皴擦，畫面效果比較繁密。此圖是王翬《仿古四季山水圖》屏風組畫中的一幅，描繪的是江南春景。圖中山巒層疊，樹青草綠，村舍屋宇錯落，小橋流水人家，漁船泛波湖上，一派雨後春光明媚的江南山村景致。在構圖布局上，小徑、樹木、庭院，皆隨河流之勢分布，疏密得當，既不擁擠，也不顯孤單零落。近處、遠處的小橋流水，將整幅畫面巧妙地連結在一起；遠處山巒環繞於霧靄之中，若隱若現，山巒以墨點點染，藉以烘托初春萬物復甦之景。臨湖的道路兩旁，樹木繁茂，枝葉稀疏清朗，同樹幹的高大粗壯之勢相呼應。全圖中樹幹的畫法不盡相同，體現了作者深厚的功底：近處多為粗壯老乾，先勾勒其輪廓，再以墨色和赭石加以暈染，刻畫詳細；遠處則多以濃墨一氣呵成，枝葉多以濕墨排點式描繪，各種技法交相呼應，使得整幅畫面變化多端。",[23,24,25,810,82,27,29,86,32,64,294,847,182,7,848,849,850,851],"枯藤","杏花","春雨","路径","牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff876fdc542da2e5824bd38aedc647cc2.jpg","82.5x51.2",[],{"id":856,"slug":857,"title":858,"dynasty":332,"author":859,"museum":405,"description":860,"tags":861,"thumbUrl":862,"material":66,"size":863,"collection":44,"collections":864,"showCount":840,"zanCount":11,"manualWeight":11,"mainColor":71},219759,"shan-shui-si-jing-zhi-qiu-kun-can-219759","山水四景之秋","髡残","髡[kūn]残（1612年-1692年），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。",[23,24,25,29,26,27,293,64,32,7,117,34,31,823,150,30,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e29d3f4bec003b725d9d06422d2ffca.jpg","纵31.8cm 横65cm",[44],{"id":866,"slug":867,"title":868,"dynasty":143,"author":356,"museum":405,"description":869,"tags":870,"thumbUrl":871,"material":547,"size":122,"collection":44,"collections":872,"showCount":873,"zanCount":11,"manualWeight":11,"mainColor":48},219736,"qiu-luan-die-zhang-tu-huang-gong-wang-219736","秋峦叠嶂图","整作以高远构局铺展秋山胜景，主峰崔嵬雄浑，层岩叠岫渐次铺陈，山林间枯木寒柯与葱郁杂木错立，晕染出清寂萧疏的秋意。\n以披麻皴慢写山石肌理，干笔淡墨皴擦点染，笔意松秀温润，淡墨晕开烟岚清旷之气，将山峦的苍古质感晕染尽致。水畔村居错落隐于林麓，汀渚回环、秋水澄澈，尽现山居幽寂之态。\n右侧长题随行布白，书画相融，以画寄情，将简淡超逸的山水意趣抒发淋漓，尽显寄兴林泉、丘壑自存的隐逸襟怀。",[23,24,25,80,26,27,29,7,31,674,37,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0c617dbbef3609487c4db666c2cf5ed.jpg",[44],125,{"id":875,"slug":876,"title":877,"dynasty":53,"author":878,"museum":20,"description":879,"tags":880,"thumbUrl":883,"material":547,"size":884,"collection":44,"collections":885,"showCount":886,"zanCount":268,"manualWeight":11,"mainColor":48},214534,"feng-yu-gui-zhou-zhou-dai-jin-214534","风雨归舟轴","戴进","这幅画是笔墨兼工带写，奔放豪纵而苍劲淋漓。这幅画很好地运用了「水晕墨章」的技法，用大笔和淡墨快速而斜地扫过风和雨的自然景观，竹子、树木、芦苇和稻草的雨衣，都迎着风和雨弯下腰。　虽然戴进的画风与南宋宫廷画家的体系相同，但他在画中加入了新的内容，如这幅画，并确立了浙派山水画的基本风格，成为后世效仿的典范。",[24,25,80,104,26,27,685,881,64,133,86,32,31,7,34,824,882,30],"归舟","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07168b75e7b49cbee77b8e01e67a53fa.jpg","143x81.8",[44],121,{"id":888,"slug":889,"title":890,"dynasty":332,"author":524,"museum":130,"description":891,"tags":892,"thumbUrl":893,"material":240,"size":241,"collection":122,"collections":894,"showCount":895,"zanCount":313,"manualWeight":11,"mainColor":71},290425,"shan-shui-ce-8-zhen-shi-tao-290425","山水册8帧","石涛（1642年－1708年）明末清初著名画家，原姓朱，名若极，广西桂林人，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等，明靖江王朱亨嘉之子，与弘仁、髡残、朱耷合称“明末四僧”。\n石涛是中国绘画史上一位十分重要的人物，他既是绘画实践的探索者、革新者，又是艺术理论家。\n他幼年遭变后出家为僧，驻锡于安徽宣城敬亭山广教寺，后半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《石涛罗汉百开册页》《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。著有《苦瓜和尚画语录》。名言有“一画论”、“搜尽奇峰打草稿”、“笔墨当随时代”等。",[24,395,29,26,82,27,7,34,31,60,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10e43bd7167cf84e5eb97a9e84d36de0.jpg",[],120,{"id":897,"slug":898,"title":899,"dynasty":332,"author":524,"museum":55,"description":900,"tags":901,"thumbUrl":903,"material":904,"size":905,"collection":122,"collections":906,"showCount":907,"zanCount":313,"manualWeight":11,"mainColor":71},233122,"sou-jin-qi-feng-tu-juan-shi-tao-233122","搜尽奇峰图卷","画卷迎首处，石涛自题：“搜尽奇峰打草稿”，钤“老涛”。画尾的空白处，有石涛于画兴之余所题写的长篇画论：“郭河阳论画，山有可望者、可游者、可居者。余曰：江南江北，水陆平川，新沙古岸，是可居者。浅则赤壁苍横，湖桥断岸，深则林峦翠滴，瀑水悬争，是可游者。峰峰入云，飞岩堕日，山无凡土，石长无根，木不妄有，是可望者。今之游于笔墨者，总是名山大川未览，幽岩独屋何居？出郭何曾百里入室，那容半年交泛滥之酒杯，货簇新之古董，道眼未明，纵横习气安可辩焉？自之曰：此某家笔墨，此某家法派，犹盲人之示盲人、丑妇之评丑妇尔，赏鉴云乎哉。不立一法，是吾宗也，不舍一法，是吾旨也，学者知之乎。时辛未二月，余将南还客且憨斋，宫纸余案，主人慎庵先生索画并识请教，清湘枝下人石涛元济。”钤“苦瓜和尚”、“冰雪悟前身”、“石涛”。\n后隔水及尾纸，有墨香堂、陈奕禧、徐云、叶河音布等家题诗和题记。全幅钤鉴藏印数十方。\n此图是他50岁云游京师所作。图中有一段对长城的描绘，这不仅是长城图像首次在山水画中出现，同时，也印证了此画的写实性以及作者所提倡的师法造化“搜尽奇峰打草稿”的美学观。该画在表现上，于奇险中见雄浑，严谨处寓虚空。虽看似笔墨豪放，皴擦点染尽在无意，而在整体上却把握了峰峦层次，云气走向及林木隐现的神韵。特别是，它的构图虽然充塞满纸，却丝毫不失疏朗空灵，这的确是只有搜尽奇峰才能炼就出的本领。",[24,25,58,26,29,27,60,62,61,902,7,150,31,30,34,824,295],"奇峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2509a448a26e43ea37e9080967b1229.jpg","纸本，墨笔","纵42.8厘米，横285.5厘米",[],118,{"id":909,"slug":910,"title":911,"dynasty":18,"author":19,"museum":912,"description":913,"tags":914,"thumbUrl":917,"material":153,"size":122,"collection":44,"collections":918,"showCount":919,"zanCount":313,"manualWeight":11,"mainColor":48},219946,"xi-shan-qiu-shuang-tu-guo-xi-219946","溪山秋爽图","美国弗利尔美术馆","此作画境清旷萧疏，以高远、深远之法排布山水。左畔层岩叠起，卷云皴写出山石嶙峋肌理，苍松杂木间植崖谷，枝叶枯荣尽染秋意。右侧留白铺陈溪岸远山，淡墨晕染出空濛秋气，虚实相映，将秋日山林的辽远静穆铺展尽致。\n\n干湿笔墨相济，勾勒皴擦尽显丘壑灵秀，点染林木兼具法度。将秋山的松风漱石、溪岸的澄澈清寂融于一卷，藏着林泉高致的文人意趣，仿佛踏入画中，便可揽尽秋日山岚的高爽清逸。",[24,29,80,226,26,27,915,7,35,31,37,916],"浅绛","秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73a1d6d39da56cd4d6711f5f61995abd.jpg",[44],117,{"id":921,"slug":922,"title":923,"dynasty":332,"author":581,"museum":130,"description":924,"tags":925,"thumbUrl":926,"material":122,"size":122,"collection":122,"collections":927,"showCount":928,"zanCount":473,"manualWeight":11,"mainColor":48},230302,"fang-chou-ying-wang-chuan-tu-yi-ming-230302","仿仇英辋川图","此作用鲜亮石青、石绿晕染勾勒山峦，兼具勾勒骨力与晕染秀润，设色雅致明丽。画幅间烟波浩渺，云气悠然萦绕山谷峰林，村居屋舍错落隐现于林木水岸之间，将辋川别业的林泉意韵铺陈开来。整体意境清旷淡远，把诗意山居化为具象图景，尽显复古工笔青绿山水的雅逸格调，传递出隐世丘园的悠然禅意。",[23,24,25,58,81,82,83,59,29,7,34,31,87,150,181],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F311e89b0c05248950e4ccf7747f51546.jpg",[],112,{"id":930,"slug":931,"title":932,"dynasty":143,"author":356,"museum":130,"description":933,"tags":934,"thumbUrl":935,"material":240,"size":241,"collection":122,"collections":936,"showCount":937,"zanCount":313,"manualWeight":11,"mainColor":71},290082,"fu-chun-da-ling-tu-huang-gong-wang-290082","富春大岭图","图中画富春山重峦叠嶂，山巅晓雾迷遮，若隐若现。《富春大岭图》笔墨简括，布势雄奇，具有明显的荆浩、关仝的笔墨遗意，显然参入了荆浩、关仝的笔法，并有意识与董、巨的笔墨意境加以融合，用笔方圆兼备，山石稍作皴擦。",[104,24,25,26,29,80,86,7,31,35,27,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c89c80e112fc4a8caf0c405bdcd7387.jpg",[],110,{"id":939,"slug":940,"title":941,"dynasty":53,"author":777,"museum":55,"description":942,"tags":943,"thumbUrl":944,"material":153,"size":945,"collection":44,"collections":946,"showCount":937,"zanCount":11,"manualWeight":11,"mainColor":71},218348,"fang-mi-fei-shu-hua-he-juan-dong-qi-chang-218348","仿米芾书画合卷","董其昌（1555—1636年），字玄宰，号思白，又号香光居士，华亭（今上海松江）人。明万历十六年（1588年）进士，官至礼部尚书，卒谥文敏。精于书画鉴赏，收藏很多名家作品，在书画理论方面论著颇多，其“南北宗”的画论对晚明以后的画坛影响深远。工书法，自谓于率易中得之，对后世书法影响很大。其书画创作讲求追摹古人，但并不泥古不化，在笔墨的运用上追求先熟后生的效果，拙中带秀，体现出文人创作中平淡天真的个性。加之他当时显赫的政治地位，其书画风格名重当世，并成为清代艺坛的主流。著有《画禅室随笔》、《容台集》、《画旨》等文集。",[23,24,25,58,26,59,61,60,27,62,29,7,31,34,182],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25ff6dd2e58bbe82d29a2c53847ed8eb.jpg","23.7x75.4cm",[44,45,947],"书法精选",{"id":949,"slug":950,"title":951,"dynasty":332,"author":952,"museum":55,"description":953,"tags":954,"thumbUrl":955,"material":212,"size":956,"collection":44,"collections":957,"showCount":958,"zanCount":313,"manualWeight":11,"mainColor":71},218435,"qing-lv-shan-shui-juan-wang-jian-218435","青绿山水卷","王鉴","图中青峰翠岭，连绵起伏，敷色浓艳，皴染分明。色彩富丽的画面散溢出清雅灵秀的气息，令人眼目一新。\n本幅卷尾处，王鉴自题：“余向在董思翁齋頭見趙文敏《鵲華秋色》卷及余家所藏子久《浮嵐遠岫圖》，皆設青綠色，無畫苑習氣。今二卷不知流落何處，時形之夢寐，閑窗息紛，追師兩家筆法而成此圖，雖不敢望古人萬一，庶免近時蹊逕耳。戊戌長夏王鑒。”王鉴曾观赏元代大画家赵孟頫和黄公望的作品，对图画的青绿设色醉心不已。此图卷便是王鉴在61岁时（清顺治十五年，1658年）以青绿设色法绘制而成。\n王鉴的艺术天赋很高，不只专擅水墨山水，对设色画亦驾轻就熟，其中又分青绿、浅绛两种风格。王鉴的青绿山水多题“仿赵令穰”、“仿赵伯驹”、“仿赵孟頫”，因为“三赵”的青绿设色法别有特色，他们在宫廷院体青绿画法中融入了文人画的书卷之气。董其昌对“三赵”的创作手法推崇备至，王鉴早年曾得到董氏亲自指点，耳濡目染，深受启发，后精心习练青绿山水，终有大成。王鉴所谓的“仿”并非简单地模仿笔墨技巧、构图布局，而是重在体味“三赵”去以往青绿山水之俗艳，使之另具雅淡气质的创作思想，然后施之于画幅上，令其画独存灵逸之趣。王时敏尝称他“以穠丽为宗，然高华秀逸兼而有之”，确是的论。",[23,24,25,58,81,82,29,27,7,31,37,631,34,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22ef4b7b44ba02a41f2afeb11c6d116f.jpg","纵23厘米，横198.7厘米",[44],109,{"id":960,"slug":961,"title":962,"dynasty":18,"author":19,"museum":20,"description":963,"tags":964,"thumbUrl":966,"material":226,"size":967,"collection":42,"collections":968,"showCount":969,"zanCount":313,"manualWeight":11,"mainColor":48},221285,"xing-lv-tu-quan-juan-guo-xi-221285","行旅图全卷","轴峰峦高耸，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。",[23,24,25,58,29,27,26,7,31,293,86,32,64,584,632,165,965,182],"近石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6faff8738a460b1db8a8cacb906b08c5.jpg","48.3x290厘米",[42,44,45],107,{"id":971,"slug":972,"title":973,"dynasty":18,"author":974,"museum":130,"description":975,"tags":976,"thumbUrl":979,"material":240,"size":241,"collection":122,"collections":980,"showCount":981,"zanCount":284,"manualWeight":11,"mainColor":48},288290,"mao-lin-yuan-xiu-tu-li-cheng-288290","茂林远岫图","李成","《茂林远岫图》描绘的是夏日山水景色，其中峰峦叠翠，奇峰矗立，远山奇峰崛立，空远清旷；近处轻舟泊渡，行人车马往来；中景山谷之间殿阁林立，塔影隐没其中，飞泉水口，如闻其声，如临其境，整幅作品呈现了一派寓闹于静的景致。\n《茂林远岫图》就绘画技法而论，刻画细腻，神形有致；画面构图“三远”法的并用，构景主次疏密的安排等，无不透露出北宋山水画风貌的典型气息。",[23,104,24,25,58,26,27,29,977,7,31,978,60,62],"茂林","平野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F232ba5f640d5b6339147fba4ccbde437.jpg",[],106,{"id":983,"slug":984,"title":985,"dynasty":53,"author":76,"museum":55,"description":986,"tags":987,"thumbUrl":989,"material":120,"size":990,"collection":44,"collections":991,"showCount":981,"zanCount":473,"manualWeight":11,"mainColor":48},222185,"lin-xi-shui-ge-tu-chou-ying-222185","临溪水阁图","仇英“初为漆工，兼为人彩绘栋宇，后徙而业画，工人物楼阁。”或许是出身的关系，其笔下的楼阁多用界笔，刻画精工，但与纯界画不同的是，仇英的绘画技艺同时受到职业画师和文人画家的双重影响。此幅亦是将文人山水与界笔水阁巧妙结合的作品，追求含蓄蕴藉的格调，着意塑造文人高士所欣赏的艺术形象。",[23,24,82,83,29,59,988,32,237,30,33,84,7],"水阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d90792ff94d1f0e49ced0c4da982ca0.jpg","纵41.1厘米，横33.8厘米",[44,94],{"id":993,"slug":994,"title":995,"dynasty":221,"author":996,"museum":130,"description":997,"tags":998,"thumbUrl":1000,"material":240,"size":241,"collection":122,"collections":1001,"showCount":5,"zanCount":313,"manualWeight":11,"mainColor":48},283688,"qiu-shan-wan-cui-tu-guan-tong-283688","秋山晚翠图","关仝","此画描绘的是中国北方景色，深谷云林，气壮意长，从中可以看出北方山村的生活气息。该图用笔简劲，线条粗细断续有别，落墨渍染生动，是中国古代山水画中上乘之作。",[23,104,24,25,80,26,82,29,999,30,31,7,33,27,62],"秋山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff74413aeaf6fe0fbb9e4679e693b6af8.jpg",[],{"id":1003,"slug":1004,"title":1005,"dynasty":332,"author":952,"museum":20,"description":1006,"tags":1007,"thumbUrl":1008,"material":212,"size":1009,"collection":44,"collections":1010,"showCount":1011,"zanCount":284,"manualWeight":11,"mainColor":71},224486,"xi-shan-shen-xiu-zhou-wang-jian-224486","溪山深秀轴","汇集画家王鉴先生山水画数幅，淋漓尽致地表现出其雄奇、或秀美、或舒缓、或险峻。是伟岸的山，壮丽的山。主要有秋山图轴、溪山深秀图轴、山水册七开、九峰读书图轴、四家灵气图轴等",[23,24,104,25,80,82,81,29,85,86,32,33,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe89fec13b5a42f7febcb1462f7f1ba47.jpg","161.7x62.5",[44],101,{"id":1013,"slug":1014,"title":1015,"dynasty":143,"author":1016,"museum":305,"description":1017,"tags":1018,"thumbUrl":1023,"material":212,"size":122,"collection":44,"collections":1024,"showCount":1011,"zanCount":473,"manualWeight":11,"mainColor":48},214843,"gu-he-heng-jiang-tu-zhao-yong-214843","孤鹤横江图","赵雍",""孤鹤横江图" 是由赵雍创作的一幅绘画作品，属于中国元代时期的艺术作品。这幅画描绘了一只孤独的鹤立在江边，四周环境荒凉，鹤自身也显得孤单寂寞。赵雍被认为是中国元代时期的杰出画家，他的作品常常描绘出自然的美丽和人性的温柔。"孤鹤横江图" 是赵雍的经典作品之一，其中蕴含着许多哲理性的内涵。",[23,24,25,29,1019,26,82,237,30,1020,64,84,7,1021,1022],"扇面","江水","红叶树","孤鹤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06b5ac680d970d8fc5d20adb7ce936dc.jpg",[44],{"id":1026,"slug":1027,"title":1028,"dynasty":332,"author":1029,"museum":1030,"description":1031,"tags":1032,"thumbUrl":1034,"material":212,"size":1035,"collection":44,"collections":1036,"showCount":1037,"zanCount":284,"manualWeight":11,"mainColor":48},219094,"shu-zhan-xing-lv-tu-yuan-yao-219094","蜀栈行旅图","袁耀","美国克利夫兰艺术博物馆","层岩叠嶂间，栈道似银线盘绕绝壁，危石嶙峋欲倾，云雾如幔轻笼深谷。红叶点染崖侧，秋意暗生，却难消蜀道之险。行旅者负囊牵马，沿窄道缓行，身影虽微，步履之艰可见。袁耀以劲皴写山石肌理，界画栈道线条精准如铁，墨色浓淡相济，赭色晕染得宜。山川雄浑与行旅之微相融，既展自然伟力，又藏人间烟火。险峻中见生机，苍茫里显温情，尽现清代山水界画之精妙意趣。",[23,24,25,82,29,27,205,7,1033,84,320,31,34,321,584],"栈道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03b289cc09c905080f6e7bad369ba016.jpg","186.7x255.3",[44],100,{"id":1039,"slug":1040,"title":614,"dynasty":143,"author":581,"museum":77,"description":1041,"tags":1042,"thumbUrl":1043,"material":153,"size":1044,"collection":44,"collections":1045,"showCount":1037,"zanCount":284,"manualWeight":11,"mainColor":48},218185,"qian-yan-wan-he-tu-yi-ming-218185","此图绘山岩丘壑连绵不断，繁复无尽，其间茂林嘉村云气烟，飞泉高，孤村落，江流小舟，景致表现得真实生动、完美自然，秀丽、壮伟兼具，引人入胜。",[24,148,26,27,80,30,7,34,33,31,85,86,32,181],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3efb5c974ab0404cb1856cfe625eb62.jpg","129.3x67.6cm",[44],{"id":1047,"slug":1048,"title":1049,"dynasty":332,"author":695,"museum":77,"description":696,"tags":1050,"thumbUrl":1052,"material":66,"size":699,"collection":44,"collections":1053,"showCount":1054,"zanCount":11,"manualWeight":11,"mainColor":71},219995,"shan-shui-hua-bing-wu-chun-ri-hua-wang-shi-min-219995","山水画-丙午春日画",[24,25,104,26,27,29,30,7,31,293,1051,62],"积雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb76b263723822de7104c5bf39a22e450.jpg",[44],99,{"id":1056,"slug":1057,"title":288,"dynasty":143,"author":1058,"museum":1059,"description":1060,"tags":1061,"thumbUrl":1062,"material":212,"size":1063,"collection":44,"collections":1064,"showCount":1054,"zanCount":284,"manualWeight":11,"mainColor":48},218252,"shan-shui-tu-zhang-yu-218252","张雨","中央美术学院","层岩叠嶂如篆，皴笔勾出嶙峋骨，墨色晕染间丘壑自生。松风盘桓，虬枝探向云霭，林间小径隐现，似留隐者屐痕。涧水漱石，苔痕漫漶，草木葱茏处藏着清寂。笔墨苍润相济，干笔见劲，湿墨生烟，将林泉之趣凝于尺幅。意境悠远如太古，尘嚣尽散，只余一片澄明，引人沉潜于山水间，体悟那份超脱世俗的淡然与自在。",[24,82,27,29,30,31,7,34,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45777cf65d0ff7deccb539b3c7b08765.jpg","168x97cm",[44],{"id":1066,"slug":1067,"title":1068,"dynasty":53,"author":1069,"museum":77,"description":1070,"tags":1071,"thumbUrl":1073,"material":153,"size":122,"collection":947,"collections":1074,"showCount":1075,"zanCount":473,"manualWeight":11,"mainColor":71},219983,"song-li-yuan-gui-pan-gu-xu-wen-zheng-ming-219983","送李愿归盘谷序","文徵明","此作为书画合璧的精品，八十四岁高龄所作小楷清劲秀丽，笔力沉实端雅，尽显晋唐小楷隽雅遗韵，文辞古朴高逸。\n\n山水取全景式构图铺展盘谷幽境，山峦层叠起伏，林木蓊郁苍秀，村居错落排布于河畔幽谷之间，笔墨温润雅致，将文中林泉隐逸的恬淡幽寂意境具象还原，尽显吴门画派清雅风神。书画相得益彰，将文章里的隐逸雅趣与文人林下襟怀尽数铺陈。",[23,24,25,58,1072,60,26,27,29,31,182,150,7,62],"楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47372cf13dcfe47c86dc4aa3bbc2f0d0.jpg",[947,45],98,{"id":1077,"slug":1078,"title":1079,"dynasty":221,"author":234,"museum":20,"description":1080,"tags":1081,"thumbUrl":1084,"material":153,"size":1085,"collection":44,"collections":1086,"showCount":1075,"zanCount":11,"manualWeight":11,"mainColor":71},219962,"fu-chun-shan-tu-ju-ran-219962","富春山图","巨然，生卒年不详，江宁（江苏南京）人。五代画家，僧人。\n早年在南京开元寺出家，南唐降宋后到汴京（河南开封），居于开宝寺。\n擅画山水，师法董源，专画江南山水，所画峰峦 ，山顶多作矾头，林麓间多卵石，并掩映以疏筠蔓草，置之细径危桥茅屋，得野逸清静之趣，深受文人喜爱。以长披麻皴画山石，笔墨秀润，为董源画风之嫡传，并称董巨，对元明清以至近代的山水画发展有极大影响。",[23,24,104,25,58,26,27,61,60,62,29,30,31,33,1082,64,34,7,1083],"小溪","小径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40355f5e09bc5ab99da7887c13d4b56d.jpg","81.1x27.9",[44],{"id":1088,"slug":1089,"title":1090,"dynasty":18,"author":222,"museum":1091,"description":1092,"tags":1093,"thumbUrl":1094,"material":226,"size":1095,"collection":42,"collections":1096,"showCount":1097,"zanCount":11,"manualWeight":11,"mainColor":48},226547,"zhong-li-fang-dao-tu-li-zhou-jing-hao-226547","钟离访道图立轴","美国弗瑞尔美术馆","荆浩（约850-？），字浩然，号洪谷子，山西沁水人，五代后梁画家，尊为北方山水画派之祖。因避战乱，常年隐居太行山 。\n擅画山水，师从张璪，吸取北方山水雄峻气格，作画“有笔有墨，水晕墨章”，勾皴之笔坚凝挺峭，表现出一种高深回环、大山堂堂的气势，为北方山水画派之祖。\n著有《笔法记》山水画理论的经典之作，提出气、韵、景、思、笔、墨的绘景“六要”。\n作品还有《匡庐图》《雪景山水图》等。",[23,24,25,80,29,26,27,7,31,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbfeda2c3d81e5d88a5c1c4a715b747f.jpg","147×74.8厘米",[42,44,45],97,{"id":1099,"slug":1100,"title":1101,"dynasty":1102,"author":1103,"museum":1104,"description":1105,"tags":1106,"thumbUrl":1107,"material":1108,"size":122,"collection":122,"collections":1109,"showCount":1110,"zanCount":11,"manualWeight":11,"mainColor":71},220577,"bin-hong-mo-miao-huang-bin-hong-220577","宾虹墨妙","民国","黄宾虹","中央美术学院美术馆","这幅山水以双峰对峙构景，留白作水湾，山麓渔村茅舍错落，滩头枯木虬曲苍劲，水面扁舟轻泛，野逸之趣扑面而来。\n\n以焦墨积墨写山，皴擦点染间尽显山峦浑厚华滋，墨色浓淡相生，带着萧疏清寂的冬日况味，将山川静穆幽深藏于笔底。题款行书朴拙苍劲，与画面浑融一体，文人意趣尽显。整体意境清寂淡远，于简淡中见苍茫，寥寥数笔便勾勒出山水灵秀静谧，尽显水墨写意的通透韵致，藏着独有的山水襟怀。",[24,25,26,27,29,64,294,182,150,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdef6faf38959b0a429a84507d8f8ac0.jpg","墨笔设色、 纸本水墨",[],96,{"id":1112,"slug":1113,"title":1114,"dynasty":332,"author":333,"museum":20,"description":1115,"tags":1116,"thumbUrl":1117,"material":212,"size":1118,"collection":44,"collections":1119,"showCount":1120,"zanCount":284,"manualWeight":11,"mainColor":48},214810,"qing-feng-tu-tang-dai-214810","庆丰图","这是一幅典型的清代风格的庭院画，描绘了新建的凤仪城，其大厅宏伟，市场井然有序，色彩美丽。",[23,24,81,82,29,85,84,31,7,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faae9375823b07d0753215b6cf25b5637.jpg","393.6x234",[44],95,{"id":1122,"slug":1123,"title":1124,"dynasty":332,"author":627,"museum":807,"description":808,"tags":1125,"thumbUrl":1126,"material":756,"size":853,"collection":122,"collections":1127,"showCount":1128,"zanCount":313,"manualWeight":11,"mainColor":48},222813,"fang-gu-si-ji-shan-shui-tu-fang-ju-ran-xia-shan-shui-bi-fa-wang-hui-222813","仿古四季山水图-仿巨然夏山水笔法",[23,24,25,29,810,27,82,80,7,31,86,32,34,114,850,84,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3613234851021f90e99e4b46a734550f.jpg",[],94,{"id":1130,"slug":1131,"title":1132,"dynasty":143,"author":391,"museum":20,"description":1133,"tags":1134,"thumbUrl":1136,"material":66,"size":1137,"collection":44,"collections":1138,"showCount":1128,"zanCount":313,"manualWeight":11,"mainColor":71},220806,"dong-shan-cao-tang-tu-wang-meng-220806","东山草堂图","《东山草堂图》是元四家之一的王蒙创作的一幅隐居题材的山水画。描绘了东山之中隔水相望的草堂，\n这幅画描绘了隔水草堂，画中巨石重叠，秋林疏爽，高士闲居。松树、柏树以及山石都刻画得极其密实、精细。 《东山草堂图》画于元顺帝至正三年，即王蒙四十岁以后所作。\n此时，王蒙已初具自家风貌，用笔切实稳厚、灵活松快，笔墨已有一种稳重苍郁的意象。画面上松树、柏树以及山石都刻画得极其密实、精细。全图以淡赭色罩染，“水晕墨章”的绘画方法丰富了中国绘画的表现技法。",[23,24,26,82,27,29,31,237,30,87,37,7,182,1135,109,1083],"崖壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18bd6ec16eba615a58d99aa211fdc5e2.jpg","纵111.4cm，横86.1cm",[44,45],{"id":1140,"slug":1141,"title":1142,"dynasty":143,"author":391,"museum":55,"description":1143,"tags":1144,"thumbUrl":1146,"material":184,"size":1147,"collection":44,"collections":1148,"showCount":1149,"zanCount":11,"manualWeight":11,"mainColor":48},220818,"guan-shan-xiao-si-tu-zhou-wang-meng-220818","关山箫寺图轴","王蒙创造的“水晕墨章”，丰富了民族绘画的表现技法。\n他的独特风格，表现在“元气磅礴”、用笔熟练、“纵横离奇，莫辨端倪”。\n《画史绘要》中说：“王蒙山水师巨然，甚得用墨法”。",[23,24,25,80,29,82,27,205,7,85,32,31,1145,292,30],"红叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1601b0cd43037b968c1bf32d6a8e7830.jpg","纵161.7cm，横56cm",[44,94],93,{"id":1151,"slug":1152,"title":1153,"dynasty":18,"author":1154,"museum":20,"description":1155,"tags":1156,"thumbUrl":1158,"material":620,"size":1159,"collection":122,"collections":1160,"showCount":1161,"zanCount":284,"manualWeight":11,"mainColor":71},232841,"chi-bi-tu-wu-yuan-zhi-232841","赤壁图","武元直","此图描绘了《赤壁赋》中苏轼与客泛舟的情景。大江两岸，石壁陡峭，主山连嶂如屏，江岸古松林立。江水波浪激涌处，一小舟顺流飘然而下，徜徉其中，苏子与二客泰然而坐，谈笑风生，似在吟诗作赋，指点江山。而船夫撑篙，顺流而下，泛舟荡漾于江水之上。长江远去，江面渐渐宽阔，烟波浩荡，而在高耸险峻的山壁之下，小舟及其载客，却是显得那么的渺小\n作者采用开阔的长卷形式，描绘了赤壁的山光水色。画中烟波浩森，巨峰矗立，山石嶙峋、草木葱郁，风声、松声、水声、鸟声在这萧瑟的人迹罕至的地方显得更为凄楚，似乎展现出当年军队悲壮厮杀的场面。近景左右两岸呈开合之势，冈坡崖石起伏，许多松树在这险绝之处更加盘桓突兀、傲立不屈，使人肃然起敬。中景江水湍急，拍岸有声，巨石横江。瞪目而视，中部危峰矗立，断岸千尺。仰首而观，山顶上郁郁葱葱的树木错落有致。远处峰峦起伏，烟雨溟濛。江心一叶小舟逆流而上，舟中是苏轼等四人，怀古寄情，饮酒赋诗，尽情地感受江山变幻无穷的魅力。\n此图无款印，卷后有金代赵秉文行书和苏轼《赤壁词》一阕，前隔水上明代大鉴藏家项元汴题曰：“北宋朱锐画赤壁图。赵闲闲追和坡仙词真迹。李天籁珍秘”。\n赵秉文大行书全文：追和坡仙赤壁词韵。清光一片，问苍苍桂影，其中何物。一叶扁舟波万倾，四顾粘天无壁。叩枻长歌，姮娥欲下，万里挥冰雪。京尘千丈，可能容此人杰。回首赤壁矶边，骑鲸人去，几度山花发。淡淡长空今古梦，只有归鸿明灭。我欲乘云，从公归去，散此麒麟发。三山安在，玉箫吹断明月。正大五年重九前一日，书于玉堂之署。秉文。\n在黄州时，苏轼曾邀友人坐着小船泛游于赤壁之下，凭吊三国时代周瑜与诸葛亮共同击败曹操的地方，写下了《赤壁怀古》、《赤壁赋》等名作，以抒发对古今兴亡的感慨和对大自然雄伟、壮阔的赞美。在这之后，赤壁就成为文人画家作画的常见素材。而武元直所画的《赤壁图》正是以苏轼的《赤壁赋》为题材，表达了苏轼诗文中所描写的境界。\n金灭北宋，南宋偏安江南，政治上宋金对立，然而，文化上金呈现汉化倾向。从北宋掠夺来的书画，成为金代画家学习研究的主要依据，他们的绘画技法日趋成熟，涌现出一批卓有成就的画家，武元直就是其中的一位，而他的《赤壁图》就是在这样的背景下诞生的。\n该画几百年来一直被认为北宋朱锐所作。但是近人感觉此图的笔墨，多类似“斧劈皴”，似乎不是北宋画家所为，加上金代元好问所著《遗山集》中，有“题赵闲闲书赤壁词”一条，末云：“《赤壁图》，武元直所画”，于是马衡著文将此图归于武元直名下。\n《赤壁赋》创作于苏轼被贬黄州的困难时期，画面形象地再现了苏轼携友乘舟夜游赤壁的情景，表现了苏轼受诬遭贬黄州后的清闲生活和豁达胸怀，抒发了苏轼《赤壁赋》从怀古伤今升华到人生超脱的豪放胸臆。\n画中人物虽小，其精神面貌却可得其大略；扁舟虽小，但以小点连缀成形，似音符叮当有声。画家细致地描绘出风动松折，动态逼真，山石笔意健劲，质感坚硬；远山空朦悠然；松杉苍郁，层次分明。\n此图画法，直接以北宋北方画派的传统，用笔比较湿润，江水用流畅曲线，两出波纹，愈远愈细淡。近山用浓墨的斧劈皴，再加淡墨直皴，竖斜交织，表现了山石的质感。远山远树用淡墨画出，不点苔，略加皴染山石和树木，刚柔适中，立体感强，产生浓淡墨色的渗化现象。这种注重空气透视变化的画法，造就一卷颇具特色的作品。\n面的选景在长江的一个弯道处，观者的位置刚好可以看到左右两侧越来越远的景致，而中间部分的高山是它们的分界，体现了画面左右的水平空间感。\n此图采用横卷形式，以便于展开长江两岸的景物，画山穷其凹凸，写水状其盘涡。画中左、右下角各有一组陡峭的山壁，让出屹立于江面的赤壁矶头。从左面到画面二分之一的地方都是连绵不断的临江峭壁，远处山壁以淡墨勾皴，山巅略点重墨，画而中心的赤壁矶头十分突出，赤壁矶后是大片江岸，便左边拥塞的江面至此顿时开阔起来。\n此外，此图采用了全景式的构图方式，使画面整体看起来较为雄伟、壮观。\n中国画家林树中：这是一幅十分成功的杰作。特别是在少数民族统治的金国，画家画出这样高水平的山水画尤为难能可贵，可以认为是今存金国最有代表性的山水面作品。",[23,24,25,58,26,27,29,64,1157,31,1020,165,965,7,34,539],"悬崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ceb70b5888eae4415468dbb93cdafeb.jpg","纵50.8厘米，横136.4厘米",[],92,{"id":1163,"slug":1164,"title":1165,"dynasty":53,"author":1166,"museum":20,"description":1167,"tags":1168,"thumbUrl":1173,"material":212,"size":1174,"collection":44,"collections":1175,"showCount":1176,"zanCount":11,"manualWeight":11,"mainColor":48},214735,"ren-wu-zhou-guo-chun-214735","人物轴","郭纯","在水边的柳树下摆上一张桌子，客人和主人坐在一起交谈，手持羽毛扇，身穿纱笼。三个孩子，一个炖着茶和水，另一个拿着苍蝇刷，站在客人身后，与拿着饭盒的人交谈。山石皴法是元代盛懋风格，其工艺也不弱。建筑物的笔触偶尔会有失误",[24,25,80,26,82,29,84,83,1169,423,86,207,7,31,1170,1171,278,1172],"屋宇","人物活动","水墨设色","明代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e11bebc6abc80b06f3d874186097f6b.jpg","110.8x62.1",[44],91,{"id":1178,"slug":1179,"title":1180,"dynasty":53,"author":1181,"museum":456,"description":1182,"tags":1183,"thumbUrl":1184,"material":120,"size":1185,"collection":122,"collections":1186,"showCount":1187,"zanCount":284,"manualWeight":11,"mainColor":48},222344,"song-lin-yang-bian-tu-tang-yin-222344","松林扬鞭图","唐寅","图绘春雪消融，鲜花盛开的季节，文人逸士策马扬鞭结伴郊游的美好景致。画心左上角有画家自题七言诗一首：“女几山前春雪消，路傍仙杏发柔条。心期此日同游赏，载酒扬鞭过野桥。”署款“唐寅”。钤“南京解元”、“六如居士”二印。",[23,24,26,82,27,80,237,84,320,30,7,31,321,181],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb41ce84768985f365b4a778ba934bd0d.jpg","145.3cm 横：72.5cm。",[],90,{"id":1189,"slug":1190,"title":1191,"dynasty":332,"author":524,"museum":130,"description":891,"tags":1192,"thumbUrl":1193,"material":122,"size":122,"collection":44,"collections":1194,"showCount":1195,"zanCount":313,"manualWeight":11,"mainColor":71},234647,"yuan-ji-jin-ling-shi-jing-tu-ce-shi-tao-234647","原济金陵十景图册",[24,26,61,395,29,64,292,812,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6020bc5a26b64366dfa9a8384032aebb.jpg",[44],88,{"id":1197,"slug":1198,"title":1199,"dynasty":53,"author":777,"museum":55,"description":1200,"tags":1201,"thumbUrl":1205,"material":1206,"size":1207,"collection":44,"collections":1208,"showCount":1195,"zanCount":313,"manualWeight":11,"mainColor":71},220967,"gao-yi-tu-zhou-dong-qi-chang-220967","高逸图轴","明万历四十四年(1616年)三月，董其昌正赋闲居家。由于其子与乡民发生冲突，导致其宅被焚，家资尽丧，此即著名的“民抄董宦”事件。董其昌被迫避祸他乡，惶惶往来于吴兴、镇江之间。虽然半年后事态逐渐平息，但董似乎心有余悸，仍旧频频四出游历、访友。此图即为第二年董氏去镇江、太湖间的练湖畔访其旧友蒋道枢，与蒋氏泛舟荆溪时的即兴之作，颇似当年倪瓒弃家隐居太湖时的心境。董其昌此图采用了倪氏典型的笔墨技法，湖滨两岸的浅坡及山丘皆以干笔淡墨施以折带皴，行笔以侧锋为主，笔墨苍逸，极好地表达出倪画中萧散简远的意境，同时也反映了作者晚年身历劫乱后的苍凉心绪。但作者又非简单地仿古，近岸数株盘屈虬结的古木就充分体现了作者独特的艺术创造。董氏画树有其独到的见解，他在《画禅室随笔》中写道：“画树之法，须专以转折为主……如写字之于转笔用力，更不可往而不收……但画一尺树，更不可令有半寸之直，须笔笔转去。此秘诀也。”树过于直，不免枯燥、呆板，有曲折才见变化、生意。观此图之树，确实起到了点醒画面的作用。近景之树，不仅是连接两岸的桥梁，填补了湖面的大片空白，同时也是作者刻意表现的另一主要物象，它们攲侧的走势以及相互之间纠结牵引的姿态，都使冷寂空阔的景色趋于活跃，表现了董其昌多方面的笔墨技巧。",[23,24,25,80,26,29,31,30,27,61,1202,165,1203,293,1204,7,60],"题跋","近坡","坡石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c9da1c4b4b98526a13f16aa2f526b92.jpg","纸本,墨笔","纵89.5厘米，横51.6厘米",[44,45],{"id":1210,"slug":1211,"title":1212,"dynasty":221,"author":234,"museum":1213,"description":1080,"tags":1214,"thumbUrl":1215,"material":547,"size":1216,"collection":44,"collections":1217,"showCount":1195,"zanCount":313,"manualWeight":11,"mainColor":48},219877,"zhong-xi-yan-ai-tu-ju-ran-219877","重溪烟霭图","费城艺术博物馆",[23,104,24,25,58,26,29,34,37,31,7,64,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F002f9fd99a437be58311e2c0552f8180.jpg","29.9x418.5cm",[44],{"id":1219,"slug":1220,"title":1221,"dynasty":332,"author":524,"museum":55,"description":1222,"tags":1223,"thumbUrl":1227,"material":481,"size":1228,"collection":1229,"collections":1230,"showCount":1231,"zanCount":11,"manualWeight":11,"mainColor":71},233771,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233771","原济陶渊明诗意册","本图册是作者根据东晋著名诗人陶渊明诗句而创作。陶渊明是中国田园诗的创始者，他的诗不仅反映出田园生活的美好与自然，更流露出他徘徊于出仕与归隐之间的矛盾。绘画者显然非常赞赏这种避身独处、与世无争、乐天安命的人生哲学，通过描绘回归自然、淡于荣禄、不与统治者合作的隐士陶渊明来表现自己美好的理想。\n这里择两开赏析。\n第二开《悠然见南山》：陶渊明的许多诗篇中都有关于菊花的诗句：“采菊东篱下，悠然见南山”、“秋菊有佳色，裛露掇其英”均写出了他远离世俗的心境和陶醉于自然的乐趣。他常以菊自喻，借菊花凌秋傲霜的品质表达自己清高的节操和情怀。石涛仰慕陶渊明的高尚情操，故此图借陶渊明爱菊寄寓了画家自己的思想感情。画中篱笆院中菊花盛开，一高士手持菊花观赏，悠然之态可见。此图结构精巧，人物用笔细密。远山以墨笔烘染，山腰云雾密布，不见山脚，以此表现烟云飘渺的动态和气势。这种中锋、细勾、渍染相结合的画法使画面有动有静，虚实结合，意趣无穷。\n第六开《遥遥望白云 怀古一何深》：描绘一位着布衣宽袍的老者临溪而立。老者远望青山，脚下溪水流淌。面对满目凄凉、空无一人的山水，主人公似思绪万千，发思古之幽情。画家借此图深刻而恰当地表达了自己零丁孤苦、怀才不遇之情。构图采用一水两岸的自然分疆法。画面上只见弥漫的云山、层山断处的房舍和半露的松林而不见山脚，山顶则似露非露地隐现。树木用水墨渍出，以衬托山腰白云的动感。",[104,24,25,443,1224,26,82,29,60,61,27,237,117,7,1225,1226,84,30,182,1083],"清代","平原","烟树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa60253ab4b37909a1fca2e563c4ae780.jpg","纵27厘米，横21.3厘米","花鸟画精选",[1229,44,94],87,{"id":1233,"slug":1234,"title":1235,"dynasty":332,"author":952,"museum":55,"description":1236,"tags":1237,"thumbUrl":1238,"material":447,"size":122,"collection":44,"collections":1239,"showCount":1240,"zanCount":11,"manualWeight":11,"mainColor":71},236909,"fang-dong-qi-chang-shan-shui-zhou-wang-jian-236909","仿董其昌山水轴","王鉴（1598年－1677年），明末清初画家，“四王”之一。字元照，一字圆照，号湘碧，又号香庵主，江南太仓人。王世贞曾孙，王士骐之孙。 任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。\n王鉴的祖父王世贞（1526年— 1590年）是晚明著名文人、鉴藏家和显宦，官至南京刑部尚书，精古诗文，与李攀龙等并称“后七子”，为文坛盟主；富收藏，尔雅楼中藏书万卷，书画文物无数；著有《弇州山人四部稿》、《艺苑后言》等。父王士骥，万历十七年（1589年）进士，官吏部员外郎。王鉴出身于这样一个文学世家和官宦门第，自幼即受到良好的文化教养和艺术熏陶，“缔岁即好点染”，他亦自述：“自幼习董熟耳。”表明他最早学画是从董源入手的。以后又追踪巨然和元四家，万历四十五年（1617年）时的《仿云林山水轴》和天启元年（1621年）拟巨然的《山水图》，可证其最早的画学渊薮。",[104,24,25,80,26,27,59,29,7,31,237,35,182,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadf306104ba0c6a8ac6ec5a3d3c69cc3.jpg",[44,45],86,{"id":1242,"slug":1243,"title":1244,"dynasty":489,"author":1245,"museum":305,"description":1246,"tags":1247,"thumbUrl":1249,"material":226,"size":1250,"collection":122,"collections":1251,"showCount":1240,"zanCount":11,"manualWeight":11,"mainColor":48},232624,"hai-tian-xu-ri-tu-juan-li-zhao-dao-232624","海天旭日图卷","李昭道","此卷以青绿为主调，山峰勾以全绿，所画人物细小如豆，亭台楼阁、海浪舟桥，无不形象生动，尤其画幅中上方有一金龙，腾云驾雾，整个局面宏伟壮阔、气势不凡。",[23,24,81,82,58,83,29,1248,7,87,34,767,31,182,89],"云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cc0164cbe171565b2c95e35e12fa8cf.jpg","47.1 x 197.4厘米",[],{"id":1253,"slug":1254,"title":1255,"dynasty":489,"author":581,"museum":1256,"description":1257,"tags":1258,"thumbUrl":1268,"material":240,"size":241,"collection":122,"collections":1269,"showCount":1240,"zanCount":313,"manualWeight":11,"mainColor":48},226317,"ku-zhu-shi-nan-pi-yi-ming-226317","窟主室南披","敦煌","莫高窟，俗称千佛洞，坐落在河西走廊西端的敦煌。它始建于前秦宣昭帝苻坚时期，后历经北朝、隋朝、唐朝、五代十国、西夏、元朝等历代的兴建，形成巨大的规模，有洞窟735个，壁画4.5万平方米、泥质彩塑2415尊，是世界上现存规模最大、内容最丰富的佛教艺术地。\n1961年，莫高窟被中华人民共和国国务院公布为第一批全国重点文物保护单位之一。1987年，莫高窟被列为世界文化遗产。\n莫高窟与河南洛阳龙门石窟、山西大同云冈石窟并称中国三大石窟，后加麦积山石窟称四大石窟。 2019年8月31日，由敦煌研究院等单位联合摄制的大型纪录片《莫高窟与吴哥窟的对话》在敦煌国际会展中心首映。纪录片以亚洲文明对话为题材，向人们展现了不同文明之间命运相通、文化相通、艺术相通的奇妙关联。\n2020年2月，为致敬奋斗在抗疫一线的医务工作者，景区在恢复运营后，对全国所有医护人员实行免费开放，直至2020年底。5月10日，莫高窟恢复开放。\n莫高窟始建于前秦宣昭帝苻坚时期，据唐朝《李克让重修莫高窟佛龛碑》一书的记载，前秦建元二年（366年），僧人乐尊路经此山，忽见金光闪耀，如现万佛，于是便在岩壁上开凿了第一个洞窟。此后法良禅师等又继续在此建洞修禅，称为“漠高窟”，意为“沙漠的高处”。后世因“漠”与“莫”通用，便改称为“莫高窟”。另有一说为：佛家有言，修建佛洞功德无量，莫者，不可能、没有也，莫高窟的意思，就是说没有比修建佛窟更高的修为了。\n北魏、西魏和北周时，统治者崇信佛教，石窟建造得到王公贵族们的支持，发展较快。\n隋唐时期，随着丝绸之路的繁荣，莫高窟更是兴盛，在武则天时有洞窟千余个。安史之乱后，敦煌先后由吐蕃和归义军占领，但造像活动未受太大影响。北宋、西夏和元代，莫高窟渐趋衰落，仅以重修前朝窟室为主，新建极少。\n元代以后敦煌停止开窟，逐渐冷落荒废。明嘉靖七年（1528年）封闭嘉峪关，使敦煌成为边塞游牧之地。清康熙五十七年（1718）平定新疆，雍正元年（1723）在敦煌设沙州所，三年（1725）改沙州卫，并从甘肃各州移民敦煌屯田，重修沙州城。乾隆二十五年（1760）改沙州卫为敦煌县，敦煌经济开始恢复。莫高窟开始被人们注意。\n清光绪二十六年（1900）发现了震惊世界的藏经洞。不幸的是，在晚清政府腐败无能、西方列强侵略中国的特定历史背景下，藏经洞文物发现后不久，英人斯坦因、法人伯希和、日人橘瑞超、俄人鄂登堡等西方探险家接踵而至敦煌，以不公正的手段，从王道士手中骗取大量藏经洞文物，致使藏经洞文物惨遭劫掠，绝大部分不幸流散，分藏于英、法、俄、日等国的众多公私收藏机构，仅有少部分保存于国内，造成中国文化史上的空前浩劫。",[1259,1260,82,1261,84,1262,1263,1264,320,29,7,292,1265,1266,1267],"唐代","壁画","宗教","飞天","兽","鹿","龙","云纹","波浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23cd3130d2f67f6a5e8f63d64a3488bc.jpg",[],{"id":1271,"slug":1272,"title":923,"dynasty":332,"author":581,"museum":130,"description":1273,"tags":1274,"thumbUrl":1275,"material":240,"size":241,"collection":122,"collections":1276,"showCount":1277,"zanCount":313,"manualWeight":11,"mainColor":48},230303,"fang-chou-ying-wang-chuan-tu-yi-ming-230303","此作为青绿山水，取法仇英笔意，设色妍丽清润。峰峦层叠以石青石绿晕染，间以赭石提点，秀雅而不失苍劲。云气在山间水畔缓缓舒卷，将错落村居、葱郁林木掩映其中，烟波浩渺的湖水铺陈远阔，衬出群山灵秀。\n\n勾勒皴擦兼具工细与写意，既保有青绿山水的华美质感，又晕染出辋川别业的幽寂禅意，仿若将王维笔下的林下雅趣，化作眼前清旷空灵的桃源胜境，尽显山居林泉的静穆悠远之美。",[23,24,25,58,81,82,29,59,83,27,7,31,34,150,182,114,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1eda3b72ba96b87a804972ade459581.jpg",[],85,{"id":1279,"slug":1280,"title":1281,"dynasty":1282,"author":1283,"museum":20,"description":1284,"tags":1285,"thumbUrl":1286,"material":620,"size":1287,"collection":44,"collections":1288,"showCount":1289,"zanCount":11,"manualWeight":11,"mainColor":48},221014,"shan-shan-tu-juan-dai-kui-221014","剡山图卷","晋","戴逵","戴逵（326－396年），字安道，谯郡铚县（今安徽省濉溪县临涣镇）人。东晋时期隐士、美术家、雕塑家，金城太守戴绥之子。\n\n早年师从名儒范宣，博学多才，善于鼓琴，工于绘画人物和山水。终身不仕，坚拒太宰武陵王（司马晞）召命和王徽之雪夜拜访。\n\n孝武帝司马曜即位，累次征辟，全部不就。太元二十一年，去世。著有《戴逵集》9卷，今已散佚。",[23,104,24,25,58,82,27,29,7,31,30,117,811,62,1083],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b825446ccfc90b423b206be2232fcac.jpg","38.4x615",[44,94],84,{"id":1291,"slug":1292,"title":1293,"dynasty":18,"author":1294,"museum":259,"description":1295,"tags":1296,"thumbUrl":1297,"material":184,"size":1298,"collection":42,"collections":1299,"showCount":1300,"zanCount":11,"manualWeight":11,"mainColor":71},221668,"diao-tai-wang-yun-tu-ma-yuan-221668","雕台望云图","马远","画面描绘一处山中宫殿建筑。近处山脚下树林茂密，树木郁郁葱葱，将建筑掩映其中，左侧一座高台拔地而起，同远处山峰遥遥相望。石台台基宽厚，周围和右侧台阶边缘有护栏环绕，护栏下方的台身上有精美石雕。石台整体分为上下两层，第一层宽阔，台面呈回字形，中间是第二层的台基，周围摆放着花盆，中间台阶通往第二层。第二层上有一凉亭，周围置有几案、屏风、圆凳等家具。一人站在高台上，凭栏眺望。此时似乎是在准备宴席，侍者端着各式物品忙碌着。\n石台前方，其它建筑拱卫，远处山峰笔直入云，天空中风吹云动，一轮弯月高挂，同石台上眺望之人相呼应。",[23,24,25,104,82,205,29,85,181,1248,31,7,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73943a72afefd8298acebb643c82055c.jpg","纵25.4厘米，横24厘米",[42,44],82,{"id":1302,"slug":1303,"title":1304,"dynasty":18,"author":974,"museum":130,"description":1305,"tags":1306,"thumbUrl":1308,"material":240,"size":241,"collection":122,"collections":1309,"showCount":1310,"zanCount":11,"manualWeight":11,"mainColor":48},288508,"qing-luan-xiao-si-tu-li-cheng-288508","晴峦萧寺图","此画以直幅形式画冬日山谷景色，画中群峰兀立，瀑布飞泻而下，中景山丘上建有寺塔楼阁，山麓水滨筑以水榭、茅屋、板桥，间有行旅人物活动。画中山石雄伟而秀美，皴染用笔多有变化，兼具关仝之雄浑与李成之清润。",[23,104,24,25,29,80,26,27,7,85,1307,86,32,33,293],"寺庙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65a09d1fd685c91acbb434f10c0b0b2b.jpg",[],81,{"id":1312,"slug":1313,"title":1314,"dynasty":53,"author":76,"museum":130,"description":1315,"tags":1316,"thumbUrl":1317,"material":240,"size":241,"collection":122,"collections":1318,"showCount":1310,"zanCount":313,"manualWeight":11,"mainColor":48},287561,"fang-li-tang-shan-shui-tu-chou-ying-287561","仿李唐山水图","此图卷画法山石分面后用大斧劈皴法，是李唐家数，极明暗变化之能事。浙派学南宋，都和墨皴染，石面无‘钉头’，乏老硬笔意，仇实父实得李唐画石之三味。",[23,104,24,25,58,29,82,27,59,7,31,182,193,86,32,61,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0bece0ca5a5d1ae85f5b79d72f19d2f.jpg",[],{"id":1320,"slug":1321,"title":1322,"dynasty":18,"author":581,"museum":20,"description":1323,"tags":1324,"thumbUrl":1329,"material":547,"size":1330,"collection":44,"collections":1331,"showCount":1332,"zanCount":473,"manualWeight":11,"mainColor":48},218783,"qiu-shan-tu-yi-ming-218783","秋山图","这幅关于山脉的画作从画板底部向上延伸，将纸张堆叠起来，在复杂而庞大的岩石中，随着溪流的流动，创造出山峦和沟壑的变化，并在现实和想象中创造出一种兴趣。山石像范宽的彩虹，寒林和枯枝的画法像郭熙的蟹爪法，而整体画风与《荆浩的匡庐》非常相似。",[23,24,104,29,26,80,27,1325,7,1326,30,1327,1328,32,295,916],"蟹爪法","沟壑","寒林","枯枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcecae8ef9513b49779e89a829d40705.jpg","172.9x62.7",[44],79,{"id":1334,"slug":1335,"title":1336,"dynasty":332,"author":1337,"museum":305,"description":1338,"tags":1339,"thumbUrl":1343,"material":212,"size":1344,"collection":44,"collections":1345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ju-tu-xia-gui-288245","烟岫林居图","此图以近、远景的安排构成整幅之大势。远景轻淡，一片空漾，在云雾掩映间现出突兀的山峰；山峰偏左，让出画面右边的空间，使人有云天苍茫、辽阔无际之感。中景平湖河道若隐若现，似有似无。近景则笔健墨浓，是画家着意描绘的对象。临河斜岸树木茂盛，木桥接岸，一人弓背持杖漫步于林间小路，岸左又有长满树木山石的一角。画中树干用双钩，浓墨攒笔随意点染树叶，用笔虽简，却意趣横生。远山及坡石很少用笔皴擦，主以浓淡墨晕染，把山石的立体质感和烟云变幻莫测的动态表现得恰到好处。\n在此扇面上，远处一片空旷、开阔，烟雾飘渺，在云雾笼罩下，左边露出峭秀的山峰，突兀的山峰耸立在群山之巅。山峰偏左，让出右边的空间。使人有云天苍茫，辽阔无际之感，显得轻浅。远景小河流水隐约可见，这是虚；中景平湖河道若隐若现，似有似无，渐渐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。",[23,24,1019,26,29,7,237,34,86,493,1405,27],"宁静","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29dd1c63e1b60626ee479c62c6069bd4.jpg",[],72,{"id":1410,"slug":1411,"title":1412,"dynasty":18,"author":178,"museum":130,"description":1413,"tags":1414,"thumbUrl":1415,"material":122,"size":122,"collection":122,"collections":1416,"showCount":1417,"zanCount":11,"manualWeight":11,"mainColor":48},227806,"qing-lv-shan-shui-tu-ye-liu-song-nian-227806","青绿山水图页","此作以青绿晕染山峦，淡墨勾勒丘壑轮廓，糅合精工雅致与烟火意趣。春柳垂荫如翠色帷幕，将画面切割出疏密层次，树下行人往来如织，或策马徐行，或驻足交谈，石桥下溪水流淌，三两村人浣洗休憩，鲜活的市井日常跃然纸面。\n\n远景峰峦逶迤，以石青石绿轻敷，敷色秀润沉稳，不见浓艳浮薄，将春日山野的明媚柔丽晕染开来。笔致细巧灵动，把山水之幽与俗世之暖相融，于尺幅之间铺展了一卷生机盎然的春日山居行乐图，尽显春日江南山野的悠然意韵。",[23,104,24,25,443,81,82,29,84,86,32,320,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F485a6a80668b2daa57a22eff4e87382a.jpg",[],70,{"id":1419,"slug":1420,"title":1421,"dynasty":332,"author":581,"museum":305,"description":1422,"tags":1423,"thumbUrl":1425,"material":547,"size":122,"collection":44,"collections":1426,"showCount":1427,"zanCount":313,"manualWeight":11,"mainColor":71},219864,"qing-ren-fang-xi-shan-wu-jin-tu-yi-ming-219864","清人仿溪山无尽图","整卷铺展千里丘壑，峰岭层叠攒簇，苔点皴擦尽显山石苍浑质感，烟岚轻笼幽谷溪川，晕染出空濛悠远的意境。村居田庐散缀林麓水湄，野桥横溪、茂林修竹，尽显山居幽寂之致，复刻全景山水的雄浑大气，又糅入文人画的静穆意趣。沉厚绢色晕开烟峦，笔墨带着追摹古贤的沉静韵味，将林泉高隐的诗意融于层叠山水间，让观览者随着溪山延展，步入烟霞丘壑，沉浸在清寂旷远的山水雅趣中。",[23,24,58,29,82,27,7,31,34,150,168,1424],"亭榭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae1062bdcf0ab3c5882ef217057ef7f7.jpg",[44],69,{"id":1429,"slug":1430,"title":1431,"dynasty":18,"author":1432,"museum":130,"description":1433,"tags":1434,"thumbUrl":1436,"material":240,"size":241,"collection":122,"collections":1437,"showCount":1438,"zanCount":11,"manualWeight":11,"mainColor":48},289655,"xue-jiang-gui-zhao-tu-zhao-ji-289655","雪江归棹图","赵佶","《雪江归棹图》描绘的是冬日雪景山水画。全图不着色，仅以细碎之笔勾勒、点皴山石，淡墨渲染江天，衬映出皑皑雪峰。",[23,104,24,58,148,408,7,150,64,293,85,292,26,82,60,62,1435],"清寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80ccf8a6b79d6e33362afa23ac8564cb.jpg",[],68,{"id":1440,"slug":1441,"title":1442,"dynasty":18,"author":534,"museum":130,"description":1443,"tags":1444,"thumbUrl":1447,"material":240,"size":241,"collection":122,"collections":1448,"showCount":1438,"zanCount":11,"manualWeight":11,"mainColor":48},230785,"yan-xiu-lin-ju-tu-ye-xia-gui-230785","烟岫林居图页","此图以近、远景的安排构成整幅之大势。