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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。",[23,24,25,27,36,157,29,7,34,31,130,133,158,159,160,132,161],"三远法","山峦","岩石","苔点","峰峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b56c53237741c6f94685ae05f95e012.jpg","纵158.3公分，横108.1公分",[144,42,146],2376,17,{"id":168,"slug":169,"title":170,"dynasty":78,"author":79,"museum":53,"description":171,"tags":172,"thumbUrl":173,"material":142,"size":174,"collection":42,"collections":175,"showCount":176,"zanCount":177,"manualWeight":46,"mainColor":47},220766,"fu-chun-shan-ju-tu-huang-gong-wang-220766","富春山居图","《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",[23,24,26,25,27,36,29,31,32,34,7,37,38,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa873bf9c7d320f1bd285caf802d29cd8.jpg","画卷已经被火烧成一大一小两段，原卷首小段经过修补后称为“剩山图”，横51.4公分，高31.8公分，占原画1\u002F14，后段画幅较长，称为“无用师卷”，横636.9公分，高33公分，占原画12\u002F14",[42,146],2315,28,{"id":179,"slug":180,"title":181,"dynasty":124,"author":182,"museum":183,"description":184,"tags":185,"thumbUrl":188,"material":116,"size":189,"collection":42,"collections":190,"showCount":191,"zanCount":192,"manualWeight":46,"mainColor":47},214316,"mo-tang-dai-lu-hong-cao-tang-shi-zhi-tu-li-gong-lin-214316","摹唐代卢鸿草堂十志图","李公麟","日本大阪市立美术馆","这两幅画在构图、风格和笔触上都有密切的联系，但人物的比例缩小了，放在更合理的自然空间里，而山水、树木和岩石的表现则更符合宋（或金）代的风格，在一定程度上反映了李公麟对卢鸿原作的临摹所产生的不同面貌。虽然这三幅画的具体临摹时间和具体制作时间还有待学者们进一步研究，但《草堂西施图》无疑在中国绘画史上占有很高的重要地位，因为它是中国文人隐居生活的经典形象，历来被人观赏、模仿和解读。大阪藏品的制作时间可能早于上述紫禁城画卷，晚于台北画卷，因为它与辽宁省博物馆收藏的北宋张继的《白莲社》画作比较接近。",[23,24,26,27,186,36,37,82,29,34,7,130,132,58,187],"临摹","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbccf5a7742967237a6a52cd2eb0fe914.jpg","30.3x867.2",[42],1944,14,{"id":194,"slug":195,"title":196,"dynasty":124,"author":197,"museum":53,"description":198,"tags":199,"thumbUrl":202,"material":203,"size":204,"collection":144,"collections":205,"showCount":206,"zanCount":207,"manualWeight":46,"mainColor":47},221509,"xi-shan-qing-yuan-tu-xia-gui-221509","溪山清远图","夏圭","《溪山清远图》描绘了江南晴日的湖山景色，图中有群峰、山石、茂林、楼阁、长桥、村舍、茅亭、渔舟、远帆，勾笔虽简，但形象真实。且景物变化甚多，时而山峰突起，时而江流蜿蜒，不一而足，但各景物设置疏密得当，空灵毓秀，富有节奏感和韵律感，达到了所谓的“疏可驰马，密不通风”的境地",[23,200,24,25,26,27,36,29,7,34,30,31,32,201,33,133,132,159],"名画","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ca0db5d5e4bc1b3d562f46fcf75cc07.jpg","白纸本","纵46.5厘米，横889.1厘米",[144,42,146],1772,19,{"id":209,"slug":210,"title":123,"dynasty":124,"author":125,"museum":53,"description":211,"tags":212,"thumbUrl":216,"material":217,"size":218,"collection":70,"collections":219,"showCount":220,"zanCount":119,"manualWeight":46,"mainColor":149},287579,"xi-shan-xing-lv-tu-fan-kuan-287579","该图主体部分为巍峨高耸的山体，高山仰止，壮气夺人。山顶丛林茂盛，山谷深处一瀑如线，飞流百丈。山峰下巨岩突兀，林木挺直。画面前景溪水奔流，山径上一队运载货物的商旅缘溪行进，为幽静的山林增添了生气。",[200,24,25,95,27,36,29,7,31,130,213,214,215],"古树","古道","马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F414e846606ac903e66fdd1eda93147a0.jpg","未知","纵长206.3公分，横宽103.3公分",[],1669,{"id":222,"slug":223,"title":224,"dynasty":78,"author":107,"museum":20,"description":225,"tags":226,"thumbUrl":228,"material":229,"size":230,"collection":42,"collections":231,"showCount":232,"zanCount":233,"manualWeight":46,"mainColor":47},220824,"qing-bian-yin-ju-tu-wang-meng-220824","青卞隐居图","《青卞隐居图》描绘画家故乡卞山苍茫景色，山上树木茂密苍郁，溪流回环，景色清幽，隐士行居其间。画法先以淡墨勾皴，而后施浓墨，再用焦墨皴擦，使得画面不迫不塞，元气淋漓，气势磅礴，创造了线繁点密、苍茫深厚的新风格。\n《青卞隐居图》主要描绘作者家乡吴兴的卞山景色。峰峦曲折盘桓，重叠峥嵘，气势雄奇秀拔。山间林木茂密，山径迂回，飞瀑高悬直注。山脚下有客曳杖而行，山坳深处茅庐数间，堂内一人抱膝倚床而坐。 有一老者策杖、踏着轻松缓慢的步伐，正在兴致勃勃地领略山林逸趣。密树深溪处一山麓水口，宽阔的河道上横卧山石和漫长的渚洲，在水中时隐时现。溪水潺潺，迂回流转。在崎岖不平的山地上，长有树木二十余株，浓荫密布。树木山势繁密充盈，气势雄伟。\n王蒙在创作《青卞隐居图》时的心境受到了社会环境、家庭环境的影响。《青卞隐居图》的创作年代正处于战乱的年代，人人处于恐慌，颠沛流离的状态。此画作于1366年，是王蒙成熟时期的作品。据画上收藏印推测，这幅画可能是作者赠给表弟赵麟的。\n《青卞隐居图》用笔以快、重、急、爽利为特点，锋毫微妙变化，都形成的曲直轻重、缓急等状态。线条质感的运用，在于透露画家情感的表达，或者老笔纷披，或润笔掩映，生命注于笔端，逸气也注于笔端。《青卞隐居图》的用笔还有一个显著特点就是曲律用笔，此笔法是披麻皴的变体在表达江南地貌的同时，也表达了画家焦虑的心情。《青卞隐居图》在用笔上王蒙继承了赵孟頫的“以书入画”用笔，树的轮廓线确定了这些形象的刚、柔、秀、雅。\n《青卞隐居图》以披麻皴、解索皴、牛毛皴为主，三者交替互用，画披麻皴时，运笔多带平行、快速爽利，行笔松动，给人略有飘浮的感觉。这一皴法大都用在画面顶部的山峰，由于笔法的轻盈，矾头的蠕动，因而给人一种气如云动，山岚飘浮的景象，同时不安定的感受也跃上纸面。\n画面中用笔有的像挺劲的行草笔线，虽然纤细，但却像有千斤之力，因其缠绕又能横冲直撞的形状而生动灵活，皴笔又能可以引领视线环游于画中形式，更添活泼的效果。山峦顶部则用渴墨苔点法。峦下山石树木给人以润湿之感，树干在勾勒上或笔直挺拔或倾折弯曲，而叶子的点染则是忽干忽湿、坡脚石头的皴擦也是忽浓忽淡。树木种类虽多却杂而不乱，树与树之间里让有度，用山之虚色来衬托树，以树的重墨来淡化山石，以小映大，以虚幻实，前呼后应，空间感极佳。石头与石头的交界施以皴擦或染又会构成另一个突起的石块，石石相连，绵延叠加。画山石树木的在技法上用的是浑点、破竹点、胡椒点、破墨点等。\n《青卞隐居图》整幅画面是“上留天，下留水”，采取高远构图法层层推远。作品用色细润典雅，山峦连绵不断，叠嶂起伏，气势雄伟秀拔，径路迂回蜿蜒。宛如一条游龙飞腾而上，山石刻画精细而奇特。林间树木茂密，山崖上高悬的飞瀑直注山谷。",[23,24,25,27,36,95,29,7,130,34,227,132,133,82,37,38],"茅屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff738956b75bf11ba249bc3609d336193.jpg","纸本","纵141厘米，横42.2厘米",[42,146],1622,16,{"id":235,"slug":236,"title":237,"dynasty":18,"author":238,"museum":239,"description":240,"tags":241,"thumbUrl":245,"material":246,"size":247,"collection":70,"collections":248,"showCount":249,"zanCount":119,"manualWeight":46,"mainColor":250},222601,"qiu-shan-yu-yin-tu-lan-ying-222601","秋山渔隐图","蓝瑛","天津博物馆","绘乡间田园景色，远处山峰高耸，山脚下农舍排列整齐，栅栏四周树木环绕；近处河面上二只棚船停泊，船尾两人对坐而谈；岸上古木黝黑挺直，深秋季节中树叶凋零。纵观整幅，山水人家，古木船只，皆赋诗情画意。",[23,24,28,29,36,242,96,32,58,7,35,31,243,244],"枯树","渔乐","孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cc1ad696df861ebcdfbf4523c6d8135.jpg","纸本，设色","139.5x45cm",[],1533,"F48FB1",{"id":252,"slug":253,"title":254,"dynasty":18,"author":52,"museum":239,"description":255,"tags":256,"thumbUrl":260,"material":261,"size":262,"collection":42,"collections":263,"showCount":249,"zanCount":148,"manualWeight":46,"mainColor":149},222208,"tao-yuan-xian-jing-tu-zhou-chou-ying-222208","桃源仙境图轴","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。",[23,24,25,95,257,28,56,29,58,60,30,34,7,133,187,258,158,132,259],"青绿","植被","仙境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14ade6201174dd570a6a6f1b1b739de8.jpg","绢本 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由此可见画家的绘制初衷和生活情趣。\n引首自书“卧游”，钤“沈氏启南”朱文印。鉴藏印：“士元珍藏”朱文印，“朱卧庵收藏印”朱文印，“查映山氏收藏图书”朱文印。\n仿倪山水，自题：“苦忆云林子，风流不可追。时时一把笔，草树各天涯。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印，“士元”朱文印，“昆山王成宪画印”朱文印，“映山珍藏”朱文印。\n杏花。自题：“老眼于今已敛华，风流全与少年差。看书一向糢糊去，岂有心情及杏花。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印、“昆山王成宪画印”朱文印。\n秋葵。自题：“秋色韫仙骨，淡姿风露中。衣裳不胜薄，倚向石阑东。沈周。” 钤“启南”朱文印。鉴藏印：“士元”朱文印，“卧庵所藏”朱文印，“昆山王成宪画印”朱文印。\n秋柳鸣蝉。自题：“秋已及一月，残声绕细枝。因声追尔质，郑重未忘诗。沈周。”钤“石田”白文印。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“䒶机流动”朱文印。“卧庵所藏”朱文印。\n平坡散牧。自题：“春草平坡雨迹深，徐行斜日入桃林。童儿放手无拘束，调牧于今已得心。沈周。”钤“启南”朱文印两方。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“之”“赤”朱文联珠印。\n栀子花。自题：“花尽春归厌日迟。玉葩撩兴有新栀。淡香流韵与风宜。帘触处、人在酒醒时。 生怕隔墙知。白头痴老子，折斜枝。还愁零落不堪持。招魂去、一曲（按：此字点去）阙小山词。右词寄小玉山，沈周。”钤“启南”朱文印，“吴言”朱文印。“石田翁”白文印。鉴藏印：“之”“赤”朱文联珠印，“朱卧庵收藏印”朱文印，“士元”朱文印，“卧庵所藏”朱文印。\n秋景山水。自题：“淡墨疏烟处，微踪仿佛谁。梅花庵里客，端的是吾师。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印、“昆山王成宪画印”朱文印。\n芙蓉。自题：“芙蓉清骨出仙胎，赭玉玲珑轧露开。天亦要妆秋富贵，锦江翻作楚江来。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印、“卧庵所藏”朱文印、“昆山王成宪画印”朱文印、“竹南藏玩”白文印。\n枇杷。自题：“弹质圆充饤，蜜津凉沁唇，黄金作服食，天亦寿吴人。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印,“卧庵所藏”朱文印、“昆山王成宪画印” 朱文印。\n秋山读书。自题：“高木西风落叶时，一襟萧爽坐遥遥。闲披秋水未终卷，心与天游谁得知。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“卧庵所藏”朱文印。\n石榴。自题：“石榴谁擘破，群琲露人看。不是无藏韫，平生想怕瞒。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印，“士元”朱文印，“卧庵所藏”朱文印。\n雏鸡。自题：“茸茸毛色半含黄，何独啾啾去母傍。白日千年万年事，待渠催晓日应长，沈周。”钤“启南”朱文印，“白石翁”白文印。鉴藏印：“士元”朱文印、“昆山王成宪画印”朱文印、“朱卧庵收藏印”朱文印。\n秋江钓艇。自题：“满池纶竿处处缘，百人同业不同船。江风江水无凭准，相并相开总偶然。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印，“卧庵所藏”朱文印。\n菜花。自题：“南畦多雨露，绿甲已抽新。切玉烂蒸去，自然便老人。沈周。”钤“启南”朱文印。鉴藏印：“之”“赤”朱文联珠印，“昆山王成宪画印”朱文印。\n江山坐话。自题：“江山作话柄，相对坐清秋。如此澄怀地，西湖忆旧游。沈周。”钤“启南”朱文印。鉴藏印：“之”“赤”朱文联珠印、“昆山王成宪画印”朱文印。\n仿米山水。自题“云来山失色，云去山依然。野老忘得丧，悠悠柱杖前。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印、“昆山王成宪画印”朱文印。\n雪江渔夫。自题：“千山一白照人头，簑笠生涯此钓舟。不识江湖风雪里，可能干得庙堂忧。沈周。”钤“白石翁”白文印。鉴藏印：“昆山王成宪画印”朱文印、“卧庵所藏”朱文印。\n题跋。自题：“宗少父四壁揭山水图，自谓卧游其间。此册方可尺许，可以仰眠匡床，一手执之，一手徐徐翻阅，殊得少文之趣。倦则掩之，不亦便乎？于揭亦为劳矣。真愚闻其言，大发笑。沈周跋。”钤“石田”白文印。鉴藏印：“昆山王成宪画印”朱文印，“芃园曹氏平生真赏”朱文印，“麓云楼书画记”朱文印，“康饴”朱文印，“只可自怡悦”白文印，“朱卧庵收藏印”朱文印，“依竹居士鉴赏书画印”朱文印。",[24,25,111,27,29,58,96,7,31,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa59290bda967d3ca108bc1fdca4fbebb.jpg","纵27.8厘米，横37.3厘米",[42,306,264],1120,5,{"id":384,"slug":385,"title":386,"dynasty":18,"author":387,"museum":53,"description":388,"tags":389,"thumbUrl":392,"material":84,"size":393,"collection":289,"collections":394,"showCount":395,"zanCount":371,"manualWeight":46,"mainColor":149},216996,"sui-chao-tu-tang-yin-216996","岁朝图","唐寅","这幅画描绘的是元旦期间隐居在梅州山村，在节日前放松的情景。",[24,25,95,28,56,390,58,7,391,187],"梅","竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fde0a52080c0f595740ed450c1c4367.jpg","125x49.7",[289,264],1119,{"id":397,"slug":398,"title":399,"dynasty":296,"author":400,"museum":401,"description":402,"tags":403,"thumbUrl":404,"material":84,"size":405,"collection":42,"collections":406,"showCount":407,"zanCount":371,"manualWeight":46,"mainColor":149},214434,"xiu-yuan-tu-wang-yun-214434","休园图","王云","旅顺博物馆","画面采用分段取景，局部特写的艺术手法，表现了明末清初位于扬州的私家园林—“休园”的四季景观。所画楼台殿阁、曲院长廊、碧水亭榭、假山怪石无一不玲珑透剔，各尽其致。末段画面署款“康熙乙未六月至庚子清和图成。",[23,24,25,26,28,56,57,29,58,60,30,34,7,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc53c816996f71e8cca2630cc96ce0c65.jpg","纵54厘米，横129.5厘米",[42],1111,{"id":409,"slug":410,"title":411,"dynasty":78,"author":412,"museum":53,"description":413,"tags":414,"thumbUrl":416,"material":40,"size":417,"collection":42,"collections":418,"showCount":419,"zanCount":371,"manualWeight":46,"mainColor":47},221745,"chun-tang-liu-se-zhou-zhu-shu-zhong-221745","春塘柳色轴","朱叔重","主题与关键字：春景、杨柳、江河、湖海、高士（士人、隐士）、寒林．枯树、竹、房舍、茅草屋、溪涧、湍泉、松、桥、篱笆、围墙。\n录入：石渠宝笈续编（宁寿宫），第五册，2765页 ；故宫书画录（卷五），第三册，192页；故宫书画图录，第五册，117-118页 【名称】元朱叔重春塘柳色轴 【规格】该幅 4155.公分；全幅 59.7公分 【收藏】 这幅画描写池畔的村屋景象，一名文人手持柺杖，沿著小径，在青葱的田野间漫步。\n全画的用笔极为柔和，著色也温润清雅，充分表现出春天里大地润泽，嫩绿遍野，万物滋长的盎然生意。\n朱叔重，十四世纪人，籍贯江蘇吴县。\n他虽然是一名书生，但在绘画方面，也有卓越的成就，不过流传下来的作品很少。",[23,24,28,29,36,95,415,30,31,227,7,34,82],"柳树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73387748e6b65cff9714687e9f4798f2.jpg","41x55.3厘米",[42,264],1069,{"id":421,"slug":422,"title":423,"dynasty":18,"author":424,"museum":53,"description":425,"tags":426,"thumbUrl":428,"material":40,"size":429,"collection":42,"collections":430,"showCount":431,"zanCount":119,"manualWeight":46,"mainColor":47},218464,"pin-cha-tu-wen-zheng-ming-218464","品茶图","文徵明","文徵明出身文人世家，一生大多优游山林，追求自然。作品中多为生活写照。一生嗜茶，曾自谓：「吾生不饮酒，亦自得茗醉。」他以茶入诗、入画、入书法，画中所表现的文人品茶，亦颇具代表性。　　此图绘与友人品啜雨前茶的场景。环境幽雅的草堂中，二人对坐品茗清谈，几上置茶壸、茶碗；堂外一人正过桥行来。茶寮内一童煽火煮泉，准备茶事，一场小型的文人茶会即将展开。",[23,24,25,95,28,56,38,29,58,427,30,31,82,7,34],"松树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cdac6d6888fc88e0be28c8cfb98e03d.jpg","88.3x25.2cm",[42],1044,{"id":433,"slug":434,"title":435,"dynasty":296,"author":436,"museum":53,"description":437,"tags":438,"thumbUrl":442,"material":84,"size":70,"collection":306,"collections":443,"showCount":444,"zanCount":148,"manualWeight":46,"mainColor":47},216218,"ke-si-hua-niao-zhou-yi-ming-216218","缂丝花鸟轴","佚名","缂丝花鸟轴是一件来自清朝的著名织物，它的特点是精细的缂丝织法，用细密的金丝或银丝织成花鸟图案。这种织物通常是用来装饰床单、枕头和窗帘的，也可以用作礼服的饰品。这种织物的制作需要高超的技艺，因此它们非常珍贵且价值高。",[439,440,24,95,28,56,62,34,7,441,201,244],"清代","缂丝","牡丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb707e05f41a56d8bb90d7d98b005b201.jpg",[306],1010,{"id":446,"slug":447,"title":448,"dynasty":124,"author":449,"museum":360,"description":450,"tags":451,"thumbUrl":453,"material":454,"size":455,"collection":144,"collections":456,"showCount":457,"zanCount":458,"manualWeight":46,"mainColor":149},221538,"ta-ge-tu-zhou-ma-yuan-221538","踏歌图轴","马远","“踏歌”是中国南方乡间一个非常古老的习俗，村民们辛苦耕耘一年，终于迎来了丰收，于是全村的男女老幼，踏着节拍，边歌边舞，欢庆收获并感谢大自然的恩赐，就好像过年过节一样快乐热闹。\n从表面上看，《踏歌图》像是一幅表现自然山川风貌的山水画，而实际是一幅描绘人间生活的风俗画。作者马远在图中安排了不多的几个点景人物，使画中的主题得到了充分的展示。画家并没有去描绘乡间踏歌盛况的全貌，而是选取了几个非常有代表性的乡民形象：一个中年村民，因为高兴多喝了几碗酒，步履蹒跚，摇摇晃晃，醉意十足，但是那个盛酒的葫芦却没有忘记，仍然好好地背在肩上；一个白胡子老汉，同样也喝了不少酒，一只手拄着拐杖，另一只手高高抬起，双脚离地，手舞足蹈，兴奋异常。他们的举止行为已与他们的年龄不相符合，所以显得特别滑稽可笑。作者马远描绘了这几个成年人之后，觉得还不足以表达欢快纵情的气氛，特地在画幅的左下角安排了男女两名幼童，他们回过身来，瞪着惊异的眼睛，看着自己的长辈，平时家长的恃重和威严怎么都没有了？年龄稍大的女孩，还用手捂住了嘴巴，偷偷在发笑。这两组点景人物相互呼应、相互衬托，把“踏歌”欢愉快乐的情绪推向了极致。可是细看图中，作者只不过画了六个人，却能将气氛渲染得如此充分。从这六个村民身上，完全可以感受到整个村庄中传出来的歌声、踏地的节拍声和欢快的笑声。画家马远“以一当十”、“以小见大”的艺术表现手法，实在是太高妙了。\n几个人物在图中所占的位置很小，但却最为引人注目。人物线条挺拔刚劲，人物动态活泼有趣，都显示了马远不凡的技艺。\n马远画山石的方法也极有特点。他运用毛笔的侧锋平扫，以表现陡峭的山势和坚硬石头的质感，山石犹如巨斧劈出一般，这种用笔的方法被人称之为“斧劈皴”，从《踏歌图》轴中亦可见一斑。在画幅的构图方面，马远也有创新。他喜欢将图中的山石集中于某一边角，形成虚实的对比，故此他有了“马一角”的称呼，当然在这件作品中这一特点不是十分明显。马远画树也有自己的习惯，他经常把树的枝条画得向下斜拖，所以有人将它归纳为四个字“拖枝马远”。\n在马远的这幅《踏歌图》的上方，题有五言绝句一首，这是南宋皇帝宁宗赵扩抄录北宋王安石的诗句。诗为：“宿雨清畿甸，朝陽麗帝城，豐年人樂業，壟上踏歌行。”这是南宋皇帝对太平盛世的企盼，供奉宫廷的画院画家马远即以此诗为题作画。",[23,24,95,27,28,36,29,58,60,7,214,33,132,452,96,34],"枯藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d16dfc2892d6fc95087572ed5b7c014.jpg","绢本，设色","纵192.5厘米，横111厘米",[144,42,146],995,8,{"id":460,"slug":461,"title":462,"dynasty":18,"author":424,"museum":53,"description":463,"tags":464,"thumbUrl":465,"material":40,"size":466,"collection":289,"collections":467,"showCount":468,"zanCount":371,"manualWeight":46,"mainColor":47},214250,"shan-shui-tu-wen-zheng-ming-214250","山水图","画面上有一对夫妇坐在一个开放的亭子里，一个男孩拿着围巾站着，另一个男孩拿着门槛上的花瓶。在小屋的前后，竹子、松树和柳树被浓密的树荫包围。根据题词，这幅画似乎是对夏日家居生活的描写，而且画得非常好。",[23,24,25,111,27,28,56,36,34,96,452,7,58,33,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9e62ddd3da73b17a21cd499e257c992.jpg","66.7x34.8",[289],964,{"id":470,"slug":471,"title":472,"dynasty":124,"author":473,"museum":53,"description":474,"tags":475,"thumbUrl":476,"material":142,"size":477,"collection":144,"collections":478,"showCount":479,"zanCount":277,"manualWeight":46,"mainColor":149},221574,"wan-he-song-feng-tu-li-tang-221574","万壑松风图","李唐","这幅画采取近观的“高远”表现法。近景为苍松石岸；中景为岗峦郁盘，穿插流泉悬瀑；远景的主峰突兀高耸，峰顶丛树密集，这三段景沿着画面的中轴线，由下往上堆栈，形成“高远”。画家藉由扩大前景，使画中的景物逼近观者，再将远景的主峰满塞画面，如一堵巨大的屏障，形成封闭的空间，让观者面对深幽的山谷，如临真景。",[200,24,25,95,36,27,28,29,427,7,130,34,159,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F048d34f5c9c56804fbd20be818ef50e4.jpg","188.7×139.8公分",[144,42,146],912,{"id":481,"slug":482,"title":483,"dynasty":18,"author":484,"museum":485,"description":486,"tags":487,"thumbUrl":490,"material":491,"size":492,"collection":42,"collections":493,"showCount":494,"zanCount":458,"manualWeight":46,"mainColor":149},222322,"song-he-yan-nian-tu-tong-kai-222322","松鹤延年图","童垲","安徽省博物馆","此幅《松鹤延年图》寓意大吉，特别符合中国人对于吉祥、长寿的美好祈盼。画面中古树苍翠，松树蜿蜒摇曳；两只丹顶鹤身形高挑飘逸，如仙境来客一般；松树下开满吉祥的花朵，一派吉祥和谐的画意盎然纸上。",[23,24,25,200,95,56,28,62,272,488,7,489],"鹤","花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2b8b639eb9444922ba6b202fd5837fa.jpg","绢本，设色画","97.2CM*201.8",[42,264],884,{"id":496,"slug":497,"title":170,"dynasty":296,"author":498,"museum":360,"description":499,"tags":500,"thumbUrl":501,"material":116,"size":502,"collection":42,"collections":503,"showCount":504,"zanCount":458,"manualWeight":46,"mainColor":47},218485,"fu-chun-shan-ju-tu-wang-yuan-qi-218485","王原祁","这幅画创作于康熙三十二年（1693年），52岁，仿照元代绘画大师黄公望的名作《富春山居图》的笔法。在这次模仿中，他从容不迫地运用了皴法、擦法和点法，特别是在用笔用墨方面，先用笔后用墨，染色由淡到浓逐渐增加，最后以焦墨破之，给人以沉重之感。",[23,24,27,36,37,82,29,31,34,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45b9a0c62b860f5eddbc70949a88e933.jpg","98.8x60.1cm",[42],880,{"id":506,"slug":507,"title":508,"dynasty":18,"author":19,"museum":509,"description":510,"tags":511,"thumbUrl":513,"material":368,"size":514,"collection":42,"collections":515,"showCount":516,"zanCount":517,"manualWeight":46,"mainColor":47},222423,"su-shi-yan-jiang-die-zhang-tu-shen-zhou-222423","苏轼烟江叠嶂图","辽宁省博物馆","此幅图是根据赵孟頫的行书《苏轼题王诜烟江叠嶂诗》的诗意而作。图上山峦起伏，水天相连，云雾迷漫；近处山石屹立，树木成林，墨色浓重；人物三位，江中小舟一翁坐于舟尾垂钓，怡然自得。整幅图画笔老劲，构图简约，描绘了从远处观看山水美景的宏伟景象！",[23,24,27,26,36,29,32,34,133,7,130,114,512,58],"近岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb51c2b1ac770a01bb35e9d219451d74e.jpg","50*1165cm",[42,146],871,3,{"id":519,"slug":520,"title":521,"dynasty":124,"author":436,"museum":53,"description":522,"tags":523,"thumbUrl":527,"material":84,"size":528,"collection":144,"collections":529,"showCount":530,"zanCount":88,"manualWeight":46,"mainColor":149},218717,"xin-shao-hua-niao-tu-yi-ming-218717","新韶花鸟图","画中山茶花、梅花、菊花和水仙花围绕着海石盛开，各种植物和叶子交相辉映，一对麻雀在一旁观望，画面十分丰富。除了画底没有鸟之外，这幅作品的构图和表达方式与宋代李迪的《花鸟图》和南唐徐熙的《玉堂富贵图》相似。宋代郭若虚的《图说》中提到，南唐时有一种用于悬挂在宫殿中的 亭花，这可能是后来明代的仿制品。",[23,200,24,25,95,56,28,62,489,524,7,525,526,301],"禽鸟","植物","花朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91b842f5975229d677278c15f942eb45.jpg","83.4x28.9",[144],864,{"id":532,"slug":533,"title":534,"dynasty":124,"author":125,"museum":239,"description":535,"tags":536,"thumbUrl":540,"material":261,"size":541,"collection":144,"collections":542,"showCount":543,"zanCount":330,"manualWeight":46,"mainColor":149},221395,"xue-jing-han-lin-tu-fan-kuan-221395","雪景寒林图","《雪景寒林图》描写北方冬日山川雪后壮美景象。图中通过群峰屏立，山势高耸，深谷寒柯间，萧寺掩映；古木结林，板桥寒泉，流水从远方迂回而下，峰峦沟壑间云气万千，真实生动地表现了秦陇山川雪后的磅礴气象。全画布置严整有序，笔墨质朴厚重。画家用“抢笔”笔法，密点攒簇，并参以短条子的笔道，来刻画北方山石的质感，使画面浑厚滋润，沉着典雅。",[23,24,25,29,36,27,95,537,538,7,34,539,33],"雪","寒林","水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecc63124132a59c2b69ad427d2058e8b.jpg","纵193.5厘米 横160.3厘米",[144,42,146],800,{"id":545,"slug":546,"title":547,"dynasty":124,"author":548,"museum":549,"description":550,"tags":551,"thumbUrl":552,"material":142,"size":553,"collection":144,"collections":554,"showCount":555,"zanCount":341,"manualWeight":46,"mainColor":149},221412,"qing-luan-xiao-si-tu-li-cheng-221412","晴峦萧寺图","李成","美国纳尔逊阿特金斯艺术博物馆","《晴峦萧寺图》是北宋画家 创作的一幅绢本淡设色画，现收藏于美国纳尔逊—阿特金斯美术馆。\n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。\n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。\n《晴峦萧寺图》绘了一幅山寺同框的景象。\n画中上半部两座高峰重叠，左右山峰低小淡远，当中一座楼阁突出，萧寺下及寺右边三四座小山冈，皆有树生其上，画卷的最下处是从山中流出的泉水形成的溪水，一木桥架其上，山脚下有亭馆数间，人群来往。\n前景突兀巨石，一边平缓，一边峭拔。\n此图画面右上角有北宋末“尚书省印” （6.厘米正方，白文，北宋18~1126年间官印），印下部左右角均见残缺。\n画右下方有“朗庵心赏”、“棠邨审定”（白文），“铁沙沈树镛鉴藏印”、“树镛审定”（均朱文）等鉴赏收藏印六方。\n据史书上说，李成嗜酒，想得到李成画的人，都要为他准备上好的美酒。\n李成酒酣时便开始提笔作画，所画山水往往烟云万状，神妙得意处众多，非是笔墨所能够达到，而完全是美酒的功效所致。\n据说当时开封相国寺东有间药铺，老板姓宋，深知李成的爱好，常以美酒款待他。\n李成一到他那里，往往醉酒数日。\n当酒兴高涨之时就开始作画，他挥笔潇洒，不仅在素纸上挥洒，而且在门板上挥毫泼墨。\n《晴峦萧寺图》便是李成在此情景下创作出来的。\n此画在构图上是高山峻岭，深沟巨壑。\n前景突兀巨石，一边平缓，一边峭拔，陡峭面作细笔皴擦，产生一种体积感和重量感。\n中景山涧瀑布飞流直下前景深潭，与远景处一悬瀑形成互相呼应之势。\n纵观全图，笔法娴熟老健，用墨层次分明，浑厚苍劲。\n构图呈自然开合状，节奏明快，气势雄逸，使观者犹如身临其境。\n《晴峦萧寺图》中，中近景树丛多以曲姿造型，正是李成惯用的手法，特别是分枝姿态变化较多。\n在山水画中，皴法最能显示各家风格特点，树法相对不甚明显，故董其昌讲：“西中山水位置皴法，皆各有门庭，不可相通，惟树木则不然。\n”（《画禅室随笔》）此图树木的布置、造型结构是近曲远直，近处偃仰疏密，多曲而繁复，示蟠根老壮之意，有的“藤蔓依缠古木，窠丛簇扎山头”，有的“枝条疏密交叉，挺干枯茂盘曲”，大都以浓重墨色勾勒，与记载称李成“毫锋颖脱”似相一致。\n树木均以顿挫感很强的尖劲中锋墨线描绘，树身略见“勾斫”一类皴笔，锋芒内敛，树身“作节处不用墨圈，下一大点，以通身淡墨空过”（米芾《画史》）。\n小节疤均用墨点成，小枝条用笔流畅，劲利挺健，基本上都用湿笔，无明显的干湿浓淡变化。\n高居翰形容此图“山峦静穆，枯树兀立在稀岚里，黑树干清晰地矗立在前景，向后退去时，则渐淡成影而消失。\n曾为唐及唐前山水基本特质的温暖颜色和魅人的细节，在此都被牺牲，以便成就一种新的庄严气氛”（《中国绘画史》）。\n这种“渐淡成影而消失”的手法，是指层峦也是指树丛，以形成整体的艺术气氛。\n从此图峰峦、山石画法看，和范宽雨点、豆瓣一类皴笔的画法明显不同。\n范氏写真山骨，雄健坚实，勾轮廓基础上，内廓用繁复的皴笔，墨色也很重， 黯黑沉厚，而“李成惜墨，如梦雾中”（米芾）。\n相对讲，《 晴峦萧寺图》皴笔就显得疏朗而以柔润面貌出现，这就可视为“惜墨”的手法了。\n图中山石画法均以细劲的中锋线条框廓，然后内廓加皴，外廓线条和内廓皴笔较为协调，皴笔密在凹处，有线面交融之感，加深了清润秀逸的境象。\n中国书法家协会会员、江苏省美术家协会会员赵启斌《中国历代绘画鉴赏》：“此件作品描绘出了北方冬日深山之中寺院晴日下的壮丽景色，水石幽幽，树木萧疏，山川雄伟秀美，给人以萧条冷落而又充满生机之感。\n作者非常微妙地把握住了北方山川雄奇壮丽的动人景致，突出深山冬日山寺寂寥深邃的意境。\n” 李成的《晴峦萧寺图》最早见于《宣和画谱》的著录。\n此作至清初才到了收藏家梁清标手中，梁氏似乎并未将其归入李成名下。\n该画没有进过清宫，道光年间为上海收藏家徐渭仁所有，1841 年，他首先为其题签“北宋李成晴峦萧寺图”。\n1855 年。\n徐氏因被怀疑与小刀会“有染”，入狱而死，该画很可能与徐氏的其他收藏一同散佚，后经沈树铺、林熊光等人收藏，最后由居住日本的意大利籍人士所得，并于1947年售给美国纳尔逊—阿特金斯美术馆。\n李成（919~967年），字咸熙，祖先是唐代宗室，因避唐末五代战乱移家山东营丘。\n李成品格清高，富有文学修养，且胸怀抱负，但时逢乱世无从施展，遂纵情于诗酒书画。\n宋初他往陈州（ 今山东淮阳）投奔同乡知州卫融，宋太祖乾德五年（967年）醉死在当地。",[23,24,200,29,27,36,95,60,30,31,130,242,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b577765ceab4bc36d1225e888c903d4.jpg","纵111.4厘米，横56厘米",[144,42,146],792,{"id":557,"slug":558,"title":559,"dynasty":18,"author":560,"museum":561,"description":562,"tags":563,"thumbUrl":568,"material":84,"size":569,"collection":289,"collections":570,"showCount":571,"zanCount":119,"manualWeight":46,"mainColor":149},216367,"ri-ben-chang-hen-ge-tu-juan-xia-juan-shou-ye-shan-xue-216367","日本· 长恨歌图卷(下卷)","狩野山雪","藏地不详","整套作品分为两卷，大约在1646年绘制，描绘了唐明皇和杨贵妃之间凄美的爱情故事。上卷描绘了从汉朝皇帝爱国到杨贵妃死在马嵬坡的爱情故事。第二卷主要讲述明朝皇帝对她的无尽思念。",[23,24,25,26,28,56,57,58,60,29,34,30,31,564,565,7,317,61,566,272,567,316,158,187],"舟船","亭台","人群","柏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5351026af241a489e28ccc88099154e8.jpg","31.5x1070",[289,264],775,{"id":573,"slug":574,"title":575,"dynasty":18,"author":269,"museum":53,"description":576,"tags":577,"thumbUrl":579,"material":142,"size":580,"collection":42,"collections":581,"showCount":582,"zanCount":371,"manualWeight":46,"mainColor":149},222031,"chun-you-wan-gui-tu-dai-jin-222031","春游晚归图","这幅画的笔墨多取法自南宋时代的马远、夏圭一派，构图上虽然仍然旧沿袭著南宋院画体系风格，保留了大部分空虚的地方，但是画面比较平板，近景和远山几乎是在同一平面上，比较缺乏景致空间的深度。这也是浙派绘画的共同特色之一。画上并没有作者的落款和印章，但是从画风，再比照其它画作来看，似可推断是戴进在北京时期的作品。\n综合其它传世作品来看，戴进除了兼法宋、元诸家以外，受到南宋马远、夏珪「院体」一派画风的影响比较深。但是他继承古人传统，而不为成法所拘，能够发展变化，自出新意。这件作品为戴进基於马远、夏圭风格，而更近一步，大胆强调丰富笔墨效果的杰作。绘画技法功力深厚，笔墨灵活而变化多端，奔放中不失法度，严谨中又富有潇洒俊逸的格调，是代表戴进风格的典型作品之一。",[23,24,25,95,28,29,58,60,30,31,272,7,112,578,33],"路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f535fa828d9c60097457ceb913a5fff.jpg","167.9x83.1公分",[42,146],752,{"id":584,"slug":585,"title":586,"dynasty":18,"author":52,"museum":53,"description":587,"tags":588,"thumbUrl":589,"material":84,"size":590,"collection":42,"collections":591,"showCount":592,"zanCount":354,"manualWeight":46,"mainColor":149},218389,"chun-shan-yin-shang-zhou-chou-ying-218389","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。",[24,95,28,56,36,29,58,33,112,130,132,7,60,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7562c788ce2b4470b544a9e0121bd8b5.jpg","157.5x63.2公分",[42],732,{"id":594,"slug":595,"title":596,"dynasty":18,"author":19,"museum":597,"description":598,"tags":599,"thumbUrl":600,"material":601,"size":602,"collection":42,"collections":603,"showCount":604,"zanCount":605,"manualWeight":46,"mainColor":149},219903,"shan-ju-du-shu-tu-shen-zhou-219903","山居读书图","南京博物院","沈周（1427—1509），字启南，号石田，自称白石翁，江苏苏州人。山水少承家法，凡宋元名手，皆能变化出入，而独于董源、巨然、李成尤得心印。中年以黄公望为宗，晚乃醉心吴镇、倪瓒。四十以前画盈尺小景，四十后始拓为大幅。其画以水墨山水为艺林绝品，浅绛者次之，其大设色者尤妙，但存世稀少。人物、花鸟，无一不入神品。本幅即为仿倪之作，笔法遒劲，风格萧疏。",[24,25,95,27,36,37,82,29,112,391,7,35,31,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad65f1285b34c33d679d0516bef2374a.jpg","绢本,水墨","纵116.6厘米 横28.8厘米",[42],708,4,{"id":607,"slug":608,"title":609,"dynasty":78,"author":79,"museum":360,"description":610,"tags":611,"thumbUrl":613,"material":40,"size":614,"collection":42,"collections":615,"showCount":616,"zanCount":605,"manualWeight":46,"mainColor":149},218531,"kuai-xue-shi-qing-tu-huang-gong-wang-218531","快雪时晴图","《快雪时晴图》描绘了雪霁后的山中之景，其中除一轮寒冬红日外，全以墨色画成。高山上留有积雪，天边处有一轮红日，横带一抹红霞，生动表现出雪后初晴时明朗秀美的景象。该画用笔单纯而疏秀，洁净洗练。运用柔润的线条构建了宏大的山石结构，并且使之稳固清断。\n《快雪时晴图》画水墨雪景山水，层岩叠岭，奇峰寒林，白雪皑皑，寒气袭人。山下房舍数间，山间升起一轮红日。 画的中间是掩映在丛林中的几间茅屋，茅屋的两侧是绵延相连的断崖、山冈高低参差，错落有致，茅屋后而群峰耸立，挺拔秀美。山中的楼房里，有座香炉供奉着佛像。",[23,24,25,26,27,36,29,7,34,612,38,82],"雪景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78cb267ee7419e8115bf1c5d1d95984d.jpg","纵29.7厘米，横104.6厘米",[42,264],675,{"id":618,"slug":619,"title":620,"dynasty":124,"author":621,"museum":561,"description":622,"tags":623,"thumbUrl":624,"material":142,"size":625,"collection":144,"collections":626,"showCount":627,"zanCount":517,"manualWeight":46,"mainColor":149},221435,"qing-lv-shan-shui-ye-jing-hao-221435","青绿山水页","荆浩","荊浩（約850-911年），字浩然，號洪穀子，河內沁水(一説河南濟源人 ，一説山西沁水縣人， ）唐末五代時期著名畫家，北方山水畫派之祖。\n博通經史，博雅好古。乾符元年（874）前後，得到宰相裴休的關照，擔任小官。大中十年（856），罷官回鄉。躲避戰亂，常年隱居太行山 。善於山水畫，師從於張璪，吸取北方山水雄峻氣格，作畫“有筆有墨，水暈墨章”，勾皴之筆堅凝挺峭，表現出一種高深迴環、大山堂堂的氣勢，為北方山水畫派之祖 。\n\n著有《筆法記》山水畫理論的經典之作，提出氣、韻、景、思、筆、墨的繪景“六要”。作品《匡廬圖》《雪景山水圖》等",[23,200,24,25,111,257,28,36,29,30,34,7,31,187,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc5196ec6dccfebf217ece15bc124669.jpg","45x30厘米",[144,42,264],664,{"id":629,"slug":630,"title":462,"dynasty":18,"author":19,"museum":53,"description":631,"tags":632,"thumbUrl":633,"material":40,"size":634,"collection":42,"collections":635,"showCount":636,"zanCount":517,"manualWeight":46,"mainColor":47},214745,"shan-shui-tu-shen-zhou-214745","这幅山水画，笔触逐渐圆润成熟，与山竹和醉酒后的风景并无二致。画中，云层破碎，森林苍茫湿润，是雨后的场景。一座小桥上面走着一个拄着拐杖的人，这可能是 雨后振孤策 这首诗的意思。作画时，他已经50岁了。",[24,25,95,27,36,82,37,38,29,96,30,31,97,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb112e375f985a0401a16509e37dd9e82.jpg","56.1x31.7",[42],653,{"id":638,"slug":639,"title":640,"dynasty":18,"author":19,"museum":360,"description":641,"tags":642,"thumbUrl":644,"material":645,"size":646,"collection":289,"collections":647,"showCount":649,"zanCount":382,"manualWeight":46,"mainColor":47},236332,"shen-zhou-liu-yin-zuo-diao-tu-zhou-shen-zhou-236332","沈周柳荫坐钓图轴","本幅自题五绝诗：“树根容我坐，八座未云安。芸屦春泥湿，荷衣晓露干。沈周。”钤“寄傲”印、“启南”印。图中画岩崖危耸，春湖柳溪，湖边老翁垂纶，神态安逸。作品布景自然，用笔苍润，设色以浅绛、花青为主，清淡秀冶，兼得天趣与人意之美。此作表现了沈周晚年的典型面貌，根据本幅所钤“墨林山人”、“项叔子”、“项元汴印”等鉴藏印，可知作品曾经明末收藏家项元汴收藏。",[24,95,27,36,29,415,58,643,7,31],"坐钓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc26e450d5af93a3a1c5b03a1c08feb02.jpg","绫本，设色","纵136.3厘米，横23.6厘米",[289,146,648],"书法精选",649,{"id":651,"slug":652,"title":653,"dynasty":654,"author":655,"museum":561,"description":656,"tags":657,"thumbUrl":659,"material":217,"size":660,"collection":70,"collections":661,"showCount":662,"zanCount":371,"manualWeight":46,"mainColor":663},287715,"guan-shan-xing-lv-tu-guan-tong-287715","关山行旅图","五代十国","关仝","《关山行旅图》是一幅描绘北方深秋景色的山水画，不仅绘制了人物的行旅活动，又带有了一定的叙事性。既表现出了山川的雄奇，又反映了人们生活的艰辛",[200,24,25,95,27,36,29,7,30,31,60,242,214,658],"村落","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff32d97bddf63ebed468f0b1cdb92e70b.jpg","Xcm*Xcm",[],641,"37474F",{"id":665,"slug":666,"title":667,"dynasty":296,"author":668,"museum":360,"description":669,"tags":670,"thumbUrl":672,"material":673,"size":674,"collection":306,"collections":675,"showCount":676,"zanCount":309,"manualWeight":46,"mainColor":47},223161,"song-mei-shuang-he-tu-shen-quan-223161","松梅双鹤图","沈铨","此画为作者晚年之作，笔触细致工整，造型生动准确，技法出自明代而又极具个人风格，笔墨工致，敷色浓艳，注重渲染，形象逼真，富有立体感。劲健、流畅的线条，细密的局部勾画，完美的画面构图，令人难以看出此乃年已古稀之人的手笔。\n将工笔、写意、兼工带写、重彩、淡彩、没骨、水墨、白描、勾勒填彩、钩花点叶等绘画技法在写生中灵活运用并加以发展，既重形似，又重神似。",[23,24,25,56,28,62,272,390,488,391,7,671],"红叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc931c0442a93ab3c28aef5baea6bb17.jpg","绢本设色","191cm×98.cm",[306],633,{"id":678,"slug":679,"title":680,"dynasty":18,"author":387,"museum":53,"description":681,"tags":682,"thumbUrl":683,"material":68,"size":684,"collection":289,"collections":685,"showCount":676,"zanCount":382,"manualWeight":46,"mainColor":149},222348,"xi-shan-yu-yin-tu-quan-juan-tang-yin-222348","溪山渔隐图全卷","《溪山渔隐图》中山石耸立，林木茂密，江上小舟数只。图中江干岩岸，杂林疏朗，渔舍水榭坐落于丹枫之中。岸石掩映间，水面舟艇数只，舟上渔人或垂纶放钓，或横笛足，或拍掌击节和歌；屋内则促膝对酌，或凭栏观钓，或策杖闲步。画法苍古，用笔劲利，设色明艳全画清雅幽丽，神采逼人，堪称为唐寅灵腕之妙品，富有艺术价值。",[23,24,25,26,28,29,243,31,32,33,34,7,227,58,37,38,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2505dfe3d9352c8db98b286634abed6e.jpg","纵29.4cm，横351cm",[289,264],{"id":687,"slug":688,"title":689,"dynasty":18,"author":19,"museum":108,"description":690,"tags":691,"thumbUrl":692,"material":84,"size":693,"collection":42,"collections":694,"showCount":695,"zanCount":605,"manualWeight":46,"mainColor":149},217060,"lin-wu-zhen-xia-shan-yu-yu-tu-shen-zhou-217060","临吴镇夏山欲雨图","这是沈周的一幅山水画，用的是淡淡的紫红色的笔。笔法大胆简练，气势如虹。构图简单自然，气氛轻松悠远。屋前有几棵稀疏的树，中间的笔触很强。后峰叠云，如蟠龙出没，后延一峰，略加皴擦，水墨淋漓，远处的山峰也略加勾勒，水墨轻盈。本卷中的笔墨运用随心所欲，无拘无束，墨色清晰明快。",[200,24,25,95,27,36,186,29,7,34,35,30,31,130,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07d620b34209a6fc4cb19849a546e3d9.jpg","182x69.5cm",[42],606,{"id":697,"slug":698,"title":462,"dynasty":78,"author":699,"museum":53,"description":700,"tags":701,"thumbUrl":702,"material":116,"size":703,"collection":42,"collections":704,"showCount":705,"zanCount":382,"manualWeight":46,"mainColor":149},214249,"shan-shui-tu-cao-zhi-bai-214249","曹知白","两棵松树相向而立，树枝向下延伸呈蟹爪状，是北宋时期李成和郭熙的典型画风。这幅画浓淡相间，尤其是在远处的山峰之间，淡墨层层渲染，云层模糊不清，似有似无。",[23,200,24,27,36,29,96,7,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff57a8f96ed896461c7ff36507601cb6a.jpg","68.1x34.3",[42],602,{"id":707,"slug":708,"title":709,"dynasty":124,"author":182,"museum":53,"description":710,"tags":711,"thumbUrl":713,"material":116,"size":714,"collection":289,"collections":715,"showCount":716,"zanCount":517,"manualWeight":46,"mainColor":47},214644,"long-mian-shan-zhuang-tu-li-gong-lin-214644","龙眠山庄图","这幅画作于1077年，描绘了作者和他的朋友在他的家乡舒州龙眠山庄欣赏风景和喝茶的情景。