远景轻淡，一片空漾，在云雾掩映间现出突兀的山峰；山峰偏左，让出画面右边的空间，使人有云天苍茫、辽阔无际之感。中景平湖河道若隐若现，似有似无。近景则笔健墨浓，是画家着意描绘的对象。临河斜岸树木茂盛，木桥接岸，一人弓背持杖漫步于林间小路，岸左又有长满树木山石的一角。画中树干用双钩，浓墨攒笔随意点染树叶，用笔虽简，却意趣横生。远山及坡石很少用笔皴擦，主以浓淡墨晕染，把山石的立体质感和烟云变幻莫测的动态表现得恰到好处。",[23,24,25,104,395,26,27,29,1445,7,1446,30],"树林","烟雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7707d298daece160ecc6b1e0761dcde9.jpg",[],{"id":1450,"slug":1451,"title":1452,"dynasty":332,"author":627,"museum":55,"description":1453,"tags":1454,"thumbUrl":1455,"material":153,"size":1456,"collection":45,"collections":1457,"showCount":1438,"zanCount":313,"manualWeight":11,"mainColor":71},220379,"fang-ju-ran-yan-fu-yuan-xiu-tu-wang-hui-220379","仿巨然烟浮远岫图","此幅以纵向构图取势，山头处作小块状的矾头，为雄伟的山峦增添了灵巧的韵动感。山谷间绘茂密的丛林，使苍茫的山峦增添了生命的气息。图中山石以大披麻皴皴擦，其明净淡雅的线条营造了画面云烟飘渺的意境。\n此图是王翚晚年仿宋巨然《烟浮远岫图》的代表作之一。据王翚仿巨然的同名画扇（现藏北京故宫博物院）款题而知，王翚首次见到巨然的《烟浮远岫图》是在“毗陵庄太史家”，当时他42岁（癸丑，1673年），款题：“巨然《烟浮远岫图》今在毗陵庄太史家，真海内第一墨宝。余尝借观，背临大概。寄呈闻川尊先生。”又题长句，落款“癸丑上巳日，石谷重识。”王翚自此不断地仿巨然《烟浮远岫图》，或自娱，或送友人留念。他送笪重光的仿品目前藏于美国普林斯敦大学美术馆。根据图上所钤“王藻儒考藏图书”印可知本幅是他送友人王藻儒之作。\n《王奉常书画题跋》、《吴越所见书画录》著录。",[23,24,25,80,29,82,27,7,31,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17d1a5c1fb9dc7984b460e2cfeed8b21.jpg","纵187厘米，横67.2厘米",[45,44],{"id":1459,"slug":1460,"title":1461,"dynasty":18,"author":534,"museum":130,"description":1462,"tags":1463,"thumbUrl":1465,"material":240,"size":241,"collection":122,"collections":1466,"showCount":1467,"zanCount":313,"manualWeight":11,"mainColor":71},289837,"shan-shui-shi-er-jing-tu-xia-gui-289837","山水十二景图","为夏氏山水十二景中残存四景中的一部分。图展现平溪汀渚、湖水荡漾，渔舟出没，巨石峭壁，绿树成荫。通过山林，有港湾一泓，数艘渔舟停泊其间。此画山石用斧劈皴，先用水笔皴擦，然后落墨，具有水墨交融，淋漓酣畅的效果。",[23,104,24,58,25,26,29,64,32,7,109,113,1464,60,61,27,62],"江景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b2cda136703b84ead22be2bcf7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184.5x109.4公分",[44],{"id":1486,"slug":1487,"title":1488,"dynasty":332,"author":627,"museum":130,"description":1489,"tags":1490,"thumbUrl":1493,"material":122,"size":122,"collection":44,"collections":1494,"showCount":1495,"zanCount":11,"manualWeight":11,"mainColor":71},237581,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237581","王翚仿古山水册","王翚（1632-1717），字石谷，臞樵，号乌目山人，耕烟散人，又号耕烟外史，剑门樵客，清晖老人，室名清晖阁，江苏常熟人。王翚祖上几代均染指丹青。四世祖王伯臣擅长花鸟，师崔白画风，祖父王载仕山水花鸟皆擅，父亲王云客专攻山水，画风秀雅。王翚幼喜丹青，十六岁时拜同乡张珂为师，后入王鉴、王时敏之门，遍临他们所藏宋、元名迹，在承袭传统的基础上，又外师造化，逐渐形成了华滋清逸的画风，当时的名公巨卿、文人学士争相交之。六十岁时以布衣征召供奉内廷，主持绘制康熙《南巡图》，被赐“山水清晖”，为清初“虞山派”领袖。著有《清晖画跋》，辑有《清晖赠言》、《清晖赠贻尺牍》，与恽寿平合著《画筌评》。",[24,25,104,26,810,27,29,7,37,64,31,86,1491,35,34,1492,114],"渔翁","草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26d7aa76d129529fa40fc7aa1a4898dc.jpg",[44,45],65,{"id":1497,"slug":1498,"title":1499,"dynasty":18,"author":581,"museum":305,"description":1500,"tags":1501,"thumbUrl":1502,"material":226,"size":1503,"collection":122,"collections":1504,"showCount":1495,"zanCount":313,"manualWeight":11,"mainColor":253},223493,"ming-huang-xing-shu-tu-zhou-yi-ming-223493","明皇幸蜀图轴","此画绘安史之乱之后，唐玄宗李隆基离开长安逃往巴蜀避难的故事。一群人仓促慌乱而逃，此时杨贵妃已经被唐玄宗赐死于马嵬坡，而画面中无人骑行的白马，应该就是杨贵妃死前的坐骑。",[23,24,82,29,84,80,27,320,30,31,321,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26a9c78e8345ce04c7530887632de2f2.jpg","33x45",[],{"id":1506,"slug":1507,"title":1508,"dynasty":18,"author":1509,"museum":1510,"description":1511,"tags":1512,"thumbUrl":1515,"material":620,"size":122,"collection":42,"collections":1516,"showCount":1495,"zanCount":11,"manualWeight":11,"mainColor":71},220361,"yuan-pu-gui-fan-tu-yu-jian-220361","远浦归帆图","玉涧","名古屋德川美术馆","玉涧（生卒年不详），在宋末元初的画坛中，以“玉涧”为名号的僧人，有莹玉涧、若芬玉涧、彬玉涧和孟玉涧四人。其中彬玉涧生平不详；而莹玉涧根据《图绘宝鉴》的记载，为西湖净慈寺禅僧，师惠崇画山水；若芬玉涧根据《松斋梅谱》的记载，则为金华曹氏子，是天台宗僧人，曾任天竺寺书记，善画云山；孟玉涧作品传世较多，为元末画家。经过日本学者铃木敬的考证，现在学界多半认为若芬玉涧就是《庐山图》等作品的作者。若芬玉涧传世作品有《庐山图》（冈山县立美术馆蔵）、《庐山瀑布图》（冈山县立美术馆蔵）、《潇湘八景图》（现仅余三副，东京出光美术馆藏《山市晴岚图》、名古屋德川美术馆藏《远浦归帆图》、东京文化厅藏《洞庭秋月图》）等。",[23,104,24,25,26,27,29,64,60,7,1513,1514,1202],"江面","远帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F523feeccb80b8a79fb8b4c95a88ae5d5.jpg",[42],{"id":1518,"slug":1519,"title":1520,"dynasty":18,"author":534,"museum":20,"description":1521,"tags":1522,"thumbUrl":1523,"material":40,"size":1524,"collection":122,"collections":1525,"showCount":1526,"zanCount":11,"manualWeight":11,"mainColor":48},288371,"chang-jiang-wan-li-tu-hou-juan-xia-gui-288371","长江万里图后卷","《长江万里图》是一幅长超过11公尺的手卷，画卷的前半段，以接近平视的角度近景特写岩块、林木，以及江行的舟船，表现长江三峡险峻和波涛汹涌的景观；后半段则是以俯视和远观的角度描绘江面上的活动，以及沿途所见秀丽的景色。从逼近观者的景物，转换到辽阔空旷的视野，这种构图的方式具有戏剧性的效果。在画卷最后，有元代鉴藏家柯九思的题字，鉴定这幅画作者是南宋夏珪。但是柯九思题字是后人伪造，所以这样的意见值得强烈怀疑。从时代风格来看，这种山水长卷的构图方式流行于明初，而在笔墨技巧方\n宋夏圭长江万里图卷\n宋夏圭长江万里图卷\n面，本幅的“斧劈皴”用同一方向的侧锋表现，而水纹的描绘也刻意强调浪花的造型和装饰效果，这些特征显示〈长江万里图〉的创作时代为十四世纪末至十五世纪初，可能是一张与明代宫廷画院风格密切相关的作品。",[23,24,58,26,148,27,7,1464,64,114,237,34,1135,165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc17ed61dd6a5972ee7a6aea3bd1ee1f2.jpg","该幅26.8x1115.3公分；隔水一 11.3公分；引首 26.8x75.7公分；隔水二 13.7公分；隔水三 11.3公分；拖尾 26.9x241公分",[],64,{"id":1528,"slug":1529,"title":1530,"dynasty":53,"author":1531,"museum":130,"description":1532,"tags":1533,"thumbUrl":1534,"material":122,"size":122,"collection":122,"collections":1535,"showCount":1526,"zanCount":11,"manualWeight":11,"mainColor":71},228427,"fang-huang-gong-wang-shan-shui-juan-lan-ying-228427","仿黄公望山水卷","蓝瑛","此作用淡墨晕开漫谷烟岚，山石以枯淡勾勒皴擦，简劲松灵间带着萧散元人意趣。高岭危岩朴拙厚重，几株苍松杂木卓立云岫，枝桠舒展，暗涌生机。留白氤氲云气衔接远近山景，虚实相生，衬出林泉幽寂的空濛意境。\n\n右上角鉴藏朱印排布规整，朱红米黄绢底相映，为古雅山水更添金石气韵。全卷师法元人笔意却自出清隽格调，将江南山水的静穆淡远融于尺幅间，尽显文人山水的悠然雅韵。",[24,25,58,82,26,29,27,63,31,7,34,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8cc00462f6de4e96e3d6c62025f165e.jpg",[],{"id":1537,"slug":1538,"title":1539,"dynasty":53,"author":1540,"museum":20,"description":1541,"tags":1542,"thumbUrl":1543,"material":82,"size":1544,"collection":44,"collections":1545,"showCount":1526,"zanCount":11,"manualWeight":11,"mainColor":71},222452,"hua-lu-shen-yuan-feng-tang-hui-xian-shan-tu-juan-zhang-fu-222452","画陆深愿丰堂会仙山图卷","张鈇","张𫓧（？－？），字德威，山东东昌府冠县人，军籍，明朝政治人物。\n山东乡试第六十三名举人。嘉靖八年（1529年）中式己丑科会试第一百五十二名，登第三甲第一百四十一名进士\n曾祖张山；祖父张文，曾任寿官；父张周，母郭氏",[24,25,58,82,27,29,86,85,31,30,165,337,87,88,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcebe762343913fad16b0e0bdb556a9e5.jpg","27.1x161.2",[44,45],{"id":1547,"slug":1548,"title":1549,"dynasty":18,"author":466,"museum":20,"description":1550,"tags":1551,"thumbUrl":1552,"material":226,"size":1553,"collection":42,"collections":1554,"showCount":1526,"zanCount":11,"manualWeight":11,"mainColor":1555},221378,"ying-shan-tu-juan-wang-shen-221378","赢山图卷","《宋王诜赢山图》用勾勒青绿填染画山，古朴清雅，元代钱选小青绿山水即似此画风，卷末山石上有小楷题识，云：“保宁赐第王晋卿赢山既觉，因图梦中所见，甲辰春正月梦游者。",[23,24,25,58,29,82,27,7,31,182,150,64,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc60b9eb105d6a170d78f0e0696507e39.jpg","纵24.5厘米、横145.1厘米",[42,195,94],"F48FB1",{"id":1557,"slug":1558,"title":1559,"dynasty":18,"author":1560,"museum":1561,"description":1562,"tags":1563,"thumbUrl":1564,"material":226,"size":1565,"collection":42,"collections":1566,"showCount":1567,"zanCount":11,"manualWeight":11,"mainColor":48},221437,"song-hao-xuan-ming-shi-qin-tu-hu-shun-chen-221437","送郝玄明使秦图","胡舜臣","日本大阪市立美术馆","传世作品有宣和四年(1122)作《送郝玄明使秦图》卷，自题诗款：“丛桂方招隐，君犹赋远游。青枫初试降，白露正宜秋。玉叠浮云暮，秦关王气收。离情付图画，怅我一登楼。宣和四年九月二日，玄明大参有使秦之命，作此纪别。胡舜臣。”卷后有蔡京(1047-1126)书题“送郝玄明使秦一首：送君不折都门柳，送君不设阳关酒。惟取西陵松树枝，与尔相看岁寒友。蔡京。”继后有吴睿、莫昌、袁华、周鼎史、沈周观署，钱樾、吴荣光、伯荣、刘墉、翁方纲题跋等。",[23,24,104,25,58,26,27,29,7,31,237,34,86,32,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e7ddf81b15095c5a22ac6defde70da2.jpg","30x111",[42],63,{"id":1569,"slug":1570,"title":1571,"dynasty":1102,"author":1103,"museum":1572,"description":1573,"tags":1574,"thumbUrl":1582,"material":447,"size":122,"collection":122,"collections":1583,"showCount":1567,"zanCount":11,"manualWeight":11,"mainColor":71},220580,"lin-an-shan-se-huang-bin-hong-220580","临安山色","中国现当代美术文献研究中心","这幅山水以积墨技法铺陈，干皴湿染往复叠加，墨色浓淡交融，将山峦苍浑厚重的质感全然托出。虬松盘峙崖间，石径沿幽谷蜿蜒伸入山霭，流泉隐没在层叠墨韵里，虚实相映间晕染出山川氤氲灵秀。画作追慕北宋笔墨精神，褪去刻露浮躁，以浑厚华滋的气韵糅合江南山水的温润与沉雄，笔底带着金石苍茫之气，尽显晚年山水“黑密厚重”的美学意趣，将山川静穆苍莽的生机风骨藏在每一处墨色层次之中。",[24,148,26,1575,27,7,1576,1577,1578,1579,1580,1581],"积墨","虬松","石径","流泉","苍浑厚重","浑厚华滋","金石气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9425349f2172fa199c0abd1fed94e642.jpg",[],{"id":1585,"slug":1586,"title":1587,"dynasty":332,"author":1588,"museum":55,"description":1589,"tags":1590,"thumbUrl":1591,"material":153,"size":1592,"collection":44,"collections":1593,"showCount":1594,"zanCount":11,"manualWeight":11,"mainColor":71},218497,"fang-mei-dao-ren-xia-shan-yu-ji-tu-wu-li-218497","仿梅道人夏山雨霁图","吴历","画中远处山峦起伏，层层叠叠，由近及远，矾头突兀，山顶冲入云端，似与天际相连，深山溪水，泉涌不息。中景为广阔的湖面和平坦的沙滩，溪水潺潺；近景为岩石坡，树木茂密，树荫下有几座木屋和草亭，或隐或现，山间有蜿蜒的小路，坡的两边有木板路。",[23,24,25,80,26,27,59,29,86,32,31,7,117,37,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff3af964d48c19eeba1aedf541e32e4c.jpg","94.5x35cm",[44],62,{"id":1596,"slug":1597,"title":1598,"dynasty":53,"author":777,"museum":20,"description":1599,"tags":1600,"thumbUrl":1601,"material":153,"size":122,"collection":44,"collections":1602,"showCount":1594,"zanCount":313,"manualWeight":11,"mainColor":71},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。",[24,25,395,26,27,60,29,336,31,182,35,1083,7,88],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff04f9ae98aa539c6d04e4ab22c644a70.jpg",[44],{"id":1604,"slug":1605,"title":1606,"dynasty":53,"author":1607,"museum":20,"description":1608,"tags":1609,"thumbUrl":1613,"material":372,"size":1614,"collection":44,"collections":1615,"showCount":1616,"zanCount":313,"manualWeight":11,"mainColor":48},222158,"shan-zhuang-gao-yi-tu-li-zai-222158","山庄高逸图","李在","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。\n李在是宣德时期（1426－1435）画院最杰出的画家之一，与戴进、石锐三人鼎足而立，闻名于当时画坛。李在受到北宋郭熙画风之影响极深，无论题材、构图或技法，都可以见到郭熙的影子。本幅画结合了行旅、客舍与田园村居生活在一幅画，构图采用以中央主峰主轴，堆栈出带有「S」形动态的走势，山头布满浓密的苔点，山石的质理用层层迭迭的「云头皴」来描绘，在树木与枝叶部分，则以特殊造型的「蟹爪枝」表现。李在的笔墨相较于郭熙，更为自由放逸，这是明初或浙派学习郭熙风格的特征之一。",[23,24,104,148,26,1610,1611,7,33,86,64,1612,652,584,85,31,36],"云头皴","蟹爪枝","客舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faea88dacaadab09ee87b38f46a96bc0e.jpg","109.1×188.8cm",[44,45],61,{"id":1618,"slug":1619,"title":1431,"dynasty":18,"author":581,"museum":145,"description":1620,"tags":1621,"thumbUrl":1622,"material":212,"size":1623,"collection":44,"collections":1624,"showCount":1616,"zanCount":11,"manualWeight":11,"mainColor":48},218587,"xue-jiang-gui-zhao-tu-yi-ming-218587","寒江雪霁，远山如卧，素白积雪覆在黛色峰峦上，似披一层清薄的纱。岸边茅舍隐于疏林后，枯枝横斜间，隐约见炊烟轻袅，恍若有人家正温酒候归。江面上归棹缓移，帆影淡远，桨声似被雪色浸软，只剩水波微漾的静穆。\n\n笔墨简淡却意韵悠长：山峦以淡墨晕染，积雪肌理用细笔勾出，枯树枝桠如铁线遒劲，尽显冬日清寂之美。整幅画虚实相生，留白处含清寒之气，归舟的动与雪景的静相映成趣，藏着宋人对自然的敬畏与隐逸生活的向往——于静谧中见生机，于简淡中蕴深情，每一处细节都在诉说冬日江上的淡然心境。",[23,24,25,26,29,64,7,31,182,408,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbeef43a75f0757cbfd80d5f97f0987c.jpg","26.4x26.5",[44],{"id":1626,"slug":1627,"title":1628,"dynasty":53,"author":787,"museum":77,"description":1629,"tags":1630,"thumbUrl":1631,"material":184,"size":1632,"collection":44,"collections":1633,"showCount":1634,"zanCount":284,"manualWeight":11,"mainColor":48},221975,"wu-zhong-sheng-gai-tu-quan-juan-wen-zheng-ming-221975","吴中胜概图全卷","文征明（文徵明）（1470-1559），初名壁，字征明（徵明），四十二岁起以字行，更字征仲，因先世衡山人，故号衡山居士，世称“文衡山”，停云生。长州（今江苏苏州吴县）人，曾官翰林待诏。生于明宣宗成化六年，卒于明世宗嘉靖三十八年，年九十岁。文受业于吴宽，学书于李应祯，学画于沈周。擅长诗文书画，为“吴中三家”之一。在书法上，早年受其父知友吴宽的影响写苏体，后受他岳父李应祯的影响，学宋元的笔法较多。小楷师法晋唐，力趋健劲。文征明功力深厚，楷书法度严谨，不仅深得《黄庭经》、《乐毅论》之诣，更多地则是采用欧阳询的笔意和体势，但在用笔上又更加削劲、挺健。明·谢在杭《五杂俎·卷七》称赞文征明小楷：“无真正楷书，即钟、王所传《荐季直表》、《乐毅论》皆带行笔。洎唐《九成宫》、《多宝塔》等碑，始字画谨严，而偏肥偏瘦之病，犹然不免。至本朝文征仲先生始极意结构，疏密匀称，位置适宜。如八面观音，色相具足。于书苑中亦盖代之一人也。”他的大字有黄庭坚笔意，苍秀摆宕，骨韵兼擅。与祝允明、王宠并重当时。",[23,24,25,58,82,29,61,60,27,83,7,150,85,86,32,64,181,292,31,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbea8d9ae2d8130ad7485b843268d551.jpg","纵31.5厘米，横453厘米",[44,94],60,{"id":1636,"slug":1637,"title":1638,"dynasty":53,"author":1639,"museum":1640,"description":1641,"tags":1642,"thumbUrl":1643,"material":212,"size":1644,"collection":44,"collections":1645,"showCount":1634,"zanCount":313,"manualWeight":11,"mainColor":48},219944,"jiang-shan-sheng-lan-tu-yan-zong-219944","江山胜览图","颜宗","香港中文大学文物馆","颜宗（1393—约1453）广东南海人，字学渊。永乐二十一年举人。授邵武知县，为政清明，以救荒悯旱为先。招抚邓茂七余部，全活甚众。景泰中擢兵部主事，署员外郎。奔母丧归，卒于途中。善画山水，时人有“颜老天趣不可及”之语，当时名画师如林良，视之尚有逊色。",[104,24,25,58,26,29,7,34,106,168,114,31,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F366483a10fdb6cde35d65da1131e8083.jpg","35.5x610厘米",[44],{"id":1647,"slug":1648,"title":288,"dynasty":18,"author":1649,"museum":1650,"description":1651,"tags":1652,"thumbUrl":1653,"material":212,"size":1654,"collection":44,"collections":1655,"showCount":1634,"zanCount":11,"manualWeight":11,"mainColor":48},219076,"shan-shui-tu-li-gong-nian-219076","李公年","美国普林斯顿大学美术馆","画幅上端山峦在浮云中层层叠起，山脚隐于漠漠暮霭之中，寒溪曲折自远而近， 滩岸布置崖冈枯木，通幅用淡墨图写，景物出没于空旷有无之间，明润秀雅，较李郭山水更为虚灵简远。此图是李公年传世的唯一的画迹。",[24,26,27,80,29,7,847,294,63,181,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F885b7547f08c8a2d5e1e3041dfe3ad24.jpg","纵130厘米，横48.4厘米",[44],{"id":1657,"slug":1658,"title":1659,"dynasty":1660,"author":1661,"museum":130,"description":1662,"tags":1663,"thumbUrl":1665,"material":240,"size":241,"collection":122,"collections":1666,"showCount":1667,"zanCount":11,"manualWeight":11,"mainColor":71},290098,"you-chun-tu-quan-juan-zhan-zi-qian-290098","游春图全卷","隋","展子虔","《游春图》是隋朝画家展子虔创作的绘画作品，绢本、青绿设色，画上有宋徽宗题写的“展子虔游春图”六个字，现存北京故宫博物院绘画馆。\n图中展现了水天相接的情形，上有青山叠翠，湖水融融，也有士人策马山径或驻足湖边，还有美丽的仕女泛舟水上，熏风和煦，水面上微波粼粼，岸上桃杏绽开，绿草如茵。\n画家用青绿重着山水，用泥金描绘山脚，用赭石填染树干，遥摄全景，人物布局得当，开唐代金碧山水之先河，在早期的山水画中非常具有代表性。 该画是展子虔传世的唯一作品，也是迄今为止存世最古的画卷。",[23,24,104,58,81,82,29,424,1664,7,32,1393,31,292,60,61,62],"游春","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c745d85afcbc62c30de0087d4f06b8a.jpg",[],58,{"id":1669,"slug":1670,"title":1671,"dynasty":332,"author":859,"museum":130,"description":1672,"tags":1673,"thumbUrl":1674,"material":122,"size":122,"collection":44,"collections":1675,"showCount":1667,"zanCount":11,"manualWeight":11,"mainColor":71},237873,"shan-shui-tu-zhou-kun-can-237873","山水图轴","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。",[24,26,27,80,25,61,62,29,7,31,33,114,37,35,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F517a9cc096f9e8a965e8e054e4adea5b.jpg",[44,947],{"id":1677,"slug":1678,"title":1679,"dynasty":18,"author":534,"museum":20,"description":1680,"tags":1681,"thumbUrl":1682,"material":82,"size":1683,"collection":44,"collections":1684,"showCount":1667,"zanCount":11,"manualWeight":11,"mainColor":71},221225,"shan-shui-zhou-xia-gui-221225","山水轴","诗塘 王铎题云。老干不事纤细小巧。骨格坚凝韶秀。有大家气。即此一画。雪色蒙晦。石寒铁色。噫。阴晴不可知。有天道寓于中。谓画者果无意欤。夏圭钱塘人。宁宗时擅名。师范宽李唐。宗有其俪。凡以觕粝冒圭者非其真也。丙戌三月时居燕。为二弟仲和题。王铎。钤印一。铎。",[23,24,148,80,26,82,27,30,31,539,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4da237f95d56b5840f04b1a93af93930.jpg","该幅47.6x32.5公分；诗塘28x32.6公分",[44,45],{"id":1686,"slug":1687,"title":1688,"dynasty":53,"author":1689,"museum":77,"description":1690,"tags":1691,"thumbUrl":1693,"material":153,"size":1694,"collection":44,"collections":1695,"showCount":1667,"zanCount":284,"manualWeight":11,"mainColor":71},219948,"fang-mi-fei-yun-shan-tu-mo-shi-long-219948","仿米芾云山图","莫是龙","莫是龙（1537年—1587年），得米芾石刻“云卿”二字，因以为字，字云卿，后以字行，更字廷韩，号秋水，又号后明、玉关山人、虚舟子等。南直隶松江府华亭（今上海松江）人，莫如忠长子。明代文学家、书画家、藏书家。\n八岁读书，十岁属文，十四岁补郡诸生，人称“神童”。皇甫汸、王世贞辈亟称之。不喜科举业而攻古文辞及书法、绘画，以贡生终。",[23,24,25,58,26,59,60,61,27,29,1692,7,31,34,62],"云山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1550e95af95b112efd3574d713c9812.jpg","20.8x233厘米",[44],{"id":1697,"slug":1698,"title":1389,"dynasty":332,"author":524,"museum":130,"description":1699,"tags":1700,"thumbUrl":1702,"material":122,"size":122,"collection":122,"collections":1703,"showCount":1704,"zanCount":313,"manualWeight":11,"mainColor":71},228983,"tao-yuan-tu-shi-tao-228983","此作用淡墨晕染烟岚，赭石青绿轻敷山峦，留白铺展云气溪谷，村居错落隐于林麓溪畔，营造出幽谧空濛的世外丘壑。写意笔法脱略具象，点染之间将笔下山水化为可游可居之境。\n卷后题跋书法朴拙苍劲，题诗与绘境呼应，将武陵渔父误入桃源的悠然逸致娓娓道来，诗画交融无间。\n整作以淡远萧散的意境，寄寓着文人避世幽居的理想，把陶潜笔下的幻梦山水化为现实笔墨，尽显山水写意的诗性之美。",[24,25,58,82,29,26,27,7,34,168,182,31,292,32,1083,1394,1393,1701,37,165,753,84],"渔父","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7ff77b63e584f962b6ea92555a2a5a1.jpg",[],57,{"id":1706,"slug":1707,"title":1708,"dynasty":221,"author":1709,"museum":130,"description":1710,"tags":1711,"thumbUrl":1714,"material":122,"size":122,"collection":122,"collections":1715,"showCount":1704,"zanCount":11,"manualWeight":11,"mainColor":48},226707,"ting-qin-tu-zhou-wen-ju-226707","听琴图","周文矩","周文矩是中国五代时期南唐人，生卒年不详，大约在南唐中主李璟、后主李煜时期，官至翰林待诏，擅长画佛道、人物、车马、屋木、山水题材，最擅长画仕女画。他是出色的肖像画家。所绘作品多以宫廷贵族的生活为题材，画风和唐代的周昉比较相近，独创了“战笔”描法。\n\n《听琴图》，传为五代周文矩所作，绢本，立轴，纵60厘米，横47厘米，现收藏于美国克利夫兰美术馆藏。画上题款“周文矩”，但传为明朝唐寅唐伯虎所作赝品。",[23,24,25,104,83,1712,82,84,293,181,30,1713,7,207],"白描","乐器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F375f9f9c019d3847bfbc827a8b08238c.jpg",[],{"id":1717,"slug":1718,"title":1719,"dynasty":489,"author":1720,"museum":55,"description":1721,"tags":1722,"thumbUrl":1723,"material":226,"size":1724,"collection":44,"collections":1725,"showCount":1726,"zanCount":11,"manualWeight":11,"mainColor":71},221100,"jiu-cheng-bi-shu-tu-ye-li-si-xun-221100","九成避暑图页","李思训","本幅无款识，右裱边项子京题：“唐云麾将军李思训画京畿瑞雪图，宋宣和御府藏物也，定为神品第一。\n古胥山樵项圣谟获于梅花和尚塔前，得秘玩焉，百金亦勿与易。\n” 扇面绘雪景楼阁，山水重青绿敷色，画法古拙，明显带有所谓李思训父子“金碧山水”传派的特点，与故宫收藏的另外两件传为唐人的楼阁作品《宫苑图》卷、《九成避暑图》页画风相近，并都曾被题为李思训作。\n这三幅画在清代以前均未见著录，也缺乏早期的收藏印记和题跋作为断代的佐证，而且尚无公认的唐代同类作品可资比较，因此，我们不能仅仅以其勾勒填色为主的质朴画法和追求简古的生拙风格便简单地断定为唐人作品。\n正因为缺乏断代依据，这三件作品的时代归属在学术界一直有不同看法。\n在这种情况下，通过画面上大量古代建筑所反映出的宫室形制来判定作品的创作时代就成为较为科学和行之有效的方法。\n有学者将画面中建筑装饰的细部，如：琉璃瓦、格子门、木牌坊和斗拱的形制作为“详辨古今之物，商较土风之宜”的有力物证，认为这三幅画所表现的建筑群非唐非宋，进而得出结论，断定它们不是唐人的作品，而是南宋“临安以外地区或民间画家所绘的装饰画”。",[23,24,81,82,29,205,85,7,31,87,206],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2acc632af78cc169721bcff835e47cd6.jpg","纵28.5厘米，横31.6厘米",[44,94],55,{"id":1728,"slug":1729,"title":488,"dynasty":53,"author":581,"museum":392,"description":1730,"tags":1731,"thumbUrl":1732,"material":212,"size":122,"collection":44,"collections":1733,"showCount":1726,"zanCount":11,"manualWeight":11,"mainColor":48},217977,"wang-chuan-tu-yi-ming-217977","辋川图采用了中国传统的山水画风格，画面中展示了辽河流域的山峦、河流、村庄和城市。画中还有许多人物，展示了当时这一地区的生活方式和文化。\n\n辋川图因其精美的绘画技巧和对历史文化的精准再现而闻名，是中国山水画史上的珍贵艺术品。目前，辋川图被认为是中国古代山水画的杰作，具有极高的艺术价值和文化意义。",[23,104,24,58,148,205,82,7,32,85,31,84,64,168,1424],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5d11196376a0cf5547e83905727dc07.jpg",[44],{"id":1735,"slug":1736,"title":1737,"dynasty":18,"author":1738,"museum":130,"description":1739,"tags":1740,"thumbUrl":1742,"material":240,"size":241,"collection":122,"collections":1743,"showCount":1744,"zanCount":313,"manualWeight":11,"mainColor":48},288733,"xiao-xiang-ba-jing-tu-juan-si-wang-hong-288733","潇湘八景图卷四","王洪","全卷呈现出一种全景式的山水大观，其中并没有体现出有『八景』的各自样态，因其用意并不在于『八景』。相比之下，王洪的《潇湘八景图》各景独立成画，各个表现不同之意境，应当是接近于宋迪所绘之《潇湘八景图》的形式样态。",[104,24,58,26,148,294,1741,7,812,35,115],"亭阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F034d632a84422ddb4076996f3fafebb4.jpg",[],54,{"id":1746,"slug":1747,"title":1748,"dynasty":332,"author":1749,"museum":130,"description":1750,"tags":1751,"thumbUrl":1752,"material":240,"size":241,"collection":122,"collections":1753,"showCount":1744,"zanCount":11,"manualWeight":11,"mainColor":71},237962,"hong-ren-shan-shui-ye-hong-ren-237962","弘仁山水页","弘仁","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”。",[24,26,27,395,29,409,410,411,63,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b3848dc7a70e5c11a9d7c7ea91e38be.jpg",[],{"id":1755,"slug":1756,"title":1757,"dynasty":143,"author":1758,"museum":145,"description":1759,"tags":1760,"thumbUrl":1765,"material":153,"size":1766,"collection":45,"collections":1767,"showCount":1768,"zanCount":313,"manualWeight":11,"mainColor":48},220407,"bai-yun-shen-chu-tu-fang-cong-yi-220407","白云深处图","方从义","以水墨横点浓淡烘染峰峦重叠，写出了云烟掩映，风雨迷濛的江南景色。山峦、杂树以焦墨点染、益见秀润可爱。溪水小桥平添了江南平淡恬静的情趣，引人进入白云深处的佳境。",[24,26,27,29,1761,336,31,86,150,34,1762,1763,37,7,1764],"白云","山间","树木丛","烟霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd04a430378f5317098ee833066a2ed7d.jpg","纵25.8厘米、横57.9厘米",[45],53,{"id":1770,"slug":1771,"title":1772,"dynasty":53,"author":1531,"museum":405,"description":1773,"tags":1774,"thumbUrl":1776,"material":212,"size":1777,"collection":44,"collections":1778,"showCount":1768,"zanCount":11,"manualWeight":11,"mainColor":48},219739,"xue-xi-zai-he-tu-lan-ying-219739","雪溪载鹤图","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",[23,24,25,29,82,27,412,37,64,1775,31,30,117,408,7],"鹤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c18c1ed7f1b694637bbfe4ff1320c4.jpg","纵75.6横36.5厘米",[44],{"id":1780,"slug":1781,"title":1782,"dynasty":18,"author":581,"museum":912,"description":1783,"tags":1784,"thumbUrl":1785,"material":212,"size":1786,"collection":44,"collections":1787,"showCount":1768,"zanCount":313,"manualWeight":11,"mainColor":48},214830,"fang-zhong-li-fang-dao-tu-yi-ming-214830","仿钟离访道图","《仿钟离访道图》是一幅中国古代绘画作品，出自宋代佚名画家之手。这幅画以钟离故事为题材，描绘了钟离访道的场景。\n\n钟离故事是中国古代传说中关于钟离与访道的传说。钟离是唐朝时期的一位大臣，他曾游历过中国各地，在旅途中遇到了访道，两人相识并成为了朋友。后来，钟离回到了唐朝的长安城，而访道则留在了西域。\n\n《仿钟离访道图》中，画家用笔墨细腻地描绘了钟离与访道之间的友谊，表现出了两人间的亲密关系。画面中的人物造型生动，情感真挚，是一幅优秀的古代绘画作品。",[23,24,25,80,26,27,29,7,31,33,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a819300efae18f7e468980bfeb46582.jpg","147x74.8",[44],{"id":1789,"slug":1790,"title":1791,"dynasty":221,"author":258,"museum":130,"description":1792,"tags":1793,"thumbUrl":1795,"material":240,"size":241,"collection":122,"collections":1796,"showCount":1797,"zanCount":11,"manualWeight":11,"mainColor":48},287703,"hua-xia-shan-yu-yu-dong-yuan-287703","画夏山欲雨","该幅画重峦叠嶂，曲涧迤逦。作者以长披麻皴画山，表现南方松软的土质，又以重墨渍染林木与点苔，以彰显夏日草木蓊郁，万物滋长的生气。本幅无款印，根据张雨的题识，定为董北苑之作，然而其笔墨板滞，与董氏不类，当为后代画家的仿作。",[23,104,24,80,26,27,29,7,109,295,1794],"阴雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3115f2a48367716514ea86733373e74e.jpg",[],52,{"id":1799,"slug":1800,"title":1801,"dynasty":18,"author":466,"museum":130,"description":1802,"tags":1803,"thumbUrl":1806,"material":122,"size":122,"collection":122,"collections":1807,"showCount":1797,"zanCount":11,"manualWeight":11,"mainColor":48},227519,"yan-jiang-die-zhang-wang-shen-227519","烟江叠嶂","《烟江叠嶂图》是宋代画家王诜创作的一幅设色画，现藏于上海博物馆。\n《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。",[23,24,148,1804,58,81,27,7,1020,34,1805,109,1801],"设色画","溪瀑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4632dd73f474257bd583fa36c4a4a423.jpg",[],{"id":1809,"slug":1810,"title":1811,"dynasty":18,"author":1812,"museum":55,"description":1813,"tags":1814,"thumbUrl":1815,"material":120,"size":1816,"collection":122,"collections":1817,"showCount":1797,"zanCount":11,"manualWeight":11,"mainColor":48},221582,"chang-xia-jiang-si-tu-li-tang-221582","长夏江寺图","李唐","该图描绘了长江岸上群峰罗列，寺观丛林，互相映带。江水粼粼，风帆出没于其间，气势雄伟壮阔。\n用笔方硬坚重，山石峭丽雄浑，气魄雄伟，境界浩莽，用墨善用墨沉沉的、浓厚的墨韵，厚实而滋润。",[23,104,24,25,58,82,29,27,31,7,106,1307],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F855261dbfdf4c3b113712ec8417c0e89.jpg","纵：44厘米，横：249厘米",[],{"id":1819,"slug":1820,"title":1821,"dynasty":53,"author":1822,"museum":55,"description":1823,"tags":1824,"thumbUrl":1830,"material":547,"size":1831,"collection":44,"collections":1832,"showCount":1797,"zanCount":313,"manualWeight":11,"mainColor":48},220396,"xia-yun-yu-yu-tu-liu-jue-220396","夏云欲雨图","刘珏","本幅布局饱满，山峦填满大半画面，气势逼人，山体几乎全用长披麻皴，增加了画面的动感。右侧的浓云以细笔勾轮廓，淡墨渲染，生动地刻画出云朵急速翻滚变化之态。蜿蜒的山体，盘旋的山径，翻转的云朵，流动的瀑布，溅起的浪花，共同营造出深山中风云激荡、大雨欲来之势。画面最具静感的是右下角的木桥，并行平直的线条，两侧的过廊，皆增加了桥体的稳定感，而这些则更加衬托出整幅画面的撼人之气。该图画风沉郁清壮，用墨朴茂湿润，主要仿自元代吴镇，而清丽秀润之笔法则与吴镇的厚重粗犷有别。",[23,104,24,148,26,27,7,1825,33,86,32,1826,168,31,1827,1828,1829],"云朵","山径","风云激荡","大雨欲来","沉郁清壮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba447da9f4712e289e7effc13da529d0.jpg","纵165.7厘米，横95厘米",[44,45],{"id":1834,"slug":1835,"title":1836,"dynasty":18,"author":605,"museum":20,"description":1837,"tags":1838,"thumbUrl":1839,"material":212,"size":1840,"collection":44,"collections":1841,"showCount":1842,"zanCount":313,"manualWeight":11,"mainColor":48},218880,"fang-dai-tu-yan-wen-gui-218880","访戴图","在这幅画中，雪白的溪水无声无息，戴逵的另一处房屋隐藏在溪水边的树林中。",[23,104,24,26,82,27,148,29,31,293,182,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40533f611ebb8113ef7135e83a646b99.jpg","22.1x24.6",[44],51,{"id":1844,"slug":1845,"title":288,"dynasty":18,"author":404,"museum":130,"description":406,"tags":1846,"thumbUrl":1847,"material":240,"size":241,"collection":122,"collections":1848,"showCount":1849,"zanCount":11,"manualWeight":11,"mainColor":253},290235,"shan-shui-tu-fan-kuan-290235",[24,148,26,27,7,34,109,85,80,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F960de341b13a3055246c0d71ff699365.jpg",[],50,{"id":1851,"slug":1852,"title":1853,"dynasty":18,"author":534,"museum":130,"description":1854,"tags":1855,"thumbUrl":1860,"material":240,"size":241,"collection":122,"collections":1861,"showCount":1849,"zanCount":11,"manualWeight":11,"mainColor":71},288327,"ze-pan-ji-feng-tu-xia-gui-288327","泽畔疾风图","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。",[1019,24,26,29,7,1856,64,1857,1858,1859,27],"古树","渔人","疾风","孤寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc829033f8e29113ad506ff1513a0ed9.jpg",[],{"id":1863,"slug":1864,"title":1865,"dynasty":18,"author":19,"museum":130,"description":1866,"tags":1867,"thumbUrl":1871,"material":122,"size":122,"collection":122,"collections":1872,"showCount":1849,"zanCount":313,"manualWeight":11,"mainColor":48},228400,"shu-shan-zhan-dao-tu-guo-xi-228400","蜀山栈道图","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。",[23,1868,24,25,58,29,82,27,7,35,1033,31,182,663,84,1869,37,1870,850,60,62],"宋画","马匹","山谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ce8e773a25ce85e5e2190d4006eead8.jpg",[],{"id":1874,"slug":1875,"title":1876,"dynasty":332,"author":1877,"museum":130,"description":1878,"tags":1879,"thumbUrl":1881,"material":122,"size":122,"collection":122,"collections":1882,"showCount":1849,"zanCount":313,"manualWeight":11,"mainColor":71},224543,"shan-shui-hua-juan-luo-mei-224543","山水画卷","罗枚","此卷水墨山水以平远之境铺陈开，山峦层叠逶迤，林舍错落点缀溪谷间。线条清劲简括，皴染淡逸萧疏，留白虚处见云水空濛，尽显丘壑幽寂。题诗与画境相融，笔墨脱略凡俗，以淡墨写林泉雅意，简而不薄，淡而有味，将林峦清润之态化为纸上幽境，尽显寄情山水的文人雅怀，清寂出尘的意韵溢满卷间。",[23,24,25,58,26,1712,27,29,30,31,114,150,7,825,753,1880,237,539,168,34,86],"远景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F007e50ac54acef202389bbd66e88ceb5.jpg",[],{"id":1884,"slug":1885,"title":1886,"dynasty":53,"author":1887,"museum":1030,"description":1888,"tags":1889,"thumbUrl":1890,"material":66,"size":1891,"collection":44,"collections":1892,"showCount":1849,"zanCount":11,"manualWeight":11,"mainColor":71},219977,"zhen-yi-qian-ren-gang-tu-wen-bo-ren-219977","振衣千仞岗图","文伯仁","此作用高远、平远之法铺陈山水，下半幅巉岩叠错，幽溪宛转，苍松虬枝斜曳，丹枫点破秋光，山居藏于松荫深处，野意萧散。远景烟峦浮空，汀渚村舍隐在淡墨轻岚之中，虚实相生，晕染出空濛清旷的秋霁氛围。\n\n笔墨兼工带写，山石以披麻皴间杂小斧劈，细劲松秀，淡墨轻扫出流云远山，将高蹈隐逸的林下之思藏在清寂丘壑间，把文人林泉高致的意趣，铺展于绢素之上，清灵淡远，尽显秀雅温润的吴门意韵。",[23,24,25,29,82,27,32,30,294,1083,7,181],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ff079bfcc13d6102a4df986fa0f2775.jpg","67x31cm",[44],{"id":1894,"slug":1895,"title":1896,"dynasty":332,"author":333,"museum":20,"description":1897,"tags":1898,"thumbUrl":1899,"material":66,"size":1900,"collection":44,"collections":1901,"showCount":1849,"zanCount":313,"manualWeight":11,"mainColor":71},219332,"gui-yin-tu-tang-dai-219332","归隐图","画山水师法王原祁，官内务府总管，以画只候内廷，康熙赐「画状元」。本幅画幽岩架屋，秋色满林，石磴盘空，泉流萦抱。用笔细致，山石多用干笔，带皴带擦，特重山势向背。",[24,25,29,82,27,30,31,7,181,37,237],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1876c740f1a043e94f3409e2f9793278.jpg","86.2x48.4",[44],{"id":1903,"slug":1904,"title":1905,"dynasty":18,"author":1906,"museum":145,"description":1907,"tags":1908,"thumbUrl":1909,"material":212,"size":1910,"collection":44,"collections":1911,"showCount":1849,"zanCount":284,"manualWeight":11,"mainColor":48},218553,"jiao-yuan-ye-zhang-tu-ma-lin-218553","郊原曳杖图","马麟","亭子和阳台的一角被画上了。柳树高大而美丽，月亮在天空中，岩石微微露出，从上面可以看到长廊，亭子完全可以看到。\n悬崖用凿子画，亭子用稳健的笔触画，树叶也得到充分的装饰，远处的山峰被烤得绿油油的，并被渲染成彩色，天空中的月亮，以及柳树林中隐约可见的亭子和台阶。",[23,24,25,1019,26,82,29,84,7,31,1083,62,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef491921f92892f4f8b6bec2dc1e90cc.jpg","23.3x23.6",[44],{"id":1913,"slug":1914,"title":1915,"dynasty":332,"author":1916,"museum":20,"description":1917,"tags":1918,"thumbUrl":1919,"material":212,"size":1920,"collection":44,"collections":1921,"showCount":1849,"zanCount":11,"manualWeight":11,"mainColor":48},218290,"jiang-shan-chun-ai-tu-gao-qi-pei-218290","江山春霭图","高其佩","高其佩（西元一六七二－一七三四年），字 韦之，号且园，又号南村。辽宁人。凡花木、鸟 兽、鱼龙、人物，无不精妙，尤以山水人物为胜 。其山水沉着，人物生动，深得明吴伟之神趣。另以指头作画著称，奇情异趣，信手而成。本幅画层峦叠翠，山城寺阁错落，溪上泊棹 连樯，岸畔田畴村居。稻田?农人耕作，山径有 行旅载途。溪水溶溶，远山春霭，春意什浓。全 图笔触苍劲，墨色敷彩浓淡有致，层次分明。",[24,82,29,27,80,30,31,32,64,85,7,850,182,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6464c85911fb2dd25ec5ae4d6085248b.jpg","241.8x128.1cm",[44],{"id":1923,"slug":1924,"title":1925,"dynasty":332,"author":1926,"museum":130,"description":1927,"tags":1928,"thumbUrl":1930,"material":240,"size":241,"collection":122,"collections":1931,"showCount":1932,"zanCount":313,"manualWeight":11,"mainColor":71},288450,"xi-shan-xian-guan-tu-zhu-da-288450","溪山仙馆图","朱耷","朱耷（1626年—约1705年），原名朱统𨨗，字刃庵，号八大山人、雪个、个山、人屋、道朗等，出家时释名传綮，汉族，江西南昌人 。明末清初画家，中国画一代宗师。",[23,104,24,26,148,27,7,31,85,86,1929,62,60],"仙馆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95b86f413a67c060306137c99a9667fb.jpg",[],49,{"id":1934,"slug":1935,"title":1936,"dynasty":53,"author":777,"museum":145,"description":1937,"tags":1938,"thumbUrl":1939,"material":66,"size":122,"collection":122,"collections":1940,"showCount":1932,"zanCount":11,"manualWeight":11,"mainColor":71},214647,"qiu-xing-ba-jing-tu-ce-10-dong-qi-chang-214647","秋兴八景图册-10","此册描绘苏州到镇江一带的山水景色，或仿古，或写景，笔法虽然以师古人为主，但具有不少个性色彩。采取以颜色直接勾勒、渲染、皴擦等“没骨法”，又连用水墨，干湿兼施，层次分明。落笔细润清雅，色彩明亮秀丽。画笔较为谨严，从中可以品味出他学巨然、赵令穰、赵孟頫、黄公望等人的痕迹，但从整体来看，还是他独特画风的不同表现。\n款署“庚申（1620年）九月重九前一日书，是月写设色小景八幅，可当秋兴八首，玄宰”，为其66岁时的精心之作。",[24,25,395,26,82,61,62,27,29,31,150,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F733353bab86339fd091579c32aef95fe.jpg",[],{"id":1942,"slug":1943,"title":1944,"dynasty":221,"author":1945,"museum":130,"description":1946,"tags":1947,"thumbUrl":1948,"material":240,"size":241,"collection":122,"collections":1949,"showCount":1950,"zanCount":11,"manualWeight":11,"mainColor":48},288836,"hu-shan-chun-xiao-tu-liu-dao-shi-288836","湖山春晓图","刘道士","工佛道鬼神，落笔遒怪，尤善山水，师董源，与巨然同时，画亦同。但刘道士在左，巨然则以僧在左。以此为别",[23,104,24,25,80,26,29,27,7,85,32,34,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45d33542a55bbea40943f6b7f253a0dd.jpg",[],48,{"id":1952,"slug":1953,"title":1954,"dynasty":221,"author":258,"museum":130,"description":1955,"tags":1956,"thumbUrl":1960,"material":240,"size":241,"collection":122,"collections":1961,"showCount":1950,"zanCount":11,"manualWeight":11,"mainColor":48},287427,"xia-jing-shan-kou-dai-du-tu-juan-hua-xin-dong-yuan-287427","夏景山口待渡图卷画心","用笔气势停匀，疏密浓淡，层层生发，甚为自然，笔笔皆活。其皴笔结体紧密，与冈峦的体势相生，融而为一。且有水晕墨章之妙，水坡之上，林木繁茂，而坡上浓淡，时以淡墨渲染，林间如透出阳光，极为生动。皴笔入骨，透于绢素，用笔一势，具方向感，运笔与气势，节奏相依存，为圆熟之境了。值得注意的还在于在其远山峰顶用笔有虚实、淡浓、隐现，极生动地表现了烟云出没，阳光明灭的空气感和空间感，真切地表现了夏山丽日下的神韵。与沈括所形容的董源《落照图》“远峰之顶，宛有反照之色，此妙处也”或米芾形容董源“峰顶不工”、“率多真意”，可以对看，一样佳妙。",[23,104,24,25,58,148,26,27,1957,7,109,64,113,360,1958,1959],"湖泊","水岸","静谧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32afd29366d0913db08119a85bdb0e2a.jpg",[],{"id":1963,"slug":1964,"title":1965,"dynasty":18,"author":605,"museum":130,"description":606,"tags":1966,"thumbUrl":1967,"material":240,"size":241,"collection":122,"collections":1968,"showCount":1950,"zanCount":11,"manualWeight":11,"mainColor":48},283692,"jiang-shan-lou-guan-tu-yan-wen-gui-283692","江山楼观图",[23,104,24,58,26,29,27,7,106,34,31,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e41c21ecbc8836ec3be077cef4fdb8e.jpg",[],{"id":1970,"slug":1971,"title":1972,"dynasty":53,"author":1973,"museum":748,"description":1974,"tags":1975,"thumbUrl":1976,"material":122,"size":122,"collection":44,"collections":1977,"showCount":1950,"zanCount":313,"manualWeight":11,"mainColor":71},222837,"qiu-shan-xing-lv-tu-juan-xiao-yun-cong-222837","秋山行旅图卷","萧云从","为了超脱世俗，为了与现实人生拉开距离，画家才在表现语言中摒弃浓艳、烦琐、世故与逢迎，而刻意与平淡、自然、疏冷和简散，表现出一种自吟自叹、清高不群的品质；也正是表现与世人的不同，他们将自然景物在画面中概括为流动的线，意味的点，以率性之笔将画中山水凝练为澹泊、简古、平和之境，远远不同于人们心目中的客观自然；萧云从在作品中所表现的超脱世俗的人生态度，实际上包含了他对历史、人生的深切感悟，是通过笔墨画境而表现显露其审美意象的深刻意蕴。",[23,24,58,82,29,27,999,584,7,31,86,32,64,85,181,1394,209,35,850],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22dff54a4034023fe32d33dccfab6a4d.jpg",[44,94],{"id":1979,"slug":1980,"title":1981,"dynasty":53,"author":777,"museum":305,"description":1982,"tags":1983,"thumbUrl":1984,"material":1985,"size":1986,"collection":947,"collections":1987,"showCount":1950,"zanCount":11,"manualWeight":11,"mainColor":71},220961,"jing-xi-zhao-yin-tu-juan-dong-qi-chang-220961","荆溪招隐图卷","《荆溪招隐图》，图上有题识：“荆溪招隐图。辛亥人日董玄宰写于宝鼎斋。”图后又附一篇长文题记：“此余辛亥岁为澈如光禄作也，今年予自田间被征，与澈如同一启事。予既已誓墓不出，而澈如亦意在鸿冥。余举赠友人诗，题此卷曰：我如远山云，君如朝日暾。出处各有宜，何必鹤与猿。惟容避世者，终老桃花源。澈如携此游江门，时以展之。去余不作红稚圭举止也。癸丑八月中秋后三日华亭年弟董其昌书于吴昌舟次。”",[23,24,25,58,26,29,27,444,60,61,62,7,31,114,86,32,34,168,1083,30,557,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F430208679d199a4467c6e992ac417f39.jpg","手卷，纸本设色","纵26厘米，横92.6厘米",[947],{"id":1989,"slug":1990,"title":1991,"dynasty":332,"author":581,"museum":130,"description":1992,"tags":1993,"thumbUrl":2000,"material":66,"size":122,"collection":44,"collections":2001,"showCount":1950,"zanCount":11,"manualWeight":11,"mainColor":71},215861,"xi-yang-jian-wen-tu-hui-shan-shui-juan-yi-ming-215861","西洋见闻图绘-山水卷","长卷铺展，海天一色间山峦错落，岛屿星罗。水墨晕染的峰峦间，藏着红瓦聚落、挺拔灯塔，中西帆船往来于碧波之上，帆影点点。传统散点透视下，异域风光与东方笔墨相融——苍劲的树木、层叠的山石是中式山水的韵致，而港口的布局、船只的形制又带着西洋印记。淡蓝的水色衬着赭黄的山岗，清润雅致中，流动着海上贸易的鲜活气息。这幅作品以东方视角记录异域见闻，既是笔墨的诗意表达，亦是中西文化碰撞的视觉见证，于舒展的画卷里，藏着时代的风物与交流的温度。",[23,24,58,82,83,29,767,823,87,31,1994,1995,1996,1997,1998,7,88,182,1999,1341],"灯塔","港口","帆船","城镇","海面","海岸线","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83ed23f974fe4e3f09f3a7e2f129b61d.jpg",[44],{"id":2003,"slug":2004,"title":2005,"dynasty":332,"author":2006,"museum":130,"description":2007,"tags":2008,"thumbUrl":2009,"material":122,"size":122,"collection":122,"collections":2010,"showCount":2011,"zanCount":11,"manualWeight":11,"mainColor":71},239211,"fang-fu-chun-shan-ju-tu-juan-gao-shu-cheng-239211","仿富春山居图卷","高树程","此作用干笔淡墨追摹原作意趣，以披麻皴晕染山峦，丘壑连绵起伏，层层铺展。汀渚萦回于烟波之间，林木错落苍秀，将富春山水的空濛温润缓缓铺陈。\n\n笔墨松灵温润，萧散简远，既复刻了原作的淡远疏旷，又融入自身静穆雅致的笔意，不刻意摹形，更重追摹那份江南山水的悠然意趣，咫尺长卷见千里江山之态，尽显文人山水平和疏朗的意境。",[23,24,25,58,26,59,27,29,31,64,292,7,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfcbdf55fbaf80a9674d7aee012cfa74.jpg",[],47,{"id":2013,"slug":2014,"title":2015,"dynasty":332,"author":2016,"museum":130,"description":2017,"tags":2018,"thumbUrl":2020,"material":240,"size":241,"collection":122,"collections":2021,"showCount":2022,"zanCount":11,"manualWeight":11,"mainColor":48},290394,"chang-cheng-nei-wai-li-zhou-qian-song-nie-290394","长城内外立轴","钱松喦","此作用笔苍厚老辣，以浓墨重笔皴染危崖巨嶂，长城如苍龙盘亘山脊，雄姿尽显。山间留白晕染流云雾气，虚实相生里拉开空间层次。\n\n画作打破传统山水的古意局限，将山脊上的新旧烽塔、山下的新式厂区与高原驼队并置，把山河厚重的古韵与新生的蓬勃生机融为一体，既保留了传统山水画的悠远意境，又以细腻视角定格时代变迁，让长城不再只是关山隘口的符号，更成为连接古今、见证山河新生的载体，尽显家国山河的壮阔温情。",[23,24,80,29,82,26,27,2019,7,34,168,320,62],"长城","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19f285f6425982a1654d5b14d945ea01.jpg",[],46,{"id":2024,"slug":2025,"title":2026,"dynasty":143,"author":356,"museum":55,"description":2027,"tags":2028,"thumbUrl":2030,"material":481,"size":2031,"collection":122,"collections":2032,"showCount":2022,"zanCount":11,"manualWeight":11,"mainColor":71},233745,"dan-ya-yu-shu-tu-zhou-huang-gong-wang-233745","丹崖玉树图轴","图中山峦重叠，高松杂树遍布窠石坡岸之上，梵寺仙观掩映于山石林木之中，溪流迴转，云烟缭绕，一派深远优美的意境。黄公望曾谓：“作山水者，必以董为师法，如吟诗之学杜也。”此图便是以董源、巨然创造的披麻皴手法写成，并以水墨浅绛设色。\n由于是在纸本上作画，作者较其《天池石壁图》、《九峰雪霁图》等绢本作品更充分地发挥了笔墨融合的韵味，用笔松秀，点染随意，潇洒自如，在不着笔处衬出迷蒙浮动的云烟雾气，虚实开合，愈增添了山水的灵秀，故虽崇山满纸而无迫塞之感。王原祁评黄氏画作曾云：“每见其布景用笔，于浑厚中仍饶逋峭，苍莽中转见娟妍，纤细而气益闳，填塞而境愈廓，意味无穷。”此作堪为代表。",[24,25,80,29,26,27,2029,31,237,30,7,62],"山崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1070ac311ec6c2b81b3e0fff9701a55d.jpg","纵101.3厘米，横43.8厘米",[],{"id":2034,"slug":2035,"title":2036,"dynasty":53,"author":1973,"museum":807,"description":2037,"tags":2038,"thumbUrl":2039,"material":309,"size":2040,"collection":44,"collections":2041,"showCount":2022,"zanCount":11,"manualWeight":11,"mainColor":71},222839,"she-se-shan-shui-tu-juan-xiao-yun-cong-222839","设色山水图卷","画面山川连绵起伏，溪流环绕其间。平逸、深远之法交替运用。山石披麻、小斧劈皴并用，树叶勾点结合，用石青、石绿加以点染，成功地描绘了秀美的江南景色。",[24,25,58,82,29,27,26,7,35,31,37,34,86,168,63,292],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb49ee13a0d730dc85d4192c86da6fcf8.jpg","29.2×593cm",[44,94],{"id":2043,"slug":2044,"title":2045,"dynasty":332,"author":627,"museum":305,"description":2046,"tags":2047,"thumbUrl":2048,"material":153,"size":2049,"collection":44,"collections":2050,"showCount":2022,"zanCount":11,"manualWeight":11,"mainColor":71},220415,"qiu-jing-shan-shui-tu-wang-hui-220415","秋景山水图","王翚（1632—1717年），字石谷，号耕烟散人，又号剑门樵客、乌目山人、清晖老人，江苏常熟人，清初画家。祖上五世均善画，曾祖王伯臣，善画花鸟，祖父王载仕，擅长山水、人物、花卉；父亲王云客也善画山水，画风秀雅。\n王翚自幼受家庭影响，喜爱绘画，先拜同里张珂为师，专摹元代黄公望的山水画。后得到王鉴、王时敏的提携和悉心栽培，王翚的画艺骤进，声名鹊起。在游学于王时敏时，王翚摹仿李成、董源、巨然、赵令祉、米友仁、黄公望、吴镇、倪瓒、王蒙、曹知白、陈汝言等宋元名家的典范图式，笔墨纯正，色彩清新，熠熠生辉，号称“集宋元之大成”。\n王翚的山水画既师法古人，又师法自然，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，故王时敏称“画有南北宗，至石谷而合为一”。在王翚35岁到60岁之间，其作品最为精彩，技法精巧，清丽工秀，有“合南北为一手” 的独特风格。时与王时敏、王鉴、王原祁、吴历、恽格齐名，被称为“四王吴恽”，又称“清六家”。\n康熙三十年（1691年），60岁的王翚由其画学弟子、时任兵部左侍郞的宋骏业推荐，以布衣应诏供奉内廷，绘制《康熙南巡图》，三年完成，得到康熙帝的褒奖，被视为画之正宗。其追随者甚众，因他为常熟人，常熟有虞山，故后人将其称为“虞山派”，且与王原祁二人有“画圣”之称。60岁以后，由于求画者甚多，王翚的作品多为应酬之作，难免粗制滥造，还出现了不少代笔画。又由于其技法纯熟，形成了一定的格式，下笔往往带有习气， 不及以前的作品生动清新。",[23,24,26,82,27,29,30,31,32,181,916,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3155ce21c8b276af793c7fd0c681c43.jpg","57.2x40.6厘米",[44],{"id":2052,"slug":2053,"title":2054,"dynasty":332,"author":627,"museum":130,"description":2055,"tags":2056,"thumbUrl":2060,"material":122,"size":122,"collection":122,"collections":2061,"showCount":2062,"zanCount":313,"manualWeight":11,"mainColor":48},224468,"xi-kou-bai-yun-tu-wang-hui-224468","溪口白云图","《庐山白云图》是清代 创作的纸本设色画。\n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。\n卷末自识：“关仝庐山白云图为海内名迹，林壑位置迥出意匠之外。\n余二十年前偶于金陵友人斋中展阅数过，卷尾有董文敏题识，至今追忆恍在目前边。\n古香主人以藏纸属画，聊仿其意，万不及一，当不值方家一哂也。\n董跋并录于右。\n康熙丁丑暮春望后三日，虞山王翚。\n”钤“王翚印”、“石谷”印。\n引首章“上下千年 ”印。\n“丁丑”是清康熙三十六年（1697年）。\n在自识之前，有作者所临董其昌的跋：“顷游庐山，自天池策杖大林寺至崖头，下视山腰，俱为云雾所断，四空濛濛作白豪光，身如在银海中，无复林麓村墟可得。\n以为画家未曾收此奇境，及披此图，宛然庐山所见也。\n独是日见庐山上方诸峰，亦缥缈灭没为飞烟断霭耳。\n丙申闰八月晦日舟次繁昌大江中书玄宰。\n” “丙申”是明万历二十六年（1596年）。\n卷首钤压角印“耕烟野老”。\n收藏印有“傲徕山房”、“仲麟鉴赏”等方。\n尾纸有清姜宸英跋。\n据王翚自题，因年前曾观北宋关仝《庐山白云图》，故今用其法绘制此图，以遵“古香主人”之嘱。\n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。\n王时敏称赞他：“集古人之长，尽趋笔端，故能妙绝千古。\n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。\n”这幅作品恰恰印证了王时敏对王翚的评价。\n“古香主人”即爱新觉罗·岳乐，王翚为其创作极为精心。\n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。\n全图工整谨密，秀润苍浑，深得关仝“笔简景少，气壮意长”之旨。\n王翚（162-1717）清代画家。\n字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。\n江苏常熟人。\n出身绘画世家，幼承家学，初学画于张珂，后又得到王鉴、王时敏指点。\n擅山水，初摹黄公望，后广泛师法唐宋元明诸家，转益多师，加以发展变化，形成个人风貌。\n曾说“以元人笔墨，运宋人丘壑，而泽以唐人气韵，乃为大成”。\n其画笔墨功底深厚，长于摹古，几可乱真，但又能不为成法所囿，部分作品富有写生意趣，构图多变，勾勒皴擦渲染得法，格调明快。\n在四王中比较突出。\n其画在清代极负盛名，康熙三十年奉诏绘制《康熙南巡图》，年完成，得到皇帝的褒奖，被视为画之正宗，追随者甚众，因他为常熟人，常熟有虞山，故后人将其称为虞山派。\n有《康熙南巡图》(与杨晋等人合作)、《秋山萧寺图》、《虞山枫林图》、《秋树昏鸦图》等传世。",[23,2057,82,27,26,83,2058,7,37,1761,114,31,30,182,34,2059,87,33],"清代山水画","传统山水技法","松树林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd88c671433772a4b87aa285537a3616b.jpg",[],45,{"id":2064,"slug":2065,"title":288,"dynasty":18,"author":1294,"museum":130,"description":2066,"tags":2067,"thumbUrl":2068,"material":240,"size":241,"collection":122,"collections":2069,"showCount":2070,"zanCount":11,"manualWeight":11,"mainColor":48},289115,"shan-shui-tu-ma-yuan-289115","马远（1140年－1225年），字遥父，号钦山，祖籍河中（今山西永济），生长于临安（今浙江杭州），南宋绘画大师。\n出身绘画世家，南宋宋光宗、宋宁宗两朝画院待诏。擅画山水、人物、花鸟，山水取法李唐，笔力劲利阔略，皴法硬朗，树叶常用夹叶，树干浓重，多横斜之态。楼阁界画精工，且加衬染。喜作边角小景，世称“马一角”。人物勾描自然，花鸟常以山水为景，情意相交，生趣盎然。与李唐、刘松年、夏圭并称“南宋四家”。存世作品有《踏歌图》《水图》《梅石溪凫图》《西园雅集图》等。",[24,29,64,149,26,80,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8347d201c40b894c64bc9949bd45292d.jpg",[],44,{"id":2072,"slug":2073,"title":2074,"dynasty":18,"author":534,"museum":20,"description":1521,"tags":2075,"thumbUrl":2076,"material":40,"size":241,"collection":122,"collections":2077,"showCount":2070,"zanCount":11,"manualWeight":11,"mainColor":48},288370,"chang-jiang-wan-li-tu-qian-juan-xia-gui-288370","长江万里图前卷",[23,104,24,58,26,29,27,7,1020,237,85,181,64,34,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03e9a3edd0ece6ad4727600c15137ec4.jpg",[],{"id":2079,"slug":2080,"title":2081,"dynasty":53,"author":76,"museum":20,"description":2082,"tags":2083,"thumbUrl":2091,"material":212,"size":2092,"collection":122,"collections":2093,"showCount":2070,"zanCount":11,"manualWeight":11,"mainColor":48},231375,"qiu-jiang-dai-du-tu-chou-ying-231375","秋江待渡图","此画属于院体一类，造型严谨，用笔不苟，刻画十分精细。只要展开画卷仔细观察，其中无沦一砖一瓦，一枝一叶，一草一木，还是人物表情，都描绘得极其精妙。即是远景、远岸的重山峻岭，山峦连绵，也画得很瓷实，一潭宽阔无际的秋水，宛如镜面。白云下的房舍屋宁、树林画得虽细小，但十分精工，所以把白云上面的山推向远处。近景为此画的核心，近岸山峦很高，村庄座落其间，显得十分细小，但画得十分精致。画面上的树林杂木众多，通过画家的笔触，画得各有特色，成为整幅画上的重要组成部分。这是一幅煌煌巨制的画作。景界开阔，但不觉疏散。他运用自己高超的技法，特别注重意境的刻画，在他笔下的屋可居，山可游，生活气息浓郁，有着诗一般的意境。设色温和清秀，并不艳俗。所画的人物比例虽小，但通过精致刻画，神形俱全。确属雅俗共赏之作。\n这一作品画面不大，但由于构图布局得当，远处的山峦，近处的茫茫秋水和近岸的山丘与树林，空间关系处理得当，使人感到境界十分开阔，具有咫尺千里之妙。同时，秋高气爽的季节特点也得到了很好的体现。从具体画法上看，无论是景物的一枝一叶，还是人物的表情，都描绘得十分精细。与那些远离现实、表现隐逸思想的某些文人画家的山水画相比，这一作品就显得具有浓厚的生活气息，可以激起人们对生活的热爱。",[24,148,83,82,29,2084,7,1445,64,84,108,631,2085,2086,2087,2088,2089,2090],"秋水","秋高气爽","咫尺千里","雅俗共赏","精工细作","生活气息浓郁","意境悠远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda34b84f047fd2cff2c3894ed7617045.jpg","纵155．4厘米，横133.4厘米",[],{"id":2095,"slug":2096,"title":2097,"dynasty":332,"author":1029,"museum":55,"description":2098,"tags":2099,"thumbUrl":2100,"material":120,"size":2101,"collection":44,"collections":2102,"showCount":2070,"zanCount":11,"manualWeight":11,"mainColor":48},223284,"jiu-cheng-gong-tu-zhou-yuan-yao-223284","九成宫图轴","此幅以对角构图为主，建筑在画面中所占比重不大，但作者有意将建筑物安排在观者的视觉中心，使其在山重水复的背景中颇为醒目。著名诗人杜甫曾有咏《九成宫》诗，袁耀即根据诗意想象而画成此图。袁氏父子所画的历代宫阙虽然各有典故，但样式大多雷同，富有装饰趣味而无明显的时代特征，画中人物的服饰也是如此，虽为古装却非唐非宋。",[23,24,25,80,205,82,83,27,29,85,86,30,31,34,84,850,87,88,7,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf33833e35f6f766d8a1a4d386a24eec.jpg","纵189.7厘米，横230.7厘米",[44,94],{"id":2104,"slug":2105,"title":2106,"dynasty":143,"author":1758,"museum":392,"description":2107,"tags":2108,"thumbUrl":2110,"material":153,"size":2111,"collection":44,"collections":2112,"showCount":2070,"zanCount":313,"manualWeight":11,"mainColor":71},218097,"yun-lin-zhong-xiu-tu-fang-cong-yi-218097","云林钟秀图","这幅画描绘了一片苍茫的云海和山脉，山峰高耸，山腰上漂浮着一条厚厚的云带，朦朦胧胧，山下的两岸长满了树木，树木的影子在白云带中时隐时现，突出了苍茫云海的运动。画中一高一低的山峰耸立在白云之上，山峰的顶端用墨水着色，下面是深谷和溪流。在画的右端是几棵古松，用浓墨点出了浓密的树枝和树干。在画面的最后，密林中出现的房屋像是道教寺庙的集中地，有门、有墙、有宫殿，应该是龙虎山上清宫的主殿，而其他寺庙则散落在各处。这幅画的用墨很随意，不拘一格。云山上的大笔水墨，苍茫润泽，富于变化。",[23,104,24,25,58,26,29,27,62,61,7,34,31,114,37,165,2109,539,88,182],"近水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F876493dc3425bb5b3eb370d2bc11a31c.jpg","24x105cm",[44],{"id":2114,"slug":2115,"title":2116,"dynasty":143,"author":391,"museum":20,"description":835,"tags":2117,"thumbUrl":2119,"material":153,"size":2120,"collection":122,"collections":2121,"showCount":2122,"zanCount":11,"manualWeight":11,"mainColor":71},287544,"hua-xi-yu-yin-wang-meng-287544","花溪渔隐",[104,24,25,80,26,29,32,64,2118,7,31,295,62,60],"渔隐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F373c447b94d504da403c02a1b7ece0b1.jpg","129x58.3cm",[],42,{"id":2124,"slug":2125,"title":2126,"dynasty":18,"author":21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澹雅”。此册中的花鸟更是形神兼备，清新淡雅，具有新的风貌。",[24,25,395,26,29,27,7,182,31,408],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb64d6ef3ece810763cbad6bcf614832.jpg",[],41,{"id":2173,"slug":2174,"title":2175,"dynasty":18,"author":178,"museum":130,"description":2176,"tags":2177,"thumbUrl":2178,"material":226,"size":2179,"collection":122,"collections":2180,"showCount":2171,"zanCount":11,"manualWeight":11,"mainColor":48},232875,"guan-shan-xing-lv-tu-juan-liu-song-nian-232875","关山行旅图卷","刘松年（约1155-1218）〔南宋〕钱塘人，淳熙间画院学生，绍熙间升画院待诏。宁宗时进《耕织图》被朝廷看重，赐金带，为“南宋四大家”之一。",[23,104,24,25,58,29,27,82,7,85,31,181,321,559,293,30,237,37,1157,1307,87],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ac782a163ae7808c98a9f752060c3b4.jpg","34.3x307厘米",[],{"id":2182,"slug":2183,"title":2184,"dynasty":332,"author":1588,"museum":55,"description":2185,"tags":2186,"thumbUrl":2191,"material":2192,"size":2193,"collection":44,"collections":2194,"showCount":2171,"zanCount":11,"manualWeight":11,"mainColor":71},220372,"song-he-ming-qin-tu-wu-li-220372","松壑鸣琴图","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。",[23,24,25,80,26,27,29,209,30,87,2187,1870,31,84,37,7,34,207,2188,36,2189,2190],"小路","石阶","笔法","墨色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43f1ae5df2a2b2579a5aa0ea6073745c.jpg","设色,水墨","纵103cm，横50.5cm",[44],{"id":2196,"slug":2197,"title":2198,"dynasty":18,"author":2199,"museum":130,"description":2200,"tags":2201,"thumbUrl":2203,"material":212,"size":122,"collection":44,"collections":2204,"showCount":2171,"zanCount":11,"manualWeight":11,"mainColor":48},218596,"gui-zhou-tu-yang-an-dao-218596","归舟图","杨安道","绢素底色晕开时光的温厚，近岸层岩以皴笔刻出苍劲肌理，岸边茅亭隐于林麓，似含待归之意。中流归舟破水而行，船篷织纹细密如织，舟子俯身撑篙，浪涛翻涌处，笔触如丝缕缠连，尽现江水柔劲与动荡。远处峰峦淡染烟霭，山影浮沉于水色之间，天地悠远尽纳圆幅。细劲线条勾摹山水清旷，墨色层次含蓄蕴藉，既见自然之浩渺，又藏归舟之温情——烟波里每道波纹，皆似诉说归途远近，观者于静谧中触到羁旅者的心跳，于方寸间感怀天地与人心的交融。",[23,24,104,1019,82,29,64,2202,7,32,62,181,149],"岸石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe97e0d78ead1baca9afea6b99613fa71.jpg",[44],{"id":2206,"slug":2207,"title":2208,"dynasty":18,"author":2209,"museum":130,"description":2210,"tags":2211,"thumbUrl":2212,"material":240,"size":241,"collection":122,"collections":2213,"showCount":2214,"zanCount":11,"manualWeight":11,"mainColor":71},289869,"shi-yong-tu-zhang-xian-289869","十咏图","张先","张先（990—1078），字子野，乌程（今浙江湖州）人。北宋词人。婉约派代表人物。天圣八年（公元1030）进士。历任宿州掾、吴江知县、嘉禾（今浙江嘉兴）判官。皇祐二年（1050），晏殊知永兴军（今陕西西安），辟为通判。后以屯田员外郎知渝州，又知虢州。以尝知安陆，故人称“张安陆”。治平元年（1064）以尚书都官郎中致仕，元丰元年病逝，年八十八岁。",[23,104,24,25,58,205,82,29,85,1424,32,7,60,61,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab6ee46a4d67fb75fc131910fa6d3ee0.jpg",[],40,{"id":2216,"slug":2217,"title":2218,"dynasty":53,"author":581,"museum":405,"description":2219,"tags":2220,"thumbUrl":2221,"material":66,"size":122,"collection":122,"collections":2222,"showCount":2214,"zanCount":313,"manualWeight":11,"mainColor":71},217951,"ming-ren-shan-shui-hua-ce-si-yi-ming-217951","明人山水画册(四)","明朝是中国历史上一个重要的朝代，它的艺术创作也十分丰富多彩。其中，佚名的《明人山水画册》是一部非常著名的山水画集，被认为是明朝山水画发展的里程碑之一。\n\n《明人山水画册》收录了许多佚名画家的作品，这些画家均擅长运用山水画的技巧，描绘出了美丽的山水景观。这些画作以其精细的线条和细腻的色彩闻名，能够表现出山水的神韵和灵动。\n此外，《明人山水画册》还收录了一些诗文，这些诗文与画作形成了很好的呼应。这使得这部画册不仅是一部艺术作品，而且是一部文学作品。\n\n总的来说，《明人山水画册》是一部十分珍贵的艺术作品，它为我们展示了明朝山水画的高超技巧和精湛工艺，同时也为我们呈现了明朝文化的瑰丽风貌。",[23,24,26,395,27,29,64,31,2029,7,181,812,825,209,151,542,538],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff65090f9ae3fb49fb75219114df41c63.jpg",[],{"id":2224,"slug":2225,"title":2226,"dynasty":18,"author":1738,"museum":130,"description":2227,"tags":2228,"thumbUrl":2232,"material":240,"size":241,"collection":122,"collections":2233,"showCount":2234,"zanCount":313,"manualWeight":11,"mainColor":48},288940,"xiao-xiang-ba-jing-yan-si-wan-zhong-wang-hong-288940","潇湘八景-烟寺晚钟","金碧招提古，高峰最上层。喧风僧入梵，宿雾佛前灯。禅观延空寂，蒲牢忽震凌。黄昏山路险，窘步一枝藤。",[24,104,58,29,26,27,7,32,2130,109,34,2229,2230,2231],"悠远","潇湘八景","烟寺晚钟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3166e7284dc5ff42ff0284cdff74ab71.jpg",[],39,{"id":2236,"slug":2237,"title":2238,"dynasty":18,"author":1812,"museum":20,"description":2239,"tags":2240,"thumbUrl":2243,"material":212,"size":2244,"collection":122,"collections":2245,"showCount":2234,"zanCount":11,"manualWeight":11,"mainColor":48},288475,"yan-lan-xiao-si-tu-li-tang-288475","烟岚萧寺图","李唐（1066—1150），南宋画家。字晞古，河阳三城（今河南孟州）人。初以卖画为生， 宋徽宗赵佶时入画院。南渡后以成忠郎衔任画院待诏。擅长山水、人物。变荆浩、范宽之法，苍劲古朴，气势雄壮，开南宋水墨苍劲、浑厚一派先河。晚年去繁就简，用笔峭劲，创“大斧劈”皴，所画石质坚硬，立体感强，画水尤得势，有盘涡动荡之趣。兼工人物，初师李公麟，后衣褶变为方折劲硬，自成风格。并以画牛著称。与刘松年、马远、夏圭并称“南宋四大家”。存世作品有《万壑松风图》《清溪渔隐图》《烟寺松风》《采薇图》等。",[23,24,148,26,27,7,2241,86,85,2242,31,60,62],"萧寺","烟岚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6ab447323c9edca7a862052bde53b86.jpg","51x49.5",[],{"id":2247,"slug":2248,"title":2249,"dynasty":143,"author":2250,"museum":130,"description":2251,"tags":2252,"thumbUrl":2253,"material":122,"size":122,"collection":122,"collections":2254,"showCount":2234,"zanCount":313,"manualWeight":11,"mainColor":48},228041,"chun-shan-fang-you-tu-sheng-mao-228041","春山访友图","盛懋","此作用浅绛轻敷春山，晨雾如纱晕开层叠远峰，虚实错落间晕染出江南春日的空濛柔婉。湖面烟波浩渺，扁舟横波，舟上三人闲坐，将江湖散逸之趣藏于涟漪间。近岸山居隐于茂林之下，屋中似有知己晤谈，野意悠然。\n笔墨清润秀雅，皴染相融，既带着院体的精工细致，又藏着元人萧散的隐逸襟怀。水汽漫过浅滩淡渚，拉伸了山水的空间层次，以淡墨轻岚铺展出咫尺千里的悠远，将文人寄情林泉的雅怀，尽数藏进眼前的丘壑烟波之中。",[24,26,82,29,27,64,84,7,31,181,85,32,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfc6bbce454ff2f4c5167e98576e758d.jpg",[],{"id":2256,"slug":2257,"title":2258,"dynasty":18,"author":581,"museum":130,"description":2259,"tags":2260,"thumbUrl":2261,"material":122,"size":122,"collection":122,"collections":2262,"showCount":2234,"zanCount":11,"manualWeight":11,"mainColor":48},227931,"chang-jiang-wan-li-tu-juan-quan-juan-yi-ming-227931","长江万里图卷全卷","以咫尺长卷铺展万里江山，层叠峰岫或雄峙凌天，或温婉藏于烟岚，虚实相生如淡墨梦境。江波澹澹，与远山交织晕染，将长江的逶迤舒展尽致。墨色浓淡铺就山川悠远层次，留白烘托云水之态，带着沉静雅致的宋画风骨。\n整卷如乘舟浮江，揽尽楚天清旷，将山河雄浑与灵秀揉于一处，藏着描摹天地的匠心，与对山河的眷恋深情，一眼便似随江流转，阅尽千里盛景。",[23,24,25,58,26,29,27,32,64,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5d3564b5c39c17781a9425ca7fb314e.jpg",[],{"id":2264,"slug":2265,"title":2266,"dynasty":18,"author":2267,"museum":130,"description":2268,"tags":2269,"thumbUrl":2270,"material":122,"size":122,"collection":122,"collections":2271,"showCount":2234,"zanCount":313,"manualWeight":11,"mainColor":48},227695,"chun-shan-tu-juan-zhao-bo-su-227695","春山图卷","赵伯骕","赵伯骕（1124—1182），字希远，应天府（今河南商丘）人，南宋著名画家，宋朝宗室，著名画家赵伯驹之弟。兄弟皆妙于金碧山水。除山水、人物外，擅长花鸟，界画亦精。传世作品有《五金阙图》《番骑猎归图》等。",[23,104,24,25,58,81,82,29,83,27,7,31,114,86,32,824,182,34,767],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a9625dd9e8f64ae801ba0fad2190c8c.jpg",[],{"id":2273,"slug":2274,"title":2275,"dynasty":332,"author":581,"museum":130,"description":2276,"tags":2277,"thumbUrl":2278,"material":122,"size":122,"collection":122,"collections":2279,"showCount":2234,"zanCount":11,"manualWeight":11,"mainColor":48},223677,"qing-lv-shan-shui-tu-juan-yi-ming-223677","青绿山水图卷","此作以平远之境铺展江南山色，石青石绿晕染山峦，古雅沉静的色调里，丘壑蜿蜒秀润，烟波轻笼远浦。村舍隐于松篁之间，板桥渡头有人彳亍，渔舟泛于云水之侧，处处晕染出山居幽澹的闲趣。\n画间题诗与山水呼应，笔墨丹青相融，将林泉隐逸的高致铺陈开来，既有唐宋青绿的古雅遗韵，又兼具清代文人山水的萧散简淡，观之如踏入世外云乡，坐看云野鹤、碧山清溪，沉浸式体味幽居雅趣。",[23,24,25,58,81,82,83,29,7,31,182,86,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b03cb7a92eca86e797d00727336bf91.jpg",[],{"id":2281,"slug":2282,"title":2283,"dynasty":143,"author":2250,"museum":145,"description":2284,"tags":2285,"thumbUrl":2291,"material":212,"size":2292,"collection":44,"collections":2293,"showCount":2234,"zanCount":11,"manualWeight":11,"mainColor":48},220406,"qiu-ge-qing-xiao-tu-sheng-mao-220406","秋舸清啸图","《秋舸清啸图》描绘的是在近岸陂陀上树木繁茂，一艘篷舟缓缓经过，船头有一位逸士正在仰天长啸，他身前置放酒皿瓷碗，身后古玩横陈，船尾是一个正在摇橹的一童 子摇橹。从这个逸士的形象看，可能是魏晋时“嗜酒能啸”并善鼓琴的“竹林七贤”之一阮籍的写照。远景山峦平缓。图中树石、远岸画法学董源、巨然，人物设色 取唐人法，描线细劲。画风与盛氏至正辛卯(1351年)所作的《沧江横琴图》近似。",[23,24,104,82,84,29,64,31,7,2286,2287,2288,2289,2290,27],"饮酒","长啸","阮籍","竹林七贤","童子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b4c131ade18640c2b048464aebfc709.jpg","纵167.5厘米，横102.4厘米",[44,94],{"id":2295,"slug":2296,"title":2297,"dynasty":18,"author":1812,"museum":20,"description":2239,"tags":2298,"thumbUrl":2299,"material":547,"size":2300,"collection":42,"collections":2301,"showCount":2302,"zanCount":11,"manualWeight":11,"mainColor":253},290337,"hua-xue-jing-zhou-li-tang-290337","画雪景轴",[104,24,80,148,26,27,408,7,295,63,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F209ee3197ccc570616f0231447ddfeca.jpg","197.2x107.1",[42],38,{"id":2304,"slug":2305,"title":2306,"dynasty":221,"author":234,"museum":20,"description":2307,"tags":2308,"thumbUrl":2309,"material":240,"size":2310,"collection":122,"collections":2311,"showCount":2302,"zanCount":11,"manualWeight":11,"mainColor":48},289894,"xi-shan-lin-sou-tu-ju-ran-289894","溪山林薮图","此画以 “近观式”取景,画中景物填满绢布。高耸云表的山峦雄居于画幅上部，山头布有矾头状的卵石，下部冈阜林木葱郁，掩隐楼阁屋宇，前部有坡岸溪水，展示一片宁静清谧的意境。此画前景的土坡芦苇及平远溪谷均与现传董源画作相似,但远景采用高远构图的主山所造成类似北宋初年“雄伟”气势的作风,已是巨然深受华北山水画风影响的结果。因此，巨然的个人画风实为融合南北两地的景观,进而表现出一种秀丽与宏观兼备的视觉美感。",[24,104,26,29,80,27,293,32,7,109,60,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92da5c8f669d3b47216419029f0aafd7.jpg","221.3x119.7",[],{"id":2313,"slug":2314,"title":2315,"dynasty":332,"author":695,"museum":130,"description":2316,"tags":2317,"thumbUrl":2318,"material":122,"size":122,"collection":195,"collections":2319,"showCount":2302,"zanCount":11,"manualWeight":11,"mainColor":71},235773,"qing-chu-liu-da-jia-ji-ce-shan-shui-ye-wang-shi-min-235773","清初六大家集册-山水页","绢本水墨 纵112 横5.2厘米 清 代 绢本水墨 纵112 横5.2厘米 荡浮烟岚的峰峦冈岭，逶迤起伏连绵不断。\n山坳平坦处水榭、茅舍散落于林溪岸畔。\n近处的麓坡岸石，各种苍郁古茂的大树掩映着的草亭尤显幽静。\n上方题：“作画意在笔先，以得势为主….时康熙乙亥仲夏望后麓台祁”。\n王原祁（1642-1715年）字茂京，号麓台。\n江苏太仓人。\n王时敏之孙。\n擅山水，精鉴定，有“娄东派”之称。\n为清初六大家之一",[24,25,104,395,26,27,29,7,31,182,2187,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F711b08e8224858c05339fb7b788a52d4.jpg",[195,45],{"id":2321,"slug":2322,"title":2323,"dynasty":143,"author":581,"museum":55,"description":2324,"tags":2325,"thumbUrl":2326,"material":184,"size":2327,"collection":42,"collections":2328,"showCount":2302,"zanCount":11,"manualWeight":11,"mainColor":253},223604,"qiu-shan-xing-lv-tu-yi-ming-223604","秋山行旅图","全图结构图清晰，便于查看。如果从下到上，根据景物的类型和排列方式和画家的描绘，将图片分成两组显示，三个部分在一个小概览中查看。画面会发现，这幅画气势磅礴，动感十足，透视感极深。首先，这幅画有一个从下面看的视角。创作者应该在这样的山脚下作画，在这样的山脚下作画，给观者一种真实的感觉。其次，这幅画的画面感不是很强，因为它也有深度感。如果你仔细观察，你会捕捉到无数小场景，包括天坑。例如，树木进入若隐若现的亭台、台阶、围栏等，给观者一种未来的无限视觉体验。\n一开始的山间小路，路​​上的行人等等，这些照片的全图空间把辫子拉得很好，在画面的空间和空间上进行了借鉴，让画面变得生动和对透气性的向往。你看到的是它带来的良好的中间立场。简练却又很写实，如尖山亭，是对亭子的细致刻画，笔触细腻，顶景近楼勾勒。三种节奏，给画面带来强烈的节奏感，这也是大师的心声。\n最真实的秋天很轻松。通过分析图片，不难发现，这幅《山间游记》与西方的素描是一样的。对象有近、大、远、小、近、近、细、统一。光源从哪里来。画底的山石，墨色深沉，体量大，影重。像山和树一样，墨色淡，整体不大，但也画了一个简单的介绍，而不是看风景的内在特征和魅力。例如，在风景部分，山的稍左侧和受光面部分较远，可能是朝阳的一面，所以墨色会低于光面，数字污渍会相对少一些。\n这样，在远景中，山体被许多朴素的松树压缩，使山体的一部分具有想象性和结构性，从而在画面中产生特定的整体统一感，真实而不冲动的视觉效果。仔细观察，你会发现，这些松树虽然是画出来的，但也能描绘出来。在统一中，各有特色，做到内涵丰富、厚度小、特殊性强，值得观者细细品味。\n还有一件事值得学习。中间作画的方法和水墨的轻快关系到景物的画和轻快。例如，岩石的长度被薄片覆盖，厚厚的大岩石被卷云薄片覆盖。树的种类为浅墨色，用较重的墨色挤压浅墨画，打开空间和树木之间的杂乱空间，避免树木之间的杂乱群落。凭借精湛的包装，观众拥有精致的视觉体验。\n如果用诗词介绍来形容整幅画，“枯藤老树昏鸦，小桥流水一家”。 “主题是艺术家用精湛的手工技艺和浪漫诗意的艺术创作观者，并附上了细致而巧妙的《秋山之旅》。",[23,24,25,26,82,27,29,7,30,31,293,64,916,850],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1647631e1d4bc460e54daf2facef359.jpg","161*112厘米",[42,44,45],{"id":2330,"slug":2331,"title":2332,"dynasty":332,"author":2333,"museum":1640,"description":2334,"tags":2335,"thumbUrl":2336,"material":2337,"size":2338,"collection":44,"collections":2339,"showCount":2302,"zanCount":313,"manualWeight":11,"mainColor":122},220734,"xun-qin-tu-huang-xiang-jian-220734","寻亲图","黄向坚","此作用平远糅合高远之章法，左侧危崖突兀，青绿晕染出山峦温润秀雅之态，皴笔勾勒，尽显山石苍劲肌理。浩渺平湖铺陈开开阔景致，洲渚错落星罗，村居隐于葱郁林木间，渔舟泛于烟波之上，三两行人点缀水岸。\n\n远山以淡墨轻岚晕染，虚实相生，尽显江南水泽空濛诗意。笔意清隽柔和，设色淡雅妍丽，承唐宋青绿山水古雅意趣，又以细腻布景传递羁旅怀思，于秀逸湖山之间，暗合迢迢心绪，淡远悠长。",[24,25,58,82,29,27,7,150,64,31,168,84,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c6aa9dc2fa40177d86a07917e44bf59.jpg","水墨,设色,纸本,手卷","31.4 × 550.4厘米",[44],{"id":2341,"slug":2342,"title":2343,"dynasty":332,"author":581,"museum":1213,"description":2344,"tags":2345,"thumbUrl":2346,"material":212,"size":122,"collection":44,"collections":2347,"showCount":2302,"zanCount":11,"manualWeight":11,"mainColor":48},219905,"shan-ju-tu-yi-ming-219905","山居图","淡墨晕开空濛烟岚，奇崛峰石隐现于流云薄雾，恍如世外仙乡。山麓楼阁层叠，飞檐翘角掩映苍林，板桥通幽，行人徐行，漫溢出山居的悠然意趣。近岸垂柳依依，渔舟泛于微波之上，渔翁垂纶闲坐，汀渚浅滩缀着顽石，野趣横生。\n\n此作用水墨淡设色晕染，烘托出氤氲空寂氛围，将高远、平远之境相融，铺陈开山野幽居的静谧雅致，似能触到山涧湿润清风，窥见古人幽栖林泉的隐逸清梦，尽显传统山水含蓄悠然的意境之美。",[24,82,29,27,85,86,32,64,31,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dd3090754485169aca224d8eaa9304c.jpg",[44],{"id":2349,"slug":2350,"title":2351,"dynasty":18,"author":466,"museum":130,"description":2352,"tags":2353,"thumbUrl":2355,"material":240,"size":241,"collection":122,"collections":2356,"showCount":2357,"zanCount":11,"manualWeight":11,"mainColor":48},288552,"qing-lv-yan-jiang-die-zhang-tu-wang-shen-288552","青绿烟江叠嶂图","王诜[shēn]（公元约1048年—公元约1104年），字晋卿，太原（今山西太原）人，后迁汴京（今河南开封），北宋画家。\n北宋熙宁二年（1069年）娶英宗女蜀国大长公主，拜左卫将军、驸马都尉。元丰二年，因受苏轼牵连贬官均州。元祐元年（1086年）复登州刺史、驸马都尉。擅画山水，学王维、李成，喜作烟江云山、寒林幽谷，水墨清润明洁，青绿设色高古绝俗。亦能书，善属文。其词语言清丽，情致缠绵，音调谐美。存世作品有《渔村小雪图》《烟江叠嶂图》《溪山秋霁图》等。",[23,24,104,58,148,81,82,7,1020,109,1764,2354],"汀岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d18734f1541c79770ce4644147acf82.jpg",[],37,{"id":2359,"slug":2360,"title":2361,"dynasty":332,"author":2362,"museum":130,"description":2363,"tags":2364,"thumbUrl":2371,"material":122,"size":122,"collection":122,"collections":2372,"showCount":2357,"zanCount":11,"manualWeight":11,"mainColor":71},239360,"fang-huang-gong-wang-fu-chun-shan-tu-juan-fang-cong-239360","仿黄公望富春山图卷","方琮","此作用干笔淡墨铺展千里江山，开篇平林远渚，烟波澹荡，村舍隐于茂林，渐而山峦层叠皴染，苍秀兼具，暗合原作平淡天真的气韵。丘壑排布舒展自然，峰峦以披麻皴写就，松枝挺劲苍古，林麓间田亩交错，渔舟泛于空蒙水面，尽显江南山水的温润清远。全卷气脉贯通，将富春林峦深秀、水乡闲雅尽皆揽入，笔墨追摹古意又自含静穆简远之致，留白处烟岚浮动，复刻出原作的萧散野逸，尽显文人山水的淡远襟怀。",[23,104,24,25,58,26,29,59,27,262,2365,543,7,2366,2367,113,2242,2368,2369,2370],"远渚","松林","田亩","文人山水","萧散野逸","淡远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac1572a10ef65de14456fc4e85525a18.jpg",[],{"id":2374,"slug":2375,"title":2376,"dynasty":332,"author":581,"museum":55,"description":2377,"tags":2378,"thumbUrl":2382,"material":120,"size":122,"collection":44,"collections":2383,"showCount":2357,"zanCount":313,"manualWeight":11,"mainColor":48},236180,"hong-li-sai-yan-si-shi-heng-zhou-guan-jiao-yi-ming-236180","弘历塞宴四事横轴(贯跤)","以青绿山水铺就雄浑底色，层峦茂林间铺展塞宴盛景。校场之上跤手相搏，周遭武士肃立分列，官员侍从神态各异，或凝神观赛，或静候待命。远景帐幄连绵、驼队逶迤，将秋狝行猎的塞外氛围烘托尽致。\n画作工笔细腻，设色妍丽雅致，兼具院体画的规整纪实与风物绘的生动鲜活，将塞上习武宴游的盛大场景定格，既彰显出康乾盛世的恢宏气象，也尽显游牧围猎的独特塞外风情，是纪实性与艺术性相融的佳作。",[24,104,58,82,83,29,84,320,2379,2380,31,2381,7],"骆驼","帐篷","草地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe0d7a3293f2e36650fa58befd46b885.jpg",[44,195,94],{"id":2385,"slug":2386,"title":2387,"dynasty":332,"author":2388,"museum":55,"description":2389,"tags":2390,"thumbUrl":2391,"material":120,"size":2392,"collection":122,"collections":2393,"showCount":2357,"zanCount":11,"manualWeight":11,"mainColor":71},233114,"bi-shu-shan-zhuang-tu-zhou-leng-mei-233114","避暑山庄图轴","冷枚","作者以写实的手法描绘了避暑山庄后苑部分及其四周的崇山峻岭。构图为鸟瞰式，自景区上方向下纵向取景，景致具体而微。设色以青绿着色和浅绛渲染相结合，冷暖色调和谐呼应，成功地营造出山庄静寂清幽的氛围。笔法灵活多变，山石树木或以干笔皴擦，或青绿烘染。建筑物的描绘，作者在传统的工笔界画基础上，又巧妙地吸收了欧洲的透视法，并将二者融合在一起，从而更科学、客观地表现出建筑物的物理结构，同时也加强了画面的纵深感。此图同时是一幅反映康熙时期避暑山庄建筑的图样，对于我们了解避暑山庄的建筑沿革有着重要的图像价值。",[104,24,25,80,82,83,29,85,32,31,663,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d890f29b07ff6e1df7488c12dacbcf7.jpg","纵254.8厘米，横172.5厘米",[],{"id":2395,"slug":2396,"title":2397,"dynasty":53,"author":878,"museum":130,"description":2398,"tags":2399,"thumbUrl":2410,"material":122,"size":122,"collection":122,"collections":2411,"showCount":2357,"zanCount":11,"manualWeight":11,"mainColor":48},228850,"xi-gu-cai-wei-tu-dai-jin-228850","溪谷采薇图","此作用笔苍劲老辣，以高远与平远结合铺展画面。右侧危崖壁立，斧劈皴写出山石方硬峭拔的质感，左侧烟波浩渺，水墨晕染出朦胧烟岚，虚实相映勾勒出山水层次。\n近处枯槎老枝遒劲舒展，茅舍掩映林间，暗含林下幽居的隐逸意趣；中景溪泉蜿蜒汇入平湖，楼阁凌于谷间，添了几分雅致烟火气。远景山峦晕染朦胧，残月悬于淡墨长空，归雁成行掠破清寂，烘托出淡远萧疏的氛围。工写兼备间，将山林隐逸的幽澹之境尽显，兼具院体山水的雄浑笔力与文人画的散淡意趣。",[23,24,148,26,2400,2401,2402,293,2403,2404,2405,85,7,2406,292,2407,2408,2409,444],"斧劈皴","工写兼备","危崖","茅舍","溪泉","平湖","残月","隐逸","萧疏淡远","院体山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41db834b0f7a314f221f8d8eb2bfc010.jpg",[],{"id":2413,"slug":2414,"title":2415,"dynasty":489,"author":490,"museum":130,"description":2416,"tags":2417,"thumbUrl":2418,"material":122,"size":122,"collection":122,"collections":2419,"showCount":2357,"zanCount":11,"manualWeight":11,"mainColor":48},227087,"dong-xue-shan-jing-tu-ye-wang-wei-227087","冬雪山景图页","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。\n\n据文献记载，水墨雪景山水为唐代王维首创。王维山水画成就很高，尤其是雪景山水更令人瞩目。据文献记载，王维曾有20余幅雪景山水流传，将雪景山水的千变万化和神奇美妙表现得淋漓尽致，并赋予其不同的人文意蕴。研究表明，王维的雪景山水没有留下真迹，而流传于世的历代摹本或托名之作，多出于古代画家崇拜王维雪景山水的至深至诚之情。\n\n在清代学者高士奇的《江村消夏录》中记载，明代沈周在看到王维《万峰积雪图》后，写出如下题文:“城中十日暑如炙，头目眩花尘土塞。僧楼今日见此卷，雪意茫茫寒欲逼。古栟修柳枝袅矫，下有幽簧侧从碧。隔溪胶艇不受呼，平地贯渚无人迹。”在夏日炎炎的酷暑，看到王维的雪景山水作品，能有“雪意茫茫寒欲逼”的感受，或许这是没有空调的古代人常用的一种消夏避暑方式？（本平台独家专稿《画说古人如何过夏天》将于近期推出，敬请关注。）\n\n自王维之后，历代许多名家都热衷于雪景山水的创作，为我们留下了大量的经典传世之作。让我们展开画卷，一起走入艺术家们为我们营造的冰雪世界中，感觉这份凉意与惬意吧！",[23,104,24,25,1259,29,82,27,2152,30,293,1051,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1cc41d747600fbec5bb8ee4187a8527.jpg",[],{"id":2421,"slug":2422,"title":2423,"dynasty":332,"author":2424,"museum":305,"description":2425,"tags":2426,"thumbUrl":2429,"material":1171,"size":2430,"collection":947,"collections":2431,"showCount":2357,"zanCount":11,"manualWeight":11,"mainColor":71},222635,"shan-shui-shu-fa-ce-liu-kai-gao-feng-han-222635","山水书法册六开","高凤翰","高凤翰 （1683—1748）清朝，原名翰，字西园，号南村，别号因地、因时、因病等40多个，晚署南阜左手等，山东胶州人。一说“扬州八怪”之一。自幼能诗画，诗宗陆游，画先从父，后从胶州李世锡、淄州靳秋水、安邱张氏父子等，早年即已成名〔清雍正六年（1728）以前的画，现各地珍藏多幅〕。19岁时，中秀才，后应乡试不第。雍正五年，应“贤良方正”特试，名列第一。赴任前，漫游山东、河南、江西等地，广交名人，并有诗集《击林集》、《湖海集》。金石书画造诣很高，治砚更有独到研究。\n工书、画，善山水，纵逸不拘于法，纯以气胜，兼北宋之雄浑，元人之静逸。花卉亦妙是天趣。老年患风 ，右臂不仁，用左手作画，笔益苍辣，故号尚左生，归云老人，博学精艺，尤豪于诗，早为王士祯所赏识。性嗜砚，所藏至千余，大半手琢，自为铭词。因刻“丁巳残人”“尚左生”二印，官徽州绩溪县令，有政声，康熙五十九年（1720）客安邱张卯居家，张为作《南村草堂图》，西园为作《杞城别墅图》以报之，乾隆十二年（1747）为其孙攀鳞作《寒香图》卷，有《砚史》、《南阜诗抄》。卒年六十六岁。（按高凤翰生卒年，王伯敏《中国绘画史》作（16338-1719），享年八十二岁；秦岭云《杨州八家丛话》作（1863-1749）六十七岁。其说不一，待考。\n雍正十一年官泰州巡盐分司。去职后流寓扬州。工于山水，花卉，山水师法宋人，近赵令穰、郭熙一路，中年以后，到了江南，与扬州画派画家如金农、郑燮、高翔、李方膺、边寿民等相往还，画风相互影响，多作花卉树石，笔法奔放，纵逸不拘成法。亦能画人物，造型准确，神态潇洒秀逸。晚年则趋于奔放纵逸。乾隆二年丁巳右臂病发，坚持用左臂，自号后尚左先、丁巳残人，艰苦力学，书、画为之一变，生拗苍劲，更富奇趣，为时所称。传世画迹有南京博物院藏《层雪炉香图》轴、中央美术学院藏《秋山读书图》轴等。\n工书法，善篆刻，喜收藏，精鉴赏，曾收藏秦汉印章及明清名家制印至万余方，各制有谱录，又收藏砚石至千百方，并制有铭词，手书后大半自行刻凿，著有《砚史》等行世。\n亦被列为扬州八怪之一。有《南阜山人全集》等著作传于世。",[23,24,25,395,26,82,29,61,27,32,7,31,2427,182,2428],"塔","云气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d6d5643030c40635094436e09839791.jpg","31.8x24.8cm",[947,44],{"id":2433,"slug":2434,"title":2435,"dynasty":143,"author":592,"museum":55,"description":2436,"tags":2437,"thumbUrl":2439,"material":2440,"size":2441,"collection":44,"collections":2442,"showCount":2357,"zanCount":313,"manualWeight":11,"mainColor":48},221792,"xue-shan-tu-cao-zhi-bai-221792","雪山图","《雪山图》卷描绘寒冬江岸景色，是沈周山水墨画的代表作。\n曲折的寒江两岸，岩崖逶迤，山峦延绵，老树槎砑，苍松傲然。\n江岸树石间点缀着紧闭门窗的房舍，静守孤舟的渔翁和身着寒装的行人，给画面增添了寒荒萧瑟的氛围。\n山石以老硬简率的笔法勾皴，以秃笔浓墨点苔，形成浓淡交错、疏密有致的韵律。\n这幅画构图宏阔，笔致挺劲凝炼，墨彩豪放雄逸，形成浑厚之势。",[23,24,26,29,80,27,2152,7,293,1327,30,1051,2438],"孤亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff27e97755cc21cee6f7621a139816eab.jpg","绢本墨笔","纵97.1厘米，横55.3厘米",[44,45],{"id":2444,"slug":2445,"title":2446,"dynasty":1102,"author":2447,"museum":1104,"description":2448,"tags":2449,"thumbUrl":2451,"material":447,"size":122,"collection":122,"collections":2452,"showCount":2357,"zanCount":11,"manualWeight":11,"mainColor":71},220475,"man-mu-qing-shan-xi-zhao-ming-zhou-li-ke-ran-220475","满目青山夕照明（轴）","李可染","此作用巨幅雄山占据画面主体，焦墨勒出山峦筋骨，赭石晕染铺就夕照暖光，将冷硬岩壁晕染出暮色鎏金的温煦。山谷间田埂溪流萦回蜿蜒，深郁林木沉黑如墨，与亮部形成强烈明暗反差，既衬出山岳巍峨厚重的体量感，又暗藏乡野灵动生机。\n以积墨反复皴擦堆叠，让山体兼具苍茫质感与雄浑气势，右上角题笔朴拙苍劲，与画风融为一体，将暮色中山川的沉浑壮美与田园静谧相融，把晚照青山的诗意凝于尺幅之间，尽显沉雄朴厚的山水意趣，藏着对山河暮色的深切眷恋。",[24,25,80,26,82,27,29,2450,751,32,7,31,34],"青山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68a6185073b7c5986525e80316eb85c6.jpg",[],{"id":2454,"slug":2455,"title":2456,"dynasty":332,"author":2457,"museum":130,"description":2458,"tags":2459,"thumbUrl":2463,"material":240,"size":241,"collection":122,"collections":2464,"showCount":2465,"zanCount":284,"manualWeight":11,"mainColor":71},288062,"long-zhou-jing-du-juan-wang-gai-288062","龙舟竞渡卷","王槩","此卷由三段绘画组成，以江河为主线，渐渐展开端午时节赛龙舟的场面。画面用笔工细，场面宏大。几艘龙舟昂首翘尾，动感十足。船上人小如蚁，但奋力划桨之势尽显。在构图上，运用大片留白表现水天一色和浩渺的江河，给人以开阔的视野。而江中点缀的渔家小船及岸上人们争相观看的情景，又使画卷平添了几许情趣。",[23,24,58,25,26,82,2460,29,32,7,31,295,84,193,62,61,60,2461,2462],"龙舟","龙舟竞渡","民俗活动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dcf549de7dc2fe73f37c130e34dbc58.jpg",[],36,{"id":2467,"slug":2468,"title":2469,"dynasty":53,"author":777,"museum":130,"description":778,"tags":2470,"thumbUrl":2471,"material":240,"size":241,"collection":122,"collections":2472,"showCount":2465,"zanCount":11,"manualWeight":11,"mainColor":71},283734,"zeng-ke-xue-shan-shui-tu-juan-dong-qi-chang-283734","赠珂雪山水图卷",[23,24,58,25,26,29,60,61,27,7,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10c500429c2c8c477ba68a84e27e3ef7.jpg",[],{"id":2474,"slug":2475,"title":2476,"dynasty":18,"author":1371,"museum":55,"description":2477,"tags":2478,"thumbUrl":2484,"material":904,"size":2485,"collection":122,"collections":2486,"showCount":2465,"zanCount":11,"manualWeight":11,"mainColor":71},233705,"yun-shan-mo-xi-tu-juan-mi-you-ren-233705","云山墨戏图卷","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《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。",[24,25,58,26,29,1248,31,62,60,27,445,2479,165,166,34,7,2480,2481,444,378,2482,2483],"点染","题字","墨笔","米家山水","米点皴法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff8872f3f211ac9fd3d2589faf668ec1.jpg","纵21.4厘米，横195.8厘米",[],{"id":2488,"slug":2489,"title":2490,"dynasty":143,"author":1016,"museum":20,"description":2491,"tags":2492,"thumbUrl":2493,"material":82,"size":2494,"collection":44,"collections":2495,"showCount":2465,"zanCount":284,"manualWeight":11,"mainColor":48},221860,"jiang-shan-fang-ting-tu-zhou-zhao-yong-221860","江山放艇图轴","村屋几家，散置在坡旁石侧，远处烟岚横隔了高峻的山岭。在飘渺的山脚，一道溪泉缓流而来。溪面上，有人乘舟悠游，一种清逸之气，浮动在朴实而宁静的画面里。明董其昌认为这幅画是赵雍的真迹。",[23,24,148,104,80,27,82,29,64,31,30,32,182,237,151,7,2202,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd740c6e19802a334b71ce2b65171c6ec.jpg","该幅 160.6x104.9公分；诗塘 17.3x104.6公分；全幅 107公分",[44,45],{"id":2497,"slug":2498,"title":2499,"dynasty":18,"author":404,"museum":20,"description":406,"tags":2500,"thumbUrl":2509,"material":226,"size":2510,"collection":122,"collections":2511,"showCount":2465,"zanCount":11,"manualWeight":11,"mainColor":71},221386,"bao-shan-shi-jing-ce-fan-kuan-221386","包山十景册",[23,24,25,717,395,26,27,29,294,30,63,181,7,293,35,2501,2502,378,2503,2504,2505,2506,2507,2508],"自然景物","传统绘画","山间景物","山水景观","石质山体","树木景观","山石景观","皴笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed28aa2f9c150b73b313c757a0820177.jpg","30.2x31.8",[],{"id":2513,"slug":2514,"title":2515,"dynasty":18,"author":2516,"museum":130,"description":2517,"tags":2518,"thumbUrl":2521,"material":240,"size":241,"collection":122,"collections":2522,"showCount":2523,"zanCount":11,"manualWeight":11,"mainColor":48},289343,"han-shan-fei-pu-tu-yang-shi-xian-289343","寒山飞瀑图","杨士贤","杨士贤[宋]宣和（1119至一1125）待诏。绍兴（1131至1162）间至钱塘（今杭州）复旧职，赐金带。工山水人物，师郭熙多作品小景，山水林木，劲挺可取。惟峰石水口，雄伟之笔则远不逮熙。绍兴间至钱塘（今杭州）复旧职，赐金带。工山水人物，师郭熙多作品小景，山水林木，劲挺可取。惟峰石水口，雄伟之笔则远不逮熙。《图绘宝鉴》",[23,24,104,148,26,27,2519,107,30,293,182,7,408,320,2520],"寒山","清寒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F433408c78ce215adab31f025490fae8a.jpg",[],35,{"id":2525,"slug":2526,"title":2527,"dynasty":18,"author":2528,"museum":55,"description":2529,"tags":2530,"thumbUrl":2531,"material":184,"size":2532,"collection":195,"collections":2533,"showCount":2523,"zanCount":313,"manualWeight":11,"mainColor":48},233988,"hua-zhao-gou-shu-tang-feng-ce-ma-he-zhi-233988","画赵构书唐风册","马和之","马和之，中国南宋画家 。生卒年不详，活跃于高宗时期（公元12世纪）。钱塘 （今浙江杭州）人。宋高宗绍兴（1131-1162）中登第，一说官至工部或兵部侍郎。画院待诏，为南宋宫廷画院中官品最高的画师，居御前画院十人之首（周密：“御前画院仅十人，和之居其首焉”）。擅画佛像、界画、山水，尤擅人物，人物师法吴道子、李公麟，仿“吴装”创用柳叶描（一作马蝗描），用笔起伏、线条粗细变化明显，着色轻淡，笔法飘逸流利，活泼潇洒，富有韵律感，出入古法，脱去习俗，自成一家。其绘画风格与唐代吴道子相仿，当时有“小吴生”之称。",[24,104,25,395,1712,26,84,294,7,63,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F489ad7188d3047e278afe3c2a391dfdb.jpg","60.33x41.04厘米",[195,44],{"id":2535,"slug":2536,"title":2175,"dynasty":18,"author":2267,"museum":130,"description":2268,"tags":2537,"thumbUrl":2538,"material":226,"size":2539,"collection":122,"collections":2540,"showCount":2523,"zanCount":11,"manualWeight":11,"mainColor":48},232877,"guan-shan-xing-lv-tu-juan-zhao-bo-su-232877",[23,1868,24,25,58,81,82,83,27,29,7,31,293,237,85,181,86,32,84,320,182,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe216901204382cc7cea56a1c3e25af7b.jpg","26.4x197.3厘米",[],{"id":2542,"slug":2543,"title":2544,"dynasty":332,"author":1916,"museum":20,"description":2545,"tags":2546,"thumbUrl":2547,"material":184,"size":2548,"collection":44,"collections":2549,"showCount":2523,"zanCount":284,"manualWeight":11,"mainColor":48},222659,"jiang-shan-chun-ai-zhou-gao-qi-pei-222659","江山春霭轴","高其佩（1660年—1734年，一作1672年—1734年），字韦之，号且园、南村、书且道人，别号颇多，另有山海关外人、创匠等。铁岭（今属辽宁）人，汉军镶黄旗人。清代官员、画家，指画的开山祖师。康熙时以荫由宿州知州迁四川按察使，雍正间擢都统，后罢去。工诗善画，所绘人物山水，均苍浑沉厚，尤善指画，晚年遂不再用笔。\n高其佩“扬州八怪李鱓”之师。其艺术才华出众，能诗、工画，他在细绢上所描绘的亭台楼阁、人物、花鸟、鱼虫等等，笔墨精细，设色艳丽，精妙绝伦。他在临摹了大量的前代名人作品，打下了深厚的根基之后，开创了一条新路。大胆地创造出了别具情趣的“舍笔而求之于手”的表现技法。秀水张浦山著的《国朝画征录》中记载：“高且园善指画，画人、山水花鸟、鱼虫、鸟兽，天资超迈，情奇逸趣，信手而得，四方重之”。高其佩指画有“叱石成羊”之妙，他创作山水、人物、花鸟、走兽时，均信手一挥而就，“倾刻数十幅，……无不绝人。”他一生的作画数量是惊人的。正如他侄孙高秉在《指头画说》一文中所述：“自弱冠至七旬，不下五、六万幅”。可惜其大部分早已失传。保存下来的多藏于各地博物馆，铁岭县文化馆过去曾存有春、夏、秋、冬四幅《竹》。上海出版社出版的《高其佩》（杨仁恺著）一书，对他的生活和创作道路做了详细的论述，指出他的最大贡献是：“标题材之新，立结构之异，对当时和后来绘画艺术都有一定影响。”",[23,24,25,80,82,29,7,34,31,35,150,64,85,86,32,631,27,321,181],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb406e40bfb6d589e4d342608c31e30b5.jpg","241.8x128.1厘米",[44,94],{"id":2551,"slug":2552,"title":2553,"dynasty":18,"author":581,"museum":20,"description":2554,"tags":2555,"thumbUrl":2557,"material":212,"size":2558,"collection":44,"collections":2559,"showCount":2523,"zanCount":313,"manualWeight":11,"mainColor":71},219040,"shui-xuan-hua-xie-tu-yi-ming-219040","水轩花榭图","露台建在岩石上，有一个开放的亭子，下面是一片树林。