风景迷人，画中的方形茶壶、篮子、茶烛和茶盘都是宋代的，可以作为宋代茶器的参考。",[23,24,25,26,712,29,60,30,31,33,34,58,7],"白描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdffc405cec5883bd1b1559990728979.jpg","28.9x364.6",[289],600,{"id":718,"slug":719,"title":462,"dynasty":78,"author":720,"museum":53,"description":721,"tags":722,"thumbUrl":725,"material":116,"size":726,"collection":42,"collections":727,"showCount":728,"zanCount":382,"manualWeight":46,"mainColor":47},218740,"shan-shui-tu-ni-zan-218740","倪瓒","据王蒙在画上的题记，王蒙曾画过一幅倪瓒的《松石望山图》，倪瓒临摹了原作，交给了他的朋友文博，就是现在的这幅。后来，王蒙在他的朋友温家看到了这幅作品，并对其进行了补充，形成了这幅联合景观。",[23,200,24,25,95,27,36,723,29,7,130,31,34,32,724],"文人画","蓑笠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e6ce25e904b4cba0d3febbec489966b.jpg","119.9x56.1",[42],579,{"id":730,"slug":731,"title":732,"dynasty":296,"author":436,"museum":360,"description":733,"tags":734,"thumbUrl":738,"material":454,"size":739,"collection":289,"collections":740,"showCount":741,"zanCount":517,"manualWeight":46,"mainColor":149},236166,"yong-zheng-shi-er-yue-xing-le-tu-yi-ming-236166","雍正十二月行乐图","这是一组表现雍正皇帝日常生活的作品，按春、夏、秋、冬四季十二个月的顺序排列，分别为“正月观灯”、“二月踏青”、“三月赏桃”、“四月流觞”、“五月竞舟”、“六月纳凉”、“七月乞巧”、“八月赏月”、“九月赏菊”、“十月画像”、“十一月参禅”和“腊月赏雪”。每幅图轴纵188.2厘米，横102.2厘米。从描绘的景物判断，表现的对象应为圆明园。\n画面以山水楼阁为主，建筑描绘细腻，其中既有中式园林建筑，又有西式亭台楼阁，更有中西合璧者，画面的景观可能是画家以圆明园的建筑结合自己的想象而创作的。圆明园是雍正作皇子时的封赐，他解释说“圆明园”的赐名大有深意：“圆而入神，君子之时中；明而普照，达人之睿智也。” 雍正三年（1725年）八月圆明园兴修一新之后，雍正皇帝经常在园中居住并在此办理公务，他明谕百官“每日办理政事与宫中无异”。这十二幅行乐图展现了其在圆明园生活的各个场景，也表现了十二个月的不同节令风俗。",[24,28,56,57,735,29,60,427,201,736,7,58,737],"行乐图","池塘","中式园林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa170ee7ea987eca05f818f0474a20d1.jpg","纵188.2厘米，横102.2厘米",[289,264],568,{"id":743,"slug":744,"title":745,"dynasty":124,"author":154,"museum":360,"description":746,"tags":747,"thumbUrl":748,"material":749,"size":750,"collection":144,"collections":751,"showCount":752,"zanCount":382,"manualWeight":46,"mainColor":149},221294,"ke-shi-ping-yuan-tu-juan-guo-xi-221294","窠石平远图卷","郭熙(11世纪)，字淳夫，温县(今属河南)人，其艺术活动约在北宋熙宁、元丰(168～185)间。\n擅长画山水。\n画巨石平坡，大小石块间杂生古树灌木，或枝叶繁茂，或枯枝败叶，平坡上有弯曲泉水流过。\n画右边一抹平沙，远处隐约有高山屏立。\n所作石块及平坡以卷云皴为之，树木多作蟹爪状，均为郭熙用笔造型的特点。\n全图以水墨为主，略施淡赭色烘染，描绘了秋日平远空旷的景色。\n画幅左侧作者自署“窠石平远”4字图名及“元丰戊午年郭熙画”款识，可知此图作于北宋神宗元丰元年(178)，为郭熙晚年作品。",[23,24,200,25,26,27,36,29,244,242,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0556ced627d4bf0bc2eadd501a1dda33.jpg","绢本，墨笔","纵120.8厘米，横167.7厘米。",[144,42,146],555,{"id":754,"slug":755,"title":756,"dynasty":78,"author":107,"museum":360,"description":757,"tags":758,"thumbUrl":759,"material":760,"size":761,"collection":42,"collections":762,"showCount":763,"zanCount":764,"manualWeight":46,"mainColor":47},220820,"wang-meng-xia-ri-shan-ju-tu-zhou-wang-meng-220820","王蒙夏日山居图轴","此图绘长松高岭，山坞人家。半敞的房舍中一位怀抱婴儿的妇女似正在来回踱步，哄儿入睡，极富生活情趣。王蒙的作品虽多描写高士隐居生活，但其中往往蕴含俗世的生活情趣，这在某种程度上可以说是画家入世情结的一种流露。\n画中山体施以细密而短促的牛毛皴，凸处和边缘处笔少而墨淡，凹处及深暗处则笔多而墨浓，借以表现出山峦的层次和体积感。松树以淡墨勾形，偶尔施以重墨，树身以干笔圈皴，松针先以淡墨写出，复施以浓重的焦墨，使之层次分明，愈显清峭挺拔之势。山间丛树用焦墨侧锋点染而成，与山体皴染融为一体，相辅相成，更增夏日青山浑厚华滋的质感。",[23,24,25,95,27,36,29,34,7,31,133,35,82,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7df20d546f8bf06fcb8d01422c5ba829.jpg","纸本，墨笔","纵118.1厘米，横36.2厘米",[42,146],552,2,{"id":766,"slug":767,"title":768,"dynasty":124,"author":769,"museum":360,"description":770,"tags":771,"thumbUrl":772,"material":673,"size":773,"collection":144,"collections":774,"showCount":775,"zanCount":341,"manualWeight":46,"mainColor":149},221671,"jiang-shan-qiu-se-tu-zhao-bo-ju-221671","江山秋色图","赵伯驹","《江山秋色图》所绘是北方山水，群峰绵密，层峦叠嶂，仅在卷之前部有一条长河曲折蜿蜒而远逝，后卷但见崇山峻岭，错落连绵而如龙脉，起伏顾盼，开合揖让，虚实相生，盘桓而上。\n《江山秋色图》布局严谨，勾勒精细，设色绚烂，以石青石绿为主，兼用朱、赭、白等色，色调明快和谐。\n《江山秋色图》画面上重山复岭，层峦叠嶂，江河溪涧，深泽浅潭，飞瀑激落，错杂其间。\n在深秋的雾色中，楼观屋字，栈道廊桥，苍松古树，各得其宜，三三两两的步行者流连于山野之间，艄公正在江上张网摇船，劳累了的过路人停脚在松阴下歇息闲聊。\n《江山秋色图》钤有清内府“乾隆御览之宝”、“石渠宝笈”等印，以及梁清标鉴藏印。\n尾纸有明洪武八年（175年）朱标题跋。\n赵伯驹、赵伯骕兄弟承传唐代“二李”（李思训、李昭道父子）及宋徽宗画院学生王希孟《千里江山图》的风格，创作出了《江山秋色图》、《 》这类作品。\n画家在《江山秋色图》中重点表现了千岩竞秀的宏伟气势，以造成一种灵动而神秘的气氛，使人有一种身临其境的感觉。\n作者可能想描绘出一种文人的理想境界，使画面具有受到文人推崇的“士气”。\n虽然这幅画上出现的是一片太平、悠闲的景象，但却能从中体味出作者对失去故土的思念之情。\n笔法刚劲秀润，且线条的轻重、缓急、虚实，充满灵动之气，使画面富有韵律感。\n画中山石以流畅多变的长线条勾廓，并根据山石的脉络加以钩皴（多用“小斧劈皴”）。\n画笔尖细，但并不软弱轻浮。\n即使烘染重彩，却始终保持着线条的清晰度。\n此图在布局上用传统的“散点透视”法，将高远、平远和深远适当地结合起来，造成容量大、布阵奇、开合有度的效果，在多变之中得到一种和谐的整体感。\n也就是说，作者想给人的突出印象就是，画面充满了体积感。\n画中几条河流曲折而蜿蜒，平静自然地流向远方，表现出一种纵深感。\n作者还从不同角度描绘出山体左右正侧的造型变化以及山脉的逶迤连绵的气势。\n在用墨方面，是以石青、石绿为主调，重视远景与近景明部与暗部的色彩区别，整个画面给人的感觉是“亮”。\n近处山石、土坡、竹树多用重石绿兼赭石，阴影处多用石青和墨青。\n远处的山与树则用淡墨、螺青勾染。\n天、水部分用花青打底，敷以淡石青。\n重彩与淡彩的结合使画面具有了一种精微雅致的特色。\n中国美术学院艺术人文学院教授 ：《江山秋色图》的精神面貌与传为李思训派的《明皇幸蜀图》等有相接处，但显然比李思训的山水画精工丰富，成熟得多，在院体气格中还搀以文人画的韵致，最为院画，水平却非文人画家所易企及， 较之王希孟《千里江山图》也稍胜一筹。\n《江山秋色图》曾经明内府收藏，明初朱标题跋始定此卷为赵伯驹画。\n清代初年为梁清标收藏，图上有梁氏鉴藏印数方，后入清宫，有乾隆、宣统诸印玺。\n抗战期间由溥仪携往长春，东北解放后为人民政府所收，现藏于北京故宫博物院。\n217年9月15日至12月14日，《江山秋色图》在故宫午门正殿展厅举办的“千里江山——历代青绿山水画特展”中展出。\n赵伯驹，生卒年不详，字千里，为宋太祖七世孙，担任过浙东兵马钤辖。\n他擅长山水、花果、翎毛画，尤善金碧山水画。\n其山水画承继李思训父子，同时吸取了北宋文人画家水墨山水画的表现方式，逐渐形成了清幽淡雅、精工细酌的特色，又颇具文人的书卷气。\n他的山水画虽采用青绿赋色的表现形式，但对房舍、楼阁、树木等景物的刻画已具有北宋自然主义山水的体貌特征。",[23,24,25,26,257,28,29,7,34,316,60,565,56,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b6d5eca717593c1538b08a694bedb46.jpg","纵55.6厘米，横323.2厘米",[144,306,264],551,{"id":777,"slug":778,"title":779,"dynasty":124,"author":780,"museum":781,"description":782,"tags":783,"thumbUrl":785,"material":84,"size":786,"collection":144,"collections":787,"showCount":788,"zanCount":458,"manualWeight":46,"mainColor":663},218605,"wu-bai-luo-han-zhi-shi-cai-pin-zhe-tu-zhou-ji-chang-218605","五百罗汉之施财贫者图","周季常","波士顿美术馆","衣袂飘举间，罗汉群像神态各异：或持法器凝立，衣纹如流水般细腻；或低语相谈，眉眼间藏着慈悲的柔光。下方沟壑纵横处，贫者衣衫褴褛，匍匐劳作的身形佝偻着，困顿与艰辛在笔触里尽显。云雾缭绕的背景中，苍劲的树木与嶙峋的山石，悄然分隔却又勾连起上下两重世界。\n\n画家以写实之笔勾勒众生相，罗汉的从容与贫者的窘迫形成鲜明对照，似在无声传递施财济困的佛理。古绢底色晕染出岁月的厚重，每一处细节都浸着宋代佛画的庄重与温度，让慈悲之念在画面里缓缓流淌，直抵人心。",[23,200,24,25,95,784,56,28,58,7,34,133],"宗教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d79111b47df23f905bb3c17be404416.jpg","111.5x53.1",[144,289],530,{"id":790,"slug":791,"title":792,"dynasty":793,"author":794,"museum":561,"description":795,"tags":796,"thumbUrl":798,"material":84,"size":70,"collection":42,"collections":799,"showCount":800,"zanCount":458,"manualWeight":46,"mainColor":149},218399,"chang-jiang-ji-xue-tu-wang-wei-218399","长江积雪图","唐","王维","素裹银妆的天地间，江波浩渺如镜，山峦起伏若眠。雪覆层岩似披素纱轻幔，枯藤老树凝霜，枝桠横斜间，几簇松针翠色凌寒而立，添了几分生机。江面上薄雾轻笼，一叶扁舟隐于烟波，恍若载着天地孤静。远处村落藏于雪麓，屋舍点点似有暖意暗涌。淡墨晕染雪意，线条疏朗含韵，静谧中透着禅韵，雪色洗尽尘嚣，尽显山水幽远。恰如诗中清寂，又藏着悠然，将冬日江雪的空灵深邃，凝于尺幅之间。",[23,200,24,26,28,29,537,242,201,32,7,316,34,612,797],"小筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41bff8e8782f9331d1bdca574626f790.jpg",[42],519,{"id":802,"slug":803,"title":804,"dynasty":78,"author":107,"museum":53,"description":805,"tags":806,"thumbUrl":807,"material":40,"size":808,"collection":42,"collections":809,"showCount":810,"zanCount":11,"manualWeight":46,"mainColor":47},214820,"jing-xi-shi-cui-tu-wang-meng-214820","荆溪湿翠图","这幅画描绘了水流湍急的泾河、声音激荡的瀑布、色彩斑斓的山峦和长满松树的松树。面板上有王蒙的长篇后记，据说是后来加的。这幅画的风格与杜琼的风格比较相似，从杜琼在 旌表贞节之门 下的印章可以看出。",[24,25,95,27,28,29,31,34,7,130,58,36,37,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa69a4d460ff4b91c032f0a5094f977d7.jpg","142.6x42.9",[42],512,{"id":812,"slug":813,"title":814,"dynasty":18,"author":19,"museum":509,"description":815,"tags":816,"thumbUrl":817,"material":229,"size":818,"collection":70,"collections":819,"showCount":820,"zanCount":517,"manualWeight":46,"mainColor":47},222135,"wei-yuan-ya-ji-tu-shen-zhou-222135","魏园雅集图","沈周在此画中营造了一种山水亭榭，林泉雅集的氛围。\n远处峰峦陡起，轻披薄雾；近处山顶与中部山腰，露出多处缓缓向上的台地，泉水从山涧飞流直下，汇成棕棕小溪。\n溪水旁有一小桥，茅亭内四人席地而坐，书童侧立一旁正听候主人吩咐，一老者拽杖而来。山上山下，草木葱茏，叶红似火的枫叶点缀其间，更添几分胜地雅集美景。画家皴染兼施，构筑的画面气魄雄浑沉静，画心连画家共 六人题咏，实为诗书画熔为一炉的山水佳作。\n本幅作品取材于五人山亭雅集之事，故这一场景被安置于图中极为醒目之处。",[23,24,25,27,36,38,37,82,29,33,58,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea5f7a0e13b04d0d1a1bef16fd387091.jpg","纵145.5厘米，横47.5厘米",[],503,{"id":822,"slug":823,"title":824,"dynasty":18,"author":52,"museum":53,"description":825,"tags":826,"thumbUrl":827,"material":40,"size":828,"collection":42,"collections":829,"showCount":830,"zanCount":382,"manualWeight":46,"mainColor":47},218534,"zhang-xin-gong-ci-tu-chou-ying-218534","长信宫词图","以著名的隋唐宫殿连昌宫为主题的诗画轴，诗塘上都附有所谓文征明书写的宫词二十五首。此幅与院藏《画长信宫词图》的书法与画风相当近似，当属同一组四幅对。当时的作坊，喜欢绘制以仇英画、文征明题诗的合璧之作来吸引买者。重青绿描金的山水，配上楼阁人物，四幅齐挂妆点厅堂时，肯定是相当富丽华贵。此幅诗画轴可能是以仇英绘图、陆师道题诗的〈仙山楼阁〉为模仿对象，连左前方松林与其间宫殿都有相似处，只是少了原作的典雅含蓄，更强调色彩缤纷与繁复细节。活动其间的宫人，或舞蹈，或凭栏，或抚琴，或对坐闲谈，观之令人兴味盎然。",[24,56,28,257,57,29,60,7,34,187,578,565],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F018a7dba5ec368fecd8fd467a61193fc.jpg","纵 66.8 公分 横37.6 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g-xi-219036","牡丹玉兰图","蒋廷锡","画面铺展间，花木扶疏尽显生机。玉兰绽如雪团，缀于虬枝，禽鸟栖停顾盼生姿；牡丹热烈盛放，粉白紫三色交织，花瓣层叠如锦，墨绿叶片衬得花容更艳，一抹朱红点缀其间，添了灵动。树下顽石苍古，纹理拙趣，旁生细草闲花，柔媚与苍劲相映。工笔细腻见匠心，线条婉转，设色相宜，既有富贵雍容之态，又不失清雅灵动之韵，仿佛闻花间细语，观禽鸟轻啼，一派生机盎然的春日盛景跃然眼前。",[23,24,25,62,56,28,441,920,301,303,921,922,7,923],"玉兰","枝","叶","草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed08238660ecdcb1bd2c392c1379139b.jpg",[306],456,{"id":928,"slug":929,"title":930,"dynasty":124,"author":473,"museum":360,"description":931,"tags":932,"thumbUrl":933,"material":84,"size":934,"collection":42,"collections":935,"showCount":936,"zanCount":382,"manualWeight":46,"mainColor":149},218443,"qiu-lin-guan-quan-tu-li-tang-218443","秋林观泉图","这幅画描绘了峡谷口水流湍急，两岸岩石嶙峋，两个高士坐在水边的斜岩上，静静地看着山泉流淌。倾斜的岩石都用强烈的笔触凿出，体现出岩石坚硬的质地；森林茂密，不留缝隙，显示出浓郁的树荫。画家用画笔画出了树叶，强调了色彩。坡上和水中的落叶点缀了秋景。",[23,24,25,26,27,28,29,365,31,7,58,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ccc94015347c81f6c539b56469c6225.jpg","24.7x112.3cm",[42],445,{"id":938,"slug":939,"title":940,"dynasty":78,"author":107,"museum":108,"description":109,"tags":941,"thumbUrl":942,"material":116,"size":70,"collection":70,"collections":943,"showCount":944,"zanCount":46,"manualWeight":46,"mainColor":47},214577,"shan-shui-ce-2-wang-meng-214577","山水册-2",[200,24,25,111,27,36,29,96,7,114,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff325b98c3fa5098a784a9932e0c4b3b3.jpg",[],442,{"id":946,"slug":947,"title":948,"dynasty":78,"author":107,"museum":108,"description":949,"tags":950,"thumbUrl":953,"material":116,"size":954,"collection":42,"collections":955,"showCount":956,"zanCount":605,"manualWeight":46,"mainColor":47},217744,"qiu-lin-mu-ai-tu-wang-meng-217744","秋林暮霭图","远处的山峰高高耸立，山泉从远处汇聚到山脚下，山间的小路崎岖起伏，河滩上人影绰绰。这幅画仍然是王蒙一贯的风格，山水繁复，皴擦繁复，不乱，体现了山林的氤氲，苍茫的景观。",[24,200,25,951,27,36,29,34,952,33,30,31,7,133,578,258],"山水画","秋林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06704bae6c4c29291d15f3321cbbf1eb.jpg","85x35cm",[42],438,{"id":958,"slug":959,"title":960,"dynasty":78,"author":961,"museum":360,"description":962,"tags":963,"thumbUrl":964,"material":749,"size":965,"collection":289,"collections":966,"showCount":967,"zanCount":517,"manualWeight":46,"mainColor":47},220778,"yu-fu-tu-wu-zhen-220778","渔父图","吴镇","《渔父图》画远山丛树，流泉曲水，老树平坡。坡旁溪水一泓，小舟闲泊。一渔父头戴草笠，一手扶桨，一手执鱼竿，坐船中垂钓。笔法圆润，意境幽深。\n《渔父图》，皆天空水阔，几只渔舟活动于其间，随意点染，意境或开阔，或幽深颇多变化，既画出了“放歌荡漾芦花风”，又描绘出“一叶随风万里身”的意境，吴镇以此寄托隐逸之意。\n此幅作远山丛树，流泉曲水，平坡老树。坡旁水泽，小舟闲泊。一渔夫头戴草笠，一手扶浆，一手执竿，坐船垂钓。对岸群山远岫，岗峦起伏，树木茂盛，溪流人家。\n远景诸峰峭拔而立，绵延起伏；中景坡石渐缓，相拥而卧，老树从中斜逸而出，枝干虬曲，树叶繁茂，一道幽泉从远山处蜿蜒而来，流水潺谖，汇人江中；近景的江面上，一渔父泛舟其上，他手扶桨一手执鱼竿，怡然自得地坐在船沿上垂钓，渔船两边沙碛点点，木盛草美，随风飘荡。\n图上正中草书“渔父辞”一首：目断烟波青有无，霜凋枫叶锦模糊，千尺浪，四腮鲈，诗筒相对酒葫芦。并款署：“至元二年秋八月，梅花道人戏作《渔父》四幅并题。”",[23,24,25,27,36,29,32,724,112,31,7,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46b62bd0e9cbfbeeae4460213b63e1fd.jpg","纵84.7厘米，横29.7厘米",[289,146],434,{"id":969,"slug":970,"title":971,"dynasty":78,"author":107,"museum":53,"description":972,"tags":973,"thumbUrl":974,"material":229,"size":975,"collection":42,"collections":976,"showCount":977,"zanCount":11,"manualWeight":46,"mainColor":149},220815,"shan-shui-zhou-wang-meng-220815","山水轴","全画以高远法构图，崇山峻岭于雄奇中内具空灵之貌，山石与树木间开合有度，于多变的虚实呼应中构筑出丰厚华滋的气象",[23,24,95,27,29,36,7,34,30,31,33,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad77a15bec8b64335a9ac63c01ea4f87.jpg","该幅 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伯牙鼓琴 的典故。树木的叶子是用双钩和填充的方法进行层压和绘画的。石头的纹理是用斧头表达的，这使它们具有很好的质感。松针画得非常仔细，笔法严谨而纯粹。",[23,24,25,28,58,427,7,34,1011,1012,36,56,29],"童子","乐器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaf693032a9cf5c8cec0275d6ef70b42.jpg","166.50x99厘米",[289],402,{"id":1018,"slug":1019,"title":1020,"dynasty":124,"author":1021,"museum":53,"description":1022,"tags":1023,"thumbUrl":1025,"material":84,"size":1026,"collection":306,"collections":1027,"showCount":1028,"zanCount":382,"manualWeight":46,"mainColor":149},219031,"mu-dan-tu-zhao-chang-219031","牡丹图","赵昌","湖石下的鸢尾花、兰花和灵芝，以及湖石后盛开的牡丹，让人眼前一亮。虽然丝绸已经发黄发旧，但仍有光泽的感觉。",[23,200,24,25,56,28,62,441,1024,7],"叶子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f8b5880085e0d0be159ea0e1946d21d.jpg","143.5x59.3",[306],397,{"id":1030,"slug":1031,"title":1032,"dynasty":124,"author":449,"museum":108,"description":1033,"tags":1034,"thumbUrl":1035,"material":84,"size":1036,"collection":144,"collections":1037,"showCount":1028,"zanCount":764,"manualWeight":46,"mainColor":47},218077,"song-di-ming-ti-ce-ma-yuan-218077","宋帝命题册","这画册共含十页，每页左侧为一幅绘画，右侧配一书法。画心尺寸长28厘米、高27厘米，设色绢本，水墨与青绿设色间有。\n在“开禧北伐”之后，宋败给了金国，还有了“嘉定议和”。议和之后的宋宁宗便失去了大权。之后，宋宁宗开始钟情于山水。本十开册页描绘的是当时临安凤凰山皇宫的十个不同景点。\n根据考证，图中的白衣高士均是宁宗的化身，他将自己融入到自然山水中，写下了这10幅诗，再命当时的御前画师马远配图。\n10幅画作皆是根据杨万里、王安石等前贤及宋徽宗的诗句而创作，册页里的10幅配诗书法作品皆为宋宁宗所书。",[23,200,24,25,111,57,28,36,29,60,427,114,7,34,133,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4f18219cdd8de698e8ca906fbb1bca8.jpg","纵28厘米、横27厘米",[144,42],{"id":1039,"slug":1040,"title":1041,"dynasty":78,"author":1042,"museum":1043,"description":1044,"tags":1045,"thumbUrl":1046,"material":885,"size":1047,"collection":42,"collections":1048,"showCount":1049,"zanCount":11,"manualWeight":46,"mainColor":149},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。",[23,24,25,95,27,28,29,427,133,158,34,36,7,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bbf82b9a395bf951704715997109750.jpg","纵91.5cm，横31.5cm",[42,264],396,{"id":1051,"slug":1052,"title":1053,"dynasty":18,"author":52,"museum":346,"description":1054,"tags":1055,"thumbUrl":1057,"material":84,"size":70,"collection":289,"collections":1058,"showCount":1059,"zanCount":371,"manualWeight":46,"mainColor":149},219568,"yan-le-tu-chou-ying-219568","宴乐图","仇实父画楼观人物，大都远宗顾陆，近接鸥波，此卷用意精深，造景超妙，又得之天真，使我敛手敬服，当以瓣香赠之。今为石川银台所藏，深得其主，后世未尝不与顾陆并传也。嘉靖丁亥（1527年）二月，徵明识。",[23,24,25,26,56,28,57,58,60,34,7,215,33,61,201,1056],"衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb093140a79abe931a475190696310633.jpg",[289,264],384,{"id":1061,"slug":1062,"title":1063,"dynasty":18,"author":19,"museum":549,"description":1064,"tags":1065,"thumbUrl":1070,"material":229,"size":1071,"collection":42,"collections":1072,"showCount":1073,"zanCount":11,"manualWeight":46,"mainColor":47},222114,"zhang-li-yuan-tiao-tu-shen-zhou-222114","杖藜远眺图","为一幅充满诗意的小景之作。左下方的白云草草勾出，稍加淡墨渲染，便有徐缓飘荡之态。山石皱纹和林木屋宇，点画随意，干湿浓淡，浑然一体。远山则用整块淡墨。这样，近景见笔而实，远山见墨而虚。虚实结合，有空灵深远之感。画中人物登高杖藜眺望，意境引入青山尽头，白云深处。题识：“白云如带束山腰 ，石磴飞空细路遥。独倚杖藜舒眺望，欲因鸣涧答吹箫。",[23,24,27,29,60,7,1066,1067,58,1068,82,36,1069],"林木","白云","杖藜","登高","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4649d1d0c9eba3d025f8a50b75209cec.jpg","纵38厘米，横59厘米",[42,146],383,{"id":1075,"slug":1076,"title":1077,"dynasty":296,"author":870,"museum":561,"description":1078,"tags":1079,"thumbUrl":1082,"material":70,"size":70,"collection":42,"collections":1083,"showCount":1084,"zanCount":517,"manualWeight":46,"mainColor":47},224509,"shan-shui-tu-ce-8-kai-shi-tao-224509","山水图册8开","此作以淡墨晕染江波，留白铺就浩渺水色，似将朝雾笼于纸面。近岸以枯笔皴擦岩壁，赭石敷色晕出沙汀暖意，苔点错落点缀野趣。两间山居素净朴拙，静立崖边，与斜渡的赭帆渔舟相映成趣，暗合江天悠悠的闲逸氛围。\n\n笔致松秀灵动，虚实相生，将阔远山水缩于尺幅之间，题诗与画境相融，尽抒寄情丘壑的隐逸襟怀，淡远清和的意绪漫溢纸面。",[23,24,25,111,27,28,36,29,32,1080,1081,7,34,113,82],"帆船","小屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40fd268d38073e0d113ca5d35047fc17.jpg",[42,264],374,{"id":1086,"slug":1087,"title":1088,"dynasty":124,"author":1089,"museum":1090,"description":1091,"tags":1092,"thumbUrl":1093,"material":229,"size":1094,"collection":144,"collections":1095,"showCount":1084,"zanCount":11,"manualWeight":46,"mainColor":149},221458,"wu-long-tu-juan-chen-rong-221458","五龙图卷","陈容","日本京都国立博物馆","理宗端平二年（1235）进士，知平阳县。时与名士论文讲艺，敷绎大义，士习以兴。曾为国子监主簿、福建莆田太守，官至朝散大夫。诗文豪壮，暇则游翰墨，善画龙，宝佑（1253-1258）间名重一时。画龙善用水墨，深得变化之意，泼墨成云，噀水成雾。特别是醉余大叫，脱巾濡墨信手涂抹，然后以笔成之，或全体，或一臂一首，隐约而不可名状者，皆得妙似。贾似道尝招致宾幕，醉辄狎侮之，贾不为忤。兼写松竹，学李煜“铁钩锁”法。晚年笔力简易精妙，绛色者可并董羽。偶亦画虎，勾染斑毛极工细。有赝本托以流传。现存美国波士顿博物馆之《九龙图》卷，恐是元人摹本。\n陈容于中国美术史上占有重要一席，“所翁龙”成为后人画龙的典范，倍受国人特别是明清以来画家们的追捧。甚至在日本，几百年来凡有龙图案的画亦绝大部分是仿效陈容。日本著名画家小泉淳作曾由衷地评价道：陈容的龙富有魅力，像真的一样活泼跳动，只有天才才会画出这样的画！\n顺便说一下，陈容不仅擅画龙，还擅长画松、竹、鹤，偶亦画虎，垂老笔力简易精妙，故世有‘所翁龙’、‘所翁鹤’和‘所翁竹’之称。在当时，达官显贵、文人骚客以能得到“所翁龙”而倍感荣幸。以玩弄权术、巧取豪夺而著称的奸臣宰相贾似道，一世搜刮金银珠宝、珍奇古玩无数，然他至死也未能讨到一幅“所翁龙”。",[23,200,24,25,26,27,36,907,7,130,133,539],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b9fcadd53a3ef596d12b6f0dd8824f3.jpg","45.2×299.5",[144,42,146],{"id":1097,"slug":1098,"title":1099,"dynasty":18,"author":1100,"museum":360,"description":1101,"tags":1102,"thumbUrl":1106,"material":1107,"size":1108,"collection":42,"collections":1109,"showCount":1110,"zanCount":46,"manualWeight":46,"mainColor":47},220902,"shan-shui-ce-2-dong-qi-chang-220902","山水册2","董其昌","此图册是董其昌于明天启元年（1621年）游武林（今杭州）时创作的，董氏时年67岁。图册分别仿杨升、卢鸿、惠崇、米友仁、李公麟、吴镇、倪瓒、王蒙等唐宋元诸家山水。画面集取古人不同的山水画景观，同时融入画家自己对于天地、山川的感受，“以意取之”，“各出意造”。在构图上虽与古人相似，但在审美情趣上董其昌追求的是一种平淡古雅的意境和逸趣。如仿唐杨昇山水，在画法上使用没骨设方法，摒弃了原作者金碧山水的华丽浓艳，继承了其中的古拙和典雅，寓丰富而鲜艳的色彩于平稳和谐的色调之中，笔法精妙秀雅，笔致轻松生动，从而使画面传达出一种平静而不淡泊、明媚而不躁动的美感，具有董氏自己的特点。又如米友仁芾画潇湘烟雨之景，以董、巨笔法皴染山石，用笔沉着稳重，通过墨色干湿浓淡的变化烘染出远山近水的空间感以及烟云雾气的变化。树木及房屋用笔多变化，墨色酣畅淋漓，层次丰富。这种董其昌笔下的米家山水，平淡之中更见秀雅。其他几开山水画同样反映了董其昌所追崇的文人画情趣，均以董源、巨然为归依。在仿古山水画中，他尝试运用各种不同的绘画形式诠释古法，同时表现出对于古法的继承和发展，从而阐述了自己的审美观，这是他创作众多仿古山水画最为重要的意义。此外，此件作品对开中董其昌的题记对于人们认识董其昌的艺术同样具有重要的史料价值。",[23,200,24,25,951,36,28,27,723,29,427,7,316,1103,34,114,1104,132,1105,133,671],"牛","近树","坡岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1d5fcdccb54e4ad4c6519be4ed88cbc.jpg","纸本，水墨和设色","每开纵26.3厘米，横25.5厘米。",[42,264],371,{"id":1112,"slug":1113,"title":1114,"dynasty":296,"author":436,"museum":561,"description":1115,"tags":1116,"thumbUrl":1119,"material":70,"size":70,"collection":70,"collections":1120,"showCount":1121,"zanCount":517,"manualWeight":46,"mainColor":149},230349,"yong-zheng-shi-er-mei-ren-tu-yin-zhen-mei-ren-tu-yi-ming-230349","雍正十二美人图(胤禛美人图)","仕女侧身凭门，眉眼含柔静赏修竹，暗纹黄衫绣饰精巧，鬓边珠翠轻缀，温婉娴静的闺阁气韵尽显。庭院中奇石错落，盆梅初绽、兰草幽柔，案头盆花清雅动人。画作以框景巧构，将室内外景致相融，淡雅设色晕染出悠然氛围，笔触写实细腻，衣料柔润质感、竹影婆娑意态皆被精妙还原，将深闺女子的闲情意趣与中式园林的雅致意境融为一体，尽显东方古典美学含蓄温婉之韵。",[23,56,28,59,391,7,1117,489,64,61,1118,95],"盆栽","服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a850643fba7892c7c56dbf39750b66e.jpg",[],362,{"id":1123,"slug":1124,"title":1125,"dynasty":18,"author":1126,"museum":20,"description":1127,"tags":1128,"thumbUrl":1130,"material":84,"size":70,"collection":289,"collections":1131,"showCount":1132,"zanCount":354,"manualWeight":46,"mainColor":149},218253,"shi-nv-juan-du-jin-218253","仕女卷","杜堇","长卷铺展间，亭台花木错落，数十位仕女于其间各展风姿。她们衣袂翩跹，眉目温婉，或倚栏低语，或临案抚琴，或捧卷凝思，或嬉戏于阶前竹下。笔墨细腻处，衣纹流转如行云，发饰精巧似蝶落；设色淡雅间，朱红轻点裙裾，墨绿晕染枝叶，层次隐现。庭院深深，竹影婆娑，山石静立，将闺阁的闲适与雅致悄然收纳。人物互动自然生动，仿佛能听见轻声笑语，嗅到草木清芬。整幅作品以流畅线条勾勒温婉神韵，用舒缓节奏铺陈宁静时光，尽显古代仕女生活的诗意与从容。",[23,24,25,26,56,28,58,59,60,61,64,1129,34,7,66,1118],"台阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfa7f600640a884b3f3a55ef2144af81.jpg",[289],360,{"id":1134,"slug":1135,"title":1136,"dynasty":18,"author":19,"museum":1137,"description":1138,"tags":1139,"thumbUrl":1141,"material":84,"size":1142,"collection":42,"collections":1143,"showCount":1144,"zanCount":11,"manualWeight":46,"mainColor":149},219436,"chun-xi-mi-ju-tu-shen-zhou-219436","春溪觅句图","美国弗利尔美术馆","画面中山峰巍峨，峭壁如削，墨色皴染间尽显苍劲之势。松枝虬劲，枝叶繁茂，与嶙峋山石相映成趣。近景处，文人拄杖而立，衣袂飘飘，似于春溪之畔凝思觅句。山间云雾轻笼，流水潺潺，松涛与泉声相和，营造出清幽雅致的意境。笔墨苍润浑厚，线条灵动，将自然之美与文人的诗意情怀融为一体，尽显吴门画派的雅致风骨，观者仿佛能随画中人步入山林，感受那份远离尘嚣的宁静与悠然。",[24,25,95,27,36,29,58,427,1140,7,132,364],"竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa57fb947c644f27d6774a57fced47050.jpg","横54.5纵162cm",[42],359,{"id":1146,"slug":1147,"title":1148,"dynasty":18,"author":1149,"museum":1090,"description":1150,"tags":1151,"thumbUrl":1159,"material":673,"size":1160,"collection":306,"collections":1161,"showCount":1162,"zanCount":330,"manualWeight":46,"mainColor":149},222392,"si-ji-hua-niao-tu-xia-lv-ji-222392","四季花鸟图-夏","吕纪","吕纪（1429～1505），字廷振，号乐愚，鄞（今浙江宁波）人。明代画家。\n其花鸟初师边景昭，又学林良，并广泛师法唐宋诸家，所作有工笔重彩和水墨写意两种画法，前者描绘精工，色彩富丽，法度谨严；后者粗笔挥洒，随意点染，简练奔放，富有气势和动感。其山水宗法马远、夏圭，以大斧劈皴画山石，苍劲有力。人物亦法南宋院体，衣纹线条简练顿挫。初学边景昭工笔法，亦受林良水墨法影响，后临仿唐宋诸家名迹，遂自成一体，独步当代。其花鸟画风呈两种面貌，一作工笔重彩，精工富丽，多绘凤鹤、孔雀、鸳鸯之类，辅以树木坡石、滩渚流泉背景，既具法度，又富生气。另一类为水墨写意画，粗笔挥洒，简练奔放，接近林良的风格。他亦兼善人物、山水，宗法南宋马远、夏圭画法。他的花鸟画风在当时宫廷内外影响甚大，继承者不乏其人。\n明弘治年间，入值仁智殿，官至锦卫指挥使，是明代与边景昭、林良齐名的院体花鸟画代表画家。其绘画风格可分为两大类，一类是以水墨为主略淡彩，用笔较为豪纵，另一类则是设色浓丽，用和工致，具有富丽的宫廷装饰趣味。吕纪由水墨淡色画转为工笔重设色画，更直接的原因是为了适应不同皇帝的不同口味，具体说来就是弘治皇帝朱祐樘的欣赏口味不同于他的父辈成化皇帝朱见深，从而造成了吕纪多画凤凰、雉鸡、仙鹤、孔雀、鸳鸯之类，杂以花木草石，具有生气。工笔着色与水墨写意能，并善于将两体结合。吕纪初学唐宋各家和同时代的边景昭，后形成自己的风格。他的花鸟设色鲜艳，生气奕奕，被称为明代花鸟画第一家。据说吕纪在画作上常用寓意手法对皇帝劝谏，皇帝知其用心，曾说：“工执艺事以，谏吕纪有之。”其代表作品有《新春双雉图》《桂花山禽图》《残荷鹰鹭图》《秋鹭芙蓉图》《五德大吉图》 《狮头鹅图》等。\n吕纪，1477年生，鄞州（今浙江宁波）人。字廷振，号乐愚，弘治间（1488-1505）供事仁智殿，弘治间征入宫廷，为宫廷作画，供奉仁智殿，官锦衣卫指挥。擅画临古花鸟，初学边景昭，后研习唐宋诸家名作，继承两宋“院体”，以工笔重彩，又在水墨写意方面受林良影响。\n远宗南宋院体格，廷续了黄筌工整细致的画风及钩勒笔法，并予以发扬，多以凤凰、仙鹤、孔雀、鸳鸯之类鸣禽为题材，杂以浓郁花树，画面绚丽。亦作粗笔水墨写意者，笔势劲健奔放，与林良相近，与边景昭同为明代院体花鸟画中的临古派代表。传世作品有《桂菊山禽图》《榴花双莺图》《雪景翎毛图》《浴凫图》等。除画花鸟外，偶尔也画人物山水。他主要是以工整精丽的院体传统作画，造型准确，设色鲜艳。但也能画活泼生动兼工带写的花鸟画。他的画生动，笔墨清新，是当时与边景昭、林良齐名的花鸟名家。他作画时，常以寓意手法规谏皇帝，故明孝宗曾说：“工执艺事从谏，吕纪有之”。他是与边景昭、林良齐名的院体花鸟画代表作家。《狮头鹅图》，绢本，设色。纵191厘米，横104厘米。工笔画狮头鹅，侧身曲颈回顾古梅，鹅身洁白如玉，眼睛刻划有神，形象生动。古梅干枝苍劲，生机勃勃。树下衬以太湖石、月季花，石后有双勾竹隐露，色彩艳丽，衬托出狮头鹅之白身红冠。是明代院体花鸟画的杰作。款署“吕纪”。现藏辽宁省博物馆。\n《榴花双莺图》写石榴一枝，蘩花盛开，一对黄鹂栖于枝头，一上一下，鸣啼相应，神态活泼。工笔重彩，钩勒填色，绚丽多彩为明代中期院体画的典型风格。\n相比画家，吕纪的另一个身份更令人吃惊——历经明代成化、弘治、正德三代，官至锦衣卫指挥使(秘密警察头目)。吕纪的花鸟绘画，水墨淋漓，气势宏大，甚至是日本屏风画的来源之一。《柳荫双鸭图》和《幽涧双鹭图》曾在日本出版的《听松清鉴》中著录，郑振铎在上世纪四十年代遍访流传在海外的中国名画，并在其所编的《域外所藏中国名画》中收录。吕纪的两幅作品不仅是明代全景花鸟画的杰作，也是中国绘画影响日本绘画的证据代表作。",[23,24,200,1152,56,28,1153,1154,1155,1156,7,1157,1158],"花鸟画","黄莺","野鸭","芙蓉","杜鹃","水岸","夏季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47f39703be94e381648560a821fb184e.jpg","176.0×100.8",[306,264],358,{"id":1164,"slug":1165,"title":1166,"dynasty":18,"author":52,"museum":53,"description":1167,"tags":1168,"thumbUrl":1169,"material":203,"size":1170,"collection":42,"collections":1171,"showCount":1172,"zanCount":382,"manualWeight":46,"mainColor":47},222196,"xian-shan-lou-ge-tu-zhou-chou-ying-222196","仙山楼阁图轴","仇英此图即脱胎于南宋“院体”，又兼容文人画之长，具雅逸之致。\n画面青山白云，翠竹苍松，水阁临流，阁中二人对坐观望山景。特写的景致，劲遒的松枝，坚峭的山石，劲利的用笔，以及小斧劈皴等，都存“院体”遗规。\n而构图左右对称，趋于平衡，突破边角之景；用线细劲而含蓄秀润，少刻露之痕；皴法中夹以类似折带、乱柴皴的短斫，显得随意灵动；墨色轻淡融和，色调明快。\n如杨翰在《扫石轩画谈》中所评：“笔笔皆如铁丝，有起有止，有韵有情，亦多疏散之气，如唐人小楷、令人探索无尽。”\n画面上方楷书为陆师道所提，乃明代官员，师承文徵明，严整恭谨的概述与仇英的画面配合的相得益彰。",[23,24,25,95,57,56,28,29,60,7,34,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccc6047fc5802e4c930601cc55e6e5e9.jpg","110.5x42.1",[42,264],351,{"id":1174,"slug":1175,"title":1176,"dynasty":296,"author":1177,"museum":20,"description":1178,"tags":1179,"thumbUrl":1180,"material":40,"size":1181,"collection":42,"collections":1182,"showCount":1183,"zanCount":382,"manualWeight":46,"mainColor":47},214612,"shan-shui-san-ye-wang-jian-214612","山水散页","王鉴","王鉴（1598-1677），明末清初画家。字玄照，后改字元照、圆照、元炤，号湘碧，自称染香庵主，江苏太仓人。王世贞孙。与王时敏为子侄行，因年岁相若，互相砥砺。家藏名迹亦相埒。工画山水，受董其昌影响，追踵董源、巨然，多拟仿宋元诸家，善于青绿设色，皴染兼长。风格华润，纤不伤雅，但较平实。当时和王时敏被推为画坛领袖。后人把他与王时敏、王翚、王原祁合称“四王”，加吴历、恽寿平亦称“清六家”。",[24,200,25,28,257,36,29,837,539,112,133,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F879022b3487ec1ad455bfe24af31707a.jpg","纵34.8厘米，横29.9厘米",[42],342,{"id":1185,"slug":1186,"title":1187,"dynasty":18,"author":19,"museum":561,"description":1188,"tags":1189,"thumbUrl":1190,"material":885,"size":70,"collection":70,"collections":1191,"showCount":1192,"zanCount":764,"manualWeight":46,"mainColor":47},234135,"ting-quan-tu-juan-shen-zhou-234135","听泉图卷","明代中期，在苏州地区活跃着一批画家，他们在“浙派”风靡一时之后，继承元末江南地区文人画的传统，创立具有时代气息的文人画新潮流，后世称之为“吴门画派”，沈周是这一画派的创始人。\n\n沈周，长洲(今江苏苏州)相城(近阳澄湖)人。出身于文人世家，祖父澄、伯父贞吉、父恒吉，都未应科举，依靠开垦和租赁田地为生。沈周生活的时代，明王朝的政权已得到巩固，社会趋于稳定，经济处于上升阶段，沈周对于汉族统治的朱明王朝是采取拥护态度的。他一生不应科举，隐身乡里，其实是惮于明初治吏的峻刻和畏惧官场争斗的险恶，所采取的一种韬晦保身的处世方式。沈周以儒家道德规范律己，对父母兄弟尽孝悌之道，为人诚挚宽厚，乐于济人之难，善于奖掖后进，他结交的朋友不少是著名的诗人、书画家，又和一些朝廷显宦保持着亲密的友谊。沈周高洁的人品、恬淡温和的性格以及诗文书画的广博才能，深受社会各阶层人士的尊敬，誉重吴中，流播四方，自然地成为吴门艺苑的宗师",[23,200,24,25,26,27,28,29,31,33,58,32,7,36,391,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12fadc37a4d3a1f7171bd687b0589c04.jpg",[],341,{"id":1194,"slug":1195,"title":1196,"dynasty":18,"author":19,"museum":561,"description":1197,"tags":1198,"thumbUrl":1199,"material":217,"size":660,"collection":70,"collections":1200,"showCount":1201,"zanCount":764,"manualWeight":46,"mainColor":149},287403,"qing-lv-shan-shui-tu-zhou-shen-zhou-287403","青绿山水图轴","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。",[23,200,24,95,257,28,29,30,31,96,7,58,214,37,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff872528bc3534a2d31e5560b7703b289.jpg",[],340,{"id":1203,"slug":1204,"title":1205,"dynasty":18,"author":269,"museum":53,"description":1206,"tags":1207,"thumbUrl":1209,"material":142,"size":1210,"collection":42,"collections":1211,"showCount":1201,"zanCount":46,"manualWeight":46,"mainColor":149},222033,"chun-han-tu-dai-jin-222033","春酣图","《春酣图》纵长近三公尺，是传世戴进作品当中，尺幅最大的一件立轴。但是从叙事性、构图或是笔墨特征来判断，此画可能不是戴进的真迹，而应该是活动于正德到嘉靖年间之浙派画家郑文林。图中描绘春日祭祀村民醉酒而归之景。画中主山一分为二高耸入云，在此主山堂堂气势磅礡看似严肃的大山水下，画家以松树和蜿蜒的山径切割成的各个小画面空间中展现一组组人间戏剧，彼此之间眼神与动作，互动频繁多样，有一种充满俚俗的市井趣味。",[23,24,200,29,28,36,58,427,30,31,32,96,1208,7,133,131,243],"春景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3790bef21f3bd884f29002f2c7fcfc15.jpg","纵291.3cm，横171.5cm",[42,264],{"id":1213,"slug":1214,"title":1215,"dynasty":78,"author":1216,"museum":360,"description":1217,"tags":1218,"thumbUrl":1219,"material":673,"size":1220,"collection":42,"collections":1221,"showCount":1222,"zanCount":11,"manualWeight":46,"mainColor":149},221858,"chun-shan-fan-zhou-tu-zhou-hu-ting-hui-221858","春山泛舟图轴","胡廷晖","整幅画面构图繁密，洋溢着一派春和景明的气象。图中布局兼具高远、深远、平远之法，描绘崇山峻岭，山势高耸入云，山间飞涧流泉，松木葱郁，屋宇台阁精工富丽，人物往来其间。山脚下，溪桥潭水，波光如鳞，三两人泛舟赏景。\n杨新撰文认为，胡廷晖是一个画工而非书画收藏家。画工的创作往往不署自己的名款，有的仅只钤盖个人印章，这是元至明初的习惯。吴升《大观录》著录的胡廷晖《月洞仕女图》也未署款，仅押“廷晖印”一方。这幅《春山泛舟图》也没有签署名款，所以“廷晖”残印不可能是收藏印，而只能是作者印。此图与台北故宫所藏《明皇幸蜀图》面貌相似，特别是勾勒下笔较重，悬崖的结构、松树的形态以及云彩的画法等均呈现出胡廷晖的个人风格。在色彩上两者都具有相似的绚丽色泽。此图保留唐代青绿山水的古法较多，与赵孟頫追求“古意”的画风不同，对于鉴别早期山水画有重要的价值。\n1998年，美籍华人、收藏家王季迁先生将此图捐赠故宫博物院。",[23,24,25,95,56,28,36,29,32,58,60,34,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8db66954c76bddaccd24a02539e4bf8.jpg","纵143厘米，横55.5厘米",[42,146],332,{"id":1224,"slug":1225,"title":1226,"dynasty":18,"author":52,"museum":1137,"description":1227,"tags":1228,"thumbUrl":1229,"material":84,"size":1230,"collection":70,"collections":1231,"showCount":1232,"zanCount":46,"manualWeight":46,"mainColor":149},216363,"xi-xiang-ji-tu-ye-2-chou-ying-216363","西厢记图页-2","清人绘，款仇英",[24,25,111,56,28,58,215,30,31,29,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd2f417418f71dda24d7c8dff0d64502.jpg","18.5*38",[],331,{"id":1234,"slug":1235,"title":1236,"dynasty":78,"author":720,"museum":360,"description":1237,"tags":1238,"thumbUrl":1239,"material":229,"size":1240,"collection":42,"collections":1241,"showCount":1242,"zanCount":605,"manualWeight":46,"mainColor":47},220803,"qiu-ting-jia-shu-tu-ni-zan-220803","秋亭嘉树图","图中绘平坡远岫，草亭嘉树，广阔的江面上露出汀渚一角，反映了作者人画俱老，淡泊自守的情怀。画面取三段式构图，用笔尖峭秀逸，树干皆双勾，稍事皴染，树叶点法富于变化。墨色较为干淡，仅以浓墨点苔，提出精神，为沉寂的画面融入了些许生气。\n此画写的是江南山川景致一隅。平远山水，近处溪边、山石和坡岸：在崎岖不平的山石间长有二株树木，二株为点叶树，一株为长叶树，树干挺拔，枝叶直上，树叶萧疏、水边山坡的平地处筑有一草亭，草亭矮小，空无一人。草亭右侧有几株翠竹，枝叶茂密，将草亭右角遮掩。中间一宽水面，湖光波色，一片空旷；远处有浮现于湖面上的一片沙碛，伸向湖面；再远处为崇山，屹立于远处的湖面上，与近处的山石坡陀遥相呼应。\n该卷上诗塘有吴宽、朱果二家题记。\n画中自题“七月六日雨，宿云岫翁幽居，文伯贤良以此纸索画，因写秋亭嘉树图并诗以赠。风雨萧条晚作凉，两株嘉树近当窗。结庐人境无来辙，寓迹醉乡真乐邦。南渚残云宿虚牖，西山青影落秋江。临流染翰摹幽意，忽有冲烟白鹤双。瓒。”",[23,24,128,951,95,36,38,82,37,112,33,1140,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fd8caa50f033dc8d0a2ed6d6f039610.jpg","纵：114cm，横：34.3cm",[42,146],329,{"id":1244,"slug":1245,"title":1246,"dynasty":18,"author":1247,"museum":53,"description":1248,"tags":1249,"thumbUrl":1252,"material":229,"size":1253,"collection":42,"collections":1254,"showCount":1255,"zanCount":46,"manualWeight":46,"mainColor":149},221921,"tai-ping-chun-se-zhou-qian-gong-221921","太平春色轴","钱贡","本幅画农家丰年度岁之情景:厅堂盆火高烧,儿童围炉展纸,一人搦管欲书;屋外寒梅怒放,群儿欢聚嬉戏,一老叟策杖行于桥上。