一条走廊半藏在绿色景观中，其另一端通向两个大厅堂。建筑物的主要部分被小心翼翼地放在画的下半部分，这样，[上半部分]的白色空间就变得更加宽广，而背景是月亮的天空，则非常遥远！。这是南宋微型山水画中典型的空间表达方式。画中的建筑画得很精致，具有逼真写实的艺术风格。画中的人物都有宋人纤细的体态，摆放祭品和攀登亭子可能是官家在仲夏夜的活动写照。",[23,24,1019,82,205,83,85,181,237,2556,30,7],"栏杆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60c80f01916371f7568e1b5d290868c0.jpg","24.8x25.8",[44],{"id":2561,"slug":2562,"title":2106,"dynasty":143,"author":1758,"museum":1213,"description":2563,"tags":2564,"thumbUrl":2567,"material":153,"size":2568,"collection":44,"collections":2569,"showCount":2523,"zanCount":313,"manualWeight":11,"mainColor":71},217901,"yun-lin-zhong-xiu-tu-fang-cong-yi-217901","云林钟秀图描绘的是一座位于云林县的庙宇，画面中的庙宇极其写实，细节丰富，富有层次感。画中的山水、建筑、树木等都栩栩如生，充分展现出了当时云林的美景。\n\n云林钟秀图被认为是方从义的杰作，因为它体现了方从义对写生图画的高超技艺，也因为它能够真实地反映当时云林的风貌。它被广泛收藏，并被认为是元朝时期写生图画的杰作之一。",[24,25,58,26,27,60,61,29,7,34,31,150,86,114,35,88,37,165,753,2565,445,2566,1202,62],"留白","笔墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F120f73ed8db53c5a080a857830f7ff35.jpg","24.8x108cm",[44],{"id":2571,"slug":2572,"title":2573,"dynasty":143,"author":391,"museum":20,"description":835,"tags":2574,"thumbUrl":2577,"material":153,"size":2578,"collection":122,"collections":2579,"showCount":2580,"zanCount":11,"manualWeight":11,"mainColor":71},290953,"gu-kou-chun-geng-tu-wang-meng-290953","谷口春耕图",[104,24,26,80,29,27,7,31,182,2575,60,62,2576],"春耕","田园","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88b00622127b2452424c1936ff6f2767.jpg","124.9x37.1",[],34,{"id":2582,"slug":2583,"title":2584,"dynasty":53,"author":581,"museum":305,"description":2585,"tags":2586,"thumbUrl":2588,"material":620,"size":2589,"collection":122,"collections":2590,"showCount":2580,"zanCount":11,"manualWeight":11,"mainColor":48},232913,"huang-he-di-tu-yi-ming-232913","黄河地图","考虑到黄河洪水的持续威胁，对该河流系统的研究和管理是清朝宫廷的首要任务之一。 这幅具有纪念意义的地图生动地说明了控制黄河航道的复杂性及其对流域内众多城镇的潜在影响。 该地图绘制于康熙皇帝（1662-1722 年在位）聘请耶稣会传教士团队对其帝国进行全面调查的时期，反映了引入欧洲技术之前本土地图制作的最高水平。 事实上，该地图的吸引力不在于其制图准确性，而在于其对地形特征的图像处理。 展开卷轴，就是去体验从东海逆流而上到龙门急流的戏码。",[23,24,58,82,81,83,29,150,7,2587,1997],"地形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72559ed9e9aa861115d474a474464bb0.jpg","78 x 1285 厘米",[],{"id":2592,"slug":2593,"title":2594,"dynasty":53,"author":1181,"museum":130,"description":2595,"tags":2596,"thumbUrl":2597,"material":122,"size":122,"collection":122,"collections":2598,"showCount":2580,"zanCount":11,"manualWeight":11,"mainColor":71},228477,"shui-cun-xing-lv-tu-juan-tang-yin-228477","水村行旅图卷","这幅画作取江南水村之景，以开阔平湖开篇，远山衔水，汀洲错落疏林点缀，留白尽显烟波浩渺之致。近崖松柳掩映白墙黛瓦，流泉自壁间垂落，衬出村居幽谧。村道上行旅三人缓行，湖面扁舟泛波，处处漫溢悠然野趣。\n\n其设色秀润雅致，山石皴擦柔和却不失嶙峋质感，林木晕染层次丰盈，兼容院体精工与文人逸韵，将江南水乡的温婉灵秀，同恬然自在的乡居日常相融，把明季文人心中的栖居闲意，藏进尺幅山水之间。",[23,24,25,58,82,27,29,84,320,64,31,7,182,32,584],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d5fd74b5fc2a7f660f6e08bd120b878.jpg",[],{"id":2600,"slug":2601,"title":2602,"dynasty":143,"author":2603,"museum":130,"description":2604,"tags":2605,"thumbUrl":2606,"material":122,"size":122,"collection":122,"collections":2607,"showCount":2580,"zanCount":313,"manualWeight":11,"mainColor":71},228081,"wei-mo-shuo-jing-tu-li-sheng-228081","维摩说经图","李升","水墨晕染山峦层叠，烟岚轻笼江岸，汀渚林木错落隐现，江天浩渺间漾出空寂禅意。简淡笔墨勾勒萧散清远的山水胜境，将讲经的悠然禅心融于烟水林泉之中，以景衬意，尽显超脱物外的况味。\n\n拖尾题跋笔意苍秀疏朗，书画相映成趣，尽显元人尚意的文人雅韵。整幅长卷删繁就简，于留白间烘托出空灵淡远的禅境，笔墨虽简，却将山水的悠远与释家的沉静完美相融，尽显宋元山水萧散简远的独特意趣。",[23,24,25,58,26,29,27,60,62,7,31,86,32,114,34,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd70c5fc6a158cfb06bc94a9595e27ebe.jpg",[],{"id":2609,"slug":2610,"title":2611,"dynasty":18,"author":2612,"museum":130,"description":2613,"tags":2614,"thumbUrl":2618,"material":122,"size":122,"collection":122,"collections":2619,"showCount":2580,"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",[23,104,24,25,58,26,27,29,7,336,31,293,1020,34,151,824,84,2615,2616,2617],"岸坡","秋江","渔艇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd47cf3d4177d2091033e8ed520bc3298.jpg",[],{"id":2621,"slug":2622,"title":2623,"dynasty":332,"author":952,"museum":807,"description":2624,"tags":2625,"thumbUrl":2626,"material":2627,"size":2628,"collection":44,"collections":2629,"showCount":2580,"zanCount":11,"manualWeight":11,"mainColor":48},224487,"yuan-shan-gang-luan-tu-wang-jian-224487","远山岗峦图","构图繁而不乱，山石错落有致，而且笔法华润圆细，秀逸中不失严谨，纤细而不流于柔弱，刚柔并济，浓淡兼施，皴染同举，别有风采。\n这幅作品虽然是仿古，但是作者也是在临摹古画的基础上又融入了自己的思想而创作的，有他自己的特色。纵观全图，坡岸上石矶堆砌、层叠向上，远处山体高耸，峭壁悬崖，气势壮观。山上林木葱茏、青翠、茂盛，清气袭人。远处山涧，瀑布飞流直下，泻入溪中。岸边、山腰上建有水榭亭台、屋宇楼阁，或隐或现。一高士神态安详，端坐于水榭中，环视着四周淡远的景色。他那悠然自得、轻松惬意的神情深深地感染着观者。\n此画为竖构图，景物布置得繁而不塞、杂而不乱，可谓层次分明、经营有序。画家用浅赭色染树干、坡脚及屋墙，树叶和崖顶的平台用石绿色染出。由于山石多次以淡墨皴染，又用焦墨反复 积加，所以画面显得浑厚壮观。不过，山石用笔含蓄内敛，丝毫没有外露的痕迹，皴法细密、刻画准确、墨色浓润，所以又为画面增添了灵秀之气。再加之少量的赭色晕染，使画面达到了刚劲与柔美、雄浑与雅秀的统一。更值得一提的是，画家在设色上并非勾勒填彩，而是将石绿、淡赭、水墨自然地融合在一起，故此画没有以往青绿山水画的俗艳之气，而是别有一种雅淡之韵、灵逸之趣。王鉴在青绿设色上是少有的高手，据说清代三百年间的山水画家中很少有人能超过他。这一点，由此图可窥见一斑。\n此图款署“庚戌九秋，仿黄子久笔意，王鉴”，下钤“王鉴之印”。王鉴的画大多题“仿”古人，如“仿北苑”、“仿令穰”、“仿雪松”、“仿江贯道”、“仿董源”、“仿巨然”等。但他的“仿”并不是简单地模仿古人的笔墨技巧、构图布局，而是重在体味、吸收、融汇前人的笔墨结构，以形成自己的山水画语言。此图便是画家以模仿黄公望的笔意为主，又融合董源、巨然两家之萧散、平淡的风格绘成的。画家用墨色由淡及浓地层层晕染，使作品虚实有致、层次丰富。此画较黄公望的画更加清润、明洁，有一股清雅的书卷气。王时敏称王鉴的画“以秾丽为宗，然高华、秀逸兼而有之”。",[23,24,82,27,29,7,31,237,117,37,35,165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b666d72fb7f59c63cabf0b46996ab26.jpg","绢本设色.","151cmx66cm",[44],{"id":2631,"slug":2632,"title":2633,"dynasty":18,"author":2634,"museum":2635,"description":2636,"tags":2637,"thumbUrl":2639,"material":153,"size":122,"collection":44,"collections":2640,"showCount":2580,"zanCount":11,"manualWeight":11,"mainColor":71},219706,"bai-miao-yue-bing-tu-li-zao-219706","白描阅兵图","李早","刘海粟美术馆","淡墨晕开平远丘壑，清旷烟岚晕染出空濛郊野，劲挺林木错落排布，晕染出幽寂底色。整肃的军马武士隐现于浅渚平坡间，白描线条清劲洗练，将军士的端严、战马的神骏勾勒得灵动传神，不着浓丽色彩，仅凭虚实笔墨，就将阅兵时的沉凝肃穆尽数铺展。\n\n卷上题跋添就文史意趣，山水意境糅合军旅气象，以简淡笔墨托出兵阵的雄浑威仪，静穆烟岚之下暗涌军阵张力，尽显笔墨雅韵与写实功力，将盛大阅兵的宏大气度，藏在清和的丘壑林泉之间。",[23,24,25,58,1712,60,84,320,2638,31,7],"兵器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ddd2c5d153d84f8a246a4de734fb049.jpg",[44],{"id":2642,"slug":2643,"title":2644,"dynasty":53,"author":2645,"museum":145,"description":2646,"tags":2647,"thumbUrl":2648,"material":66,"size":2649,"collection":122,"collections":2650,"showCount":2580,"zanCount":11,"manualWeight":11,"mainColor":71},214673,"san-jue-tu-2-yao-shou-214673","三绝图-2","姚绶","姚绶（1536年－1627年）是中国明朝时期著名的画家、书法家和诗人。他在明朝末年和清朝初年期间活跃，是中国古代四大书法家之一。姚绶的“三绝图册”是他的代表作之一，是他在晚年创作的一组绘画作品集。\n\n“三绝图册”共有三册，分别为“绝境图册”、“绝岭图册”和“绝川图册”。这三册作品均采用水墨画的方式，描绘了天山、岭川、峡谷等山水风光。姚绶的绘画风格具有浓郁的民族特色，笔墨简洁而凌厉，构图巧妙，色彩明快。这三册作品被认为是中国古代山水画的精品，被广泛收藏和展览。",[24,25,395,26,82,29,27,86,32,64,31,7,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fd2380dd3ead30497ae3b9b56171da9.jpg","纵31.2 厘米 横48.3 厘米",[],{"id":2652,"slug":2653,"title":2654,"dynasty":18,"author":2655,"museum":20,"description":2656,"tags":2657,"thumbUrl":2659,"material":547,"size":2660,"collection":122,"collections":2661,"showCount":2662,"zanCount":11,"manualWeight":11,"mainColor":48},290866,"peng-lai-xian-hui-zhou-zhao-da-heng-290866","蓬莱仙会轴","赵大亨","与卫松曾同为赵伯驹、赵伯骕家仆，侍候赵氏兄弟作画，生卒年不详。",[24,104,205,148,82,85,237,7,84,2658,89],"神话","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0a7a3f49e465910b9499299b136f5e0.jpg","54.2x86.4",[],33,{"id":2664,"slug":2665,"title":2666,"dynasty":143,"author":356,"museum":130,"description":2667,"tags":2668,"thumbUrl":2670,"material":240,"size":241,"collection":122,"collections":2671,"showCount":2662,"zanCount":11,"manualWeight":11,"mainColor":48},290284,"ceng-luan-die-cui-tu-huang-gong-wang-290284","层峦叠翠图","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》。",[23,24,58,25,29,26,27,7,31,295,32,61,2669,62],"隶书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F363eb754bba65b5e5f9deefabdc145b5.jpg",[],{"id":2673,"slug":2674,"title":2675,"dynasty":221,"author":258,"museum":20,"description":2676,"tags":2677,"thumbUrl":2680,"material":240,"size":241,"collection":122,"collections":2681,"showCount":2662,"zanCount":11,"manualWeight":11,"mainColor":48},289893,"xia-shan-yu-yu-tu-dong-yuan-289893","夏山欲雨图","作者以长披麻皴画山，表现南方松软的土质，又以重墨渍染林木与点苔，以彰显夏日草木蓊郁，万物滋长的生气。本幅无款印，根据张雨的题识，定为董北苑之作，然而其笔墨板滞，与董氏不类，当为后代画家的仿作。",[23,104,24,29,26,27,7,109,652,2678,2679,80,25],"田野","雨意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F554d2a856f62dacda937b5e2a3cce51a.jpg",[],{"id":2683,"slug":2684,"title":2685,"dynasty":53,"author":2686,"museum":130,"description":2687,"tags":2688,"thumbUrl":2690,"material":240,"size":241,"collection":122,"collections":2691,"showCount":2662,"zanCount":11,"manualWeight":11,"mainColor":48},289757,"wu-yue-tu-juan-que-yi-jing-song-xu-289757","五岳图卷(缺一景)","宋旭","五岳，是中国五大名山的总称，指东岳泰山、西岳华山、中岳嵩山、北岳恒山、南岳衡山。五岳起源于古代中国人的山川崇拜，是和国君对山神的祭祀联系在一起的。此图分别绘制了五岳之中的日观晴曦、太华清秋、融峰两色、恒塞积雪、二室争奇等自然美景，作品采用浓淡相间、虚实对比的手法使画面层次分明。在构图上，画家运用了传统的平远构图法，景物近大远小，近实远虚，具较强的深远感。画面用笔粗犷，潇洒秀逸，笔力雄劲，既充实了画面，也体现出明代文人画诗、书、画相结合的时代特色，不求形似，唯求达意，颇得沈周晚年画作沉郁苍茫的风韵。",[23,104,24,25,58,29,26,27,7,34,2689,85,114,60,62],"古木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff18ca5187f1b1f5f6c2dcd2fba8a8f05.jpg",[],{"id":2693,"slug":2694,"title":2695,"dynasty":53,"author":2696,"museum":55,"description":2697,"tags":2698,"thumbUrl":2699,"material":2700,"size":2701,"collection":44,"collections":2702,"showCount":2662,"zanCount":313,"manualWeight":11,"mainColor":71},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。",[24,25,80,26,27,29,336,31,37,34,35,88,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95d5685508e133e9c63badafd9045c0e.jpg","纸本墨笔","纵95厘米，横36.4厘米",[44,947],{"id":2704,"slug":2705,"title":2706,"dynasty":2707,"author":2708,"museum":130,"description":2709,"tags":2710,"thumbUrl":2719,"material":240,"size":241,"collection":2720,"collections":2721,"showCount":2662,"zanCount":11,"manualWeight":11,"mainColor":48},225910,"cap-martin-1884-mo-nai-225910","Cap Martin, 1884","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。",[2711,2712,2713,2714,2715,7,630,31,2716,2717,618,2718,277],"印象派","油画","光影表现","色彩明快","笔触灵动","绿植","土路","天空","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea2cbb23f3a008abcc52adcf058a00cd.jpg","油画精选",[2720],{"id":2723,"slug":2724,"title":2725,"dynasty":332,"author":2726,"museum":55,"description":2727,"tags":2728,"thumbUrl":2729,"material":904,"size":2730,"collection":45,"collections":2731,"showCount":2662,"zanCount":11,"manualWeight":11,"mainColor":48},224537,"jiang-shan-wo-you-tu-cheng-zheng-kui-224537","江山卧游图","程正揆","此卷是他晚年辞官之后所作。图绘连绵不断的山峦谷地，平台处，空亭独立，高士寻幽而至。其荒寒萧瑟的山水、高士落寞的行踪，正是画家晚年内心情感的写照。图中山石树木以酣畅的笔墨挥就而成，笔法朴拙、放逸，于简约中不失神采。在明末清初摹古风盛行的画坛下，其满怀激情的画作令人耳目一新。",[23,24,25,58,26,29,27,30,31,150,86,182,165,2109,33,824,7,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bf39153e0532479eb770c1f64faf0a9.jpg","纵26厘米，横205厘米",[45],{"id":2733,"slug":2734,"title":2735,"dynasty":143,"author":2736,"museum":1030,"description":2737,"tags":2738,"thumbUrl":2739,"material":226,"size":2740,"collection":44,"collections":2741,"showCount":2662,"zanCount":313,"manualWeight":11,"mainColor":71},221916,"luo-fu-shan-qiao-tu-juan-chen-ru-yan-221916","罗浮山樵图绢","陈汝言","此图所绘罗浮 山，位于广东增城县 东，为东晋葛洪得道 之处。作者在幅上自 识：“至正二十六年 （1366） 正月望后庐 山汝言为思齐断事 写罗浮山樵图。”图 绘群山层叠，一峰高 耸，两山接合处有山 泉流泻而下；坡岸上 树木林立，枝叶茂 密，有茅屋、楼阁错 落其间；山谷中村落 隐现；远处对岸，峰 峦犹见。图中山势圆 匀，作长披麻皴，再 以淡墨渲染，此为 董、巨法。但线条时 断时续，却有些王蒙 的解索皴的意味。山 头碎石堆叠，形似 “矾头”。近树枝干挺 直，粗笔点叶。这些 都是依循董源《夏景 山口待渡图》及巨然 《层岩丛树图》而来。 此 图虽在技 法 上学了董、巨，但呈 现的效果，却逊色许 多。这是由于陈汝言 用笔偏于繁细劲利， 笔力偏硬，缺少圆 浑、厚实之感。并且 在营造山水意境方 面，也缺少整体感。 山头大多各自独立， 只交代了山脉走向， 而缺乏山川气象。 其时已是元末， 山水画总的在趋向 简率、写意。如陆广、 赵原等画家，无论构 图、笔墨，都呈现简 单化的现象。陈汝言 用笔虽见粗阔，但由 于其好友王蒙对他 的影响，使其勾、皴 依然缜密、清润。 陈 汝言等一 批 元末“吴门”画家，承 续宋元文人画传统， 虽未取得重大突破， 却为“吴派”的诞生 起了先导作用。",[23,24,25,26,27,80,409,33,37,35,31,32,30,7,88],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F736082c81e3db2b9eeab62f1bc5401da.jpg","70x53.5",[44,45],{"id":2743,"slug":2744,"title":2745,"dynasty":18,"author":404,"museum":20,"description":2746,"tags":2747,"thumbUrl":2749,"material":2750,"size":2751,"collection":122,"collections":2752,"showCount":2662,"zanCount":11,"manualWeight":11,"mainColor":71},221384,"ming-hua-lin-lang-ce-qun-feng-xue-ji-fan-kuan-221384","名画琳瑯册－群峰雪霁","此作写崇山积雪，山脚并点缀密林、楼观、舟楫等。倦色黯黑，但不失古雅苍润。画中的主峰已偏一侧，且皴笔少滃染多，地质较近于土山，与记载中的范宽风格并不尽似。对幅由尹继善、刘纶、王际华、钱维城、彭元瑞、曹文埴、陈孝泳等清代臣工题咏，虽然语中对范宽多所赞誉，但无法证明本幅与范宽有关，据画风推测成作时间应在南宋以后。\n另有旧题为范宽的《山水》、《秋景山水》、《海山图》、《霍童仙界图》等数幅，虽然作品中或题“范中立”、“范宽笔”、“华原范宽”，但均与范宽的风格相去甚远，时代也无法到宋，推定是明、清时期的托名伪作。本节遂不一一叙述。",[23,104,24,25,395,29,27,26,2748,408,1051,7],"群峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c7a037a9fc0181e3f16807504492c7c.jpg","浅设色","纵40.7公分，横27.3公分",[],{"id":2754,"slug":2755,"title":2756,"dynasty":18,"author":2757,"museum":20,"description":2758,"tags":2759,"thumbUrl":2760,"material":2761,"size":2762,"collection":42,"collections":2763,"showCount":2662,"zanCount":313,"manualWeight":11,"mainColor":71},221356,"shan-yin-hui-zhan-tu-juan-li-gong-lin-221356","山阴会战图卷","李公麟","李公麟（1049～1106），北宋廬州府舒城縣人（今安徽舒城人），宋代傑出畫家。字伯時,號龍眠居士，(1049-1106)享年五十七歲。熙寧三年(公元1070年)進士。李龍眠即李公麟，字伯時，安徽舒城人，因桐城郊外有一龍眠山，李公麟曾長居於山下，所以又自號龍眠居士或龍眠山人。\n出身名門大族，家藏古器名畫法書甚多，自幼知識淵博，好古善鑑，多識奇字，自夏商以來鐘鼎尊彝皆能考訂世次，辨別款識。長於詩文，行楷書有晉人風。與王安石、蘇軾、米芾、黃庭堅為至交，系駙馬王詵之座上客。熙寧三年（1070）中進士，為中書門下省刪定官，後官至朝奉郎。元符三年（1100）病痹告老，居家鄉桐城龍眠山，號龍眠居士。一生勤奮，作畫無數，人物、史實、釋道、士女、山水、鞍馬、走獸、花鳥無所不能，無所不精。人物、道釋深得吳道子旨趣，運筆如行雲流水，造型正確，神態飛動；山水氣韻清秀，得王維正傳；着色山水追李思訓心法；畫馬過韓幹。能集諸家之長，得其大成，師法自然，大膽創新，自成一家，被後代敬為第一大手筆、百代宗師。",[23,104,24,25,58,1712,26,84,320,1341,7,1225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca6087e9bb8a0ab5fd706b1ea01ef813.jpg","绢本，水墨淡设色","26.6x764",[42],{"id":2765,"slug":2766,"title":2767,"dynasty":332,"author":524,"museum":130,"description":891,"tags":2768,"thumbUrl":2770,"material":240,"size":241,"collection":122,"collections":2771,"showCount":2772,"zanCount":11,"manualWeight":11,"mainColor":71},287350,"min-jiang-chun-se-tu-shi-tao-287350","岷江春色图",[23,24,25,148,26,82,27,7,31,295,64,60,61,62,2769],"春色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff493d294fe1e9a424e15c0a58ebbf15b.jpg",[],32,{"id":2774,"slug":2775,"title":2776,"dynasty":332,"author":2777,"museum":55,"description":2778,"tags":2779,"thumbUrl":2780,"material":597,"size":122,"collection":122,"collections":2781,"showCount":2772,"zanCount":11,"manualWeight":11,"mainColor":71},234235,"xi-hu-tu-juan-wang-yuan-qi-234235","西湖图卷","王原祁","王原祁（1642—1715）作为名列“四王”之一的“娄东派”领袖，他的山水画在有清一代赢得了无比崇高的声誉，不仅左右了宫廷的山水画风，也成为有清一代文人山水画坛的主流势力。王原祁一生绘制过的西湖图似乎并不多，除了《石渠宝笈》中著录有3幅他的西湖图，其它的记载中并不能找到相关的材料，而实物的流传则更属罕觏。西湖图在王原祁自身的绘画实践中或许并不占有重要的地位。然而在他的西湖图中却显现了某些令人惊异的转变，或许正是这些转变导致了以后西湖图创作的困境。\n《石渠宝笈》著录的三幅王原祁西湖图分别为《西湖图轴》、《西湖十景图卷》以及另一种《西湖十景图卷》，这三幅奉敕应制的作品均只有王原祁本人简单的署衔，而没有标明确切的创作年代。\n据温肇桐《王原祁年表》，可知王原祁升翰林院侍讲学士的时间为康熙四十四年（1705）七月，其年六十四；而充日讲官的时间则是康熙四十七年（1708）四月，其年已六十七矣。至于其由翰林院侍讲学士升转为侍读学士的时间，当在康熙四十七年（1708）二月《佩文斋书画谱》成书之前，因为书中纂辑官员的署衔已标明为“翰林院侍讲学士今转翰林院侍读学士臣王原祁”，可知成书时他已经是侍读学士了。如此，则《西湖图轴》应属其六十四至六十七岁之间所绘，而另两卷十景图则更是六十七岁之后的作品了，无疑都属王原祁在世最后10年间的晚期作品。\n《石渠宝笈》著录的着色《西湖十景图卷》，现今收藏于辽宁省博物馆。这是一件高头大卷，画面从钱塘门开始，将绕西湖一周的景物以长卷的形式向左作平面的伸展，最后结束于涌金门外的问水亭。除了康熙帝钦定的西湖十景在图中有明确的文字标识之外，其它的西湖著名景物也包括其中并标以景点名称。对比清代雍正年间刊刻的《浙江通志》中所附的《西湖图》插图，除了呈现方式有所不同，在描绘的具体景物方面，二图并无大的差异。因此《西湖十景图卷》显然并非出自王原祁的想象臆造而是和《西湖图》插图一样具有实景地图的性质。\n王原祁的家乡是江苏太仓，距离杭州并不算远，他也曾经游历过西湖。清代厉鹗所纂《增修云林寺志》卷六收有王原祁《游韬光，赠山止上人》一诗，然而却并未提到他留有画作，至于具体的游杭时间及其行程更是不得而知了。康熙帝五次巡杭，也没有任何有关王原祁曾经扈驾侍行的记载。所以如果不是旧游时曾经绘制过西湖图的详细画稿，那么王原祁必定是在绘制时参考了《西湖图》之类的实景地图或是他人的画稿，显然以后者的可能性为大。\n作为王原祁这样的文人画宗师，他显然不能容忍自己的画作完全沦为一幅实景地图，所以为了与通常所见的实景地图拉开距离，《西湖十景图卷》在构图上颇费了一番经营，将西湖一周的山水景物特意作平面的延伸，而不是带有实景地图意味的环绕铺陈，画面的下方呈现出大块象征西湖湖水的留白，因此使之更具传统山水画的意蕴。然而细观这卷以黄公望画风为旨归的画作，它与王原祁通常所作的那类文人山水画作的差异无疑还是十分明显的：为了要精确呈现包括西湖十景在内的众多具体的山水景物，无法遗漏或削弱对其中一些景物的描绘，使得王原祁在描绘时，不得不给这些景物以一律的关注，其结果使得全卷呈现出毫无变化的平铺直叙，山峦与树木描绘的节奏也大体相似，完全失去了传统文人山水画在主观营造上的丰富变化。\n事实上，王原祁在山水画的结构方面有极深的研究，这本是他的特长。他在《雨窗漫笔》“论画十则”中对于山水画的结构经营有过一段极为经典的论述：“画中龙脉开合起伏，古法虽备，未经标出，石谷阐明，后学知所矜式。然愚意以为不参‘体用’二字，学者终无入手处。龙脉为画中气势源头，有斜有正，有浑有碎，有断有续，有隐有现，谓之体也……若知有龙脉，而不辨开合起伏，必至拘索失势，知有开合起伏而不本龙脉，是谓顾子失母。故强扭龙脉则生病；开合偪寒浅露则生病；起伏呆重缺漏则生病。且通幅有开合，分股中亦有开合；通幅有起伏，分股中亦有起伏，尤妙在过接映带间，制其有余补其不足，使龙之斜正、浑碎、隐现、断续，活泼泼地于其中，方为真画！如能从此参透，小块积成大块焉，有不臻妙境者乎？”这是借用堪舆学的名词来阐述的文人山水画结构法则，是王原祁通过从长期的绘画实践，从文人山水画体系中总结、提炼出来的规律性因素，它源于自然山水，但又高于自然山水，一旦违背，就会产生各种山水画之“病”。\n如果我们对比王原祁晚年自由状况下描绘的画作，与《西湖十景图》的差异将会十分明显：如辽宁省博物馆收藏的《西岭云霞》作于康熙庚寅（1710），绘制时间与《西湖十景图》（1708年后）大致相近，而且也是王原祁仿黄公望一路的画作。\n只要稍加浏览，就可以发现后图与《西湖十景图》在结构上的巨大差别：后图的山势开合、大小起伏变化多端，丘壑形象丰富生动；而《西湖十景图》山体的开合起伏极不明晰，山峦的大小起伏大体相近，完全没有体现出“宾主历然”的形态，可见为了屈从于对画面实景因素的呈现，王原祁不得不违背了他所总结并且强调要遵行的那一套结构法则。而同样的原因，最终也导致了王原祁在《西湖十景图》表现上的个性风格的削弱与丧失：后图中王原祁极具个性化的层层叠加的山石形象十分明显，这正是他建立的与“龙脉”理论相适应的个人图式。同时在表现这些个性化的图式时，其笔墨的运用随意生动，气势贯通，因而显得变化多端而混沦苍茫，显然描绘时处于较为自由的状态。而在《西湖十景图》中，为了使这幅画图具备可供康熙帝参考的实景特色，王原祁只能牺牲他一贯遵循的传统文人山水画的结构理念，不得不削弱了他个人丰富的笔墨表现，他所强调的“山水画用笔须毛”和自许的“笔端有金刚杵”的精醇笔墨在图中并没有得到充分的展现，大都显得小心翼翼而刻画平板，只是在开头与结尾几笔不涉及具体景物的云水勾勒中，才偶尔显示了他高超的笔墨造诣。\n严格地说，此卷应制的《西湖十景图》并不能符合王原祁自己所说的“活泼泼地”“真画”的要求，它虽然保留了文人画的表面因素，却被抽离了独立的价值。然而它与王原祁自由描绘的文人山水画之间的巨大差异，倒恰恰说明了他的高超之处，他在主体的文人山水画上达到的高度，足以使后人仰止。只是类似《西湖十景图》这样走入误区的文人画式的应制画作，由于具备更多的实用性与可操作性，却更多被王原祁的弟子或再传弟子们加以继承与奉行，而这恐怕并非是王原祁的本意。",[23,24,58,26,27,29,7,1957,150,31,823,114,85,86,2427],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe80e6647336c88be860bc28ce6086696.jpg",[],{"id":2783,"slug":2784,"title":2785,"dynasty":143,"author":581,"museum":55,"description":2786,"tags":2787,"thumbUrl":2788,"material":2440,"size":2789,"collection":122,"collections":2790,"showCount":2772,"zanCount":313,"manualWeight":11,"mainColor":48},233151,"fang-guo-xi-shan-shui-tu-zhou-yi-ming-233151","仿郭熙山水图轴","图中绘层岩叠嶂，长松老树，古寺平溪，小桥行旅，可游可居。此图为大幅山水，构图高远、深远兼用，山如卷云，树似鹰爪，画风学郭熙一派而又有元人的逸趣。",[24,25,80,29,59,27,26,82,7,31,847,294,35,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F919679436fe80731b835e0f45b649784.jpg","纵164厘米横105.3厘米",[],{"id":2792,"slug":2793,"title":659,"dynasty":53,"author":878,"museum":130,"description":2794,"tags":2795,"thumbUrl":2796,"material":240,"size":241,"collection":122,"collections":2797,"showCount":2772,"zanCount":11,"manualWeight":11,"mainColor":71},228849,"chang-jiang-wan-li-tu-juan-dai-jin-228849","戴进（1388—1462），字文进，号静庵、玉泉山人。钱塘（今浙江杭州）人，明代画家。早年为金银首饰工匠，后改工书画。宣德间（1426—1435）以画供奉内廷，官直仁殿待诏。后因遭谗言被放归，浪迹江湖。\n他擅画山水、人物、花鸟、虫草。山水师法马远、夏圭，中年犹守陈法，晚年纵逸出蹊径，卓然一家。所作雄俊高爽，苍郁浑厚，用笔劲挺方硬，画人物笔法娴熟，顿挫间风度益著；所作花鸟、虫草亦饶有生意。为“浙派绘画”开山鼻祖。作品有《春山积翠图》《风雨归舟图》 《三顾茅庐图》《达摩至惠能六代像》等。",[23,104,24,25,58,60,26,82,27,148,29,106,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb170268d39be31976855cdc36e4345d4.jpg",[],{"id":2799,"slug":2800,"title":2801,"dynasty":18,"author":1738,"museum":130,"description":1739,"tags":2802,"thumbUrl":2804,"material":240,"size":241,"collection":122,"collections":2805,"showCount":2806,"zanCount":11,"manualWeight":11,"mainColor":48},288946,"xiao-xiang-ba-jing-shan-shi-qing-lan-wang-hong-288946","潇湘八景-山市晴岚",[24,58,148,26,64,32,7,652,31,2803,27],"雾霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f4a8b94010aa0146c8a6e135d48a7ec.jpg",[],31,{"id":2808,"slug":2809,"title":2810,"dynasty":332,"author":2811,"museum":130,"description":2812,"tags":2813,"thumbUrl":2814,"material":122,"size":122,"collection":94,"collections":2815,"showCount":2806,"zanCount":11,"manualWeight":11,"mainColor":71},239380,"hong-wu-da-yu-zhi-shui-tu-juan-hong-wu-239380","弘旿大禹治水图卷","弘旿","爱新觉罗·弘旿（1743-1811），清朝宗室、画家。字卓亭，号恕斋，一号醉迂，别号瑶华道人，又号一如居士。康熙帝爱新觉罗·玄烨孙，爱新觉罗·胤秘第二子。封固山贝子，两次缘事革退，复赏封奉恩将军。能诗，工书、画，以三绝称。弘旿工画，师董邦达，自署瑶华道人，名与紫琼道人胤禧并。论者称其“山水得董、黄之妙谛。”永珠既夺爵 [1] ，以弘旿孙绵勋袭贝子。子孙递降，以镇国公世袭。",[23,24,25,58,82,29,84,31,292,150,7,34,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe675717ccbee700587769309e68dd62f.jpg",[94],{"id":2817,"slug":2818,"title":2819,"dynasty":332,"author":952,"museum":20,"description":2820,"tags":2821,"thumbUrl":2823,"material":620,"size":122,"collection":44,"collections":2824,"showCount":2806,"zanCount":313,"manualWeight":11,"mainColor":71},237076,"xia-shan-tu-zhou-wang-jian-237076","夏山图轴","王鉴（1598年～1677年），字元照，一字圆照，号湘碧，又号香庵主，江南太仓人，明末清初画家，“四王”之一。\n万历二十六年（1598年）出生，崇祯六年（1633年）举人。后任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。\n吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。康熙十六年（1677年）去世，享年八十岁。\n王鉴出生于书香门第，为明代著名文人王世贞曾孙，家藏古今名迹甚富，丰富的家藏，为王鉴学习临摹历代名画真迹提供了良好的条件。摹古工力很深，笔法非凡，擅长山水。与王时敏、王翚、王原祁、恽寿平、吴历齐名，并称四王吴恽或清初六家，成为画坛正宗。为“清初六家”之一。\n与明末北方著名书画收藏家睢阳袁枢（袁可立子）交从甚密，袁以收藏董源、巨然作品为最，王鉴从中受益者颇多，书画往来相互题赠。王鉴《仿巨然真迹图》：“董宗伯所藏巨然真迹，今归袁环中（袁枢）使君，昨在其署中出此相示。”\n王鉴和王时敏、袁枢一样，早年曾经得到过董其昌的亲自传授，他一生的画业就是沿着董其昌注重摹古的方向发展，继续揣摩董源、巨然、吴镇、黄公望等诸多前辈大家的笔意，仿古吸收并转化古人的笔墨结构，形成了自己丰富的山水画语言。\n王鉴画的坡石取法黄公望，点苔学吴镇，用墨学倪瓒。尤其是他的青绿设色山水画，缜密秀润，妩媚明朗，综合了沈周、文征明清润明洁的画风，清雅的书卷气跃然纸上，历来为后人所称道。擅长山水，远法董（源）、巨（然），近宗王蒙、黄公望。运笔出锋，用墨浓润，树木丛郁，后壑深邃，皴法爽朗空灵，匠心渲染，有沉雄古逸之长。间作青绿重色，亦能妍丽融洽。信云林山水意极绵密。仿山樵山水，仿赵大年《春景》没骨山水、仿洪谷子设色山水，疏密奇正，纯以篆法写轮廓。仿子久《秋木山色图》《仿黄公望烟浮远岫图》、摹沈石田山水、仿董源《秋山图》仿范华设色山水、仿巨然山水，骨重气轻。其作品大多摹古，信效名家，缺乏独创，并具有浓厚的复古思想和形式主义画风。",[24,25,104,80,82,27,29,7,37,31,237,2822,35,1958],"竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71226ba5bbfe4157e33f7a5a4fc9a2aa.jpg",[44],{"id":2826,"slug":2827,"title":2828,"dynasty":53,"author":2829,"museum":130,"description":2830,"tags":2831,"thumbUrl":2834,"material":240,"size":241,"collection":44,"collections":2835,"showCount":2806,"zanCount":284,"manualWeight":11,"mainColor":71},235285,"shan-shui-ce-shen-hao-235285","山水册","沈颢","补博士弟子员。性豪放好奇。工诗文。书法真、草、隶、篆，无所不能。山水近沈周，晚年笔意挺秀，点色清妍，深于画理，“似而不似，不似而似”是他的创见。著有《画尘》及《枕瓢》、《焚砚诸集》。",[24,25,395,82,29,294,85,165,62,2832,2833,850,31,7,1171],"淡彩山水","古建","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde9bb44391cc599f7dca8959c352ba7c.jpg",[44,1229],{"id":2837,"slug":2838,"title":2839,"dynasty":53,"author":1607,"museum":305,"description":2840,"tags":2841,"thumbUrl":2842,"material":309,"size":2843,"collection":122,"collections":2844,"showCount":2806,"zanCount":11,"manualWeight":11,"mainColor":1555},231569,"fang-ma-yuan-yan-yun-die-zhang-tu-li-zai-231569","仿马远烟云叠嶂图","李在（1400年－1487年），字以政，福建莆田江口郑板村人，明代宫廷画家。",[23,24,25,58,26,29,27,7,34,31,30,60,62,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F013a2fc6a37091ae937949aa02030f9c.jpg","纵27.9厘米，横320厘米",[],{"id":2846,"slug":2847,"title":2848,"dynasty":143,"author":592,"museum":20,"description":2849,"tags":2850,"thumbUrl":2852,"material":153,"size":2853,"collection":122,"collections":2854,"showCount":2806,"zanCount":313,"manualWeight":11,"mainColor":71},231413,"qun-feng-xue-ji-tu-cao-zhi-bai-231413","群峰雪霁图","《元曹知白群峰雪霁图》是元代大画家曹知白晚年创作的一幅纸本水墨中国画作品，该作尺寸纵129.7公分，横56.4公分，现藏 。\n在技法上已经达到了融会贯通的境界。\n画面的左下方，几株松树巍然矗立，在这银装素裹的冰雪世界里更显现出一派凛然不屈的丈夫气概；从构图上看，又与右侧庭榭周围的另外几株树遥相呼应。\n在这幅作品中，画家通过对树木长短远近、虚实疏密的变化处理，使画面产生出强烈的纵深效果，进而使景象开阔，意境深幽。\n此作虽然是描绘雪景，却没有给人萧瑟荒凉的感受，相反，在这冰天雪地的景色之中，似乎还隐约能够感受到一丝融融的春意。\n一道在山崖间飞泻直下的流泉，虽然只是一处看似寻常的点缀之笔，却为画面增添了动感，使作品有声有色，更富有观赏情趣。\n此作的构图布局采用的是“高远法”，整体山势不以险峻取胜。\n平稳和缓的峰峦，带有明显的江南景象的特征，重重叠叠，层层递进，大有江山无尽之感。\n【名称】元曹知白群峰雪霁图 【类别】中国 【 【 【 【简介】 图轴，纸本，水墨画，纵：129.7公分，横：56.4公分。\n该画以白颜色为主要色调，技法表现看似简单，实则匠心独运，法度森严，虚实得当，计白当黑，尤其是在水榭、树木这些细微之处更见功夫。\n用笔简约疏朗，刚柔相济；用墨润燥相间，清淡温和；巧妙地把北方山水所特有的苍浑巍峨的“河朔气象”融入恬淡雅逸的江南景色的韵味，形成了柔美、宁静、凝重的风格。\n观者在一望之间，即能体会到北方山川的厚重沉稳，也能品味出南方山水的内在之美。\n另外，有学者认为「雪图」，可能是 早年精仿宋人之作。\n曹知白（1272-155年），字又玄，一字贞素，号云西，华亭（今属上海松江）人。\n工诗文，善画山水，画法师李成、郭熙，笔墨清润，全无俗气。\n晚年笔法苍简，自成一格。\n对后世绘画有一定的影响。",[24,2851,148,80,27,62,2748,408,33,31,182,7,812,293,237],"水墨画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a999b20c2e336d2ab5e434cb134b279.jpg","纵129.7厘米，横56.4厘米",[],{"id":2856,"slug":2857,"title":2858,"dynasty":18,"author":404,"museum":130,"description":2859,"tags":2860,"thumbUrl":2861,"material":122,"size":122,"collection":122,"collections":2862,"showCount":2806,"zanCount":11,"manualWeight":11,"mainColor":48},230971,"chong-shan-fu-ling-tu-li-zhou-fan-kuan-230971","重山复岭图立轴","此作以雄浑苍劲的笔力绘就北国山川，主峰巍峨沉厚，以雨点皴反复皴擦山石肌理，将岩质的粗糙坚硬尽数铺展，裹挟着磅礴厚重的山岳气势扑面而来。山间古木虬曲交错，丹黄枝叶点染出深秋萧疏意趣。山坳板桥村舍隐于林木烟岚间，细笔轻勾出乡野烟火，于雄奇之中晕开温润生机，刚柔相济消解了山岳的冷峻。\n\n构图层峦叠嶂，虚实相生，高远深远兼具，将山川的浑莽大气与林下幽居的悠然相融，尽显山水风骨与内敛的人文意趣。",[23,24,104,25,80,26,82,29,27,7,30,31,86,32,181],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55ccf22bfab8ac355246314d05dace25.jpg",[],{"id":2864,"slug":2865,"title":2866,"dynasty":332,"author":2867,"museum":130,"description":2868,"tags":2869,"thumbUrl":2871,"material":122,"size":122,"collection":122,"collections":2872,"showCount":2806,"zanCount":11,"manualWeight":11,"mainColor":48},230294,"gui-lin-qiu-yue-tu-yuan-jiang-230294","桂林秋月图","袁江","界画亦名宫室，主要以建筑物、舟车之类为表现题材，所画对象要求准确、工整，一丝不苟，过去画诀有“山水打头，界画打底”之说，宋郭思说：“画屋木者，折算无亏，笔画勾壮，深远透空，一去百斜”。\n画界画历代不乏高手，唐末有尹继昭及他的学生卫贤等，元夏永、明仇英皆是界画高手。\n到了清代，袁江、袁耀父子擅画界画，虽技艺超群，但不为时人所重。\n至近代在山西太原尉氏家中，发现大量“二袁”作品，声名始震。\n袁耀“露台秋月图”纵18、横142.5厘米，胡佩衡旧藏，此画绘中秋宫苑赏月情景，一轮明月当空，万籁俱寂，宫殿在树木中或露或隐，山石玲珑剔透，诗情画意跃然纸上，此意趣决非一般画匠所能为。\n袁耀字昭道，江都（今扬州）人。\n生卒年不详，创作年代约在1747年至1778年之间。",[23,24,25,205,82,83,29,85,2870,31,7,84,207,87],"明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc906c6d22f541f535a6f7ab6dde3b6da.jpg",[],{"id":2874,"slug":2875,"title":2876,"dynasty":1102,"author":2139,"museum":1104,"description":2877,"tags":2878,"thumbUrl":2881,"material":2882,"size":122,"collection":122,"collections":2883,"showCount":2806,"zanCount":313,"manualWeight":11,"mainColor":71},220555,"xi-ma-la-ya-shan-zhi-lin-xu-bei-hong-220555","喜马拉雅山之林","以林木为天然画框，将雪域盛景揽入其中。苍劲树干皴刻着斑驳肌理，枝桠间萌动的新绿晕开春日生机，暖棕色调晕染出山林的温润烟火气。远景山峦层叠着柔灰与赭色，峰顶积雪在天光下泛着清冽皎洁，冷调与暖韵交织融合，揉合西画光影质感与东方山水留白意趣。\n\n将山野春日的鲜活瞬间凝于画布，循着林木间隙，便可踏入这藏着林间呼吸与雪域清辉的秘境，窥见生机盎然的山林与孤高辽远的雪山共生的自然意趣。",[104,2712,82,2879,31,2152,7,2718,34,2880,165,88],"写实","森林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F797481366c3bd1cdfc248ab635ea0f5c.jpg","布面油彩",[],{"id":2885,"slug":2886,"title":2887,"dynasty":332,"author":1588,"museum":55,"description":2888,"tags":2889,"thumbUrl":2891,"material":66,"size":2892,"collection":44,"collections":2893,"showCount":2894,"zanCount":11,"manualWeight":11,"mainColor":71},301856,"heng-shan-qing-ai-tu-wu-li-301856","横山晴霭图","起首上角有作者书：“横山晴霭。”钤“墨井”印，幅下右角钤“延陵”。卷尾作者自题：“笔正写山横，烟云乱石生。破窗蕉雨过，添却砚池平。十日画成，海天雨霁，红日窗明，展卷题之。康熙丙戌年秋仲，墨井道人。”钤“墨井”印。\n“丙戌”是清康熙四十五年（1706年），吴历时年75岁。\n尾纸处吴历自跋：“余近年作画，似勤似懒，有时不辞呵冻，忘暑忘餐，挥毫疾就；有时春暖晴窗，楮墨精良，对之瞌睡。吾不知此病之所来，或谓老之故也。然少年辈往往亦有如此。予数日前颇觉腕力笔健，漫学山樵而成小卷，虽未得其超逸，观之亦可消长夏。五月墨道人又跋。”下钤 “吴历之印”、“墨井道人”，迎首钤“延陵”。\n本幅及自跋纸上鉴藏印有“陆廷燦印”、“平原陆幔亭鉴藏印”等。后幅有戴兆芬、公望、顾文彬三家题记。\n作者在尾纸中说此图系学元代王蒙之笔，确有苍茫超逸之意。全图多用干笔勾廓，粗笔皴擦，浑朴厚实，脉络分明。由于画家早年曾寓居澳门，接触过一些西洋绘画，画中的群山呈显出阴阳向背，似有晴日当空之感，群峰层层推向远方，颇有些空间意识。吴历是中国山水画史上最早融合西洋绘画的画家，该图十分自然妥贴地吸收了西洋绘画重明暗、讲透视的造型技巧，是为一绝。",[23,104,24,25,58,29,26,27,7,31,32,64,292,295,595,61,62,2890],"晴霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0012b5f25c464e3c315914ea34a89b42.jpg","纵22.8厘米，横157.3厘米",[44],30,{"id":2896,"slug":2897,"title":2898,"dynasty":332,"author":2899,"museum":130,"description":2900,"tags":2901,"thumbUrl":2903,"material":240,"size":241,"collection":122,"collections":2904,"showCount":2894,"zanCount":313,"manualWeight":11,"mainColor":71},287874,"xi-hu-shi-jing-tu-juan-dong-bang-da-287874","西湖十景图卷","董邦达","虽名为「十景」，画上却以隶书标注了西湖五十四处景点：断桥残雪、平湖秋月、曲院风荷、三潭印月、苏堤春晓、柳浪闻莺、双峰插云、花港观鱼、雷峰西照、南屏晓钟等等。\n乾隆皇帝在南巡前从未亲访江南。他对江南的所有印象与知识，皆构筑在相关图籍或他人的描述上。这件〈西湖十景〉卷，为南巡出发前夕，臣工提供给他各式江南旅游资讯的例子。此画为董邦达（1699-1769）所绘製，虽名为「十景」，画上却标出五十四个景点，将西湖可游处扩增五倍以上，实为「招游」之作。乾隆皇帝在南巡前一年（1750）的题跋，显示此图的确挑起游兴，让他打算于明春南巡时亲自感受久闻的西湖之美，印证实境与画境。诗句中流露出他对游览西湖的期待之情。\n康乾二帝每次南巡前后，都会有官绘本西湖图问世，或是为皇帝南巡作详导，或是总结皇帝南巡圣迹。故而，传世“西湖十景”图以清宫旧藏为主体。在这些清宫旧藏的“西湖十景”图中，董邦达为数最巨，有5件之多。",[23,104,24,25,58,148,82,29,1957,7,34,31,86,114,85,2902,168,292,64,60,62],"古塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce2ff4504c2d496d7a2e818e1566ebad.jpg",[],{"id":2906,"slug":2907,"title":2908,"dynasty":18,"author":502,"museum":130,"description":2909,"tags":2910,"thumbUrl":2911,"material":122,"size":122,"collection":122,"collections":2912,"showCount":2894,"zanCount":11,"manualWeight":11,"mainColor":48},227953,"tu-ye-zhao-bo-ju-227953","图页","此作为典型宋代青绿山水，石青、石绿晕染山峦，厚重雅致间衬以赭石暖调，冷暖相映，晕化出山水层叠悠远的空蒙意境。\n\n画面开合有度，远山嵯峨葱郁，近渚水色澹澹，坡岸苍松劲挺成林，生机盎然。水岸营寨旌旗飘展，泊船静立，身形微小的人物情态具足，行旅场面写实生动，将山水之秀与行旅之境相融。\n\n它承继唐代青绿山水的明艳富丽，又兼具宋代院体画的精工写实，笔致细腻秀雅，兼顾全景意境与细节刻画，把随行驻泊的日常图景置于秀山丽水间，尽显宋画雅致隽永的山水意趣。",[23,104,24,25,81,82,83,29,84,64,32,31,292,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5813535dd91fdde5ef9a939c994bbe3f.jpg",[],{"id":2914,"slug":2915,"title":2916,"dynasty":332,"author":2917,"museum":130,"description":2918,"tags":2919,"thumbUrl":2921,"material":122,"size":122,"collection":122,"collections":2922,"showCount":2894,"zanCount":11,"manualWeight":11,"mainColor":71},224540,"re-he-xing-gong-quan-tu-guan-nian-ci-224540","热河行宫全图","管念慈","采用全景鸟瞰视角，将行宫城池与环伺群山铺陈于卷间，界画工致严整，山林皴染苍劲古拙。规整的朱红宫墙楼宇，错落嵌入层峦叠翠之间，山道逶迤串联起星罗棋布的山野梵宇行宫。\n\n整体疏密相宜，既细致还原了行宫的恢弘规制与山水格局，又晕染出塞北离宫融于山野林泉的清旷意趣，色彩沉雅厚重，细节入微，是兼具纪实地理价值与传统工笔审美意韵的佳作。",[23,24,58,82,205,83,29,85,206,2920,1307,7,31,87],"城墙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfbd962cf16f4ca63b56ed8d350b757a.jpg",[],{"id":2924,"slug":2925,"title":2926,"dynasty":332,"author":2777,"museum":130,"description":2927,"tags":2928,"thumbUrl":2929,"material":122,"size":122,"collection":122,"collections":2930,"showCount":2894,"zanCount":11,"manualWeight":11,"mainColor":71},224404,"lu-tai-nan-shan-ji-cui-chang-juan-wang-yuan-qi-224404","麓台南山积翠长卷","此作以全景铺展江南盛景，浅绛间糅青绿晕染，层峦叠嶂迤逦开合，丘壑繁密却丝毫不失章法，尽显山川龙脉走势。汀渚渔舟、山居村舍错落点缀，水烟澹澹，山林苍郁，笔墨沉厚老辣，干笔皴擦间又带秀润，层层积染出山峦的雄浑华润质感。将元人简逸笔意化为沉雄苍浑的气度，恪守文人画理法的同时，以细密繁复的构图铺陈胸中丘壑，尽数绘就江南山川的郁茂苍翠与静穆灵秀，是兼具笔墨意趣与山水神韵的佳作。",[23,104,24,25,58,29,82,27,7,31,182,64,32,181,292],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56a81172077ff8b61901ecd9eb2cce38.jpg",[],{"id":2932,"slug":2933,"title":2934,"dynasty":53,"author":777,"museum":20,"description":778,"tags":2935,"thumbUrl":2937,"material":153,"size":2938,"collection":122,"collections":2939,"showCount":2940,"zanCount":313,"manualWeight":11,"mainColor":71},290887,"qiu-lin-shu-wu-tu-zhou-dong-qi-chang-290887","秋林书屋图轴",[24,26,148,916,2936,293,237,30,86,32,7,60,62,27,2407],"书屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9db59da3812da6dde86cc332da23c731.jpg","54.4x58.1",[],29,{"id":2942,"slug":2943,"title":2944,"dynasty":143,"author":2945,"museum":130,"description":2946,"tags":2947,"thumbUrl":2951,"material":240,"size":241,"collection":122,"collections":2952,"showCount":2940,"zanCount":11,"manualWeight":11,"mainColor":48},288341,"lv-dong-bin-guo-yue-yang-lou-tu-xia-yong-288341","吕洞宾过岳阳楼图","夏永","夏永，精界画，特别擅长宫殿楼阁界画，师法王振鹏。所作《滕王阁图》《黄鹤楼图》《岳阳楼图》用细若发丝线描为之，刻画细腻，气势宏伟，把巍峨楼阁融于浩渺旷远之自然景观中。《花间笑语》云：“细若蚊睫，侔于鬼工。”画上并以细微楷，写王勃《滕王阁序》或范仲淹《岳阳楼记》，用笔极为精细而不失矩度，堪称界画绝品。元至正七年（1347）作岳阳楼图。以发绣滕王阁、黄鹤楼图，细若蚊睫，侔於鬼工。按明远作品存世有滕王阁图、岳阳楼图两斗方见唐五代宋元名迹，界画精细，上细书滕王阁赋、岳阳楼记，正若花间笑语所云：“细若蚊陡，侔於鬼工。”或亦以此而误为发绣，待考。摘自《花间笑语、君台观左右帐记》。",[24,104,205,26,85,7,2948,2949,2950],"岳阳楼","吕洞宾","道教神话","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d9430d5d84e56f6bcf030407da1ce84.jpg",[],{"id":2954,"slug":2955,"title":2956,"dynasty":332,"author":333,"museum":55,"description":2957,"tags":2958,"thumbUrl":2959,"material":481,"size":2960,"collection":44,"collections":2961,"showCount":2940,"zanCount":313,"manualWeight":11,"mainColor":48},236106,"tang-dai-qing-luan-chun-ai-tu-zhou-tang-dai-236106","唐岱晴峦春霭图轴","此图为竖构图，虽布置繁密却不杂乱。层次分明，经营有序，过渡自然，彼此虚实相生、错落有致。用笔秀劲凝重，深沉厚实，境界深远，墨色苍厚明润，变化丰富有灵气，可以看出作者状物写情的修养和功力。在技法上作者运用了勾、皴、点、染多种表现形式，如山石先用干笔皴擦，再以浓墨横笔点苔，使画面富有立体感。整幅画面色泽淡雅，在近石、远山及亭台上略施淡赭和花青，烘托出高雅幽然的意境。\n此画轴综观画面，重山叠嶂，霭横暗峦，曲流小径，回旋辗转，蜿蜒于隔山之壑。其间水榭山居，高树疏林，疏密有致，加之亭台小桥，别有韵味。好一派万物复苏，生机盎然的春季之景。那高低起伏的山峰层层错落，渐次推远，在蒸腾的云雾中忽隐忽现，最终消失在苍茫的水天之际。\n春霭缭绕，横贯于山腰之间，把远山近石自然地衔接起来，使整个画面意境幽远，静寂悠闲。山顶上、河岸上都长满了各种草木，有的顽强的扎根于石缝间，姿态挺拔俊秀，虽不比盛夏之苍茂，然比之深秋之萧瑟，寒冬之疏落，则充满生命的活力。远处山崖间瀑布高悬，如银河一般飞流直下，直冲烟岚之中，汇成溪流，顺着蜿蜒的溪岸流淌而来。笔者仿佛听到潺潺的流水声与远处瀑布的轰鸣声自然交汇，传人山谷，直至那浩茫的远山，又回荡在树石草木之间，与鸟鸣、树声、风声交融在一起，构成了一部天然的交响乐，这便是所谓的天籁之音吧!看那山间平台上、坡岸上、溪流上两三点缀的水榭亭台，在树木的掩映下若隐若现，使画面又透露着一种幽深的意味。面对如此美景，真想走出书斋把自己的身心融入这画一般纯洁平静的大自然中，去倾听那美妙的“乐音”。",[24,25,80,82,27,29,7,31,32,34,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20f247378ce430f21abc039c0e4473ae.jpg","108 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cm",[44,94],{"id":2963,"slug":2964,"title":2965,"dynasty":332,"author":581,"museum":130,"description":2966,"tags":2967,"thumbUrl":2975,"material":240,"size":241,"collection":122,"collections":2976,"showCount":2940,"zanCount":11,"manualWeight":11,"mainColor":48},234413,"zhi-xing-fu-mu-tang-ka-yi-ming-234413","智行佛母唐卡","唐卡（Thang-ga）也叫唐嘎，唐喀，系藏文音译，指用彩缎装裱后悬挂供奉的宗教卷轴画。唐卡是藏族文化中一种独具特色的绘画艺术形式，题材内容涉及藏族的历史、政治、文化和社会生活等诸多领域，传世唐卡大都是藏传佛教和本教作品。\n唐卡是藏族文化中一种独具特色的绘画艺术形式。具有鲜明的民族特点、浓郁的宗教色彩和独特的艺术风格，用明亮的色彩描绘出神圣的佛的世界；颜料传统上是全部采用金、银、珍珠、玛瑙、珊瑚、松石、孔雀石、朱砂等珍贵的矿物宝石和藏红花、大黄、蓝靛等植物为颜料以示其神圣。这些天然原料保证了所绘制的唐卡色泽鲜艳，璀璨夺目，虽经几百年的岁月，仍是色泽艳丽明亮。因此被誉为中国民族绘画艺术的珍品，被称为藏族的”百科全书”也是中华民族民间艺术中弥足珍贵的非物质文化遗产。\n传统唐卡的绘制要求严苛、程序极为复杂，必须按照经书中的仪轨及上师的要求进行，包括绘前仪式、制作画布、构图起稿、着色染色、勾线定型、铺金描银、开眼、缝裱开光等一整套工艺程序。制作一幅唐卡用时较长，短则半年完成，长则需要十余年。",[1261,83,82,2968,80,84,2969,2970,7,31,2971,2972,2973,2974],"重彩","祥云","花卉","火焰纹","背光","宝相花","装饰图案","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47919a6f05c0b86e438887ba4126ae79.jpg",[],{"id":2978,"slug":2979,"title":2980,"dynasty":332,"author":1749,"museum":130,"description":2981,"tags":2982,"thumbUrl":2983,"material":240,"size":241,"collection":122,"collections":2984,"showCount":2985,"zanCount":11,"manualWeight":11,"mainColor":71},290180,"tao-an-tu-zhou-hong-ren-290180","陶庵图轴","本幅是作者送友人汪尧德的写生之作。汪尧德（1620—1685年），字子陶，号陶庵、子翁居士，歙县潜口人(见《康熙歙县志》)。早年客居松江，与董其昌、陈继儒等文人交往。晚年家居30年，以书画自娱。此图是弘仁与友人罗逸（字远游，歙县人）游黄山经过潜口时所绘汪尧德隐居之所。其屋舍傍山而筑，临溪而建，一片离尘幽美之景。作者以折带皴和干笔渴墨表现山石，得徽地清幽冷峻的山林之美；以苍劲整洁的线条勾出柳丝，得生机盎然之趣。其洗练简逸的笔墨与汪氏简朴的居所相得益彰，映衬出汪氏志在清高自守、乐在林泉云游的脱俗之气。",[23,24,80,26,29,293,7,182,86,62,27,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfb845dce80ebf0ae222beb3c4e517a4.jpg",[],28,{"id":2987,"slug":2988,"title":2989,"dynasty":18,"author":581,"museum":130,"description":2990,"tags":2991,"thumbUrl":2994,"material":240,"size":241,"collection":122,"collections":2995,"showCount":2985,"zanCount":11,"manualWeight":11,"mainColor":48},289782,"xi-shan-chun-xiao-tu-yi-ming-289782","溪山春晓图","平远视角铺展出江南早春的缱绻景致，淡墨晕染山峦，烟岚轻笼起伏丘壑，晕开朦胧温润的春日底色。坡岸桃枝缀着浅绯新花，杂木抽芽，深浅绿意与粉红花色交织，漫开融融春意。\n\n溪湾回环，水面空明如镜，三两渔舟泛波，艄公悠然摇橹，野舍错落藏于林麓间，溪桥横陈连通幽境。笔墨秀雅清润，水墨间施淡彩，轻重相宜地勾勒出春日山水的柔婉生机，将江南乡野的静谧恬美尽数铺陈，把春风拂过溪山的温柔瞬间定格绢素，尽显平和悠远的山水雅意。",[23,104,24,58,82,29,27,7,31,1393,32,64,86,2992,424,2993],"农舍","闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc064e439aeef992d464680650ec944d9.jpg",[],{"id":2997,"slug":2998,"title":2999,"dynasty":18,"author":3000,"museum":130,"description":3001,"tags":3002,"thumbUrl":3005,"material":240,"size":241,"collection":122,"collections":3006,"showCount":2985,"zanCount":11,"manualWeight":11,"mainColor":48},288838,"xue-zhan-xing-qi-tu-liang-kai-288838","雪栈行骑图","梁楷","画中表现了深冬山中，白雪覆盖了山林，两位行人骑着牲口匆匆赶路的情景。\n技法上基本是以没骨方式染出雪山，以少许淡墨略皴，用生动的笔划画出人物与丛树。整幅画用笔很少，反映了梁楷的“画法简逸”、“惜墨如金”的风格。",[23,24,26,29,408,293,7,584,3003,3004],"骏马","荒寒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7508281f04486f0a2ac32fdec785ce46.jpg",[],{"id":3008,"slug":3009,"title":3010,"dynasty":332,"author":524,"museum":130,"description":3011,"tags":3012,"thumbUrl":3013,"material":122,"size":122,"collection":122,"collections":3014,"showCount":2985,"zanCount":11,"manualWeight":11,"mainColor":71},224508,"shan-shui-ce-kai-si-shi-tao-224508","山水冊开(四)","此作用淡彩晕染出清润空濛的氤氲之气，远山以花青轻扫，糅合浅赭底色，将山岚初醒的柔缓暖意晕开。