画面上一派生机盎然的景象。",[23,95,56,28,58,60,30,96,61,7,1250,1251,34,35],"孩童","炉火","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca3fd06b089f3ed8156b696b2d89afe7.jpg","122cm ×49.8cm",[42,264],328,{"id":1257,"slug":1258,"title":1259,"dynasty":296,"author":297,"museum":108,"description":1260,"tags":1261,"thumbUrl":1263,"material":40,"size":70,"collection":42,"collections":1264,"showCount":1265,"zanCount":11,"manualWeight":46,"mainColor":47},214378,"shan-shui-tu-ce-zhu-da-214378","山水图册","淡墨晕染的峰峦轻笼烟岚，留白处叠嶂隐现，似有无尽山光水色在虚空中流淌。枯树虬枝以简笔皴擦，苍劲中藏着萧瑟，山间屋舍疏落，人迹杳然却余温尚存。平阔水面上，几叶扁舟静泊，墨色浓淡交织出天地的空寂。笔意简括却含沉郁，每一道线条都似历经沧桑后的沉吟，留白非空，是故国之思的寄寓，亦是灵魂超脱的栖所。简淡山水间，铺展着一段沉默却滚烫的孤怀，让观者于静谧中触碰到那份跨越时空的寂寥与旷达。",[23,24,27,111,36,82,29,7,242,1262,32,35],"水域","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f92853a53a5d93e0de8367effdc8b91.jpg",[42],324,{"id":1267,"slug":1268,"title":1269,"dynasty":124,"author":436,"museum":360,"description":1270,"tags":1271,"thumbUrl":1274,"material":27,"size":70,"collection":144,"collections":1275,"showCount":1276,"zanCount":11,"manualWeight":46,"mainColor":250},214846,"lu-tong-peng-cha-tu-yi-ming-214846","卢仝烹茶图","卢仝烹茶图是一幅宋代的佚名画家的作品。它是一幅木板设色的水墨画，画面上描绘了卢仝品茶的场景。卢仝是一位著名的宋代文学家，也是一位品茶爱好者。在这幅画中，他正在品茶时，周围的人们也都在品茶。这幅画展现了宋代品茶文化的精髓，充满了浓浓的文化气息。\n\n卢仝烹茶图是一幅很有名的宋代水墨画，因为它出色地展现了宋代品茶文化的精髓。品茶是中国古代的一种传统文化，它的历史可以追溯到公元前三世纪。品茶不仅是一种消遣，更是一种品味生活的方式。它融合了中国传统的艺术、文化、哲学和美学思想，对中国的文化形成了深远的影响。\n\n在这幅画中，卢仝坐在一张桌子前，手持茶杯，正在品茶。周围的人们也都在品茶，气氛非常融洽。画面中还有许多细节，如茶壶、茶杯、茶几等，都反映了宋代品茶文化的特点。\n\n这幅画的画风精细，线条流畅，色彩鲜艳。它体现了宋代画家的高超技巧和精湛的艺术修养。这幅画不仅是一件艺术品，也是中国传统文化的瑰宝。",[23,24,25,27,28,56,712,36,37,82,58,35,34,7,1272,1273],"茶具","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2d777192da391bf2696d0105e63bf54.jpg",[144],322,{"id":1278,"slug":1279,"title":1280,"dynasty":124,"author":182,"museum":53,"description":1281,"tags":1282,"thumbUrl":1284,"material":116,"size":714,"collection":42,"collections":1285,"showCount":1286,"zanCount":11,"manualWeight":46,"mainColor":47},214572,"long-mian-shan-zhuang-tu-tu-xin-li-gong-lin-214572","龙眠山庄图-图芯","这是一幅没有标记的水墨山水画。画中有法真口、香茂堂、罗烟岩、曲云室、秘泉庵、烟花洞、玉华岩、灵灵谷、玉龙峡、观音岩、翠云片、古柳其大十围、中建德堂南三百步、宝华岩等名称，涵盖了对泉、石、草、树等景物的逼真描述，与李公麟龙眠别墅长卷的各种景物相似。",[23,24,200,26,712,56,27,29,7,34,130,58,1283,30,31,366,132,159],"洞穴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ef311e449dfdca7422c6c471a74efec.jpg",[42],318,{"id":1288,"slug":1289,"title":462,"dynasty":78,"author":1290,"museum":53,"description":1291,"tags":1292,"thumbUrl":1293,"material":116,"size":1294,"collection":42,"collections":1295,"showCount":1296,"zanCount":11,"manualWeight":46,"mainColor":149},214248,"shan-shui-tu-sheng-mao-214248","盛懋","岸畔枯树疏柳，枝桠虬曲如篆，垂丝轻拂似诉。一舟横卧矶边，舱内人影半隐，或凭舷观水，或抱膝沉思，将天地的空阔收于方寸之间。笔墨兼工带写，山石皴染沉稳，草木勾勒灵动，枯润相生间晕开元人特有的清旷之气。无繁复景致，却以极简构图载起无尽悠远——是独处的安然，亦是与自然对谈的从容。整幅画如淡茶一盏，初看寻常，细品则唇齿留甘，心魂被那无声静谧轻轻包裹，顿觉尘嚣远遁，胸臆渐宽。山石的沉稳与草木的灵动交织，枯笔的苍劲与湿墨的柔润相映，每一处线条都藏着对天地的敬畏，每一抹晕染都浸着对心境的描摹，于简淡中见深致，于静默里藏深情。",[23,78,24,25,95,27,36,29,32,96,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a77d5c354804d75fd535e1b40cf2362.jpg","67.1x33.5",[42],317,{"id":1298,"slug":1299,"title":1300,"dynasty":78,"author":1301,"museum":108,"description":1302,"tags":1303,"thumbUrl":1305,"material":601,"size":1306,"collection":42,"collections":1307,"showCount":1308,"zanCount":764,"manualWeight":46,"mainColor":149},214732,"zhu-lin-mao-she-tu-guan-dao-sheng-214732","竹林茅舍图","管道升","管道升（公元665-744）是中国元代著名画家，代表作品有《竹林茅舍图》。《竹林茅舍图》是管道升的杰作之一，也是他最著名的作品之一。该画作描绘了一幅荒凉的竹林山水画，画中的茅舍与周围的竹林形成了鲜明的对比。画面中的茅舍虽然很小，但却被描绘得格外细腻，使得整幅画充满了生动的气息。管道升的《竹林茅舍图》被誉为元代山水画的巅峰之作，具有极高的艺术价值。",[23,24,25,27,1304,29,391,227,30,36,7,578],"元代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4b847c8b0c63e3561ed3911f46fadb1.jpg","26x44cm",[42],315,{"id":1310,"slug":1311,"title":1312,"dynasty":78,"author":107,"museum":108,"description":109,"tags":1313,"thumbUrl":1314,"material":116,"size":70,"collection":70,"collections":1315,"showCount":1308,"zanCount":11,"manualWeight":46,"mainColor":47},214567,"shan-shui-ce-10-wang-meng-214567","山水册-10",[24,25,111,27,36,29,31,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d6f01f557728430d33136d8c56a8203.jpg",[],{"id":1317,"slug":1318,"title":1319,"dynasty":296,"author":1320,"museum":346,"description":1321,"tags":1322,"thumbUrl":1323,"material":84,"size":1324,"collection":289,"collections":1325,"showCount":1326,"zanCount":46,"manualWeight":46,"mainColor":47},218338,"shen-xian-gu-shi-tu-ce-leng-mei-218338","神仙故事图册","冷枚","这一卷是一幅关于神仙故事的画。笔触做得非常好，人物也很自然，比例匀称。虽然色彩强烈，但并没有压倒性的效果，而且景观、动植物和工具都被描绘得非常巧妙。",[23,24,56,28,111,58,112,7,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3701c85d791f88982b1c29414dcbb054.jpg","38x42",[289],314,{"id":1328,"slug":1329,"title":1330,"dynasty":296,"author":1331,"museum":360,"description":1332,"tags":1333,"thumbUrl":1334,"material":454,"size":1335,"collection":70,"collections":1336,"showCount":1337,"zanCount":517,"manualWeight":46,"mainColor":149},234922,"fu-chun-shan-tu-zhou-yun-shou-ping-234922","富春山图轴","恽寿平","图绘林木葱茂、山峦起伏的雄秀景色。此图是作者仿元黄公望《富春山图》画意之作，线条勾勒粗犷，笔势潇洒而秀润。淡墨皴染，墨色透明而不失凝重，显现出作者对黄氏笔墨技法的娴熟运用能力。",[24,25,95,27,36,29,34,7,316,35,30,908],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3e6255603844435afcc8c4427e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× 60.2 cm",[42,264],309,{"id":1367,"slug":1368,"title":1369,"dynasty":654,"author":1370,"museum":1137,"description":1371,"tags":1372,"thumbUrl":1375,"material":84,"size":1376,"collection":306,"collections":1377,"showCount":1378,"zanCount":517,"manualWeight":46,"mainColor":47},220047,"bai-niao-chao-feng-tu-xu-xi-220047","百鸟朝凤图","徐熙","构图开阔舒展，右侧古木荫翳，灵凤独立石上，翎羽妍丽夺目。百禽翔游栖止各尽其态，或振翅穿林、或浮波弄影、或凝立枝梢，品类繁富灵动鲜活。汀渚花木错落，烟水澹澹，赤日悬于淼茫之上，晕开融融暖意。\n\n设色古雅温润，勾勒兼具工致与野逸，将百朝灵瑞的吉庆之意，融于苍润悠然的自然之境，既见写生妙趣，亦托太平祥瑞之思，淡远雅致，余韵悠长。",[23,200,24,26,56,28,62,201,63,488,34,1373,7,31,1374],"花草","太阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34dbcbe061745c03e7b73b79d4def2e8.jpg","34.3 x 236.9",[306],308,{"id":1380,"slug":1381,"title":1382,"dynasty":124,"author":449,"museum":53,"description":1383,"tags":1384,"thumbUrl":1386,"material":84,"size":1387,"collection":42,"collections":1388,"showCount":1378,"zanCount":517,"manualWeight":46,"mainColor":149},218286,"yue-ye-bo-ruan-tu-ma-yuan-218286","月夜拨阮图","淡墨晕染的远山如黛，似笼着一层薄纱，与昏黄天色相融成朦胧梦境。左侧山石嶙峋，几竿修竹斜逸而出，枝叶疏朗，墨线劲挺如剑。竹下茅舍半隐，一人凭栏拨阮，指尖流转间，琴声似随晚风漫过江面，与竹影婆娑和鸣。画面构图简括，以边角之景见天地辽阔，留白处尽是月夜空寂与悠远。山石用斧劈皴勾勒，笔触刚健；竹子笔法灵动，尽显生机；人物神态闲适，藏着文人清雅况味。整幅画于简约中蕴无限情韵，将月夜静谧与文人诗意诠释得淋漓尽致，是南宋山水小品的妙笔，尽显水墨写意的空灵之美。",[23,24,200,25,95,27,28,29,391,7,114,201,1385,1012,82],"明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe316cc25382668a97677ff3d3ec2d844.jpg","111.5x53.1cm",[42],{"id":1390,"slug":1391,"title":1392,"dynasty":296,"author":436,"museum":108,"description":1393,"tags":1394,"thumbUrl":1398,"material":84,"size":1399,"collection":306,"collections":1400,"showCount":1401,"zanCount":46,"manualWeight":46,"mainColor":149},216676,"long-bao-tu-yi-ming-216676","龙豹图","龙豹图是清朝时期的一幅画作，画中描绘了龙和豹子在一起的情景。这幅画通常被认为是一幅象征着力量、权威和尊严的画作。它的作者不详，因此被称为佚名。这幅画通常被收藏在博物馆或私人收藏家手中。",[23,200,24,25,28,56,27,907,1395,1396,7,1397,133],"豹","兽","草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd29cbd30f1bf0791c595f6774cc1116d.jpg","87x82cm",[306],306,{"id":1403,"slug":1404,"title":1405,"dynasty":296,"author":1406,"museum":239,"description":1407,"tags":1408,"thumbUrl":1409,"material":40,"size":1410,"collection":264,"collections":1411,"showCount":1412,"zanCount":11,"manualWeight":46,"mainColor":47},219998,"shan-shui-hua-fang-wang-meng-wang-shi-min-219998","山水画-仿王蒙","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。",[24,25,29,27,36,186,837,112,7,96,258],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F141e072f99f2e84347ac1605ee180625.jpg","22.5x27.5",[264],305,{"id":1414,"slug":1415,"title":1416,"dynasty":124,"author":548,"museum":53,"description":1417,"tags":1418,"thumbUrl":1419,"material":84,"size":1420,"collection":144,"collections":1421,"showCount":1422,"zanCount":764,"manualWeight":46,"mainColor":149},218908,"han-lin-tu-li-cheng-218908","寒林图","老树虬枝如铁，皴裂躯干似承霜雪低语。蟹爪般枝桠向上伸展，墨色浓淡晕染清寂寒意。溪流蜿蜒穿林，坡石错落间远近层次渐铺，平远之境顿生。淡墨皴擦见长，清润雅致中透着荒寒之气，尽显北方山水萧索静谧。林间风声与水流轻响似可听闻，引人入幽深之境，于简淡笔墨里藏着无尽悠远意韵，仿佛能触到寒林深处的清冷与安宁。",[23,24,27,36,95,29,452,96,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00763436e1ca42c45455bf4e9f3abae8.jpg","146.8x75.2",[144,42],302,{"id":1424,"slug":1425,"title":1426,"dynasty":78,"author":1427,"museum":53,"description":1428,"tags":1429,"thumbUrl":1440,"material":142,"size":1441,"collection":144,"collections":1442,"showCount":1443,"zanCount":382,"manualWeight":46,"mainColor":47},221708,"hua-cao-mi-feng-qian-xuan-221708","花草蜜蜂","钱选","早晨披衣晨起，气温已升高，只有些微凉意。春天所剩只有两日，人生恨不得能大醉千百场。芳草随着渐行渐远的旅人连绵到天涯，柳丝百丈，也比不得旅人的愁闷那么长。花花朵朵已经没有了，但还有几分春色被蜜蜂藏起了蜂蜜里。\n烂醉恨无千百场：苏轼有词：百年里，浑教是醉，三万六千场。\n这首诗作于嘉泰元年（1201），作者时在山阴。",[23,24,200,28,56,1373,1430,1431,62,25,1432,1433,1434,489,1435,7,1436,1437,1438,1397,1439],"蜜蜂","石头","设色花鸟","工笔花鸟","元代绘画","昆虫","传统绘画","工笔设色","花鸟题材","蜂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bd7df0fb4cdfe9a940d95305f727f55.jpg","26.6x23cm",[144,306,264],301,{"id":1445,"slug":1446,"title":586,"dynasty":18,"author":52,"museum":53,"description":587,"tags":1447,"thumbUrl":589,"material":84,"size":1448,"collection":264,"collections":1449,"showCount":1450,"zanCount":764,"manualWeight":46,"mainColor":149},219320,"chun-shan-yin-shang-zhou-chou-ying-219320",[24,25,95,28,56,36,29,58,33,34,130,7,132,187,415,158,1208],"157.5x63.2",[264],295,{"id":1452,"slug":1453,"title":1454,"dynasty":78,"author":107,"museum":108,"description":109,"tags":1455,"thumbUrl":1456,"material":116,"size":70,"collection":70,"collections":1457,"showCount":1458,"zanCount":46,"manualWeight":46,"mainColor":47},214568,"shan-shui-ce-9-wang-meng-214568","山水册-9",[24,25,27,36,111,29,30,31,34,7,158,316],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F577bb7f080f7a1cc56e6588d150fe042.jpg",[],293,{"id":1460,"slug":1461,"title":1462,"dynasty":18,"author":19,"museum":1043,"description":1463,"tags":1464,"thumbUrl":1466,"material":1467,"size":1468,"collection":42,"collections":1469,"showCount":1470,"zanCount":605,"manualWeight":46,"mainColor":47},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。",[23,200,24,25,1465,723,27,36,29,427,7,1066,158,300],"册页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8a9aeacd8f3be7883b8b8e7a825467d.jpg","纸本水墨","纵154厘米，横60.39厘米",[42,264],290,{"id":1472,"slug":1473,"title":472,"dynasty":124,"author":473,"museum":561,"description":1474,"tags":1475,"thumbUrl":1477,"material":217,"size":660,"collection":70,"collections":1478,"showCount":1479,"zanCount":764,"manualWeight":46,"mainColor":663},287739,"wan-he-song-feng-tu-li-tang-287739","《万壑松风图》画面山峰高峙，山石巉岩，峭壁悬崖间有飞瀑鸣泉，山腰间白云缭绕清岚浮动。深山中幽僻的崖谷间，奔跃的泉水和郁茂的松林，衬托山峰高峙，山石危岩。其在构图上，大胆裁剪、提炼，整体看来空间立体感强，层次分明。双峰交错，堂堂正正，厚重而拙实，给人以浑厚大气之感，表现为“万壑松风”之境。\n《万壑松风图》为简括画的表现开了先河，对南宋初期的山水画具有开派作用。 其与郭熙《早春图》、范宽《溪山行旅图》，合称为“宋画之三大精品”",[200,24,951,27,36,7,427,31,1476,130],"山谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a14a762dc0039a1efab5f1ab4cdccfa.jpg",[],285,{"id":1481,"slug":1482,"title":1483,"dynasty":296,"author":870,"museum":561,"description":1484,"tags":1485,"thumbUrl":1486,"material":70,"size":70,"collection":70,"collections":1487,"showCount":1488,"zanCount":46,"manualWeight":46,"mainColor":47},229001,"jin-ling-sheng-ji-tu-ce-zhang-da-qian-ti-zhen-shi-tao-229001","金陵胜迹图册(张大千题)帧","此帧以淡赭晕染危崖，笔意简括古拙，衬出峭壁高峙之态。崖巅楼宇寥寥数笔，凭栏人影幽然，衬出山巅阒寂清旷。枯淡墨色点苔绘木，苍劲松灵，淡墨扫出空蒙天色，与赭色崖身相映，冷逸出尘。\n\n配行书题诗，诗书与画境相融，笔墨间浸透着清冷禅意，将冬初山阁清寂之景，与幽人寄怀合而为一，于尺幅间尽绘高旷出尘之致，尽显纵逸灵动的笔底才情，把山巅初消寒意的雅趣，晕染得淡远空灵，韵致悠长。",[23,200,24,25,111,28,36,82,37,29,60,112,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6ddb8b7cfbb4648cbf6458bf7f8aaa0.jpg",[],284,{"id":1490,"slug":1491,"title":1492,"dynasty":18,"author":19,"museum":360,"description":1493,"tags":1494,"thumbUrl":1495,"material":229,"size":1496,"collection":42,"collections":1497,"showCount":1498,"zanCount":517,"manualWeight":46,"mainColor":47},234083,"wu-zhong-shan-shui-ce-shen-zhou-234083","吴中山水册","明代中期以来，吴门艺术力追此类典雅的意趣。作为吴门艺术的领袖，沈周的绘画最得其中精神。如今藏于故宫博物院的《吴中山水册》十六开，是沈周的得意之作，记录的是诗人生活中的所见所感，乃沈周极擅长的粗笔水墨之作。\u2028 沈周（1427—1509），字启南，号石田、白石翁、玉田生、有竹居主人，明代绘画大师，吴门画派的创始人，明四家之一，长洲（今江苏苏州）人。生于明宣德二年，卒于明正德四年，享年八十二岁（虚八十三岁）。不应科举，专事诗文、书画，是明代中期文人画“吴派”的开创者，与文徵明、唐寅、仇英并称“明四家”。",[24,25,111,27,29,38,82,36,33,31,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91dd6160b5ad1b7617f948483aa1c7c5.jpg","28.5*25.5cm",[42],282,{"id":1500,"slug":1501,"title":1502,"dynasty":124,"author":1503,"museum":53,"description":1504,"tags":1505,"thumbUrl":1507,"material":84,"size":1508,"collection":144,"collections":1509,"showCount":1498,"zanCount":46,"manualWeight":46,"mainColor":47},218931,"shan-ju-tu-yan-su-218931","山居图","燕肃","画中有一条小溪，周围是平坦的河岸，沿岸种植着松树、竹子、桃树和李子，竹林深处有三间矮小的房子，有两个人相对而坐的宣。房子左边的石墙从山的左边升起，在小路的尽头有几条远处的树。灌木丛和墨水给人一种平静和放松的感觉，让人欲罢不能。其笔触与李唐有些相似",[23,24,25,28,36,29,1506,7,34,31,364,159,97,258],"山居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8067a53ba755fa9d9ae85c24902de6ec.jpg","23.9x25.3",[144,42],{"id":1511,"slug":1512,"title":1513,"dynasty":124,"author":449,"museum":53,"description":1514,"tags":1515,"thumbUrl":1516,"material":40,"size":1517,"collection":42,"collections":1518,"showCount":1519,"zanCount":517,"manualWeight":46,"mainColor":47},220081,"xi-shan-wu-jin-tu-ma-yuan-220081","溪山无尽图","马远《溪山无尽图》卷以水墨浅绛写江南四季景色，布局多取近景，突出崖岸，山石作大斧劈皴，方硬有棱角。山峰林立，峭壁悬崖间有流泉飞瀑，松柏蓊郁、云雾弥漫、长桥石栏、渔舟帆客、楼观村庄，清幽秀俊的江南景色成为一个整体，有着诗意般的意境。此卷画风当属南宋马远。构图布景与《溪山秋爽图》有异曲同工之妙。此卷绘于宋笺纸上，山石为马远典型的斧劈皴，乔松远树，皆用拖枝法，柳林含风，千笔万笔，笔笔不乱。画幅中间，数株红树，点缀溪山丛莽间，有画龙点睛之妙。而纸寿千年，其完好程度与绢本不可同日而语。此卷创作年代当稍晚于绢本，水法两卷亦有不同，此卷水的画法更接近马远《水图》。",[23,24,200,25,26,27,28,36,29,7,34,31,32,30,33,201,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3068a8c76430171b9de9897301fc6bc0.jpg","纵33.8厘米，横469厘米",[42,264],280,{"id":1521,"slug":1522,"title":1523,"dynasty":296,"author":1331,"museum":239,"description":1524,"tags":1525,"thumbUrl":1527,"material":142,"size":1528,"collection":306,"collections":1529,"showCount":1530,"zanCount":458,"manualWeight":46,"mainColor":47},220989,"hu-shan-chun-nuan-tu-quan-tu-yun-shou-ping-220989","湖山春暖图全图","《湖山春暖图》 恽寿平山水取自黄公望笔法，于荒率中见秀润，尖毫勾皴，浓墨点树、高旷清淡，浸润宋元诸家，运笔飘逸潇洒，明丽简洁，天趣盎然。以水墨着色渲染，用笔含蓄，画法工整，恽寿平的艺术创作，有自己独创的艺术见解，反映出他成熟后的风格的高超技艺，依此可见，这幅画属于他的后期作品。",[23,24,25,26,28,29,36,34,1526,31,32,30,7,33],"湖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1451fe83f699e29b98945f19f67af72.jpg","618.2cm x 57.6cm",[306,264],279,{"id":1532,"slug":1533,"title":1534,"dynasty":78,"author":107,"museum":108,"description":109,"tags":1535,"thumbUrl":1536,"material":116,"size":70,"collection":70,"collections":1537,"showCount":1538,"zanCount":46,"manualWeight":46,"mainColor":47},214570,"shan-shui-ce-7-wang-meng-214570","山水册-7",[24,200,25,111,27,36,29,96,452,32,7,33,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7721b1ffd15bca0c3f537a750918a292.jpg",[],278,{"id":1540,"slug":1541,"title":1542,"dynasty":78,"author":107,"museum":53,"description":1543,"tags":1544,"thumbUrl":1545,"material":203,"size":1546,"collection":42,"collections":1547,"showCount":1548,"zanCount":11,"manualWeight":46,"mainColor":47},220810,"song-chuang-gao-shi-tu-zhou-wang-meng-220810","松窗高士图轴","元王蒙松窗高士图轴，属于中国古画，于1362年（元顺帝至正二十二年）王蒙制作，长宽107.4x32.6公分、全幅 59.5公分，收藏于台北故宫博物院。",[23,24,25,95,27,29,272,58,31,7,227,36,82,37,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4fd7019bd476433d407aa9e87390ada.jpg","107.4x32.6",[42,264],274,{"id":1550,"slug":1551,"title":1552,"dynasty":296,"author":870,"museum":509,"description":1553,"tags":1554,"thumbUrl":1556,"material":116,"size":1557,"collection":42,"collections":1558,"showCount":1559,"zanCount":517,"manualWeight":46,"mainColor":149},220256,"gu-mu-chui-yin-tu-shi-tao-220256","古木垂阴图","近景层岩嶙峋，树木丰茂，山径曲折，楼阁深藏，远山挺拔峭立，云烟缭绕。用笔皴法多变，赋色雅淡。右上角有作者长题，石涛（公元1640~？），亦署大涤子、苦瓜和尚等，明宗室后裔，俗名朱若极，清亡后削发为僧。善画山水，为清初四画僧之一。",[23,24,25,95,27,36,29,1555,7,31,133,33,34,244,82],"古木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd206f53b4e26c9e4a001ab119062d2e.jpg","纵175,横50.7cm",[42],273,{"id":1561,"slug":1562,"title":1563,"dynasty":78,"author":79,"museum":53,"description":1564,"tags":1565,"thumbUrl":1566,"material":601,"size":70,"collection":42,"collections":1567,"showCount":1568,"zanCount":11,"manualWeight":46,"mainColor":47},219479,"ji-gu-tu-hui-ce-shan-shui-tu-huang-gong-wang-219479","集古图绘册 山水图","此作用笔简淡松灵，以披麻皴慢写江南山峦，墨色干湿互济，晕染出峰峦浑厚苍润的质感。平缓坡峦间，杂木错落萧疏，枝桠以枯笔勾勒，尽显清秋疏朗之态。江畔茅舍临水而栖，静水无澜，铺陈出林泉幽寂的空阔意境。\n\n画面右上题跋与山水相映成趣，诗画交融，以笔墨寄寓林泉之志，褪去雕琢刻画之迹，直抒胸中丘壑，尽显文人山水简淡悠远的意韵，藏万千丘壑于浅淡之间，尽得元人山水萧散简远的风神。",[24,27,111,36,29,112,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F378b06d34e0b7e450bf7a6cb0c9d4047.jpg",[42],270,{"id":1570,"slug":1571,"title":1572,"dynasty":124,"author":1573,"museum":561,"description":1574,"tags":1575,"thumbUrl":1576,"material":84,"size":1577,"collection":42,"collections":1578,"showCount":1579,"zanCount":517,"manualWeight":46,"mainColor":149},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。",[24,25,257,28,36,29,158,34,7,132,187,427],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa963a4c7fe39c603be18f16b97851252.jpg","93x36",[42],268,{"id":1581,"slug":1582,"title":1583,"dynasty":18,"author":52,"museum":1584,"description":1585,"tags":1586,"thumbUrl":1589,"material":246,"size":1590,"collection":42,"collections":1591,"showCount":1592,"zanCount":517,"manualWeight":46,"mainColor":47},222206,"feng-xi-chui-diao-tu-zhou-chou-ying-222206","枫溪垂钓图轴","湖南省博物馆","此图画工细而见气势，反映了仇英的山水画的典型风格。\n画面展示了深秋辽阔的山川郊野的壮丽景色，远处楼阁隐现于山间的丛林和流动的云雾中；中景处层峦叠嶂；近景为红枫映掩的溪江上，身着素色朝服的士大夫在轻舟上静坐垂钓。\n画面高嶂巨壁，丘壑深远，笔墨健劲纯熟，设色古朴，采取传统的皴、擦、点、染相结合，使画幅气势雄阔，景致迷人，予人以心旷神怡之感。\n此图题跋印鉴较多。\n画首有清 的题诗：“枫落吴江候，烟蓬破冷浮；聊存竿线意，讵为釜鬲求。\n山色早辞夏，波光宜是秋；思莼风味在，静与日相谋。\n”落款为：“戌子秋月御题”（戌子系乾隆二十三年，即1768年）下钤有“乾隆宸翰”朱文小方印。\n图右上角钤有“乾隆御览之宝”圆形朱文印，与“淳化轩图书珍秘宝”白文方形印二方。\n图左上方钤有“淳化轩”朱文长方印“乾隆宸翰”白文大方印，“信天主人”朱文大方印，左上角钤“乾隆鉴赏”圆形白文印，下接“三希堂精鉴玺”长方形朱文印与“宜子孙”白文长方印。\n这些印都是乾隆帝钤盖在宫廷所藏的精品之上的常用印鉴。\n该图左下裱边刊有“同治三年二月江阴何栻廉眆以此桢见诒，十月初付沅甫弟珍藏。",[23,24,56,28,36,95,29,1587,316,32,58,7,243,34,1588],"枫树","垂钓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facf664be593917b57e4ddec7d0838657.jpg","纵127厘米，横8.5厘米",[42,264],267,{"id":1594,"slug":1595,"title":1596,"dynasty":18,"author":19,"museum":360,"description":1597,"tags":1598,"thumbUrl":1599,"material":246,"size":1600,"collection":70,"collections":1601,"showCount":1602,"zanCount":517,"manualWeight":46,"mainColor":47},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。",[23,24,25,26,27,28,36,29,158,34,272,31,7,33,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa085321cfa540a2ba8b92e25281a0a0c.jpg","37.5×65cm×4",[],266,{"id":1604,"slug":1605,"title":462,"dynasty":78,"author":1290,"museum":53,"description":1606,"tags":1607,"thumbUrl":1608,"material":1609,"size":1610,"collection":42,"collections":1611,"showCount":1612,"zanCount":764,"manualWeight":46,"mainColor":149},221755,"shan-shui-tu-sheng-mao-221755","元代盛懋《山水图》，盛懋 ，元代画家，字子昭。嘉兴（今属浙江）武塘人。善画人物、山水、花鸟。早年并得画家陈琳指点，画山石多用披麻皴或解索皴，笔法精整，设色明丽。",[23,24,25,28,36,29,96,32,539,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8db6a22ddfe64262d4329b99efadcaf.jpg","纸本浅设色","120.5x40.6厘米",[42,264],264,{"id":1614,"slug":1615,"title":1616,"dynasty":296,"author":1617,"museum":53,"description":1618,"tags":1619,"thumbUrl":1623,"material":40,"size":1624,"collection":70,"collections":1625,"showCount":1612,"zanCount":11,"manualWeight":46,"mainColor":47},219883,"er-shi-si-fan-hua-xin-feng-tu-rui-xiang-yu-shui-xian-dong-gao-219883","二十四番花信风图-瑞香与水仙","董诰","古人认为春风守信，如期而来，催开百花，称为“花信风”。春天自“小寒”到“谷雨”经历四个月，共八节气，每五天为一候，前后为二十四番花信风，以梅花居首，楝花居末。此套《画二十四番花信风图》册页十二开，共二十四幅，画二十四番花信风。",[24,25,111,28,56,1620,1621,7,1622,526,1024,82],"瑞香","水仙","枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ab8b06d96331425eb7144b02fc54b4d.jpg","20x14.2厘米",[],{"id":1627,"slug":1628,"title":1629,"dynasty":296,"author":1630,"museum":53,"description":1631,"tags":1632,"thumbUrl":1637,"material":40,"size":70,"collection":289,"collections":1638,"showCount":1639,"zanCount":517,"manualWeight":46,"mainColor":47},218044,"tian-wang-xiang-yao-wen-han-218044","天王像","姚文瀚","绿面天王身披错彩镂金之甲，琵琶横抱，双目炯炯，威仪自生。衣纹流转如流云，祥云层叠似幻梦，衬得身形愈发雄健。身旁小兽灵动，背景人物隐现于山石间，添几分悠远。线条工细却不失劲道，色彩浓艳而协调，每一处纹饰皆精雕细琢，将护法神的威严与艺术的精巧融于一体，观之令人心生敬畏，更叹笔墨之妙。",[200,24,28,56,58,784,1633,1634,1396,1635,7,34,1636,82],"护法神","琵琶","祥云","威严","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3382d15bc8135db2274f9d1bbb740ad.jpg",[289],263,{"id":1641,"slug":1642,"title":1643,"dynasty":18,"author":1644,"museum":360,"description":1645,"tags":1646,"thumbUrl":1648,"material":40,"size":1649,"collection":306,"collections":1650,"showCount":1651,"zanCount":341,"manualWeight":46,"mainColor":149},219121,"yu-tang-zhi-lan-tu-sun-ke-hong-219121","玉堂芝兰图","孙克弘","图绘拳石之旁，玉兰、兰花竞相开放。花、石的技法均极工细，玉兰花用粉多次轻染分出浓淡，再用工笔勾勒烘托出花瓣的肥大白嫩。枝干双勾填色并施以皴擦，极富质感。山石的技法是先以淡墨勾出轮廓，然后用浓淡墨多次晕染，逐渐加深，直至显现出丰富的前后层次及石体的细腻。山石玲珑剔透而刚硬，玉兰和兰花​​​​​​​婀娜多姿而柔媚。本幅设色明丽清亮，层次细密，变化微妙，典雅端丽，属作者绘画山水之作品。",[23,24,25,95,56,28,62,920,1647,7,489],"兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb622e2d3d8f5803168e0fa600c2995e.jpg","横59厘米，纵135厘米",[306],262,{"id":1653,"slug":1654,"title":1655,"dynasty":78,"author":107,"museum":53,"description":1656,"tags":1657,"thumbUrl":1659,"material":84,"size":1660,"collection":42,"collections":1661,"showCount":1651,"zanCount":11,"manualWeight":46,"mainColor":149},218657,"song-shan-shu-wu-tu-wang-meng-218657","松山书屋图","山峦重叠，以干笔牛毛皴皴擦，松林杂树，蓊蓊郁郁，几密不透风。高士一人，展卷于茅屋中。左上角以小篆题曰「松山书屋」，通幅画作与题识方式，均展现王蒙古拙圆浑的笔韵。此帧完成于至正九年，是王蒙四十二岁之作。",[23,24,25,95,27,36,29,837,427,1658,34,7,132],"书屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F688ec184ac7c5bc54e55285cace16b57.jpg","113x51.7cm",[42],{"id":1663,"slug":1664,"title":462,"dynasty":18,"author":1665,"museum":1137,"description":1666,"tags":1667,"thumbUrl":1668,"material":116,"size":1669,"collection":42,"collections":1670,"showCount":1651,"zanCount":46,"manualWeight":46,"mainColor":47},214298,"shan-shui-tu-liu-jue-214298","刘珏","此卷是刘珏为沈周的弟弟沈召所作的山水画册，并将其修改为手卷，笔墨淋漓，用笔极其自信，使画面在扫视之间活灵活现，成为一幅完美的杰作。",[23,24,25,26,27,36,29,34,7,133,38,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7a458237bde639af130f94491f86651.jpg","33.6x57.8",[42],{"id":1672,"slug":1673,"title":1674,"dynasty":124,"author":125,"museum":53,"description":1675,"tags":1676,"thumbUrl":1677,"material":142,"size":1678,"collection":144,"collections":1679,"showCount":1680,"zanCount":46,"manualWeight":46,"mainColor":149},221394,"xue-shan-xiao-si-tu-zhou-fan-kuan-221394","雪山萧寺图轴","画中描绘的是北方山岳雪景。山形陡峭，折落有势，峰峦岭岫一片银白。画中集中笔意书写了“萧寺”形象。山中一片苍茫荒凉之气，山下水路相伴，似与古寺相通，有游人、旅人、商者荷担瑟瑟而行。动静比照，静中见动，寂中显闹。 该图笔法雄劲嗣瘦，无款印。\n《雪山萧寺图》着意描写“雪意”。雪后的群山，到处是一片银白的世界，正面是雪岭高耸，崔嵬之山高旷雄原，山形陡峭，山脉盘折，峰峦岭岫一片银白。山坳深处深藏古寺楼台，隐现可见山下水边有路，可通向深山古寺。山下有古木、寒林、溪流。沟壑中有深深的积雪，近山远山树木叶落已尽，树杈上被积雪掩盖，山峦、楼顶、道路、坡石由大雪覆盖，周围阴沉沉的，只有一股潺潺流动的山泉，打破了这迷人的平静。近前可见两个旅人荷担踏雪而行，有的曳杖行进，他们顶着竹笠，缩头袖手。",[23,200,24,25,95,36,27,29,837,537,242,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7226c085125b91e1b8bb9e54576706dd.jpg","纵182.4cm，横108cm",[144,42,146],259,{"id":1682,"slug":1683,"title":1684,"dynasty":124,"author":1685,"museum":53,"description":1686,"tags":1687,"thumbUrl":1688,"material":84,"size":1689,"collection":289,"collections":1690,"showCount":1691,"zanCount":11,"manualWeight":46,"mainColor":149},216926,"gao-zong-shu-nv-xiao-jing-ma-he-zhi-bu-tu-di-yi-zhang-zhao-gou-216926","高宗书女孝经马和之补图第一章","赵构","高宗书女孝经马和之补图是赵构的一幅画作。赵构是中国宋朝时期的画家，他的作品大多集中在宋朝的文学、艺术和宗教方面。他的作品中有许多著名的孝道画，其中包括高宗书女孝经马和之补图。\n\n高宗书女孝经马和之补图讲述了一个关于孝道的故事。这幅画描绘了一个叫做马和的女子，她是一个忠诚的女儿，在她父亲去世后，她依然对她的父亲忠心耿耿，并为他做了许多孝事。这幅画是赵构用来表现女性孝道的精神的。\n\n高宗书女孝经马和之补图是赵构的一幅杰作，它展现了宋朝时期女性孝道的重要性，并且是中国历史上著名的孝道画之一。",[23,24,25,26,200,38,712,28,58,187,34,7,82,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d12d002f1f9b42abd5ddbbd30da0def.jpg","26.4x70.3",[289],258,{"id":1693,"slug":1694,"title":1695,"dynasty":18,"author":52,"museum":53,"description":1696,"tags":1697,"thumbUrl":1698,"material":40,"size":1699,"collection":42,"collections":1700,"showCount":1701,"zanCount":11,"manualWeight":46,"mainColor":47},218535,"zhu-lou-tu-qing-gao-zong-yu-ti-chou-ying-218535","竹楼图清高宗御题","画中湖光山色，长松亭榭，文人观水赏竹，画风接近文征明，也可能是文、丘在山水画上互相借鉴。",[200,24,25,95,56,28,57,29,60,427,30,31,58,7,34,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d460703bfb3096969313beb6e056693.jpg","115.3x33.3cm",[42],257,{"id":1703,"slug":1704,"title":1705,"dynasty":296,"author":1706,"museum":561,"description":1707,"tags":1708,"thumbUrl":1709,"material":885,"size":1710,"collection":42,"collections":1711,"showCount":1712,"zanCount":46,"manualWeight":46,"mainColor":47},236335,"lin-shen-zhou-lu-shan-gao-tu-huang-ding-236335","临沈周庐山高图","黄鼎","黄鼎（1650—1730），字尊古，号旷亭，又号闲圃、独往客，晚号净垢老人，江苏常熟 人。善画山水，初学画于邱屿雪，既而师王原祁，尤以王蒙法见长。\n此图根据明代画家沈周《庐山高图》临摹。此摹本比例与原幅不同，但是画幅的基本造型形象，笔法特点和许多细节，又都是忠实于原作，沈周原作今藏“台北故宫博物院”。",[200,24,25,186,28,36,29,130,427,7,132,133,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F663115a6e324514c054ddfbcd72b999f.jpg","226×83.4厘米",[42,146],255,{"id":1714,"slug":1715,"title":1716,"dynasty":124,"author":125,"museum":1717,"description":1718,"tags":1719,"thumbUrl":1720,"material":885,"size":1721,"collection":144,"collections":1722,"showCount":1712,"zanCount":11,"manualWeight":46,"mainColor":149},221415,"song-he-yan-nian-tu-zhou-fan-kuan-221415","松鹤延年图轴","苏州博物馆","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。",[23,24,25,95,28,36,29,272,488,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4f0d8728a8941335a80cd12781a857b.jpg","193.1x74.4 厘米",[144,42,264],{"id":1724,"slug":1725,"title":1726,"dynasty":78,"author":720,"museum":20,"description":1727,"tags":1728,"thumbUrl":1730,"material":116,"size":1731,"collection":42,"collections":1732,"showCount":1733,"zanCount":517,"manualWeight":46,"mainColor":47},220082,"guai-shi-cong-huang-tu-ni-zan-220082","怪石丛篁图","怪石丛篁图轴，这一幅系倪瓒60 岁时所画，构图别致，山石用笔较繁。\n自跋：天妃庙里曾游处，怪石丛篁漫雨苔。今日江湖重回首，卜居南岭白云隈。 岁庚子（1360 年）十一月廿日，解后云冈道师 而纸笔皆不佳，漫尔作此，愧不能工。道师悯世忧国，以道术（德）为己任，汩汩城邑之中 不以为苦，不肯自逸（超）于风埃之表也，故 岁时，应云冈道师之请，赋诗并作画。",[24,27,29,95,36,1729,391,130,33,34,7],"怪石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9d2a6fe7d61176933aaf86ed35700e3.jpg","94.2×26.8",[42],254,{"id":1735,"slug":1736,"title":1737,"dynasty":18,"author":1738,"museum":360,"description":1739,"tags":1740,"thumbUrl":1747,"material":760,"size":1748,"collection":42,"collections":1749,"showCount":1750,"zanCount":517,"manualWeight":46,"mainColor":47},222231,"mo-hua-jiu-duan-tu-juan-xu-wei-222231","墨花九段图卷","徐渭","此图绘水墨写意四季花卉。每段均有自题七绝一首。画面上，画家充分发挥了水墨的表现力，以狂放的笔触，淋漓的水墨，变化多端的笔锋，泼墨、焦墨、破墨、双勾并用，寥寥数笔即勾画出了各种花卉的特征，简约却颇具神采。从徐渭自书诗并题记，知此画是作者在浓郁的创作激情中以酣畅的笔墨挥洒而就。此图堪称徐渭水墨写意花卉的佳作。",[23,24,25,26,27,1741,1742,37,62,390,1647,391,1743,1744,244,489,1745,1746,7],"大写意","题跋","菊","荷","竹叶","藤蔓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2e0e76186d34ba6f0466cc88cfd916f.jpg","纵46.6厘米，横625厘米",[42,146],253,{"id":1752,"slug":1753,"title":1754,"dynasty":78,"author":107,"museum":561,"description":1755,"tags":1756,"thumbUrl":1758,"material":217,"size":660,"collection":70,"collections":1759,"showCount":1760,"zanCount":46,"manualWeight":46,"mainColor":149},288847,"zhu-cha-tu-wang-meng-288847","煮茶图","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。",[23,200,24,27,29,95,36,7,34,60,30,31,33,82,37,1757],"煮茶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F117610a3c89ba73f821c1bd6ba1071a4.jpg",[],251,{"id":1762,"slug":1763,"title":1764,"dynasty":124,"author":449,"museum":53,"description":1765,"tags":1766,"thumbUrl":1767,"material":84,"size":1768,"collection":42,"collections":1769,"showCount":1770,"zanCount":382,"manualWeight":46,"mainColor":149},218612,"song-jian-yin-yue-tu-ma-yuan-218612","松间吟月图","本幅写松荫下，高士独坐对月。林间，曲水绕栏，薄雾掩映，一派宁谧之气，溢于画表。右下角石隙，虽署有「马远」款，但就画风论，应出自传承马夏流派的明人之手。",[24,25,95,27,28,36,29,427,96,58,30,1385,7,133,364],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b110f511e2b2dadd28b074b660cdf18.jpg","144.6x76.3cm",[42],250,{"id":1772,"slug":1773,"title":1774,"dynasty":78,"author":720,"museum":1043,"description":1775,"tags":1776,"thumbUrl":1778,"material":116,"size":1779,"collection":42,"collections":1780,"showCount":1781,"zanCount":764,"manualWeight":46,"mainColor":47},220052,"qiu-lin-ye-xing-tu-ni-zan-220052","秋林野兴图","《秋林野兴图》写一仙居景致。平静的水面环绕着一段坡石，几株大树锁生其上，枝叶复苏。树间茅舍掩映，整个画面弥漫着肃静、清凉的气氛。 《秋林野兴图》笔法表现多见李成、郭熙、董源、巨然诸家之法，笔墨稳健清润，意境虚和冲融，气韵秀逸隽永。",[23,200,24,25,95,27,36,952,34,7,33,1262,244,1777],"疏林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F119a5ae094663913abafe92db0881216.jpg","纵九十七厘米，横六十八点五厘米",[42],249,{"id":1783,"slug":1784,"title":1785,"dynasty":18,"author":19,"museum":360,"description":1786,"tags":1787,"thumbUrl":1788,"material":229,"size":885,"collection":42,"collections":1789,"showCount":1790,"zanCount":11,"manualWeight":46,"mainColor":47},220367,"cang-zhou-qu-tu-shen-zhou-220367","沧州趣图","此图所绘沧州为明代属直隶河间府的沧州，地处北方，沈周未曾到过，他只是表现山川之性和趣，故图名“沧洲趣”。画面作平远布局，主要撷取江南水乡的景致，山丘逶迤，水面浩渺，坡岸伸展，杂树成林，一派南方山川秀丽风光。同时又融入了北方山峦雄阔之势，积叠的山石多尖峻的棱角，显得坚硬凝重，坡岸、平台亦转折尖直，棱角分明，其质地多呈北方石山的特征，无疑增添了山川的雄健宏阔气势。画法亦源自董巨，运用善于表现江南山水的披麻皴、点苔、圆润中锋和水墨渲染等技法，然运笔于中锋中时见外笔、侧锋，转折粗重，平台轮廓多整饬线条，细劲有力；披麻皴也变为研拂式的短笔皴，率意凝重；点苔亦墨深笔厚，圆横交错。总体笔墨形式刚柔相济，苍中带秀，既具董巨的秀润之韵，又呈较强的硬度和力感，恰当地表现了沈周心目中的沧州之趣。\n后纸自题是对本图艺术表现的很好的注脚。意即作为文人画家所崇尚的前贤董源、巨然，描绘自然山水犹如名医仓扁用药，是先了解本性，后求其形状，于是无往而不易，必深得山水之真性情。倘一味摹仿董巨的笔墨形式，则仅得董巨之外表形貌，自然山水的真性情却丧失了，所谓“求董巨而遗山水”。沈周创作此画，即从表现自身所熟悉的自然山水出发，并着重揭示其本性和真趣，在此前提下才灵活运用董巨的笔墨，故虽自谓“予此卷又非敢梦董巨者也”，实则却深悟了董巨山水之妙并得其遗意。可见沈周对“师法古人”和“师法自然”两者的认识是相当辩证的，也是他卓然有成的原因之一。",[23,24,25,26,29,723,27,28,36,38,37,7,34,31,30,32,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3340e8d4cf315e123b32737734c3c569.jpg",[42],248,{"id":1792,"slug":1793,"title":1794,"dynasty":296,"author":1795,"museum":360,"description":1796,"tags":1797,"thumbUrl":1798,"material":84,"size":1799,"collection":264,"collections":1800,"showCount":1801,"zanCount":764,"manualWeight":46,"mainColor":149},219090,"han-gong-chun-xiao-tu-yuan-yao-219090","汉宫春晓图","袁耀","此图名为汉代宫殿之景，实际上表现的是作者想象中的仙山琼阁，宫阙殿宇富有装饰趣味而不具写实性。图中山石形貌奇异，繁皴与密斫浑然一体，其活泼的蕴藉不仅展现出石质的厚实，同时加强了场景的动势，与工整精巧的殿宇楼阁形成粗放与华美、活泼与整洁的鲜明对比。",[24,200,57,28,56,29,60,30,31,33,34,7,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1aa2766d2513288b462cece660309b69.jpg","纵250厘米，横162厘米",[264],247,{"id":1803,"slug":1804,"title":1805,"dynasty":18,"author":1100,"museum":53,"description":1806,"tags":1807,"thumbUrl":1808,"material":1809,"size":1810,"collection":42,"collections":1811,"showCount":1812,"zanCount":517,"manualWeight":46,"mainColor":47},220932,"fang-ni-zan-shan-yin-qiu-he-tu-zhou-dong-qi-chang-220932","仿倪瓒山阴丘壑图轴","本幅题名倣倪瓒，原本欲倣陈永年所藏之倪瓒〈山阴丘壑〉，但因未留图稿，乃改学巨然〈关山雪霁〉作成此图，係透过回溯倪瓒风格，再辅以想像自运。\n此作大胆新颖且别出心裁地突破既往倣古作法，巧妙结合折带皴与披麻皴，结组出既具倪瓒式清亮、兼有黄公望式浑厚的山石，可谓熔倪瓒与黄公望风格一炉而冶的集大成之作。陈继儒于题跋中点出此图融合董源、巨然以及倪瓒风格，可谓知论。",[23,200,24,25,95,27,36,186,723,29,34,7,35,316,114,1104,242,427,658],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d99d6768867f84e687ae3dcbbc87ba9.jpg","纸本墨笔","96.3 x 44.8cm",[42,146],246,{"id":1814,"slug":1815,"title":313,"dynasty":124,"author":769,"museum":53,"description":1816,"tags":1817,"thumbUrl":1818,"material":84,"size":1819,"collection":42,"collections":1820,"showCount":1821,"zanCount":382,"manualWeight":46,"mainColor":149},218230,"shang-lin-tu-juan-zhao-bo-ju-218230","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。",[23,24,25,26,257,28,29,58,60,34,201,7,158,258,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc4585d7f14f3b12fabf2d53658317cb.jpg","44x1169.4",[42],244,{"id":1823,"slug":1824,"title":1825,"dynasty":18,"author":269,"museum":360,"description":1826,"tags":1827,"thumbUrl":1828,"material":84,"size":1829,"collection":42,"collections":1830,"showCount":1821,"zanCount":517,"manualWeight":46,"mainColor":149},216244,"san-gu-mao-lu-tu-dai-jin-216244","三顾茅庐图","这幅画描绘了刘备在 三顾茅庐 拜访诸葛亮的故事。人物的刻画生动而细致，如刘备的恭敬神态、张飞的黝黑面孔和他的武艺高强的姿态，都让人浮想联翩。人物的动态变化掌握得非常准确。岩石采用大斧劈法，松枝高长，明显继承了南宋马远的风格，用笔简洁有力。这幅画的整体色彩清晰而优雅。明代宫廷画中有很多以 招贤纳士 为主题的历史叙事画，反映出皇帝寻找贤人的心情是多么迫切。",[23,24,200,25,95,28,36,29,58,427,7,227,1140,31,33,134,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb04d74abf76131e7ffb35a7870d8a078.jpg","172.2x107",[42],{"id":1832,"slug":1833,"title":1834,"dynasty":18,"author":387,"museum":283,"description":1835,"tags":1836,"thumbUrl":1839,"material":368,"size":1840,"collection":42,"collections":1841,"showCount":1842,"zanCount":517,"manualWeight":46,"mainColor":149},222352,"qiu-shan-gao-shi-tu-juan-tang-yin-222352","秋山高士图卷","绘童子拱手侍立，圆凳旁之地面，铺设有席，席上散置纸笔书砚等物。中部三人相对畅谈，背景画树石苔草，运笔条畅有力，浓淡交织，极为精采。幅末设石桌，上置瓶炉，另一卷垂挂在地。",[23,24,26,28,29,36,56,1837,1838,32,31,33,34,7,35],"秋山","高士","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc2acdbaf836a548b0d716e2dd10782a.jpg","23.7＊352cm",[42,264],242,{"id":1844,"slug":1845,"title":1846,"dynasty":296,"author":870,"museum":1137,"description":1847,"tags":1848,"thumbUrl":1849,"material":40,"size":1850,"collection":70,"collections":1851,"showCount":1852,"zanCount":11,"manualWeight":46,"mainColor":47},214533,"yi-jin-ling-ce-shi-tao-214533","忆金陵册","此册计十二开，每开写金陵一景。按照弗利尔美术馆的英文含义，此册名称直译应为《南京记忆》。和李鱓《花果册》一样，弗利尔美术馆对每一页均做了单独的说明，但大同小异，并未对作品的艺术内容进行评价或解说，只不过说明每一页的标题而已。此册用笔恣肆，水墨淋漓，色墨交融，是典型的石涛成熟时期作品。",[24,25,27,28,29,60,30,31,32,7,34,36,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9786c88deb9d34c1413b59771dba7d8.jpg","纵23.8厘米，横19.2厘米",[],241,{"id":1854,"slug":1855,"title":1856,"dynasty":124,"author":473,"museum":53,"description":1857,"tags":1858,"thumbUrl":1859,"material":601,"size":1860,"collection":144,"collections":1861,"showCount":1862,"zanCount":605,"manualWeight":46,"mainColor":149},220387,"qing-xi-yu-yin-tu-li-tang-220387","清溪渔隐图","画面上表现的是夏雨初收后的渔村小景。近景为山坡堤岸，坡石横卧，林木苍郁，几棵大树倚石而立。树干粗壮，根部露出地面，枝叶茂盛，山溪蜿蜒而下，溪水由山间急流而出，水磨坊临溪而立，板桥横架溪上，将两岸连接。绕过山坡，地势平缓，河水清幽，远处沙岸迷茫，汀渚伸至河间，河岸和河边芦苇，草木丛生。有一老人坐于船头，横竿垂钓，显得悠然自得，渔舟在芦苇丛中隐现。画幅右端，浅滩上有数块小石，半露在水面，透过水面可以见秀石全形，显示出溪水的清洌。",[23,24,200,26,27,36,37,82,29,30,31,32,724,96,243,227,7,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4693ec96f6507ba02ebd0808a650e03c.jpg","纵25.2厘米，横144.7厘米",[144],237,{"id":1864,"slug":1865,"title":1866,"dynasty":296,"author":1177,"museum":20,"description":1867,"tags":1868,"thumbUrl":1869,"material":40,"size":1870,"collection":42,"collections":1871,"showCount":1862,"zanCount":11,"manualWeight":46,"mainColor":47},216993,"fang-song-yuan-shan-shui-ce-wang-jian-216993","仿宋元山水册","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。",[23,24,257,28,29,36,186,111,30,31,33,112,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a18fc942c1098dabc52e73dc3535442.jpg","纵55.4厘米，横36.0厘米",[42],{"id":1873,"slug":1874,"title":1875,"dynasty":296,"author":870,"museum":360,"description":1876,"tags":1877,"thumbUrl":1878,"material":229,"size":1879,"collection":42,"collections":1880,"showCount":1881,"zanCount":11,"manualWeight":46,"mainColor":47},233123,"yuan-ji-shan-shui-ce-shi-tao-233123","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。",[24,300,28,27,111,36,29,427,33,58,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F123c2863fe8464093b6bc302b984f3bf.jpg","纵33.2cm，横22.8cm",[42,264],235,{"id":1883,"slug":1884,"title":1885,"dynasty":124,"author":154,"museum":1886,"description":1887,"tags":1888,"thumbUrl":1890,"material":84,"size":1891,"collection":42,"collections":1892,"showCount":1893,"zanCount":11,"manualWeight":46,"mainColor":149},219184,"shan-cun-tu-guo-xi-219184","山村图","南京大学","描绘了巍峨巨峰下的峡谷中人们的隐居生活。整幅作品山势险峻，气势恢宏，细节之处描写入微，村落、人物生动传神。",[23,24,25,29,27,36,95,7,34,35,31,114,1889],"近石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30bef5f72b428fd151f38b62ec7c4b5e.jpg","横54.2cm，纵109.8cm",[42],234,{"id":1895,"slug":1896,"title":462,"dynasty":124,"author":449,"museum":1897,"description":1898,"tags":1899,"thumbUrl":1901,"material":84,"size":1902,"collection":144,"collections":1903,"showCount":1893,"zanCount":46,"manualWeight":46,"mainColor":149},218658,"shan-shui-tu-ma-yuan-218658","维多利亚和阿尔伯特博物馆","虬枝如屈铁，斜出嶙峋崖壁，枯枝疏朗间透着苍劲风骨，垂悬的藤蔓似牵一缕寒烟。山石以斧劈皴斫出棱角分明，刚硬笔触衬得崖岸陡峭。远景以淡墨晕染，山峦隐现于虚渺雾霭，近景石畔或有幽人凭栏，小景点染更显天地空阔。边角构图不逐满幅，留白处藏尽清寂萧瑟，恰是宋人山水的空灵之境。笔底丘壑虽只一角，却以简驭繁、以小见大，藏无尽江山意趣，尽显马远山水的独特韵味——于有限画面中，铺展无限悠远的诗意与哲思，让人于尺幅间窥见宋人的山水情怀与审美境界。",[24,1900,27,36,29,96,7,31,32,724],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb82362b63dc9e0b444518f5ec9c4176a.jpg","25.5x25.7",[144],{"id":1905,"slug":1906,"title":1907,"dynasty":78,"author":107,"museum":53,"description":1908,"tags":1909,"thumbUrl":1912,"material":40,"size":1913,"collection":42,"collections":1914,"showCount":1893,"zanCount":764,"manualWeight":46,"mainColor":149},218134,"dong-shan-cao-tang-tu-wang-meng-218134","东山草堂图","此幅系王蒙三十六岁（1343年）作。隔水茅堂，背山重叠，磊石、布屋、开湖，形制皆偏向于方。通幅用笔，皆切实而稳厚。树干钩藤，山间苔点，极细微处，均无轻纵之笔，别有一种稳重苍郁意象。后人中如沈周，得力于此者甚多。",[23,24,27,29,36,7,34,1910,187,1911,132],"草堂","山崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea8557e18d738285b863560f57991f9e.jpg","111.4x61cm",[42],{"id":1916,"slug":1917,"title":1918,"dynasty":18,"author":1919,"museum":561,"description":1920,"tags":1921,"thumbUrl":1922,"material":70,"size":70,"collection":306,"collections":1923,"showCount":1924,"zanCount":517,"manualWeight":46,"mainColor":149},238075,"song-he-ling-xiao-zhou-wang-wei-lie-238075","松鹤凌霄轴","王维烈","王维烈字无竞，吴郡（今江苏苏州）人，游周之冕之门，明代苏州画家。\n王维烈[明]花鸟在周之冕下，高阳之上。泰昌元年（一六二o）作树石孔雀图。南京博物院藏有其崇祯十三年（一六四o）作寒雀争梅图。",[24,25,95,56,28,62,272,488,7,489,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bd83a04879ea1f1f5ef9c405bd25556.jpg",[306],233,{"id":1926,"slug":1927,"title":1928,"dynasty":124,"author":473,"museum":53,"description":1929,"tags":1930,"thumbUrl":1933,"material":142,"size":1934,"collection":144,"collections":1935,"showCount":1936,"zanCount":764,"manualWeight":46,"mainColor":149},221577,"jiang-shan-xiao-jing-tu-li-tang-221577","江山小景图","此图描绘的是沿江的山水景观，可以分成上下两部分，画面上部，江水粼粼，空阔旷远，风帆出没其间。画面下部，横列一排山峰，高低参次，连绵不断。山峰上丛林密布，宫观楼阁，半隐半现。此图采用了上留天，下不留地的构图方式，风格既继承北宋传统，又暗示南宋特色。\n此图表现的是江岸边山水小景，画面右起是宽阔的水面，几只帆船鼓帆前行，江岸平缓地向后延伸，渐次高起，山石渐多，林木葱郁，小径幽幽隐现于山间，山坡平缓处有房舍屋宇隐现于林木间；左行山势愈加高峻峭拔，最终停留在画面边缘。高山之间，栈道依山而筑，山庄别墅，僧舍道观隐现于山腰间；山间飞流泉，下聚成潭，小舟泛于水上。画面右上是远山野渡，山水清旷，环境安详静谧，构成了一幅清幽自然的田园风景画卷。\n此幅无名款，有乾隆皇帝御笔题签：“宋李唐江山小景神品”，引首有其书：“神韵天成豪发无憾”，钤“乾隆宸翰”、“古希天子”、“犹日孜孜”钤玺。画上又有乾隆丁丑、庚辰二题，拖尾有董其昌、程正揆跋。\n主题:此图是一幅山水画作，描绘的是雄壮瑰丽又雅秀清逸的山水风貌，表现出作者对祖国壮美山河的由衷赞颂，也表现出作者对祖国山河的深深依恋与怀念\n构图:该图以近景石峰丛林为主体，山峰的起伏变化、岩石的折落有致、楼观屋宇的有机穿插以及墨色的黑白变化使主体有一股雄沉壮拔之气。近处横卧的巨石和稍远石峰的峭立形成对比，延伸了空间。自山脚而起的石径沿山石逶迤而上，将卧石与石峰联系起来。山间小道、屋宇、行人，线索分明， 时隐时现，活跃了山林的气氛。远景的渔村、云山，布置深远，和近景遥相呼应。整个画面意境深辽开阔，气魄宏伟。\n技法:《江山小景图》在技法上延续了李唐在宣和画院时期的青绿山水画风，但略有改变，此卷中山石以浓重劲健的细线勾勒，以小斧劈皴之，但小斧劈皴用的相当随意放松，简练概括，画家没有将山石的体积感与重量感放在表现的首位，而是注重画面的整体性与抒情性；此卷的树以轻松、快速的横笔写出，溪口水的画法也轻松自由得多，根据水势用简练的几笔勾勒而成，江水虽然还是以鱼鳞纹为之，但用笔灵活随意，毫无紧张感与拘谨感。\n此图近景巨石与石峰的用笔方硬坚重，峰顶与岩石的设墨浓重，树木多用横笔点叶，偶有细笔夹叶，色调较浅。运墨大胆，多为浓厚墨色，如树干劲拔，有笔有墨，骨肉匀称，若隐若现于树叶的浓荫之中，增添了幽深之感。船、帆和船夫的用笔十分洗练，坚挺朴实。远景几抹淡墨，用笔超脱豪放，使云山淡隐，更具一种灵妙别致的风韵。",[23,24,200,26,29,36,28,7,34,1931,31,130,1932,114,512,258],"渔船","舟楫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2428cca3b084dd38d455514e3b16a629.jpg","纵49.7厘米，横186.7厘米",[144,42,146],232,{"id":1938,"slug":1939,"title":1940,"dynasty":18,"author":1941,"museum":561,"description":1942,"tags":1943,"thumbUrl":1945,"material":246,"size":70,"collection":70,"collections":1946,"showCount":1947,"zanCount":46,"manualWeight":46,"mainColor":149},234196,"fang-shen-zhou-qiu-shan-shu-wu-juan-zhang-hong-234196","仿沈周秋山书屋卷","张宏","山水画方面此时吴门画派最为兴盛。他们重视继承古代人的笔墨传统，把对风格的追求作为艺术的重要目的。而且，由于他们具有深厚的文化修养，有各自的美学追求，从而也具有一定的创造性。他们的笔墨技巧和表现手法，对后来画坛有很大影响。涌现出一批师法自然，重视写生的优秀画家，张宏便是其中的佼佼者。张宏师法沈周，又重视写生，作品笔力峭拔，墨色湿润，层峦叠嶂，丘壑深邃。他在继承吴门画派风格和特色的基础上，加以创新，强调回归自然，到大山里去写生，师自然造化。在画中体现出超凡脱俗的精神境界，使山水画活了起来。的画以石面连皴带染为特色。又能画写意人物，形神俱佳，散聚得宜，在文人山水画方面另辟蹊径，创作出了富有生活气息的绘画作品。其代表作品有：《西山爽气图》、《延陵挂剑图》、《杂技游戏图》、《击缶图》、《阊门舟阻图》、《溪亭秋意图》、《浮岚暖翠图》、《兰亭雅集图》，藏首都博物馆《琳宫晴雪图》等十多种，其中《西山爽气图》被国家教委编入高二地理限选新教材，当做古代文人画的范例；收藏于台北故宫博物院的《布袋罗汉图》被台湾邮政设计成了邮票。受吴门派影响的晚期画家还有程嘉燧、李流芳、卞文瑜、邵弥、杨文骢等人。程嘉燧的山水枯简疏放，李流芳爽朗清秀，卞文瑜细秀，邵弥简逸，杨文骢兼具枯笔、秀润两种风貌。",[24,25,26,186,28,27,36,29,34,7,30,31,32,33,58,227,114,512,363,258,1944],"船只","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05ab01647707656c2100c6df41243d83.jpg",[],230,{"id":1949,"slug":1950,"title":1951,"dynasty":78,"author":107,"museum":108,"description":109,"tags":1952,"thumbUrl":1953,"material":40,"size":70,"collection":70,"collections":1954,"showCount":1947,"zanCount":46,"manualWeight":46,"mainColor":47},214573,"shan-shui-ce-5-wang-meng-214573","山水册-5",[24,25,111,27,36,29,96,7,133,30,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06954314220392a3ccc54c83599ff836.jpg",[],{"id":1956,"slug":1957,"title":1958,"dynasty":296,"author":1795,"museum":360,"description":1959,"tags":1960,"thumbUrl":1961,"material":84,"size":1962,"collection":42,"collections":1963,"showCount":1964,"zanCount":517,"manualWeight":46,"mainColor":149},220075,"peng-lai-xian-jing-tu-yuan-yao-220075","蓬莱仙境图","袁氏父子画蓬莱仙境的作品很多，以本幅袁耀所作最为壮观。图中山形脉络皆有动势，突兀怪异；以鬼面皴法画出的山石奇形怪状，层次丰富。华丽严整的宫殿与雄伟而富有动感的山水巧妙地融合，浑然一体，形成画面中动与静、整齐与活泼的鲜明对比，气势博大。\n由于职业画家的局限，袁江、袁耀的作品在表现题材上不可避免地有所雷同，表现手法也呈现一种程式化。有古建专家认为他们画的建筑“并非清代的建筑形象，而是杂采历代画中种种不同的建筑形象，加以组合…… 从总体布局到建筑形体大多不合建筑的规矩法度”，这和当时追求艺术视觉效果、忽视真实物理结构的审美要求有直接的关系，从中也可以看到市场机制对艺术创作的影响。",[23,24,56,28,57,29,60,7,133,34,30,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F999a1e953e91f93828c36f2429f91187.jpg","纵266.2厘米，横163厘米",[42,264],226,{"id":1966,"slug":1967,"title":1968,"dynasty":18,"author":52,"museum":1137,"description":1227,"tags":1969,"thumbUrl":1971,"material":84,"size":1230,"collection":70,"collections":1972,"showCount":1964,"zanCount":46,"manualWeight":46,"mainColor":149},216358,"xi-xiang-ji-tu-ye-8-chou-ying-216358","西厢记图页-8",[24,56,28,57,58,59,1140,34,7,1129,64,1970],"室内陈设","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5046b988d6bf229c2bd14e1dcebb96ed.jpg",[],{"id":1974,"slug":1975,"title":1976,"dynasty":654,"author":1977,"museum":561,"description":1978,"tags":1979,"thumbUrl":1980,"material":217,"size":660,"collection":70,"collections":1981,"showCount":1982,"zanCount":46,"manualWeight":46,"mainColor":149},287365,"qing-lv-shan-shui-tu-ye-li-sheng-287365","青绿山水图页","李昇","擅墨竹，喜作窠石平远山水，颇有清趣。至正六年(1346)作有《淀湖送别图》卷(藏上海博物馆)，画面清波荡漾，湖上有小桥、扁舟，远望峰峦高耸，树林参差，山间古寺隐约可见，景色清幽，一派送别离人的气氛。清代词人朱彝尊很推重此画，题跋云：“松林清疏，峰岚渲以焦墨，淡林赢青作遥山，信称逸品。”",[23,24,25,29,257,28,60,30,31,7,34,82,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfdcad8870526ab254f3adb825fe8b72.jpg",[],225,{"id":1984,"slug":1985,"title":1986,"dynasty":296,"author":1987,"museum":561,"description":1988,"tags":1989,"thumbUrl":1991,"material":246,"size":1992,"collection":306,"collections":1993,"showCount":1982,"zanCount":11,"manualWeight":46,"mainColor":47},224231,"ju-hua-2-wu-chang-shuo-224231","菊花2","吴昌硕","吴昌硕所作之菊，线条凝练遒劲，刚柔并济；墨色浓淡相间，不落俗格。并伴以山岩、野石、溪水，或插入孤高细瘦的古瓶，皆与秋菊幽独淡雅、冷逸傲世的情态相映成趣。",[23,24,25,200,95,28,27,300,1990,7,1622,1024],"菊花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67cb43cd66a1da94239b42b0c422a249.jpg","235*50cm",[306,264],{"id":1995,"slug":1996,"title":1997,"dynasty":124,"author":548,"museum":53,"description":1998,"tags":1999,"thumbUrl":2001,"material":84,"size":2002,"collection":144,"collections":2003,"showCount":1982,"zanCount":517,"manualWeight":46,"mainColor":149},218132,"han-jiang-diao-ting-tu-li-cheng-218132","寒江钓艇图","李成（西元九一六—九六七年），唐朝皇室后裔，五代山东人。五代北宋初为水墨山水画成熟时期，李成的松石平远，富呎尺千里气象。与北方荆浩、关同、范宽，南方董源、巨然发展成两大山水画系。\n画中高山飞瀑，岩上老松偃盖。前景巨松挺立，渔人寒江独钓。山石皴染如云状，受北宋郭熙山水画皴法影响。然用笔活泼快速，不完全拘泥于物象。由画风及题跋书风来看，应可接受为元人李郭画风作品。",[23,24,25,29,36,27,32,31,7,34,724,243,452,96,2000],"寒江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70ae768df4f3ab356a244f10d07cd042.jpg","170x101.9cm",[144,42],{"id":2005,"slug":2006,"title":2007,"dynasty":18,"author":52,"museum":53,"description":2008,"tags":2009,"thumbUrl":2013,"material":84,"size":70,"collection":289,"collections":2014,"showCount":2015,"zanCount":764,"manualWeight":46,"mainColor":149},219367,"yi-zhu-tu-chou-ying-219367","移竹图","竹影婆娑间，数人合力抬竹、培土，动作连贯如活；池畔亭榭半掩，莲叶浮波，士人或俯身打理，或凭栏远眺，笔墨细腻处见生活真趣。设色温润古雅，青绿点缀山石，赭黄晕染土地，墨色浓淡层叠出林木深幽。移竹之雅事，既显文人爱竹之癖，亦藏生活劳作之态，以工笔之精融自然与人文于一卷，动静相宜。画面层次分明，上段林泉移竹见生机，下段亭池闲居显雅致，细节中藏匠心，尽显明代文人生活的诗意与烟火气。",[24,56,28,257,57,58,1140,34,2010,2011,7,60,2012,61,31],"荷塘","荷花","廊榭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7039905c000f406bb6ce231d79361d8a.jpg",[289,264,42],222,{"id":2017,"slug":2018,"title":2019,"dynasty":124,"author":436,"museum":561,"description":2020,"tags":2021,"thumbUrl":2022,"material":84,"size":2023,"collection":144,"collections":2024,"showCount":2015,"zanCount":764,"manualWeight":46,"mainColor":149},218615,"ming-huang-xing-shu-tu-yi-ming-218615","明皇幸蜀图","层峦叠嶂间，松枝虬劲，草木葱茏。人马穿行于山道，或扬鞭疾驰，或缓辔徐行，或俯身为马整鞍，神态各异，细节毕现。山石以劲挺线条勾勒，皴染结合，质感厚重；林木疏密有致，生机盎然。整幅画将旅途的奔波与蜀地山水的雄奇融为一体，既有宋代山水画的精工细致，又蕴含着历史事件的沉郁感。于方寸纨扇间，展现出宏大叙事与悠远意境，笔墨古朴，意韵绵长，尽显古典绘画的精妙与深厚底蕴。",[23,24,200,25,28,36,29,58,215,112,7,82,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76ac70443078c834c82bd324884285ea.jpg","30.5x30.5",[144],{"id":2026,"slug":2027,"title":2028,"dynasty":124,"author":449,"museum":53,"description":2029,"tags":2030,"thumbUrl":2039,"material":673,"size":2040,"collection":144,"collections":2041,"showCount":2042,"zanCount":46,"manualWeight":46,"mainColor":149},221523,"yue-xia-ba-bei-tu-ma-yuan-221523","月下把杯图","月下把杯图》是一幅构图别致意境幽远的小品山水画佳作。作为纨扇扇面，其圆形构图对创作是一种限制。此画之妙在于，画家把重点描绘的山石、树木等景物安排在约占小半个画面的斜右下部，以浓墨钩勒树木、翠竹、篱笆、山石等，而与占大半个画面的远山、天空形成浓与淡、实与虚的对比，这即使圆形构图中的景物显得平稳安定，又富于变化。马远画山水以少见多，以偏概全，正是他艺术手法高明独到之处。图中山石画法用大斧劈皴，状其石质，画树“瘦硬如屈铁”，多折枝。远山则低，用淡墨勾染。苍茫外，露出月亮，表达作者当时思念之情。",[23,24,25,56,27,2031,2032,38,82,1465,1385,1140,7,58,2033,2034,114,2035,2036,2037,2038],"浅设色","边角构图","酒具","桌子","月夜","饮酒场景","文人聚会场景","宋代绘画风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e50aabe7cee1ca5997ec7a693d08c1d.jpg","纵25.5厘米，横25.7厘米",[144,42,146],220,{"id":2044,"slug":2045,"title":2046,"dynasty":78,"author":2047,"museum":1043,"description":2048,"tags":2049,"thumbUrl":2050,"material":229,"size":2051,"collection":42,"collections":2052,"showCount":2042,"zanCount":605,"manualWeight":46,"mainColor":47},220837,"shuang-song-ping-yuan-tu-zhao-meng-fu-220837","双松平远图","赵孟頫","双松的画法稍工，山石则以带有飞白松动笔触勾括，略皴而无染。虽略存李郭画风之形，但简括异常，实属新体。\n画法上更具书法笔趣和文人墨戏的意味。卷首自识「子昂戏作双松平远」，卷尾又识「仆自幼小学书之余，时时戏弄小笔，然于山水独不能工。盖自唐以来，如王右丞、大小李将军、郑广文诸公奇绝之迹，不能一二见。至五代荆、关、董、范辈出，皆与近世笔意辽绝。仪所作者，虽未敢与古人比，然视近世画手则自谓稍异耳。因野云求画，故书其末。《大观录》、《墨缘汇观》、《无益有益齐读画诗》等书著录\n图中近景画苍松立于怪石枯木之中，远景写平坡矮山。写山石空勾轮廓，不加皴染，间有飞白。画双松则用细笔双钩，简约古雅。画面右上署“子昂戏作双松平远”八字，卷末自题日：“仆自幼小学书之余，时时戏弄小笔，然于山水独不能工。盖自唐以来，如王右丞、大小李将军、郑广文诸公奇绝之迹不能一、二见。至五代荆、关、董、范辈出，皆与近世笔意辽绝。仆所作者虽末能与古人比，然视近世画手，则自谓少异耳。因野云求画，故书其末。孟烦。”于此可见，赵孟頫欲弃南宋院体画风而直追唐、五代诸大家。",[24,25,26,27,36,29,272,7,32,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a66f53d1e4db114c3b3d0147d1368cb.jpg","纵26.7厘米、横107.3厘米",[42,146],{"id":2054,"slug":2055,"title":2056,"dynasty":793,"author":2057,"museum":53,"description":2058,"tags":2059,"thumbUrl":2062,"material":84,"size":2063,"collection":42,"collections":2064,"showCount":2042,"zanCount":764,"manualWeight":46,"mainColor":149},218963,"chun-shan-xing-lv-tu-li-zhao-dao-218963","春山行旅图","李昭道","这幅画描绘了唐明皇在前往四川寻求庇护以躲避安史之乱的途中放弃长安的场景。\n画面以绿色为主色调，有山有水，枝繁叶茂，春意盎然，二十多个人和十几匹马结伴而行，在蜿蜒而荒芜的道路上可以看到人影。虽然场景是春天，马儿在滚动，人们靠着树休息，看起来很轻松，但通往圣地的道路和沿途的崎岖转弯的气氛也会让人觉得很困难。\n该场景用细密的笔触勾勒出线条，然后用绿色和蓝色作画，使其优雅而美丽。",[23,24,25,257,28,29,58,60,7,34,214,131,134,2060,2061],"云气","勾勒填色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3f5bf3ce17fdd366423076e69f86db4.jpg","95.5x55.3厘米",[42],{"id":2066,"slug":2067,"title":2068,"dynasty":18,"author":19,"museum":561,"description":2069,"tags":2070,"thumbUrl":2071,"material":70,"size":70,"collection":70,"collections":2072,"showCount":2073,"zanCount":764,"manualWeight":46,"mainColor":47},228834,"qing-yuan-tu-shen-zhou-228834","清园图","此图绘湖山秋色。\n该图结构严整均衡，局部富于穿插变化，使画面景物参差有致，一派清幽逸趣。\n在用笔上，该图多用秃笔中锋，将勾、皴、擦、点有机配合，实中求虚。\n【名称】《 青园图 》 【年代】明代 【作者】沈周 【简介】长卷，纸本，设色，纵19.1厘米，横188.7厘米。\n旅顺博物馆藏。\n沈周（1427年—159年）明代杰出画家。\n字启南、号石田、白石翁、玉田生、有居竹居主人等，是明中叶画坛上四大艺术家（另三人为文徵明、唐寅、仇英）之一，人称江南“吴门画派”的班首，在画史上影响深远。\n沈家世代隐居吴门，居苏州相城,故里和墓在今相城区阳澄湖镇。\n沈周的曾祖父是王蒙的好友，父亲恒吉，又是杜琼的学生，书画乃家学渊源。\n父亲、伯父都以诗文书画闻名乡里。\n沈周一生家居读书，吟诗作画，优游林泉，追求精神上的自由，蔑视恶浊的政治现实，一生未应科举，始终从事书画创作。\n他学识渊博，富于收藏。\n交游甚广，极受众望，平时平和近人，要书求画者“屦满户外”，“贩夫牧竖”向他求画，从不拒绝。\n甚至有人作他的赝品，求为题款，他也欣然应允。\n有曹太守其人，新屋落成欲图其楹庑，搜罗画家，沈周亦在其中，隶往摄之，沈周曰：“毋惊老母，旦夕往画不敢后”客人颇不平曰：“太守不知先生，何贱先生于此？渴贵游可勿往。\n”沈周答曰：“往役义也，岂有贱哉？谒而求免，乃贱耳。\n”沈周的书画流传很广，真伪混杂，较难分辨。\n文征明因此称他为飘然世外的“神仙中人”。\n沈周在元明以来文人画领域有承前启后的作用。\n他书法师黄庭坚，绘画造诣尤深，兼工山水、花鸟，也能画人物，以山水和花鸟成就突出。\n所作山水画，有的是描写高山大川，表现传统山水画的三远之景。\n而大多数作品则是描写南方山水及园林景物，表现了当时文人生活的幽闲意趣。\n在绘画方法上，沈周早年承受家学，兼师杜琼。\n后来博取众长，出入于宋元各家，主要继承董源、巨然以及元四家黄公望、王蒙，吴镇的水墨浅绛体系。\n又参以南宋李、刘、马、夏劲健的笔墨，融会贯通，刚柔并用，形成粗笔水墨的新风格，自成一家。\n沈周早年多作小幅，4岁以后始拓大幅，中年画法严谨细秀，用笔沉着劲练，以骨力胜，晚岁笔墨粗简豪放，气势雄强。\n沈周的绘画，技艺全面，功力浑朴，在师法宋元的基础上有自己的创造，发展了文人水墨写意山水、花鸟画的表现技法，成为吴门画派的领袖。",[23,24,25,26,27,28,29,33,1140,112,31,82,37,38,35,7,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee310328773a26ff40d5f949cac4d0f3.jpg",[],219,{"id":2075,"slug":2076,"title":2077,"dynasty":18,"author":52,"museum":346,"description":2078,"tags":2079,"thumbUrl":2080,"material":84,"size":2081,"collection":289,"collections":2082,"showCount":2073,"zanCount":517,"manualWeight":46,"mainColor":149},219544,"xun-mei-tu-chou-ying-219544","寻梅图","仇英博取众长，多学于赵伯驹、刘松年，发展了南宋李唐、刘松年、马远、夏圭的'院体画'传统，集前人之大成，形成自己独特的艺术风格。他在山水、花卉、界画、人物、仕女等素材方面造诣极高，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'。",[23,200,24,56,28,58,59,390,96,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbaa20363f9665e27d71a3435ec5364b.jpg","102.7x50.7厘米",[289],{"id":2084,"slug":2085,"title":2086,"dynasty":18,"author":387,"museum":360,"description":2087,"tags":2088,"thumbUrl":2089,"material":246,"size":2090,"collection":42,"collections":2091,"showCount":2092,"zanCount":764,"manualWeight":46,"mainColor":149},222332,"shi-ming-tu-quan-juan-tang-yin-222332","事茗图全卷","本幅中作者自题：“日長何所事，茗碗自賚持。料得南窗下，清風滿鬢絲。吳趨唐寅。”钤“唐居士”。\n“事茗”姓陈，为王宠友邻，与唐寅交往亦甚密。唐寅以陈氏名号为题作此图，并将“事茗”二字嵌入题诗中。此图布局别出新意，虚实相生，层次分明。近景巨石侧立，巨石墨色浓黑，皴擦细腻，凹凸清晰可辨。屋舍、坡岸淡雅清润，屋中主人临窗品茗，描绘出幽静宜人的理想化的生活环境。透过画面，似可听到潺潺的流水，闻到淡淡的茶香。\n本幅中另有清乾隆御笔题记：“记得惠山精舍里，竹罏沦茗绿杯持。解元文笔闲相仿，消渴何劳玉虎丝。甲戌闰四月雨余，几暇偶展此卷，因摹其意，即用卷中原韵题之，并书于此。御笔。”钤印“古香”白文方、“太缶”朱文方。尾纸陆粲款署：“嘉靖乙未孟秋之吉，平原陆粲著。”钤印“陆氏浚明”白文方、“贞山”朱文方。鉴藏印钤：耿昭忠“丹诚”、“千山耿信公书画之章”、“信公珍赏”、“信公鉴定珍藏”、“琴书堂”、“都尉耿信公书画之章”；耿嘉祚“耿会侯鉴定书画之章”、“耿嘉祚印”、“耿湛恩章”、“湛恩记”、“漱六主人印”；索额图“也园索氏收藏书画”、“长白索氏珍藏图书印”、“九如清玩”、“乐庵”、“乐圣且衔杯”、“御赐忠孝堂长白山索氏珍藏”等诸家印记多方，另有清内府鉴藏诸印。\n清内府《石渠宝笈·初编》卷十五著录。",[23,24,25,26,27,28,29,58,227,34,7,31,37,82,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3579c3ee10391bfe105f8f09fe4d831d.jpg","纵31.1厘米，横105.8厘米",[42,264],217,{"id":2094,"slug":2095,"title":2096,"dynasty":124,"author":998,"museum":108,"description":2097,"tags":2098,"thumbUrl":2099,"material":84,"size":70,"collection":42,"collections":2100,"showCount":2092,"zanCount":11,"manualWeight":46,"mainColor":149},218580,"he-ting-xiao-xia-tu-liu-song-nian-218580","荷亭消夏图","竹影筛风，亭榭浮凉。几竿修竹环绕临水敞亭，亭中素衣人或凭栏观荷，或闲坐展卷，墨香混着竹韵漫开。下方溪流清浅，碎石错落，一士人曳杖徐行，童子负物紧随，身影在树荫与水光间轻晃。山石以细皴晕染，纹理温润如触；竹叶用劲挺笔触勾勒，层次疏密有致。\n\n风过竹梢的沙沙声，溪水叮咚的回响，与亭中人的静默相映，滤去夏日燥热，只留清幽雅致。笔墨细腻却不繁缛，每处细节都藏着宋时文人的闲适——仿佛能隔着千年，触到竹间那缕凉意，窥见他们把暑气酿成诗意的模样。整幅画如同一盏冰茶，入口清润，余味悠长。",[24,200,25,95,56,36,29,58,33,391,31,7,34,132,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f5d87850a086dc74d33f9a716e43966.jpg",[42],{"id":2102,"slug":2103,"title":2104,"dynasty":124,"author":182,"museum":108,"description":2105,"tags":2106,"thumbUrl":2107,"material":601,"size":70,"collection":144,"collections":2108,"showCount":2092,"zanCount":11,"manualWeight":46,"mainColor":149},218087,"luo-han-tu-ce-li-gong-lin-218087","罗汉图册","宋朝是中国历史上的一个朝代，公元960年至1279年。李公麟是宋朝时期的一位著名的画家，他的代表作品是《罗汉图册》。\n\n《罗汉图册》是一本由李公麟所绘制的图册。这本图册描绘了罗汉，这是佛教中的超凡脱俗的灵性修行者的形象。每幅图画都非常精细，李公麟用自己独特的画风把罗汉的形象塑造得生动逼真。\n\n《罗汉图册》的创作背景是宋朝的文化复兴运动，这本图册是李公麟为了推广佛教文化而创作的。当时，佛教在中国盛行，李公麟希望通过这本图册向更多的人介绍佛教文化。\n\n《罗汉图册》被广泛认为是李公麟最杰出的作品，它被誉为宋朝佛教画的代表作之一。如今，《罗汉图册》还是非常受欢迎的，它被视为中国传统艺术的瑰宝。",[23,24,25,111,712,27,784,58,244,452,96,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F996a50a41201f534c8eeb5c5cf014b71.jpg",[144,289],{"id":2110,"slug":2111,"title":2112,"dynasty":124,"author":449,"museum":53,"description":2113,"tags":2114,"thumbUrl":2115,"material":84,"size":2116,"collection":42,"collections":2117,"showCount":2118,"zanCount":46,"manualWeight":46,"mainColor":149},219598,"zhu-he-tu-ma-yuan-219598","竹鹤图","若无若有望中迷。独立黄冠仙客携。识赏分明印坤卦。何云为寿赐都提。甲辰（西元一七八四年）仲冬中浣再题。\n不祷自安缘寿骨。人间难得是清名。浅斟仙酒红生颊。永保长生道自成。赐王都提举为寿。\n布景期神弗期格。分明马远署臣名。胎仙近远相鸣和。绘也羲经与注成。甲辰（西元一七八四年）孟冬上浣御题。",[23,24,25,95,27,28,36,391,58,29,82,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F905155f3f4ed0840a0e14b1248544c85.jpg","124.3x56.6公分",[42,289],216,{"id":2120,"slug":2121,"title":2122,"dynasty":793,"author":794,"museum":108,"description":2123,"tags":2124,"thumbUrl":2125,"material":142,"size":2126,"collection":70,"collections":2127,"showCount":2128,"zanCount":46,"manualWeight":46,"mainColor":149},232621,"e-pang-gong-tu-juan-wang-wei-232621","阿房宫图卷","提到王维，人们都会想到他的朗朗上口的诗文，比如空山新雨后，天气晚来秋；比如独在异乡为异客，每逢佳节倍思亲；再比如红豆生南国，春来发几枝等等。他也是我很喜欢的一位诗人。其实他是唐朝书，画，诗三方面都很有成就的一个人。\n王维，字摩诘，盛唐时期的著名诗人，官至尚书右丞，原籍祁（今山西祁县），迁至蒲州（今山西永济），崇信佛教，晚年居于蓝田辋川别墅。善画人物、丛竹、山水。唐人记载其山水面貌有二：其一类似李氏父子，另一类则以破墨法画成，其名作《辋川图》即为后者。可惜至今已无真迹传世。传为他的《雪溪图》及《济南伏生像》都非真迹。苏轼评价说“味摩诘之诗，诗中有画；观摩诘之画，画中有诗。”他是唐代山水田园派的代表。开元进士。任过大乐丞、右拾遗等官，安禄山叛乱时，曾被迫出任伪职。其诗、画成就都很高，苏东坡赞他“诗中有画，画中有诗”，尤以山水诗成就为最，与孟浩然合称“王孟”，晚年无心仕途，专诚奉佛，故后世人称其为“诗佛”。\n王维的水墨画风，几乎影响着中唐以后的中国山水画发展的全部历史。至少可以说，占据中国古代山水画主流的文人画，都接受了王维的影响。苏轼的“诗中有画，画中有诗”的赞语，奠定了王维在中国绘画史上的地位。明朝董其昌的文人画理论，把文人画的内涵，全部具体化于王维，称王维是南宗画之祖。",[23,24,25,26,28,257,57,56,29,60,30,58,7,34,187,2060],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fac5623a6e549db33830a4f701ceb37.jpg","纵194.5cm，横60.5cm",[],214,{"id":2130,"slug":2131,"title":2132,"dynasty":18,"author":387,"museum":53,"description":2133,"tags":2134,"thumbUrl":2135,"material":27,"size":2136,"collection":42,"collections":2137,"showCount":2138,"zanCount":11,"manualWeight":46,"mainColor":47},219331,"kong-shan-guan-pu-tu-tang-yin-219331","空山观瀑图","唐寅（1470—1523），字伯虎，一字子畏，号六如居士、桃花庵主、鲁国唐生、逃禅仙吏等，据传于明宪宗成化六年庚寅年寅月寅日寅时生，故名唐寅。汉族，吴县（今江苏苏州）人。他玩世不恭而又才气横溢，诗文擅名，与祝允明、文征明、徐祯卿并称“江南四才子”，画名更著，与沈周、文征明、仇英并称“吴门四家”。",[24,25,95,27,36,29,427,130,7,58,363,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c0f9b1868f56ffcbda8eabd2eb3efa9.jpg","60.5x38.6公分",[42],213,{"id":2140,"slug":2141,"title":2142,"dynasty":124,"author":197,"museum":1043,"description":2143,"tags":2144,"thumbUrl":2150,"material":601,"size":2151,"collection":144,"collections":2152,"showCount":2153,"zanCount":11,"manualWeight":46,"mainColor":149},220420,"shan-shi-qing-lan-tu-xia-gui-220420","山市晴岚图","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。”",[24,25,27,29,95,36,158,34,136,7,797,363,133,2145,2146,1105,2147,2148,2149],"晴岚","杂树","村舍","水墨渲染","南宋山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc36e5dcf9afd9b288e69532ac5390b9f.jpg","24.8×21.3cm",[144,146],212,{"id":2155,"slug":2156,"title":2157,"dynasty":654,"author":655,"museum":561,"description":2158,"tags":2159,"thumbUrl":2160,"material":217,"size":660,"collection":70,"collections":2161,"showCount":2162,"zanCount":46,"manualWeight":46,"mainColor":663},288512,"shan-xi-dai-du-tu-guan-tong-288512","山溪待渡图","《山溪待渡图》是一幅大山堂堂、气势雄伟的全景画，带有鲜明的北方特色。图中描绘巍峰耸立，瀑布高悬；坂垅、冈阜、峦岭，自近及远盘礴而上；楼阁掩映，远山迷朦；气势阔大，景意幽深。图中强调的是山和溪，山作正面，主峰突兀，两峰环抱之。山势直立，居于构图中轴线，相当稳定。整幅画面既有生活意趣，又有饱满生动之感。 此画用墨饱满，笔法简炼雄劲。",[200,24,29,27,36,95,7,31,30,33,1066],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34439de5b826ade79e2d3efccdbc4630.jpg",[],211,{"id":2164,"slug":2165,"title":2166,"dynasty":296,"author":400,"museum":401,"description":402,"tags":2167,"thumbUrl":2168,"material":84,"size":405,"collection":70,"collections":2169,"showCount":2170,"zanCount":11,"manualWeight":46,"mainColor":149},214431,"xiu-yuan-tu-4-wang-yun-214431","休园图-4",[23,24,28,57,56,60,34,7,1385,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a073b1ae9a5267aafce1e667ff03c94.jpg",[],210,{"id":2172,"slug":2173,"title":2174,"dynasty":296,"author":668,"museum":20,"description":2175,"tags":2176,"thumbUrl":2178,"material":40,"size":2179,"collection":306,"collections":2180,"showCount":2181,"zanCount":11,"manualWeight":46,"mainColor":47},218903,"hua-niao-tu-zhou-shen-quan-218903","花鸟图轴","沈铨善绘花鸟翎毛，用笔细腻传神，设色富贵浓艳。他的绘画多以描绘松、梅、竹、鹿、鹤、雉等寓意祥瑞富贵的题材为多。是图设色名丽脱俗，极富装饰性。琵琶树下，繁花斗艳，一对锦鸡嬉戏其间，树梢果实累累，绿叶掩映，群鸟相鸣，给人喜庆祥和的视觉感受。