一江春水蜿蜒穿谷，两侧山石枯笔皴擦，兼施淡墨点苔，苍松矮柏错落栖于岩间，野趣横生。\n江心扁舟上渔翁垂坐，似静听水声松涛，将天地悠然诗意凝于咫尺。右上角行书题诗笔墨疏朗，与山水清寂意境相映，尽显文人画诗书画印相融的雅趣。\n整体笔致松秀灵动，删繁就简，不假雕琢却生机暗涌，将江南山水的温润澹远与幽居野钓的林下襟怀融为一体，漫溢静穆淡宕的禅意。",[23,24,25,395,26,82,29,64,32,7,31,1491,62,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa34fc4fd4add0addbea11ed1f356d11.jpg",[],{"id":3016,"slug":3017,"title":3018,"dynasty":332,"author":695,"museum":130,"description":3019,"tags":3020,"thumbUrl":3021,"material":122,"size":122,"collection":122,"collections":3022,"showCount":2985,"zanCount":11,"manualWeight":11,"mainColor":48},224432,"qian-jiang-xi-shan-tu-wang-shi-min-224432","浅绛溪山图","此作用浅绛写层叠溪山，以密集细笔皴擦出山峦苍郁厚重的肌理，林麓茅舍隐现其间，暗合幽居野逸的文人情致。后幅行书题跋笔意苍劲朴拙，书画合璧尽显文人风雅。\n整体气息浑穆沉厚，循传统山水丘壑程式又自出灵趣，简淡赭石晕染烘出山林秋意，将江南溪山的温润秀逸藏于繁密点染之间，是文人卧游林泉、澄怀观道的精神寄托，笔墨间浸着历经世事的澹然平和，尽显静雅悠长的山水意韵。",[23,24,25,58,915,82,27,61,62,29,86,32,181,294,30,31,37,7,557,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05f203733ec712aa2cbbb7186aada126.jpg",[],{"id":3024,"slug":3025,"title":3026,"dynasty":18,"author":3027,"museum":20,"description":3028,"tags":3029,"thumbUrl":3030,"material":212,"size":3031,"collection":44,"collections":3032,"showCount":2985,"zanCount":11,"manualWeight":11,"mainColor":71},218865,"liu-feng-shui-ge-tu-zhu-guang-pu-218865","柳风水阁图","朱光普","朱光普擅长画农业场景，但这幅富贵人家的亭台楼阁画却有着不同的风格。",[23,24,25,1019,82,205,85,423,29,7,31,812],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41187d0e63f2f801bb2dcdc087263985.jpg","23.1x24.5",[44],{"id":3034,"slug":3035,"title":1679,"dynasty":332,"author":3036,"museum":145,"description":3037,"tags":3038,"thumbUrl":3039,"material":122,"size":122,"collection":44,"collections":3040,"showCount":2985,"zanCount":11,"manualWeight":11,"mainColor":3041},201859,"shan-shui-zhou-lu-zu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，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。",[24,25,26,29,27,411,34,30,1764,3085,3086,2501,7,109,537],"传统山水画技法","水墨写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff62056f5499481d2ef5d82d187387f38.jpg","48.8x33.5cm",[44],{"id":3091,"slug":3092,"title":3093,"dynasty":143,"author":3094,"museum":130,"description":3095,"tags":3096,"thumbUrl":3098,"material":240,"size":241,"collection":122,"collections":3099,"showCount":3100,"zanCount":11,"manualWeight":11,"mainColor":71},290833,"ping-lin-yuan-xiu-zhou-ni-zan-290833","平林远岫轴","倪瓒","倪瓒（1301年－1374年），初名倪珽，字泰宇，别字元镇，号云林子、荆蛮民、幻霞子，江苏无锡人，元末明初画家、诗人。\n倪瓒擅画山水和墨竹，师法董源，受赵孟頫影响。早年画风清润，晚年变法，平淡天真。疏林坡岸，幽秀旷逸，笔简意远，惜墨如金。以侧锋干笔作皴，名为“折带皴”。墨竹偃仰有姿，寥寥数笔，逸气横生。书法从隶书入，有晋人风度，亦擅诗文。洪武七年卒，时年七十四岁。\n倪瓒与黄公望、王蒙、吴镇合称“元四家”。倪瓒家中富有，博学好古，四方名士常至其门。元顺帝至正初年，散尽家财，浪迹太湖。存世作品有《渔庄秋霁图》《六君子图》《容膝斋图》《清閟阁集》。",[24,80,26,29,7,31,150,181,60,62,27,3097],"清幽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04dfa51199c3ad35772c52d3f5762112.jpg",[],26,{"id":3102,"slug":3103,"title":3104,"dynasty":18,"author":3105,"museum":130,"description":3106,"tags":3107,"thumbUrl":3109,"material":240,"size":241,"collection":122,"collections":3110,"showCount":3100,"zanCount":11,"manualWeight":11,"mainColor":48},289339,"song-gang-mu-se-tu-zhao-ling-rang-289339","松冈暮色图","赵令穰","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。",[1019,24,104,148,237,7,3108,2803,26,27,1959],"暮色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1045ff175934a36d2831e2fc740593d1.jpg",[],{"id":3112,"slug":3113,"title":3114,"dynasty":332,"author":2867,"museum":130,"description":3115,"tags":3116,"thumbUrl":3118,"material":240,"size":241,"collection":122,"collections":3119,"showCount":3100,"zanCount":11,"manualWeight":11,"mainColor":48},288523,"shan-shui-ye-yuan-jiang-288523","山水页","袁江（1662年—1735年），字文涛，号岫泉，江都（今江苏扬州）人，清代画家。",[23,24,104,395,26,27,29,7,34,31,2902,3117,3097],"平岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a4a3d1ad5f6a140a5de6f967f195038.jpg",[],{"id":3121,"slug":3122,"title":3123,"dynasty":143,"author":3124,"museum":20,"description":3125,"tags":3126,"thumbUrl":3128,"material":66,"size":3129,"collection":44,"collections":3130,"showCount":3100,"zanCount":11,"manualWeight":11,"mainColor":71},287533,"lin-luan-yan-yu-tu-gao-ke-gong-287533","林峦烟雨图","高克恭","此幅画溪边小景，云气濛濛，舟子身著蓑衣正欲撑舟泊岸，溯溪而上，有茅屋三椽，远山罩于雨雾中。整幅用笔布墨甚为含蓄蕴藉，画风近于明。",[24,104,25,80,29,26,27,3127,7,31,182,32,86,64,62],"烟雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae8049e60ff73a9aa2f45d978e424016.jpg","123.5x61.2",[44],{"id":3132,"slug":3133,"title":1488,"dynasty":332,"author":627,"museum":130,"description":1489,"tags":3134,"thumbUrl":3135,"material":122,"size":122,"collection":122,"collections":3136,"showCount":3100,"zanCount":11,"manualWeight":11,"mainColor":71},237587,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237587",[24,25,104,26,810,29,27,395,7,31,32,86,182,34,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa175a195bd0ae1ffc16b04aa9a2fba7e.jpg",[],{"id":3138,"slug":3139,"title":3140,"dynasty":332,"author":3141,"museum":55,"description":3142,"tags":3143,"thumbUrl":3146,"material":226,"size":3147,"collection":122,"collections":3148,"showCount":3100,"zanCount":11,"manualWeight":11,"mainColor":48},232969,"ma-shu-tu-zhou-lang-shi-ning-232969","马术图轴","郎世宁","阿睦尔撒纳与初登准噶尔部汗位的达瓦齐因利益冲突而相互交战，阿睦尔撒纳战败后，请求归附清廷、谒见乾隆皇帝。对于阿睦尔撒纳的主动投清，乾隆皇帝大喜过望。更为重要的是，通过杜尔伯特三车凌、阿睦尔撒纳等人的归附，他进一步了解到准噶尔内部的情况，从而坚定了借准噶尔部内乱之际出兵的信心，以完成祖父康熙帝、父亲雍正帝“两朝未竟之业”。考虑到阿睦尔撒纳还未出过痘疫，因此觐见地点选在避暑山庄，时间定在寒冷的冬季。\n这一年的十一月十五日，乾隆皇帝于山庄内举行了隆重的欢迎仪式后，又招待阿眭尔撒纳与蒙古族的和特部班珠尔、杜尔伯特部的纳默库等人一道观看了精彩的马术表演。为了纪念这一具有历史意义的盛大聚会，乾隆皇帝命西洋画师郎世宁组织宫廷画家们对此进行了纪实性描绘。此幅与《万树园赐宴图》同为宏幅巨制，表现的人物众多，但经作者合理有序的布局，则显得动静相宜，杂而不乱，使主要人物被突现出来。画家并没有将乾隆皇帝特意画高画大，或安排在画幅的中心位置以引人注目，而是表现他骑花马位于由王公大臣组成的锥形队列的前端，或端坐于众人相抬的肩舆上，经画师的巧妙设计同样使人感受到乾隆皇帝威严的震撼力，从而使他成为画面中最重要的角色。",[24,82,83,80,84,320,31,1145,2381,7,3144,3145,1341],"队列","骑手","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18456d0c6c09531fcea8bf1ed82b8c13.jpg","纵223.4厘米，横426.2厘米",[],{"id":3150,"slug":3151,"title":3152,"dynasty":18,"author":404,"museum":20,"description":3153,"tags":3154,"thumbUrl":3156,"material":226,"size":3157,"collection":122,"collections":3158,"showCount":3100,"zanCount":11,"manualWeight":11,"mainColor":48},231421,"qiu-lin-fei-pu-tu-fan-kuan-231421","秋林飞瀑图","《秋林飞瀑图》纵181厘米，横99.5厘米，在传世千年的古画中，也算得上一件大作品；绢本，设色，沉淀了历史的古绢上，墨与色的辉映，那么的凝重、浑厚，摄人心魄。现藏于台北故宫博物院。图绘一山耸峙，山头山下密布丛林，有茅舍隐约其中；远处见城楼，飞瀑拾级而下，近前有木桥连岸，山路通达。这是一幅适合人居的美奂的山景，经过霜降的丛树一片绯红，秋色热烈明艳，绝无萧瑟凋蔽之感。构图并不复杂，但却极见功力：一峰高耸，山石和丛林结合在一起，层层深入；由远而近、曲折而下的山泉，则将其分割成疏密有致的空间，与茅舍、木桥、山路结合一体。无论是树木，还是山石，勾、皴的线条都十分坚挺遒劲。山下丛树的树叶，方、圆、长条之形俱备，用双勾法勾勒，凝练精到。山石用水墨依明暗分层积染，而树叶则敷以硃砂色，古雅瑰丽。整幅画映射出典型的宋画的风采。\n范宽也算得中国绘画史上的一个奇人。说到宋画，往往第一个就提他的姓名，却不能详知其生卒年月。画史称他“仪状峭古，进止疏野。性嗜酒，好道。”早年的画学荆浩、李成，虽得其精妙，但终归其下。于是他叹息道：“与其师人，不若师诸造化。”他移居于终南山、太华山，“常危坐终日，纵目四顾，以求其趣。虽雪月之际，必徘徊凝览，以发思虑。”他用心来感悟造化的鬼斧神功，对景写生，故其所画在构图、造型和透视上无懈可击。一生远离仕途，“落魄不拘世故，”却终于造就其气势雄伟壮观，笔墨刚劲凝厚的绘画风格。董其昌叹谓“宋画第一”。《宣和画谱》著录其存世的画有58件，但至今能见到的，不过十件左右。最著名的宋画的代表作之一的，当推其《溪山行旅图》。206厘米高的巨幅，恢弘压顶的气势，一笔不苟的勾勒，满纸的雨点皴，咄咄逼人的墨气，令人震撼。《秋林飞瀑图》则与之稍有不同，用的是略似小斧劈皴的线皴，这一方面可以看到范宽在师造化的过程中笔墨技法的变化，另一方面似乎也影响了其后李唐与南宋山水画家，开启了一个以斧劈皴为特点的山水画新时期。",[23,24,25,29,80,27,82,3155,107,30,31,33,7],"秋林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b24fd762e626521ef15ffbc5f9044be.jpg","纵：181厘米，横：99.5厘米",[],{"id":3160,"slug":3161,"title":3162,"dynasty":18,"author":2612,"museum":130,"description":3163,"tags":3164,"thumbUrl":3165,"material":122,"size":122,"collection":122,"collections":3166,"showCount":3100,"zanCount":11,"manualWeight":11,"mainColor":71},228326,"qiu-shan-qing-ai-tu-juan-xu-dao-ning-228326","秋山晴霭图卷","《题吴少宰题许道宁秋山晴霭图》是明代诗人沈周创作的一首诗。\n匏公题句真成画，说到江山妙有声。\n一个道宁消不得，老夫只作辋川平。\n沈周（1427-159年），字启南，号石田、白石翁，长洲（今苏州）人。\n隐居乡里，奉母耕读，终身不仕。\n其画闻名当代，与唐寅、文徵明、仇英并称“明四家”。\n且善诗，任情随事，不主一家。\n有《石田先生集》行世。",[23,104,24,25,58,29,82,916,2890,7,106,109,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b2f872b00a877fa253bba1f9c3c8f1d.jpg",[],{"id":3168,"slug":3169,"title":3170,"dynasty":332,"author":2899,"museum":20,"description":3171,"tags":3172,"thumbUrl":3173,"material":729,"size":3174,"collection":44,"collections":3175,"showCount":3100,"zanCount":11,"manualWeight":11,"mainColor":71},223110,"ceng-luan-song-cui-zhou-dong-bang-da-223110","层峦耸翠轴","绘层峦叠嶂，延绵不绝，山涧中云雾缭绕，微风吹过，松涛阵阵；山脚下流水潺潺，两间小屋依山傍水，清雅安静",[23,24,25,80,26,27,29,7,237,33,181,182,37,35,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e367094ca3e4f79f2de8319b6088256.jpg","88.1x30.9厘米",[44,45],{"id":3177,"slug":3178,"title":3179,"dynasty":332,"author":2899,"museum":20,"description":3180,"tags":3181,"thumbUrl":3185,"material":729,"size":3186,"collection":44,"collections":3187,"showCount":3100,"zanCount":11,"manualWeight":11,"mainColor":71},223106,"yun-shan-tu-zhou-dong-bang-da-223106","云山图轴","董邦达（1699－1769或1774）清代官员、书画家。字孚闻、非闻，号东山，浙江富阳人。雍正十一年进士，乾隆二年授编修，官礼部尚书，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、虔山派之间。与董源、董其昌并列。",[23,24,29,26,82,27,80,7,31,33,181,37,34,182,35,3182,3183,1083,36,165,753,2565,445,3184],"丛林","谷地","工笔结合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1f80ea2a2132aff84f3f8c4cb7be04c.jpg","180.2x71.9厘米",[44,45],{"id":3189,"slug":3190,"title":3191,"dynasty":18,"author":605,"museum":305,"description":3192,"tags":3193,"thumbUrl":3194,"material":226,"size":3195,"collection":42,"collections":3196,"showCount":3100,"zanCount":313,"manualWeight":11,"mainColor":71},221425,"qiu-shan-xiao-si-tu-yan-wen-gui-221425","秋山萧寺图","作品开卷处图绘远山溪岸，继而群峰叠起大壑飞瀑，颇为壮观，再次又转入平川冈阜秋树远山，渐成清远之境，布局变化错落有致。\n全卷以水墨为主，间以简淡之赋色，山石皴纹笔墨苍劲，林木结构系出于 传派，与传世 作品之风格有出入，似应为南宋画家的手笔。\n卷上有燕文贵小字款，乃后人所加。",[23,104,24,25,58,26,82,27,29,999,1307,31,30,34,7,847,294,1083,32,181],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb3bb3f7fd9c75615971c67aad3349df.jpg","32.5x321",[42,44,45],{"id":3198,"slug":3199,"title":3200,"dynasty":18,"author":581,"museum":145,"description":3201,"tags":3202,"thumbUrl":10,"material":122,"size":122,"collection":122,"collections":3203,"showCount":3100,"zanCount":11,"manualWeight":11,"mainColor":3204},203027,"shan-lu-you-ting-tu-ye-deng-ce-yi-ming-203027","山麓幽亭图页等册","淡墨晕染的山峦如黛，云雾似轻纱漫过层峰，晕开悠远的空濛。近岸幽亭藏于疏林，孤舟静泊水湄，似载着未散的闲愁。笔触简淡却意韵绵长，将江南山麓的静谧与清寂凝于册页，尽显宋人山水的空灵之境。风过林梢，波泛轻纹，皆在墨色深浅间流转，引人步入那远离尘嚣的悠然天地。",[24,104,26,82,27,29,181,64,109,7],[],"83644e",{"id":3206,"slug":3207,"title":3208,"dynasty":332,"author":627,"museum":55,"description":2046,"tags":3209,"thumbUrl":3210,"material":3211,"size":3212,"collection":44,"collections":3213,"showCount":3214,"zanCount":11,"manualWeight":11,"mainColor":1555},236363,"cui-wei-qiu-se-zhou-wang-hui-236363","翠微秋色轴",[24,25,80,26,27,29,31,30,150,165,166,850,7,88],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fbeebb1e51bd250ab9609e911e94915.jpg","纸本 ，淡设色","纵63.5cm，横36.3cm",[44,45,947],25,{"id":3216,"slug":3217,"title":3218,"dynasty":53,"author":878,"museum":55,"description":3219,"tags":3220,"thumbUrl":3221,"material":481,"size":3222,"collection":122,"collections":3223,"showCount":3214,"zanCount":11,"manualWeight":11,"mainColor":71},233967,"guan-shan-xing-lv-tu-zhou-dai-jin-233967","关山行旅图轴","本幅署款“静庵”，无年款，从趋于成熟的集大成面貌判断，当作于戴进晚年的天顺年间（1457—1464年）。\n作品所取题材和布局均源自北宋李成、郭熙派系。图绘高远、深远的全景山水，主山居中，巍然屹立，高峻雄伟，左右诸景相衬，呈金字塔形的稳定构图，气势宏阔。诸景系连紧密自然，高远和深远感主要依仗景色之间的内在联系加以体现，如中景布置村落，有坡堤、土路与前景的垒石、松树、河面、板桥相连，丛林、山道又与远景的峻岭、城阙相接，由此可由近及远，从下至上。布景已克服了画家中年时期欠成熟的痕迹，即藉不自然的树石堆砌或人为的烟云安插来制造高和远，表明戴进晚年已较好地领悟了北宋山水的优长，重视天然布势，力求真实自然。\n画面展现的生活场景真实生动，富有生机。近处板桥上三驴踯躅而行，两位行旅者挑担、背筐后随，显出长途跋涉后即将歇息的放松状态。中景村落中几间简陋茅屋，诸多人物活动其间，有卸担询问的行旅人，有招待客人的店家，有闲坐嬉玩的稚童，还有小狗守立村头，这些情节真实地传达出僻远山村简朴、平和的生活气氛。远景山道上又有拉驴上山者，躬腰挑担下山者，另显一番艰辛情状。环境可居可游，观者如身临其境，如北宋郭熙在《林泉高致》中所倡导的：“可行可望，不如可居可游之为得。”\n此图画法呈集大成面貌。山川体势取诸家之长，高峻主山近李唐，近处垒石如郭熙，劲直松干仿刘松年，繁密苔点和树丛又取自盛懋，而且结合得妥帖自然，少中年时的拼凑、失真痕迹，整体气势既雄伟又浑厚，既郁茂又清朗，体现出画家力图融南北山水特色于一体，集阳刚阴柔于一身的追求。笔墨方面亦不拘一格，根据物象灵活运用。勾皴点染结合，干湿浓淡交融，中锋侧笔并用，圆润劲健交替，皴法多样，有斧劈、披麻、点子诸皴，点叶丰富，有夹叶、点叶、攒针诸法，显示出富有变化又十分纯熟的技艺。此图堪称戴进晚年精品。",[24,104,80,26,27,29,237,35,150,182,7,31,584,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ac0a0c15fc8e857f3e1f36e5c19ea41.jpg","纵61.8厘米，横29.7厘米",[],{"id":3225,"slug":3226,"title":3227,"dynasty":332,"author":524,"museum":55,"description":3228,"tags":3229,"thumbUrl":3230,"material":620,"size":3231,"collection":122,"collections":3232,"showCount":3214,"zanCount":11,"manualWeight":11,"mainColor":71},233130,"yuan-ji-shan-shui-ce-shi-tao-233130","原济山水册","本册共八开。设色画山水小景。\n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。",[24,25,395,26,82,27,29,30,31,182,1083,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c90f5b10c8750c2a37695ac1a3187d5.jpg","纵33.2cm，横22.8cm",[],{"id":3234,"slug":3235,"title":3236,"dynasty":143,"author":3094,"museum":3237,"description":3238,"tags":3239,"thumbUrl":3246,"material":620,"size":3247,"collection":122,"collections":3248,"showCount":3214,"zanCount":11,"manualWeight":11,"mainColor":71},232639,"shui-zhu-ju-tu-ni-zan-232639","水竹居图","中国国家博物馆","此图以青绿设色绘江南初秋景色。山势低平，山前溪水渚坡坡上杂树五株，树后茅屋丛篁。画中笔墨沉实，赋形具体，山色苍翠，画法谨严运笔圆滑苍劲，略有董、巨遗法。\n此图写一仙居景致，其中静水潺潺，间以坡石、水渚、小桥相错；近岸处坡石层累，其上疏木参差偃仰，虬枝繁叶；近岸平地，一茅舍院落掩映树间，若隐若现；栅外修竹环绕，浴风飒飒；远处群峦竞秀，青翠欲滴；山下岸处坡石簇簇，林木深深。\n按图上作者题款：“至正三年，癸未岁八月望日，进道过余林下，为言僦居苏州城东有水竹之胜。因想像图此……” 知，此《水竹居图》作于元至正三年（1343年），倪瓒43岁时作品。此图系倪瓒依友人所述而浮想创作而成。\n倪瓒生长在太湖之滨的一个地主家庭里。有一所庞大的庄园，其中的清閟阁藏书画达数千卷，为倪瓒提供了成长为一个封建文人画家的物质条件。倪瓒的画，大多描绘幽居山林或漫游太湖的景色，但更多的是画了主观的感受，有着强烈的感情色彩。静谧、荒寒、孤独、空虚，可以说是倪瓒作为画家的状态写照，使内心无告的忧烦，在这样的意境中寻求排遣与解脱。《水竹居图》即是体现了这一点。\n另外，此《水竹居图》有拆割、拼配题跋、加钤伪印等迹象，故也被部分学者认为是伪作。特别是《水竹居图》上的文、董二题，分别题于诗塘和裱边，非常容易被割移、拼配，且很多书画鉴定家认为，此作品本幅上的作者印鉴本身就是被加钤的伪印鉴，但这些都并不能必然地说明《水竹居图》本身为伪作。现多数鉴家仍评定，此为《水竹居图》为真迹勿疑。\n《水竹居图》是倪瓒内心寻求排遣与解脱的写照，画中自题的诗句更是道出了画家的隐居思想，是倪瓒的“自娱”与“适兴”之作。该图是画家根据友人叙述，景州城东有水竹胜景，依靠想象图绘坡石、树木、茅屋等景象。在题诗中画家想象了在此隐居，与琴诗为伴的理想生活。诗都反映出元代中晚期的隐逸思想。元代中后期的隐逸是一种任情适性，是将个人的精神价值与日常生活行为相融合的生活方式。文人不再热衷于在政治上有所作为，而是在自然中寻求自我身境与心境的安适。\n此《水竹居图》中“一水两岸”，即由近坡、中水、远丘组成的“三段式”构图，画面中的竹树茅屋，隔溪远岫平林但由于前后景排得较近，所以显得紧凑坚实，所写物象、图上晋韵小楷长题及荒寒幽冷之意境则与之一脉相承，整个画面弥散着幽静、清凉的气氛。\n《水竹居图》用笔浑厚圆润，与后来的轻笔渴墨显然不同，但内在笔性还是一致的。图中树叶用松针点、介字点、仰叶点等数种，用笔浓淡相间，树干多渲染皴擦，极近形似。远处的树，树干只用淡墨画出外轮廓，没有皴染，树叶用排点点出，显得郁郁葱葱，似不经意而韵味内存。唐志契在所著《绘事微言》中提到树木画法时说：“写枯树最难苍古，然画中最不可少名家枯树各各不同，如荆关则于秋冬二景最多，其枯枝古而浑，乱而整，简而有趣，到郭河阳则用鹰爪，加以细密，如范宽则其上如扫帚样，亦有古趣，李成则繁而琐碎，笔笔清劲，董源则一味古雅，简当而已。倪元镇则数君可以兼之，要皆难及者也。”《水竹居图》里的树木，有董源的简当古雅之质，特别是后面的排树，在后面的山体的衬托下，很容易让人看到董源《潇湘图》的影子。\n明代宗泐：“山人水行居，画图看更好，十年不归来，茅屋秋风老。”（《题〈水竹居图〉》）\n明代张丑：“余初蓄户南仙山楼阁卷，人多致焉，赖久之未几自定……乃今赏鉴元镇僦居城东矮幅，虽家喻尸晓，弗信也，鲜有不非笑之者，然不笑不足以为道。鸣呼.安能起三公于九原与之面相印可耶？”（《清河书画舫》）\n近代书画鉴赏家马宝山：《水竹居图》是倪早年作品，与其晚年作品本有所不同。（《书画碑帖见闻录》）",[23,24,148,444,3240,117,3241,1204,3242,86,109,7,3243,3244,1959,3004,3245,1072,60,62,27],"青绿设色","修竹","溪水","水渚","仙居","幽冷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40b691851048c31237d37c2b1b88f286.jpg","纵48厘米，横28厘米",[],{"id":3250,"slug":3251,"title":3252,"dynasty":53,"author":777,"museum":130,"description":3253,"tags":3254,"thumbUrl":3255,"material":122,"size":122,"collection":122,"collections":3256,"showCount":3214,"zanCount":11,"manualWeight":11,"mainColor":71},230905,"fang-huang-zi-jiu-jiang-shan-qiu-ji-tu-dong-qi-chang-230905","仿黄子久 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霭之间，水天相融尽得平远之致。继而丘壑渐起，田畴村落错落于林麓溪畔，野趣盎然。中段奇峰崛立，皴笔苍劲厚重，林木蓊郁间隐见山居梵塔，兼得高远深邃。末段山峦复归淡远，墨色晕染间烟岚轻笼。\n全作用笔清润灵秀，干笔皴擦间兼具宋元山水之妙，以诗意入画，将江南山水的温润清和、林泉雅趣缓缓铺陈，移步换景间，尽显山河安闲悠然之态。",[23,24,58,148,27,82,29,7,165,31,182,292,1225,37,30,2678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9deecc02f68f4e5c292be2c407e77717.jpg",[],{"id":3326,"slug":3327,"title":3328,"dynasty":332,"author":627,"museum":405,"description":3329,"tags":3330,"thumbUrl":3332,"material":66,"size":3333,"collection":122,"collections":3334,"showCount":3294,"zanCount":11,"manualWeight":11,"mainColor":71},217211,"fang-gu-shan-shui-shi-er-kai-qi-wang-hui-217211","仿古山水十二开(七)","此册王翚仿古十二开",[24,26,82,27,395,237,30,165,674,2822,32,31,3331,7],"草丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c32ce4200c41428eb08270af482d9f5.jpg","25x35.4cm",[],{"id":3336,"slug":3337,"title":3338,"dynasty":332,"author":581,"museum":130,"description":3339,"tags":3340,"thumbUrl":3347,"material":66,"size":122,"collection":44,"collections":3348,"showCount":3294,"zanCount":11,"manualWeight":11,"mainColor":71},215858,"xi-yang-jian-wen-tu-hui-shan-shui-tu-juan-yi-ming-215858","西洋见闻图绘-山水图卷","画面铺展开阔海面与层叠山峦，淡彩晕染的峰峦间，岛屿错落。中式帆船与西式多桅舰船往来穿梭，尽显海上交通的繁盛。岸边西式建筑与传统山水笔墨相融，勾勒出中西交流的鲜活场景。淡雅的色调中，既有传统山水画的悠远意境，又藏着近代海上贸易的生动印记，是历史与艺术交织的珍贵遗存。",[23,24,58,82,29,1998,7,767,3341,3342,3343,3344,3345,3346],"中式帆船","西式舰船","西式建筑","海上贸易","中西交流","淡彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F626e6ce52d48541cd4ba0b7c83faf208.jpg",[44],{"id":3350,"slug":3351,"title":3352,"dynasty":18,"author":581,"museum":20,"description":3353,"tags":3354,"thumbUrl":3356,"material":212,"size":3357,"collection":122,"collections":3358,"showCount":3359,"zanCount":11,"manualWeight":11,"mainColor":253},290770,"qing-jiang-yu-yin-zhou-yi-ming-290770","清江渔隐轴","该幅画渔舟四叶浮于江。岸边，复有渔夫张罟捕鱼。林麓间，可见楼宇相参，旅人策蹇。中景主峰耸立，饶具压顶的气势。",[24,80,148,27,29,32,64,2118,31,7,3355],"鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81c5e292a2daa5b253a162f3fd0e9034.jpg","151.5x111.1",[],23,{"id":3361,"slug":3362,"title":3363,"dynasty":18,"author":534,"museum":130,"description":1854,"tags":3364,"thumbUrl":3365,"material":240,"size":241,"collection":122,"collections":3366,"showCount":3359,"zanCount":11,"manualWeight":11,"mainColor":48},289945,"yao-cen-yan-ai-tu-xia-gui-289945","遥岑烟霭图",[23,1019,24,104,26,27,29,7,31,114,1764],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf728f7b38a208795cc80156bf7dc13e.jpg",[],{"id":3368,"slug":3369,"title":3370,"dynasty":53,"author":777,"museum":130,"description":778,"tags":3371,"thumbUrl":3373,"material":240,"size":241,"collection":122,"collections":3374,"showCount":3359,"zanCount":11,"manualWeight":11,"mainColor":71},283749,"qiao-mu-zhou-yin-tu-zhou-dong-qi-chang-283749","乔木昼阴图轴",[24,26,80,29,3372,7,295,34,60,62,27],"乔木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F582d87c9d9d0f019697b81e9c1a0575d.jpg",[],{"id":3376,"slug":3377,"title":3378,"dynasty":332,"author":952,"museum":130,"description":3379,"tags":3380,"thumbUrl":3381,"material":122,"size":122,"collection":44,"collections":3382,"showCount":3359,"zanCount":11,"manualWeight":11,"mainColor":48},238120,"zi-jiu-shan-shui-zhou-wang-jian-238120","子久山水轴","王鉴（1598年～1677年），字元照，一字圆照，号湘碧，又号香庵主，江南太仓人，明末清初画家，“四王”之一。\n万历二十六年（1598年）出生，崇祯六年（1633年）举人。后任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。\n吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。康熙十六年（1677年）去世，享年八十岁。",[24,80,26,29,27,7,31,182,86,32,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fec101e743627000ca6e774bee120ef.jpg",[44,45],{"id":3384,"slug":3385,"title":3386,"dynasty":332,"author":581,"museum":130,"description":3387,"tags":3388,"thumbUrl":3389,"material":122,"size":122,"collection":122,"collections":3390,"showCount":3359,"zanCount":11,"manualWeight":11,"mainColor":71},235335,"wang-jian-fang-gu-shan-shui-ce-yi-ming-235335","王鉴仿古山水册","此作绘冬日山林雪景，层峰叠峙，积雪覆于嶙峋山石与枯木之上，以留白晕染出清寒空濛之意。山坳飞瀑垂落，崖畔古寺幽藏，萧寒之中暗蕴灵动生机。\n笔墨苍秀沉厚，以干笔皴擦勾勒山石肌理，淡墨晕铺雪色，布景繁密却通透空灵。将宋元山水古雅意韵融于尺幅，简淡清旷间尽显林泉萧疏淡远之致，可观可游，静中生趣，尽显仿古山水的雅致格调。",[24,25,395,82,29,7,31,85,61,62,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11341c2949a21315b30cb3cbf08de4c6.jpg",[],{"id":3392,"slug":3393,"title":1679,"dynasty":332,"author":695,"museum":55,"description":3394,"tags":3395,"thumbUrl":3396,"material":904,"size":3397,"collection":122,"collections":3398,"showCount":3359,"zanCount":11,"manualWeight":11,"mainColor":71},234845,"shan-shui-zhou-wang-shi-min-234845","此幅构图为王时敏所作之常见格局，峰峦叠嶂，林木丛生，溪流小桥，屋舍隐现，一派江南的山水景象。用笔古秀，布局深远，以披麻皴写山石，浓墨点苔，意境近黄公望，为王氏代表作。",[104,24,26,80,29,27,409,411,237,182,37,35,33,7,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50d58442ca928e49e5aad06b4764cbc2.jpg","纵135厘米，横63厘米",[],{"id":3400,"slug":3401,"title":3402,"dynasty":53,"author":3403,"museum":130,"description":3404,"tags":3405,"thumbUrl":3406,"material":122,"size":122,"collection":122,"collections":3407,"showCount":3359,"zanCount":11,"manualWeight":11,"mainColor":71},234670,"cong-shan-shui-shan-mian-gong-yun-234670","从山水扇面","龚云","扇面画的历史源流，据张彦远《历代名画记》记载，三国时，曹操就有请杨修为其画扇的故事。到了唐代画扇之风更为盛行，当时的扇子还是圆形的，故称团扇。宋代宫廷画家更是画扇成风，且留下扇面画也很多，扇子的形制出现了芭蕉形的扇子。集书法、绘画于一扇，则始于明代，这是因为折扇形式的出现。国人历来都有这种习性，一件实用品总要给它艺术化，扇面画就是这样经过明清书画家的匠心经营，从而逐步确定了其作为一种独特的艺术品种而广泛普及、流传下来，继而也逐步形成了扇面画独立的审美体系。及至清代、民国，扇面画都是书画家乐于染翰和文人雅士乐于把玩、收藏的艺术品。",[1019,24,25,26,82,29,86,32,64,292,181,7,85,84,62,27,294],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0deb888dcc6e61f9401f6daf73a09633.jpg",[],{"id":3409,"slug":3410,"title":3411,"dynasty":53,"author":54,"museum":130,"description":3412,"tags":3413,"thumbUrl":3414,"material":122,"size":122,"collection":122,"collections":3415,"showCount":3359,"zanCount":11,"manualWeight":11,"mainColor":71},228826,"liang-jiang-ming-sheng-tu-ce-shen-zhou-228826","两江名胜图册","此作用笔兼工带写，右侧苍松掩映下的官式院落界画工细严整，层叠峰峦以披麻皴晕染，墨色苍润厚重，山间云霞淡晕铺陈，烘托出空蒙出尘的仙气，将林泉雅致与山峦雄浑相融。\n\n左侧题跋行书舒展苍劲，诗画合璧，以文衬景。整体将实景胜迹的肃穆雅致，与文人写意的空灵悠远结合，兼具院体画的工致细腻与文人画的简逸意趣，铺陈出江南丘林的沉静大气，寄寓文人林泉高致的审美意趣，尽显山水胜景的意境之美。",[24,25,395,82,29,205,85,31,30,87,207,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9e80b34b0e5224393097d95fc097fe6.jpg",[],{"id":3417,"slug":3418,"title":3419,"dynasty":332,"author":2777,"museum":130,"description":3420,"tags":3421,"thumbUrl":3422,"material":122,"size":122,"collection":122,"collections":3423,"showCount":3359,"zanCount":11,"manualWeight":11,"mainColor":71},224387,"fang-huang-zi-jiu-she-se-shan-shui-wang-yuan-qi-224387","仿黄子久设色山水","《王原祁仿黄子久设色山水轴》，清代山水画，现藏于辽宁省博物馆。\n绢本，设色。\n画心纵122.71，横52.8厘米。\n山峦俊秀，双峰突起，白云迷漫的远山，似起伏的海浪。\n山上山下屋宇排列整齐有绪，泉水沿岩石款款而下，汇成山角下半湖碧水。\n水天相处缀以小汀洲渚，板桥旁又有水榭数楹。\n山石繁密，草木葱茏，山下的几株大树掩映溪水，构成了山山相连的效果。\n高崖峻壑，采用纵线的披麻皴，平林打上横卧点子叶，这种纵横交错的用笔，形成一种强烈的节奏感；重施石青、石绿，色艳明快，山峦显得像碧玉一样温润，给人以清新洁爽之感。\n右上角自识：“康熙癸末(17)春日仿黄子久似恺翁老先生麓台，娄东王原祁。\n”旁钤“王原祁印”、“麓台”二印。",[23,24,25,80,82,29,7,31,182,86,32,34,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d4a9513c5762e39dce7925cea01d4a8.jpg",[],{"id":3425,"slug":3426,"title":3427,"dynasty":53,"author":777,"museum":1640,"description":3428,"tags":3429,"thumbUrl":3430,"material":395,"size":3431,"collection":122,"collections":3432,"showCount":3359,"zanCount":11,"manualWeight":11,"mainColor":122},220747,"fang-ge-jia-shan-shui-9-dong-qi-chang-220747","仿各家山水-9","此作用笔松秀空灵，以枯木发端，老干虬曲苍劲，寒枝错落疏朗，自带冬日萧疏清寂之意。远景山峦以淡墨轻勾慢皴，棱角清奇又不失浑融，层层迤逦铺展，淡远空濛。水泽汀渚间错落点染渔隐闲趣，右侧村居隐于林麓之下，简淡出尘。\n\n整幅以干笔淡墨写就，脱尽繁冗，以极简笔墨铺展出萧散淡远的林下幽居之境，尽显文人画疏淡空灵的意趣，藏着闲远出尘的林下襟怀。",[23,24,26,29,59,27,62,294,63,7,31,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46161f34da1a23ec4d68b7c20dfc253b.jpg","30.5 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按此卷原签题元人，与院藏另两幅传为明代仇英所绘的上林图，构图、设色、用笔都近似，或出自同一稿本，疑皆为後人所摹。\n全画 分为七段，依次是：虚构人物子虚、乌有 、亡是公三人在屋中对话；在广阔的江水 游翔的水族与飞禽；天子的离宫别馆；天 子校阅游猎的队伍；天子骑马展开狩猎的 活动；在楼台举行歌舞宴乐；狩猎结束， 返回朝廷。全画青绿设色，运笔细腻精巧 ，与本院藏另两幅明代仇英的上林图同稿 ，作画的时代也相近。",[23,24,25,58,81,82,83,29,84,320,85,31,30,150,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F187484737692286adb84a07e7ea03fa4.jpg","该幅 47.5x1298.2公分、隔水一 14.2公分、隔水二 11.1公分、隔水三 12.1公分、隔水四 13.5公分",[],{"id":3511,"slug":3512,"title":3513,"dynasty":18,"author":581,"museum":130,"description":3514,"tags":3515,"thumbUrl":3516,"material":122,"size":122,"collection":122,"collections":3517,"showCount":3460,"zanCount":11,"manualWeight":11,"mainColor":48},227353,"xue-jing-shan-shui-tu-ye-yi-ming-227353","雪景山水图页","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。",[23,24,104,25,1019,26,82,29,408,31,182,30,27,1327,493,32,7,1051],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cfc4556f00600874ca160553f7402e2.jpg",[],{"id":3519,"slug":3520,"title":3521,"dynasty":332,"author":3522,"museum":130,"description":3523,"tags":3524,"thumbUrl":3525,"material":122,"size":122,"collection":122,"collections":3526,"showCount":3460,"zanCount":11,"manualWeight":11,"mainColor":71},224587,"tai-gu-yun-lan-zhou-zou-yi-gui-224587","太古云岚轴","邹一桂","以淡墨晕染烟岚，山峦在云气间浮沉隐现，留白与晕染相济，铺展出太古悠远空蒙的意境。前景平坡错落村舍，枯木疏林覆着薄雪，山野意趣悠然澹泊。\n\n笔致清隽秀雅，皴擦细腻妥帖，以淡墨烘托雪后山峦温润静穆的质感，云雾吞吐开合，将远山藏敛，咫尺画幅尽显辽远空寂的古淡气象，将冬山萧寒与幽寂禅意相融。文人题诗错落排布，诗画映合，兼收院体的规整细腻与文人画秀逸气质，淡远清和间，尽展天地初霁的浑茫雅致。",[23,24,80,29,27,26,7,34,31,182,37,237,293],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3480fc595a4ab95a8ecddd2b8bc62744.jpg",[],{"id":3528,"slug":3529,"title":3530,"dynasty":332,"author":524,"museum":130,"description":3531,"tags":3532,"thumbUrl":3533,"material":122,"size":122,"collection":122,"collections":3534,"showCount":3460,"zanCount":11,"manualWeight":11,"mainColor":71},224520,"shan-shui-tu-ce-8-kai-6-zhang-da-qian-jiu-cang-shi-tao-224520","山水图册8开-6-张大千旧藏","近处村舍错落，农人悠然，烟火气晕开山林野趣。中峰以枯笔勒石骨，淡墨晕出山岚，焦墨点苔缀松，干湿浓淡铺展出苍莽层次。右侧题笔朴拙老辣，诗画相映，将秋山萧索寄于木叶疏凉。\n\n笔意纵恣灵秀，不拘成法，以简淡笔墨写尽丘壑生机，把山居隐逸的静穆与山川清旷融为一体，借景抒怀，尽显山野朴拙之态，亦藏画者洒落襟怀。",[23,24,26,82,395,27,29,182,31,7,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb60ef25126ad857219560ef580fe319.jpg",[],{"id":3536,"slug":3537,"title":3538,"dynasty":18,"author":581,"museum":20,"description":3539,"tags":3540,"thumbUrl":3542,"material":3543,"size":3544,"collection":122,"collections":3545,"showCount":3460,"zanCount":11,"manualWeight":11,"mainColor":71},223422,"song-ren-qian-yan-wan-he-zhou-yi-ming-223422","宋人千岩万壑轴","此幅绘千山万水，长松巨壑，中有村落楼阁掩映，一老者倒骑毛驴刚过溪桥，更有渔樵者出没。此图全用郭熙笔意，然细察之宋画气息不足，当是元人学郭熙，而深得其髓者。",[23,24,80,26,27,29,7,35,31,34,37,1083,114,3541],"淡设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4739ab7f2861e2dad1160409da8090c.jpg","纸本 水墨","126.3x49.7厘米",[],{"id":3547,"slug":3548,"title":3549,"dynasty":53,"author":581,"museum":3550,"description":3551,"tags":3552,"thumbUrl":3554,"material":2440,"size":3555,"collection":44,"collections":3556,"showCount":3460,"zanCount":11,"manualWeight":11,"mainColor":48},223400,"si-ji-tu-juan-yi-ming-223400","四季图卷","日本京都高桐院","该作品，以开阔的画面展示了从卷头的春景开始到卷末的冬景结束，连续画出了四季山水的变迁。仔细观摩之，这一春夏秋冬的四季也分别画成孟、仲、季三景，并且通过巧妙的布置而连成一景。一卷四季变化实属罕见。托名李唐之作，当是明人仿古之作。",[23,58,24,104,25,29,3553,27,82,85,86,32,181,295,193,7,31,810],"四季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90cf2282e5eee3e7a82bdfb99910e204.jpg","35.1X661.9",[44,45],{"id":3558,"slug":3559,"title":3560,"dynasty":53,"author":3561,"museum":20,"description":3562,"tags":3563,"thumbUrl":3564,"material":729,"size":3565,"collection":122,"collections":3566,"showCount":3460,"zanCount":313,"manualWeight":11,"mainColor":71},222579,"fang-wang-meng-shan-shui-jiang-qian-222579","仿王蒙山水","蒋乾","这幅画是浙派画家蒋嵩之子蒋乾，所留存下来的少数画作之一。画面中，山峦层层迭迭，几乎将画幅填塞地密不透风。画的右侧有一道瀑布高悬，在山谷间制造深入的空间感。而近景山石有长松挺立，山屋茅舍隐蔽山中，是十分适合文人读书休憩的地方。",[23,24,25,80,26,27,59,29,237,30,33,37,674,31,7,1157,1083,88,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccffe975f2ab77aa3a44ef972534e795.jpg","98.1厘米，横：34厘米",[],{"id":3568,"slug":3569,"title":3570,"dynasty":18,"author":3571,"museum":807,"description":3572,"tags":3573,"thumbUrl":3575,"material":120,"size":3576,"collection":122,"collections":3577,"showCount":3460,"zanCount":11,"manualWeight":11,"mainColor":48},221662,"qiu-shan-hong-shu-wan-shan-xiao-zhao-221662","秋山红树纨扇","萧照","绘千岩万壑，飞瀑流泉，红树满山。山下水榭楼台隐现苍松林木间，意境深邃幽远。人物众多，神态各异，形象生动。山石多大斧劈皴描绘，具峭劲挺拔质感。经霜红叶点缀丛树间，增添秋景萧瑟气氛。风格与李唐相近，技艺稍逊，当为传人画作。画面左下“李唐笔”款系后人添。",[23,104,24,25,1019,82,29,27,999,3574,31,7,35,60],"红树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd419556bc9a2308e9386f6b62730944.jpg","纵197.8cm，横111.8cm",[],{"id":3579,"slug":3580,"title":3581,"dynasty":53,"author":1887,"museum":1640,"description":3582,"tags":3583,"thumbUrl":3584,"material":3585,"size":3586,"collection":122,"collections":3587,"showCount":3460,"zanCount":11,"manualWeight":11,"mainColor":122},220737,"yan-jiang-die-zhang-tu-hua-xin-zuo-wen-bo-ren-220737","烟江叠嶂图画心左","此作用平远之境铺展江天盛景，淡墨晕染烟波，留白尽显水汽氤氲。层叠峰峦以枯笔轻勾浅皴，苍秀松灵，在云雾中远近隐现，似随江雾漾动。汀渚沙洲错落其间，林木蓊郁，渔舟点点散于空茫江面，生机暗涌。\n\n画面虚实相生，将江南烟水的空濛柔婉尽数铺陈，把远眺江天的悠然意趣藏进疏密错落的景致里，以极简笔墨晕染出无尽悠远的水乡诗意，淡而弥远，尽显文人画清逸雅致的审美意趣，让观画者如临江岸，沉浸式触摸江南烟水的温润灵秀。",[23,24,25,58,26,27,29,7,31,151,1020,34,1764],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefb26a5273e89c68c9cf3567f7ad1861.jpg","设色,纸本","25.6 × 360.8厘米",[],{"id":3589,"slug":3590,"title":3591,"dynasty":332,"author":1749,"museum":55,"description":3592,"tags":3593,"thumbUrl":3595,"material":620,"size":3596,"collection":122,"collections":3597,"showCount":3460,"zanCount":11,"manualWeight":11,"mainColor":71},220321,"huang-shan-tu-ce-8-hong-ren-220321","黄山图册-8","《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。",[23,24,25,395,26,29,30,237,1157,7,27,3594,539],"干笔淡墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F164a5154287c4247eb45586ab3ab5bbe.jpg","21.5x18.3厘米",[],{"id":3599,"slug":3600,"title":1671,"dynasty":332,"author":3601,"museum":145,"description":3602,"tags":3603,"thumbUrl":3604,"material":122,"size":122,"collection":44,"collections":3605,"showCount":3460,"zanCount":11,"manualWeight":11,"mainColor":3606},201830,"shan-shui-tu-zhou-wan-shang-lin-201830","万上遴","画面以水墨晕染出层叠山峦，云雾轻笼峰巅，皴擦笔法勾勒山石肌理，苍劲中见灵动。前景老树虬枝横斜，墨色浓淡交错，掩映着几椽屋舍，隐现于林泉之间，逸趣盎然。笔墨简练却意境悠远，清幽之气扑面而来，仿佛置身静谧山林，与自然相融，体悟那份恬淡自在的心境。",[26,27,24,29,294,295,7,34,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdcddf2a02330fdb51a4b15740e93cbb.jpg",[44],"8d8077",{"id":3608,"slug":3609,"title":3610,"dynasty":53,"author":76,"museum":20,"description":318,"tags":3611,"thumbUrl":3613,"material":240,"size":241,"collection":122,"collections":3614,"showCount":3615,"zanCount":11,"manualWeight":11,"mainColor":48},290869,"tong-yin-zhou-jing-tu-zhou-chou-ying-290869","桐阴昼静图轴",[104,24,80,81,82,83,29,3612,32,33,181,7,60,62,1405],"桐树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8163886d5a7378a788f41f5a260d606.jpg",[],21,{"id":3617,"slug":3618,"title":2828,"dynasty":143,"author":592,"museum":130,"description":3619,"tags":3620,"thumbUrl":3622,"material":240,"size":241,"collection":122,"collections":3623,"showCount":3615,"zanCount":11,"manualWeight":11,"mainColor":48},290789,"shan-shui-ce-cao-zhi-bai-290789","曹知白（1272～1355），元代画家，藏书家。字又玄，贞素，号云西，人称贞素先生，松江华亭（今上海青浦）人。从小机敏颖悟，很有见识，爱读书，好黄老之学。家有藏书数千卷，也喜蓄字画。曾被荐为昆山教谕，不久辞去。结交赵孟頫、邓文原、虞集、王冕等名流，与倪瓒、黄公望交往最密，常以书画相唱和。 咸淳八年 （1272年）三月廿八日出生。至元三十一年 (1294年)曹知白在开凿吴淞江中功绩居多。大德八年(1304年)提出填阏成堤之法，取得良好效果。至正十五年 乙未 (1355年)二月五日，曹知白逝世。三月，葬于松江修竹乡干山之源。",[24,25,395,29,26,27,7,31,85,3621,34],"佛塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c6d9323959376a70ce09d6eefe44290.jpg",[],{"id":3625,"slug":3626,"title":3627,"dynasty":143,"author":3628,"museum":130,"description":3629,"tags":3630,"thumbUrl":3631,"material":240,"size":241,"collection":122,"collections":3632,"showCount":3615,"zanCount":11,"manualWeight":11,"mainColor":71},290252,"da-ming-gong-tu-wang-zhen-peng-290252","大明宫图","王振鹏","王振鹏（生卒年不详），字朋梅，浙江温州人。元代著名的画家，擅长人物画和宫廷界画，被元仁宗赐号为“孤云处士”，并官至漕运千户。传世作品有：《伯牙鼓琴图》《江山胜览图卷》《阿房宫图》《金明池图》。",[23,104,24,58,205,1712,26,85,206,7,1856,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c9058769fd75a509a044ee8450afee9.jpg",[],{"id":3634,"slug":3635,"title":3636,"dynasty":143,"author":3637,"museum":130,"description":3638,"tags":3639,"thumbUrl":3641,"material":240,"size":241,"collection":122,"collections":3642,"showCount":3615,"zanCount":11,"manualWeight":11,"mainColor":48},290084,"mu-yun-shi-yi-tu-ma-wan-290084","暮云诗意图","马琬","此图描写山岭深处日暮雨后之景。层峦逶迤，或隐或现，平岗陂陀上林木深秀，临水有亭，隔溪板桥相接。山嶂烟岚轻动，茅屋村舍掩映。巨岗坡石用凝重柔和的披麻皴层层勾皴，表现出浑厚伟峻的形势。全图的布局以高峻的峰岫和巨大的岗石作为主体，具有雄伟壮阔的气势。同时布置潺泼和跳跃的溪泉、茂盛的草木和板桥茅舍，并在群峰间烘染缭绕氤氲的云霭，使境界显得既苍莽又空灵。",[24,29,82,27,7,31,86,32,3640,62],"暮云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5dc7479135a800eb91d0cb545ec8ca5.jpg",[],{"id":3644,"slug":3645,"title":3646,"dynasty":143,"author":581,"museum":130,"description":3647,"tags":3648,"thumbUrl":3649,"material":240,"size":241,"collection":122,"collections":3650,"showCount":3615,"zanCount":11,"manualWeight":11,"mainColor":48},290018,"fang-guo-xi-shan-shui-zhou-yi-ming-290018","仿郭熙山水轴","图画秋江边,千岩竞秀,白云萦绕,树林垂荫,楼台掩映.平静的江面上,闲暇的船夫正在聊天,一群水鸟轻快地掠过水面,境界静谧恬适.画石用圆笔,作卷云皴",[23,24,80,29,26,27,293,30,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4b21e4be19108178ce55749975e9d2f.jpg",[],{"id":3652,"slug":3653,"title":3654,"dynasty":221,"author":222,"museum":130,"description":3655,"tags":3656,"thumbUrl":3657,"material":240,"size":241,"collection":122,"collections":3658,"showCount":3615,"zanCount":11,"manualWeight":11,"mainColor":71},289377,"xi-shan-yuan-xiu-tu-jing-hao-289377","溪山远岫图","荆浩（约850-911年），字浩然，号洪谷子，河内沁水(一说河南济源人，一说山西沁水县人，）唐末五代时期著名画家，北方山水画派之祖。\n博通经史，博雅好古。乾符元年（874）前后，得到宰相裴休的关照，担任小官。大中十年（856），罢官回乡。躲避战乱，常年隐居太行山。善于山水画，师从于张璪，吸取北方山水雄峻气格，作画“有笔有墨，水晕墨章”，勾皴之笔坚凝挺峭，表现出一种高深回环、大山堂堂的气势，为北方山水画派之祖。\n著有《笔法记》山水画理论的经典之作，提出气、韵、景、思、笔、墨的绘景“六要”。作品《匡庐图》《雪景山水图》等",[23,104,24,1019,29,26,27,7,31,295,1959],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaaf0dd9927f4e6e4fb2fa2d0fcb8487.jpg",[],{"id":3660,"slug":3661,"title":288,"dynasty":18,"author":3662,"museum":20,"description":3663,"tags":3664,"thumbUrl":3665,"material":547,"size":3666,"collection":122,"collections":3667,"showCount":3615,"zanCount":11,"manualWeight":11,"mainColor":48},289107,"shan-shui-tu-gou-long-shuang-289107","勾龙爽","勾龙爽，又名句龙爽，四川人，生卒年月不详。\n宋代宫廷画家，擅长人物画。神宗时官翰林待诏。时称他画的人物“其状质野，有返朴之意。” 作品有《西成民乐图卷》《岁丰图卷》等。",[24,104,148,26,27,64,181,86,7,812,31,60,62,2993],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd46adb2dfd4a776f60c4615a48352537.jpg","40.8x29.7",[],{"id":3669,"slug":3670,"title":3671,"dynasty":332,"author":2777,"museum":130,"description":3672,"tags":3673,"thumbUrl":3674,"material":240,"size":241,"collection":122,"collections":3675,"showCount":3615,"zanCount":11,"manualWeight":11,"mainColor":71},288284,"fang-wang-meng-xia-ri-shan-ju-tu-wang-yuan-qi-288284","仿王蒙夏日山居图","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」",[24,104,25,80,29,26,27,59,7,31,85,32,86,493,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa815f93b91dc942a5a6d9712d40cbc0d.jpg",[],{"id":3677,"slug":3678,"title":3679,"dynasty":53,"author":76,"museum":130,"description":3680,"tags":3681,"thumbUrl":3683,"material":240,"size":241,"collection":122,"collections":3684,"showCount":3615,"zanCount":11,"manualWeight":11,"mainColor":48},287866,"tao-yuan-tu-juan-chou-ying-287866","桃源图卷","东晋陶渊明所作的《桃花源记》已成了文人墨客眼中的理想隐居之所，他们或通过诗歌形式，或通过笔墨方式，把理想中的桃花源呈现出来，这样的作品不胜枚举，今天给各位读者带来的就是明代画家仇英创作的一幅青绿山水作品《桃源图卷》。画卷大致可分为五个场景：发现桃源、桃源见闻、源中闲聊、桃源畅饮、离开桃源，卷前有清乾隆两处御题。",[23,104,24,25,58,82,83,29,3682,7,32,114,295,109,60,1072,2407],"桃源","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F885f62ba6d376f4e1e9e6dbf9f5787a2.jpg",[],{"id":3686,"slug":3687,"title":3688,"dynasty":332,"author":859,"museum":130,"description":1672,"tags":3689,"thumbUrl":3691,"material":240,"size":241,"collection":122,"collections":3692,"showCount":3615,"zanCount":11,"manualWeight":11,"mainColor":71},287690,"you-ju-tu-kun-can-287690","幽居图",[24,26,29,104,86,32,64,3690,7,31,27,62],"幽居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc75a6e8ddc61f4f930a7c121024ce85b.jpg",[],{"id":3694,"slug":3695,"title":3696,"dynasty":332,"author":3697,"museum":130,"description":3698,"tags":3699,"thumbUrl":3700,"material":122,"size":122,"collection":44,"collections":3701,"showCount":3615,"zanCount":11,"manualWeight":11,"mainColor":71},234254,"shan-shui-tu-ce-jin-xue-jian-234254","山水图册","金学坚","金学坚，字成峰，秀水（浙江嘉兴）人。