此作绘于乾隆二十七年（壬午，1762），作者时年八十一岁。",[200,24,56,28,62,201,34,526,2177,7],"枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab98048035316f1f40ef1a094497f236.jpg","纵171.6厘米，横95.9 厘米",[306],209,{"id":2183,"slug":2184,"title":2185,"dynasty":124,"author":197,"museum":53,"description":2186,"tags":2187,"thumbUrl":2188,"material":601,"size":2189,"collection":144,"collections":2190,"showCount":2191,"zanCount":11,"manualWeight":46,"mainColor":149},218864,"xi-shan-gao-yi-tu-xia-gui-218864","溪山高逸图","山石以劲挺斧劈皴勾勒，棱角如剑刃划破烟岚，却含苍润之气。树木疏朗，枝干屈铁盘结，墨色浓淡相济，叶簇攒云般摇曳，似在风中低语清寂。构图于层峦间藏空灵：远山隐黛，近树扶疏，溪涧凉意从林木间隙渗出，未绘却已感知。\n\n整幅画以极简笔墨写尽“高逸”：无喧嚣，唯山风穿林轻响；无俗事，唯隐者静观天地。树后茅舍隐约，似有高士凭窗，将尘心托付烟霞，精神游弋林泉。苍劲中见温婉，疏淡里藏深情——恰如宋人对自然的敬畏，对自由的向往，尽在咫尺画卷间，让观者也随笔墨潜入山林，暂忘尘扰。",[23,24,29,36,27,95,96,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc83a500324062626de8322a3fc16b72d.jpg","45.5x36.5厘米",[144,42],207,{"id":2193,"slug":2194,"title":2195,"dynasty":18,"author":19,"museum":561,"description":1197,"tags":2196,"thumbUrl":2198,"material":217,"size":660,"collection":70,"collections":2199,"showCount":2200,"zanCount":517,"manualWeight":46,"mainColor":250},287521,"lin-mao-wu-tu-juan-shen-zhou-287521","林茅屋图卷",[23,200,24,25,26,27,28,29,227,391,34,7,30,33,38,82,2197],"清逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd357ed146fa7ee50540d33597d420cd.jpg",[],205,{"id":2202,"slug":2203,"title":2204,"dynasty":296,"author":436,"museum":108,"description":2205,"tags":2206,"thumbUrl":2209,"material":84,"size":2210,"collection":306,"collections":2211,"showCount":2212,"zanCount":11,"manualWeight":46,"mainColor":149},218956,"gui-he-yan-nian-tu-yi-ming-218956","龟鹤延年图","丹顶朱冠，白羽墨翅，仙鹤或昂首引颈似欲唳天，或曲颈垂首若啄苔矶，姿态灵动。修竹挺翠，叶影婆娑，掩映其间；侧畔飞瀑流泉，漱石鸣玉，云雾氤氲如缕，漫笼山隰。笔墨古雅，设色沉朴，仙鹤的灵秀与竹石的清逸相映成趣，流露出祥瑞康宁的意蕴。画面古朴静谧，仿佛将自然生机凝于绢素之上，尽显岁月沉淀下的雅致与吉祥。",[24,56,28,391,488,2207,31,7,62,2208],"龟","长寿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77cfda5f494d8b62a606671a72d79ae1.jpg","111x54cm",[306],204,{"id":2214,"slug":2215,"title":2216,"dynasty":18,"author":2217,"museum":108,"description":2218,"tags":2219,"thumbUrl":2220,"material":40,"size":2221,"collection":42,"collections":2222,"showCount":2212,"zanCount":605,"manualWeight":46,"mainColor":149},217879,"feng-ye-chun-yu-tu-chen-huan-217879","枫野春雨图","陈焕","枫野春雨图是明朝画家陈焕的著名作品之一。这幅画描绘了一个清新的春天景象，画面中有花开的枫树和悠扬的柳树，还有漫天的淡蓝色的春雨。\n\n陈焕是明朝时期的一位著名画家，他的作品多以山水画见长，枫野春雨图也是其中的杰作。这幅画不仅描绘了自然的美景，还有足够的空间来表达艺术家的情感和思想。枫野春雨图中的春雨表现出了明朝时期人们对自然和谐的向往，而枫树和柳树的生机勃勃则象征着明朝的繁荣和繁茂。\n\n总的来说，枫野春雨图是一幅优美而富有感情的山水画，它不仅展示了陈焕的艺术才华，还反映了明朝时期人们对自然和谐的向往。",[23,24,28,29,56,36,837,539,112,33,32,724,30,31,7,133,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb9b68f66e9d9331884c00f7b78f3e3f.jpg","33.5x65.7cm",[42,264],{"id":2224,"slug":2225,"title":2226,"dynasty":18,"author":436,"museum":561,"description":2227,"tags":2228,"thumbUrl":2230,"material":70,"size":70,"collection":70,"collections":2231,"showCount":2232,"zanCount":517,"manualWeight":46,"mainColor":47},235322,"shen-zhou-xi-shan-wan-zhao-tu-zhou-yi-ming-235322","沈周溪山晚照图轴","此作用高远章法铺陈，上部危崖耸峙，飞泉自谷间垂落，苍劲皴笔勾勒出嶙峋厚重的山石肌理。下部溪岸错落，疏林亭亭，茅舍隐于陂岸之后，淡墨晕染出薄暮空濛之境。\n\n笔墨带着吴门画派的文人情致，枯湿浓淡相宜，简淡中见苍润。诗画合璧，将山居暮色里的幽寂禅意娓娓道来，林泉高致的雅兴融于尺幅，静穆空远，尽显晚照溪山的澹然逸趣。",[24,25,95,27,29,31,130,34,7,2229,36],"夕阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bbddeb071a1e562b0706ec6e36e9088.jpg",[],203,{"id":2234,"slug":2235,"title":2236,"dynasty":2237,"author":436,"museum":2238,"description":2239,"tags":2240,"thumbUrl":2243,"material":116,"size":70,"collection":146,"collections":2244,"showCount":2232,"zanCount":46,"manualWeight":46,"mainColor":149},218498,"fu-hu-luo-han-tu-yi-ming-218498","伏虎罗汉图","隋","纳尔逊·阿特金森艺术博物馆","松枝苍劲如铁，虬干盘曲间洒落清寂。罗汉衣袂简淡，手持念珠，眉目舒展，静定之气溢于笔端。猛虎伏身于侧，斑纹墨线勾勒得古朴生动，却无往日凶戾，似被禅意悄然驯服，尾梢轻卷，与罗汉相望成趣。画面以淡墨晕染，线条洗练，每一笔皆藏古雅之韵。禅者的澄明与猛兽的温顺在此交融，于简素构图中铺展一方物我相忘的天地，仿佛能闻松风低语，见禅心照彻，尽显传统水墨中“以静制动”的妙趣与哲思。",[24,25,27,712,784,58,2241,1396,96,7,2242,82],"虎","枯木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6874aa5c9ffd1e8999c79d811f94fa79.jpg",[146],{"id":2246,"slug":2247,"title":2248,"dynasty":18,"author":2249,"museum":561,"description":2250,"tags":2251,"thumbUrl":2254,"material":70,"size":70,"collection":70,"collections":2255,"showCount":2256,"zanCount":517,"manualWeight":46,"mainColor":149},228390,"kong-que-mu-dan-tu-yin-hong-228390","孔雀牡丹图","殷宏","垂柳柔条轻曳，桃枝缀满繁花，引百鸟穿梭啼鸣。孔雀身披彩翎，羽斑环环相扣明丽夺目，信步于湖石之侧，气度雍容不凡。牡丹或素洁似雪，或秾艳若霞，与苍古湖石、翠色草木交织成趣，仙鹤亭亭而立更添清贵。\n整幅画笔致工细，设色妍雅柔和，将春日园林的富贵生机铺陈眼前，把翎毛花卉的灵动雅致糅合无间，尽显吉祥富丽的美好意涵，是极具代表性的工笔花鸟佳作。",[23,200,24,25,2252,28,56,62,63,441,34,2253,7,526,524,201],"明代","柳枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe1384e37440b3476c7844a32e3504f3.jpg",[],202,{"id":2258,"slug":2259,"title":2260,"dynasty":654,"author":2261,"museum":53,"description":2262,"tags":2263,"thumbUrl":2268,"material":68,"size":2269,"collection":70,"collections":2270,"showCount":2271,"zanCount":764,"manualWeight":46,"mainColor":149},226701,"ceng-yan-cong-shu-tu-ju-ran-226701","层岩丛树图","巨然","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。",[23,200,24,25,95,27,36,29,2264,2265,7,34,158,2266,1066,2267],"层岩","丛树","叠嶂","岩峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce4699ce8c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× 23.8厘米",[42],198,{"id":2294,"slug":2295,"title":123,"dynasty":78,"author":436,"museum":360,"description":2296,"tags":2297,"thumbUrl":2298,"material":84,"size":2299,"collection":42,"collections":2300,"showCount":2292,"zanCount":11,"manualWeight":46,"mainColor":149},218083,"xi-shan-xing-lv-tu-yi-ming-218083","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。",[24,27,28,36,29,32,7,96,31,158,34,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50f2b220aace68ac2f2e8d66ba147f2c.jpg","110.5x176.5cm",[42],{"id":2302,"slug":2303,"title":2304,"dynasty":124,"author":2305,"museum":53,"description":2306,"tags":2307,"thumbUrl":2308,"material":84,"size":2309,"collection":144,"collections":2310,"showCount":2311,"zanCount":764,"manualWeight":46,"mainColor":149},220440,"xian-chou-zeng-qing-tu-li-song-220440","仙筹增庆图","李嵩","这幅画描绘了神山海屋之中列仙相对而坐，童子搬筒筹开算，白鹤翔舞于祥云之上的情景。\n李嵩（1166-1243），宋钱塘（今杭州）人。出身贫寒，年少时曾以木工为业。好绘画，颇远绳墨。被宫廷画家李从训收为养子，承授画技，终成一代名家。宋光宗、宋宁宗、宋理宗三朝（1190―1264）画院待诏，时人尊之为“三朝老画师”。工画人物道释，得从训遗意，尤长于界画。人物画用笔细致，神采奕奕；花鸟画精丽严谨，不觉繁缛呆滞；山水画以意匠经营，情留象外，引人入胜；界画不用界尺，而宫苑楼阁规矩绳墨皆备，不同凡响。绘画题材丰富多彩，从宫廷到民间、从城市到农村、从生产到生活、从吃喝到娱乐、从仙山到龙宫、从历史到现实均在画中有所反映，以反映农村风土和农民生活的居多，所作有精工鲜丽之院体画，作品甚丰，仅著录者就达50多幅。",[23,24,25,95,28,57,56,58,60,30,201,29,34,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe070c143a0f3072716b654c698e92135.jpg","175.9×102.7cm",[144,289,264],197,{"id":2313,"slug":2314,"title":2315,"dynasty":124,"author":1089,"museum":1043,"description":2316,"tags":2317,"thumbUrl":2318,"material":116,"size":2319,"collection":306,"collections":2320,"showCount":2321,"zanCount":605,"manualWeight":46,"mainColor":149},218750,"yun-xing-yu-shi-tu-chen-rong-218750","云行雨施图","这幅无名画据说是宋代著名龙画家陈容的作品，与波士顿博物馆的标准九龙图相比，它最接近波士顿博物馆的收藏。两条龙盘踞在岩石间的缝隙中，墨色苍白而古老，笔触滴水不漏。这幅画可以说是陈所翁画派的一个精品。",[23,24,25,26,27,36,907,112,7,883,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa093ef59801c36ccbbb03de72275687d.jpg","40x180cm",[306],196,{"id":2323,"slug":2324,"title":2325,"dynasty":296,"author":498,"museum":346,"description":2326,"tags":2327,"thumbUrl":2328,"material":40,"size":2329,"collection":42,"collections":2330,"showCount":2321,"zanCount":764,"manualWeight":46,"mainColor":47},217882,"fang-huang-gong-wang-shan-shui-tu-wang-yuan-qi-217882","仿黄公望山水图","王原祁是清朝时期的一位著名画家。他的著名作品之一是《仿黄公望山水图》。这幅画描绘了一片山水风光，栩栩如生，富有情感。\n\n画中还有许多树木，树冠翠绿，繁茂葱茏。这些树木为画面增添了一份自然之美。在远处，还有一座小山村，山村虽小，却热闹非凡。山村中的人们忙碌于农活，虽繁忙，但却感到无比的幸福。\n\n总的来说，《仿黄公望山水图》是一幅优美的山水画，王原祁用笔墨勾勒出了一片美丽的山水风光，让人感受到大自然的魅力。",[23,24,25,29,27,36,186,7,34,132,33,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c4e2c03c42a5d5143baef473d62673f.jpg","132.6x51.2cm",[42],{"id":2332,"slug":2333,"title":106,"dynasty":296,"author":870,"museum":561,"description":2334,"tags":2335,"thumbUrl":2336,"material":70,"size":70,"collection":42,"collections":2337,"showCount":2338,"zanCount":11,"manualWeight":46,"mainColor":47},224497,"shan-shui-ce-shi-tao-224497","此作以峡谷江流铺展画卷，春水澹澹载扁舟穿峡而过，舱中旅人静对山光。浅绛轻施晕染山石，清润柔和间见嶙峋风骨，枯笔皴擦点染枯枝，苍劲朴拙，与柔缓水色相映成趣。\n题诗伴画，将羁旅闲愁融进山岚烟波，画随诗添寂廖清旷之致。笔意灵动不拘一格，以淡墨轻岚晕开早春空蒙水雾，把文人隐逸襟怀寄寓在山水间，简淡画面中藏着悠长余韵，尽得山水写意之妙。",[23,24,28,27,36,111,29,32,31,7,96,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe13ec00a8f9b85ce3fb668f29eabc877.jpg",[42,264],194,{"id":2340,"slug":2341,"title":2342,"dynasty":124,"author":436,"museum":360,"description":2343,"tags":2344,"thumbUrl":2345,"material":2346,"size":2347,"collection":144,"collections":2348,"showCount":2349,"zanCount":11,"manualWeight":46,"mainColor":149},223549,"luo-shen-fu-tu-quan-juan-yi-ming-223549","洛神赋图全卷","曲折細緻而又層次分明地描繪着曹植與洛神真摯純潔的愛情故事。人物安排疏密得宜，在不同的時空中自然地交替、重疊、交換，而在山川景物描繪上，無不展現一種空間美。 全畫用筆細勁古樸，恰如“春蠶吐絲”。山川樹石畫法幼稚古樸，所謂“人大於山，水不容泛”，體現了早期山水畫的特點。",[23,24,26,56,28,712,58,59,29,564,907,201,34,7,60,215,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f91a02ada093698df90828a9cfe6c6.jpg","长卷 绢本 设色","28x699厘米",[144,289,264],192,{"id":2351,"slug":2352,"title":2353,"dynasty":124,"author":998,"museum":1043,"description":2354,"tags":2355,"thumbUrl":2356,"material":673,"size":2357,"collection":144,"collections":2358,"showCount":2359,"zanCount":517,"manualWeight":46,"mainColor":149},221511,"xi-shan-xue-yi-tu-juan-quan-juan-liu-song-nian-221511","溪山雪意图卷全卷","《溪山雪意图卷》绘雪后溪水两岸的景色，平坡低冈、溪桥村舍，已是银装素裹；枯木、乔松、林竹错落，泉水湍急；有舟静泊岸边，冈坡上一人冲寒担物而行，全图将雪霁清冷寒寂的画意很好地表达了出来。画家于树石屋舍用笔一丝不苟，画风整饬、谨严。\n此图很久以来被视为北宋画家高克明的作品，实则依画卷采用近景构图、冈阜坡石用斧劈皴等特点来看，应为南宋前期的作品。",[23,24,200,25,26,56,36,27,29,537,242,7,35,316,32,724,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cd5c1bd9704942c7a6de2994068aba4.jpg","纵41厘米、横241.3厘米",[144,42,264],191,{"id":2361,"slug":2362,"title":2363,"dynasty":78,"author":79,"museum":360,"description":2364,"tags":2365,"thumbUrl":2366,"material":246,"size":2367,"collection":42,"collections":2368,"showCount":2359,"zanCount":764,"manualWeight":46,"mainColor":47},220762,"dan-ya-yu-shu-tu-zhou-huang-gong-wang-220762","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。",[24,25,95,27,29,7,34,36,37,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d47a387eca670a16b7feb78d3aa3088.jpg","纵101.3厘米，横43.8厘米",[42,146],{"id":2370,"slug":2371,"title":2372,"dynasty":78,"author":79,"museum":561,"description":2373,"tags":2374,"thumbUrl":2375,"material":70,"size":70,"collection":70,"collections":2376,"showCount":2377,"zanCount":46,"manualWeight":46,"mainColor":47},228251,"fu-chun-shan-ju-tu-zi-ming-juan-huang-gong-wang-228251","富春山居图子明卷","以淡墨干皴晕染富春丘壑，峰峦坡陀缓缓铺展，林木萧疏错落，晕开江南初秋的空寂淡远。用笔松秀灵动，线条温润苍劲，墨色干湿浓淡层次丰盈，晕染出山川悠远的氤氲清气。\n卷后题跋与山水相映，文心画意相融无间，尽显文人画的雅致意趣。整卷意境简远高迈，将天地山川的沉静澹泊与文人林下襟怀合而为一，如一首悠然山水长诗，引观画人步入富春烟岚之间，沉醉在清和淡远的隐逸之美中。",[24,25,26,27,29,36,82,37,38,7,34,96,452],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44e1e10a7fb6bfbb26013f2f77df7d9b.jpg",[],189,{"id":2379,"slug":2380,"title":2381,"dynasty":296,"author":2382,"museum":239,"description":2383,"tags":2384,"thumbUrl":2385,"material":885,"size":2386,"collection":70,"collections":2387,"showCount":2388,"zanCount":517,"manualWeight":46,"mainColor":47},223234,"mao-ren-yi-223234","猫","任颐","任颐（1840年－1895年），即任伯年，初名润，字次远，号小楼，后改名颐，字伯年，别号山阴道上行者、寿道士等，以字行，浙江山阴航坞山（今杭州市萧山区瓜沥镇）人，清末著名画家。\n自幼随父卖画，后从任熊、任薰学画，后居上海卖画为生。在“四任”之中，成就最为突出，是“海上画派”中的佼佼者，“海派四杰”之一。任伯年的绘画发轫于民间艺术，技法全面，山水、花鸟、人物等无一不能。重视写生，又融汇诸家法，并吸取水彩色调之长，勾皴点染，格调清新。\n其人物画，早年从陈洪绶法出，形象夸张，富装饰效果。如故宫博物院藏《干莫炼剑图》轴。后练习铅笔速写后，变得较为奔逸，如故宫博物院藏《风尘三侠图》轴等。其写照技艺，高妙绝伦，曾为虚谷、胡公寿、赵之谦、任薰等多人画像，无不逼肖。浙江省博物馆藏有其《酸寒尉像》轴，写吴昌硕着官衣立像，极其传神；其花鸟画，早年以工笔见长，仿北宋人法，近于陈洪绶。后取法恽派及陈淳、徐渭、朱耷的写意法，笔墨趋于简逸放纵，设色明净淡雅，形成兼工带写、明快温馨的格调。代表作有藏于徐悲鸿纪念馆的《紫藤翠鸟图》轴等。对近现代花鸟画产生了巨大影响。\n海派中的佼佼者，其绘画发源于民间，重视继承传统，吸收西画技法，形成风姿多采的独特画风，在“四任”中成就最为突出。 　擅人物、花鸟、山水，其人物画取材广泛，作品能反映现实生活，针砭社会，寄托个人情怀，具有一定思想性。造型简练、准确，生动传神，手法多变。他的花鸟画师法陈淳、徐渭、石涛、恽寿平、华喦及北宋诸家。博采众长，转益多师，成为集工笔、写意、勾勒、没骨于一身的画家。他于传统的笔墨之中掺以水彩画法，淡墨与色彩相交溶，风格明快、温馨、清新、活泼，极富创造性。山水画虽不多作，但也构图布局变化多端，笔墨技巧能跳出传统窠臼，别具一格。任颐的绘画在当时及现当代具有极大影响。有《苏武牧羊》《女娲炼石》《关河一望萧索》《树荫观刀》《群仙祝寿》及大量的花鸟、山水等作品传世，后人出版有多种画册、画集。\n任颐是我国近代杰出画家，在“四任”之中成就最为突出，是海上画派中的佼佼者。他的杰出艺术成就受到世人瞩目。\n任颐初名润，字小楼，后字伯年，浙江山阴（今杭州市萧山区瓜沥镇）人。生于鸦片战争的清道光十九年（1840年），卒于光绪二十二年（1896年）。父亲任声鹤是民间画像师，大伯任熊，二伯任熏，已是名声显赫的画家。少时受家庭的熏染，已能绘画。十来岁时，一次家中来客，坐了片刻就告辞了，父亲回来问是谁来，伯年答不上姓名，便拿起纸来，把来访者画出，父亲看了，便知是谁了。这说明任伯年幼年就掌握了写真画技巧。\n任伯年曾在十几岁青年时期，在太平天国的军中“掌大旗”，当时军旗较大，“战时麾之，以为前驱”。直到天京沦陷，任伯年才回家乡，后至上海随任熊、任熏学画。以后长期在上海以卖画为生。任伯年为人率真，不修边幅，学画时近30岁，画多而名声渐大，但其身心深受鸦片之害，损伤元气，这也是他年仅56岁就过早去世的原因。 任伯年的绘画发轫于民间艺术，他重视继承传统，融汇诸家之长，吸收了西画的速写、设色诸法，形成自己丰姿多采、新颖生动的独特画风。\n工细的仕女画近费晓楼，夸张奇伟的人物画法陈洪绶，装饰性强的街头描则学自任熏，后练习铅笔速写，变得较为奔逸，晚年吸收华岩笔意。\n就任伯年的个人艺术造诣来看，花鸟画的本领比较高，若以当时画坛的情况而言，他的人物影响比较大，原因是当时画人物画家少，成就高者更少，象任伯年这样造诣，自然推至旁首。\n作者早期的仕女画多较工细。此图中仕女以手支颐，眼望春柳，惆怅若失。构图虽简单，用笔却十分细致。以细笔描绘青丝盘头，淡墨写面部、手指；衣纹线条流畅，起笔多顿点，用富有装饰性的钉头鼠尾描形成有节奏的白描效果。",[23,24,28,27,300,1396,2381,302,525,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73a86222d0db22e107ac26316d3450be.jpg","150cmx40cm",[],187,{"id":2390,"slug":2391,"title":2392,"dynasty":18,"author":1100,"museum":53,"description":2393,"tags":2394,"thumbUrl":2395,"material":2396,"size":70,"collection":42,"collections":2397,"showCount":2388,"zanCount":46,"manualWeight":46,"mainColor":47},220936,"fang-dong-yuan-shan-shui-dong-qi-chang-220936","仿董源山水","这套册页共二十二开，前副页两开，题「小中现大」四字，款：「董其昌题」。二十二开尺寸不一，本幅分别以绢本与纸本，临摹十一位宋元名家的作品，包括李成、董源、巨然、范宽、王诜、高克恭、赵孟頫、黄公望、吴镇、王蒙与倪瓒。",[24,25,29,186,36,27,111,7,34,132,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2b378d6bc49a8e287d430b3213f127b.jpg","绢本与纸本",[42,146],{"id":2399,"slug":2400,"title":2401,"dynasty":124,"author":154,"museum":53,"description":2402,"tags":2403,"thumbUrl":2405,"material":84,"size":2406,"collection":144,"collections":2407,"showCount":2388,"zanCount":764,"manualWeight":46,"mainColor":149},219430,"shan-zhuang-gao-yi-zhou-guo-xi-219430","山庄高逸轴","此图绘重峦峻岭，林木枯树，交错布列，楼阁村肆，环山抱水，景致宜人。构图以中央主峰为中心，画山石以宗北宋郭熙之云头皴为主，辅以董巨之短披麻，林木则呈蟹爪树法，画法可谓纯熟老练。貌虽似郭熙，然景物过于繁复琐碎，缺乏宋人撷取自然景物之写实精神与画法。",[24,200,95,29,27,36,7,242,60,30,31,32,130,2147,2404],"塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bde623440bfbc5ce33c5d2934788c7b.jpg","188.8x109.1",[144],{"id":2409,"slug":2410,"title":2411,"dynasty":18,"author":387,"museum":561,"description":2412,"tags":2413,"thumbUrl":2414,"material":84,"size":70,"collection":289,"collections":2415,"showCount":2416,"zanCount":46,"manualWeight":46,"mainColor":149},218408,"wang-xian-zhi-xiu-qi-tang-yin-218408","王献之休妻","疏柳垂丝如诉，嶙峋山石衬出几分萧索。白衣男子立于其间，衣袂轻扬却难掩眉宇间的复杂——是决绝？还是隐于礼法下的无奈？旁侧两位女子相拥而立，罗裙轻垂，身影柔弱如风中飘絮，彼此依偎的姿态似是对命运的无声抵抗。\n\n线条流转细腻，设色淡雅却见功底，人物神情的描摹尤见匠心：男子微蹙的眉头藏着隐衷，女子低垂的眼眸裹着悲戚，连垂落的柳枝都似在替人拭泪。整幅画以景衬情，将旧闻里的礼法束缚与情长纠葛凝于笔墨间，每一处细节都在轻声诉说：那些被时光掩埋的无奈，从来都藏在人物的一颦一笑、山石草木的一呼一吸里。",[200,24,25,95,28,56,58,29,96,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9c441d0be13c6b563da78fdded2b86c.jpg",[289],185,{"id":2418,"slug":2419,"title":462,"dynasty":78,"author":699,"museum":53,"description":2420,"tags":2421,"thumbUrl":2423,"material":368,"size":2424,"collection":42,"collections":2425,"showCount":2426,"zanCount":11,"manualWeight":46,"mainColor":149},221788,"shan-shui-tu-cao-zhi-bai-221788","《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。",[23,200,24,27,29,427,158,2422,7,82,37],"江岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3665a4d5c8569bf27af312555ab7bab.jpg","纵86.1厘米横34.3厘米",[42,146],184,{"id":2428,"slug":2429,"title":2430,"dynasty":296,"author":400,"museum":401,"description":402,"tags":2431,"thumbUrl":2432,"material":84,"size":405,"collection":70,"collections":2433,"showCount":2434,"zanCount":46,"manualWeight":46,"mainColor":149},214433,"xiu-yuan-tu-2-wang-yun-214433","休园图-2",[23,24,25,29,28,56,36,7,242,33,60,612,34,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffca2ad8d2e65071575f178ce231704c2.jpg",[],183,{"id":2436,"slug":2437,"title":2438,"dynasty":2237,"author":2439,"museum":53,"description":2440,"tags":2441,"thumbUrl":2443,"material":40,"size":2444,"collection":289,"collections":2445,"showCount":2446,"zanCount":11,"manualWeight":46,"mainColor":47},220447,"san-gu-cao-lu-tu-dong-zhan-220447","三顾草庐图","董展","本幅绘汉末刘备三顾草庐、邀诸葛孔明出山之故实。画中长松修竹掩翳茅屋，孔明羽扇纶巾、依榻凝思，童仆正应门而出。篱外刘备、关羽、张飞三骑及从者行近，山岭后并见旌旗戈戟微露，人马仍众。画笔轻健秀润，惟上半山岭系后人补笔。幅上无款，依元萨都剌至正甲午之题，定为隋董展所作。然萨都剌之题字与其年款及跋语内容均不合，应为后人作品所伪托。",[23,24,25,28,29,58,215,34,7,187,364,2442],"人物活动场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31935336d0a9d6d7dd611cbe1a446059.jpg","全幅 43.8x29.5公分，诗塘 17.8x29.5公分",[289],181,{"id":2448,"slug":2449,"title":2450,"dynasty":124,"author":1089,"museum":53,"description":2451,"tags":2452,"thumbUrl":2453,"material":601,"size":2454,"collection":306,"collections":2455,"showCount":2446,"zanCount":46,"manualWeight":46,"mainColor":149},219210,"lei-yu-sheng-long-tu-chen-rong-219210","雷雨升龙图","陈容于中国美术史上占有重要一席，“所翁龙”成为后人画龙的典范，倍受国人特别是明清以来画家们的追捧。甚至在日本，几百年来凡有龙图案的画亦绝大部分是仿效陈容。日本著名画家小泉淳作曾由衷地评价道：陈容的龙富有魅力，像真的一样活泼跳动，只有天才才会画出这样的画！\n顺便说一下，陈容不仅擅画龙，还擅长画松、竹、鹤，偶亦画虎，垂老笔力简易精妙，故世有‘所翁龙’、‘所翁鹤’和‘所翁竹’之称。在当时，达官显贵、文人骚客以能得到“所翁龙”而倍感荣幸。以玩弄权术、巧取豪夺而著称的奸臣宰相贾似道，一世搜刮金银珠宝、珍奇古玩无数，然他至死也未能讨到一幅“所翁龙”。",[23,24,25,200,26,27,907,883,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F517aa1aaeada469a2fccc91ffd164825.jpg","纵29.6横56.6cm",[306],{"id":2457,"slug":2458,"title":2459,"dynasty":18,"author":19,"museum":561,"description":2460,"tags":2461,"thumbUrl":2462,"material":70,"size":70,"collection":70,"collections":2463,"showCount":2464,"zanCount":11,"manualWeight":46,"mainColor":47},228913,"zhu-lin-tu-shen-zhou-228913","竹林图","此作以清和笔调铺展水村居境，汀洲之上屋舍错落，竹树环合，幽人静居于内，远山叠石皴法苍润，林木点染清逸。水墨晕染间，江南水滨的空寂雅趣漫溢而出。\n\n左侧题诗与画境相生相契，诗书画印浑融一体，将林下忘机的隐逸襟怀寄于湖山烟霭中。笔致温厚平宁，无一丝奇峭锋芒，恰如诗文所书的清修之态，把文人优游泉石、守拙安闲的意趣缓缓铺陈，淡朴的底色里藏着沉静自足的文人心境，尽显文人画以画载情、诗画共生的意韵。",[23,18,24,25,26,28,27,36,29,391,35,34,7,30,31,37,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadb9ece674ed91c675c84612a3765b50.jpg",[],180,{"id":2466,"slug":2467,"title":2468,"dynasty":18,"author":52,"museum":53,"description":2469,"tags":2470,"thumbUrl":2472,"material":203,"size":319,"collection":70,"collections":2473,"showCount":2464,"zanCount":46,"manualWeight":46,"mainColor":149},228437,"shang-lin-fu-tu-juan-chou-ying-228437","上林赋图卷","此幅图写司马相如上林赋意，卷末并附有署文徵明款之隶书全文。相如此赋乃为献汉武帝而作，以华美靡丽之词句，铺陈颂扬皇家园囿上林苑之堂皇富丽，与天子射猎场面之壮阔伟盛。画中极力描绘各种水陆神兽、奇花异卉，宫殿巍耸，人马迤逶，以见天子声威之浩大。人马树石造型精谨，用笔工细，设色浓豔亮丽，与赡丽之赋文相辉映。此类工笔重设色青绿山水常被标为仇英作品，但应为后人所伪托",[23,24,200,25,26,257,28,56,29,58,60,427,201,7,34,114,2471,61,31],"近山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c9816e974a23c3473ddacef5f4392ab.jpg",[],{"id":2475,"slug":2476,"title":2477,"dynasty":78,"author":107,"museum":53,"description":2478,"tags":2479,"thumbUrl":2481,"material":40,"size":2482,"collection":42,"collections":2483,"showCount":2464,"zanCount":11,"manualWeight":46,"mainColor":47},220808,"ju-qu-lin-wu-zhou-wang-meng-220808","具区林屋轴","此幅林画面的此署署名是王蒙以隶书题的「具具」四字，底下明为章画，具区的古时太湖的旧称，故图所表现的是太湖一代的景色。\n全图除了溪石之外，几乎被山石、树木、林间茅舍补充的没有轮廓，这种风格的构图方式在中国流淌的绘画作品中极为重要，开拓出国画构图之奇境。\n王大湖山中截面积，提炼加工，组织这幅极富生活情趣的画面：右富一坡角，数株大并列蒙其间，林下有高士临水而坐，犹如正摄着着橱窗的广告。\n水波荡漾，一人悠闲的划着小船；对岸山脚下，草亭临水而建，一人坐其间看书；山间小路迂回，曲径通幽，数栋屋宇内参差落于山谷，有妇女活动其间。\n内山石用「牛毛皴」与解索皴」干笔皴擦，多曲折旋转之笔，以突显出太湖中央山石的颜色；染则用墨与色直接染，丹崖碧树，一派秋日山水景象。",[23,24,25,95,28,29,36,7,31,34,60,671,132,2480],"木屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc40016c952c57aef101aaa6107539940.jpg","该幅68.7x42.5公分，诗塘25.2x42.2公分，全幅74.3公分",[42,264],{"id":2485,"slug":2486,"title":2487,"dynasty":124,"author":197,"museum":53,"description":2488,"tags":2489,"thumbUrl":2491,"material":84,"size":2492,"collection":144,"collections":2493,"showCount":2464,"zanCount":764,"manualWeight":46,"mainColor":149},218917,"guan-pu-tu-xia-gui-218917","观瀑图","画中的笔触平静而简练，水墨淋漓。近景突出，构图层次分明，实与虚、疏与密、远与近、开与合的对应关系明显，人物、树木、岩石的指向都是一步步画出来的，自然景物的细节更多是叠加的。这可能与夏圭的典型风格略有不同。",[23,24,27,28,1900,36,29,427,130,2490,7,33,31],"小船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda09cc87c5f596f8d71593807efe86cf.jpg","24.7x25.7",[144],{"id":2495,"slug":2496,"title":2497,"dynasty":296,"author":2498,"museum":20,"description":2499,"tags":2500,"thumbUrl":2501,"material":84,"size":70,"collection":70,"collections":2502,"showCount":2464,"zanCount":46,"manualWeight":46,"mainColor":47},214610,"hong-lou-meng-ren-wu-ce-ye-2-yu-lan-214610","红楼梦人物册页-2","喻兰","喻兰(1742—1809)，字韵斋，号少兰，桐庐人。清代女画家。嘉庆三年(1798)，朝廷以命题考选画师，喻兰匠心独具，布景设色无不恰合题意，以第二名录取。不久，选入内廷，任画苑供奉职。喻兰擅画人物、仕女，用笔浓重，虽不脱画院派习气，却无纤弱之嫌。画楼台殿阁，往往参照西洋手法，信手画来，无不神韵毕致，惟妙惟肖。\n此册页所画为古典四大名著《红楼梦》第二十七回“埋香冢飞燕泣残红”中黛玉葬花的场景。",[24,28,56,111,38,37,57,33,391,58,59,31,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17f5029b6dd2fd7aaf133fd9faf6ce40.jpg",[],{"id":2504,"slug":2505,"title":2506,"dynasty":296,"author":436,"museum":360,"description":733,"tags":2507,"thumbUrl":2508,"material":454,"size":739,"collection":70,"collections":2509,"showCount":2510,"zanCount":46,"manualWeight":46,"mainColor":149},236172,"yong-zheng-shi-er-yue-xing-le-tu-zhou-yi-ming-236172","雍正十二月行乐图轴",[24,56,57,28,29,58,60,34,113,61,64,7,525],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e92a7368abaea9d15bd4eedf67eb66b.jpg",[],179,{"id":2512,"slug":2513,"title":2514,"dynasty":18,"author":436,"museum":1137,"description":2515,"tags":2516,"thumbUrl":2518,"material":84,"size":2519,"collection":289,"collections":2520,"showCount":2510,"zanCount":46,"manualWeight":46,"mainColor":149},218294,"xiang-long-luo-han-tu-yi-ming-218294","降龙罗汉图","罗汉袒胸盘坐，红衣如焰翻卷，青带若云流转，神情从容间藏着威严。手中钵盂盛翠，似凝天地生机；法杖拄地，顶轮熠熠，似镇世间妄念。足下蛟龙蜷身，鳞爪毕现却温顺俯首，龙须轻摆仍余灵动，尽显降伏之态。背景幽岩深暗，衬出主体鲜活。线条劲健流畅，衣纹褶皱如行云流水；设色浓淡相宜，红与蓝的碰撞点亮画面。整作将罗汉法力无边与慈悲相济凝于笔端，龙的驯服更显佛法庄严，尽显明代佛画的精湛造诣与精神内核，观之令人心生敬畏与宁静。",[24,784,58,907,28,56,95,7,2517],"拐杖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8bcc5483184976244b0b04126d77aa8.jpg","172.2x109.2",[289],{"id":2522,"slug":2523,"title":2524,"dynasty":124,"author":769,"museum":53,"description":2525,"tags":2526,"thumbUrl":2527,"material":84,"size":2528,"collection":289,"collections":2529,"showCount":2530,"zanCount":11,"manualWeight":46,"mainColor":149},216969,"yu-wang-kai-shan-tu-juan-zhao-bo-ju-216969","禹王开山图卷","赵伯驹，是中国宋代画家。他的作品《禹王开山图卷》是一幅著名的山水画，是他最著名的作品之一。\n\n《禹王开山图卷》画中描绘的是禹王开山垦沼的故事，以及禹王统治时期的生活和文化。画面上的人物和建筑都极具细致和生动，山水风光也非常优美。\n\n赵伯驹的画风风格独特，他擅长用细腻的线条勾勒出各种题材，并运用浓淡自然的墨色，使画面充满生机和活力。《禹王开山图卷》是宋代著名的山水画之一，被视为赵伯驹的代表作。",[200,24,25,26,257,28,56,36,29,58,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ff12f946a0ce4f72da37bbe835ca4f7.jpg","35x221.1",[289],178,{"id":2532,"slug":2533,"title":667,"dynasty":296,"author":668,"museum":360,"description":2534,"tags":2535,"thumbUrl":2536,"material":673,"size":2537,"collection":70,"collections":2538,"showCount":2539,"zanCount":11,"manualWeight":46,"mainColor":149},234328,"song-mei-shuang-he-tu-shen-quan-234328","此画为作者晚年之作，笔触细致工整，造型生动准确，技法出自明代而又极具个人风格，笔墨工致，敷色浓艳，注重渲染，形象逼真，富有立体感。劲健、流畅的线条，细密的局部勾画，完美的画面构图，令人难以看出此乃年已古稀之人的手笔。",[24,25,200,95,56,28,62,272,390,488,7,489],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36593b35e7fbbcd65293d043000633a0.jpg","191cm×98.3cm",[],177,{"id":2541,"slug":2542,"title":2543,"dynasty":18,"author":424,"museum":53,"description":2544,"tags":2545,"thumbUrl":2546,"material":116,"size":2547,"collection":42,"collections":2548,"showCount":2549,"zanCount":605,"manualWeight":46,"mainColor":47},219517,"lan-ting-xiu-xie-tu-wen-zheng-ming-219517","兰亭修褉图","以淡墨白描晕染兰亭雅集，层峦叠嶂纵立画面，古松虬枝苍劲，环护着溪畔兰亭。曲水蜿蜒流淌，士人列坐其侧，或把盏沉吟，或挥毫题咏，将永和雅事鲜活铺展。\n\n笔墨清隽秀雅，山石勾勒细劲简洁，淡皴轻染晕出山林幽寂，尽显内敛雅致的吴门意趣。绢素之上凝住魏晋林下风流，以极简水墨铺陈出旷远清幽的雅集氛围，藏着对古贤风雅的追慕，笔端浸满书卷清韵，将千载前的林下雅兴，晕染成隽永的丹青意趣。",[24,25,95,27,28,29,58,33,31,34,7,82,37,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37ad5f5c5fbcf8cbdb86cdfd03b879c3.jpg","140.3x73.2",[42],176,{"id":2551,"slug":2552,"title":2553,"dynasty":124,"author":2554,"museum":1137,"description":2555,"tags":2556,"thumbUrl":2557,"material":84,"size":2558,"collection":42,"collections":2559,"showCount":2549,"zanCount":11,"manualWeight":46,"mainColor":149},214518,"ba-qiao-feng-xue-tu-wu-jun-chen-214518","灞桥风雪图","吴俊臣","这幅画描绘了一位身穿朱衣的老人在风雪中骑着驴子的情景。画的右上角的沟壑似乎暗示了行人的方向。这幅画的主要部分是一个突兀的岩石坡，有一些水墨。岩石都是用小斧头凿出来的，笔触犀利清晰，类似于王履的《华山图册》。这幅画也很受宋朝人的欢迎，画中的山峦起伏，山峰高耸。虽然这幅画没有标记，但它是明代山水画的杰作。",[24,200,95,27,36,29,30,215,58,242,427,7,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d557b70cd8249aa75223779299161f7.jpg","191x94.4",[42],{"id":2561,"slug":2562,"title":2563,"dynasty":296,"author":2564,"museum":561,"description":2565,"tags":2566,"thumbUrl":2570,"material":27,"size":70,"collection":42,"collections":2571,"showCount":2572,"zanCount":11,"manualWeight":46,"mainColor":47},216844,"zhan-zheng-tong-ban-hua-lang-shi-ning-216844","战争铜版画","郎世宁","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。这些版画主要由当时在宫廷服务的欧洲传教士绘制，如郎世宁、王志成、艾启蒙和安德烈。柏林国家图书馆的东亚部分拥有五个系列的64幅版画。",[2567,2568,58,215,29,34,7,2569],"铜版画","战争","帐篷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17f8252dec1e59bebb52ee40d5d9bef8.jpg",[42],175,{"id":2574,"slug":2575,"title":2576,"dynasty":124,"author":436,"museum":1137,"description":2577,"tags":2578,"thumbUrl":2580,"material":84,"size":2581,"collection":289,"collections":2582,"showCount":2572,"zanCount":46,"manualWeight":46,"mainColor":47},216773,"mo-gu-kai-zhi-luo-shen-fu-tu-yi-ming-216773","摹顾恺之洛神赋图","传世为宋代的四件摹本，皆以曹植《洛神赋》诗意所绘",[23,24,25,26,186,28,712,56,58,59,29,32,60,34,2060,7,2579,201],"异兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc887e713feff7eb3a0e61a93bee81203.jpg","24.2x310.9",[289],{"id":2584,"slug":2585,"title":2586,"dynasty":18,"author":2587,"museum":53,"description":2588,"tags":2589,"thumbUrl":2590,"material":116,"size":2591,"collection":42,"collections":2592,"showCount":2572,"zanCount":605,"manualWeight":46,"mainColor":149},214827,"cao-tang-yun-shu-tu-wang-fu-214827","草堂云树图","王绂","这幅画描绘了一个溪边的小屋，一个高士在看喷泉和看书；岩石上潦草地画着荷叶，树干和树叶用各种笔法画着，都是王绂的原创风格。",[23,24,25,95,27,36,29,34,130,132,227,427,114,133,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3942008c8970d09809b068a18c45de0e.jpg","118x38.7",[42],{"id":2594,"slug":2595,"title":1572,"dynasty":793,"author":2596,"museum":346,"description":2597,"tags":2598,"thumbUrl":2599,"material":84,"size":2600,"collection":42,"collections":2601,"showCount":2602,"zanCount":11,"manualWeight":46,"mainColor":663},219766,"qing-lv-shan-shui-tu-li-si-xun-219766","李思训","李思训（651-716，一作653-718）唐代书画家。字建睍，一作建景。出身唐宗室。唐高祖从弟长平王李叔良孙，李孝斌子。陇西成纪(今甘肃天水市)人。唐高宗(650-683)时为江都令，武则天朝(684-704)弃官潜匿，唐中宗朝出为宗正卿，唐玄宗开元初，官至左武卫大将军，因玄宗时官至右武卫大将军，所以被称为“大李将军”。擅画青绿山水，受展子虔的影响，笔力遒劲。题材上多表现幽居之所。传为他的作品有台北故宫博物院藏的《江帆楼阁图》轴，画游人在江边活动，以细笔勾勒山石轮廓，赋重青绿色，富于装饰性。此画虽今被认定为宋人手笔，但可以反映他的画风。他的儿子李昭道，官至太子中舍人，也是著名的画家，人称“小李将军”，秉承家学，亦擅青绿山水，风格工巧繁缛。藏于台北故宫博物院的《明皇幸蜀图》画唐玄宗及随从逃难四川的情形，宋以来相传为他的作品，现被断为宋人摹本。此派的山水风格，在初唐的章怀太子墓和懿德太子墓壁画中亦可看到。",[23,200,24,25,95,257,28,56,57,29,60,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1d907e9ba09310c5bbacf3e00fd591b.jpg","纵 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mbUrl":2776,"material":885,"size":2777,"collection":144,"collections":2778,"showCount":2779,"zanCount":46,"manualWeight":46,"mainColor":149},221573,"xue-tang-ke-hua-tu-xia-gui-221573","雪堂客话图","此图画江南寒江雪景。山村房舍为皑雪覆盖，寒气袭人。二人于室内对话。图中山峦用小斧劈皴和短线条秃笔，以表现山石方硬奇峭而又苍润浑融的质感。天空和水略染淡墨，以烘托大雪的洁白和寒气袭人的气氛。构图采用“边角式”局部取景法。全图笔法苍劲深厚、豪放典雅。",[23,24,25,27,28,36,29,537,2775,32,242,7,316,34],"堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9ddc3386f8dbe0c41f1f8a1fa90e3bf.jpg","纵28.2厘米，横29.5厘米",[144,42,146],160,{"id":2781,"slug":2782,"title":2783,"dynasty":296,"author":2784,"museum":53,"description":2785,"tags":2786,"thumbUrl":2789,"material":40,"size":2790,"collection":289,"collections":2791,"showCount":2779,"zanCount":46,"manualWeight":46,"mainColor":47},214808,"wu-ri-zhong-kui-tu-hua-yan-214808","午日钟馗图","华嵒","这幅画表现的是一朵石榴花靠着一块石头，在一个清澈的池塘里有一支箭。钟馗坐在椅子上，头戴绿帽，身穿大衣，欣赏着锦葵花。在他身后，桌子上放着水果、酒和香喷喷的饺子。五个鬼魂陪伴着他，一个拿着一把破伞遮挡阳光，一个手里拿着一个酒瓶，一个头上戴着花。其中一个人偷了一盘橙子，试图把它藏在腋下，但另一个鬼注意到了，用左手摘下他的围巾，用右手打他的上衣。另一个鬼注意到了，用他的左手摘下他的围巾，而他的右手打在他的上面。整幅画是故事性和趣味性的结合，观者不禁为之倾倒。",[23,24,25,28,27,300,58,415,244,2034,2787,1373,82,2036,7,2788],"伞","垂柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbc9a31aafc0ced5a148f4c4af90990a.jpg","131.5x63.7",[289],{"id":2793,"slug":2794,"title":2795,"dynasty":18,"author":238,"museum":53,"description":2796,"tags":2797,"thumbUrl":2798,"material":142,"size":2799,"collection":42,"collections":2800,"showCount":2801,"zanCount":605,"manualWeight":46,"mainColor":149},222599,"bai-yun-hong-shu-tu-zhou-lan-ying-222599","白云红树图轴","此幅用没骨法以石青、石绿色画山石，用朱砂画小草，树叶也用浓艳的红、黄、青、绿没骨点出，云用白粉渲染。