王翚弟子。山水初宗元人，后参宋法，笔意古健，布局极为绵密。",[23,24,82,395,29,27,7,31,182,32,408],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f66fd4c895d162d5784a0043b41cbd.jpg",[44,94],{"id":3703,"slug":3704,"title":3705,"dynasty":53,"author":3706,"museum":130,"description":3707,"tags":3708,"thumbUrl":3710,"material":122,"size":122,"collection":122,"collections":3711,"showCount":3615,"zanCount":11,"manualWeight":11,"mainColor":71},230938,"han-ya-ji-xue-tu-zhao-zuo-230938","寒崖积雪图","赵左","此作用淡墨晕开寒雾，远山隐没其中，高岭悬崖覆着素雪，以留白衬出积雪清寒厚重，山石勾勒硬朗古拙，尽显崖壁巍峨肃穆。\n\n中景枯木虬曲苍劲，枝桠舒展，雪覆槎丫，林麓间山居掩映，篱舍静谧安闲，似能隔绝冬日霜寒。近处石径蜿蜒，策杖行人缓步徐行，暗合冬日寻幽的雅趣。\n\n整体笔墨简练老辣，以空寂清冷的意境，将山野萧寒与幽居恬然相融，尽显文人寄情林泉、静悟山水的隐逸雅兴。",[24,25,80,26,27,29,3709,1051,293,237,30,182,84,7,34],"寒崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff69f419c727c300955afc9fed11ab0b8.jpg",[],{"id":3713,"slug":3714,"title":1679,"dynasty":3715,"author":1103,"museum":145,"description":3716,"tags":3717,"thumbUrl":3719,"material":122,"size":122,"collection":44,"collections":3720,"showCount":3615,"zanCount":11,"manualWeight":11,"mainColor":3721},202825,"shan-shui-zhou-huang-bin-hong-202825","近代","这幅山水轴笔墨苍劲浑厚，意境幽远深沉。上部山峦层叠，以浓淡干湿的墨色皴擦点染，山体纹理交错，尽显雄奇厚重之态；山脚下溪流蜿蜒，屋舍隐于苍松翠柏间，岸边亭台小巧，林木错落有致，一派静谧的山居气象。画家运用积墨与破墨技法，墨色层次丰富，线条刚柔相济，既承传统山水的笔墨精髓，又融入个人对自然的深刻体悟，画面气韵生动，于苍莽中见清幽，引人步入林泉之境，心生向往。",[24,29,27,26,181,295,31,7,37,1575,3718,23],"破墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4686603adc4b2ff54977912a749d19c.jpg",[44],"c2beb2",{"id":3723,"slug":3724,"title":3725,"dynasty":53,"author":3472,"museum":20,"description":3473,"tags":3726,"thumbUrl":3729,"material":66,"size":3730,"collection":122,"collections":3731,"showCount":3732,"zanCount":11,"manualWeight":11,"mainColor":71},290498,"shan-shui-xiao-jing-zhou-xiang-sheng-mo-290498","山水小景轴",[24,80,29,26,82,27,7,34,3727,295,3243,60,62,3728],"松杉","秋意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ea20af0bdde11306224e82a8f221a5e.jpg","106.6x24.3",[],20,{"id":3734,"slug":3735,"title":3736,"dynasty":18,"author":502,"museum":130,"description":3106,"tags":3737,"thumbUrl":3738,"material":240,"size":241,"collection":122,"collections":3739,"showCount":3732,"zanCount":11,"manualWeight":11,"mainColor":71},289451,"cheng-jiang-bi-xiu-tu-zhao-bo-ju-289451","澄江碧岫图",[24,104,1019,29,1464,193,7,31,82,81,1959,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0425698f92ed84c5738bd73d1af16597.jpg",[],{"id":3741,"slug":3742,"title":3743,"dynasty":18,"author":581,"museum":130,"description":3744,"tags":3745,"thumbUrl":3747,"material":240,"size":241,"collection":122,"collections":3748,"showCount":3732,"zanCount":11,"manualWeight":11,"mainColor":71},288346,"fang-xia-gui-mao-yu-xun-zhuang-tu-yi-ming-288346","仿夏圭冒雨寻庄图","以边角取景写尽江南烟雨之致。坡岸逶迤间，林木蓊郁错落，掩映着三两村居，小径萦回，似可听闻淅沥雨声。远景以淡墨晕染山峦，与空濛天色相融，留白处满含烟雨潮气，将冒雨寻庄的迷蒙静谧铺陈开来。\n\n画面以简淡笔墨勾勒皴擦，墨色干湿浓淡层次丰富，将雨天湿润的空气质感表现尽致，带着宋人独有的含蓄雅致，把郊野雨景的清冷幽寂藏于方寸圆幅之中，尽显山居野逸的诗意氛围，引人遐想冒雨途中的悠然心境。",[24,104,1019,29,3746,7,31,295,27,62],"雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd427350b61575b9e153a5f1a8a378775.jpg",[],{"id":3750,"slug":3751,"title":3752,"dynasty":53,"author":777,"museum":130,"description":778,"tags":3753,"thumbUrl":3754,"material":240,"size":241,"collection":122,"collections":3755,"showCount":3732,"zanCount":11,"manualWeight":11,"mainColor":71},283728,"feng-luan-hun-hou-tu-juan-dong-qi-chang-283728","峰峦浑厚图卷",[23,104,24,58,26,29,7,150,64,295,31,60,62,61,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafba50469ef5c4deb60c77b30964c2f9.jpg",[],{"id":3757,"slug":3758,"title":3759,"dynasty":332,"author":581,"museum":130,"description":2966,"tags":3760,"thumbUrl":3766,"material":240,"size":241,"collection":122,"collections":3767,"showCount":3732,"zanCount":313,"manualWeight":11,"mainColor":48},267346,"xiu-xiang-yang-ti-mi-mi-fu-tang-ka-yi-ming-267346","绣像阳体秘密佛唐卡",[3761,1261,3762,3763,3764,82,3765,2969,2970,7],"唐卡","佛教","密宗","绣像","阳体秘密佛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10a2e3648e1121e1f31ac917f432c3f8.jpg",[],{"id":3769,"slug":3770,"title":3312,"dynasty":332,"author":524,"museum":130,"description":3771,"tags":3772,"thumbUrl":3773,"material":122,"size":122,"collection":122,"collections":3774,"showCount":3732,"zanCount":11,"manualWeight":11,"mainColor":71},235880,"yuan-ji-shan-shui-tu-ce-shi-tao-235880","行书笔致纵逸苍劲，诗文清雅隽秀，墨色浓淡辗转间笔势连贯舒展，尽显随性放达的文人意趣。\n\n下方山水以淡墨晕染铺就烟岚轻笼的悠远底色，山峦以枯笔皴擦勾勒肌理，植被点染灵动错落。留白虚实相生，铺陈出丘林幽寂的空濛意境，淡赭晕染山脚，糅合出清雅温润的色调层次，将江南山水的氤氲柔婉与嶙峋风骨相融。\n\n整幅诗画合璧，书意与画韵彼此衬映，诗书画印相得益彰，尽显文人画雅致品格，把幽居林泉的隐逸心境藏于笔墨之中，意韵悠长。",[24,25,395,61,26,82,27,60,62,29,7,31,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f749a49e7b8c667c20c3c60e27a09e8.jpg",[],{"id":3776,"slug":3777,"title":3778,"dynasty":53,"author":3779,"museum":130,"description":3780,"tags":3781,"thumbUrl":3782,"material":122,"size":122,"collection":122,"collections":3783,"showCount":3732,"zanCount":313,"manualWeight":11,"mainColor":48},228280,"wu-xie-shan-tu-zhou-chen-hong-shou-228280","五泄山图轴","陈洪绶","《五泄山志》是《五泄山志》编纂委员会编纂的地方志。\n本志记述范围，重点是五泄风景主景区9．5平方公里，以在建景区5平方公里为环界。\n有些必要涉及的人、物、事件，记述范围为传统意义上的整个五泄区域内。\n记述年代，上限不定，下限至2年，个别事件延伸到成稿之时。\n封面 五泄山志 《五泄山志》编纂委员会顾问 《五泄山志》编纂委员会 《五泄山志》编纂室 图片 江泽民与夏征农亲切握手 尉健行视察五泄 俞正声视察五泄 张德江视察五泄 曾培炎视察五泄 五泄导游图 绿树掩清溪 五泄水上森林公园 五泄东龙湫 夹岩烟雨 五泄东湫阁 白鹤临湖 五泄春来早 春在溪头 西源——绿色氧吧 银杏秋韵 江南罕见楠木林 画舫迎客 空气洁净蓝天白云 溪水悠悠 西源步幽亭 灵默真身塔 五泄禅寺 唐·灵默舍利子宝瓶 南北朝砖雕观音 果实(种子)化石 五泄古石器 灵默禅师舍利子 古寺玉兰 山龟 水濑 穿山甲 鸳鸯 眼镜蛇 花蝶 金钱豹 山鸡 蝶恋石蒜花 编纂人员合影 荣誉 陈洪绶《五泄图轴》 五泄山水甲天下 附图 序 《五泄山志》编辑凡例 概述 大事记 目录 第一篇 地理环境 第一章 自然地理 第一节 地理位置 第二节 地理面积 第三节 地理交通 第二章 地质地形 第一节 地质地层 第二节 风景地貌 第三节 土壤 第四节 地形成因 第三章 水文 第一节 水系 第二节 水文测量 第三节 雨量 第四节 经流量、水位 第五节 水质供水量 第四章 旅游气象 第一节 温度和日照 第二节 雨日和概率 第三节 雾和风 第四节 霜和雪 第二篇 自然资源 第五章 植物 第一节 木本植物 第二节 草本药物 第三节 古树名木 第六章 动物 第一节 哺乳纲(兽类) 第二节 鸟纲(禽类) 第三节 爬行纲 第四节 两栖、鱼纲 第五节 昆虫纲 第六节 其它类 第七章 土特产 第一节 土纸 第二节 茶叶 第三节 竹笋 第四节 干鲜果 第三篇 景区沿革 第八章 五泄畈村 第一节 姓氏由来 第二节 群落区划 第三节 移民外迁 第九章 五泄林场 第一节 历史演变 第二节 森林培育 第三节 森林管护 第四节 经营规划 第十章 五泄水库(五泄湖) 第一节 历史背景 第二节 建库经过 第三节 工程规模 第四节 工程效益 第五节 大坝除险加固 第六节 管理体制 第四篇 景区开发 第十一章 县级景区 第一节 项目提出 第二节 组织调查 第三节 确定建设 第四节 合力开发 第五节 首期规划 第六节 开通观瀑通道 第十二章 省级景区 第一节 实地调查 第二节 科学考察 第三节 组织考察 第三节 总体规划 第四节 批准省级景区 第十三章 国家重点风景名胜区 第一节 申报 第二节 创建 第三节 考察与评估 第四节 总体规划 第五篇 风景名胜 第十四章 平湖揽胜 第一节 紫藤长廊 第二节 坝顶揽胜 第三节 平湖泛舟 第四节 湖上观峰 第五节 湖后景观 第十五章 五级飞瀑 第一节 蛟龙出海 第二节 烈马奔腾 第三节 诸态备出 第四节 珠濂飘洒 第五节 隽永奇巧 第十六章 西源探幽 第一节 幽谷 第二节 奇峰 第三节 险崖 第四节 怪石 第五节 清溪碧潭 第六节 朱林 第七节 趣桥 第八节 紫微岭 第九节 刘龙坪 第十七章 开发中的景点 第一节 青口 第二节 玉京洞 第三节 遗址与沈氏宗祠 第六篇 宗教 第十八章 沿革 第一节 历史变迁 第二节 日寇罪迹 第三节 兴衰历程 第十九章 高僧 第一节 灵默 第二节 藏奂 第三节 良价 第四节 正元 第五节 苏溪 第六节 贯休 第七节 茂真 第八节 智三 第九节 敏康 第十节 慈明 第二十章 五泄禅寺 第一节 地理位置 第二节 悠久历史 第三节 寺院佛像 第四节 如意宝塔 第五节 寺院特色 第二十一章 良价祖庭 第一节 曹洞圣迹 第二节 良价出师图 第三节 祖师纪念像 第四节 曹洞宗风 第二十二章 寺院藏品 第一节 灵默石棺 第二节 舍利子宝瓶 第三节 祖师白玉像 第四节 佛像、陶俑、砖雕瓦档 第五节 匾牌、碑刻、字画 第二十三章 佛教活动 第一节 建立、健全寺内规章 制度 第二节 编印五泄禅寺史迹 第三节 开展佛教文化交流 第七篇 管理 第二十四章 管理机构 第一节 行政隶属 第二节 机构沿革 第三节 五泄风景旅游管理局 第四节 公安派出所 第二十五章 现代专业管理 第一节 文物管理 第二节 防火管理 第三节 林木管理 第四节 水库管理 第五节 卫生管理 第六节 规划管理 第七节 工商管理 第八节 安全管理 第八篇 旅游 第二十六章 游览活动 第一节 名人游山 第二节 旅游线路 第三节 大型活动 第二十七章 旅游接待 第一节 五泄旅游公司 第二节 诸暨旅行社 第三节 五泄游客接待中心 第二十八章 服务设施 第一节 馆舍 第二节 交通 第三节 通讯 第四节 商店 第五节 水电 第六节 娱乐 第二十九章 名产 第一节 土特产 第二节 风味小吃 第三节 工艺品 第九篇 文学艺术 第三十章 史志典籍摘抄 第一节 专著拾英 第二节 辞书条目 第三节 史志摘录 第四节 禅史节选 第三十一章 诗词 第一节 五泄胜景(综合篇) 第二节 飞瀑奇观 第三节 西源峡谷 第四节 禅寺觅踪 第五节 平湖掠影 第六节 歌曲 第七节 外围(规划)景点拾零 第三十二章 散记 第一节 游踪散记 第二节 游记纵揽 第三节 开发纪实 第三十三章 石刻联额 第一节 摩崖石刻 第二节 匾额楹联 第三节 书画墨宝 附：编余文化 第三十四章 民间传说 第一节 神话传说 第二节 民间故事 第三节 佚事旧闻 附：本志编辑参考书目 后记 版权页",[23,24,25,80,26,27,29,30,31,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b4a8237865cb94c15e5ec9b1b99a949.jpg",[],{"id":3785,"slug":3786,"title":3787,"dynasty":18,"author":1371,"museum":130,"description":3788,"tags":3789,"thumbUrl":3793,"material":122,"size":122,"collection":122,"collections":3794,"showCount":3732,"zanCount":313,"manualWeight":11,"mainColor":71},227707,"chu-shan-qiu-ji-tu-shou-juan-mi-you-ren-227707","楚山秋霁图手卷","米友仁（1074—1153年，一作1086—1165年），南宋书画家。一名尹仁，字元晖，晚号嫩拙老人，祖籍太原(今属山西)，迁襄阳(今属湖北)，定居润州(今江苏镇江)。米芾长子，人称“小米”。早年即以擅长书画知名，徽宗宣和四年（1122年）应选入掌书学。南渡后，官兵部侍郎，敷文阁直学士。高宗赵构曾命他鉴定法书，但其鉴别书画之际“往往有一时附会迎合上意者”。善行书，人谓其虽不逮其父，然如王、谢家子弟，自有一种风格。其山水画发展了米芾技法，略有变化，别具面目。用水墨横点，连点成片，构成“烟云变灭，林泉幽壑，生意无穷”的画面，强调“借物写心”，崇尚“平淡天真”，运笔草草，自称“墨戏”，对后来“文人画”中的笔墨纵放、脱略形状颇有影响。自题于《潇湘图》长卷中称：“夜雨欲霁，晓烟既泮，则其状类此，余盖戏为潇湘，写千变万化不可名神奇之趣。”",[23,24,25,58,26,27,62,61,3790,29,7,34,916,3791,3792],"篆书","雨后","放晴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27a30fa25fd1b03b5b47718accee7969.jpg",[],{"id":3796,"slug":3797,"title":3798,"dynasty":143,"author":1758,"museum":20,"description":3799,"tags":3800,"thumbUrl":3801,"material":620,"size":3802,"collection":44,"collections":3803,"showCount":3732,"zanCount":313,"manualWeight":11,"mainColor":71},221728,"shi-jing-you-tan-fang-cong-yi-221728","石径幽探","方从义善画，又兼工诗文、书法。其画初师 他的画风格潇洒，笔致跌岩，意境苍茫，无尘俗之气，以幽为其画特色。他善画云山墨戏，笔下的景色多是冷寞，幽闭，尘俗绝少的地方：高山奇峰，深谷幽涧，古树老屋，野水孤舟，给人以深沉、奇特和悲壮之感。他早年的画严谨，晚年不拘于形，用笔奔放，满含激情。传世不多，人以礼求之，始为出其一二。尝言：“太行、居庸天下之岩险，其雄杰奇丽，皆古之名画，余所顾见者今皆见之，而有以慊吾志，充吾操，吾非若世俗者区区而至也。”盖学仙之颖然者，由无形而有形，虽有形终归无形，画能如是，其至矣乎？",[23,24,25,26,27,29,7,31,1577,34,754,1445,2190,445],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92196c9b18f889805fafd87dc1ac75a2.jpg","91.3x63.5厘米",[44,45],{"id":3805,"slug":3806,"title":3807,"dynasty":143,"author":304,"museum":130,"description":3808,"tags":3809,"thumbUrl":3811,"material":240,"size":241,"collection":122,"collections":3812,"showCount":3813,"zanCount":313,"manualWeight":11,"mainColor":48},290605,"han-yan-ji-xue-zhou-zhang-yu-290605","寒岩积雪轴","张羽（1333－1385）元末明初文人。字来仪，更字附凤，号静居，浔阳（今江西九江）人，后移居吴兴（今浙江湖州），与高启、杨基、徐贲称为“吴中四杰”，又与高启、王行、徐贲等十人，人称“北郭十才子”，亦为明初十才子之一。官至太常丞，山水宗法米氏父子，诗作笔力雄放俊逸，著有《静居集》。",[24,104,80,29,26,294,3810,1051,7,674,62,408,32],"寒岩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d7eb89bedc44eae71ac18e4967f8112.jpg",[],19,{"id":3815,"slug":3816,"title":488,"dynasty":18,"author":581,"museum":130,"description":3817,"tags":3818,"thumbUrl":3819,"material":240,"size":241,"collection":122,"collections":3820,"showCount":3813,"zanCount":11,"manualWeight":11,"mainColor":48},290270,"wang-chuan-tu-yi-ming-290270","北宋时期，山水画大兴。这其中，李成和范宽是北宋初期山水画家的代表，他们上承荆浩以水墨为主的传统，以表现北方雄浑壮阔的自然山水为主，与五代的关仝一起，被认为是“三家鼎峙，百代标程”的大师，他们的创作具有划时代的意义。其后继者有王士元、王端、燕文贵、许道宁、高克明、郭熙、李宗成、丘纳、王诜等。除北方山水系统的山水画外，也有长于界画的郭忠恕，善于表现湖山小景的惠崇、赵令穰，继承唐代以来的青绿山水画法的王希孟、南派山水画的代表巨然，以及开创“米氏云山”的米芾等，都在中国山水画的发展过程中，有着各自的独特贡献。\n北宋山水画倾于自然，侧重“真”和“实”，提倡山水画的写实风格。多使用绢，不仅勾勒细致、刻画严谨，而且用墨对画面进行层层渲染，展现出一份凝重恬静之美。它展现的是前所未有的细腻、丰富、写实的画风。",[23,104,24,58,26,148,7,109,295,32,34,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F268f7660d5dcf46ee6dead61cb365ff5.jpg",[],{"id":3822,"slug":3823,"title":3824,"dynasty":143,"author":391,"museum":130,"description":835,"tags":3825,"thumbUrl":3827,"material":240,"size":241,"collection":122,"collections":3828,"showCount":3813,"zanCount":11,"manualWeight":11,"mainColor":48},290260,"quan-sheng-song-yun-tu-ke-luo-ban-wang-meng-290260","泉声松韵图（珂罗版）",[23,24,26,148,27,7,237,3826,86,32,64,85,60,62],"泉水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ca815d4b818f75839f95fe04da5d062.jpg",[],{"id":3830,"slug":3831,"title":1671,"dynasty":332,"author":695,"museum":130,"description":3456,"tags":3832,"thumbUrl":3833,"material":240,"size":241,"collection":122,"collections":3834,"showCount":3813,"zanCount":11,"manualWeight":11,"mainColor":71},289952,"shan-shui-tu-zhou-wang-shi-min-289952",[23,104,24,25,80,26,29,27,7,31,182,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeb2b1a39c23b566193185dba66f4bab.jpg",[],{"id":3836,"slug":3837,"title":3838,"dynasty":332,"author":3488,"museum":130,"description":3839,"tags":3840,"thumbUrl":3841,"material":240,"size":241,"collection":122,"collections":3842,"showCount":3813,"zanCount":11,"manualWeight":11,"mainColor":71},289934,"shan-shui-fang-gu-ce-cha-shi-biao-289934","山水仿古册","查士标，查士标（1615-1698） ，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。",[24,395,26,29,86,32,31,85,7,408,62,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d2c0f7225f99710e188a3268bdc2775.jpg",[],{"id":3844,"slug":3845,"title":3846,"dynasty":18,"author":3847,"museum":130,"description":3848,"tags":3849,"thumbUrl":3851,"material":240,"size":241,"collection":122,"collections":3852,"showCount":3813,"zanCount":11,"manualWeight":11,"mainColor":253},288977,"xia-shan-tu-qu-ding-288977","夏山图","屈鼎","京师（今河南开封）人。仁宗朝（一o二三）为图画院只候。工画山水，得燕文贵之髦髴。画四时风物之变态，与夫烟霞惨舒，泉石凌砾之状，善分布，涧谷间见屈曲之状。然有笔而无思致，林木皆崦霭而已，虽为许道宁之师，道宁气格似过之，学不及也。",[104,24,58,26,27,29,7,109,150,193,34,3850],"夏景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f5ed240c08185678837f9810e468620.jpg",[],{"id":3854,"slug":3855,"title":3856,"dynasty":332,"author":3857,"museum":130,"description":3858,"tags":3859,"thumbUrl":3861,"material":240,"size":241,"collection":122,"collections":3862,"showCount":3813,"zanCount":11,"manualWeight":11,"mainColor":48},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。",[23,24,104,148,27,82,237,7,30,493,3860,109,26],"访友","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c57893b576a57047bbcea7bcd2995a8.jpg",[],{"id":3864,"slug":3865,"title":3866,"dynasty":53,"author":777,"museum":55,"description":3867,"tags":3868,"thumbUrl":3869,"material":120,"size":3870,"collection":44,"collections":3871,"showCount":3813,"zanCount":11,"manualWeight":11,"mainColor":71},238079,"yan-ling-cun-tu-dong-qi-chang-238079","延陵村图","延陵村因有“唐人张从申碑”而具有深厚的历史人文内涵。画家以此为题，意在创造出与石碑意趣相同的“古意”。此图以鸟瞰的角度取景，描绘延陵村的整体风貌。构图内容丰富，运用山势的转折、峰峦的呼应以及烟云的空间留白营造出广阔辽远的空间，表现出延陵村的地理风貌。然而，这又不同于写实再现，画家以抒情的笔调描绘出绮丽浑厚的山峰、蓊郁奇崛的松木、晨雾中若隐若现的村舍，这正是在真实山水的基础之上的艺术加工。在笔墨的运用上，图中山石的画法是将勾勒与董、巨的披麻皴相结合，笔法精微。设色追求晋唐风韵，古雅淡泊。在此，画家将元人的笔墨情趣与唐宋人的造型、意境相结合，进而营造出平淡典雅、天真朴拙的“古意”，画中的延陵村因而显得真实而又具有悠远的意味，宁静清幽而又古趣盎然，这是董其昌所创造出的“奇景”。此外，画面上端的楷书结体端庄秀雅，墨色清旷明润，有晋唐人风度，与画面本身共同传达出一种古朴典雅的艺术气息。\n撰稿人：杨丽丽",[24,25,80,29,27,26,7,31,237,35,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc504525ce90c44b873edcd7f676754cd.jpg","纵78.5厘米，横30.2厘米",[44],{"id":3873,"slug":3874,"title":3875,"dynasty":53,"author":3876,"museum":130,"description":3877,"tags":3878,"thumbUrl":3879,"material":240,"size":241,"collection":122,"collections":3880,"showCount":3813,"zanCount":313,"manualWeight":11,"mainColor":1555},237458,"fang-ju-ran-shan-shui-shan-ye-yun-xiang-237458","仿巨然山水扇页","恽向","恽向（1586--1655）明代画家。原名本初，字道生、曙臣，号香山，武进（今属江苏）人。崇祯末举贤良方正，授内阁中书舍人。擅诗文工山水，早年学董源，巨然，以悬肘中锋作画，骨力圆劲，浓墨润湿，纵横淋漓，自成一派，晚年敛笔于倪瓒、黄公望的风格，惜墨如金，挥洒自如，妙合自然。由于他常往来于齐鲁之间，并登临泰山，故笔下山水自然雄浑之气。他曾为周亮公画山水，自题云：“逸品之画，笔似近而远愈甚，似元而有愈甚；其嫩处如金，秀处如铁，所以可贵，未易为俗人道也。”",[24,25,1019,26,27,59,29,30,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe33bb82ef2826a18b206fb0142da7222.jpg",[],{"id":3882,"slug":3883,"title":3696,"dynasty":332,"author":3884,"museum":130,"description":3885,"tags":3886,"thumbUrl":3888,"material":240,"size":241,"collection":44,"collections":3889,"showCount":3813,"zanCount":11,"manualWeight":11,"mainColor":71},237389,"shan-shui-tu-ce-xue-xuan-237389","薛宣","薛宣（生卒年不详），字赣君，东海郡郯县（今山东省郯城县）人。西汉丞相，汉宣帝刘询的女婿。\n精通律法，起家廷尉书佐、都船狱吏，出任不其县丞、乐浪郡丞。举茂才出身，出任宛句县令，迁长安令，颇有政绩。汉成帝时期，历任御史中丞、临淮陈留二郡太守、左冯翊、少府卿、御史大夫，赏罚分明，威德并施，功劳卓著，迎娶敬武长公主。鸿嘉元年（前20年），出任御史大夫，代替张禹出任丞相，册封高阳侯。永始二年（前15年），办理邛成太后丧事不周，辞去丞相之职。\n汉哀帝时，免为庶人，最终在家中去世。",[24,82,395,29,409,3887,411,151,423,7,542,1445],"水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6087b7a29c377aafef71cea9d8bd43f7.jpg",[44],{"id":3891,"slug":3892,"title":1322,"dynasty":143,"author":581,"museum":20,"description":3893,"tags":3894,"thumbUrl":3895,"material":3896,"size":3897,"collection":122,"collections":3898,"showCount":3813,"zanCount":11,"manualWeight":11,"mainColor":48},231399,"qiu-shan-tu-yi-ming-231399","在这幅画中，峰峦叠嶂，溪流嶙峋，飞瀑流泉在薄雾之中。 是文人墨客睡觉的理想场所。 构图十分多样，笔墨精美，色彩点缀恰到好处。",[24,25,29,27,26,82,409,411,32,30,916,35,109,37,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95db5f648889bd0b3227e7193ab2e761.jpg","绢本 水墨","46.3x57.1厘米",[],{"id":3900,"slug":3901,"title":3902,"dynasty":332,"author":3903,"museum":130,"description":3904,"tags":3905,"thumbUrl":3906,"material":122,"size":122,"collection":122,"collections":3907,"showCount":3813,"zanCount":11,"manualWeight":11,"mainColor":48},228397,"fang-ju-ran-shan-shui-liu-du-228397","仿巨然山水","刘度","此作用披麻皴晕染山石肌理，层叠山峦似含江南烟岚，氤氲着湿润朦胧的空寂质感。近岸苍松杂木蓊郁，山居屋舍掩映林间，汀渚蜿蜒入水，清波澹澹漾开涟漪，将幽居野逸之趣藏于丘壑之间。\n\n笔墨追摹古意，苍润兼具，把山林幽寂、溪声松涛的林下之思铺陈开来，恍如引观者踏入避世桃源，静赏林泉烟霞，尽得山水寄情的悠远意韵。",[23,24,29,59,27,26,7,31,32,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a8672297878af1e9fe4bc94a8e35ae8.jpg",[],{"id":3909,"slug":3910,"title":3911,"dynasty":332,"author":524,"museum":130,"description":3912,"tags":3913,"thumbUrl":3914,"material":122,"size":122,"collection":122,"collections":3915,"showCount":3813,"zanCount":11,"manualWeight":11,"mainColor":71},224504,"shan-shui-ce-kai-liu-shi-tao-224504","山水冊开(六)","此作用淡赭轻晕山峦，焦墨点染林木，笔意纵肆苍秀。近观村舍错落溪畔，渔翁独棹扁舟泛于清波，丹崖翠岫间松柯虬劲，墨色苍润见层次。远景峰岫隐在烟岚留白中，晕出水气空濛的夏夕凉意。\n\n页首题诗与画境浑然相融，将山畔闲居、横塘晚风的清寂悠然铺展开来，以尺幅写尽江南水乡的淡远萧散，借山水寄寓胸中丘壑，尽显文人画幽淡旷达的意趣。",[24,25,395,26,82,27,29,64,31,182,7,32,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee7ed3d690ac35d0a82eb7f20090f30a.jpg",[],{"id":3917,"slug":3918,"title":3919,"dynasty":332,"author":581,"museum":130,"description":3920,"tags":3921,"thumbUrl":3923,"material":122,"size":122,"collection":122,"collections":3924,"showCount":3813,"zanCount":11,"manualWeight":11,"mainColor":71},223526,"wu-yi-shan-shi-ba-jing-tu-1-yi-ming-223526","武夷山十八景图1","图题《武夷山十八景图》系依其内容拟定；武夷山在福建建宁府「崇安县南30 里，……周围凡120 里，东抵崇溪，北为黄龙溪，西至将村里，南至蓝原。四面皆壑，不与外山连」（乾隆辛未《武夷山志》，卷四，〈形势〉）；全境「溪九曲，大峰三十六」（《武夷山志》，卷二，〈总志（中）〉）。图中以山水画笔触将武夷山一带的形胜细腻描绘；其中包括山岩、岩壑、溪流、渡桥、村舍、书院、道观、茶园、渡头、客舟及建宁府城、府属崇安县及江西广信府的铅山县城等城池，均一一入画；图中各项动、静态的描绘，流畅生动，全幅宛如一幅山水行舟图。全图描述各处地貌事物均注记文字标示名称。全图笔触甚为工整，惟不落作画题署，难以确切断其绘制年代。但图中若干寺观、津渡的存废，或可推断绘图的相对时代。图中「一曲」的「问津亭：宋名趋真亭，明名入隹亭，……岁久倾圯，康熙戊戌（57年，1718）崇令陆廷灿（生卒不详，字扶照，又字幔亭）又重建，今废」（《武夷山志》，卷五，〈一曲上．溪北〉）；图中问津亭尚存全貌。另「五曲」的「武夷精舍又名文公祠，隐屏峰下。宋淳熙十年（1183）朱文公（1130-1200）卜筑于此。……顺治16 年（1659）邑令韩士望（生卒不详，顺治九年（1652）进士）又修饰之。次年春，大风拔木，祠尽圯，仅存二门。……康熙26 年（1687），御赐「学达性天」额，因复创修，未能宏敞。……康熙56 年（1717）闽浙总督满公保（1673-1725）捐俸倡修轮奂一新」（《武夷山志》卷十，〈五曲上．溪北〉）；图中文公书院院落至为完善。因此，大致可断全图绘制年代为康熙57 年至乾隆16年间。",[23,24,25,26,82,29,27,443,30,31,150,151,182,7,34,88,37,168,3922,107],"峰岩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21063d6aea51b6cc6ec3c154448b4ff1.jpg",[],{"id":3926,"slug":3927,"title":3928,"dynasty":143,"author":3124,"museum":130,"description":3929,"tags":3930,"thumbUrl":3931,"material":3932,"size":3933,"collection":122,"collections":3934,"showCount":3813,"zanCount":11,"manualWeight":11,"mainColor":71},221693,"xia-shan-guo-yu-tu-gao-ke-gong-221693","夏山过雨图","画上绘近处树木葱郁，水面波纹忽隐忽现，一蓑翁架着小舟悠然荡于河上，远处山峦起伏，云雾缭绕，画家绘出一幅雨后山青水秀的美景。高克恭，字彦敬，号房山，其所作的《云横秀岭图》精妙绝伦描绘出烟雨林峦的景色。",[23,24,1019,26,82,29,64,32,31,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fc38d444bf3717efb9f2d5f10e4e3b9.jpg","设色绢本","纵25.3公分横26.0公分",[],{"id":3936,"slug":3937,"title":3938,"dynasty":332,"author":2333,"museum":1640,"description":3939,"tags":3940,"thumbUrl":3942,"material":2337,"size":2338,"collection":122,"collections":3943,"showCount":3813,"zanCount":11,"manualWeight":11,"mainColor":122},220730,"xun-qin-tu-5-huang-xiang-jian-220730","寻亲图5","画面以虚实二分排布，左为题识，右绘山水。淡墨晕开烟岚，青绿晕染峰峦，温润雅致。层叠山峦间云气萦回，山寺卓立翠岭之巅，江渚隐现烟波里，孤舟悬于空濛水面，暗衬长路寻亲的孤寂。\n\n苍劲题笔与秀雅山水相映，文情画境交融，将羁旅寻亲的悠长愁思，寄于阔远烟霞。青绿设色承袭古意，留白铺陈烘托出漫漫寻途的沉郁心绪，笔墨工秀兼具，把天涯寻亲的幽微情愫藏在云山烟水之间，意韵绵长。",[24,58,82,26,29,27,7,34,88,165,3941,31,35,1083],"近峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74ed87cab5ac6282467def950a93b23e.jpg",[],{"id":3945,"slug":3946,"title":3947,"dynasty":53,"author":3948,"museum":130,"description":3949,"tags":3950,"thumbUrl":3952,"material":240,"size":241,"collection":122,"collections":3953,"showCount":3954,"zanCount":313,"manualWeight":11,"mainColor":48},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。",[24,80,82,81,29,493,3951,1145,7,62],"秋树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82161c2c56f361b67f76a012805e6208.jpg",[],18,{"id":3956,"slug":3957,"title":3958,"dynasty":143,"author":391,"museum":130,"description":835,"tags":3959,"thumbUrl":3960,"material":240,"size":241,"collection":122,"collections":3961,"showCount":3954,"zanCount":11,"manualWeight":11,"mainColor":48},290448,"shan-shui-tu-zhou-ke-luo-ban-wang-meng-290448","山水图轴（珂罗版）",[23,104,24,26,29,80,27,7,109,181,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52b0240ac5439bff960e9a16637c156e.jpg",[],{"id":3963,"slug":3964,"title":3965,"dynasty":53,"author":777,"museum":130,"description":778,"tags":3966,"thumbUrl":3967,"material":240,"size":241,"collection":122,"collections":3968,"showCount":3954,"zanCount":11,"manualWeight":11,"mainColor":48},283718,"fang-mei-dao-ren-shan-shui-tu-zhou-dong-qi-chang-283718","仿梅道人山水图轴",[24,80,26,29,31,182,7,59,62,60,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F240a7ad71fa54122d8e46c92daf6aa7d.jpg",[],{"id":3970,"slug":3971,"title":3972,"dynasty":332,"author":1749,"museum":130,"description":1750,"tags":3973,"thumbUrl":3974,"material":240,"size":241,"collection":122,"collections":3975,"showCount":3954,"zanCount":11,"manualWeight":11,"mainColor":71},237617,"hong-ren-shan-shui-ce-hong-ren-237617","弘仁山水册",[24,25,395,26,27,60,61,62,29,294,182,7,618],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2039876f758a16a9c834ff7da2a5182d.jpg",[],{"id":3977,"slug":3978,"title":3979,"dynasty":53,"author":820,"museum":55,"description":3980,"tags":3981,"thumbUrl":3982,"material":597,"size":122,"collection":122,"collections":3983,"showCount":3954,"zanCount":11,"manualWeight":11,"mainColor":71},234242,"shan-shui-juan-sun-zhi-234242","山水卷","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。\n传世作品有：嘉靖三十八年(1559)作《梅石水仙图》轴，款署“嘉靖己未冬月孙枝”、万历十五年(1587)作《五湖钓叟图》卷、十八年(1590)作《携琴访友图》轴，现藏故宫博物院；隆庆五年(1571)作《九龙山居图》卷、万历十六(1588)作《清溪放棹图》轴，藏北京市文物局；万历七年(1579)作《溪山秋意图》轴，款署“万历己卯秋日吴郡孙枝写”，藏上海博物馆；二十三年(1595)作《踏雪访友图》轴，款署“万历乙未九月吴郡孙枝写”，藏苏州市博物馆；三十五年(1607)作《山水图》扇页，著录于《中国书画家印鉴款识》。从艺活动约在嘉靖、万历间。款识:吴郡孙枝写。万历二十年（1601）尝作爱荆图卷。（《无声诗史》《明画录》《珊瑚网》《式古堂书画汇考》《榆园画志》）",[23,24,25,58,26,82,27,60,61,29,7,150,823,31,182,237,292],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e2a59c59d2ceb14c0471fe780a22c80.jpg",[],{"id":3985,"slug":3986,"title":3979,"dynasty":53,"author":3987,"museum":55,"description":3988,"tags":3989,"thumbUrl":3990,"material":3991,"size":3992,"collection":122,"collections":3993,"showCount":3954,"zanCount":313,"manualWeight":11,"mainColor":48},233145,"shan-shui-juan-wang-yan-qiang-233145","王彦强","绘江边山峦起伏，林木繁茂，隐约可见村合依山而建。山石用披麻皴，笔法秀劲细密，林木简笔勾干，以浓淡水墨点叶。\n此图景色清新，境界清寂淡泊，具有春日山乡写生的特点，为王立中罕见传世品。",[24,25,58,26,27,29,31,7,150,396,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95037f673dc059a04e041dad1bea72e2.jpg","绢本，水墨","纵25．2厘米横53．3厘米",[],{"id":3995,"slug":3996,"title":3997,"dynasty":143,"author":3124,"museum":20,"description":3998,"tags":3999,"thumbUrl":4001,"material":547,"size":4002,"collection":12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由其胸中洒然也”。明十才子之一李梦阳在其《观序上人所藏陶成画菊石歌》中，称赞陶成的菊花、岩石画远远超出了当时的菊石专家计汝和、徐霖。诗中说： “陶生画菊石，潦草笔有力…近时名手计汝和，此生笔力方之过。江柬徐霖学画石，效颦差胜王与何。”故而有这样的说法： “得黄金百不如云湖画一幅。”",[23,24,29,26,82,27,85,86,84,31,7,812,62,395],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f03ee7c4a454a27bbbe56bc7379317f.jpg",[],{"id":4130,"slug":4131,"title":4132,"dynasty":143,"author":4133,"museum":20,"description":4134,"tags":4135,"thumbUrl":4136,"material":66,"size":4137,"collection":122,"collections":4138,"showCount":47,"zanCount":11,"manualWeight":11,"mainColor":48},287768,"lin-luan-fu-di-zhou-zhao-xi-yuan-287768","林峦福地轴","赵希远","原题。福地真传霹雳开。仰空虚窦瞰崔嵬。千盘磴道穿深黑。万古仇池接往来。颇怪洞中常见日。翻从地底一登台。耸身且自崖间出。回首仙踨怅□来。茂苑文嘉。钤印二。休。承。\n鉴藏宝玺 乾隆御览之宝。乾隆鉴赏。五玺全。宝笈三编。宣统御览之宝。\n收传印记 文谦光印。君珂鉴赏。潘志省印。又三印漫漶。\n谨按赵希远。与王蒙同时。蒙有香光居士图。希远爱而临之。见画史会要。",[104,24,80,148,27,82,7,33,85,237,32,321,1264,292,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb027e2c1284cdaf85c752a1e80f0f639.jpg","127.5x31.1",[],{"id":4140,"slug":4141,"title":4142,"dynasty":332,"author":581,"museum":130,"description":4143,"tags":4144,"thumbUrl":4145,"material":240,"size":241,"collection":122,"collections":4146,"showCount":47,"zanCount":11,"manualWeight":11,"mainColor":71},287698,"fang-huang-gong-wang-fu-shan-chun-ju-tu-yi-ming-287698","仿黄公望富山春居图","此作用笔苍秀松灵，以披麻皴写山峦丘壑，复刻出原作浑厚华滋的山水意趣。远山淡晕如黛，近渚萦回清浅，林麓村居错落萧疏，尽显富春山野逸空濛之态。\n卷尾题跋笔墨雅致，与画境浑融一体，暗合元人山水“以画为寄”的隐逸风神，虽摹古却自见韵致，将江南富春山的空灵秀润尽藏尺幅间，是颇具功力的仿古佳制。",[23,24,58,26,148,59,27,7,1020,109,60,62,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4982c0319d064f8f446d442b55159a94.jpg",[],{"id":4148,"slug":4149,"title":4150,"dynasty":53,"author":4151,"museum":130,"description":4152,"tags":4153,"thumbUrl":4154,"material":240,"size":241,"collection":122,"collections":4155,"showCount":47,"zanCount":11,"manualWeight":11,"mainColor":71},287358,"lin-wang-meng-tai-bai-shan-tu-du-qiong-287358","临王蒙太白山图","杜琼","杜琼（1396~1474年），字用嘉，号东原，五坞山人,延绿亭主人,私谥渊孝先生.人称东原先生，南直隶苏州府吴县（今江苏苏州市）人。明朝文学家，书画家、藏书家，史学家。\n杜琼出身于富贵之家，自幼勤学聪颖，以孝闻名乡里，后师从陈继，并承其业，教书授徒。之后被举荐参与过《太宗（朱棣）实录》《宣宗实录》《舆地志》的修撰，并参与《苏郡志》的校定，备受朝廷礼遇和乡里尊宠，享誉遐迩。1474年，杜琼逝世，享年79岁。\n杜琼虽受朝廷礼遇和乡宠，但是他淡泊功名而醉于谈诗论画的隐居生活。其精于翰墨书画，尤以画山水为著，集众家之长而直追董巨，画风秀逸，是吴门派早期代表画家。\n其传世画作有《南村别墅图》《为吴宽作山水图》《友松图卷》等，此外还著有《东原集》《耕馀杂录》《纪善录》等诗文作品。",[23,24,58,148,59,26,82,27,7,109,168,182,1741,37,292,61,60,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0297dd5ace6aed29811f36a49e164bc.jpg",[],{"id":4157,"slug":4158,"title":4159,"dynasty":53,"author":777,"museum":130,"description":4160,"tags":4161,"thumbUrl":4162,"material":240,"size":241,"collection":122,"collections":4163,"showCount":47,"zanCount":11,"manualWeight":11,"mainColor":71},283752,"lan-rong-chuan-se-tu-zhou-dong-qi-chang-283752","岚容川色图轴","此图是董其昌74岁（1628年）时创作的，以笔墨表现为主旨，意在聊写胸中丘壑。作者在静观自然景象的基础上，以娴熟的笔墨技法阐释自己对自然山川的本质感悟，它超越了山水云树的具体形貌，以形写神，故图中每一景、每一境虽都不是自然景观的真实描绘，但读者却可从其谨严的笔墨塑造中领略到真山实水的存在。以近景的树木为例，形态各异的树木，互有遮掩地生长在凹凸不平的坡地上。树干以短线条双勾，高低不同且有曲直变化，干体以淡墨或皴或晕，增强了其明暗效果及立体感；树叶表现得更为丰富，有的以侧锋卧笔大点横贯，有的浓淡墨相互交叠，有的直接落笔画线成叶，有的则以线勾双边成夹叶状，各具神采。但将它们参照客观存在的植物，却难以分辨出其树种，显然它们是董其昌“读万卷书，行万里路，胸中脱去尘浊，自然丘壑内营，成立鄄鄂（注：指城廓），随手写出，皆为山水传神矣”的美学观的最好图释。",[24,104,80,26,29,60,62,7,31,32,63,851],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4139975bf6ec2cb9c58f64adc8a49b12.jpg",[],{"id":4165,"slug":4166,"title":4167,"dynasty":53,"author":777,"museum":130,"description":778,"tags":4168,"thumbUrl":4169,"material":240,"size":241,"collection":122,"collections":4170,"showCount":47,"zanCount":11,"manualWeight":11,"mainColor":71},283751,"qi-xia-si-shi-yi-tu-zhou-dong-qi-chang-283751","栖霞寺诗意图轴",[104,24,25,80,26,29,7,31,295,32,60,62,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76d4bb1db2fef7caa8986b31a95ba498.jpg",[],{"id":4172,"slug":4173,"title":4174,"dynasty":53,"author":777,"museum":130,"description":778,"tags":4175,"thumbUrl":4176,"material":240,"size":241,"collection":122,"collections":4177,"showCount":47,"zanCount":11,"manualWeight":11,"mainColor":71},283721,"fang-gu-shan-shui-ce-dong-qi-chang-283721","仿古山水册",[24,395,26,29,31,182,7,27,62,60,408],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5863dcecefd581d26dc3b868ce3a66c.jpg",[],{"id":4179,"slug":4180,"title":4181,"dynasty":332,"author":4182,"museum":130,"description":4183,"tags":4184,"thumbUrl":4186,"material":240,"size":241,"collection":122,"collections":4187,"showCount":47,"zanCount":11,"manualWeight":11,"mainColor":71},237045,"gao-ling-han-zhong-shan-mian-zhu-ang-zhi-237045","高岭寒钟扇面","朱昂之","朱昂之[清]（一七六四～一八四一年后），历代人物年表碑传综表作（一七五五～？），今从宋元明清书画家年表。字青立，又字津里，江苏武进人。侨居吴中（今江苏苏州）。",[24,25,1019,26,27,29,4185,7,31,34],"高岭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17ecdb02de8897eebe40965ddb2b4976.jpg",[],{"id":4189,"slug":4190,"title":3972,"dynasty":332,"author":581,"museum":130,"description":4191,"tags":4192,"thumbUrl":4193,"material":122,"size":122,"collection":122,"collections":4194,"showCount":47,"zanCount":11,"manualWeight":11,"mainColor":71},235160,"hong-ren-shan-shui-ce-yi-ming-235160","此作为诗画合璧，行书题笔隽雅清逸，与山水景致相映成趣。淡墨轻扫出平远秋湖之景，远山如黛晕染天际，汀渚渔舍错落浅滩，不见浓墨重彩，唯有疏淡笔墨勾勒出水乡秋寂。左下角枯木疏枝清隽，湖面扁舟随波，似载着题诗里的秋闲意趣。\n整体萧散极简，脱尽繁缛，以清和淡墨铺就幽旷静穆的氛围，将秋日湖港泊舟的闲适禅意晕开，诗画相生，尽显文人山水的简淡天真，观之如临秋水，心神亦随之沉敛安宁，悠悠野趣藏于留白淡墨之间。",[24,26,395,27,60,29,64,293,812,7,292],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcefcc066a3d8ae189ca1d151c47dd72.jpg",[],{"id":4196,"slug":4197,"title":4198,"dynasty":53,"author":4199,"museum":55,"description":4200,"tags":4201,"thumbUrl":4202,"material":481,"size":4203,"collection":122,"collections":4204,"showCount":47,"zanCount":11,"manualWeight":11,"mainColor":48},234811,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-wan-hu-lin-tu-ye-wen-jia-234811","吴门诸家寿袁方斋三绝册-万笏林图页","文嘉","此册页是吴门画家文嘉、文伯仁、陆治、陈道复为姓袁者六十大寿而绘的吴门一带的盛景，每位画家绘制五开，共20开，妹夫对开均有提拔。",[24,25,395,82,29,27,7,31,85]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晚年山水杰作。",[23,24,2851,80,27,29,7,37,293,35,1083],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99a4c833b694c49f7fa5fbf3c4a1a23d.jpg","109.1x45.8厘米",[],{"id":4334,"slug":4335,"title":4336,"dynasty":332,"author":2777,"museum":20,"description":4337,"tags":4338,"thumbUrl":4339,"material":729,"size":4340,"collection":122,"collections":4341,"showCount":4275,"zanCount":11,"manualWeight":11,"mainColor":71},229029,"lu-hong-cao-tang-shi-zhi-tu-ce-wang-yuan-qi-229029","卢鸿草堂十志图册","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。",[24,25,395,82,29,27,7,31,32,33,30,34,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b855412011780d4faf10c5428332274.jpg","约纵：29cm，横：29.5cm",[],{"id":4343,"slug":4344,"title":4345,"dynasty":143,"author":3637,"museum":130,"description":4346,"tags":4347,"thumbUrl":4348,"material":122,"size":122,"collection":122,"collections":4349,"showCount":4275,"zanCount":11,"manualWeight":11,"mainColor":71},227990,"chun-jiang-tu-ma-wan-227990","春江图","此作用笔苍润秀雅，以淡墨晕染远岫平林，江波如练，渔舟轻漾，铺就江天寥廓之境。近岸危崖层叠，嘉木葱茏，间有丹叶点破春山碧色，山麓小径间策蹇徐行的旅人，为空寂江乡添上几分烟火意趣。\n全画以披麻皴写山石肌理，干湿互济，墨色苍润交融，诗题于画端，将春日江村的静穆野趣与文人逸怀相融，尽显悠远冲淡的林下幽情，晕染出江天春景的空濛诗意。",[24,104,25,80,26,82,27,60,62,29,1020,64,31,30,84,7,88],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42e6fe60e76037c1ff051d0063db8088.jpg",[],{"id":4351,"slug":4352,"title":4353,"dynasty":53,"author":581,"museum":305,"description":4354,"tags":4355,"thumbUrl":4356,"material":226,"size":4357,"collection":44,"collections":4358,"showCount":4275,"zanCount":11,"manualWeight":11,"mainColor":48},223362,"hui-ji-shan-tu-shou-juan-quan-juan-yi-ming-223362","会稽山图手卷全卷","图绘绍兴会稽山景色。远处山峦起伏，满山苍翠；数条河流将群山隔开，河面修长平静，数只船只来往忙碌；近处数座房屋座落于山脚河岸边，背山面水，景色优美，为宜居胜地。技法上，以细皴绘山脉，线条柔和，层次清晰。",[23,24,58,104,148,26,27,7,150,823,182,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64c41ff2d27b892270217b7097c0f66a.jpg","49.2×712.2",[44],{"id":4360,"slug":4361,"title":4362,"dynasty":332,"author":4363,"museum":55,"description":4364,"tags":4365,"thumbUrl":4367,"material":4368,"size":4369,"collection":122,"collections":4370,"showCount":4275,"zanCount":11,"manualWeight":11,"mainColor":4371},223138,"shi-wan-tu-ce-2-ren-xiong-223138","十万图册2","任熊","《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。",[23,24,82,81,395,29,86,32,30,31,4366,7],"梅花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa311e26ff691a0434dbe5bba9651f404.jpg","泥金笺，设色","纵26.3厘米，横20.5厘米",[],"FF9800",{"id":4373,"slug":4374,"title":4375,"dynasty":332,"author":1749,"museum":55,"description":3592,"tags":4376,"thumbUrl":4377,"material":620,"size":3596,"collection":122,"collections":4378,"showCount":4275,"zanCount":11,"manualWeight":11,"mainColor":71},220305,"huang-shan-tu-ce-22-hong-ren-220305","黄山图册-22",[23,24,25,26,27,395,29,30,237,84,7,539],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d4f2c0db79efbfbcf1ca03a0c9769e3.jpg",[],{"id":4380,"slug":4381,"title":4382,"dynasty":3715,"author":4383,"museum":145,"description":4384,"tags":4385,"thumbUrl":4387,"material":122,"size":122,"collection":44,"collections":4388,"showCount":4275,"zanCount":11,"manualWeight":11,"mainColor":4389},202816,"fang-mi-fei-yan-yu-tu-zhou-qi-bai-shi-202816","仿米芾烟雨图轴","齐白石","水墨晕染间，山峦如黛，烟霭轻笼，尽显米家山水的朦胧意趣。白石老人以大写意笔法破墨点染，浓墨积叠出苍劲树影与屋舍轮廓，淡墨晕化出山巅云雾，虚实相生间，烟雨空濛之态跃然纸上。近景林木葱郁，屋舍隐现；远景峰峦耸峙，层次分明却浑然一体，似将江南烟雨的湿润清旷凝于尺幅，既有古法韵致，又藏独有的朴拙生机。",[24,26,29,59,4386,7,31,295,3127,23],"大写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcece95bf31897daf8e001444db8f9b6d.jpg",[44],"aaa791",{"id":4391,"slug":4392,"title":4393,"dynasty":18,"author":581,"museum":20,"description":4394,"tags":4395,"thumbUrl":4398,"material":547,"size":4399,"collection":42,"collections":4400,"showCount":96,"zanCount":11,"manualWeight":11,"mainColor":48},290986,"xue-zhan-niu-che-tu-yi-ming-290986","雪栈牛车图","寒天积雪，林木萧索，远方丘陵起伏，牛车行旅络绎不绝，往返於雪径上；庄院内牛骡或卧或息，檐前二人握手倾谈旅况。画家以叙述性的手法，详实地掌握了严冬季节，郊野行旅的活动景况。 幅中坡石皆用斧劈法侧斜横皴，用笔凝重，墨色浓郁，画法齐整严谨。以笔墨论，或是出於南宋后期受李唐风格影响者所作。",[24,148,26,408,4396,851,321,7,293,182,4397,30],"牛车","石桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca962091e2a05f32ff6737bcf33face7.jpg","164.2x104.1",[42],{"id":4402,"slug":4403,"title":4404,"dynasty":18,"author":1294,"museum":20,"description":4405,"tags":4406,"thumbUrl":4409,"material":240,"size":241,"collection":122,"collections":4410,"showCount":96,"zanCount":11,"manualWeight":11,"mainColor":48},288423,"hua-deng-shi-yan-tu-yi-ma-yuan-288423","华灯侍宴图一","《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。",[24,104,80,82,205,85,293,7,4407,4408,60,62],"宴饮","华灯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0eb711a93e2c337fe8675e725c8cd0a.jpg",[],{"id":4412,"slug":4413,"title":4123,"dynasty":53,"author":4414,"museum":130,"description":4415,"tags":4416,"thumbUrl":4417,"material":240,"size":241,"collection":122,"collections":4418,"showCount":96,"zanCount":11,"manualWeight":11,"mainColor":48},287861,"shan-shui-tu-ye-zhang-hong-287861","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。",[23,104,24,29,32,7,31,27,82,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feda5fe75184c121f92c524d109737692.jpg",[],{"id":4420,"slug":4421,"title":4422,"dynasty":332,"author":4423,"museum":130,"description":4424,"tags":4425,"thumbUrl":4426,"material":122,"size":122,"collection":44,"collections":4427,"showCount":96,"zanCount":11,"manualWeight":11,"mainColor":71},238414,"dong-gao-peng-hu-hui-sheng-tu-ce-dong-gao-238414","董诰蓬壶荟胜图册","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 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31.7厘米",[],{"id":4514,"slug":4515,"title":4516,"dynasty":18,"author":581,"museum":20,"description":4517,"tags":4518,"thumbUrl":4519,"material":212,"size":122,"collection":44,"collections":4520,"showCount":96,"zanCount":11,"manualWeight":11,"mainColor":71},218690,"yun-shan-lan-sheng-tu-yi-ming-218690","云山揽胜图","层峦叠嶂间，云雾如缕如带，缠绕峰腰，将山川晕染出远近错落的层次。山石勾勒皴擦见苍劲质感，林木点缀其间添自然生机，而云气的轻烟淡墨柔化了峰岭的硬朗，晕开几分空濛之趣。笔墨工致中藏灵动，写实里含写意，尽显宋人山水分韵之妙。观者仿佛凭高揽胜，目之所及皆是层峰竞秀，云气吞吐，心随景阔，顿生天地悠悠、物我两忘的清幽意境。",[23,24,25,26,82,29,27,1692,7,34,30,31,58,2480,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26092f110f0e3d6da8b2ff949a808d53.jpg",[44],{"id":4522,"slug":4523,"title":4524,"dynasty":332,"author":952,"museum":145,"description":4525,"tags":4526,"thumbUrl":4527,"material":66,"size":4528,"collection":122,"collections":4529,"showCount":96,"zanCount":11,"manualWeight":11,"mainColor":71},216981,"fang-song-yuan-shan-shui-ce-6-wang-jian-216981","仿宋元山水册-6","王鉴（1598-1677），字玄照，后改字符照、圆照，号湘碧、染香庵主，江苏太仓人。王世贞曾孙。崇祯六年（1633）以荫授南京左府都事，约十一年（1638）至北京改任比部郎，十二年（1639）任廉州知府，仅两年即罢职归太仓，从此未入仕途。工画山水，得董其昌亲授，追踵董源、巨然，多拟仿宋元诸家。著有《染香庵跋画》。\n是册临宋元各家，淡墨层层积累、细腻丰富，水墨设色兼能、皴染兼长。在“四王”山水画中，王鉴的设色山水与其他三家有所差异。王鉴擅长青绿山水设色，用色只在青、绿、赭少数几种中选择，但色彩鲜明，特别是青绿两色的运用，清润高华。而仿陈惟允（陈汝言）一开可见其见识广博，陈汝言为元末明初人，后人临宋元山水鲜少涉及，这与他的个人收藏及交游圈不无关系。\n据其自跋：“予今岁偶来南翔（今属上海嘉定），谛交文庶社长，见其丰神超迈，雅善丹青，深得古人三昧，余因复临陈（陈廉）本赠之。”谓王时敏曾将所藏宋元各家真迹，嘱华亭陈明卿缩成一册，此册又临陈本。按，王时敏有缩临宋元各家山水册，董其昌为题“小中现大”者，为世所著称，此册除四页外，余俱与之相同，而所题各家名氏亦有异同。至所言王时敏一册出于陈明卿手，未见详细记述，或为另一册。\n陈廉（生卒年不详），字明卿，华亭（今上海松江）人。赵左弟子，年少时从赵左学习绘画，工巨幅山水，其笔墨清标，无烟火气，传世作品较少，上海博物馆藏《云间诸家书画散页》有其山水一开。王时敏《题陈明卿廉雪》卷云：“（陈廉）初以赵文度（赵左）为宗，既从余家纵观宋元真迹，多有悟入，所诣益深。为余摹诸名图，以寻丈巨轴，缩为方册，使能笔墨酷肖，毫发不遗，真画史之绝技。”又《题陈明卿仿黄子久》卷云：“明卿为赵文度高足弟子，初至娄时，尚守其师法，继为余临宋元诸名迹，缩小为本，因此大有悟入，画格遂为一变……”（《王奉常书画题跋》卷上）可与是册王鉴自跋相印证。",[23,24,148,82,27,59,395,7,31,32,86,181,34,1145,35,37,88,1870,33,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc46f5271914a2b4ff894633cf7a7a1fc.jpg","纵55.4厘米，横36.0厘米",[],{"id":4531,"slug":4532,"title":4533,"dynasty":332,"author":952,"museum":392,"description":4534,"tags":4535,"thumbUrl":4536,"material":66,"size":122,"collection":122,"collections":4537,"showCount":96,"zanCount":11,"manualWeight":11,"mainColor":71},215026,"fang-gu-shan-shui-ce-5-wang-jian-215026","仿古山水册-5","王鉴（1669-1725）是清朝时期著名的画家，以其精湛的仿古山水画而闻名。王鉴出生于江苏省，自幼便对绘画有着浓厚的兴趣。他从小就开始学习绘画，后来在北京的私塾深造，并在考试中取得了优异的成绩。\n\n王鉴的仿古山水画以其精细的笔法和优美的构图而著称。他的画作经常使用细腻的线条和深浅不一的色彩来表现山水的美感。王鉴的作品常常充满了沉静、凝重的气氛，能够让人感受到中国古代山水画的韵味。\n\n王鉴的仿古山水画在当时广受欢迎，并且被广泛收藏和传承。他的画作经常被收录在仿古山水册中，并被视为中国古代山水画的经典之作。王鉴的画风对后代画家也产生了深远的影响，被认为是清朝时期仿古山水画的代表人物之一。",[24,25,26,27,395,810,29,30,31,37,7,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fa703daa34e1d4c2eecb58a6ce02119.jpg",[],{"id":4539,"slug":4540,"title":4174,"dynasty":332,"author":695,"museum":145,"description":4541,"tags":4542,"thumbUrl":4543,"material":122,"size":122,"collection":44,"collections":4544,"showCount":96,"zanCount":11,"manualWeight":11,"mainColor":4545},203342,"fang-gu-shan-shui-ce-wang-shi-min-203342","层峦叠嶂间林木苍郁，墨色晕染出宋元山水的古雅风骨。披麻皴法勾勒山石肌理，线条含蓄温润，虚实相生中藏着幽深林泉之趣。山间亭榭隐现，溪流绕石，一派静谧悠远的文人丘壑，尽显淡泊雅致的笔墨情韵。",[24,25,395,26,29,27,7,109,1424,37,810,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b9cc291f63cc7b45b4fd61e771e90fe.jpg",[44],"d1c8b3",{"id":4547,"slug":4548,"title":1671,"dynasty":332,"author":695,"museum":130,"description":3456,"tags":4549,"thumbUrl":4551,"material":240,"size":241,"collection":122,"collections":4552,"showCount":4553,"zanCount":11,"manualWeight":11,"mainColor":71},289951,"shan-shui-tu-zhou-wang-shi-min-289951",[23,24,104,25,80,26,29,7,31,4550,86,27,62],"亭屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09c72e791cad1835cbe635ef2d222b47.jpg",[],14,{"id":4555,"slug":4556,"title":4557,"dynasty":332,"author":2726,"museum":130,"description":4558,"tags":4559,"thumbUrl":4560,"material":240,"size":241,"collection":122,"collections":4561,"showCount":4553,"zanCount":11,"manualWeight":11,"mainColor":71},288232,"jiang-shan-wo-you-tu-juan-di-jiu-shi-yi-juan-cheng-zheng-kui-288232","江山卧游图卷(第九十一卷)","程正揆（1604年－1676年），初名正葵，字端伯，号鞠陵，别号清谿道人、青谿老人、青谿旧史，湖廣孝感（今湖北省）人，明末清初画家、书法家，政治人物。",[23,24,58,26,25,29,7,31,168,86,30,60,62,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19f6f45c6a6df6179257f192e7daa24b.jpg",[],{"id":4563,"slug":4564,"title":4565,"dynasty":332,"author":3522,"museum":130,"description":4566,"tags":4567,"thumbUrl":4568,"material":240,"size":241,"collection":122,"collections":4569,"showCount":4553,"zanCount":313,"manualWeight":11,"mainColor":71},287448,"tai-gu-yun-lan-tu-zou-yi-gui-287448","太古云岚图","邹一桂（1688-1772），清代画家。字元褒，号小山、二知、让卿、乡森子，江苏无锡人。雍正五年(1727)进士，官至礼部侍郎。擅工笔花卉。尝作《百花》卷，各系一诗。传世作品有《白梅山茶图》、《太古云岚图》、《水仙红梅图》等。",[24,104,25,80,29,26,82,7,34,1856,182,86,32,62,60,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffef4e4eaf1fc1e2699370d3d8e8973ac.jpg",[],{"id":4571,"slug":4572,"title":4573,"dynasty":53,"author":777,"museum":130,"description":778,"tags":4574,"thumbUrl":4576,"material":240,"size":241,"collection":122,"collections":4577,"showCount":4553,"zanCount":11,"manu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—1680），一作弘，字远度，号竹史、西江外史。江西金溪人，移居江宁（今南京）。\n吴宏自幼好绘事，自辟蹊径。顺治十年（1653）曾渡黄河，游雪苑，归而笔墨一变，纵横放逸。画作大多取材于自然景物及仰慕的桃花源仙境，构图疏密相间，气势雄阔。与龚贤、高岑、樊圻、邹喆、叶欣、胡慥、谢荪合称为“金陵八家”，在八家中画风最为粗放，浑融无际，任凭想象，景色细致苍郁，充满了生活气息。偶作竹石，亦有水墨淋漓之致。周亮工赠诗云：“幕外青霞自卷舒，依君只似住村虚，枯桐已碎犹为客，妙画通神独亦予”。\n传世作品有康熙五年（1666）作《山水》册页、《江山行旅图》卷，均藏北京故宫博物院；十一年（1672）作《松溪草堂图》轴、《竹石图》轴，藏南京博物院；《山村樵牧图》轴，藏天津市艺术博物馆。《国(清)朝画征录、读画录、桐阴论画、安雅堂集、江宁志、清画家诗史》",[23,104,24,58,26,148,7,1464,168,1996,276,114,113,4627,4628],"苍郁","生活气息","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc2193f9b4953e0d1929de82ac13992b.jpg",[],{"id":4632,"slug":4633,"title":4634,"dynasty":53,"author":4635,"museum":55,"description":4636,"tags":4637,"thumbUrl":4638,"material":4639,"size":4640,"collection":122,"collections":4641,"showCount":4553,"zanCount":11,"manualWeight":11,"mainColor":71},234044,"guan-pu-tu-shan-ye-zhang-lu-234044","观瀑图扇页","张路","图绘二人登山观瀑的情景。画中的山石杂木以饱含水分的润墨表现，用笔奔放豪爽，线条方折顿挫，富于缓疾、浓淡的变化，显然受到宋元时期粗笔水墨一派及吴伟等人水墨写意画风的影响。此作是张路在山水题材作品中不可多得的小而精之作。",[24,25,1019,26,29,33,31,30,7,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdebad2d46b651dc12e1b3bbc2e6ded3.jpg","金笺，墨笔","纵18厘米，横50.4厘米",[],{"id":4643,"slug":4644,"title":4645,"dynasty":332,"author":524,"museum":130,"description":4646,"tags":4647,"thumbUrl":4649,"material":620,"size":4650,"collection":122,"collections":4651,"showCount":4553,"zanCount":11,"manualWeight":11,"mainColor":71},233386,"yuan-ji-jin-shan-long-you-si-shi-yi-ce-shi-tao-233386","原济金山龙游寺诗意册","本幅墨笔山水画金山龙游寺风景。共12开，每开均有自印，第十二开上方有自题一段。印记：“子英秘玩”，“蜀客”，“浙东陆钢鉴藏之印”等印45方。后页二方。题跋：后页姚虞琴题记一段。\n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。",[24,26,29,293,30,31,7,4648,182,62,27],"草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F435bc7272985c485bd8f4ebb1b716b7b.jpg","纵24.6cm横17.6cm",[],{"id":4653,"slug":4654,"title":4655,"dynasty":53,"author":787,"museum":55,"description":4656,"tags":4657,"thumbUrl":4658,"material":4659,"size":4660,"collection":122,"collections":4661,"showCount":4553,"zanCount":11,"manualWeight":11,"mainColor":71},233140,"ming-ren-xi-shan-sheng-jing-he-bi-ce-wen-zheng-ming-heng-tang-tu-ye-wen-zheng-ming-233140","明人西山胜景合壁册-文徵明横塘图页","此册又名《明人西山胜景书画合璧册》（见《故宫博物馆藏文物珍品大系：吴门绘画》），著录于《墨缘汇观》，合题跋共计十四页，依次为：刘钰《踞湖山图》、沈周《茶磨屿图》、《新郭图》（对页陈淳题诗一首）、唐寅《越来溪图》、《行春桥图》、《饶稼桥图》（对页自题诗一首）、文徵明《横塘图》、《石湖图》（对页自题诗一首）和陈淳《桃花坞图》、《紫薇村图》，后页徐朗白题。\n颇为吊诡的是这套册页似乎从未完整发表过，就目前所见，《中国古代书画目录》是分开著录，其中刘钰一页、唐寅《饶稼桥图》以及四页题诗都未著录，而《中国古代书画图目》则只选印了沈周和陈淳的四页。《文徵明精品集》发表了两画及一页题诗，《唐寅绘画集》也只发表了《越来溪图》、《行春桥图》两页，《故宫博物馆藏文物珍品大系：吴门绘画》刊印了沈周、文徵明、唐寅各两页，陈淳《桃花坞图》一页，略去了四页题跋。刘钰《踞湖山图》、唐寅《饶稼桥图》及另外三页题跋始终未见，其中或有伪作吧（文徵明的两页画曾于去年苏博特展展出，未见图录，不知是否有完整发表）。但学术乃天下之公器，国内许多博物馆的出版态度素来可恶，很多作品在各类出版物中情况不一，往往“有头无尾”，以致研究一件作品需“东拼西凑”。\n吴门诸家歌咏、描绘吴中名胜之风颇盛，与平日游踪所及和地域意识渐起有关，留存于世的风景名胜图极多，甚至祝寿、官员离任，也以吴中风景图册为赠。值得注意的是，此册中沈周、文徵明、唐寅、陈淳的作品都是早年笔，集三代才人妙墨，想来这套作品的收藏者花了不少心思。末页崇祯五年徐朗白题云：“我朝画法变宋化元，正嘉间吴中诸先进一时杰出、擅采争奇，直使静庵而下皆瞠乎其后矣，此十册俱西山胜景，首为完庵次石田次六如衡山白阳，景虽未尽，人已才难，不特片羽之吉光抑且狐裘之集腋也。什袭见珍，援毫见重。”并题一歌，语涉浮夸无足取。",[24,25,395,26,82,61,29,86,32,31,7,182,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40f4f684ec7589408ab32df01c94c253.jpg","纸本 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han-shui-ce-cao-zhi-bai-290791",[24,104,25,395,26,27,29,7,181,182,34,60,61,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb8d4db09053f098e95e9302d75be369.jpg",[],{"id":4797,"slug":4798,"title":4799,"dynasty":332,"author":2777,"museum":130,"description":3672,"tags":4800,"thumbUrl":4802,"material":240,"size":241,"collection":122,"collections":4803,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":71},288134,"shan-cun-yu-jing-tu-wang-yuan-qi-288134","山村雨景图",[24,25,80,26,29,27,4801,4271,86,32,7,31,182,133,60,62],"山村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F294c5e833fb6388c6d67ccaaee06df6d.jpg",[],{"id":4805,"slug":4806,"title":4807,"dynasty":332,"author":581,"museum":130,"description":4808,"tags":4809,"thumbUrl":4815,"material":240,"size":241,"collection":122,"collections":4816,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":48},272836,"zi-tan-mu-bian-zuo-qian-ci-bai-di-qing-hua-shan-shui-tu-cha-ping-yi-ming-272836","紫檀木边座嵌瓷白地青花山水图插屏","青花瓷（blue and white porcelain），又称白地青花瓷，常简称青花，是中国瓷器的主流品种之一，属釉下彩瓷。青花瓷是用含氧化钴的钴矿为原料，在陶瓷坯体上描绘纹饰，再罩上一层透明釉，经高温还原焰一次烧成。钴料烧成后呈蓝色，具有着色力强、发色鲜艳、烧成率高、呈色稳定的特点。原始青花瓷于唐宋已见端倪，成熟的青花瓷则出现在元代景德镇的湖田窑。明代青花成为瓷器的主流。明宣德时发展到了顶峰。明清时期，还创烧了青花五彩、孔雀绿釉青花、豆青釉青花、青花红彩、黄地青花、哥釉青花等衍生品种。",[4810,4811,4812,4813,4814,29,64,86,32,181,31,84,7],"青花","陶瓷","木质","插屏","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ed00e7621d03287f1ae29c4fb16db2f.jpg",[],{"id":4818,"slug":4819,"title":2828,"dynasty":332,"author":4820,"museum":1091,"description":4821,"tags":4822,"thumbUrl":4825,"material":122,"size":122,"collection":44,"collections":4826,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":71},236730,"shan-shui-ce-hua-yan-236730","华嵒","华嵒（1682～1756），福建上杭蛟洋华佳（家）人（原白砂里人），后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称“三绝”，为清代杰出绘画大家，扬州画派的代表人物之一。华嵒是清康雍乾年间的著名画家，他笔下的鸟堪称一绝，最负盛名。\n华喦就是我们所熟知的新罗山人，但我相信这一套山水画册，大部分人都不是熟悉，这山水画册页并没有藏在国内，而是藏在美国的弗利尔美术馆，其可称为华喦非常精致的一套山水册页。",[24,26,82,27,395,60,62,29,30,4823,4824,7],"杂草","浅滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F996fa25e4caf6ad41e71fda95c25e82d.jpg",[44,94],{"id":4828,"slug":4829,"title":4830,"dynasty":332,"author":952,"museum":130,"description":4831,"tags":4832,"thumbUrl":4833,"material":122,"size":122,"collection":122,"collections":4834,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":71},235862,"fang-zi-jiu-shan-shui-ye-wang-jian-235862","仿子久山水页","此作构图疏清远逸，近坡古木虬曲苍劲，扎根嶙峋石畔，枯枝干瘦却自有傲然姿态，苔点错落点缀，愈见清隽。远景山峦以干笔淡墨皴擦晕染，轮廓温和平柔，林麓间村舍隐现，似笼轻烟薄雾，满溢幽寂安闲的冬日山野意趣。\n笔墨追慕元人简淡萧散的风神，以淡墨晕出空寂冷峭的氛围，笔意醇厚内敛，无丝毫刻露之痕。对页题诗与画面呼应合璧，尽显古雅静穆的文人画韵致，将山水荒寒淡远之美诉诸笔端，是极具文人意趣的精妙小品。",[104,24,25,395,26,59,27,61,62,29,63,294,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb55d50189bc2d501928537cc54c9ef61.jpg",[],{"id":4836,"slug":4837,"title":1191,"dynasty":332,"author":524,"museum":130,"description":891,"tags":4838,"thumbUrl":4839,"material":122,"size":122,"collection":122,"collections":4840,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":71},234654,"yuan-ji-jin-ling-shi-jing-tu-ce-shi-tao-234654",[24,25,395,26,61,62,29,7,31,182,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57b5033947f4b0a441807f1b0facb7a0.jpg",[],{"id":4842,"slug":4843,"title":4844,"dynasty":332,"author":627,"museum":615,"description":2046,"tags":4845,"thumbUrl":4846,"material":620,"size":4847,"collection":122,"collections":4848,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":71},231512,"yi-jing-zhi-qiao-qu-tu-wang-hui-231512","一径至桥去图",[23,24,104,148,26,82,27,7,109,1083,168,182,64,114,150,4397],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04a3af540c2cbca82873377916100e60.jpg","43x95厘米",[],{"id":4850,"slug":4851,"title":4852,"dynasty":332,"author":4853,"museum":130,"description":4854,"tags":4855,"thumbUrl":4857,"material":240,"size":241,"collection":122,"collections":4858,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":71},231049,"shen-zhu-you-ju-tu-cheng-sui-231049","深竹幽居图","程邃","程邃（1607年—1692年），字穆倩、朽民，号垢区、青溪，明末清初篆刻家、书画家。 歙县（今属安徽）人，生于松江华亭（今上海松江）。",[24,26,27,25,80,29,86,32,64,182,31,7,4856,62],"竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36ac9ac3c05eaead2a85ddd28c5c67b9.jpg",[],{"id":4860,"slug":4861,"title":4862,"dynasty":53,"author":581,"museum":130,"description":4863,"tags":4864,"thumbUrl":4867,"material":122,"size":122,"collection":122,"collections":4868,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":71},228350,"chun-jiang-xing-zhou-tu-ye-yi-ming-228350","春江行舟图页","近景峭峰被苍林簇拥，山石皴染细腻，草木氤氲温润生机。江面烟波澹澹，远岸晕作朦胧黛色，留白晕出濛濛水汽，晕染出暮春江天的辽远空寂。几叶扁舟缓行江上，帆影悠悠，将水居行旅的松弛闲散揉入开阔江境。\n\n此作用色雅致淡逸，以小青绿晕染山峦，无浓艳堆砌，尽显清隽澹泊。尺幅之间藏千里之势，静山与动舟相映，把春江暮景的悠然意境铺展尽致，揽入江南水天的温柔清寂，观之如沐江上春风，得小品山水的澹远意趣。",[23,24,25,4865,82,29,4866,31,7,1020,27],"团扇","行舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40ea2a72ac10508a352aa6f165a194fc.jpg",[],{"id":4870,"slug":4871,"title":4872,"dynasty":143,"author":581,"museum":130,"description":4873,"tags":4874,"thumbUrl":4875,"material":122,"size":122,"collection":122,"collections":4876,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":48},227897,"mu-niu-tu-yi-ming-227897","牧牛图","此作用色古雅沉静，青绿晕染山峦坡岸，暖黄绢底晕开春日郊野的温润柔意。垂柳为画面主角，柔婉笔意写出枝条，柳丝如烟似雾，随风轻曳，将江南春野的柔媚尽数晕开。\n坡岸浅滩间，牛群闲散啃食，寥寥数笔便勾勒出憨态，野趣横生。整体简淡疏朗，无繁复皴染，以写意笔调铺展田园意韵，将郊原恬适安宁的春日氛围缓缓晕开，带着萧散淡远的悠然意趣，观之如临春日郊野，身心皆浸在松弛静谧之中。",[23,24,82,29,84,851,423,7,294,2381,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9473190e7c32d42ef3f7cf7f0e2429ac.jpg",[],{"id":4878,"slug":4879,"title":4880,"dynasty":2707,"author":2708,"museum":130,"description":2709,"tags":4881,"thumbUrl":4891,"material":240,"size":241,"collection":2720,"collections":4892,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":48},226057,"the-church-at-varengeville-against-the-sunlight-1882-mo-nai-226057","The Church at Varengeville, against the Sunlight, 1882",[2711,2712,4882,4883,2715,4719,31,4884,751,2718,88,7,4885,277,4886,4887,4888,4889,4890],"光影捕捉","色彩晕染","山坡","远景建筑","暖色调","户外风景","前景花草","远山轮廓","日光效果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F121f293ba15199b1f06a2bfa35552aa6.jpg",[2720],{"id":4894,"slug":4895,"title":288,"dynasty":143,"author":4896,"museum":748,"description":4897,"tags":4898,"thumbUrl":4899,"material":120,"size":4900,"collection":122,"collections":4901,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":48},221798,"shan-shui-tu-ren-kang-min-221798","任康民","［宋］汴（今河南开封）人。工界画。宣和（一一一九至一一二五）时入画院，每与贺真合作山水图轴。一日安先作横披，当中界楼阁，分布亭榭满中以困真，真止作坡岸于下，上则层峦叠嶂出于屋妙，更觉壮观，遂成名作。《画继》",[24,25,26,27,29,411,410,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb12f6cee56717d7d6e8377aa930422af.jpg","23.8X21",[],{"id":4903,"slug":4904,"title":4905,"dynasty":332,"author":4906,"museum":1640,"description":4907,"tags":4908,"thumbUrl":4913,"material":4914,"size":4915,"collection":122,"collections":4916,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":122},220708,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220708","凤阿山房图册","吴历,朱彝尊,陆遵等","吴历 ，字渔仙，号桃溪居士，后号墨井道人，江苏常熟人。曾笃信天主教，并往澳门逗留。工诗、善画山水，师事王时敏 (1592-1680)与王鉴 (1598-1677) ，连同王翚 (1632-1717)、王原祁 (1642-1715)和恽寿平 (1633-1690) 合称「四王吴恽」或称「清初六家」，为清代正统派绘画代表。\n\n该画为吴历应友人侯大年（约1641-约1710）之命所作，并以友人之号「凤阿」命名，绘于康熙十六年（1677）之后，为吴氏中晚年之作。画面山峦起伏，高树竹丛、屋舍数间，屋前小桥流水，一人策杖过桥。整幅作品尺幅虽不大，却构图繁密，墨色苍润，流露对笔墨的追求与讲究，是吴历的精品。事实上，吴历与侯大年交谊深厚，曾应命绘制多幅《凤阿山房图》，以表达侯氏「述祖德，守先业」并归隐的志向，然而凤阿山房终未建成。据记载，侯大年在吴历绘制完立轴后，另请他绘制小册并请诸友题咏，正是此册。全册共分上、下两册，引首朱彝尊　(1629-1709) 书「凤阿山房」，后有吴历、朱彝尊、姜宸英、梁佩兰、宋骏业、王撰、陆遵、梅庚、钱大昕等六十六家诗题，其中陆遵、梅庚补图并题诗。吴历此作无疑是全册点睛之笔，见证了他与侯大年的交谊。",[23,24,25,104,395,29,7,4909,4910,295,86,32,4911,26,4912],"高树","竹丛","策杖行人","苍润","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbf36ccfeba247023e50d74a3a3b0b2d.jpg","水墨,设色,纸本,册页","18×34.5厘米",[],{"id":4918,"slug":4919,"title":4920,"dynasty":332,"author":952,"museum":392,"description":4534,"tags":4921,"thumbUrl":4922,"material":66,"size":122,"collection":122,"collections":4923,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":71},215010,"fang-gu-shan-shui-ce-19-wang-jian-215010","仿古山水册-19",[23,24,25,395,26,27,29,31,63,812,7,1492],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02ef3432372e2458db74ec31875d2652.jpg",[],{"id":4925,"slug":4926,"title":1671,"dynasty":332,"author":4927,"museum":145,"description":4928,"tags":4929,"thumbUrl":4930,"material":122,"size":122,"collection":44,"collections":4931,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":4932},202003,"shan-shui-tu-zhou-chen-lv-zu-202003","陈率祖","这幅画作笔墨清润雅致，山峦层叠起伏，以皴法皴擦出山石肌理，墨色浓淡交错间晕染出远近景深。林木疏密有致，或点染或勾勒，枝叶鲜活，掩映着几处村落屋舍，质朴恬淡，流露田园生趣。溪流蜿蜒穿绕画面，水面留白与墨色相映，添得空灵之韵。整体构图虚实相生，意境宁静悠远，于简淡笔墨中见深致，尽显文人山水画的闲适意趣，仿佛让人置身于清幽静谧的山水田园间。",[26,29,27,7,109,168,37,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ae96bcacb38c031370748f51cfd3b01.jpg",[44],"b5a491",{"id":4934,"slug":4935,"title":4936,"dynasty":332,"author":2867,"museum":145,"description":4937,"tags":4938,"thumbUrl":4939,"material":122,"size":122,"collection":44,"collections":4940,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":4941},201528,"wu-xia-qiu-tao-tu-zhou-yuan-jiang-201528","巫峡秋涛图轴","巫峡险峻之势凝于画卷，山峦叠嶂间，界画勾勒的楼阁倚崖而立，线条精巧工致。山石以皴法表现肌理，墨色浓淡交织出林木葱茏之态。江中秋涛奔涌，波涛起伏间，一叶扁舟破浪前行，船身细节入微。远山云雾缥缈，近麓茅屋隐现，添了几分幽居意趣。整幅画融山水雄奇与建筑精巧，动静相济，尽显巫峡秋日壮景与文人山水情怀。",[205,27,29,85,64,1020,7,109,117,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7cfe5b5cdcd135532c2bcae734a5f67.jpg",[44],"896f60",{"id":4943,"slug":4944,"title":4945,"dynasty":53,"author":581,"museum":130,"description":4946,"tags":4947,"thumbUrl":4948,"material":240,"size":241,"collection":122,"collections":4949,"showCount":70,"zanCount":11,"manualWeight":11,"mainColor":48},288164,"fang-dong-yuan-shan-shui-tu-yi-ming-288164","仿董源山水图","此作用平远铺展全景江南山水，烟波澹澹的江面与连绵柔缓的浅丘相映，苍郁林木间散落村舍人家，尽显水乡温润氤氲的灵秀气质。\n画师以披麻皴写山石，淡墨晕染出苍润层次，笔触简淡柔婉，追摹出平淡天真的山水意趣，带着宋初山水的浑厚静穆。整卷气息悠长静谧，将江南丘林的秀雅与村居的悠然融为一体，仿若带人走入了古意绵长的隐逸山居，尽显古典山水的悠远韵致。",[23,24,58,25,29,82,27,7,31,295,292,618,59,60,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff74ea0075c3b07b6830bfb8c1b90d62a.jpg",[],{"id":4951,"slug":4952,"title":4953,"dynasty":53,"author":820,"museum":130,"description":4954,"tags":4955,"thumbUrl":4956,"material":240,"size":241,"collection":122,"collections":4957,"showCount":70,"zanCount":11,"manualWeight":11,"mainColor":48},288051,"xi-qiao-lin-wu-tu-shan-mian-sun-zhi-288051","溪桥林屋图扇面","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。",[104,24,25,1019,26,29,86,32,182,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9db017cd0df8cb7f7d323beb4d55c81a.jpg",[],{"id":4959,"slug":4960,"title":4961,"dynasty":143,"author":581,"museum":130,"description":4962,"tags":4963,"thumbUrl":4967,"material":240,"size":241,"collection":122,"collections":4968,"showCount":70,"zanCount":11,"manualWeight":11,"mainColor":48},287549,"xue-jian-pan-che-tu-yi-ming-287549","雪涧盘车图","千里征途的艰辛景色。全图结构谨严，右侧的雪景疏松，左侧的山石树木紧凑，其间旅队蜿蜒而上。造型写实功力深厚，是南宋院画中的杰出小品。",[24,104,148,408,7,4964,321,4965,4966,320,84,31,27],"山涧","盘车","马车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e76546a20a81c1e59800f3c51b0eb56.jpg",[],{"id":4970,"slug":4971,"title":4972,"dynasty":53,"author":777,"museum":130,"description":778,"tags":4973,"thumbUrl":4975,"material":240,"size":241,"collection":122,"collections":4976,"showCount":70,"zanCount":11,"manualWeight":11,"mainColor":71},283759,"shu-hua-he-bi-juan-dong-qi-chang-283759","书画合璧卷",[23,24,104,58,4974,26,148,61,4291,62,7,31,32,292,27],"书画合璧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9fbcb8f4bdac99113b80ce2e8cf5f1a.jpg",[],{"id":4978,"slug":4979,"title":4980,"dynasty":53,"author":777,"museum":130,"description":778,"tags":4981,"thumbUrl":4982,"material":240,"size":241,"collection":122,"collections":4983,"showCount":70,"zanCount":11,"manualWeight":11,"mainColor":48},283710,"shan-shui-tu-shan-ye-dong-qi-chang-283710","山水图扇页",[1019,24,104,25,26,29,7,31,295,60,62,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3145563fc20ba22dd7f74f84c37588a1.jpg",[],{"id":4985,"slug":4986,"title":4987,"dynasty":332,"author":581,"museum":130,"description":4988,"tags":4989,"thumbUrl":4990,"material":240,"size":241,"collection":122,"collections":4991,"showCount":70,"zanCount":11,"manualWeight":11,"mainColor":48},235655,"gao-jian-jiang-xiang-chu-xia-tu-zhou-yi-ming-235655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rl":5052,"material":122,"size":122,"collection":44,"collections":5053,"showCount":70,"zanCount":11,"manualWeight":11,"mainColor":5054},202233,"fang-dong-ju-shan-shui-zhou-lan-ying-202233","仿董巨山水轴","这幅山水轴师法董源、巨然的平淡天真，又融入蓝瑛苍劲秀逸的个人笔意。层叠山峦以温润皴法晕染，林木葱茏间溪流婉转，屋舍隐于幽径旁，尽显江南山水的静谧幽深。笔墨厚重与灵动兼具，山石勾勒皴染相济，树木点染疏密有致，营造出深远空间层次与古雅意境，堪称蓝瑛师古而化的典范之作。",[29,27,82,7,31,37,295,5051,23],"仿董巨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c3717cf30fc95c40e648ce9b10c3ea3.jpg",[44],"84755f",{"id":5056,"slug":5057,"title":5058,"dynasty":332,"author":695,"museum":145,"description":5059,"tags":5060,"thumbUrl":5061,"material":122,"size":122,"collection":44,"collections":5062,"showCount":70,"zanCount":11,"manualWeight":11,"mainColor":5063},202014,"chuang-xian-nong-bi-tu-zhou-wang-shi-min-202014","窗闲弄笔图轴","这幅画笔墨苍润雅致，构图层次悠远，尽显文人山水的闲逸之趣。山石以皴法皴染结合，纹理细密，山峦叠嶂间云雾轻飘，晕出空濛之境。近处苍松虬枝盘曲，树下溪流潺潺，小桥横跨水面，隐于林间的亭屋错落有致；远处村落依稀，与淡墨远山相映，一派悠然静谧。笔墨间可见对宋元山水的传承，每一处勾勒晕染都藏着画家对自然的深情与文人的清雅心境，仿佛将观者带入那窗下弄笔时的闲适氛围中。",[26,29,27,86,32,181,31,34,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f0f293ee78e17d03f0f5974a5459bd0.jpg",[44],"aba69b",{"id":5065,"slug":5066,"title":5067,"dynasty":18,"author":581,"museum":20,"description":5068,"tags":5069,"thumbUrl":5071,"material":212,"size":5072,"collection":122,"collections":5073,"showCount":197,"zanCount":11,"manualWeight":11,"mainColor":71},290774,"qiong-tai-xian-lv-zhou-yi-ming-290774","琼台仙侣轴","峰岫奇崛，隐现于昏暝烟霭之中，如灵墟仙山浮沉空濛里，氤氲着幽玄出尘的氛围感。苍松虬曲古劲，枝桠如铁，掩映错落层叠的琼台朱阁，飞甍翘角隐于松荫间，规整雅致的楼宇晕染出清旷仙气。\n\n全作用水墨晕染营造虚实相生之境，淡墨轻烟消解山石楼宇的厚重，将仙家幽境的清寂脱俗藏于笔底，恍若踏入杳杳云间的世外仙居，把缥缈仙乡的空灵意趣铺展在绢素之上，尽显山水楼阁画意境营造的精妙。",[24,80,148,205,82,27,85,7,2689,34,5070],"仙山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35df980a3987cf09eccdcdce150bb137.jpg","138x74.7",[],{"id":5075,"slug":5076,"title":5077,"dynasty":18,"author":581,"museum":130,"description":5078,"tags":5079,"thumbUrl":5080,"material":240,"size":241,"collection":122,"collections":5081,"showCount":197,"zanCount":11,"manualWeight":11,"mainColor":48},290480,"bi-geng-yuan-shan-shui-tu-yi-ming-290480","笔耕园山水图","此作截取山野一隅，以平远之法铺展幽寂溪林之景。坡岸苍松虬曲盘错，枝叶郁然，与周遭杂木错落成林，浅滩间苔石隐现，晕染出湿润水汽。远山以淡墨轻勾慢染，虚实掩映间，将咫尺尺幅拓出辽远空阔的意境。画面留白尽显溪面空濛，不见水波却溢出幽宁清寂。笔墨简淡清润，萧散澹泊，将寄情林泉的隐逸意趣凝于纨扇之上，尽显山水重韵尚意的雅致品格。",[23,1019,24,148,26,27,7,237,30,754],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8a0612503b4a3be40e7a4d98ea02d82.jpg",[],{"id":5083,"slug":5084,"title":5085,"dynasty":332,"author":4423,"museum":130,"description":5086,"tags":5087,"thumbUrl":5089,"material":240,"size":241,"collection":122,"collections":5090,"showCount":197,"zanCount":11,"manualWeight":11,"mainColor":71},290431,"jing-wei-shu-ji-shi-shi-wen-juan-dong-gao-290431","泾渭蜀纪实诗文卷","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”。",[23,58,24,25,82,81,29,150,7,295,60,61,5088],"诗文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef2f3667c968e7989f9a935ff5bf5351.jpg",[],{"id":5092,"slug":5093,"title":5094,"dynasty":143,"author":1758,"museum":130,"description":5095,"tags":5096,"thumbUrl":5098,"material":240,"size":241,"collection":122,"collections":5099,"showCount":197,"zanCount":11,"manualWeight":11,"mainColor":48},290397,"fang-mi-jia-shan-shui-tu-ke-luo-ban-fang-cong-yi-290397","仿米家山水图（珂罗版）","方从义（约1302—1393），元末著名道士画家，江西贵溪人。字无隅，号方壶、又号上清羽士、不芒道人、金门羽客、鬼谷山人。早年入道，师从永嘉人金月岩修道家之学，为龙虎山上清宫正一派道士，金月岩去世后，他离开龙虎山游历全国各地，往来于大江南北，至正三年（1343）曾至大都（今北京），结交了不少文人、画家和达官贵人，名臣危素称他为“方外之交”，画家张彦辅曾为之绘《圣井山图》相赠，在当时很有名气，由于不喜谈论时事，独好画，不久即思南归，但这次北游使他大开眼界，对他的画有很大促进。",[23,104,24,25,29,26,59,60,62,7,31,5097],"细雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc0ea8f998ae61227e0cbabed49e7d28.jpg",[],{"id":5101,"slug":5102,"title":5103,"dynasty":332,"author":627,"museum":130,"description":5104,"tags":5105,"thumbUrl":5106,"material":240,"size":241,"collection":122,"collections":5107,"showCount":197,"zanCount":11,"manualWeight":11,"mainColor":71},289977,"zhu-lin-qing-yuan-tu-wang-hui-289977","竹林清远图","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在绘画理论方面也有较高造诣。其论画主张“以元人笔墨，运宋人丘壑，而泽以唐人气韵。”",[23,24,26,148,7,60,62,27,2229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcb5c62174519ad79bca356b5fb9359a.jpg",[],{"id":5109,"slug":5110,"title":5111,"dynasty":332,"author":524,"museum":130,"description":891,"tags":5112,"thumbUrl":5118,"material":240,"size":241,"collection":122,"collections":5119,"showCount":197,"zanCount":11,"manualWeight":11,"mainColor":71},289949,"shan-shui-ren-wu-juan-shi-tao-289949","山水人物卷",[23,24,104,58,26,25,60,61,29,84,64,293,7,32,5113,5114,5115,5116,5117,2407,2993,62,27],"怪石","幽林","隐士","僧人","渔者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9823a172113e0e371319b858615943f8.jpg",[],{"id":5121,"slug":5122,"title":5123,"dynasty":53,"author":4008,"museum":130,"description":5124,"tags":5125,"thumbUrl":5126,"material":240,"size":241,"collection":122,"collections":5127,"showCount":197,"zanCount":11,"manualWeight":11,"mainColor":71},287948,"yan-si-wan-zhong-tu-ye-sheng-mao-ye-287948","烟寺晚钟图页","盛茂烨，生卒年不详。明画家。号念庵、一作研庵，长洲（今江苏苏州）人，善山水，有烟林清旷之概。",[23,104,24,25,395,82,29,61,60,62,86,32,7,237,1307,34,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ee2ff072691336c7ccc9a6449892a59.jpg",[],{"id":5129,"slug":5130,"title":5131,"dynasty":332,"author":5132,"museum":130,"description":5133,"tags":5134,"thumbUrl":5135,"material":240,"size":241,"collection":122,"collections":5136,"showCount":197,"zanCount":11,"manualWeight":11,"mainColor":71},287745,"fang-shi-xi-shan-shui-xiao-jun-xian-287745","仿石溪山水","萧俊贤","萧俊贤( 1865 -1949)字厔泉，号铁夫，别署天和逸人，斋名净念楼。湖南衡阳人。 早年从苍崖法师、沈咏荪学画 。应李瑞清聘，曾任教于两江优级师范学堂图画手工科 。民国初年居北京，曾任教于国立北平艺术专科学校 。晚年寓沪卖画为生 。长于山水，兼作花卉 。与萧逊并称为北京二萧 。作品有《碧海青天图》《溪山无尽图》《山居图》等 。",[24,25,80,26,29,59,7,107,32,85,31,62,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd62a7fe3e02728d888882ee1773d23ff.jpg",[],{"id":5138,"slug":5139,"title":5140,"dynasty":332,"author":5141,"museum":130,"description":5142,"tags":5143,"thumbUrl":5144,"material":122,"size":122,"collection":44,"collections":5145,"showCount":197,"zanCount":313,"manualWeight":11,"mainColor":71},239274,"qing-luan-nuan-cui-tu-zhou-qin-bing-wen-239274","晴峦暖翠图轴","秦炳文","秦炳文（一八O三至一八七三），字砚云，号谊亭，江苏无锡人。道光二十年（1840）举人，官户部主事。三上春闱，留京八载，尝一返里，挈子俱北。寄情诗酒，广交游，精鉴赏，所藏皆精品。画擅山水，初师王鉴，后宗黄公望、吴镇，臻其胜境。",[24,80,82,27,29,7,34,31,86,32,181,182,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7590cf853fd8a92277c9d92aa1e34b94.jpg",[44,94],{"id":5147,"slug":5148,"title":2828,"dynasty":53,"author":5149,"museum":130,"description":5150,"tags":5151,"thumbUrl":5152,"material":122,"size":55,"collection":44,"collections":5153,"showCount":197,"zanCount":11,"manualWeight":11,"mainColor":71},236604,"shan-shui-ce-ye-xiang-rong-236604","叶向荣","这幅山水以苍劲皴笔写就崖壁雄姿，浓墨点苔晕染出山石间的苍郁草木，古松虬曲舒展，扎根崖畔。山坳间村居隐于林麓，寥寥数笔便勾勒出幽寂山居之态。\n\n画面虚实相映，高远取景将山野层叠之趣铺展，笔法兼具朴拙与秀润，把林泉隐逸的静穆意趣藏于笔墨之间，尽显雅致出尘的文人山水意境，仿佛将观者带入了幽寂清宁的丘林佳处。",[24,26,27,395,29,7,237,182,31,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde6a8ea47578c4a2045a891560275a1f.jpg",[44,45],{"id":5155,"slug":5156,"title":5157,"dynasty":53,"author":5158,"museum":130,"description":5159,"tags":5160,"thumbUrl":5161,"material":240,"size":241,"collection":122,"collections":5162,"showCount":197,"zanCount":313,"manualWeight":11,"mainColor":71},236394,"mao-shan-shang-gong-tu-shan-ye-tang-zhi-qi-236394","茅山上宫图扇页","唐志契","唐志契(xiè)，1579——1651，字敷五，又字玄生、元生，海陵（今江苏泰州）人。精于绘事，著有《绘事微言》。 《书.舜典》：“帝曰：‘契(Xiè)，百姓不亲，五品不逊，汝作司徒，敬敷五教，在宽。’” 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江南的首郡就是金陵。在这些画家中，却单单有八位画家因一个概念而被画史铭记，这就是“金陵八家”。但是，关于“金陵八家”的构成一直为画史争论不休。先后出现了多个版本，这些不同的“金陵八家”组合其实可以分为三类：①为张庚《国朝画征录》中提出的以龚贤为首的“金陵八家”。②为标明是周亮工品题的不包括龚贤，并以陈卓领衔的“金陵八家”，《上元县志》、《新修江宁府志》、《上江两县志》和《金陵通传》这4部南京地方志采用该说。前三书完全相同，而《金陵通传》略有不同，将武丹换成了武弁（很可能是传抄的错误）。《眼福编》的组合虽与张庚之说相似，但将龚贤换成了邹喆的父亲邹典，故将之归到这一类。③为《昆山景物志》，此说也以龚贤为首，大概因为龚贤是昆山人。新入3人：施霖、盛丹、王概。这三类“金陵八家”构成以第一种受到的附合最多。为什么会出现如此多的“金陵八家”说不同版本，“金陵八家”最初由谁品题，为什么会发生变化，其动因又是什么呢？",[24,26,82,27,395,29,30,31,295,618,7,539],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceffa03dc34c80a37f79d6bb2778e258.jpg",[],{"id":5340,"slug":5341,"title":5342,"dynasty":332,"author":627,"museum":20,"description":5343,"tags":5344,"thumbUrl":5345,"material":729,"size":5346,"collection":122,"collections":5347,"showCount":5257,"zanCount":11,"manualWeight":11,"mainColor":48},231371,"lin-fan-kuan-xue-shan-tu-wang-hui-231371","临范宽雪山图","从构图上看，中景占大部分画面，主峰和侧峰是由许多山体组成，且几乎没有平远。是清初「四王」的风格。\n山体线条勾勒笔墨纤细秀丽。皴法虽用点皴， 但点子纤细呈短条状。树木出现直且呈排列状的姿态。是王翚的笔墨特点。\n王翚的笔墨特点：构图学习宋人， 运笔学习元人。由于师承古人学习各类画家笔墨技巧多样化，用笔极灵活。\n早年时期工整俊秀，尖笔，细笔较多。因为学习黄公望，构图上较沉闷。中年以后，在王时敏处遍临古画，技艺集各家技法突飞猛进。将李成，吴镇等的树法，王蒙，黄公望等的皴法交替使用，变化多且运用恰当。繁密精致，峭拔挺秀，渲染皴笔配合恰当。也可以说他是集大成。\n同为「四王」中的王原祁曾评论王翚技巧过熟。因为笔法变化太多，画面缺少统一感。构图繁复，墨色也会缺少变化。",[104,24,25,59,27,26,82,29,2152,30,31,87,408,293,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa36251e62e43c9c5c89e57fc3abcc825.jpg","187.7x115.5厘米",[],{"id":5349,"slug":5350,"title":5351,"dynasty":143,"author":581,"museum":130,"description":5352,"tags":5353,"thumbUrl":5354,"material":122,"size":122,"collection":122,"collections":5355,"showCount":5257,"zanCount":11,"manualWeight":11,"mainColor":71},228192,"dong-jing-shan-shui-tu-tuan-shan-yi-ming-228192","冬景山水图团扇","此作以全景铺陈冬日丘壑，构图繁密却层次井然。山峦以苍劲的墨笔勾皴，浓淡晕染出山岩的嶙峋骨相，峰顶隐于淡墨烟霭之中，晕出隆冬空蒙萧寒的氛围。虬曲的枯木虬枝如铁，交错于山石林间，尽显冬日荒寒萧索。\n\n山坳间的幽居屋舍，为清寂山林晕开一丝暖意，将山野的静穆与山居的幽隐相融。全作用墨沉郁古雅，以浓淡变化区分山石阴阳向背，枯涩的笔意尽写冬日山林的清寥，暗合林泉高致的隐逸之思，把冬日山野的荒寒淡远与幽居意趣揉合，意境静雅清和。",[23,24,25,1019,29,27,82,847,294,7,86,32,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F074e681fea99720c55e7ea2cf24efa41.jpg",[],{"id":5357,"slug":5358,"title":5359,"dynasty":332,"author":2777,"museum":130,"description":5360,"tags":5361,"thumbUrl":5362,"material":122,"size":122,"collection":122,"collections":5363,"showCount":5257,"zanCount":11,"manualWeight":11,"mainColor":71},224386,"fang-huang-zi-jiu-qing-luan-ji-cui-juan-wang-yuan-qi-224386","仿黄子久晴峦霁翠卷","此作为娄东派仿古山水精品，师法黄子久笔意，以长卷铺展丘壑，山峦层叠萦回，林舍洲渚错落排布，兼具深远、平远之致，尽显江南山水的萧散淡远。\n用笔以干笔枯墨反复皴擦，间以淡墨晕染，笔墨苍浑厚润，元气内蕴，既恪守子久浅绛山水的简淡天真，又融入自身沉郁苍秀的笔法。画家经年经营此卷，于简淡中藏深秀，朴拙内含妍密，草木华滋，气象浑穆，尽显清初正统山水画追摹元人、讲求笔墨理气的创作旨趣，将黄公望平淡萧散的山水意韵，化为自身苍厚浑沦的笔墨境界。",[23,24,25,58,26,27,29,7,31,182,181,37,86,35,88,87],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ff59f30a03d2837ac808debeb392d61.jpg",[],{"id":5365,"slug":5366,"title":432,"dynasty":53,"author":1069,"museum":55,"description":5367,"tags":5368,"thumbUrl":5369,"material":153,"size":5370,"collection":122,"collections":5371,"showCount":5257,"zanCount":11,"manualWeight":11,"mainColor":71},214871,"shan-shui-ce-9-wen-zheng-ming-214871","文徵明（1313年－1370年）是明朝开国皇帝朱元璋的兄弟，在位时间为1341年-1368年。他是中国历史上著名的文人，被称为“文王”。他创作了许多著名的诗词、书法作品，其中包括《山水册》。\n\n《山水册》是文徵明的著名书法作品之一，共包含了十一幅图画。每幅图画都描绘了不同的山水风光，并配以文徵明的诗词。文徵明的书法风格具有流畅、柔和的特点，《山水册》的笔墨非常优美，被视为中国书法史上的经典之作。",[23,24,25,395,26,27,29,31,7,61,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa15097161056ff49135e6be054a1d293.jpg","28.5x15.7cm",[],{"id":5373,"slug":5374,"title":5375,"dynasty":3715,"author":1103,"museum":145,"description":5376,"tags":5377,"thumbUrl":5378,"material":122,"size":122,"collection":44,"collections":5379,"showCount":5257,"zanCount":11,"manualWeight":11,"mainColor":5380},202931,"fang-jing-guan-shan-shui-tu-zhou-huang-bin-hong-202931","仿荆关山水图轴","峰岭如戟，墨色层叠间见苍劲风骨。取荆关北派山水之雄健，以干湿浓淡的笔墨皴擦山峦，线条刚劲却不失灵动。云雾在岩隙间流转，似将群峰晕染成氤氲的整体，溪流蜿蜒穿谷而下，点出清润生机。树木疏朗有神，与厚重山石相映，尽显山水深邃苍茫之态。整幅画于古法中融新意，笔墨韵律藏自然灵韵，是传统山水精神的生动延续。",[29,24,80,26,27,7,34,37,31,59,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9efd96d57d700276b52fa63cd272999.jpg",[44],"8f8679",{"id":5382,"slug":5383,"title":5384,"dynasty":143,"author":581,"museum":145,"description":5385,"tags":5386,"thumbUrl":5387,"material":122,"size":122,"collection":122,"collections":5388,"showCount":5257,"zanCount":313,"manualWeight":11,"mainColor":5389},202528,"zhong-shan-dian-ge-tu-zhou-yi-ming-202528","重山殿阁图轴","画面层峦叠嶂，青绿设色晕染山峦，石纹以皴法勾勒，尽显丘壑之奇崛。殿阁依山傍水错落而立，界画技法精工细致，飞檐翘角皆具法度。林木葱茏间，小桥横跨溪涧，隐约可见行人往来，添几分生活意趣。整体意境悠远静谧，山水的清幽与建筑的精巧相融，既得自然之趣，又显人工之妙，是元代山水与界画结合的典型之作。",[24,104,81,82,205,27,29,85,86,31,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b87accec4ec3aa2ca2fe0f6be7e21a2.jpg",[],"654b22",{"id":5391,"slug":5392,"title":5393,"dynasty":332,"author":5394,"museum":145,"description":5395,"tags":5396,"thumbUrl":5397,"material":122,"size":122,"collection":44,"collections":5398,"showCount":5257,"zanCount":11,"manualWeight":11,"mainColor":5399},202056,"cui-yan-shan-ju-tu-zhou-zhang-zong-cang-202056","翠巘山居图轴","张宗苍","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。",[24,29,80,27,26,493,37,31,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd46fc77568dc43d343d9a63fc4406340.jpg",[44],"654f38",{"id":5401,"slug":5402,"title":5403,"dynasty":53,"author":777,"museum":145,"description":5404,"tags":5405,"thumbUrl":5407,"material":122,"size":122,"collection":44,"collections":5408,"showCount":5257,"zanCount":11,"manualWeight":11,"mainColor":5409},201734,"lu-he-zeng-bie-tu-zhou-dong-qi-chang-201734","潞河赠别图轴","这幅画以淡墨皴染营造清旷山水之境。近处苍松虬劲，山石以简练皴笔勾勒，间杂疏林；中景小桥横跨溪流，流水潺潺；远景山峦层叠，云雾轻笼，尽显江南景致的雅致。笔墨疏朗灵动，线条温润，既得自然野趣，又含文人画空灵韵味。赠别之情隐于山水间，含蓄深沉，不着一字却尽得风流。画面布局疏密有致，意境淡远，是文人画风格的典型体现，尽显笔墨功力与意境营造的极致追求。",[24,29,444,5406,27,237,30,86,32,7,80,2566,23],"淡墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F020d9a6eb4e3829c2236b26a50a48160.jpg",[44],"d3c6a8",{"id":5411,"slug":5412,"title":5413,"dynasty":332,"author":2899,"museum":130,"description":5414,"tags":5415,"thumbUrl":5416,"mater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、Kesi 或 Chinese silk tapestry），又称“刻丝”，是中国传统丝绸艺术品中的精华。是中国丝织业中最传统的一种挑经显纬，极具欣赏装饰性丝织品。\n宋元以来一直是皇家御用织物之一，常用以织造帝后服饰、御真（御容像）和摹缂名人书画。因织造过程极其细致，摹缂常胜于原作，而存世精品又极为稀少，是当今织绣收藏、拍卖的亮点。常有“一寸缂丝一寸金”和“织中之圣”的盛名。\n苏州缂丝画也与杭州丝织画、永春纸织画、四川竹帘画并称为中国的“四大家织”。",[5485,5486,29,85,86,32,64,7,31,295,82],"缂丝","挂屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa56d048d20f874f83c710731f1600f71.jpg",[],{"id":5490,"slug":5491,"title":5492,"dynasty":332,"author":5141,"museum":130,"description":5142,"tags":5493,"thumbUrl":5494,"material":240,"size":241,"collection":122,"collections":5495,"showCount":173,"zanCount":11,"manualWeight":11,"mainColor":71},239032,"fang-cha-shi-biao-shan-shui-zhou-qin-bing-wen-239032","仿查士标山水轴",[24,25,80,59,26,27,29,63,31,35,7,2822],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc349e0153148851c98716702002c3df.jpg",[],{"id":5497,"slug":5498,"title":5499,"dynasty":332,"author":4423,"museum":130,"description":4424,"tags":5500,"thumbUrl":5501,"material":122,"size":122,"collection":122,"collections":5502,"showCount":173,"zanCount":11,"manualWeight":11,"mainColor":71},238818,"dong-gao-lv-xuan-shao-jing-ce-dong-gao-238818","董诰律宣韶景册",[24,25,395,82,29,83,27,86,32,84,182,30,1393,237,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0d45dcffa582ad09361b4fe6129d7e2.jpg",[],{"id":5504,"slug":5505,"title":2828,"dynasty":332,"author":2899,"museum":130,"description":5414,"tags":5506,"thumbUrl":5507,"material":122,"size":122,"collection":44,"collections":5508,"showCount":173,"zanCount":11,"manualWeight":11,"mainColor":48},238312,"shan-shui-ce-dong-bang-da-238312",[24,26,27,395,29,86,32,64,31,182,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F401a8f7deacb8e6ea14fd07f3dd0895c.jpg",[44,45],{"id":5510,"slug":5511,"title":5512,"dynasty":332,"author":5513,"museum":130,"description":5514,"tags":5515,"thumbUrl":5516,"material":122,"size":122,"collection":122,"collections":5517,"showCount":173,"zanCount":11,"manualWeight":11,"mainColor":71},238230,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238230","仿王翬山水册","曹夔音","此作用淡墨晕染远山，留白摹绘烟水浩渺，山峦以干笔皴擦出苍朴质感，汀渚错落隐于烟波间，寥寥数笔便勾勒出江乡秋日的空濛悠远。