画面色彩浓重丰富，却又典雅清新。自识“张僧繇没骨法”，实为画家自己独创的画风，此幅为蓝瑛青绿重彩画的代表作。",[23,24,95,257,28,36,29,1067,861,7,31,30,58,427,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56139497977653ee9c9be5bfb32552a0.jpg","纵189.4厘米，横48厘米",[42,264],159,{"id":2803,"slug":2804,"title":2805,"dynasty":124,"author":548,"museum":1137,"description":2806,"tags":2807,"thumbUrl":2808,"material":84,"size":2809,"collection":289,"collections":2810,"showCount":2801,"zanCount":46,"manualWeight":46,"mainColor":149},220448,"song-xia-dui-yi-tu-li-cheng-220448","松下对弈图","李成（919~967年），字咸熙，号营丘，京兆长安（今陕西省西安市）人。五代宋初画家，与董源、范宽并称“北宋三大家”，苏州刺史李鼎的孙子。\n博学多才，胸有大志，无处施展，醉心于书画。乾德五年，病逝于陈州，时年四十九岁。\n擅于山水画，师承于荆浩、关仝，自成一家，喜欢画郊野平远旷阔的风景。平远寒林，画法简练，气象萧疏，好用淡墨，“惜墨如金”；绘画山石如卷动的云，人称“卷云皴”；绘画寒林，开创“蟹爪”法，对于山水画的发展有重大影响。作品有《读碑窠石图》《寒林平野图》《晴峦萧寺图》《茂林远岫图》等。",[23,24,200,25,95,27,36,29,58,427,7,130,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2dc15899bec8d07f16b7c9e8e68853c.jpg","155.1x99.1cm",[289,144],{"id":2812,"slug":2813,"title":2814,"dynasty":124,"author":449,"museum":1043,"description":2815,"tags":2816,"thumbUrl":2817,"material":601,"size":70,"collection":42,"collections":2818,"showCount":2801,"zanCount":764,"manualWeight":46,"mainColor":149},218590,"gui-zhuang-tu-ma-yuan-218590","归庄图","虬劲的松枝如墨线盘绕，斜覆在山间幽居之上，松针似点似染，苍润中藏着清劲。屋舍窗明几净，隐于松荫下，与远处淡墨晕染的峰峦、烟水相映。一人素衣独行，身影在空濛的天地间轻淡如尘。笔墨简括却意韵悠长，留白处尽是山水的空灵与归隐的恬淡，仿佛能听见松风掠过檐角，看见云气漫过山腰，将宋代文人心中的林泉之趣，凝在这一方绢素之中。",[23,24,200,95,27,36,29,33,427,58,7,35,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99b1435174880a33165f3ee3dd1c464e.jpg",[42],{"id":2820,"slug":2821,"title":2822,"dynasty":296,"author":870,"museum":346,"description":2823,"tags":2824,"thumbUrl":2825,"material":40,"size":2826,"collection":70,"collections":2827,"showCount":2801,"zanCount":46,"manualWeight":46,"mainColor":47},214891,"shan-shui-tu-ce-2-shi-tao-214891","山水图册-2","大英博物馆在1965年7月购进的这套八开本《山水图》册是一件相当出色的石涛真迹精品。\n该图分别画夜泊采石太白楼下、游浦汀溪、登灵隐飞来峰、登雨花台、登岳阳楼、登幕山大观亭、登天印山、访东山等八景，涉及苏、浙、皖三地的名胜，亦可谓是“搜尽奇峰汇成册”，这个时期，他已从新安画派集中表现黄山险境的格局中脱离了出来，更加注重广取博揽天下有特性的景物。其画渐渐趋于老，行笔凝重沉静，用花青、赭石轻轻淡染，顿显生机；其构图巧用“Z”形和“S”形，十分灵活且紧凑，变化自然，动感鲜明，景象开阔深邃，令人遐想无限。",[23,24,27,36,111,29,31,32,97,34,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd319f48bef574dd573647e67866a3b95.jpg","20.3x27.5cm",[],{"id":2829,"slug":2830,"title":2831,"dynasty":124,"author":473,"museum":561,"description":2832,"tags":2833,"thumbUrl":2834,"material":70,"size":70,"collection":70,"collections":2835,"showCount":2836,"zanCount":11,"manualWeight":46,"mainColor":47},228898,"cai-wei-tu-li-tang-228898","采薇图","《采薇图》是宋代画家 创作的绢本水墨淡设色画，此画现藏于北京故宫博物院。\n此卷画商末 、 不食周粟，在首阳山饿死的故事。\n图绘半山之腰，苍藤、古松之荫，伯夷与叔齐采摘薇蕨之余，正在休息对话的情景。\n画中正坐一人即为伯夷，他面带忧愤，目光炯炯，注视着叔齐。\n叔齐一手按地似在说着什么。\n图中人物刻画生动传神，衣纹简劲爽利，衬托出人物刚直不阿的性格。\n树石笔法粗简，墨色湿润。\n该图以山石为背景，绘二人在树下席地而坐，进行交谈。\n二人均束发系巾，长须，着宽袖粗服，穿草履，正面者领口略袒，着力突出了他们高士的形象。\n二人身侧还置有装薇的篮子和锄头，表示二人采薇而食，采薇是他们身份的象征。\n图中石壁上有题款两行：“河阳李唐画伯夷、叔齐”。\n引首有明代李擢公书“首阳高隐”，拖尾有元宋杞、明俞允文、清永瑆、翁方纲、蔡之定、阮元、林则徐、吴荣光、潘霄汉等题记。\n本幅钤项元汴、吴荣光等鉴藏印十六方，半印九方，拖尾有诸家藏印五十四方、半印三方。\n《采薇图》是一幅历史题材的绘画作品，以殷末伯夷、叔齐“不食周粟”的故事为题。\n伯夷和叔齐是殷的诸侯孤竹君的两个儿子，兄弟二人出走后先后投奔了西伯姬昌。\n姬昌死后，其子姬发要兴兵讨伐纣王。\n伯夷、叔齐叩马谏阻，认为臣子造反、讨伐君王是大逆不道的行为。\n姬发不听，灭殷后建立了周朝。\n伯夷和叔齐决心不吃从周朝土地上长出来的粮食，于是隐居首阳山（今山西永济县境），以采食野菜充饥度日，最后双双饿死在山里，临死前还作了一首《采薇歌》以表示坚决不屈的志向。\n李唐初以卖画为生，宋徽宗赵佶朝补入画院，深得赵佶赏识。\n1127年金兵攻陷汴京，高宗南渡，李唐亦颠沛流离，逃往临安（今杭州），以卖画度日。\n南宋恢复画院后，李唐经人举荐，进入画院，以成忠郎衔任画院待诏，时年近八十。\n偏安一隅之耻，家国离乱之悲，让画家感慨万端，他赞扬那些保持气节的人，谴责南宋统治者投降变节的行为。\n正是在这种心绪下，他创作了《采薇图》。\n这幅画的主题思想，据跋尾宋杞说：“……且意在箴规，表夷齐不臣于周者，为南渡降臣而发也。\n”表明作者的创作意图是借着伯夷叔齐不食周粟的故事，用来讽刺宋高宗南渡后，留在汴京投降金人的降臣而画的。\n它的含义，用当时历史背景衡量，是有它的特殊意义的。\n李唐的《采薇图》给了一个伯夷、叔齐两人的近镜头描写，浓重的背景环境衬托出两个淡设色的人物。\n悬崖峭壁间一块坡石，两人相对而坐，周围只有古树山石，远处河流平原离得很遥远，很简洁便将两人隐居的生活环境交代得恰如其分。\n背向观画者的是叔齐，一手撑地，一手笔划，在很投入地向伯夷说着什么。\n李唐对伯夷这个人物的刻画非常成功，画中的伯夷面容清瘦，双手抱膝，倚树而坐，胡子已经很长时间没有打理，双眉微颦，眼神并没有落在某个实处，似乎在听着叔齐说话，又似乎没有在听，不过目光中的坚定却是不容怀疑的，也许有些无奈，可毫无悔意，整个人物给人一种很平静安然的感觉，他只是在默默地坐着，不露一点声色，不为物喜，不为己悲，前面采野菜的小锄和篮筐还摆在一边，生活的困苦可想而知，可是这位伯夷只是如过去坐在厅堂中一般倚树席地而坐，尊贵依然，坚定依然。\n作品用笔精练而又富于变化，简劲锐利，线条挺拔，轻重顿挫似有节奏，墨法枯润适中，突出表现了衣服的麻布质感。\n肌肉部分的用线较为柔和，须眉用笔精细且多变化，显得蓬松软和。\n背景部分画家用笔较为豪放粗简，老松主干两边用浓墨侧峰，用浓墨细笔勾出松鳞，充分表现出了老松厚重的量感和体积；柏叶点染细密，浓淡变化细微。\n图中山石用极豪迈的大斧劈皴，以各种不同深浅、枯润的墨色有力涂抹，表现了山石奇峭的风骨和坚硬的质感。\n画家对树丛中远去的河流轻毫淡墨，近处的山石焦墨浓厚，丰富了画面的空间感。\n清代画家 《浦山论画》： “二子席地对坐相话言，其殷殷凄凄之状，若有声出绢素。\n” 中国当代画家 《采薇图画册》：“至人物神情之华贵、高妙，是与米兰藏达·芬奇之耶稣与门必藏三勒之使徒同为绘画的极峰。\n” 中国当代画家 《画史上的名作 中国卷》：整幅画大刀阔斧，坚实有力，刚直不阿，气象森然，使人想到李唐作画时激荡的心情。\n由于他的节操受人尊敬，此画历来颇受珍视。\n《采薇图》在《清河书画舫》，《汪氏珊瑚纲》，《佩文齐书画谱》，《式古堂书画汇考》等书著录。\n《采薇图》历经明代项元汴、清代吴荣光收藏，晚清入宫，现收藏于北京故宫博物院。\n215年4月日—6月29日，《采薇图》在北京故宫武英殿举办的215春季书画特展中展出。\n（166～115），宋代画家。\n字唏古，河阳三城（今河南孟县）人。\n初以卖画为生，宋徽宗赵佶时入画院。\n南渡后以成忠郎衔任画院待诏。\n擅长山水、人物。\n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。\n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。\n兼工人物，初师李公麟，后衣褶变为方折劲硬，自成风格。\n并以画牛著称。\n与刘松年、马远、夏圭并称“南宋四大家”。",[23,24,200,26,25,28,36,58,29,427,7,34,132,82,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16c214e4ea812a28066aaad9585915a2.jpg",[],158,{"id":2838,"slug":2839,"title":2840,"dynasty":296,"author":1177,"museum":108,"description":2841,"tags":2842,"thumbUrl":2844,"material":40,"size":70,"collection":42,"collections":2845,"showCount":2836,"zanCount":11,"manualWeight":46,"mainColor":47},215031,"fang-gu-shan-shui-ce-wang-jian-215031","仿古山水册","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。",[24,27,2843,36,111,29,34,7,132,33],"仿古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f5870a1a3d56961655bf14bd82552d.jpg",[42],{"id":2847,"slug":2848,"title":2849,"dynasty":793,"author":2850,"museum":1137,"description":2851,"tags":2852,"thumbUrl":2853,"material":84,"size":2854,"collection":289,"collections":2855,"showCount":2856,"zanCount":11,"manualWeight":46,"mainColor":663},218270,"wei-mo-yan-jiao-tu-zhou-fang-218270","维摩演教图","周昉","文殊菩萨和维摩诘一直是绘画的常见主题。这幅画在一个宏大而丰富的场景中展示了大量的人物。在这幅画中，弟子们和文殊菩萨的马聚集在寺庙前，一位天女乘云而起，在寺庙中央，维摩诘和文殊菩萨在沙发上正在进行辩论。虽然画家也试图再现维摩诘的 清秀、脆弱和病态的外表，但花园和亭子的画法非常细致和细腻，是对当时文人和学者的家庭生活的歪曲表现。",[23,24,56,28,784,95,58,60,34,7,1635],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44bcbc35fc6a4d4d7c2ebfa883cf4d08.jpg","113.5x41.8",[289],157,{"id":2858,"slug":2859,"title":732,"dynasty":296,"author":436,"museum":360,"description":733,"tags":2860,"thumbUrl":2862,"material":454,"size":739,"collection":70,"collections":2863,"showCount":2864,"zanCount":46,"manualWeight":46,"mainColor":47},236167,"yong-zheng-shi-er-yue-xing-le-tu-yi-ming-236167",[24,25,257,28,56,29,60,30,31,33,58,34,2011,7,415,736,64,2861,61],"回廊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17f46d3839b07177a70d7da8fa87ed26.jpg",[],156,{"id":2866,"slug":2867,"title":2868,"dynasty":124,"author":125,"museum":561,"description":2869,"tags":2870,"thumbUrl":2871,"material":217,"size":660,"collection":70,"collections":2872,"showCount":2873,"zanCount":764,"manualWeight":46,"mainColor":663},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。",[200,24,25,29,27,36,158,7,1066,1081,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46c82f81787e5b0d6aa5b30a4e34620d.jpg",[],155,{"id":2875,"slug":2876,"title":2877,"dynasty":18,"author":19,"museum":360,"description":2878,"tags":2879,"thumbUrl":2881,"material":40,"size":2882,"collection":42,"collections":2883,"showCount":2884,"zanCount":46,"manualWeight":46,"mainColor":250},219865,"yun-shan-tu-shen-zhou-219865","云山图","沈周（1427—1509年），字启南，号石田，晚号白石翁，长洲（今江苏苏州）人。世代隐居吴门，父亲恒古、伯父贞吉均善画。他早年承受家学，兼师杜琼，后博学宋元诸家，自成一格。一生布衣，优游林下，为人敦厚，笃于友谊，性情随和，胸襟磊落，是吴中众望所归的贤达长者。 绘画上擅长山水、花鸟，尤以山水著称，有粗、细两种面貌。早年主宗王蒙，上追董、巨，以细笔为主；40岁以后博取诸家，着意于黄公望，风格逐渐变粗，形成粗笔风貌；60岁后汲取吴镇画法，笔墨疏简苍劲，格调雄健宏阔。其成熟时期的山水，笔墨上既吸收了宋院体和明浙派的硬度和力感，又保留了元人的含蓄笔致，于苍中带秀，刚中见柔。构图造境方面，无论繁复或简略，都强调山川宏阔之“势”，一改元人空寂之境，又着意于朴实的“质”，于拙中藏巧。他开创了“吴派”画风，与文徵明、唐寅、仇英并称“吴门四家”。",[23,24,27,29,36,95,34,133,7,316,33,114,1104,2880],"小舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F897b1218fae6500d911cbd7f3c4140b9.jpg","纵155.2cm，横73cm",[42],154,{"id":2886,"slug":2887,"title":2888,"dynasty":18,"author":19,"museum":53,"description":2889,"tags":2890,"thumbUrl":2891,"material":40,"size":2892,"collection":70,"collections":2893,"showCount":2894,"zanCount":11,"manualWeight":46,"mainColor":149},231379,"chun-hua-zhou-jin-tu-shen-zhou-231379","春华昼锦图","春日山林中，两位文士饮罢酒宴，骑马而归，侍童挑著书担尾随於後。全作的人物、山石、林木和屋舍，用笔疏放。在山巅处且以浓密的苔点增缀，表现春天草木滋发的意象。该作虽有沈周的款题，然笔法略显板滞柔弱，疑为后人伪托之作。",[24,25,95,27,28,29,36,58,215,30,31,33,34,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F032de34690657eb2bd83434bdd68f1a0.jpg","纵91.8厘米，横35厘米",[],153,{"id":2896,"slug":2897,"title":2898,"dynasty":296,"author":1406,"museum":346,"description":2899,"tags":2900,"thumbUrl":2902,"material":116,"size":2903,"collection":42,"collections":2904,"showCount":2905,"zanCount":11,"manualWeight":46,"mainColor":47},220080,"fang-huang-zi-jiu-shan-shui-tu-wang-shi-min-220080","仿黄子久山水图","王时敏（1592—1680），字逊之，号烟客、西庐老人。太仓（今属江苏）人。王时敏的祖父王锡爵、父亲王衡都是高官，他也荫仕太常寺少卿，故人称“王奉常”。王时敏家富收藏，每遇名迹，即不惜重金搜求，曾遍摩家藏的宋、元真迹。王翚、吴历及其孙王原祁均经他传授画艺。与王鉴并称“二王”、加上王翚、王原祁被称为“四王”。山水笔墨苍润秀疏，为四王之首。 作品介绍: 王时敏家藏历代名画甚丰，得以充分观摩研习，其绘画以山水见长，为正统山水画派的领袖人物。他的作品多摩古之作，颇具先人遗风。此画册摩写了宋元大家巨然、米友仁、黄公望、王蒙、倪瓒、吴镇等人的山水画作，画幅小而精致，清新悦目，各家风格迥异，绘制精微细腻，显示出王时敏深厚的功底和纯熟技法。",[23,24,27,95,186,36,29,30,31,34,7,130,35,2901],"山峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F327760a064cea89ccaf8862ca234e649.jpg","177.5x56.9",[42],152,{"id":2907,"slug":2908,"title":2909,"dynasty":296,"author":2910,"museum":2911,"description":2912,"tags":2913,"thumbUrl":2916,"material":84,"size":2917,"collection":306,"collections":2918,"showCount":2905,"zanCount":764,"manualWeight":46,"mainColor":149},219539,"pan-tao-tu-zou-yi-gui-219539","蟠桃图","邹一桂","承德避暑山庄博物馆","画面两只丹顶鹤立于青石之上姿态悠闲，石隙间画桃树一株硕果累累富有质感，峰峦之间瀑布鞋飞流而下。",[23,24,25,95,56,28,488,2914,7,31,2915,34],"桃","灵芝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb6b446064c15c3f90edacbf7bbc946c.jpg","166cm×87cm",[306],{"id":2920,"slug":2921,"title":2922,"dynasty":296,"author":2923,"museum":183,"description":2924,"tags":2925,"thumbUrl":2926,"material":40,"size":70,"collection":306,"collections":2927,"showCount":2905,"zanCount":11,"manualWeight":46,"mainColor":47},214821,"shan-shui-hua-hui-tu-ce-gao-feng-han-214821","山水花卉图册","高凤翰","高凤翰是一位清代著名的画家，他最著名的作品之一是山水花卉图册。这本图册包含了许多精美的山水和花卉画作，描绘了中国传统山水风景的美丽景色。高凤翰以其独特的画风和精湛的技巧著称，他的作品在当时颇受欢迎，并被广泛收藏。\n\n高凤翰的山水花卉图册对中国山水画的发展有着巨大的影响。他的作品描绘了中国传统山水风景，但又不拘泥于传统，注重自然与艺术的结合。他运用了自然的色彩和线条，使画面生动而富有感染力。同时，他也注重写实，力求将自然界的细节再现在画面中。高凤翰的山水花卉图册是中国山水画发展史上的一部重要作品，其中蕴含了许多独特的艺术成就。",[24,25,111,27,28,7,441,1140,489,37,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7cf54d8ff98e36838fdc0046806b6e0.jpg",[306],{"id":2929,"slug":2930,"title":448,"dynasty":124,"author":449,"museum":360,"description":450,"tags":2931,"thumbUrl":2934,"material":454,"size":455,"collection":70,"collections":2935,"showCount":2936,"zanCount":46,"manualWeight":46,"mainColor":149},233880,"ta-ge-tu-zhou-ma-yuan-233880",[24,200,95,27,28,29,7,34,242,2932,58,60,133,31,36,2933],"小路","斧劈皴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef222b397a3288ca11990ad05068a142.jpg",[],151,{"id":2938,"slug":2939,"title":2940,"dynasty":296,"author":1406,"museum":239,"description":1407,"tags":2941,"thumbUrl":2942,"material":40,"size":1410,"collection":42,"collections":2943,"showCount":2936,"zanCount":11,"manualWeight":46,"mainColor":149},220004,"shan-shui-hua-fang-huang-zi-jiu-wang-shi-min-220004","山水画-仿黄子久",[23,24,28,257,29,186,36,30,31,34,158,35,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb68a290c2795698c616b7dc02b7d5c03.jpg",[42],{"id":2945,"slug":2946,"title":2947,"dynasty":296,"author":2948,"museum":561,"description":2949,"tags":2950,"thumbUrl":2951,"material":217,"size":660,"collection":70,"collections":2952,"showCount":2953,"zanCount":11,"manualWeight":46,"mainColor":47},289979,"fang-ni-zan-shan-shui-tu-zhou-hong-ren-289979","仿倪瓒山水图轴","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”。",[200,24,95,27,29,242,33,31,7,114,186,82,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a89c37611eded2ace9e54e3a4ca8817.jpg",[],150,{"id":2955,"slug":2956,"title":2957,"dynasty":124,"author":449,"museum":561,"description":2958,"tags":2959,"thumbUrl":2964,"material":217,"size":660,"collection":70,"collections":2965,"showCount":2953,"zanCount":11,"manualWeight":46,"mainColor":149},288321,"xi-yuan-ya-ji-tu-ma-yuan-288321","西园雅集图","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。",[23,200,24,26,27,58,29,427,242,130,7,60,30,31,2960,564,2961,2962,2963],"竹丛","马匹","文人雅集","宴饮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef6165e95977efed01ca7108e9daefd.jpg",[],{"id":2967,"slug":2968,"title":2969,"dynasty":793,"author":2970,"museum":360,"description":2971,"tags":2972,"thumbUrl":2975,"material":760,"size":2976,"collection":289,"collections":2977,"showCount":2953,"zanCount":517,"manualWeight":46,"mainColor":149},222242,"suo-jian-tu-juan-yan-li-ben-222242","锁谏图卷","阎立本","此画最成功之处在于针对人物的神情进行了细致入微的刻画：只见陈元达双手持笏，紧抱大树，嘶喊着进谏之言，尽忠、尽职的焦急心情溢于言表；两名侍卫拉住陈氏的腰带与上衣奋力外扯，他们虽然胡须飞扬，双眼圆睁，亦不能将其奈何；穿着便服的刘聪横眉相向，目露凶光，放在膝上的左手紧握，显然十分激动，余怒未消的神态跃然纸上；合手伫立的刘皇后眼见事端因己而起，心神不宁，急派侍女送交君王密柬以缓解急迫的形势。\n画面对紧张氛围的渲染及对人物形神的描绘吸引了观者的视线，显示出画家独具一格的精妙构思。就画法来看，人物容颜用细笔描绘轮廓，须发纤毫毕现，面部略施淡墨表现起伏，服饰穿戴的线条勾写顿挫转折自具章法，有拙涩古朴之趣，观者能从中感受到罗聘娴熟地驾驭笔墨的高妙功力。\n以此图与现藏美国弗利尔艺术馆、相传为唐代阎立本所绘的《锁谏图》相比照，人物的位置、动作基本没有太多变化，罗氏之作只是省略了皇后一侧的假山石与树丛，添加了陈元达右侧的几名侍卫。另外，罗聘还将原本用设色之法图写的表现形式改作白描，使画作平添了些许雅致。",[23,24,25,26,56,28,58,2973,34,7,1056,2974,82],"犬","兵器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41980eacf357c3e6917c0ffd1915bdef.jpg","纵32厘米，横208厘米",[289,264],{"id":2979,"slug":2980,"title":2981,"dynasty":124,"author":548,"museum":1137,"description":2982,"tags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有人若问谁持赠，万叠千重是我情。文美赵君，知余老，报拙静远，以汉鼎为赠，用助萧斋日长，焚沉悦性，其惠多矣，文美读书好古，于书画尤萃意焉。因作春云叠嶂报之，愧莫敌施也。弘治新元七夕日，沈周。 此作在康熙年间，被高士奇收藏，并著录于其《江村消夏录》。其题画诗见于《四库全书*列朝诗集》明代五十六丙集第八。",[23,24,25,951,27,36,837,883,112,31,7,33,452,96,132,258],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb54811e543fce13bf211196f60045fc.jpg","绢本墨笔","152 2x43 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既显浓密厚重，又鲜艳夺目，光彩熠熠。 现收藏于台北故宫博物院的《溪山红树图》是其传世精品，他学元代王蒙的笔法，以类似牛毛皴松秀而流动的线条，构成活泼的画面，加上颜色较艳丽的红色和绿色，使整个画面有一种轻快愉悦的调子。",[23,24,25,95,28,29,861,7,130,31,60,34,82,37,38,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F166e49671e5b9c54baee4cd182d5e0ab.jpg","纵112.4厘米，横39.5厘米",[42,264],{"id":3110,"slug":3111,"title":1572,"dynasty":296,"author":3112,"museum":360,"description":3113,"tags":3114,"thumbUrl":3115,"material":84,"size":3116,"collection":42,"collections":3117,"showCount":3089,"zanCount":764,"manualWeight":46,"mainColor":663},219222,"qing-lv-shan-shui-tu-xie-sun-219222","谢荪","图绘近景溪水岸边房舍错落；远处高山耸立，林木繁茂。构图深远、高远兼备，富有空间层次变化。用笔工整细密，山石树木以石青石绿点染，画风清丽淡雅。此图与传统的青绿山水相比较，更多一分清新明快，是谢荪山水画的代表作",[23,24,25,257,28,29,34,7,31,60,35,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89fcff4bf8950f827d1dc39bf1bc74fe.jpg","纵157.2厘米，横52.6厘米",[42],{"id":3119,"slug":3120,"title":3121,"dynasty":18,"author":3122,"museum":53,"description":3123,"tags":3124,"thumbUrl":3127,"material":84,"size":3128,"collection":306,"collections":3129,"showCount":3089,"zanCount":764,"manualWeight":46,"mainColor":149},218792,"hua-zhu-an-chun-tu-zhou-zhi-mian-218792","花竹鹌鹑图","周之冕","瘦长的画幅，主景放置在幅右，秋日,石上几株绿竹，间杂著娇媚的蜀葵、牵牛花。石下一对鹌鹑，临风处有一只大凤蝶飞来。整幅画充满著婀娜明艳的光辉。题句多，亦足以让人诗画共赏。",[24,28,56,391,1155,3125,3126,7,62,1746],"鹌鹑","蝴蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15a00ce3772da92e745cee036acd9c15.jpg","111.7x29.7cm",[306],{"id":3131,"slug":3132,"title":3133,"dynasty":296,"author":297,"museum":360,"description":3134,"tags":3135,"thumbUrl":3137,"material":760,"size":3138,"collection":42,"collections":3139,"showCount":3140,"zanCount":11,"manualWeight":46,"mainColor":47},236752,"qiu-lin-du-diao-tu-zhou-zhu-da-236752","秋林独钓图轴","图绘凋零的树木被笼罩在深秋的寒意中，一湖静水之上只见高士孤身垂钓，空旷荒寂的意境中孕含着作者对明朝故土的无限怀念。此图无年款，根据署款“驴”字，推断此幅为朱耷57岁（1682年）左右的作品。这时期其山水画还深受元人倪瓒、黄公望，明人董其昌的影响而没有形成自己的笔墨特色。本幅构图取法倪瓒一河两岸式的布局，以简洁疏朗的物象表现出荒寒的萧条景致。山石画法取自黄公望，其轮廓以尖硬的线条勾勒，石面略作皴染，于散漫随意中不失古雅的情趣。整体画风则显现出董其昌明洁秀逸、华姿润泽的艺术风貌。",[24,95,27,300,36,29,242,316,7,32,3136,114,113],"钓者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa150978fbe46fb641f060aaadb56385.jpg","纵197.5厘米，横57.3厘米",[42],143,{"id":3142,"slug":3143,"title":3144,"dynasty":124,"author":3145,"museum":561,"description":3146,"tags":3147,"thumbUrl":3148,"material":70,"size":70,"collection":70,"collections":3149,"showCount":3140,"zanCount":11,"manualWeight":46,"mainColor":149},227516,"wang-wei-shi-yi-tu-li-zhou-mi-fei-227516","王维诗意图立轴","米芾","米芾，字元章，号鹿门居士、襄阳漫士、海岳外史，北宋著名大书画家，鉴藏家。祖籍太原，后迁居襄阳，人称“米襄阳”。宣和年间为徽宗赵佶召为书画学博士。\n\n米芾能诗擅文，书画尤具功力。篆、隶、行、草、楷各体皆能，行草造诣尤高。芾自云学过各家各派，但从其作品观之，得王献之、释智永二家最多。其书淋漓痛快，隽雅奇变，晚年书艺更达至炉火纯青之境。与苏轼、黄庭坚、蔡襄合称“宋四家”。",[23,24,95,27,29,36,34,31,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54ca00f8b933044d132ee6e26db3b619.jpg",[],{"id":3151,"slug":3152,"title":3153,"dynasty":124,"author":197,"museum":108,"description":3154,"tags":3155,"thumbUrl":3158,"material":84,"size":3159,"collection":42,"collections":3160,"showCount":3140,"zanCount":605,"manualWeight":46,"mainColor":149},218571,"xia-shan-bi-shu-tu-xia-gui-218571","夏山避暑图","云雾似轻纱漫笼峰峦，墨色浓淡晕染出层叠山影。近处山石以劲挺线条勾勒肌理，远处峰峦隐入烟霭，虚实相生间拓开深远意境。飞瀑如白练倾泻而下，水汽与云雾交融，添了几分灵动。崖畔小亭古朴雅致，亭内人影隐约，或凭栏观瀑，或对弈品茗，将“避暑”闲逸悄然藏于山水。苍松虬枝斜出，与嶙峋怪石相映，笔墨苍劲中透着秀逸。整幅画以水墨为韵，借云雾之虚衬山峦之实，动静相宜间铺展夏日山林的清幽闲适，让人仿若置身其中，忘却尘嚣。",[24,200,25,29,27,36,33,130,133,7,34,114,132,363,3156,3157],"古松","山涧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb50cf148ebc8bbac9a702b14d084294e.jpg","81x35cm",[42],{"id":3162,"slug":3163,"title":3164,"dynasty":124,"author":449,"museum":561,"description":3165,"tags":3166,"thumbUrl":3167,"material":116,"size":3168,"collection":146,"collections":3169,"showCount":3140,"zanCount":11,"manualWeight":46,"mainColor":47},218564,"song-gao-zong-yu-zhi-xi-gong-yan-tu-ma-yuan-218564","宋高宗御制西宫宴图","马远绘侍宴图传世三件中的其中一幅",[24,200,25,95,57,27,29,60,427,7,34,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2b00e67510889e575c54629198f5565.jpg","122.5x52.2",[146],{"id":3171,"slug":3172,"title":3173,"dynasty":124,"author":548,"museum":3174,"description":3175,"tags":3176,"thumbUrl":3177,"material":142,"size":3178,"collection":144,"collections":3179,"showCount":3180,"zanCount":46,"manualWeight":46,"mainColor":149},221440,"han-lin-gao-shi-tu-zhou-li-cheng-221440","寒林高士图轴","美国弗瑞尔美术馆","李成（公元 919年 -967年），字咸熙，北宋初年营丘（今山东淄博临淄）人，世称李营丘。擅画山水，师承荆浩、关仝，后师造化，自成一家。多画郊野平远旷阔之景。平远寒林，画法简练，气象萧疏，好用淡墨，有“惜墨如金”之称；画山石如卷动的云，后人称为“卷云皴”；画寒林创“蟹爪”法。为山水画大家,被誉为中国山水画之父。他不但开创了齐鲁画派，在宋初画坛独树一帜；而且由其独创的营丘山水画法成为后世山水画家的楷模。《圣朝名画评》把李成的画列为“神品”，并称其“思清格老，古无其人”。《宣和画谱》谓“凡称山水者，必以成为古今第一。”",[23,24,27,95,29,538,1838,34,7,31,114,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F425bbd40a0bd5977059e42cdf3fd2910.jpg","174 x 89.2 厘米",[144,42,146],142,{"id":3182,"slug":3183,"title":3184,"dynasty":296,"author":3185,"museum":360,"description":3186,"tags":3187,"thumbUrl":3188,"material":3189,"size":3190,"collection":42,"collections":3191,"showCount":3192,"zanCount":46,"manualWeight":46,"mainColor":250},236271,"chui-gan-tu-zhou-kun-can-236271","垂竿图轴","髡残","髡残（1612—约1672年），俗姓刘，武陵（今湖南常德）人。幼年失怙（音hù，指父亲），青年出家为僧，法名髡残，字介丘，号石豀、白秃、石道人、残道者等。明亡后寓居南京，修禅弘佛之暇潜心于山水画的创作。他承袭元人王蒙，明人沈周、文徵明诸家笔法，结合自身的感悟，形成独特的山水画风。善用秃笔渴墨，以线造型，在深浅、断续、粗细线条的相互交叉、转换、顿挫中表现幽僻的景致，意境苍莽，画格高逸古拙。他与同时代的程青豀合称“二豀”，与原济（石涛）合称“二石”，与八大、弘仁、石涛并称“清初四僧”。",[24,25,95,27,36,29,32,31,34,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb8841336c541c74149b055689d57ca9.jpg","纸本 ，淡设色","纵290cm，横131.5cm",[42],141,{"id":3194,"slug":3195,"title":3196,"dynasty":124,"author":154,"museum":53,"description":3197,"tags":3198,"thumbUrl":3200,"material":601,"size":3201,"collection":42,"collections":3202,"showCount":3192,"zanCount":764,"manualWeight":46,"mainColor":149},218953,"guan-bei-tu-guo-xi-218953","观碑图","寒冷的森林平坦而遥远，松树的枝干已经枯萎。这两个人靠在石碑上，而四个人站在他们前面的右边，带着马鞍和马在伞下，他们的表情非常有表情。这幅画描绘了汉朝时曹操和杨修一起看《曹娥碑》的情景。这幅画没有记号，传统上认为是郭熙所作。然而，这幅画的风格，倾斜的石头和松散的树枝，以及参差不齐的夸张树干，并没有给人以郭熙的建议的感觉。其他现存的涉及看纪念碑的画作包括大阪市立美术馆收藏的《读碑石》，这幅画主要描绘的是残存纪念碑的寒冷森林场景，以此来让观者思考过去。",[23,200,24,25,95,128,36,951,58,215,3199,213,7,364,2242,34],"碑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F680d1f7d1ced6d46fbc9bb38d75e4147.jpg","164.4x119",[42],{"id":3204,"slug":3205,"title":462,"dynasty":124,"author":197,"museum":3206,"description":3207,"tags":3208,"thumbUrl":3209,"material":84,"size":3210,"collection":42,"collections":3211,"showCount":3192,"zanCount":11,"manualWeight":46,"mainColor":47},218636,"shan-shui-tu-xia-gui-218636","费城艺术博物馆","嶙峋山石倚着清竹，茅舍半藏于岩间，窗内人影依稀，似在静赏山光。淡墨远山如黛，隐入烟霭，留白处漾着空濛的诗意。斧劈皴笔力劲健，刻画出山石坚硬肌理；竹叶以简括笔触点染，疏朗间见生机。构图截取一角景致，以少胜多，将南宋山水的空灵雅致凝于尺幅。墨色浓淡交错，层次叠生，竹影婆娑、山石苍劲、远山悠远，共同织就清寂悠然的林泉图景，尽显隐者恬淡心境与画者笔墨才情。题跋与画面相映，文气画意交融，更添古朴雅致之韵。",[24,25,29,27,36,391,7,33,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6fbe552f0bbce9c2e6f3428b0b59de0.jpg","32.7x20",[42],{"id":3213,"slug":3214,"title":3215,"dynasty":78,"author":720,"museum":53,"description":3216,"tags":3217,"thumbUrl":3220,"material":116,"size":660,"collection":70,"collections":3221,"showCount":3222,"zanCount":11,"manualWeight":46,"mainColor":47},290956,"jiang-an-wang-shan-tu-ni-zan-290956","江岸望山图","由画上题诗，知为赠行而作，受赠者由水路去会稽，因而画舟中望两岸之景。款上称“并写江岸望山图奉送惟允友契之会稽”，惟允为陈汝言之字，但“惟允”二字，与其他题诗之字比较起来，笔迹不似，疑系后人妄改，藉以增加此画之身价。\n倪氏早年从董巨入手，五十几岁时，山石全用披麻长皴；至六十岁则渐入荆关，笔简气壮。晚年则是明显的折带皴法，呈现静穆萧疏的风格。该幅画高树空亭，隔岸望山，山上长皴，未成折带，利用苔点﹑深浅皴法及留白的运用，将山石立体实感呈现而出，气势雄壮，与其晚年渴笔皴擦之冷峻坚实的山石较不同。清吴升曾评此画：“皴法全用大披麻，得巨然神髓。迂翁画大抵平远山峰，不多作树；似此高崖峭壁，具太华削成之势；大小树点叶纷披，都非向来面目，乃知此翁绘妙中扫空蹊径，有如许大手笔也。”",[24,27,29,33,242,7,2422,37,82,3218,3219,3083],"清寂","江景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ae1ca51152d8dd2051b65e995e59abd.jpg",[],140,{"id":3224,"slug":3225,"title":3226,"dynasty":654,"author":2261,"museum":283,"description":3227,"tags":3228,"thumbUrl":3230,"material":70,"size":70,"collection":70,"collections":3231,"showCount":3222,"zanCount":764,"manualWeight":46,"mainColor":149},226703,"xi-shan-lan-re-tu-ju-ran-226703","溪山兰若图","此图高耸云表的山峦雄居于画幅上部，山头布有矾头状的卵石，犹是巨然本色，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。画幅右上有“巨五”编号，当是六幅通景屏风中的第五幅，仅为大幅山水的一部分。",[23,24,200,95,27,36,29,837,112,7,132,3229,784],"寺庙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff18e1550c2f9295b94665ebbfbacce7b.jpg",[],{"id":3233,"slug":3234,"title":3235,"dynasty":296,"author":870,"museum":346,"description":2823,"tags":3236,"thumbUrl":3237,"material":40,"size":2826,"collection":70,"collections":3238,"showCount":3222,"zanCount":11,"manualWeight":46,"mainColor":47},214890,"shan-shui-tu-ce-3-shi-tao-214890","山水图册-3",[23,24,25,111,27,28,36,29,32,31,7,34,133,58,1105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f99fe4ff77ab4950fd6bc2d79236725.jpg",[],{"id":3240,"slug":3241,"title":3242,"dynasty":296,"author":3243,"museum":561,"description":3244,"tags":3245,"thumbUrl":3246,"material":70,"size":70,"collection":70,"collections":3247,"showCount":3248,"zanCount":517,"manualWeight":46,"mainColor":149},236479,"sui-chao-qing-gong-zhou-chen-hong-shou-236479","岁朝清供轴","陈洪绶","此作以案头清供入画，古雅沉静。方口铜尊中，梅枝虬曲错落，寒英素洁，山茶艳红似燃，细竹扶疏添清逸。旁侧虬奇古松配立湖石，置于案几，与瓶花相映成趣。\n\n用笔凝练挺劲，设色沉厚朴雅，敷色淡而不薄，艳而不俗，将文人岁朝清赏的闲逸意趣藏于笔墨间，暗合新春纳祥的美好祈愿，尽显高古雅致的文人气韵。",[24,28,56,95,390,391,1273,7,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F465176e9d66122bb4dbf941bf6e2e4e0.jpg",[],139,{"id":3250,"slug":3251,"title":3252,"dynasty":18,"author":19,"museum":20,"description":3253,"tags":3254,"thumbUrl":3255,"material":84,"size":3256,"collection":42,"collections":3257,"showCount":3248,"zanCount":382,"manualWeight":46,"mainColor":149},218247,"lin-dai-wen-jin-xie-an-dong-shan-tu-shen-zhou-218247","临戴文进谢安东山图","沈周（1427-1509年），字启南，号石田、白石翁，苏州人，不应科举，以诗文书画为事，山水师黄公望、吴镇，书法法黄庭坚，名重一时，吴中名家如文徵明、唐寅等都出其门下。与文徵明、唐寅、仇英合称“明四家”。\n本图是沈周五十四岁时所作，临摹的是比他略早的浙派著名画家戴进的《谢安东山图》，描绘东晋著名宰相谢安隐居东山时，携妓出游，纵情山水的情景。\n沈周的山水画，师法元代黄公望与吴镇，远溯五代董源、巨然，而戴进宗法的是南宋马远、夏圭，以风格而论，一为南方山水与水墨画的传统，一为北方山水与宫廷著色画的传统。沈周画多仿元人，此画风格在他的作品中既是一件孤品，也是一件奇品，堪称绝无仅有。\n此图高头大轴，青绿设色，山石轮廓明朗，皴笔似马牙、卷云而不若其蜷曲，似斧劈而不若其方硬，似披麻而不若其疏放绵长，这种皴法与戴进常用的源自马、夏的长斧劈皴不同，融合了南、北方山水的皴法特点。图画设色明朗鲜润，一部分山石近乎空勾，是宋代以来大青绿的设色方法。沈周一生所作山水，多为水墨，亦有浅绛，如此大轴青绿，实属平生仅见。其中人物亦造型端庄，服饰俨然，线条健爽，是明人追绍宋代院体画的风格。\n沈周此图或属偶一为之，却显示出画家不拘于一格的绘画能力以及兼收并蓄，广采博纳的眼界与胸襟。\n根据翁同龢1902年的日记，此画是翁氏因戊戌之变被黜归里后，其旧仆李元为其在北京购得的。",[23,24,25,200,95,28,29,58,60,427,7,130,34,158,186,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4136bf4cc51a9c489487d6a27dbe7d3a.jpg","纵170.0厘米，横89.0厘米",[42],{"id":3259,"slug":3260,"title":3261,"dynasty":296,"author":2564,"museum":360,"description":3262,"tags":3263,"thumbUrl":3264,"material":454,"size":3265,"collection":306,"collections":3266,"showCount":3267,"zanCount":11,"manualWeight":46,"mainColor":149},238125,"jiao-yuan-mu-ma-tu-juan-lang-shi-ning-238125","郊原牧马图卷","此画又称《八骏图》，画面上八匹骏马散放于郊外旷野之中，或卧，或立，或吃草，或嬉戏，自在悠闲，放牧者在树下休憩观望。放牧题材的画作不是对单匹马的写生，而是综合、融汇了各种马匹的形象，所以在创作过程中画家更能充分地发挥想象力，使马匹显得活泼自然、生动有趣。\n画家借助了西方追求如实表现物象体积感和立体感的绘画技巧，将马的各种姿态刻画得活灵活现，甚至连毛发的光泽也清晰地呈现在观者眼前，令人有呼之欲出之感，这是中国艺术史中以郎世宁为首的“海西画派”所独有的艺术风格。图中背景的树木、山石、花草全用明暗变化来表现形态，由此判断该画应是郎氏在雍正年间所创作，因为到了乾隆时期，在郎世宁的绘画中往往自己仅画出人物、鞍马，背景则由中国画家补绘。\n骏马是郎世宁作品中常见的绘制对象，他笔下的马匹真实生动，更重要的是他领会了马在中国传统文化中的象征意义。自古以来，马是社会贤良的象征，封建帝王命宫廷画家以马为题材进行创作寓意着尊重社会栋梁、求贤若渴的殷切希望。郎氏以“八骏”入画并非偶然，渊源有自。据传古代周穆王有八匹良骥，一说是绿耳、盗骊、白义、逾轮、山子、渠黄、华骝和赤骥（见《穆天子传》），另一说为绝地、翻羽、奔宵、超影、逾辉、超光、腾雾、挟翼（见《拾遗记》），周穆王曾经驾驭这八匹骏马遨游西方。于是，图写八骏亦有为君主歌功颂德、彰显威仪的含义。",[26,56,28,215,415,2697,58,7,1396,539],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4beb62906769fc51d887721bda8835ce.jpg","纵51.2厘米，横166厘米",[306],138,{"id":3269,"slug":3270,"title":3271,"dynasty":124,"author":1573,"museum":360,"description":3272,"tags":3273,"thumbUrl":3274,"material":454,"size":3275,"collection":144,"collections":3276,"showCount":3277,"zanCount":764,"manualWeight":46,"mainColor":47},221420,"dong-po-chi-bi-tu-wang-shen-221420","东坡赤壁图","『烏林赤壁事已陳，黃州赤壁天下聞』。蘇軾的兩次赤壁漫遊，喚醒和重排了赤壁古戰場在文學史和藝術史中的地位，不但前後《赤壁賦》和《水調歌頭·赤壁懷古》成爲千古名篇，由此託生的赤壁圖也成爲畫史中重要的主題。作爲蘇軾文人集團的兩位重要人物：李公麟和王詵，他們都曾畫過赤壁圖，以圖畫的方式呼應着蘇軾的歷史書寫。他們的創作直接建立了畫史中的『赤壁圖式』，對後代產生深遠影響。惜乎二作失傳。我們只能憑藉一些歷史文獻，復原二圖的基本風格面貌，爲我們探討北宋末年以來『赤壁圖式』的發展提供一些線索。",[23,24,27,1900,29,32,7,31,58,242,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93947956f8d0518422dab73c735749f6.jpg","24.8 x 28.1 CM",[144,42,146],137,{"id":3279,"slug":3280,"title":3281,"dynasty":793,"author":2596,"museum":360,"description":3282,"tags":3283,"thumbUrl":3286,"material":142,"size":3287,"collection":289,"collections":3288,"showCount":3289,"zanCount":764,"manualWeight":46,"mainColor":149},221136,"yu-yuan-cai-lian-tu-li-si-xun-221136","御苑采莲图","此卷描绘古代宫苑中夏日景致，宫殿楼观、屋宇舟车纤若毫发，山石均以细笔勾出，略有皴斫，重青绿敷色，同时大量使用金线勾勒建筑物轮廓和网格水纹，辉煌明丽，富有装饰性。此卷为吴景洲先生于1947年倾囊得之，1955年捐献故宫博物院，卷后有其长题，考定此卷为张丑《清河书画舫》中著录的“唐大李将军御苑采莲图”。后经有关学者考证，此卷为南宋人作，虽非出自李思训父子之手，但仍反映出早期青绿楼阁绘画的一些特点。",[23,24,257,28,56,57,29,60,58,30,31,2011,34,7,317,3284,3285],"莲","采莲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f0bbca3f486b9ed26103a6d871d1d0e.jpg","23.90x77.20cm",[289,264],136,{"id":3291,"slug":3292,"title":3293,"dynasty":296,"author":3038,"museum":561,"description":3294,"tags":3295,"thumbUrl":3296,"material":3297,"size":3298,"collection":42,"collections":3299,"showCount":3289,"zanCount":46,"manualWeight":46,"mainColor":47},220135,"mo-gu-shan-shui-hua-ce-wang-hui-220135","摹古山水画册","王翚，清初山水画巨匠“四王”之一，他研习山水画走的也是一条摹古之路，造就了深厚、扎实、宽泛的传统功力，他深入学习宋元一众大家，逐渐形成自己画面清新、笔墨纯正的山水画风格。",[23,24,25,111,27,28,29,242,32,30,31,612,7,227,82,186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95e685d005e44893fa629e2b66443b9d.jpg","设色,纸本","30.5×21.5",[42],{"id":3301,"slug":3302,"title":3303,"dynasty":296,"author":498,"museum":360,"description":3304,"tags":3305,"thumbUrl":3306,"material":116,"size":3307,"collection":42,"collections":3308,"showCount":3289,"zanCount":46,"manualWeight":46,"mainColor":47},218472,"fang-wu-zhen-shan-shui-tu-wang-yuan-qi-218472","仿吴镇山水图","此图无年款。据王原祁自题“身伏噩庐，心违琐闼”之句，知是图当为他55岁左右为其父王揆守丧之日所作。\n图绘江南清幽小景。在构图上，王原祁通过对山石杂木由近至远、由低至高的层层展示，有秩地拓展了画境。在山石树木的表现上，王原祁掌握了吴镇擅于运用湿笔的特点，亦以包含水分的润墨表现山川林木郁茂之景。笔墨淋漓雄劲，得吴镇山水画“苍苍莽莽，有林下风”之趣。",[23,24,27,36,186,95,29,7,34,316,35,565,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda2da35a1678545e4fb7f9d72c52f6e7.jpg","纵141.7厘米，横51厘米",[42],{"id":3310,"slug":3311,"title":3312,"dynasty":296,"author":436,"museum":561,"description":3313,"tags":3314,"thumbUrl":3316,"material":217,"size":660,"collection":70,"collections":3317,"showCount":3318,"zanCount":46,"manualWeight":46,"mainColor":47},263687,"ke-si-chou-ying-hou-chi-bi-fu-tu-juan-yi-ming-263687","缂丝仇英后赤壁赋图卷","缂（kè，同：刻）丝（英文：K’o-ssu 、Kesi 或 Chinese silk 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其上，呈现出不同的生长态势。画面左下角一座小桥向后延伸，一位樵夫缓缓行走，引出画面的中景。远景一座大山巍峨挺立，一座茅屋筑于半山腰，为这幅画增添 了不少人气。\n髡残将王蒙画中那股山体蜿蜒向上的强烈夸张的扭势处理成了文雅、宁静的气象，笔法上对王蒙有所借鉴，山石多用披麻皴、解索皴，用赭石染山石，色泽浓厚，并且在山石轮廓上用焦墨钩提。\n髡残师古人乃食古而化，不过是以古人酒杯浇自家胸中块垒，所以体现出来的仍是自己的精神面貌，其画构图奇特、境界幽深，是其广师造化的结果。髡残之画在当时画坛独树一帜，后人把他和石涛并称“二石”，是明清两代中最有生气的画家。",[23,24,27,28,36,95,29,7,34,35,30,31,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4c669070e4f6774a5897c1f4946ba35.jpg","纵113CM 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横37.5厘米",[42,146],{"id":3394,"slug":3395,"title":3396,"dynasty":78,"author":2047,"museum":53,"description":3397,"tags":3398,"thumbUrl":3399,"material":28,"size":3400,"collection":42,"collections":3401,"showCount":3382,"zanCount":11,"manualWeight":46,"mainColor":47},220862,"hua-shan-shui-zhou-zhao-meng-fu-220862","画山水轴","赵孟頫（1254—1322），字子昂，号松雪，松雪道人，又号水精宫道人、鸥波，中年曾作孟俯，汉族，吴兴（今浙江湖州）人。元代著名画家，楷书四大家（欧阳询、颜真卿、柳公权、赵孟頫）之一。赵孟頫博学多才，能诗善文，懂经济，工书法，精绘艺，擅金石，通律吕，解鉴赏。特别是书法和绘画成就最高，开创元代新画风，被称为“元人冠冕”。他也善篆、隶、真、行、草书，尤以楷、行书著称于世。",[23,200,24,25,95,28,36,29,427,7,31,33,58,133,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11161ca0c1ec964671f7c7a6ecbebf4e.jpg","该幅 57x30.9公分、全幅 56公分",[42,264],{"id":3403,"slug":3404,"title":3405,"dynasty":124,"author":3406,"museum":183,"description":3407,"tags":3408,"thumbUrl":3410,"material":116,"size":3411,"collection":144,"collections":3412,"showCount":3382,"zanCount":46,"manualWeight":46,"mainColor":47},219861,"yuan-xiu-qing-yun-tu-mi-you-ren-219861","远岫晴云图","米友仁","《远岫晴云图》是北宋书画家米友仁所创作的一幅水墨设色画，现藏于日本大阪市立美术馆。\n该画作是一幅文人画，描绘的是米友仁笔下常见的山水风景，画中以湿润的笔墨点染云山树石，表现烟云变幻、山色朦胧的动人景象。“米氏云山”的特色展示得淋漓尽致。\n《远岫晴云图》绘制的是烟雨迷蒙时的风景，远山模糊不清，近树萧疏迷离，一条溪流潺潺自远处绕到赏者面前。图中左下角作一小丛树，间隔溪水的对岸是云气缭绕的疏林，远处是尖锐如刻削的山峦。\n画面上有款“元晖戏作”四个字，上方另有横纸又自题“绍兴甲寅元夕前一日，自新昌泛舟来赴朝参，居临安七宝山戏作小卷，付与廪收口”。",[200,24,25,27,29,114,883,34,7,36,3409],"米点皴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefe5e3ae0ecfe57c4dc77a8c68325a4c.jpg","24.7x28.6cm",[144],{"id":3414,"slug":3415,"title":3416,"dynasty":296,"author":3417,"museum":1043,"description":3418,"tags":3419,"thumbUrl":3421,"material":116,"size":70,"collection":42,"collections":3422,"showCount":3382,"zanCount":11,"manualWeight":46,"mainColor":149},219708,"yun-shan-yin-ju-tu-gong-xian-219708","云山隐居图","龚贤","龚贤（1618-1689），又名岂贤，字半千，又字野遗、岂贤，号半亩，又号柴丈人，江苏昆山人，流寓金陵清凉山。龚贤的艺术造诣居金陵八家之首，现代著名画家黄宾虹、李可染都从他的画法中得到了启迪。一般讲求墨韵者往往以湿墨涂抹，而龚贤明确指出：“墨言韵，明其非湿也，润墨鲜，湿墨死”，具体指出；“皴法先干后湿，故外润而有骨，若先湿后干，则死墨也。” 在他看来，“墨韵”当以“润”为准绳，其意为湿度适可，若太湿，则为“死墨”；且皴染时应先施以干笔，后湿笔晕染，反之则亦为“死墨”。此幅画即湿润得体，笔墨层次分明，以积墨法层层点染，无怪乎时人曰“半千之所以独有千古更在墨”。",[24,95,27,36,29,3420,227,427,7,132,37,82],"云山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29001769a3aff696777c6883d1eedcd1.jpg",[42],{"id":3424,"slug":3425,"title":3426,"dynasty":78,"author":3427,"museum":183,"description":3428,"tags":3429,"thumbUrl":3430,"material":116,"size":3431,"collection":306,"collections":3432,"showCount":3382,"zanCount":517,"manualWeight":46,"mainColor":47},219062,"zhu-que-tu-wang-yuan-219062","竹雀图","王渊","画家在这幅画中使用了水墨，做了黑白的勾勒，描绘了竹叶的起伏、花朵和湖中不平整的石头。\n这幅画在构图和技法上与印第安纳波利斯艺术博物馆收藏的王原的《花竹山禽图》相似，但《花竹山禽图》的笔触更显年轻，可能是后来的摹本。这幅画上还刻有 摹黄筌竹雀图 的字样，构图与台北故宫的黄居寀画的鹧鸪和麻雀相似，仍保留了唐代画树下花鸟的传统，所以这幅画也许确实是仿黄筌的原作。",[200,24,128,56,712,62,391,301,3126,7,1373,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1eec035eb38ac09eb11650ff2dee6cbc.jpg","139.3x49.9cm",[306],{"id":3434,"slug":3435,"title":3436,"dynasty":296,"author":3437,"museum":1043,"description":3438,"tags":3439,"thumbUrl":3441,"material":116,"size":3442,"collection":42,"collections":3443,"showCount":3382,"zanCount":46,"manualWeight":46,"mainColor":47},218297,"fang-wang-meng-xi-shan-xing-lv-tu-wu-li-218297","仿王蒙溪山行旅图","吴历","这幅画是对王蒙溪山行旅的临摹。",[24,27,29,95,186,36,30,31,3440,34,7,32],"人家","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33014df16be3309cc002f849849cc715.jpg","59.1x27cm",[42],{"id":3445,"slug":3446,"title":3447,"dynasty":18,"author":3448,"museum":53,"description":3449,"tags":3450,"thumbUrl":3453,"material":84,"size":3454,"collection":306,"collections":3455,"showCount":3382,"zanCount":11,"manualWeight":46,"mainColor":149},216221,"jin-pu-ming-chun-tu-lu-zhi-216221","锦圃鸣春图","陆治","这幅画描绘了两只孔雀在牡丹园里争奇斗艳，鸟儿在玉兰树上春风得意。这幅画色彩热烈，反映了陆治在山水、花鸟方面的多面性。\n陆治，明代画家，工写生得徐、黄遗意。点染花鸟竹石，往往天造。山水受吴门派影响，也吸取宋代院体和青绿山水之长，在吴门派画家中具有一定新意，与陈淳并重于世。",[24,25,200,95,56,28,62,63,441,34,7,3451,3452,2252],"小草","白花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa50c4c81b69ff6eb527a5c62b8b31e46.jpg","纵146厘米，横89厘米",[306],{"id":3457,"slug":3458,"title":2506,"dynasty":296,"author":436,"museum":360,"description":733,"tags":3459,"thumbUrl":3460,"material":454,"size":739,"collection":70,"collections":3461,"showCount":3462,"zanCount":46,"manualWeight":46,"mainColor":149},236171,"yong-zheng-shi-er-yue-xing-le-tu-zhou-yi-ming-236171",[24,28,56,57,29,58,60,61,2278,7,33,31,34,2861,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aa7b59ca91897a30691a9a29a57869a.jpg",[],133,{"id":3464,"slug":3465,"title":170,"dynasty":296,"author":1177,"museum":239,"description":3466,"tags":3467,"thumbUrl":3471,"material":229,"size":3472,"collection":42,"collections":3473,"showCount":3462,"zanCount":46,"manualWeight":46,"mainColor":250},224481,"fu-chun-shan-ju-tu-wang-jian-224481","《富春山居图》轴仿作即深得黄公望用笔之妙，虚实、粗细、轻重、缓急富有变化，恰当地表现了前后景致的空间距离和起承转合；细润中锋含蓄流畅，山川景象清旷深秀。作品以笔墨形式为主体，创造出了优美动人的境界。该轴作于1658年，王鉴时年61岁，正是其绘画技法鼎盛时期。\n此幅富春山居图，而作立轴，并染以浅绛色。笔墨交融，敷色清雅，表达了王鉴对前辈大师经典的敬佩之情。",[23,200,24,25,95,27,28,3468,29,31,60,7,34,36,186,3469,3470],"浅绛","清旷深秀","敷色清雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbc6fe68c1be28db40b2fd2f41520f3d.jpg","117.5x50.5厘米",[42],{"id":3475,"slug":3476,"title":3477,"dynasty":296,"author":870,"museum":346,"description":2823,"tags":3478,"thumbUrl":3479,"material":40,"size":2826,"collection":70,"collections":3480,"showCount":3462,"zanCount":764,"manualWeight":46,"mainColor":47},214886,"shan-shui-tu-ce-6-shi-tao-214886","山水图册-6",[23,24,27,36,111,29,60,112,7,35,114,133,187,242,61,3468],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f36b552940e2b7131526b7cd389c0cb.jpg",[],{"id":3482,"slug":3483,"title":3484,"dynasty":296,"author":3485,"museum":401,"description":3486,"tags":3487,"thumbUrl":3488,"material":40,"size":3489,"collection":42,"collections":3490,"showCount":3462,"zanCount":764,"manualWeight":46,"mainColor":47},214486,"he-yi-shan-shui-tu-ce-he-yi-214486","赫奕山水图册","赫奕","清代画家赫奕的山水图册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，体现了赫奕对自然的热爱和对传统文化的尊重。他运用了山水画的特点，使得整件作品显得舒缓而优美。\n\n赫奕是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在山水图册中，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，赫奕的山水图册是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了赫奕对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到赫奕的画风魅力，还能了解中国传统的山水风情。",[23,200,24,25,111,27,36,29,34,227,7,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c971e483bde479efdfd6ef31b912533.jpg","34x25cm",[42],{"id":3492,"slug":3493,"title":3494,"dynasty":18,"author":1100,"museum":561,"description":3495,"tags":3496,"thumbUrl":3497,"material":217,"size":660,"collection":70,"collections":3498,"showCount":3499,"zanCount":517,"manualWeight":46,"mainColor":47},283732,"qing-bian-tu-zhou-dong-qi-chang-283732","青卞图轴","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。",[24,200,25,95,27,29,36,7,34,31,158,37,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34d6a3abb2d15fedf1da6bba94a512ac.jpg",[],132,{"id":3501,"slug":3502,"title":3503,"dynasty":18,"author":3504,"museum":3505,"description":3506,"tags":3507,"thumbUrl":3508,"material":885,"size":3509,"collection":42,"collections":3510,"showCount":3499,"zanCount":605,"manualWeight":46,"mainColor":47},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。",[23,24,25,95,28,29,36,31,34,7,58,130,427,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23ec8b65dd08d53416021b6376bc9a1c.jpg","纵132.4cm，横35.2cm",[42,264],{"id":3512,"slug":3513,"title":3514,"dynasty":296,"author":3417,"museum":108,"description":3515,"tags":3516,"thumbUrl":3518,"material":27,"size":3519,"collection":42,"collections":3520,"showCount":3499,"zanCount":46,"manualWeight":46,"mainColor":149},220421,"qun-feng-shi-tan-tu-gong-xian-220421","群峰石潭图","《群峰石潭图》，立轴 绫本 水墨 48X171厘米，是保利5周年春拍藏。此作是龚贤画于1686年的一件“黑龚”精品，龚贤时年68岁，其“黑龚”已超出传统山水画的笔墨形式和意境藩篱。",[23,24,25,95,27,36,29,3517,7,34,35,133,31],"群峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9487e8a4d8fa6b005da87bf28588f31.jpg","横：48厘米 纵：171厘米",[42,146],{"id":3522,"slug":3523,"title":3524,"dynasty":654,"author":2261,"museum":53,"description":3525,"tags":3526,"thumbUrl":3528,"material":601,"size":3529,"collection":42,"collections":3530,"showCount":3499,"zanCount":764,"manualWeight":46,"mainColor":149},220142,"nang-qin-huai-he-tu-ju-ran-220142","囊琴怀鹤图","中国五代南唐、北宋画家，僧人。原姓名不详，生卒年不详，早年在江宁开元寺出家，南唐降宋后，随后主李煜来到开封，居开宝寺。擅山水，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。有《万壑松风图》、《秋山问道图》、《山居图》等传世。",[23,24,25,95,27,36,29,34,7,364,33,132,244,1397,3527,97],"平坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faba08cc0f485f9545bb007aff2e4e054.jpg","169.1x101",[42],{"id":3532,"slug":3533,"title":3534,"dynasty":296,"author":2948,"museum":360,"description":3535,"tags":3536,"thumbUrl":3537,"material":70,"size":70,"collection":42,"collections":3538,"showCount":3539,"zanCount":11,"manualWeight":46,"mainColor":47},236894,"hong-ren-shan-shui-zhou-hong-ren-236894","弘仁山水轴","弘仁俗姓江，名韬，字六奇，出家后名后人，号渐江学人，又号无智、梅花古衲，安徽歙县人。作品多师法自然，清新，能传达山川之美。此图意境伟峻秀逸，构图洗炼简逸，笔墨苍劲整洁。",[200,24,25,95,27,36,29,272,33,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f501a6cdbd204a645da4011e2ce7088.jpg",[42,146],131,{"id":3541,"slug":3542,"title":106,"dynasty":18,"author":1100,"museum":360,"description":3543,"tags":3544,"thumbUrl":3545,"material":1107,"size":3546,"collection":42,"collections":3547,"showCount":3539,"zanCount":46,"manualWeight":46,"mainColor":47},234054,"shan-shui-ce-dong-qi-chang-234054","第一开，右上角题：“仿唐杨昇。”钤“董其昌印”。鉴藏印钤“王掞”、“烟客真赏”、“虚斋精上品”、“壶中墨缘”。\n对开董其昌题：“唐杨昇峒关蒲雪图，见之明州朱定国少府，以张僧繇为师，只为没骨山，都不落墨。曾见日本画有无笔者，意亦唐法也。米元章谓王晋卿山水似补陀岩，以丹青染成。王洽正泼墨渖。多种法门皆李成、董源以前独善者。”钤印“董玄宰”。收藏印钤“庞来臣珍赏印”、“壶公”、“子清所见”、“王时敏印”、“颛庵”。\n设色青绿山水，画峰峦秋树。\n第二开，左上角题：“仿梅花道人。”钤“董其昌印”。收藏印钤“虚斋鉴赏”、“壶中墨缘”、“王时敏印”、“颛庵”。\n对开董其昌题：“今日遇武塘题吴仲圭故居，称梅花巷者。自号梅花和尚，实居士也。画学巨然，字学怀素，皆受和尚法，故云。仲圭与盛懋同巷对宇。人每指金帛诣盛求画，仲圭之家闻如也。家人以为谪，仲圭曰：‘待二十年后自有定论’。已而盛之身价果逊。至今三百年犹尔。辛酉三月廿三日识。”钤“董玄宰”印。收藏印钤“庞来臣珍藏印”、“壶公”、“王时敏印”。\n设色画水阁、青山、瀑布。\n第三开，左上题：“仿惠崇。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞之印”、“壶中墨缘”、“虚斋鉴赏”。\n对开董其昌题：“惠崇宋诗僧，建阳人也。在巨然之前，画学王维，精工妍丽如诗家。温、李辈《香辽集》生于情者。东坡、山谷为题其小景。余所见有京口陈氏江南惠卷及鄞朱定国所赠巨轴《早春图》。”钤印“董玄宰”。收藏印钤“王时敏印”、“藻儒”、“壶公”、“庞来臣珍赏印”。\n设色画青溪两岸云树房屋。\n第四开，右上题：“仿卢鸿草堂笔。”钤印“其昌”。收藏印钤“壶中墨缘”、“子清所见”、“王时敏印”。\n对开董其昌题：“鸿乙草堂明皇尝令人就图之，鸿乙画入神品，与右丞伯仲。嵩山十志各有楚词。至宋时李伯时作图令诸名公书其诗，人各一景。秦少游、僧参寥、米元章皆与焉。余见之项氏者亦十体，不显名姓。谢时臣亦临一本，第得其位置耳。唐人用墨高简，意到而笔不到，所以妙绝。”钤印“董玄宰”。收藏印钤“逊之”、“王掞之印”、“庞来臣珍赏印”、“壶公”。\n墨笔画疏林坡石，高崖瀑布。\n第五开，左上方题：“仿倪元镇。”钤“其昌”。收藏印钤“烟客真赏”、“王掞之印”、“壶中墨缘”、“虚斋精上品”。\n对开董其昌题：“倪迂画学冯觐。觐，《宣和画谱》所载宋宦官也。觐画世无传本。倪迂自题谓得荆关遗意，岂讳言觐耶？张伯雨题云：‘能与米颠相伯仲，风流还只数倪迂。应将尔雅虫鱼笔，为写乔林恠石图。’最为迂叟吐气。大都倪高士之画学冯觐，如朱晦翁之书学曹孟德，皆不问其师承也。倪迂书学《黄庭内景经》，《内景经》倪氏之物也。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞之印”、“庞来臣珍藏印”、“壶公”。\n设色画平远秋景山水。\n第六开，左上方题：“仿米元晖。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞”、“壶中墨缘”。\n对开董其昌题：“米元晖潇湘图余得之项玄度，有宋人题跋甚夥。朱晦翁亦一再见。后有王宗常叙诸跋卷人出处之概，书品亦佳，沈石田自题七十五岁方得一观，以快生平，为米卷第一。图不作点，只用墨破凹凸之形，树木屋宇皆精工，都画勾云亦变体也。元晖凡再题数百字。”钤印“其昌”。收藏印钤“逊之”、“王掞”、“庞来臣珍藏印”、“壶公”。\n墨笔画潇湘烟雨景。\n第七开，左上方题：“仿黄鹤山樵。”钤“董其昌印”。收藏印有“王时敏印”、“王掞之印”、“壶中墨缘”。\n对开董其昌题：“元季四大家惟王叔明仕于国初，为泰安州倅。何元郎记有雪图作于齐郡者是也。倪云林题有笔精墨妙语，又云澄怀观道是宗少文也。又临池学书出王右军、王虞，笔力能扛鼎，五百年来无此君，推挹至矣。于北宋诸家无所不摹，尤善右丞法。”钤印“董玄宰”。收藏印有“藻儒”、“逊之”、“壶公”、“庞来臣珍藏印”。\n墨笔画关山松涧。\n第八开，左上题：“仿李伯时山庄图。”钤“董其昌印”。收藏印有“王时敏印”、“颛庵”、“壶中墨缘”、“虚斋鉴藏”。\n对开董其昌题：“潇洒营丘水墨仙，浮空出没有无间。尔来一变风流尽，谁见将军设色山。\n无数青山落照边，遥知风雨不同川。此中有句无人认，道与襄阳孟浩然。\n二绝句皆东坡题画之什，深得画家三昧方能为，是语米老不如也。”钤印“董玄宰”。\n又题记：“辛酉三月游武林，归途闲暇作此八景。时画史杨彦冲同观。玄宰识。钤“虚斋审定”。\n此图册是董其昌于明天启元年（1621年）游武林（今杭州）时创作的，董氏时年67岁。图册分别仿杨升、卢鸿、惠崇、米友仁、李公麟、吴镇、倪瓒、王蒙等唐宋元诸家山水。画面集取古人不同的山水画景观，同时融入画家自己对于天地、山川的感受，“以意取之”，“各出意造”。在构图上虽与古人相似，但在审美情趣上董其昌追求的是一种平淡古雅的意境和逸趣。如仿唐杨昇山水，在画法上使用没骨设方法，摒弃了原作者金碧山水的华丽浓艳，继承了其中的古拙和典雅，寓丰富而鲜艳的色彩于平稳和谐的色调之中，笔法精妙秀雅，笔致轻松生动，从而使画面传达出一种平静而不淡泊、明媚而不躁动的美感，具有董氏自己的特点。又如米友仁芾画潇湘烟雨之景，以董、巨笔法皴染山石，用笔沉着稳重，通过墨色干湿浓淡的变化烘染出远山近水的空间感以及烟云雾气的变化。树木及房屋用笔多变化，墨色酣畅淋漓，层次丰富。这种董其昌笔下的米家山水，平淡之中更见秀雅。其他几开山水画同样反映了董其昌所追崇的文人画情趣，均以董源、巨然为归依。在仿古山水画中，他尝试运用各种不同的绘画形式诠释古法，同时表现出对于古法的继承和发展，从而阐述了自己的审美观，这是他创作众多仿古山水画最为重要的意义。此外，此件作品对开中董其昌的题记对于人们认识董其昌的艺术同样具有重要的史料价值。",[24,27,36,111,29,7,34,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f794274dd866033cbee27bee1c45115.jpg","纵26.3厘米，横25.5厘米",[42],{"id":3549,"slug":3550,"title":3551,"dynasty":296,"author":3185,"museum":53,"description":3552,"tags":3553,"thumbUrl":3554,"material":246,"size":3555,"collection":42,"collections":3556,"showCount":3539,"zanCount":11,"manualWeight":46,"mainColor":47},222663,"shan-shui-tu-juan-kun-can-222663","山水图卷","髡[kūn]残（1612～1692）明末清初画家。清初四僧之一。俗姓刘，武陵（今湖南省常德市）人，居南京。幼年丧母，遂出家为僧。法名髡残，字石溪，一字介丘，号白秃，一号残道者、电住道人、石道人。他削发后云游各地，43岁时定居南京大报恩寺，后迁居牛首山幽栖寺，度过后半生。性寡默，身染痼疾，潜心艺事，与程正揆（程正揆，号青溪道人）交善，时称二溪，艺术上与石涛并称二石,善画山水，亦工人物、花卉。山水画主要继承元四家传统，尤其得力于王蒙、黄公望。构图繁复重叠，境界幽深壮阔，笔墨沉酣苍劲，以及山石的披麻皴、解索皴等表现技法，多从王蒙变化而来；而荒率苍浑的山石结构，清淡沉着的浅绛设色，又近黄公望之法。他还远宗五代董源、巨然，近习明代董其昌、文徵明等，兼收并蓄，博采众长。在学习传统基础上，重视师法自然，自谓“论画精髓者，必多览书史。登山寡源，方能造意”。一生中大部分时间都在山水中度过，经常驻足于名山大川，流连往返。他“僻性耽丘壑”、“泉石在膏肓”，主观的情感、性灵与客观的景物、意境相感应、交融，使其山水画景真情切，状物与抒情成为一体。所作山水，在平淡中求奇险，重山复水，开合有序，繁密而不迫塞，结构严密，稳妥又富于变化，创造出一种奇辟幽深，引人入胜之境，生动地传达出江南山川空□茂密、浑厚华滋的情调。他喜用渴笔、秃毫，苍劲凝重，干而不枯，并以浓淡墨色渲染，使得笔墨交融，形成郁茂苍浑、酣畅淋漓的情趣，使画面产生雄浑壮阔、纵横蓬勃的气势。存世代表作有《报恩寺图》，绘南京聚宝门外报恩寺，通过概括提炼，表现了金陵名胜的磅礴、奇异气象。《云洞流泉图》、《层岩叠壑图》和《雨洗山根图》（均藏故宫博物院），以繁密的布局、苍劲的用笔、郁茂的景致、幽深的境界，显现出石溪鲜明的艺术特色。\n髡残扇面擅画人物、花卉，尤精山水。师法黄公望、王蒙，尤近于王蒙。其画章法严密，笔法苍劲，喜用秃笔渴墨，层层皴擦勾染，厚重而不板滞，郁茂而个迫塞，善写平凡景致，平淡中见幽深。与石涛、弘仁、朱耷并称“清四僧”。 工诗文、书画，擅山水、花卉。山水师法王蒙、黄公望，并汲取董源、巨然、董其昌、文徵明等人画法。博采众长，加以发展变化，又能师法自然，于游历中观赏体验名山大川的万千景象。所画山水，构图饱满，重山复水，繁密中见疏灵，善用秃锋渴笔画山石树木，以浓淡墨渲染，苍劲凝重中透出丰润秀逸之致，意境奇僻幽深，得江南山水空濛茂密、浑厚华滋之质。其绘画在当时名重一时，对后世亦有很大影响，后人将其与石涛并称二石，又与渐江、朱耷、石涛合称清初四僧。有《报恩寺图》、《云洞流泉图》、《层岩叠壑图》、《雨洗山根图》等传世。在绘画论画云：“董华亭(其昌)谓：‘画和禅理共旨，不然禅须悟，非工力使然，故元人论品格，宋人论气韵，品格可力学而至，气韵非妙悟则未能也。”在提倡勤学的同时，也主张作画须有“妙悟”，并非下死力就可得画之神韵。\n髡残性直硬，脾气倔强，寡交游，难于与人相合。这种强烈的个性表现在他的禅学上是“自证自悟，如狮子独行，不求伴侣”；表现在绘画上则为“一空依傍，独张赵帜，可谓六法中豪杰”。他自己也说：“拙画虽不及古人，亦不必古人可也。”他长期生活在山林泽薮之间，侣烟霞而友泉石，踯躅峰巅，留连崖畔，以自然净化无垢之美，对比人生坎坷、市俗机巧，从中感悟禅机画趣。髡残作品中的题跋诗歌多作佛家语，这不仅因其身为和尚，而且在他看来，禅机画趣同是一理，无处不通。如《禅机画趣图》轴、《三冬入华村图》轴，《物外田园图》册的诸多题跋，大都是借画谈禅，因禅说画。融禅机与画理于一炉，是髡残画作的主要特点之一。\n髡残在明末遗民中享有很高的声望，他的画也为世人所瞩目。当时著名的文人兼大鉴赏家周亮工就十分景仰、看重髡残的人品和画学，在《读画录》中为他写小传，谓：“人品笔墨俱高人一头地……绘事高明，然轻不为人作。”张怡在髡残的《仿米山水册》中是这样评价这位心灵相契的老友的：“举天下言诗，几人发自性灵?举天下言画，几人师诸天地?……此幅自云效颦米家父子，正恐米家父子有未到处，所谓不恨我不见 髡残古人，恨古人不见我耳。”他认为髡残的诗，是写出了自己的性灵；髡残的画是直师造化，甚至比宋代米芾父子还好；髡残的佛学是直指本心，而没有出家人开堂说法的那种俗套。张庚《国朝画征录·髡残传》云：“石□工山水，奥境奇辟，缅邈幽深，引人入胜。笔墨高古，设色精湛，诚元人之胜概也。此种笔法不见于世久矣!”这段话说明髡残的画深得元季四大家的精髓。总之，三百多年来，髡残一直以其人品与画品并重的高华之气，影响着画坛，成为画家心目中的丰碑。",[23,24,26,27,28,36,29,130,272,33,30,31,114,133,34,7,37,82,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefdd6fed5c43711601b4533de6596a1c.jpg","23x309cm",[42,264],{"id":3558,"slug":3559,"title":462,"dynasty":296,"author":2948,"museum":893,"description":2949,"tags":3560,"thumbUrl":3561,"material":116,"size":70,"collection":42,"collections":3562,"showCount":3539,"zanCount":46,"manualWeight":46,"mainColor":47},219900,"shan-shui-tu-hong-ren-219900",[23,24,25,95,27,36,29,33,427,7,97,34,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F643c9cf138484b785236419257db6754.jpg",[42],{"id":3564,"slug":3565,"title":3566,"dynasty":124,"author":3567,"museum":53,"description":3568,"tags":3569,"thumbUrl":3571,"material":84,"size":3572,"collection":144,"collections":3573,"showCount":3539,"zanCount":11,"manualWeight":46,"mainColor":149},219278,"chun-shao-ming-xi-tu-lu-zong-gui-219278","春韶鸣喜图","鲁宗贵","此幅画春日山涧情景，石壁间激泉如响，巉巖上翠竹流青，梅竞妍，山雀鸣唱，野雉偎嬉，构思造境，描染俱佳，乃岁朝张挂之图画。本幅画石，皴法用笔直泻而不含蓄，且水墨淋漓，显非南宋人画法，而是明人学宋代之浙派风格。树干皴纹，也如同边文进、吕纪一系之用笔，花鸟施朱用粉，更近于吕纪风格，该院另藏有宋人”岁朝图“，构图同出一稿，树石画法更近于明人风格。",[23,24,200,25,95,56,28,62,390,3570,301,7,391],"山茶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa28e1b378998f3d4ce72f6c73aec9810.jpg","164x77.9公分",[144,306,264],{"id":3575,"slug":3576,"title":3577,"dynasty":296,"author":2564,"museum":53,"description":3578,"tags":3579,"thumbUrl":3582,"material":673,"size":3583,"collection":42,"collections":3584,"showCount":3585,"zanCount":46,"manualWeight":46,"mainColor":149},222758,"shi-er-yue-ling-tu-10-yue-lang-shi-ning-222758","十二月令图（10月）","清院本版的“赏花”图是清佚名版《行乐图》中没有的，显然是新增的时令图，替换清佚名版的《三月赏桃图》。笔者将其命名为“赏花”，是根据其主景（近景）确定的。其文字介绍也说：“画中描绘了树木渐茂，百花竞放，人们在连绵的细雨中执伞顶笠，赏花、消遣的景象。”如果将其命名为“赏桃”，显然名不符实。其余时令图与《雍正十二月行乐图》的十一种图基本相同。说“基本相同”是因为也有不同之处，下面分别说明。\n1、在《行乐图》之《正月观灯图》中，雍正站在廊式围墙的大门间。在《月令图》之《正月观灯图》中，雍正站在围墙大门右边的廊下。\n2、在《月令图》之《二月踏青图》中，雍正前后的栏杆、围墙与《行乐图》之《二月踏青图》的不同。\n3、在《月令图》之《三月流觞图》中，其溪流右边的楼阁与《行乐图》之《四月流觞图》的不同。\n4、在《月令图》之《五月竞舟图》中，主要是雍正位于的高台凉亭与《行乐图》之《五月竞舟图》的不同。\n5、在《月令图》之《六月纳凉图》中，主要是雍正位于的高台楼阁与《行乐图》之《六月纳凉图》的不同。\n6、在《月令图》之《七月乞巧图》中，主要是雍正所处的房屋后面的树木、雾霭与《行乐图》之《七月乞巧图》的不同。\n7、在《月令图》之《八月赏月图》中，主要是雍正位于的高台楼阁的四周树木、山石与《行乐图》之《八月赏月图》的不同。\n8、在《行乐图》之《九月赏菊图》中，雍正所处房屋的月亮门前是石墙填土的高台院子。在《月令图》的《九月赏菊图》中，雍正所处房屋的月亮门前不是高台，而是山石低岸。\n9、在《行乐图》之《十月画像图》中，雍正所处房屋与对面房屋的通道没有栏杆。在《月令图》的《十月画像图》中，则有红色栏杆。\n10、在《行乐图》之《十一月参禅图》中，雍正所处房屋中有一排字画，靠墙的花几上有一件插了花的青铜觚，门口有一只雌孔雀。这些内容在《月令图》的《十一月参禅图》中都没有。\n11、在《行乐图》之《腊月赏雪图》中，鹿场左侧有九曲桥与对面相通。在《月令图》的《腊月赏雪图》中则没有",[23,24,56,28,29,60,31,7,34,366,58,61,3580,3581],"行乐","聚会","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9ed4b72d321f7343f422af6480b67f2.jpg","188.2*102.2cm",[42,264],130,{"id":3587,"slug":3588,"title":3589,"dynasty":124,"author":998,"museum":53,"description":3590,"tags":3591,"thumbUrl":3593,"material":28,"size":3594,"collection":144,"collections":3595,"showCount":3585,"zanCount":46,"manualWeight":46,"mainColor":149},221554,"xi-yuan-ya-ji-juan-liu-song-nian-221554","西园雅集卷","宋刘松年西园雅集卷绘宋代雅士高僧苏轼、黄庭坚、米芾、圆通大师等盛会于王诜西园。十六人分四组：王诜、蔡肇和李之仪围观苏轼写书法；秦观听陈景元弹阮；王钦臣观米芾题石；苏辙、黄庭坚、晁补之、张耒、郑靖老观李公麟画陶潜归去来图；刘泾与圆通大师谈无生论。西园雅集世传多个版本。",[23,200,24,25,26,56,28,58,34,7,302,3592,64],"桌案","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb00b965e299d9c4feb3a56ffa3172034.jpg","34×191cm",[144,289,264],{"id":3597,"slug":3598,"title":3599,"dynasty":18,"author":424,"museum":53,"description":3600,"tags":3601,"thumbUrl":3603,"material":116,"size":3604,"collection":146,"collections":3605,"showCount":3585,"zanCount":46,"manualWeight":46,"mainColor":47},219519,"qin-he-tu-wen-zheng-ming-219519","琴鹤图","水墨晕染出淡远山居，苍松茂林环合小院。堂前二人对坐，似正横琴晤谈，院外童子携鹤缓步而来，将林泉雅趣揉进日常闲情里。\n\n笔致秀润温婉，枝叶晕染细腻，远山轻笼烟岚，留白里漾着闲澹松弛的意趣。题诗朱印与画面相融，把文人幽居自适、琴鹤相伴的林下风流，藏进每一缕墨色之中，淡而不寡，静中藏雅，尽显江南文人心底的归栖之乐。",[24,25,28,56,37,38,82,58,34,7,488,3602,97,244],"琴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0b62691d86abcd60a7be2a267ff0873.jpg","63.4x29.2",[146],{"id":3607,"slug":3608,"title":3378,"dynasty":296,"author":870,"museum":561,"description":3609,"tags":3610,"thumbUrl":3611,"material":70,"size":70,"collection":42,"collections":3612,"showCount":3613,"zanCount":11,"manualWeight":46,"mainColor":47},235878,"yuan-ji-shan-shui-tu-ce-shi-tao-235878","这一开诗画合璧，行书题诗笔力苍劲清隽，墨色朗润，将山居幽寂的诗意先行铺展。画面以淡墨晕染烟岚，山峦在雨意濛濛间晕化开朦胧轮廓，留白衬出空濛水汽。几椽山居隐在深林浅坳间，伴着茂树流泉，朴拙静雅。\n\n石涛以灵动写意的笔墨，把诗中霁后溪山的萧散意境全然绘出，简淡笔墨裹着秀润的江南意趣，诗画相映，恍若能听见古寺钟鸣随云霭漫过山峦，将文人画诗禅合一的意韵抒发尽致，带人踏入这世外幽居。",[24,25,111,27,28,36,37,82,29,34,35,7,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99ca5c119bb37305c4db3d52e47af545.jpg",[42],129,{"id":3615,"slug":3616,"title":3617,"dynasty":78,"author":2047,"museum":53,"description":3618,"tags":3619,"thumbUrl":3620,"material":229,"size":3621,"collection":42,"collections":3622,"showCount":3623,"zanCount":46,"manualWeight":46,"mainColor":149},220861,"weng-you-tu-juan-zhao-meng-fu-220861","瓮牖图卷","本幅山石无皴，仅钩勒轮廓，后填以青绿，人物衣纹行笔柔畅有力，有唐人古风。画幅右下有千字文「索」字编号，卷后则有项元汴题识「明嘉靖卅年（1558）秋八月重装于天籁阁」，并有「原价五十两」之记述。",[23,200,24,26,257,28,29,7,34,30,187,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30c265c6055d0d6827a4346a3f36f861.jpg","27.1×100.5cm",[42,264],128,{"id":3625,"slug":3626,"title":3627,"dynasty":18,"author":387,"museum":346,"description":3628,"tags":3629,"thumbUrl":3634,"material":84,"size":3635,"collection":42,"collections":3636,"showCount":3623,"zanCount":11,"manualWeight":46,"mainColor":149},219753,"he-shu-fu-long-tu-tang-yin-219753","鹤书赴陇图","画作以苍虬古松开篇，虬枝斜曳如龙，山间飞瀑直落深谷，涤荡山野清寂。板桥跨于寒溪之上，两位文士驻足松下，似正眺望远山，暂歇行旅劳顿。右侧山道车马随行，将赴陇的行旅意涵隐于画中。\n\n笔墨兼具吴门雅致与浙派刚劲，山石以斧劈皴利落勾勒，设色沉郁古雅，把山野的辽远壮阔与文人驻留的悠然意趣相融，将行旅途中的片刻闲静，晕染进苍莽山水间，尽显此作山水人物交融的隽永意境。",[23,24,29,58,3156,3630,30,31,7,3631,3632,28,2933,131,3633],"飞瀑","山道","车马","悠然","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63d65752ecf21627fe7c9bec5d68f3a0.jpg","纵132.3cm横80.2cm",[42],{"id":3638,"slug":3639,"title":3640,"dynasty":18,"author":1100,"museum":53,"description":3641,"tags":3642,"thumbUrl":3643,"material":84,"size":3644,"collection":42,"collections":3645,"showCount":3623,"zanCount":46,"manualWeight":46,"mainColor":47},219393,"shuang-lin-qiu-si-tu-dong-qi-chang-219393","霜林秋思图","此画近景崎岖不平的山石，其中有的山石较陡与中景的山石相粘接，近景的山石间有几棵树木，有的树干粗壮挺拔，有的枝干弯扭，但其枝叶茂密，大树下和山腰间有两间茅屋座落其间。中景的山石与远景的山石一样浓重；那片决定中、远景的距离感的白色炯云，上连霄汉，下通江湖，犹如“一炬之光，通体皆灵”。",[24,25,27,28,36,29,96,452,33,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59ddfad59a355bdb3593c2a6418d9735.jpg","纵130.2厘米，横63.5厘米",[42],{"id":3647,"slug":3648,"title":3649,"dynasty":124,"author":436,"museum":53,"description":3650,"tags":3651,"thumbUrl":3653,"material":84,"size":3654,"collection":144,"collections":3655,"showCount":3623,"zanCount":11,"manualWeight":46,"mainColor":149},218801,"tao-li-yuan-tu-yi-ming-218801","桃李园图","这幅画描绘了一座山，上面有一条高高的、遥远的溪流。山的四角有水榭亭台，有渔人在溪边垂钓，无所谓岁月。这幅画是南宋时期的作品，但当你仔细观察其笔触时，它看起来更像是吴镇或其流派的画家的作品。",[23,24,200,28,57,56,36,29,60,33,58,427,2914,3652,7,34],"李","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2a3b07bae6cc5546e3f59ca75ecae6e.jpg","19.7x24.3",[144],{"id":3657,"slug":3658,"title":3659,"dynasty":18,"author":19,"museum":3660,"description":3661,"tags":3662,"thumbUrl":3664,"material":229,"size":3665,"collection":70,"collections":3666,"showCount":3667,"zanCount":46,"manualWeight":46,"mainColor":47},220059,"hu-qiu-shi-er-jing-tu-ce-8-shen-zhou-220059","虎丘十二景图册-8","美国克利夫兰美术馆","图册画吴中地区之虎丘山、玄墓山、虎山桥、南峰、横塘、光福山、天池山、贺九岭、上方山、觉海寺、姑苏台、莲花峰等十二处胜景。",[23,24,27,29,111,36,60,2404,112,31,3663,58,7],"船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0478c2e27a123b03cd04587242f18298.jpg","31.1×40.2cmx12",[],127,{"id":3669,"slug":3670,"title":3671,"dynasty":78,"author":107,"museum":561,"description":1755,"tags":3672,"thumbUrl":3674,"material":217,"size":660,"collection":70,"collections":3675,"showCount":3676,"zanCount":11,"manualWeight":46,"mainColor":149},287593,"chun-shan-du-shu-tu-wang-meng-287593","春山读书图",[24,200,27,95,29,36,427,7,33,227,3673,1506,37,58,158],"读书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08f4beaf0ca1e1f9e9ad8ca3a4d4a7f2.jpg",[],126,{"id":3678,"slug":3679,"title":3680,"dynasty":296,"author":870,"museum":561,"description":3681,"tags":3682,"thumbUrl":3683,"material":229,"size":3684,"collection":42,"collections":3685,"showCount":3676,"zanCount":46,"manualWeight":46,"mainColor":47},233378,"yuan-ji-jin-shan-long-you-si-shi-yi-ce-shi-tao-233378","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。",[24,27,36,111,82,29,30,31,34,35,7,3008],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5af052cf182809b3d590f54883cbc337.jpg","纵24.6cm横17.6cm",[42,306],{"id":3687,"slug":3688,"title":3689,"dynasty":124,"author":125,"museum":1043,"description":3690,"tags":3691,"thumbUrl":3693,"material":673,"size":3694,"collection":144,"collections":3695,"showCount":3676,"zanCount":764,"manualWeight":46,"mainColor":149},221391,"yan-lan-qiu-xiao-tu-fan-kuan-221391","烟岚秋晓图","范宽早年师从荆浩、李成，而能自出机杼。范宽的作品多取材于其家乡陕西关中一带的山岳，雄阔壮美，笔力浑厚。注意写生，多采用全景式高远构图，著名书画家米芾在其《画史》中说“范宽山水，显显如恒岱”。",[23,24,25,26,29,36,28,7,34,133,3692],"秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4500b9eb4cfa21cb904ea04c412212b.jpg","40x603.3cm",[144,42,146],{"id":3697,"slug":3698,"title":3699,"dynasty":296,"author":3185,"museum":346,"description":3700,"tags":3701,"thumbUrl":3702,"material":40,"size":3703,"collection":42,"collections":3704,"showCount":3676,"zanCount":46,"manualWeight":46,"mainColor":47},219759,"shan-shui-si-jing-zhi-qiu-kun-can-219759","山水四景之秋","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。",[23,24,25,29,27,36,242,32,31,158,227,133,34,1944,316,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e29d3f4bec003b725d9d06422d2ffca.jpg","纵31.8cm 横65cm",[42],{"id":3706,"slug":3707,"title":3708,"dynasty":18,"author":3709,"museum":53,"description":3710,"tags":3711,"thumbUrl":3712,"material":84,"size":3713,"collection":264,"collections":3714,"showCount":3676,"zanCount":11,"manualWeight":46,"mainColor":47},219445,"bai-yun-hong-shu-tu-guan-si-219445","白云红树图","关思","图绘山态云容，疏林茅屋。山作小青绿，树作无骨法，自言仿自赵孟頫，原画应该是赵子昂用唐人古意所作。",[24,25,95,28,36,29,1067,861,34,7,133,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff525b318e6c156ebc050d824651a0d7b.jpg","129.3x50.5",[264],{"id":3716,"slug":3717,"title":386,"dynasty":124,"author":436,"museum":53,"description":3718,"tags":3719,"thumbUrl":3721,"material":84,"size":3722,"collection":306,"collections":3723,"showCount":3676,"zanCount":11,"manualWeight":46,"mainColor":149},219277,"sui-chao-tu-yi-ming-219277","岁朝，指一岁之始，历代画家作该图，含有元旦开笔，预祝一年万事吉利之意。本幅绘拳石临流，雉鸡一对，麻雀数只，山茶旁生于老梅干后，绿竹新生于回流之上。水仙、红茶、白梅等花上下分别盛开，色调朱白相映，通幅设色浓而不艳，一派和熙春色。旧传为宋人之作，然笔触色调皆不类，疑是明人学吕纪画风。",[23,200,24,25,95,56,28,62,390,391,301,3720,7,489],"雉鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24ebc914f3148654b0f6a2722ee6abfa.jpg","164.2x80.3",[306],{"id":3725,"slug":3726,"title":3727,"dynasty":3017,"author":436,"museum":1043,"description":3728,"tags":3729,"thumbUrl":3730,"material":84,"size":3731,"collection":289,"collections":3732,"showCount":3676,"zanCount":11,"manualWeight":46,"mainColor":149},218314,"fang-yuan-zui-yue-tu-yi-ming-218314","芳园醉月图","月夜清辉漫洒芳园，嶙峋山石旁花木扶疏，枝桠间繁花如雪，月下更显幽逸。园内人影错杂，或围坐醉谈，或信步寻幽，或凭栏浅笑，动静交织成一派闲适图景。小桥卧波，流水潺潺，石径蜿蜒穿林，远处奇峰隐现于月色朦胧中，添了几分旷远之致。人物衣袂轻扬，神态鲜活，生动勾勒出园居宴乐的融融暖意。笔墨细腻温婉，设色淡雅清和，山石皴染见古意，花木点描显灵秀，构图疏密得宜，将园林的清幽之境与人间的欢悦之情相融相契，尽展古典雅韵与生活意趣。",[200,24,25,95,28,56,58,30,31,7,34,1385,390,3323],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a5dcf17369c07d5993485e20a0c645b.jpg","155.5x102.3",[289],{"id":3734,"slug":3735,"title":1572,"dynasty":18,"author":3736,"museum":3737,"description":3738,"tags":3739,"thumbUrl":3740,"material":40,"size":70,"collection":42,"collections":3741,"showCount":3742,"zanCount":764,"manualWeight":46,"mainColor":149},219921,"qing-lv-shan-shui-tu-wen-jia-219921","文嘉","香港艺术馆","文嘉（1501年～1583），字休承，号文水，南直隶苏州府长洲（今江苏苏州）人。大书画家文徵明次子。\n吴门派代表画家。初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。精于鉴别古书画，工石刻，为明一代之冠。画得徵明一体，善画山水，笔法清脆，颇近倪瓒，着色山水具幽澹之致，间仿王蒙皴染，亦颇秀润，兼作花卉。明人王世贞评：“其书不能如兄，而画得待诏（文徵明）一体。”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。”",[23,24,25,95,257,28,29,36,130,34,58,7,31,1081],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1820ac5ad6de7a128ff8fac67e031d3c.jpg",[42],125,{"id":3744,"slug":3745,"title":3746,"dynasty":78,"author":1290,"museum":53,"description":3747,"tags":3748,"thumbUrl":3749,"material":84,"size":3750,"collection":42,"collections":3751,"showCount":3742,"zanCount":764,"manualWeight":46,"mainColor":149},218137,"qiu-lin-gao-shi-tu-sheng-mao-218137","秋林高士图","这幅画上绘着一位身穿红衣的高士，坐于秋林坡地上，作侧身远眺之状。图分前、中、远三景，前景画杂树数株，高低参差、疏密有致，运笔极为老到；树下高士在画面上显得极为细小，反衬出青山丛林的崇峻，高士姿态生动自然，勾画简练闲放，颇具逸致。溪边苇荻数丛，布局、运笔富于变化，亦得风吹草动之态。隔溪中景秋林，不作勾勒，纯以浓淡墨积点为之，树梢浓浓淡淡，隐现于层云薄雾之中，着墨不多，笔简意足。远景层峦叠嶂，重重雾锁。两座主峰的画法，以披麻皴间以乱柴皴，结构转折处以浓墨打苔点树，雄峻逸秀，气格高朗，得秋天清旷情趣。",[23,24,25,29,58,27,28,34,7,133,36,952,923],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78bb700dfdd2f5ed8ea30c6490135420.jpg","纵135.3厘米、横59厘米",[42],{"id":3753,"slug":3754,"title":2957,"dynasty":124,"author":182,"museum":561,"description":3755,"tags":3756,"thumbUrl":3757,"material":217,"size":660,"collection":70,"collections":3758,"showCount":3759,"zanCount":764,"manualWeight":46,"mainColor":47},289751,"xi-yuan-ya-ji-tu-li-gong-lin-289751","李公麟（1049～1106），北宋舒州（今属安徽桐城）人，宋代杰出画家。