\n画面与左侧题诗相映成趣，诗画交融，将澹泊清旷的山居野趣铺陈开来。笔致秀雅沉静，脱尽尘俗，以极简笔墨营造出悠远空灵的意境，尽显寄情丘壑的文人雅韵，把传统山水的诗意氛围感烘托到极致。",[104,24,25,395,26,27,61,59,29,7,31,150,292,63,86,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27b5de921774d38902a6ec18c2be0775.jpg",[],{"id":5519,"slug":5520,"title":5521,"dynasty":53,"author":76,"museum":55,"description":5522,"tags":5523,"thumbUrl":5524,"material":120,"size":5525,"collection":122,"collections":5526,"showCount":173,"zanCount":11,"manualWeight":11,"mainColor":48},233758,"ren-wu-gu-shi-ce-5-chou-ying-233758","人物故事册5","全册共十开，内容取材于历史故事、寓言传说、文人轶事和诗文寓意，具体为子路问津、明妃出塞、贵妃晓妆、南华秋水、吹箫引凤、高山流水、竹院品古、松林六逸、浔阳琵琶、捉柳花图等。这些题材历史上常被画家描绘，但仇英在作品立意、形象塑造和笔墨表现等方面，都注入了自己的才思和技巧，显示出鲜明的个性风格。\n作品主题明确，构思巧妙，不仅人物活动的细节刻画具体明晓，而且注意环境气氛的烘托，使每幅画页都有很强的观赏性。如“贵妃晓妆”页，以杨贵妃清晨在华清宫端正楼对镜理髻为中心，将宫女奏乐、采花和携琵琶等情节同现于一个画面，集中表现了贵妃爱牡丹、喜簪花、善声乐、好打扮的习性，也概括反映了贵妃奢华纵乐的生活内容。又如“高山流水”页，取材于伯牙鼓琴的故事，在描绘俞伯牙草亭弹琴，钟子期拾阶而上，知音相遇的具体情节同时，布置了高山飞瀑、松林流水的静谧清幽环境，形象地表达了高山流水的音乐内容，也衬托出人物的高雅情操，以象征性手法营造出了一个情景交融的臻境。\n此图册运用工笔重彩法。人物情态描绘得细腻精微，文人举止高雅潇洒，仕女容貌端庄娟美。建筑器皿工整精细，山石树木形态各具。笔致工细而不板滞，流畅自然，刚柔相济。敷色艳丽，又多和色，整体色调和谐、清雅。作品具有雅俗共赏的艺术效果，是仇英对唐宋工笔重彩法的创新和发展。",[24,25,395,83,82,29,84,181,31,7,117,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f5085027baa8e94e1b14d676b966a38.jpg","纵41.4厘米，横33.8厘米",[],{"id":5528,"slug":5529,"title":5530,"dynasty":18,"author":581,"museum":130,"description":5531,"tags":5532,"thumbUrl":5533,"material":122,"size":122,"collection":122,"collections":5534,"showCount":173,"zanCount":11,"manualWeight":11,"mainColor":48},227853,"shan-shui-ren-wu-tu-yi-ming-227853","山水人物图","此作为典型的宋人山水小品，以圆框取景，将江南烟岚山居收于尺幅间。远景山峦以淡墨轻晕，隐没在濛濛雾气之中，虚实相生间晕染出空濛悠远的暮色秋意。近景林木苍郁，墨色干湿互用，枝叶攒簇尽显山野生机，几椽村舍错落藏于树荫之下，石阶板桥隐约勾连，似有山民往来其中，暗合着幽居林泉的隐逸意趣。\n\n整幅画作以简淡笔墨写尽江南乡野的静谧闲雅，无繁复刻画，却将烟雨空蒙的氛围感烘托至极，带着宋画独有的平淡天真，引人踏入这方避世山乡，静享林泉间松弛的意韵。",[23,24,25,1019,82,29,84,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc05371d2fa860c6b3af216ce13990958.jpg",[],{"id":5536,"slug":5537,"title":5538,"dynasty":2707,"author":581,"museum":130,"description":5539,"tags":5540,"thumbUrl":5544,"material":240,"size":241,"collection":122,"collections":5545,"showCount":173,"zanCount":313,"manualWeight":11,"mainColor":71},225406,"fu-shi-hui-163-yi-ming-225406","浮世绘163","浮世绘，也就是日本的风俗画，版画。它是日本江户时代（1603～1867年间，也叫德川幕府时代）兴起的一种独特的民族艺术，是典型的花街柳巷艺术。主要描绘人们日常生活、风景和演剧。浮世绘常被认为专指彩色印刷的木版画（日语称为锦绘），但事实上也有手绘的作品。\n从其绘画素材看，70%以上内容是妓画（暂称为“美人画”）和伎画（暂称为“艺人画”），也就是说，作品主角是娼妓和艺伎，女性，裸体，性感美，色情是其标志性特征。用现代艺术眼光看，可算“人体绘画艺术”，其中的大胆的性爱题材引起注意，成为古代东方一种人本主义的新研究方向。在日本，存在着对这类作品的争议，也有的认为是乐而不淫，肯定其价值。\n浮世绘的艺术渊源，一来自绘画，师承了中国的“春画”，房中术绘画也；二来自文学，浸染了“浮世草子”（草子：小说），西鹤《好色一代女》、《好色一代男》和近松《曾根崎情死》、《情死天网岛》等等，是文学“浮世写”直接彰显，主题和题材无非色情和妓女（当然，文学价值与作品题材并非正比例关系）。\n因此，“浮世绘”是一个绘画艺术的专有名词，有其特定的内涵外延。印象派大师如德加等也受到浮世绘的感染，模仿当时日本的出口商品的包装的风格创作了不少绘画。近现代西方人体绘画艺术借鉴了日本“浮世绘”主题和技法，这是积极的方面，有着艺术审美的价值。\n望文生义的理解“浮世绘”，想当然的以为就是关于尘世风俗的绘画，类似于《清明上河图》那种风俗画。再扩大到文学领域运用这个专有名词，泛化为关于尘世风俗的描写，则偏离约定俗成的语义越来越远，差不多等于是错别字了。搞绘画的人很难接受这样的定义，日本人当诧异一个日本词汇出口到中国以后居然发生了那么大的歧义。",[5541,82,5542,84,423,7,150,5543],"浮世绘","美人","竹篮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9124eb0ab3ed7fa2595d3394eb70809.jpg",[],{"id":5547,"slug":5548,"title":5549,"dynasty":332,"author":695,"museum":130,"description":5550,"tags":5551,"thumbUrl":5552,"material":5553,"size":5554,"collection":122,"collections":5555,"showCount":173,"zanCount":11,"manualWeight":11,"mainColor":48},224409,"shu-hua-shi-liu-kai-10-wang-shi-min-224409","书画十六开-10","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。",[23,24,25,395,82,27,29,86,32,31,30,182,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6b1fffac4109daa74541bf9f3ca25d9.jpg","墨色绢本","48x32",[],{"id":5557,"slug":5558,"title":5559,"dynasty":332,"author":2777,"museum":130,"description":5560,"tags":5561,"thumbUrl":5566,"material":122,"size":122,"collection":122,"collections":5567,"showCount":173,"zanCount":11,"manualWeight":11,"mainColor":71},224393,"jiang-shang-chui-lun-tu-quan-juan-wang-yuan-qi-224393","江上垂纶图全卷","此作用笔苍浑松秀，以干笔皴擦间施浓墨提点，糅合元人山水意趣。长卷铺展江南水村平湖远岫，层岩叠嶂间村居隐现，汀渚渔舟萧然静泊，尽显江乡幽寂淡远的秋暮之致。构图开合起伏，元气淋漓，将胸中丘壑化作纸面清旷之景。卷后题跋与画境呼应，诗画交融，尽显文人山水画的简淡高逸，沉雄苍润的笔墨尽显正统山水的文心雅韵。",[23,24,58,148,444,82,27,2405,7,652,113,5562,1020,5563,5564,5565,60,62,1393],"汀渚","秋暮","幽寂淡远","清旷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0bd684daf1f7232a7c873baeffea3a7.jpg",[],{"id":5569,"slug":5570,"title":5571,"dynasty":332,"author":581,"museum":130,"description":5572,"tags":5573,"thumbUrl":5587,"material":122,"size":122,"collection":122,"collections":5588,"showCount":173,"zanCount":11,"manualWeight":11,"mainColor":71},223489,"ming-shi-san-ling-tu-yi-ming-223489","明十三陵图","《明十三陵手绘图(珍藏版)》中的明十三陵位于北京市昌平区，是明朝13位皇帝的陵墓群，并葬有23个皇后和1个贵妃。它是中国现存规模最大、帝后陵寝最多的皇陵建筑群。明十三陵于永乐七年（1409年）开始营建，至崇祯十七年（1644年）明朝灭亡建成。陵区三面环山，中间是盆地，南接北京平原，入口左右有两座山——龙山和卧虎山。十三座陵墓分布在东、北、西三面，各以一座山峰为背景，规模大小不一，形制却基本相同，主要建筑依次为陵门、棱恩门、裬恩殿、棂星门、石五供、明楼和宝城。宝城下面为地下宫殿。2003年，联合国教科文组织世界遗产委员会将明十三陵和南京明孝陵列入《世界遗产名录》，作为“明、清皇家陵寝”的附属项目。",[23,24,58,83,82,205,29,85,5574,31,5575,5576,5577,30,632,5578,5579,114,5580,5581,5582,7,88,5583,5584,5585,5586],"陵墓","石碑","牌坊","宫殿建筑","拱桥","松柏","神道","石象生","门楼","古建筑群","石牌坊","殿堂","碑亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F123aa13e4f3c2f815d482dd3e89104ba.jpg",[],{"id":5590,"slug":5591,"title":5592,"dynasty":332,"author":1749,"museum":55,"description":3592,"tags":5593,"thumbUrl":5594,"material":620,"size":3596,"collection":122,"collections":5595,"showCount":173,"zanCount":11,"manualWeight":11,"mainColor":71},220271,"huang-shan-tu-ce-52-hong-ren-220271","黄山图册-52",[23,24,25,395,26,27,29,63,237,7,1157,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75bd465030a0cf75c99a75a5a20ef9db.jpg",[],{"id":5597,"slug":5598,"title":5599,"dynasty":18,"author":1812,"museum":20,"description":5600,"tags":5601,"thumbUrl":5602,"material":212,"size":5603,"collection":122,"collections":5604,"showCount":173,"zanCount":11,"manualWeight":11,"mainColor":48},218158,"wen-ji-gui-han-tu-ce-5-li-tang-218158","文姬归汉图册-5","这本画册由18张图片组成，以上下系列的形式。每张图片大小不一，是独立的画作，与其他画作一起构成一个完整的故事。",[24,25,395,82,84,320,1341,7,31,2380,83,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b01800332ea34d715a40b85c68b77af.jpg","50.7x39.7",[],{"id":5606,"slug":5607,"title":5608,"dynasty":53,"author":5609,"museum":405,"description":5610,"tags":5611,"thumbUrl":5613,"material":66,"size":5614,"collection":122,"collections":5615,"showCount":173,"zanCount":11,"manualWeight":11,"mainColor":71},217877,"zhou-li-yuan-shang-kuan-shen-ce-er-hu-yu-kun-217877","周栎园上款什册(二)","胡玉昆","右侧山水以淡墨勾勒皴染，嶙峋山石间几株枯树枝桠虬劲，疏朗有致；岩畔茅舍隐于树后，远山淡远朦胧，留白处尽显空灵。左侧题跋行楷相间，墨色沉厚清逸，文字与画境相生相契。整幅作品简淡中见真味：枯树无华却藏风骨，茅舍简陋更显幽寂，远山淡远引人流连。诗画合一的韵致，于笔墨间传递出文人寄情丘壑的清寂孤远，在古典雅致中尽显简素之美，是文人画里以意取胜的佳例。",[104,24,25,26,29,293,117,30,31,7,5612,60,61,27],"枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9b55b0b2efd8517fd33b2057e3feed9.jpg","24.7x32.3cm",[],{"id":5617,"slug":5618,"title":5619,"dynasty":53,"author":5609,"museum":405,"description":5620,"tags":5621,"thumbUrl":5622,"material":66,"size":5614,"collection":122,"collections":5623,"showCount":173,"zanCount":11,"manualWeight":11,"mainColor":71},217870,"zhou-li-yuan-shang-kuan-shen-ce-ba-hu-yu-kun-217870","周栎园上款什册(八)","水墨晕染间，层崖峻壑如劈，皴笔勾勒出山石嶙峋肌理。虬松盘结岩隙，枝干苍劲似与山风低语。山间小径蜿蜒隐现，偶见屋舍点缀，添几分幽居之趣。左侧题跋笔墨流畅，诗韵与画境交融，字里行间流露对山水清净的向往。诗画相契，尽显文人雅士寄情林泉、心向归隐的淡泊襟怀。笔墨雅致与意境悠远交织，似能窥见雅士们于林泉间品茗赏景、诗画唱和的闲逸时光，令人沉醉于这份自然与心灵的双重归栖。",[24,25,395,26,27,60,29,30,31,237,1157,1083,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37d3834a21679e7817ec440f3937cf26.jpg",[],{"id":5625,"slug":5626,"title":5627,"dynasty":332,"author":3141,"museum":130,"description":5628,"tags":5629,"thumbUrl":5638,"material":26,"size":122,"collection":122,"collections":5639,"showCount":173,"zanCount":11,"manualWeight":11,"mainColor":71},216842,"zhan-zheng-tong-ban-hua-6-lang-shi-ning-216842","战争铜版画-6","这一系列铜质战争版画是由清朝乾隆皇帝旨令制作的，描绘了他在位期间在内陆省份和边疆的军事行动场景。这些版画主要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。\n兼精文字学、文学，善写篆、隶书和“八分体”，以楷书最为著名。 尤其“界画”为世人推重。“界画”是随着山水画发展而派生的一科，主要是画与山水画中有关的亭台楼阁、舟船车舆。《圣朝名画评》中评他的界画，为“一时之绝”，列为“神品” 。\n工书，诸体皆能。曾有人得鸟迹篆，忠恕一见辄诵如宿习。清刘熙载《艺概.书概》称：“忠恕以篆古之笔溢为分隶，独成高致。”传有《三体阴符经》、《汗简》、《佩觽》等书。其画风画技在当时和后世有较大影响。",[104,24,25,29,82,27,64,292,295,293,7,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08b7155754987b42b5e622d176737084.jpg",[],7,{"id":5656,"slug":5657,"title":5658,"dynasty":332,"author":5659,"museum":130,"description":5660,"tags":5661,"thumbUrl":5662,"material":240,"size":241,"collection":122,"collections":5663,"showCount":5654,"zanCount":11,"manualWeight":11,"mainColor":71},290585,"lian-chang-gong-tu-zhou-zhang-gao-290585","连昌宫图轴","张镐","此作以工致界画还原宫苑盛景，近观殿宇台阁勾描精谨，朱廊玉阶、飞檐斗拱分毫毕现，尽显皇家宫阙的恢宏规制。淡墨皴染的山石错落而立，春林抽芽、枝叶扶苏，烟波池水漾开，将宫苑与郊野融于一色。远景田舍桥郭隐在轻岚淡霭间，虚实相映，把楼宇富丽与郊野清旷揉为一体。\n\n右上角题跋追述宫苑旧事，书画相映凭吊往昔繁华，落笔带着物是人非的澹然怅惘。整作兼具界画的严整与文人山水的写意空灵，以笔墨追怀盛世宫苑，是描摹古典皇家园林的精妙佳构。",[24,205,82,83,85,206,7,31,86,29,60,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf692ecb1d942d9634c583bd48473458.jpg",[],{"id":5665,"slug":5666,"title":288,"dynasty":18,"author":289,"museum":130,"description":5650,"tags":5667,"thumbUrl":5668,"material":240,"size":241,"collection":122,"collections":5669,"showCount":5654,"zanCount":11,"manualWeight":11,"mainColor":48},290296,"shan-shui-tu-guo-zhong-shu-290296",[24,104,148,82,27,29,64,293,182,292,32,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F992854c151e737f5a0d86f76e823f47d.jpg",[],{"id":5671,"slug":5672,"title":5673,"dynasty":18,"author":581,"museum":130,"description":3817,"tags":5674,"thumbUrl":5675,"material":240,"size":241,"collection":122,"collections":5676,"showCount":5654,"zanCount":11,"manualWeight":11,"mainColor":48},290268,"yan-lan-feng-luan-tu-yi-ming-290268","烟岚峰峦图",[24,104,29,26,27,7,34,31,32,35,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91b2e099f265be7284bfcce10b3bc520.jpg",[],{"id":5678,"slug":5679,"title":5680,"dynasty":332,"author":5681,"museum":130,"description":5682,"tags":5683,"thumbUrl":5684,"material":240,"size":241,"collection":122,"collections":5685,"showCount":5654,"zanCount":11,"manualWeight":11,"mainColor":71},288473,"shan-shui-tu-li-zhou-lin-san-zhi-288473","山水图立轴","林散之","近岸林木枝桠苍劲，以浓淡墨色点染枝叶，野趣横生。渔舟缓行江面，水波澹澹漾开清寂意趣。中景峰峦列峙，皴擦间见山石嶙峋质感，溪桥卧波，村居错落枕水，将烟火意趣揉入山水丘壑。\n\n远景岫顶以淡青晕染，烟岚轻笼云山，虚实相生晕开朦胧空濛。画作以书入画，线条老辣朴拙，干湿浓墨层次分明，题诗与画面浑然相融，将江南水村的清灵闲逸晕染开来，笔底藏着温润生机，尽现水墨山水的雅致禅意。",[23,24,80,26,82,29,86,32,64,7,31,182,60,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4090f06345b2d4fb4d4645a25caede3.jpg",[],{"id":5687,"slug":5688,"title":5689,"dynasty":332,"author":5690,"museum":130,"description":5691,"tags":5692,"thumbUrl":5693,"material":240,"size":241,"collection":122,"collections":5694,"showCount":5654,"zanCount":11,"manualWeight":11,"mainColor":71},288449,"xi-shan-wu-jin-tu-juan-zhou-hao-288449","溪山无尽图卷","周颢","周颢，同名人物有两位。分别是清代书画家、竹刻家。字晋瞻，号芷嵒（一作巖、岩）、芷道人、芷叟、雪樵，因蓄美须长髯，自号髯痴，人呼周髯",[23,104,24,25,58,26,29,27,7,618,64,61,4291,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1f875b7e8ae770f0560d5622fc8430f.jpg",[],{"id":5696,"slug":5697,"title":5698,"dynasty":2707,"author":581,"museum":130,"description":5699,"tags":5700,"thumbUrl":5702,"material":240,"size":241,"collection":122,"collections":5703,"showCount":5654,"zanCount":11,"manualWeight":11,"mainColor":48},287706,"yan-si-mu-zhong-tu-er-yi-ming-287706","烟寺暮钟图（二）","此作用淡墨晕染铺就暮霭昏茫，以虚实相生之法写尽空山晚钟的幽寂禅意。主峰奇崛，以浓墨提点山石肌理，苍劲老辣，林麓间山寺半隐，藏而不露。下半段以淡墨晕开水色天色，烟岚漫过山腰，将天地晕作浑茫一片，远近层次尽在墨色浓淡间悄然区分。\n全画不着一笔明绘钟声，却以空濛暮色烘托出晚钟穿破烟岚、漾过水天的悠远意境，将黄昏山寺的静谧禅韵渲染到极致，尽显水墨写意以意胜形的绝妙意趣。",[24,25,104,80,26,27,29,7,1446,2130,5701],"暮景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05e937ea44eed6947e72ce10b20c4e2e.jpg",[],{"id":5705,"slug":5706,"title":5707,"dynasty":332,"author":5708,"museum":130,"description":5709,"tags":5710,"thumbUrl":5713,"material":122,"size":122,"collection":122,"collections":5714,"showCount":5654,"zanCount":11,"manualWeight":11,"mainColor":71},238951,"shan-shui-ce-ye-xu-ji-238951","山水册页","徐稷","此作用笔秀润温婉，取景错落有致。远景山峦以淡墨铺底，敷染浅青淡赭，晕染出空蒙氤氲的烟岚之态，一道飞瀑垂落山坳，破了山林沉静，添入灵动生机。近景苍松虬劲挺拔，坡岸林木错落，茅庐隐于松荫竹篱间，浅滩静水如镜，将草木坡岸揽入其中。\n\n整体画风恬静淡远，以文人意趣写山居幽境，笔墨间带着松弛的闲雅之感，落款题字与朱印排布和谐，文气盎然，仿若将观者带入林泉高致的世外山居，尽显悠然淡逸的林下之风。",[24,25,395,82,29,237,33,30,31,182,37,7,27,5711,5712],"传统","古典","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad4c1aa378028f3d4780004c5b4b9bfc.jpg",[],{"id":5716,"slug":5717,"title":5718,"dynasty":332,"author":5719,"museum":130,"description":5720,"tags":5721,"thumbUrl":5722,"material":240,"size":241,"collection":44,"collections":5723,"showCount":5654,"zanCount":11,"manualWeight":11,"mainColor":71},238499,"xun-xing-ji-cheng-shi-hua-ce-jiang-pu-238499","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。",[24,25,395,82,29,85,31,7,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaa03781573918eafdde86cc365afe50.jpg",[44,94],{"id":5725,"slug":5726,"title":5727,"dynasty":332,"author":4423,"museum":130,"description":4424,"tags":5728,"thumbUrl":5729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,[],{"id":6003,"slug":6004,"title":6005,"dynasty":332,"author":581,"museum":130,"description":6006,"tags":6007,"thumbUrl":6009,"material":240,"size":241,"collection":122,"collections":6010,"showCount":157,"zanCount":11,"manualWeight":11,"mainColor":71},234429,"qing-ren-wen-shu-pu-sa-xiang-zhou-yi-ming-234429","清人文殊菩萨像轴","文殊菩萨，佛教菩萨名，梵文Maňjuśrī的音译，略称“文殊”，意为“妙德”“妙吉祥”等，新译“曼殊室利”。文殊师利菩萨是中国佛教四大菩萨之一，以论述“般若性空”和“般若方便”的理论著称。\n作为释迦牟尼佛的左胁侍，专司智慧，与司“理”的右胁侍普贤菩萨并称。此外，毗卢遮那如来、文殊菩萨、普贤菩萨被尊称为“华严三圣”。相传文殊菩萨的说法道场在山西五台山。\n文殊菩萨顶结五髻，以代表大日五智，手中持剑，表示以智慧为利剑，驾狮子以表示智慧之威猛。另外，文殊为相应众生的不同因缘，还会有不同形象的“示现”，如一字文殊、五字文殊、六字文殊、八字文殊、一髻文殊、五髻文殊、八髻文殊、儿文殊等。其中以五字五髻文殊最为常见。",[24,80,1261,82,83,84,85,31,2970,2969,7,6008,2974],"传统服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34959effcbc2ab2bf732eecdca4a0cbc.jpg",[],{"id":6012,"slug":6013,"title":6014,"dynasty":53,"author":4151,"museum":130,"description":4152,"tags":6015,"thumbUrl":6016,"material":122,"size":122,"collection":122,"collections":6017,"showCount":157,"zanCount":11,"manualWeight":11,"mainColor":71},234223,"du-qiong-meng-xuan-tang-tu-juan-du-qiong-234223","杜琼梦萱堂图卷",[23,24,25,58,26,29,27,60,61,62,181,31,7,87],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4b3528e3fa7f667927b9d355b3593ba.jpg",[],{"id":6019,"slug":6020,"title":5789,"dynasty":332,"author":6021,"museum":55,"description":6022,"tags":6023,"thumbUrl":6024,"material":481,"size":6025,"collection":122,"collections":6026,"showCount":157,"zanCount":11,"manualWeight":11,"mainColor":71},233432,"huang-shan-tu-ce-mei-qing-233432","梅清","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。",[24,26,27,395,62,29,7,63,181,292,321,4856,411,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d3248ca9a22b55ef40d212ff75967d3.jpg","纵26厘米，横33厘米",[],{"id":6028,"slug":6029,"title":6030,"dynasty":332,"author":581,"museum":55,"description":6031,"tags":6032,"thumbUrl":6034,"material":620,"size":6035,"collection":122,"collections":6036,"showCount":157,"zanCount":11,"manualWeight":11,"mainColor":71},233084,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-233084","平定苗疆战图册","《平定苗疆得胜图》亦称《湖南战役图》，十六幅图依次为：兴师图、剿捕秀山苗匪、攻克木山、攻解松桃之围、大剿土空寨苗匪解永绥城围、攻克兰草坪滚牛坡、攻克黄瓜寨剿贼、攻克苏麻寨、攻得茶它柳夯等处贼巢、攻克高多寨生擒逆首吴半生、攻克廖家冲生擒首逆石三保、收复乾州、攻克强虎哨、攻克平陇贼巢、捷来图、攻克石隆苗寨。\n清乾隆五十九年（1794年），湖南、贵州的苗民在石三堡、石柳邓、吴半生等人的率领下起义。清政府先后派云贵总督福康安、四川总督和琳等出兵镇压。《平定苗疆得胜图》是以这一历史事件中的几次重大战役为题材创作而成。\n作者采用了中国传统绘画中的皴法刻画山石麻皮状的纹理和峭立的山势，并以细腻的刻画手法及娴熟的线条运用较好地勾勒出物象的质感。战争场面气势恢宏，人物造型受中国传统木版画的影响，呈头大身小的特点，古朴稚拙。",[83,82,27,84,29,320,6033,32,7,2638],"桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa733c868361ebe2992d7e4e548d3aff3.jpg","纵55.4cm，横90.8cm",[],{"id":6038,"slug":6039,"title":6040,"dynasty":332,"author":6041,"museum":20,"description":6042,"tags":6043,"thumbUrl":6044,"material":122,"size":122,"collection":122,"collections":6045,"showCount":157,"zanCount":11,"manualWeight":11,"mainColor":71},232817,"luo-fu-shan-tu-dong-jiao-zeng-232817","罗浮山图","董教增","董教增（1750—1822）字益甫，江苏上元人，清朝大臣。乾隆四十五年，南巡，召试举人，授内阁中书。五十一年，成一甲三名进士，授编修，散馆改吏部主事，累迁郎中。二十五年，入觐，乞病未允，道光元年，乃得请归。二年，卒，赐恤，谥文恪\n嘉庆四年，以道员发四川，次年，授按察使。峨眉、雷波二厅铜铅各厂，毗连夷地。奸民与争界，焚夷巢，倮夷纠凉山生番为变，教增率兵往，议者多主剿，教增不可，廉得汉奸构衅者十一人，夷匪首事者六人，集众诛之，夷情帖然。仁宗以教增不烦兵力，而远夷心服，谕奖有加。寻调贵州。九年，迁四川布政使。十二年，擢安徽巡抚。宁国、池州、广德各属，旧有棚民，植杂粮为业。户部虑妨民田，议遣回籍。教增言：“棚民既立室家，难复迁徙。且所种多隙壤，於民田无损，於民食有益，第约束之而已。”从之。又言：“徽、宁等府巨室，向有世仆，出户已久，告讦频仍，请严杜妄讼，凡世仆以现在是否服役为断；其出户及百年者，虽有据亦开豁为良。”得旨允行，著为例。\n十五年，调陕西。兴安七属，旧食河东引盐。乾隆间，课摊地丁，其后复归商运。地介川、楚，土盐侵碍，运艰费重，引课多亏。教增请循凤翔例，改食花马池盐，引归民运，课按丁摊，以恤商力。又榆林、绥德、吴堡、米脂四州县，向食土盐，官给票销售。前抚方维甸请用部引，以二百斤为率，凡万一千三百馀引，民力难胜。教增规复其旧，由州县颁发小票，每票五十斤，民皆便之。时南山善后倚汉中知府严如熤，能尽其才，不拘文法，岁歉请赈，逾限破例，上陈得允。\n十八年，调广东。先是百龄锐意灭海寇，曾贻教增诗云：“岭南一事君堪羡，杀贼归来啖荔支。”既而张保仔就抚，教增报书曰：“诗应改一字为‘降’贼归来也。”百龄愧之；至是承其后，诸降人桀骜，为闾阎害，惩治甚力，然未尝妄杀。广州府有死囚，值赦减等改军而逃，获之，论重辟，按察使持之坚，教增以律不当死，龂龂与辩，此囚卒免死。\n二十二年，擢闽浙总督。先是海寇未平，禁商民造船高不得逾一丈八尺，小不任重载，难涉风涛，沿海多失业。教增以寇平已久，请免立禁限，以从民便，允之。福清武生林弥高者，健讼包粮，阻众不纳，邑令躬缉，为其党邀夺，官役并伤，令文武往捕获，弥高嗾其党劫持，通县抗徵。教增亲鞫得弥高罪状，立斩以徇，诸郡慴惧，强宗悍族抗欠者，皆输纳如额。奏入，诏嘉其能。临海民纠众殴差，致酿大狱。巡抚杨頀坐褫职，命教增兼权浙抚，鞫治之。漳、泉两郡多械斗杀人，官吏往往不能制。龙溪令姚莹捕渠魁五人，杖毙之。巡抚疑其违制，教增曰：“刑乱国宜用重典。”优容之，悍俗稍戢。张保仔就抚后，改名宝，官至澎湖副将，时论犹指斥。教增责令捕盗，奔走海上，盗平而宝亦死。",[24,25,104,81,82,27,29,7,31,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2d9360d61f7347b84fac5f007bac46c.jpg",[],{"id":6047,"slug":6048,"title":6049,"dynasty":18,"author":581,"museum":807,"description":6050,"tags":6051,"thumbUrl":6054,"material":120,"size":6055,"collection":122,"collections":6056,"showCount":157,"zanCount":11,"manualWeight":11,"mainColor":71},223465,"jun-ling-xi-qiao-tu-yi-ming-223465","峻岭溪桥图","绘山峦重叠，气势宏大，巍峨壮观，山下河面宽广，水流潺潺，楼阁依山傍水而建，一桥横跨两山，桥上行旅忙碌，崎岖小路依山延伸。此图还有一副本，藏于故宫博物院，旧题：郑虔峻岭溪桥",[23,24,25,1019,29,27,26,7,150,31,6052,6053],"峻岭","溪桥","https:\u00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中，有沈周影响的风格很少，可能早年作品亦多不存，所以难以知道。\n唐寅较为人所理解的，是拜画家周臣为师。研究认为他也许是在泄题案之后，才开始向周臣请益。由于周臣的画风远摹南宋画家李唐、刘松年，所以唐寅的作品也多被人认为有李刘风格。美术史对唐寅山水画的讨论中有周臣代笔的问题，目前仍没有比较清晰的理解。唐寅的作品以山水画、人物画出名，亦有花鸟竹石的作品存世。一般而言，都将唐寅的绘画风格分做三期，但由于许多有纪年的作品多集中在唐寅的晚年，早年的风格分期便有许多争议。唐寅 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御制五律一章，以宠其行，行至山东临清以病卒。",[24,25,395,81,82,29,1393,32,7,62,60,27,6132],"春日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03537bd56d92850b4b625849213589b2.jpg",[],{"id":6136,"slug":6137,"title":6138,"dynasty":332,"author":581,"museum":130,"description":6139,"tags":6140,"thumbUrl":6142,"material":240,"size":241,"collection":122,"collections":6143,"showCount":268,"zanCount":11,"manualWeight":11,"mainColor":48},290465,"qiu-shui-feng-qiao-tu-yi-ming-290465","秋水枫桥图","此作以水墨绘就秋山胜景，近岸老木盘虬，扎根嶙峋危石，寒枝疏朗尽染秋意，板桥轻卧浅波，林麓深处隐见村居野舍。中远景峰峦峭拔，以淡墨晕染出烟雨空濛的虚实层次，群雁掠过长天，秋水澹澹，汀渚间疏苇摇曳生姿。画作以枯淡与浓墨相映，笔意简远秀润，将江南晚秋的清寂萧疏铺陈开来，带着林下隐逸的澹泊意趣，尽现空灵冷隽的文人山水意境，藏着独属于秋日的澹泊诗意。",[23,24,25,29,26,27,294,86,32,292,295,7,2084,6141],"枫桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35798ae6392615e12ec39cdfc4750e27.jpg",[],{"id":6145,"slug":6146,"title":6147,"dynasty":18,"author":581,"museum":130,"description":6148,"tags":6149,"thumbUrl":6152,"material":240,"size":241,"collection":122,"collections":6153,"showCount":268,"zanCount":11,"manualWeight":11,"mainColor":48},290248,"yun-feng-yuan-tiao-tu-yi-ming-290248","云峰远眺图","画面寥寥数笔，勾画出高峰、古树，及奇石、人物等元素，构图及树石写法皆属马远、夏圭一派，中国古代书画鉴定组定为宋人画，且偏于夏圭作品。",[23,24,104,148,26,27,7,6150,34,5439,5316,85,84,6151,1405],"云峰","远眺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24d27eb9949fe301128687d27de049b0.jpg",[],{"id":6155,"slug":6156,"title":6157,"dynasty":18,"author":581,"museum":130,"description":6158,"tags":6159,"thumbUrl":6160,"material":240,"size":241,"collection":122,"collections":6161,"showCount":268,"zanCount":11,"manualWeight":11,"mainColor":48},289354,"xue-lu-zao-xing-tu-yi-ming-289354","雪麓早行图","北宋的北方山水画有三个主要流派关仝、李成和范宽。《雪麓早行图》无款，乃属范宽一路。",[24,104,148,80,26,27,412,7,31,85,321,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23ec087d1ee943bb0b328469b7cf93dc.jpg",[],{"id":6163,"slug":6164,"title":288,"dynasty":53,"author":787,"museum":130,"description":6165,"tags":6166,"thumbUrl":6167,"material":240,"size":241,"collection":122,"collections":6168,"showCount":268,"zanCount":11,"manualWeight":11,"mainColor":71},287955,"shan-shui-tu-wen-zheng-ming-287955","文徵明（1470年11月28日－1559年3月28日），原名壁（或作璧），字徵明，四十二岁起，以字行，更字徵仲。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。\n文徵明曾学文于吴宽，学书法于李应祯，学画于沈周，生平九次参加乡试均不中。嘉靖二年（1523年），以岁贡生参加吏部考试，被授予翰林院待诏之职。嘉靖五年（1526年），文徵明辞官归乡，专事创作。\n嘉靖三十八年（1559年）二月二十，文徵明去世，享年九十。其弟子私谥贞献。\n文徵明诗、文、书、画无一不精，人称“四绝”，其与沈周共创“吴派”。在画史上与沈周、唐寅、仇英合称“明四家”。在文学上，与祝允明、唐寅、徐祯卿并称“吴中四才子”。",[23,104,24,25,58,26,29,106,7,31,114,64,168,34,1202,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f4f3e980274033cbc75ab347d4b58af.jpg",[],{"id":6170,"slug":6171,"title":6172,"dynasty":2707,"author":581,"museum":130,"description":6173,"tags":6174,"thumbUrl":6175,"material":240,"size":241,"collection":122,"collections":6176,"showCount":268,"zanCount":11,"manualWeight":11,"mainColor":48},287707,"yan-si-mu-zhong-tu-yi-yi-ming-287707","烟寺暮钟图（一）","此作以淡墨晕染出空濛暮色，危峰层叠隐于烟岚之中，峰巅林木含苍郁之意，虚实间尽显山野清旷。平坡浅渚间古寺藏形，殿宇轮廓融在暮霭里，似有晚钟声声穿透烟霞，悠悠回荡在空寂山水间。\n全作用墨简澹空灵，以朦胧晕染替代细密勾勒，将黄昏山野的静谧清远铺陈开来，把暮钟时分的幽禅意境藏在烟峦水色中，尽显水墨山水空灵澹远的诗意之美。",[24,104,80,148,26,27,7,1307,1764,5701],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff05e06552007effff61d3f77a31451ff.jpg",[],{"id":6178,"slug":6179,"title":6180,"dynasty":332,"author":581,"museum":130,"description":6181,"tags":6182,"thumbUrl":6186,"material":240,"size":241,"collection":122,"collections":6187,"showCount":268,"zanCount":11,"manualWeight":11,"mainColor":48},273654,"zi-tan-mu-ke-jin-xian-shan-zhuang-guo-yuan-tu-gua-ping-yi-ming-273654","紫檀木缂金线山庄果园图挂屏","以深色底料托举金线缂织，晕染出一幅悠然山居图景。丹枫环伺的堂舍内，宾主围坐清谈，木桥之上渔人负薪缓步而归，远山如黛，静卧烟波湖畔。\n\n整幅挂屏缂金走线匀细流畅，将山石皴理、林木枝叶的层次一一勾勒，把江南闲居的恬淡意趣融入丝缕之间。既得文人山水画的雅致意境，又尽显缂金工艺的华贵精巧，织绣之工与山水意境相融无间，将山居岁月的雅逸日常定格，尽显清代织艺与画韵合璧之美。",[5486,4812,6183,24,29,6184,6185,114,86,31,7,618,84,2576],"缂金工艺","山庄","果园","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dc44da3486a08bbd1bfda55225e44f5.jpg",[],{"id":6189,"slug":6190,"title":6191,"dynasty":332,"author":581,"museum":130,"description":6192,"tags":6193,"thumbUrl":6194,"material":240,"size":241,"collection":122,"collections":6195,"showCount":268,"zanCount":11,"manualWeight":11,"mainColor":71},270420,"zong-zhu-gu-chen-zu-hui-shu-hua-mian-zhe-shan-yi-ming-270420","棕竹股陈祖辉书画面折扇","这柄折扇以浅金笺为底，绘就水墨山水。远景山峦层叠，淡墨晕染出空蒙悠远的天际，近景林木苍郁遒劲，皴擦勾勒见笔墨力道，山居屋舍隐于林泉之间，暗合林下幽居的悠然意趣。\n\n沉敛古雅的扇骨衬得扇面更显清雅疏淡，将咫尺空间化作一方林泉胜境，把山水灵秀与文人情思融于开合之间，藏着旧时文人耽于丘壑的闲逸心境，尽显传统山水画寄情于景的雅致格调。",[1019,24,25,26,82,29,27,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F580cb82280e3b9330a6c0e3bbcddced5.jpg",[],{"id":6197,"slug":6198,"title":2828,"dynasty":332,"author":3488,"museum":130,"description":3839,"tags":6199,"thumbUrl":6200,"material":240,"size":241,"collection":122,"collections":6201,"showCount":268,"zanCount":11,"manualWeight":11,"mainColor":71},239332,"shan-shui-ce-cha-shi-biao-239332",[24,25,395,26,61,27,29,293,7,181],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74458d219673175ee12b1e558e6fc03e.jpg",[],{"id":6203,"slug":6204,"title":2828,"d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辱，有愧于，常用作谦辞：忝在知交。忝属知己。忝列门墙（愧在师门）。",[23,24,25,1019,29,26,27,409,411,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd23abd32e524767448b47b66f8b4a9a.jpg",[],{"id":6286,"slug":6287,"title":6288,"dynasty":332,"author":6289,"museum":305,"description":6290,"tags":6291,"thumbUrl":6292,"material":447,"size":122,"collection":122,"collections":6293,"showCount":268,"zanCount":11,"manualWeight":11,"mainColor":253},222720,"huang-shan-ba-jing-tu-ce-9-zheng-min-222720","黄山八景图册9","郑旼","郑旼 1632-1683年 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期绘画的宝贵材料。",[24,29,26,27,395,30,31,7,810],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3443ac24d1e2ba822be0a9af6598dcc7.jpg","纵21厘米，横27厘米",[],{"id":6441,"slug":6442,"title":4995,"dynasty":332,"author":6443,"museum":130,"description":6444,"tags":6445,"thumbUrl":6446,"material":122,"size":122,"collection":122,"collections":6447,"showCount":138,"zanCount":313,"manualWeight":11,"mainColor":71},234619,"shan-shui-wan-shan-jiang-yun-234619","姜筠","姜筠（1847－1919），字颖生，别号大雄山民，安徽省怀宁人。光绪十七年（1891）举人，官礼部主事。1913年梁启超在北京雅集词人诗友于万牲园，举行癸丑上巳修禊，颖生曾作图纪念。\n姜筠工书画，书法学苏轼，兼善篆刻。山水专学王翚，笔墨浓重，苍润古秀，殊乏清疏之气，间作花卉。工写兼至，别有韵味。《深山白云图》画大山、坡岸、房屋、渔舟，一派生机勃勃的景象。山中白云飘浮，更衬托了远山的深远，山上密密杂树寓意着新的生命处在潜伏的酝酿 期。姜筠作画以古法入，在借鉴古人笔意上又力图摆脱古人，从而寻找自己的绘画道路。图中的山石树木借鉴古法，重视造化，而点缀其中的 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ption":6920,"tags":6921,"thumbUrl":6922,"material":122,"size":122,"collection":122,"collections":6923,"showCount":284,"zanCount":11,"manualWeight":11,"mainColor":71},238217,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238217","此作用浅绛设色绘秋山平远之景，云雾翻涌裹挟峰峦，虚实间晕染出空濛烟岚之态。近岸苍松错落，林麓村舍隐现，江水蜿蜒如练，载着清寂秋意缓缓铺展。\n笔墨追摹古法，皴擦温润苍秀，设色淡雅柔和，将暮秋山林的萧疏静谧晕染尽致。搭配题诗题跋，诗画合璧，尽显文人山水的雅致意趣，于尺幅间铺展出林泉幽寂之美，笔底藏着从容古韵，将悠然林下襟怀融于淡远氤氲之中。",[24,25,395,26,82,27,59,29,7,34,150,31,165,5235,3182],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdc48bcb368250e04d6101e309e967d0.jpg",[],{"id":6925,"slug":6926,"title":2828,"dynasty":332,"author":3036,"museum":130,"description":6927,"tags":6928,"thumbUrl":6929,"material":122,"size":122,"collection":122,"collections":6930,"showCount":284,"zanCount":11,"manualWeight":11,"mainColor":71},238010,"shan-shui-ce-lu-zun-shu-238010","陆遵书是清代画家、诗人。字扶远、芙苑、即仙，号得岑，又号碧阴居士、紫碧山史。嘉定人，清乾隆二十四年（1759年）举人。嘉定人。二十七年，迎銮献诗画，称旨，供奉内廷。兼得董邦达指授，画学益进。后曾主持东昌书院。五十二年，选广东会同知县，未赴任。卒年六十七。诗极潇洒。画山水烟云深秀，丘壑不穷，晚年喜作远岫平林，亦得真趣。著有《燕台稿》《豫游稿》《停云稿》《练川竹枝词》《七十二峰考》《得岑馆画跋》等。\n乾隆三十三年（1768）中举人，晚年授会同（今湖南怀化）知县，未及赴任而卒。陆遵书山水师承王鉴、王原祁，烟云深秀，丘壑茂密，而另一种写意荒率之笔，系仿项圣谟。晚年声望既重，多作远岫平林。能写诗，意境清丽。乾隆四十八年（1783）曾作《寒林夕照图》。学生金梦惠、顾祝能继承其画学。",[24,26,395,27,29,86,32,64,31,182,7,2678,117,134,168,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ff9821dd3850851740b99bfddc180ac.jpg",[],{"id":6932,"slug":6933,"title":3696,"dynasty":332,"author":5781,"museum":130,"description":5782,"tags":6934,"thumbUrl":6935,"material":240,"size":241,"collection":122,"collections":6936,"showCount":284,"zanCount":11,"manualWeight":11,"mainColor":71},237776,"shan-shui-tu-ce-ye-xin-237776",[24,25,395,26,27,60,29,294,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7d9b5014861b0a4b8fe60ed591b2172.jpg",[],{"id":6938,"slug":6939,"title":2828,"dynasty":332,"author":6940,"museum":130,"description":6941,"tags":6942,"thumbUrl":6943,"material":620,"size":122,"collection":122,"collections":6944,"showCount":284,"zanCount":11,"manualWeight":11,"mainColor":71},237376,"shan-shui-ce-wang-jiu-237376","王玖","王翚一派，学者每失之甜，玖善用枯笔，故无此病。又尝作修篁拳石小品，深得恽寿平疏峭之致。偶仿沈周古桧。笔力圆健可与竹岭（王三锡）之松称双绝。与王昱、王宸、王愫合称“小四王”。传世作品有乾隆三十二年(1767年)作《仿元人山水册》、四十九年(1784年)作《红树秋山图》扇页、四十二年(1777年)作《纫香环翠图》卷（现藏故宫博物院）；《苍石蒲草图》轴（现藏沈阳故宫博物院）。\n王玖，字次峰，号二痴，又号逸泉主人、海隅山樵，江苏常熟人，晚年移家吴门（今江苏苏州），画室名曰“逸泉山房”。翚曾孙。山水远承家学，意气傲岸，自负为画世家。少尝游黄鼎门，亲受秘法。已而遍临古迹，益深造。其仿小米墨戏，峰峦石骨，苔点层叠，略为变通，惟林木串插，陂陀位置，仍不脱乃祖规制。",[24,25,395,26,27,61,62,29,86,32,30,31,64,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F041f24086126d0d9690fb7af995dae50.jpg",[],{"id":6946,"slug":6947,"title":6948,"dynasty":53,"author":5959,"museum":130,"description":5960,"tags":6949,"thumbUrl":6950,"material":240,"size":241,"collection":122,"collections":6951,"showCount":284,"zanCount":11,"manualWeight":11,"mainColor":48},236302,"qiu-tong-yin-yu-shan-zhang-fu-236302","秋桐阴雨扇",[24,1019,26,82,29,7,31,85,181,86,32,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b6dfc2ffd76807ff0d84d0c321c68a4.jpg",[],{"id":6953,"slug":6954,"title":2828,"dynasty":332,"author":2899,"museum":55,"description":6955,"tags":6956,"thumbUrl":6957,"material":122,"size":122,"collection":122,"collections":6958,"showCount":284,"zanCount":11,"manualWeight":11,"mainColor":71},234800,"shan-shui-ce-dong-bang-da-234800","董邦达生于康熙三十八年(1699年)，字孚存，号东山，又号非闻，浙江富阳人。他幼年家贫，致力于学，于雍正元年(1723年)被选拔为贡生。后赴京应试，屡试不第，落魄在京，期间得刑部尚书励廷仪赏识。几经周折，他终于雍正十一年中进士，被授庶吉士。“文臣画家”是董邦达的重要身份。\n乾隆二年(1737年)，董邦达被授编修一职，先后参与编修《石渠宝笈》《秘殿珠林》二书初编以及《西清古鉴》《明史纲目》《皇清文颖》《盘山新志》《热河志》诸书。乾隆三年，任陕西乡试考官，上疏官卷量少，建议用民卷补充，以便朝廷招贤纳才。不久，升任右中允，再迁侍读学士。乾隆十二年，受命入直南书房，擢升为内阁学士。乾隆十五年，迁任侍郎，历任职于户、工、吏诸部，官至礼部尚书。乾隆三十四年(1769年)卒，谥文恪。\n董邦达长于诗，且书画俱精，尤善山水。其画用笔深得古人之法，山水上窥五代董源、巨然及元黄公望，近学明人董其昌，论者称之“古今三董相承”。邱雯对三董相承有过深入阐述：董源山水写南京一带的浑厚华滋，董其昌山水写松江一带的清润宁和，董邦达山水写富春、杭州一带的秀远疏放。董邦达继承董其昌的高雅审美意识，追求山水的自然、自由、可观、可赏、可游、可居，以寄托文人的自由理想，在作品中体现为书卷气以及“和平中正”的审美取向，儒家一贯追求的清、真、雅成为其绘画的重要特征。\n董邦达广习历代名家技艺，除吸收董巨皴法及黄公望浅绛画法，还受“清初四王”影响颇深。但与“四王”不同的是，他更加重视绘画的生气，作品既能迎合皇帝喜爱的盛世升平气象，又有文人画家所追求的幽远意境。其画作中年秀润，晚年苍浑，用笔在不生不熟之间，绝无狂废之态。尤其晚年之作沉雄朴茂，极具生拙野逸之趣，所呈现的文人意趣，继承南宗笔墨的野逸疏放，与董源、董其昌异曲同工。他将文人逸气带入宫廷，与清代宫廷职业画家的工丽装饰明显不同，成为当时宫廷中雅文化的代表。\n董邦达为官35年，深得乾隆皇帝厚爱。他70岁时得乾隆钦赐“紫禁城骑马”。他以年老多病请辞引归，乾隆说：“礼部事不繁，给假安心调治，不必解任。”他不久病逝，乾隆赐其祭葬，并亲自撰写碑文，在文中悲叹：“呜呼！眷文学侍从之劳，松楸影；著老成典型之望，琬琰流辉。裕及后昆，承兹休命。”\n乾隆帝对董邦达的山水画推崇有加。董邦达作品大幅寻丈、小幅寸许，不下数百，许多都“上邀宸眷”，蒙赐御题。乾隆曾赞扬其山水画激发了自己的诗兴，感叹道：“为他山水幽佳处，往往寻题趣有余。”乾隆在评价画坛时弊以及董氏艺术时称：“吾于达也无间然，丰不觉繁俭不欠。前称北苑后香光，艺林都被卿家占。”将董邦达看作画理上的无间知己，谓其山水繁简皆佳、运转自如，认为其笔墨独到，可与画史上最具权威的“南宗”大师北苑(董源)、香光(董其昌)齐驱，可见其山水画在宫廷中地位之高。",[24,25,26,27,395,29,31,30,7,1083,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74e6a3a64b12c015bae5f53cd2979965.jpg",[],{"id":6960,"slug":6961,"title":4995,"dynasty":332,"author":6962,"museum":130,"description":6963,"tags":6964,"thumbUrl":6965,"material":122,"size":122,"collection":122,"collections":6966,"showCount":284,"zanCount":11,"manualWeight":11,"mainColor":71},234608,"shan-shui-wan-shan-he-wei-pu-234608","何维朴","何维朴 （1842年—1922年），湖南道县人。 字诗孙，晚号盘止，亦号盘叟，又号秋华居士、晚遂老人，室名颐素斋、盘梓山房。何绍基之孙。以山水画著称，宗娄东派；书摹其祖何绍基亦得其形似。\n同治六年（1867年）乡试副贡，官内阁中书，协办侍读，江苏候补知府。\n工书、画，晚寓上海盘梓山房，以此自给。画以山水著称。宗娄东四家，清远高妙，无时流霸悍草率习气。对于古画之鉴别尤精。书摹其祖绍基，亦得其神似。少精篆刻，宗秦汉，晚年倦于酬世不复作。有印文曰清凉山下转轮僧。收藏古印甚多，有《颐素斋印存》六卷传世。卒年八十一。",[24,1019,26,82,27,29,64,31,7,32,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8afd6991804bbecdfb8e2d9db172223.jpg",[],{"id":6968,"slug":6969,"title":6451,"dynasty":332,"author":6452,"museum":130,"description":6453,"tags":6970,"thumbUrl":6971,"material":122,"size":122,"collection":122,"collections":6972,"showCount":284,"zanCount":11,"manualWeight":11,"mainColor":71},234358,"you-niao-shi-tu-ce-jin-kun-234358",[24,25,395,82,61,62,29,411,3887,165,166,812,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ad041c21a79ac98fee5e6b835d4b67d.jpg",[],{"id":6974,"slug":6975,"title":6976,"dynasty":332,"author":6977,"museum":55,"description":6978,"tags":6979,"thumbUrl":6980,"material":481,"size":6981,"collection":122,"collections":6982,"showCount":284,"zanCount":11,"manualWeight":11,"mainColor":71},233931,"dai-lu-fang-bei-tu-ce-huang-yi-233931","岱麓访碑图册","黄易","图名里的“岱”即指位于山东省中部的泰山。《岱麓访碑图》册共24开，以左文右图的形式描绘黄易在清嘉庆二年（1797年）由济宁到泰山访碑的种种情形。据作者本人题跋可知，其中一部分册页记录泰山的碑刻情况，如“岱顶”、“开元磨崖碑”、“石经谷”、“王母池”等，另一部分则是记录作者在往返途中所见的碑刻情况，如“大明湖”、“孟子庙”、“孔林”、“孔子庙”、“大汶口”等。除此之外，作者还在题跋中介绍了碑刻的具体状况，为后人研究提供了资料。\n黄易一生致力于金石碑版的研究，曾经四处寻访存世的残碣断碑，并较为系统地加以整理与著录，对我国传统金石学的发展起到了积极的作用。与众不同的是，他亲自用画笔将每次寻访古碑的过程都完整地记录下来，绘制成许多作品，被当时的艺术家们广为称颂。《岱麓访碑图》册便是其中的一套作品。\n纵观整套册页，作者采用了水墨与浅绛两种中国画表现技法，但呈现出的艺术风格却是统一的。具体而言，他注重线条的断续与转折，多用粗笔短线描写碑刻所在地周围的景色，使得画面景致简明，意境幽僻清寂，有平淡天真的艺术趣味。",[24,26,395,29,31,182,7,168,60,62,27,86,1083,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5131bf38d823db72553583446cc506d0.jpg","纵17.4厘米，横50.8厘米",[],{"id":6984,"slug":6985,"title":6986,"dynasty":332,"author":6987,"museum":55,"description":6988,"tags":6989,"thumbUrl":6990,"material":184,"size":6991,"collection":122,"collections":6992,"showCount":284,"zanCount":11,"manualWeight":11,"mainColor":71},233814,"shan-shui-ce-3-fu-shan-233814","山水册3","傅山","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。",[24,25,395,26,82,29,27,31,1145,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa817d033cc6da595ad8e3876f794a281.jpg","纵36.5厘米，横37厘米",[],{"id":6994,"slug":6995,"title":5789,"dynasty":332,"author":6021,"museum":55,"description":6022,"tags":6996,"thumbUrl":6997,"material":481,"size":6025,"collection":122,"collections":6998,"showCount":284,"zanCount":11,"manualWeight":11,"mainColor":71},233156,"huang-shan-tu-ce-mei-qing-233156",[24,26,29,27,395,62,7,31,182,34,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e84eeeab538b1bb51d43d93d2971351.jpg",[],{"id":7000,"slug":7001,"title":6030,"dynasty":332,"author":581,"museum":55,"description":6031,"tags":7002,"thumbUrl":7007,"material":620,"size":6035,"collection":122,"collections":7008,"showCount":284,"zanCount":11,"manualWeight":11,"mainColor":71},233088,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-233088",[24,82,83,27,84,29,5633,1341,5637,30,31,182,1224,7003,6273,2638,3144,6573,5631,88,87,7004,4491,7005,7006,7,168],"动态人物","兵卒","冲锋","厮杀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21d6a64826b195a545f09cca147c93b8.jpg",[],{"id":7010,"slug":7011,"title":6487,"dynasty":332,"author":581,"museum":55,"description":6488,"tags":7012,"thumbUrl":7018,"material":620,"size":6491,"collection":122,"collections":7019,"showCount":284,"zanCount":11,"manualWeight":11,"mainColor":71},233059,"ping-ding-hui-jiang-jiao-qin-ni-yi-zhan-tu-ce-yi-ming-233059",[24,82,83,395,58,84,5633,7,31,6723,5631,7013,7014,7015,7016,7017],"清代风格","工笔重彩","山水背景","人物动态","战场描绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4707f8ecdf3147f248c020c9568a9594.jpg",[],{"id":7021,"slug":7022,"title":6496,"dynasty":332,"author":581,"museum":55,"description":6497,"tags":7023,"thumbUrl":7024,"material":620,"size":6491,"collection":122,"collections":7025,"showCount":284,"zanCount":11,"manualWeight":11,"mainColor":48},233053,"ping-ding-an-nan-zhan-tu-ce-yi-ming-233053",[395,82,83,27,29,84,320,31,150,7,5631],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde5ed1ce36e68598d77fe8a08a481123.jpg",[],{"id":7027,"slug":7028,"title":6731,"dynasty":332,"author":581,"museum":55,"description":6732,"tags":7029,"thumbUrl":7032,"material":481,"size":6736,"collection":122,"collections":7033,"showCount":284,"zanCount":11,"manualWeight":11,"mainColor":71},233041,"ping-ding-tai-wan-zhan-tu-ce-yi-ming-233041",[24,82,83,395,84,7030,7031,1267,7,4490,1341,823],"海","战船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F357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