字伯时，号龙眠居士、龙眠山人，享年五十七岁。熙宁三年（公元1070年）进士。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。长于诗文，行楷书有晋人风。与王安石、苏轼、米芾、黄庭坚为至交，系驸马王诜之座上客。熙宁三年（1070）中进士，为中书门下省删定官，后官至朝奉郎。元符三年（1100）病痹告老，居家乡桐城龙眠山，号龙眠居士。一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。人物、道释深得吴道子旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。",[23,200,24,26,712,27,58,391,302,7,2962,37,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbed8d9f7cb34c0f070daee4971c5f00e.jpg",[],124,{"id":3761,"slug":3762,"title":3763,"dynasty":18,"author":19,"museum":561,"description":3764,"tags":3765,"thumbUrl":3767,"material":217,"size":660,"collection":70,"collections":3768,"showCount":3759,"zanCount":764,"manualWeight":46,"mainColor":47},228835,"xi-shan-qiu-se-tu-juan-shen-zhou-228835","溪山秋色图卷","此图右起大片水域，远山蒙蒙，云气蒸腾。中部山石突起，溪水潺潺蜿蜒从山间流过，坡石上零星分布着树木。整幅画水墨饱满，用淡墨淡彩渲染出一派澄明清润的南国初秋景象，气韵生动。笔法简清爽利，色彩浓淡相宜，具透明感。",[23,200,24,128,26,29,723,36,37,38,82,7,34,35,31,32,33,114,3766,3692,201,30,452,96],"近水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13a660bbee2437d662bcad8b1a397e57.jpg",[],{"id":3770,"slug":3771,"title":462,"dynasty":296,"author":3417,"museum":561,"description":3772,"tags":3773,"thumbUrl":3774,"material":1467,"size":3775,"collection":42,"collections":3776,"showCount":3759,"zanCount":46,"manualWeight":46,"mainColor":47},222619,"shan-shui-tu-gong-xian-222619","龚贤（1618—1689）明末清初著名画家，金陵八大家之一。又名岂贤，字半千、半亩，号野遗，又号柴丈人、钟山野老，江苏昆山人，流寓金陵（今南京市），早年曾参加复社活动，明末战乱时外出漂泊流离，入清隐居不出，居南京清凉山，买画课徒，生活清苦。性孤僻，与人落落寡合。工诗文，善行草，源自米芾，又不拘古法，自成一体。著有《香草堂集》他与同时活跃于金陵地区的画家樊圻、高岑、邹喆、吴宏、叶欣、胡慥、谢荪等并称“金陵八家”；与清初著名诗书画家吕潜（号半隐）并称“天下二半”。\n\n绘画:\n龚贤是位既注重传统笔墨又注重师法造化的山水画家。其创作以五代董源、巨然的画法为基础，以宋初北方画派的笔墨为主体，参以二米（米芾、米友仁父子）、吴镇及沈周等人的笔风墨韵，同时结合自己对自然山水的观察和感受，形成了浑朴中见秀逸的积墨法，不同于清初以王时敏为首的“四王”所倡导的笔笔有古意的创作格法。作品多写金陵山水，长于用墨。\n龚贤喜用老辣朴拙的笔触，沉着稳重，秃笔与尖笔兼用。秃笔，取之圆润苍劲，勾屋，皴擦，画树和点苔苍老有力。龚贤用笔在主张“欲秀而老”，秀而老就是准确、简练而流畅有变化。画家程正揆在赠龚贤的诗中道：“铁干银钩老笔翻，力能从简意能繁”，这很好地点出了龚贤在用笔上的特点和成就。他提出笔法、墨气、丘壑、气韵作为画家四要，主张作画要中锋用笔，并且要古、健、老、苍，才能避免刻、结、板之病，颇为精辟。龚贤用墨，以层层积墨见长，虽不用泼墨，实具有泼墨烟润淋漓的效果，颇有宋人的用墨特点。其画山石树木中锋用笔，苍劲古厚，并用积墨法作反复皴擦积染，多至十几层，墨色极为浓重，但仍有深浅、浓淡、明暗等细微变化，山石树木往往浑融一体，仅在阳面或轮廓边缘处留出些许高光和坚实的轮廓，效果强烈，具有浑厚、苍秀、沉郁的独特风格，成功地表现了江南山水茂密、滋润、幽深的特征。龚贤作画最善用墨，主张墨气要厚、润，他发展了积墨画法，龚贤精研此法是追求一种苍润的境界，他以干笔作墨骨，再以层层皴染包润之，令山林树木呈现出鲜润沉厚的墨韵，使画面湿润厚重之感，这种画法适于表现江南湿意浓重的山水景色，同时也使龚贤的绘画具有了一种深郁静穆的格调。龚贤的画法分两类，世称“墨龚”和“白龚”。他善用黑白对比的技法，前者浓密苍茫，后者简淡雅洁。他在《半千课徒画说》中称：“非黑，无以显其白；非白，无以利其黑。”又如《平远小景》图（册页，纸本水墨）中所画的房屋，简洁明丽，在周围笔墨的映衬下，洁白的屋墙似乎透出光亮。此处即用黑白对比的技法。\n龚贤的山水画非常重视构图。他的画视野开阔，气象万千。他的“三远”构图原则，发挥得淋漓尽致，出神入化。他往往提高视线的角度，“平远”构图，多采取俯视角度，这样，视野开阔，平淡中倍增飘渺的感觉。尺幅之中，山河无尽。作“高远”构图，也是如此，先俯视，尔后眼光往上作仰视，真有下揽深谷、上突危峰的气概。他十分注重上下的位置。他的山水画一般很“满”，但“满”而不塞，常常用云带、流水作为空白透气。从整个画面来说，很有气韵。这才是龚贤的笔、墨、丘壑浑然一体的韵，从而创造出有地方特色的山水画。他是当之无愧的“金陵画派”的首领。\n龚贤之子龚柱，字础安，山水面目极似其父，只是烘染略少而已。\n\n诗作:\n龚贤是先以诗歌闻名于世的。客居海安、扬州时期，龚贤创作了大量诗歌，居扬州期间，在六年内作诗二百多首，是他一生中写诗最多的时期，传于后世的《草香堂集》共收诗203首，其中题画诗仅8首。可见那时期他作画不多，诗却写了不少。《草香堂集》中的诗大部分反映了他在海安、扬州时的生活经历和思想状况。他的诗很有特色，其好友方文在《喜龚半千还金陵》诗中赞他“更妙是诗篇，浑朴复雄放”；龚贤自己曾在《生日作》中谦逊地说：“余生皆酒力，不幸以诗名。”郭沫若曾评龚诗曰：“半千的诗虽然不多，大率精炼，颇有晚唐人风味。”在扬州，喜爱晚唐诗的龚贤还着手进行中晚唐诗歌的汇集整理工作，这一艰巨工作持续了数十年，被好友周亮工赞为“中晚唐之功臣也”。\n龚贤之诗作，一经开篇，则清逸之气沁人心脾，极显清疏淡雅之姿，如云流水池，一气呵成。其律绝句中鲜见用典，惟其《赠罗使君》一篇七古二十四韵中竟用了三十二个典故。窥一斑而知全豹，诗人腹笥藏书之富，非同一般。通常避而不用者，意在畅情而已。虽其谴词造句似属平易，然再经咀嚼，则有一种清新爽口之感。关键在于诗人抓住了现实生活中最富有诗意的景象和最触动自己心灵的情节，以简洁的艺术语言淋漓酣畅地表达无遗。这既是诗，亦是文，流畅似水，通俗如话，无诘屈聱牙之句，无冷僻难解之点。这表明诗人极具质朴的创作精神，从不故作哗众取宠惊人之笔，这又恰恰与他的绘画的艺术追求殊途同归。\n龚贤懂诗、爱诗、惜诗。他曾花费数十年的时间，以极大的毅力进行中晚唐诗的搜集、选编工作。为此，他曾“大索天下”，觅得百余家“多人未见本”（即未曾被收编入书的）主要靠自己出资刻印了七十四家。",[23,24,27,36,95,29,7,34,1081,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F805b3fa5f0a2b4668436631477516806.jpg","纵110厘米，横50厘米",[42,146],{"id":3778,"slug":3779,"title":3780,"dynasty":124,"author":1573,"museum":360,"description":3781,"tags":3782,"thumbUrl":3786,"material":454,"size":3787,"collection":70,"collections":3788,"showCount":3759,"zanCount":11,"manualWeight":46,"mainColor":47},221374,"yu-cun-xiao-xue-tu-juan-quan-juan-wang-shen-221374","渔村小雪图卷全卷","描写冬季小雪初霁的渔村山林景色。图中雪山奇松，溪岸渔艇，峰迴路转，步移景易，整个画面意境萧索，笼罩在一片空灵、静寂的氛围之中，虽有渔夫艰苦劳作，但反映的却是文人逸士向往山林隐逸生活的雅致情怀。此图是王诜师法李成而自成一家的作品。图中山石勾皴纯用侧锋短笔，边缘轮廓采用“破墨法”，在勾勒之后用清水向内化开，墨色轻淡。寒林长松则用中锋浓墨，从而突出表现了其凌寒不凋的高贵品格。为了表现积雪，除山峦留白外，作者还在峰顶、树杈、沙脚施以白粉。为了表现雪后阳光，作者又于树头、苇尖略染金粉，在通幅水墨之中吸收了唐以来金碧山水的画法，是一种创造性的实践。这幅作品充分体现了北宋时文人画强调“诗中有画，画中有诗”的创作主旨，以娴熟的技法写“词人墨卿难状之景”，正是“诗画一律”的典范作品。",[23,24,25,26,27,28,36,56,29,3783,3784,7,34,31,32,724,3785,30,201,133,37,38,82],"渔村","小雪","渔翁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5c673d066b16599b24a80fdfbc217e0.jpg","纵44.5厘米，横219.5厘米",[],{"id":3790,"slug":3791,"title":3792,"dynasty":124,"author":3793,"museum":1137,"description":3794,"tags":3795,"thumbUrl":3797,"material":84,"size":3798,"collection":144,"collections":3799,"showCount":3759,"zanCount":46,"manualWeight":46,"mainColor":149},218629,"pan-che-tu-jiang-can-218629","盘车图","江参","寒林覆雪，枝桠虬曲如铁线，在凛风中舒展筋骨。山峦以淡墨晕染，层叠间透着清寂，山脚却藏烟火暖意——几辆盘车缓行于雪泥道上，牛蹄踏雪留痕，车轮碾过碎雪，车旁人物裹衣呵气，似在抵御严寒。远处村落隐于林麓，屋舍错落，炊烟轻袅，与苍茫山色相映。笔墨细腻处见功力：枯树皴擦显苍劲，盘车结构精准，人物动态鲜活；而雪景朦胧与山峦雄浑，又营造出阔远意境。整幅画于萧瑟冬日，融旅途艰辛与人间烟火于一炉，写实功底见古画本色，诗意留白引观者遐思，尽显冬日山水间的生活韵致与苍茫之美。",[24,200,25,28,36,29,7,242,96,214,3796,1103,58,201],"车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1548d14d9bbde0476e8e9f354f0095f2.jpg","30x24",[144],{"id":3801,"slug":3802,"title":3803,"dynasty":124,"author":548,"museum":53,"description":3804,"tags":3805,"thumbUrl":3808,"material":142,"size":3809,"collection":144,"collections":3810,"showCount":3811,"zanCount":46,"manualWeight":46,"mainColor":149},221413,"song-quan-pan-shi-zhou-li-cheng-221413","松泉磐石轴","本幅之题材与风格，属松石格之作品，描绘双松挺立于磐石上，两侧有枯木为伴，兼具寒林之景象。寒林之后隐约可见清涧折曲而来，至磐石处急泻而下，激起漩涡与浪花。 松石格是兴起于八世纪的绘画，或画松石、树石，含松柏及其他树木。它是山水画范围的一部分。\n飞泉激漱于涧石之间，下潴成窟，浪花腾溅。两松劲挺立於涧右，树身扭曲，多瘤杈枒。松针作圆形，先用浓墨画，再用淡墨罩一次，又用墨水烘渍，最后用小弹弓弹墨花于其上，如宋人弹雪法。涧左枯树两株，较两松更甚，画小枝用李郭蟹爪。树后层滩叠渚，愈远愈淡，上接烟霾天宇，一门浑囵。松身结体，颇似武元直赤壁图卷；烘染厚润，颇似李山风雪杉松图卷。",[24,25,95,27,36,29,427,3806,3807,30,31,7,34],"泉水","磐石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab46279c4e10e9f75620f23fefae0de6.jpg","160.3x96.8cm",[144,42,146],123,{"id":3813,"slug":3814,"title":3815,"dynasty":18,"author":269,"museum":2286,"description":3816,"tags":3817,"thumbUrl":3818,"material":2631,"size":3819,"collection":70,"collections":3820,"showCount":3811,"zanCount":46,"manualWeight":46,"mainColor":70},220728,"fang-ma-yuan-ta-ge-tu-dai-jin-220728","仿马远踏歌图","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。\n戴进作为明代著名的画家，绘画临摹精博，得唐宋诸家之妙，道释、神像、人物、山水、花果、翎毛、走兽等，无所不工。\n他的山水画画作品，注重选题。画法源出宋元，继承南宋水墨苍劲一派，主要吸收南宋时期的马远、夏圭（夏圭）风格，但也吸取北宋时期的李成和范宽，并取法郭熙、李唐、董源，用笔劲挺方硬，水墨淋漓酣畅，技巧纵横，画风雄健挺拔，俱遒劲苍润，一变南宋浑厚沉郁的风格，发展了马远、夏圭传统，善于用浓淡水墨的巧妙变化，来表现“铺叙远近，宏深雅淡”的品格，既有南宋院体遗风，又有元人水墨画意，被推为“浙派山水首席画师”",[23,24,25,200,29,36,28,7,34,133,58,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b3256df255a4ff5cd730b5277dbb9e7.jpg","装裱：270.5×122.3厘米画心：182.4×107.4厘米",[],{"id":3822,"slug":3823,"title":3824,"dynasty":3825,"author":3826,"museum":108,"description":3827,"tags":3828,"thumbUrl":3831,"material":40,"size":3832,"collection":42,"collections":3833,"showCount":3811,"zanCount":46,"manualWeight":46,"mainColor":47},220411,"ji-liu-xing-zhou-tu-zhang-da-qian-220411","急流行舟图","民国","张大千","此《急流行舟图》为1948年4月作，张大千50岁。其以古法入画已臻纯熟老辣之境，博采各家之长，具宋元风范又自出新意。此时其作品古人面貌最多，变化最多。《急流行舟图》的中远景，尽显淡墨轻岚一派风气。其笔法细秀温润，明润郁葱，画中经营的幽溪细路、山涧飞瀑、竹篱茅舍、断桥危栈，皆使人感悟“真若山间景趣也”。其画面设色清秀爽气，略施浅绛，主体以山石、树木、枝叶墨色浓淡的交错运用来表现层次关系，突出新安江一带特有的清润明秀、不装巧趣的韵致。然此画精彩之处不尽于此。但见飞瀑直下，形势急转，顿生高潮：激流暗涌、险滩巨礁、双舟争渡；江边草木、迎风而动、生意盎然。此处张大千一改中远景中平淡天真之法，石涛笔意曜然纸上。其山水画本效石涛起家，谓可乱真。自是笔法流畅，用墨相宜，或笔简墨淡、或浓重滋润，恣肆郁勃、淋漓洒脱。平淡中见奇绝，乃新安江山水之天然风貌。张大千这一静一动，构思新奇，更显急流行舟之灵动野趣。画中题款诗文中似流露出张大千对于隐居山野的倾慕，然其并未在“人在荒山顶上居”上多费笔墨，成为该画点睛之笔的正是“舟从乱石堆中过”。只见两叶轻舟似于浅滩中遇到险阻，船公们或奋力撑篙，或涉水排阻，人人齐心，共闯险滩。人物船只皆以白描意笔勾勒，浅绛施与船身与肤色，虽小至寸余，但形神毕肖，呼之欲出，在水墨淡色的山水中尤为醒目，点题立意。《急流行舟图》是张大千于国内面对真山实水所作的最后一批山水画之一，亦是其于盛期“师自然”的典型范例。",[23,200,24,25,27,28,300,36,29,31,32,30,130,34,7,133,35,214,3829,3830],"急流","行舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F090de17151e7cc3bb155db86e8b0dcaa.jpg","133x53cm",[42,264],{"id":3835,"slug":3836,"title":3837,"dynasty":654,"author":3838,"museum":346,"description":3839,"tags":3840,"thumbUrl":3846,"material":84,"size":3847,"collection":306,"collections":3848,"showCount":3811,"zanCount":764,"manualWeight":46,"mainColor":149},219002,"ku-mu-shui-qin-tu-huang-quan-219002","枯木水禽图","黄筌","这幅画描绘了湖岸边的寒冷冬景，大雁、白天鹅、野鸡和各种水鸟在三棵巨树下觅食、嬉戏，空旷荒凉的场景也让人不禁想起过去的繁华。这幅画被认为是五代时期西蜀画家黄荃的作品，但实际上它接近于元代罗稚川的风格。",[23,24,200,25,56,28,95,2242,2718,201,3841,113,3842,96,3843,7,3844,524,3845,538],"白鹅","岸边","枯枝","水泊","水畔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F928b9b088db206fb252396d6d64c69ee.jpg","纵148横107厘米",[306,42],{"id":3850,"slug":3851,"title":3852,"dynasty":654,"author":655,"museum":53,"description":3853,"tags":3854,"thumbUrl":3856,"material":84,"size":3857,"collection":42,"collections":3858,"showCount":3811,"zanCount":764,"manualWeight":46,"mainColor":149},218927,"dai-du-tu-guan-tong-218927","待渡图","这幅画描绘了一个高高士在野外穿越时等待船只的情景，笔触和墨迹高度变化，并有一个边缘的场景。",[23,24,25,29,36,27,7,34,316,3855,3842],"行人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0234b4c0ad967411b9cb6bfbe40aadfa.jpg","21.9x24",[42],{"id":3860,"slug":3861,"title":3862,"dynasty":296,"author":3038,"museum":346,"description":3863,"tags":3864,"thumbUrl":3865,"material":40,"size":3866,"collection":42,"collections":3867,"showCount":3811,"zanCount":46,"manualWeight":46,"mainColor":47},217217,"fang-gu-shan-shui-shi-er-kai-wang-hui-217217","仿古山水十二开","此册王翚仿古十二开",[24,25,111,27,36,2843,29,34,7,31,114,227,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5d8cb08718af9c20fbb39bcf2df2b19.jpg","25x35.4cm",[42],{"id":3869,"slug":3870,"title":3871,"dynasty":124,"author":1089,"museum":561,"description":3872,"tags":3873,"thumbUrl":3874,"material":70,"size":70,"collection":70,"collections":3875,"showCount":3876,"zanCount":46,"manualWeight":46,"mainColor":149},227688,"shi-yi-long-tu-chen-rong-227688","十一龙图","理宗端平二年（1235）进士，知平阳县。时与名士论文讲艺，敷绎大义，士习以兴。曾为国子监主簿、福建莆田太守，官至朝散大夫。诗文豪壮，暇则游翰墨，善画龙，宝佑（1253-1258）间名重一时。画龙善用水墨，深得变化之意，泼墨成云，噀水成雾。特别是醉余大叫，脱巾濡墨信手涂抹，然后以笔成之，或全体，或一臂一首，隐约而不可名状者，皆得妙似。贾似道尝招致宾幕，醉辄狎侮之，贾不为忤。兼写松竹，学李煜“铁钩锁”法。晚年笔力简易精妙，绛色者可并董羽。偶亦画虎，勾染斑毛极工细。有赝本托以流传。现存美国波士顿博物馆之《九龙图》卷，恐是元人摹本。",[23,200,24,25,26,27,36,907,29,133,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bd37fa557531a1ee46077055962506d.jpg",[],122,{"id":3878,"slug":3879,"title":3880,"dynasty":296,"author":3881,"museum":561,"description":3882,"tags":3883,"thumbUrl":3893,"material":217,"size":660,"collection":70,"collections":3894,"showCount":3876,"zanCount":46,"manualWeight":46,"mainColor":149},224114,"yuan-xiao-xing-le-tu-zhou-qian-long-224114","元宵行乐图轴","乾隆","此图描绘的是清代乾隆皇帝与皇族子弟们在宫苑内庆贺元宵节的情景。元宵节，又称为“上元节”、“小正月”、“元夕”或“灯节”，是岁朝之后的第一个重要节日。按照中国民间的传统，在这天皓月高悬的夜晚，人们除吃意寓团圆美满的元宵外，还要点起彩灯万盏，燃放焰火和猜灯谜。图中乾隆皇帝坐在楼阁上，正安详地目视着皇族子弟们庆贺元宵节。\n此图没有落作者的名款，从技法上分析，图中人物的画像应是由擅长写实画的郎世宁绘制。他在西洋肖像画的基础上，巧妙地吸取了传统中国“写真”画技法，生动地表现出不同人物的体态和神情。图中的屋宇、树石背景是由中国画家补绘，画家们以传统的中国山水画、界画技法，精心勾描、点染，不仅渲染出元宵节喜庆祥和的热烈气氛，同时展示出乾隆皇帝与家人间浓浓的亲情。",[24,95,28,3884,57,56,3885,60,3886,7,34,3887,3888,3889,3890,3891,3892],"人物画","写实","宫苑","元宵节","彩灯","焰火","喜庆","祥和","亲情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e37e5be34ab9d1fa4c454a4cece0f98.jpg",[],{"id":3896,"slug":3897,"title":3898,"dynasty":78,"author":107,"museum":53,"description":3899,"tags":3900,"thumbUrl":3902,"material":40,"size":3903,"collection":42,"collections":3904,"showCount":3876,"zanCount":11,"manualWeight":46,"mainColor":149},220812,"shen-lin-die-zhang-zhou-wang-meng-220812","深林叠嶂轴","本幅在《御制诗二集》题名作王蒙〈山水〉。为乾隆皇帝第一次南巡回程时于淮安一带所题。画上有王蒙（1308 —1385）名款，山石亦以蜷曲「牛毛皴」与黝黑苔点交错，组合出「王蒙式」云雾升腾般的动感山势，然此作效果较趋平面性，疑为明代画家追仿其风格的佳作。乾隆皇帝将深林叠嶂中的水榭、人物，比附为长寿仙人偓佺与王子乔修链的隐居处，或许他联想到的是南巡中短暂相见的沈德潜等老臣，期盼他们致仕乡居期间得保长寿康健。",[23,24,25,95,27,29,36,3901,2266,30,31,34,7,58,35],"深林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04af7491da242fe3e6e5e4e5e92f4e9e.jpg","68.7x42.5",[42,146],{"id":3906,"slug":3907,"title":3908,"dynasty":296,"author":3909,"museum":485,"description":3910,"tags":3911,"thumbUrl":3912,"material":28,"size":3913,"collection":42,"collections":3914,"showCount":3876,"zanCount":11,"manualWeight":46,"mainColor":3915},214176,"xie-qin-you-ju-tu-tu-xiang-zeng-qiang-cha-shi-biao-214176","携琴幽居图(图像增强)","查士标","查士标（1691年-1765年），字叔标，号槃湖，清代著名山水画家。他是清代著名的四王之一，与石涛、郎世宁、唐伯虎合称“四王”。查士标擅长山水画，尤其以山水风景和人物画闻名。",[24,28,36,26,29,33,30,31,34,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d6e5f238a3606b6d1cab864e69f3c2f.jpg","135.8*25.5",[42],"aaa79f",{"id":3917,"slug":3918,"title":3919,"dynasty":124,"author":197,"museum":360,"description":3920,"tags":3921,"thumbUrl":3922,"material":229,"size":3923,"collection":70,"collections":3924,"showCount":3925,"zanCount":11,"manualWeight":46,"mainColor":149},233211,"lin-liu-fu-qin-tu-ye-xia-gui-233211","临流抚琴图页","宋代郭熙《林泉高致》云：“山以水为血脉”、“山得水一活”，水是山的眼睛，关乎画面的神采，最难画活。宋代的山水画中多以密致的线条勾出水纹，如现存李唐的《江山小景图》、马远的《水图》等都是以工致的笔法画出水纹。在这幅画中，溪水则以简练的线条勾勒，部分留白，盘曲掩映，时隐时现，难觅其踪，表现出流水的清澈和流动感。夏圭是善于在绘画中“用虚”的大师，在这幅画中，他利用了留自来表现江山湖泊的辽阔深远，虽未着一笔，却能“无画处皆成妙境”，给人无限遐想的空间。画中的人物也很有特点，没有过多地描绘细节，而是注重表现身体的动势，笔简而神全。抚琴者似在弹奏，让人不禁联想到琴声的悠扬。\n作为一个欣赏者，我们可能更多地关注的是画面的内容和技法的运用，往往忽视了绘画材料本身。古人云：“皮之不存，毛将焉附?”画面的效果和气氛的营造，一方面取决于画家的精神境界和绘画技巧，另一方面取决于绘画的材料即媒材。唐、宋时期绘画尚用绢，至明末，画家皆用熟纸。夏圭此画作于熟绢之上，绢本细腻的质地适于表现笔墨的流利劲健，他充分利用了绢的特性，笔势纵横生动。\n元代庄肃的《画继补遗》中评价夏圭：“画山水人物极俗恶。宋末世道凋丧，人心迁革，圭遂滥得时名，其实无可取，仅可知时代姓名而已。”此论可谓偏颇至极。夏圭的山水画，用笔外露，非是缺点，而是其特点。夏文彦《图绘宝鉴》称赞夏圭说：“院人中画山水，自李唐以下，无出其右者也。”宋代绘画是中国传统绘画的精华，它来源于画家“外师造化，中得心源”，并非是抛弃自然的笔墨游戏。如宋代郭熙的《林泉高致》中提到画家对待绘画用“敬”的态度“凡一景之画，不以大小多少，必须注精以一之”、“必神与俱成之”、“必严重以肃之”、“必恪勤以周之”，不可“以轻心挑之”、“以慢心忽之”。夏圭正是以这种敬业的精神以及“心源”颖悟，在方寸之内，写出如此之大气象、大境界。\n宋、元以后文人画开始居于画坛的主流地位，夏圭的山水画不断遭到文人画家不公正的指责和排挤，虽偶有师法者，但已是落日余晖，失去了往日的辉煌。然而被文人画家“嗤之以鼻”的夏圭的山水画却跨越了国界，深深地影响了日本的绘画，出现了周文、雪舟等一批绘画大家，纷纷模仿夏圭的山水画。\n《临流抚琴图》是画家夏圭创作的一幅作品，该图是国家一级文物，图中绘一高士临流而坐，气象萧疏，意境深远。\n墨笔急扫之后，迅速以水笔接染，笔墨衔接自然，一气呵成。由于墨与水的使用恰到好处，使得整幅画面颜色透亮，一股清新之气扑面而来。画树木，得其形而又取其势，意笔写出枝干，偃仰屈曲，苍健老硬，有蛟龙惊虬之势；树叶点染而成，疏密有致，虚实相生，浓淡相宜，看似不经意，实则惨淡经营。茅屋隐现于树后，以墨笔勾出轮廓，再施以规则的点皴，极具装饰意味。画水有独特之处。",[24,200,25,1900,27,36,29,58,31,112,7,1012],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10b6e2189c33e42f16457ba45586676b.jpg","25.5X26厘米",[],121,{"id":3927,"slug":3928,"title":3929,"dynasty":296,"author":1406,"museum":239,"description":1407,"tags":3930,"thumbUrl":3931,"material":40,"size":1410,"collection":42,"collections":3932,"showCount":3925,"zanCount":11,"manualWeight":46,"mainColor":47},220005,"shan-shui-hua-fang-mei-dao-ren-wang-shi-min-220005","山水画-仿梅道人",[23,24,27,29,186,36,34,31,33,7,2490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6b0369175196e03b3707498e97829e3.jpg",[42],{"id":3934,"slug":3935,"title":3936,"dynasty":18,"author":269,"museum":53,"description":3937,"tags":3938,"thumbUrl":3941,"material":601,"size":3942,"collection":42,"collections":3943,"showCount":3925,"zanCount":382,"manualWeight":46,"mainColor":149},214534,"feng-yu-gui-zhou-zhou-dai-jin-214534","风雨归舟轴","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。",[24,25,95,200,27,36,3939,3940,32,724,30,31,34,158,133,1932,2177,7],"风雨","归舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07168b75e7b49cbee77b8e01e67a53fa.jpg","143x81.8",[42],{"id":3945,"slug":3946,"title":3947,"dynasty":296,"author":2564,"museum":360,"description":3948,"tags":3949,"thumbUrl":3958,"material":246,"size":3959,"collection":289,"collections":3960,"showCount":3961,"zanCount":517,"manualWeight":46,"mainColor":47},222773,"hong-li-guan-hua-tu-lang-shi-ning-222773","弘历观画图","此幅利用画中画的构图方式，表现乾隆皇帝弘历在清风中欣赏《洗象图》的情景。《洗象图》描绘的是扮作普贤菩萨的乾隆皇帝正在观看众人为普贤的坐骑白象洗刷的场景。\n乾隆皇帝在其统治期间建立了一套完整的佛教文化体系，同时他还自诩是佛教中 “文殊”、“普贤”的化身，给自己罩上了一层神秘的宗教光环，意味着他不仅是人间的帝王，也是佛界的要神。因此该画在创作意图上是幅宣扬乾隆皇帝宗教信仰的作品。\n此图无作者名款，从创作手法上分析应该是中西画家的合璧之作。图中乾隆皇帝的肖像是由擅长写实画的郎世宁绘制。作者运用解剖学，以西洋绘画技法表现人物面部，五官的刻画细腻、清晰，富有层次、立体感。乾隆皇帝的服饰则由中国画家以传统的人物画“战笔描”表现，衣纹线条抖动弯曲，极具动感。图中的小童、房舍、树木等亦是由中国画家联手完成的。东、西方绘画艺术风格呈现在同一幅作品中无疑丰富了宫廷绘画创作的表现形式，这也是乾隆朝宫廷绘画的一大特色。",[23,24,28,56,3884,3950,3951,3952,3953,427,1140,30,31,7,3954,2653,3955,3956,3957],"画中画","佛教","普贤菩萨","文殊菩萨","帝王","白象","西洋写实技法","战笔描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc096af4b80506a97a712105edd6edc41.jpg","纵136.4厘米，横62厘米",[289,264],120,{"id":3963,"slug":3964,"title":3965,"dynasty":18,"author":19,"museum":20,"description":3966,"tags":3967,"thumbUrl":3970,"material":116,"size":3971,"collection":42,"collections":3972,"showCount":3961,"zanCount":11,"manualWeight":46,"mainColor":47},220053,"shui-cun-shan-wu-tu-shen-zhou-220053","水村山坞图","在其所绘《水村山坞图》的题跋中也曾言到：右画一卷水村山坞人家，竹木溪彴，林蹊萦纡映带，若桃源然，观之便有移家之想。似此，世未必无，岂在笔楮间所为幻迹，以娱人之目耶？尝读子厚柳先生愚溪之文，可见也。文与画无二致，得此卷者毋直以画视之。\n《水村山坞图》卷绘崇山峻岭，江天无际，渔父横舟，正所谓「竹木溪彴，林蹊萦纡映带」。",[23,24,25,26,27,36,29,3968,3969,7,34,33,31,32,35,242,30],"山坞","水村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb656df01da6d53e1cb274f4b3d4c4eca.jpg","30.5 ×770.8 厘米",[42],{"id":3974,"slug":3975,"title":3976,"dynasty":124,"author":3793,"museum":3977,"description":3978,"tags":3979,"thumbUrl":3981,"material":84,"size":3982,"collection":42,"collections":3983,"showCount":3961,"zanCount":764,"manualWeight":46,"mainColor":149},219898,"shui-ge-ya-ji-tu-jiang-can-219898","水阁雅集图","圣路易斯艺术博物馆","江参,（公元12世纪）〔南宋〕字贯道，南徐（今江苏省镇江市辖丹徒）人，江大方之子。居霅川（今浙江湖州市南），形貌清癯，平生特嗜香茶，和当时叶梦得(1077-1148)等众多文人学者关系甚密。终身飘泊，\n(公元12世纪)〔南宋〕字贯道，南徐(今江苏省镇江市辖丹徒)人，居霅川(今浙江湖州市南)，形貌清癯，平生特嗜香茶，和当时叶梦得(1077-1148)等众多文人学者关系甚密。终身飘泊，曾居三衢(今浙江常山县)，治园筑馆，园馆取《楚辞》之言名曰“崇兰”，平日与陈与义(1090-1138)、程俱(1078-1144)等交往甚多，生卒年不详。长于山水，师董源、巨然、赵叔问，参以“范郭”画法，创“泥里拔钉皴”，自成一家。高宗赵构召见，委临安府治，不意竟得暴病而卒，人惋惜其“未尽其才”。",[23,3980,200,24,25,26,29,27,36,28,60,30,31,7,34,58,37,38],"宋画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F598872c82e751688193dc1fe0421b50f.jpg","30.5x120厘米",[42],{"id":3985,"slug":3986,"title":3987,"dynasty":18,"author":3736,"museum":3988,"description":3989,"tags":3990,"thumbUrl":3991,"material":40,"size":3992,"collection":42,"collections":3993,"showCount":3961,"zanCount":46,"manualWeight":46,"mainColor":47},218090,"fang-dong-yuan-shan-shui-tu-wen-jia-218090","仿董源山水图","金贝尔艺术博物馆","明朝是中国历史上的一个朝代，它的统治时间是从1368年到1644年。在这期间，文嘉是一位著名的画家，他的作品中有一幅仿董源山水图。\n\n董源是中国历史上著名的画家，他的作品中有一幅著名的山水图，这幅图被称为“董源山水图”。文嘉的作品中的这幅仿董源山水图是文嘉对董源山水图的模仿，他在这幅图中运用了董源的画风，但也加入了自己的风格。\n\n山水画是中国传统画的一种，它的主题是山水风景。山水画中常常会描绘大自然的景象，如山峰、河流、湖泊、树木、花草等。这幅仿董源山水图中也展示了美丽的山水风景，画面上的山峰、树木、河流都描绘得栩栩如生，充满了生机与活力。\n\n文嘉的这幅仿董源山水图不仅展示了文嘉对董源画风的尊敬，同时也展示了文嘉自己的画风。这幅图融合了传统山水画的特点，同时也具有文嘉自己的个性。",[23,24,25,95,27,36,186,29,30,31,7,34,130,3440,578],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdf2830085ebd93c1fe744e5ba0196bd.jpg","167x52cm",[42],{"id":3995,"slug":3996,"title":3997,"dynasty":296,"author":498,"museum":597,"description":3998,"tags":3999,"thumbUrl":4001,"material":116,"size":4002,"collection":42,"collections":4003,"showCount":3961,"zanCount":46,"manualWeight":46,"mainColor":47},217884,"xi-shan-lin-wu-tu-wang-yuan-qi-217884","溪山林屋图","溪山林屋图是王原祁的代表作之一，它们描绘了中国山林中的小屋、溪流、山峰和树木。这些画作通常都有一种平静而自然的感觉，体现了王原祁对中国传统山水画的热爱和自然美的追求。\n\n王原祁的溪山林屋图通常都是以水墨画的形式呈现的，他善于运用水墨画的特点，比如渗透、流动、清晰度等，使得他的画作充满了韵味和生命力。\n\n总的来说，王原祁的溪山林屋图是中国清朝时期画家中的佼佼者，它们不仅是艺术作品，而且也是中国文化遗产的重要组成部分。",[24,25,29,27,36,34,35,31,159,132,7,1066,97,4000],"山间植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcebe06c7f8fd41eded98cf111e60e234.jpg","82.8x45.3cm",[42],{"id":4005,"slug":4006,"title":4007,"dynasty":18,"author":19,"museum":561,"description":4008,"tags":4009,"thumbUrl":4010,"material":70,"size":70,"collection":70,"collections":4011,"showCount":4012,"zanCount":46,"manualWeight":46,"mainColor":47},228825,"dong-zhuang-tu-ce-shen-zhou-228825","东庄图册","《东庄图册》是212年出版的图书，作者是沈周。\n《范本传真·中国高等艺术院校教学范本:东庄图册》描绘其师吴宽家的庭园景色。\n吴宽官至礼部尚书，是沈周的老师和挚友，多有诗文唱和。\n东庄是吴宽的庄园，也是江南士大夫经常聚会、吟诗、品茗的地方。\n后人盛赞沈周的《东庄图册》，“观其出入宋元，如意自在，位置既奇绝，笔法复纵宕，虽李龙眠山庄图、鸿乙草堂图不多让也。\n” 这里所选的一幅是“北港”，图中画一荷塘，波光如镜，荷叶亭亭玉立，疏密有致，摇曳多姿，岸上树木点写自然，情态各具；坡岸皴染结合，浓重得宜。\n本书作者沈周（1427～159）明代杰出书画家。\n传世作品有《庐山高图》、《秋林话旧图》、《沧州趣图》。",[24,27,28,111,36,29,34,7,31,578],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff908fba6b302417e7c10f3ab17a103ba.jpg",[],119,{"id":4014,"slug":4015,"title":4016,"dynasty":124,"author":449,"museum":509,"description":4017,"tags":4018,"thumbUrl":4020,"material":28,"size":4021,"collection":144,"collections":4022,"showCount":4012,"zanCount":11,"manualWeight":46,"mainColor":149},221525,"song-shou-tu-ma-yuan-221525","松寿图","此图是马远典型的山水小景画布局风格，描绘山崖一角，苍松斜伸。一文人闲坐石台之上，仰目远眺，旁侧一童子持杖侍立。临溪疏竹丛生，远山寥寥而成。山石用斧劈皴，松树用笔奇崛。右下角行书“马远”单款，画幅上端有宋宁宗赵扩行书七言诗：“道成不怕丹梯峻，髓宝常欺石榻寒，不恋世间名与贵，长生自得一元丹。赐王都提举为寿”。",[23,24,25,95,28,29,58,36,427,7,1011,4019,1140,96,244],"文人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa6f346761d8847499876d6085320103.jpg","纵122厘米，横52.7厘米",[144,42,146],{"id":4024,"slug":4025,"title":4026,"dynasty":793,"author":436,"museum":53,"description":4027,"tags":4028,"thumbUrl":4030,"material":84,"size":4031,"collection":42,"collections":4032,"showCount":4012,"zanCount":764,"manualWeight":46,"mainColor":149},220432,"tang-ren-hua-xue-jing-tu-yi-ming-220432","唐人画雪景图","这幅画，一座山一座山的描绘，大多形成三角形，有平正古拙的感觉。设色主要填染了石青、石绿，山石以金勾勒纹路表现，尚未有皴纹的使用，画法与李思训青绿山水一派相近。此幅现藏于台北故宫博物院，绢本青绿设色。",[23,24,95,28,29,36,612,837,242,35,7,4029],"雪地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc57d5ca5811dfaa4e9fdb31720f68781.jpg","135.4x69.1",[42,264],{"id":4034,"slug":4035,"title":4036,"dynasty":124,"author":4037,"museum":183,"description":4038,"tags":4039,"thumbUrl":4041,"material":116,"size":4042,"collection":42,"collections":4043,"showCount":4012,"zanCount":11,"manualWeight":46,"mainColor":47},220353,"qing-lu-heng-yun-tu-zhao-ji-220353","晴麓横云图","赵佶","此作景物结构近似宋徽宗 〈溪山秋色图〉，然画面集中下方，馀为空白。山形如云朵状，近似李郭风格，然用笔严谨，皴染亦细致，与李郭富强烈粗细变化的线条不同，有学者推测为金代继承李郭传统的作品。画右上方有瘦金书「晴麓橫雲」，书风略显柔弱，「御書之寳」亦存疑，推测为后人追摹。此幅现藏于大阪市立美术馆，纸本浅设色。",[23,24,25,95,27,36,29,7,133,242,114,538,161,136,3083,4040],"渲染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6d05721ef7b3d98f4735e9d3ddf3873.jpg","154.5x61.2",[42,144],{"id":4045,"slug":4046,"title":4047,"dynasty":18,"author":19,"museum":3660,"description":3661,"tags":4048,"thumbUrl":4049,"material":229,"size":3665,"collection":70,"collections":4050,"showCount":4012,"zanCount":46,"manualWeight":46,"mainColor":149},220058,"hu-qiu-shi-er-jing-tu-ce-9-shen-zhou-220058","虎丘十二景图册-9",[23,200,24,25,111,27,36,58,96,7,30,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3884057356be4c3470aff4ddb99ae920.jpg",[],{"id":4052,"slug":4053,"title":4054,"dynasty":78,"author":107,"museum":20,"description":4055,"tags":4056,"thumbUrl":4057,"material":40,"size":4058,"collection":42,"collections":4059,"showCount":4012,"zanCount":46,"manualWeight":46,"mainColor":47},219742,"dan-shan-ying-hai-tu-wang-meng-219742","丹山瀛海图","此图描绘东海蓬瀛诸岛壮阔奇伟的景色。水面上洲岛参差涌列，岛上岗峦层叠重深，长松挺立，树木稠密。岛有木桥通向对岸，山隈深处楼屋掩映。海水浩淼无际，点点舟樯扬帆风行。笔墨师承董源，缜密的披麻皴屈曲律动，峰顶密赞苔点。树木交织使用各种夹叶、勾叶、点叶法，极得荣茂之意。是王蒙笔意繁缛灵活的别体之作。",[24,25,26,27,36,29,2901,34,30,32,133,82,7,565],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb73e4abea682397150fdd3d71415104f.jpg","纵28.5厘米 横80厘米",[42],{"id":4061,"slug":4062,"title":4063,"dynasty":18,"author":1149,"museum":346,"description":4064,"tags":4065,"thumbUrl":4068,"material":84,"size":70,"collection":306,"collections":4069,"showCount":4012,"zanCount":517,"manualWeight":46,"mainColor":149},219005,"shou-zhu-heng-chun-tu-lv-ji-219005","寿祝恒春图","该场景描绘了一对公鸡和母鸡在一个有花有竹的郁郁葱葱的院子里。这幅画被认为是吕纪的作品，但除了鸡群与蓝山鹊很像吕纪的笔触外，湖石和花竹都与吕纪无关，印记也不是真的。然而，画家的作品是如此深刻，以至于可以作为边景昭画派的作品来欣赏。",[23,24,25,62,56,28,95,391,4066,4067,1373,7],"鸡","雏鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa63c8c7a0ec2a692f833b7185730dd23.jpg",[306,264],{"id":4071,"slug":4072,"title":4073,"dynasty":124,"author":125,"museum":108,"description":4074,"tags":4075,"thumbUrl":4076,"material":84,"size":4077,"collection":42,"collections":4078,"showCount":4012,"zanCount":764,"manualWeight":46,"mainColor":149},218518,"shu-zhan-xing-lv-tu-fan-kuan-218518","蜀栈行旅图","这幅画被认为是范宽的作品，但事实上，这幅画的风格应该是李寅、颜峄的风格一派作品",[23,24,951,95,36,28,29,7,34,131,140,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff29c07d65148db3c2cafe7e03228c14d.jpg","192.9x74.4cm",[42],{"id":4080,"slug":4081,"title":4082,"dynasty":296,"author":4083,"museum":53,"description":4084,"tags":4085,"thumbUrl":4086,"material":40,"size":4087,"collection":42,"collections":4088,"showCount":4012,"zanCount":764,"manualWeight":46,"mainColor":47},214728,"fang-huang-gong-wang-qiu-shan-tu-qian-wei-cheng-214728","仿黄公望秋山图","钱维城","这幅浅绛色的溪山图是清代对黄公望笔法的典型再创作。",[200,24,25,28,36,186,82,29,34,31,33,7,133,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48650c798602818f548f4a9796a6aefe.jpg","92.3x43.5",[42],{"id":4090,"slug":4091,"title":4092,"dynasty":296,"author":4093,"museum":108,"description":4094,"tags":4095,"thumbUrl":4096,"material":116,"size":70,"collection":42,"collections":4097,"showCount":4012,"zanCount":46,"manualWeight":46,"mainColor":47},214517,"shui-mo-tu-ce-zheng-min-214517","水墨图册","郑旼","郑旼是清代著名的画家，他的水墨图册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，体现了郑旼对自然的热爱和对传统文化的尊重。他运用了水墨画的特点，使得整件作品显得舒缓而优美。\n\n郑旼是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在水墨图册中，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，郑旼的水墨图册是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了郑旼对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到郑旼的画风魅力，还能了解中国传统的山水风情。",[111,27,38,37,29,242,7,1622,82,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35a214c726747716788dfbbb381e5298.jpg",[42,146],{"id":4099,"slug":4100,"title":4101,"dynasty":296,"author":2784,"museum":1137,"description":4102,"tags":4103,"thumbUrl":4104,"material":229,"size":4105,"collection":70,"collections":4106,"showCount":4012,"zanCount":46,"manualWeight":46,"mainColor":149},214359,"san-jue-shan-shui-ce-5-hua-yan-214359","三绝山水册-5","华岩的十六页中描绘了一幅清晰、优雅和空灵的风景。新罗山人擅长花鸟和人物，但山水也可以纳入收藏。",[23,24,27,951,36,111,427,130,244,58,7,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2278d8fef17ce39c9b91175a537f50d.jpg","23.4x15.8",[],{"id":4108,"slug":4109,"title":106,"dynasty":296,"author":4110,"museum":360,"description":4111,"tags":4112,"thumbUrl":4113,"material":246,"size":70,"collection":42,"collections":4114,"showCount":4115,"zanCount":46,"manualWeight":46,"mainColor":47},237184,"shan-shui-ce-sun-yi-237184","孙逸","孙逸(1604—约1658) ，字无逸，号疎林，亦号石禅，明朝末清朝初海阳（今安徽休宁）人，与萧云从齐名，合称孙萧，与弘仁、汪之瑞、查士标为新安派四大家；字仲举。",[24,28,257,36,111,29,30,31,7,34,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff34d67da6623fc74c8d4a14b73f0be1b.jpg",[42,264],118,{"id":4117,"slug":4118,"title":4119,"dynasty":18,"author":19,"museum":360,"description":376,"tags":4120,"thumbUrl":4121,"material":246,"size":379,"collection":70,"collections":4122,"showCount":4115,"zanCount":517,"manualWeight":46,"mainColor":47},233834,"wo-you-tu-ce-qiu-bai-yun-shen-zhou-233834","卧游图册－秋白云",[24,27,29,111,36,837,883,112,539,7,82,25,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4868fee16962b07ce024455e75393200.jpg",[],{"id":4124,"slug":4125,"title":4126,"dynasty":296,"author":870,"museum":360,"description":4127,"tags":4128,"thumbUrl":4130,"material":760,"size":4131,"collection":70,"collections":4132,"showCount":4115,"zanCount":11,"manualWeight":46,"mainColor":47},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。",[24,25,26,27,29,36,37,82,38,4129,158,316,34,7,133,1932,97],"奇峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2509a448a26e43ea37e9080967b1229.jpg","纵42.8厘米，横285.5厘米",[],{"id":4134,"slug":4135,"title":4136,"dynasty":296,"author":4137,"museum":561,"description":4138,"tags":4139,"thumbUrl":4141,"material":70,"size":70,"collection":70,"collections":4142,"showCount":4115,"zanCount":46,"manualWeight":46,"mainColor":47},224363,"fu-gui-bai-tou-tu-ju-lian-224363","富贵白头图","居廉","《富贵白头图》为光绪十三年（公元1887年）居廉晚年之作。\n此时居廉画风已完全成熟，因此其艺术追求和体格特点在这幅画作中有充分的体现。\n收藏于 。\n《富贵白头图》为纸本，设色，纵12.1厘米，横74.82厘米，收藏于 。\n图中所绘牡丹艳放，在春风中姹紫嫣红，争奇斗妍，引得蜜蜂、蝴蝶在花间流连嬉戏，石上停息着一双白头翁鸟，神态娴静，与喧闹的蜂蝶相映成趣。\n湖石坚实厚重，衬出花卉的秀美。\n图中偏右一侧一块硕大而玲珑剔透的太湖石兀然而立，湖石的周围一丛盛开的牡丹，姹紫嫣红，争奇斗艳，或低首沉吟，或迎风怒放，引来一群蜜蜂、彩蝶在花丛之中追逐嬉戏，流连忘返，给人一种明媚而又温暖的春天气息。\n在湖石的上端栖停着一对白头翁鸟，一俯一仰，怡然自得，与上下翻飞，喧闹不已的蜂蝶，一动一静，相映成趣，美不胜收。\n该画鸟、蜂、蝶以工笔重彩画出，形态生动。\n花朵的红色、粉色、黄色晕染，非常写实。\n敷以深浅绿叶，以浓墨和红色勾筋。\n线条圆润饱满，叶片清秀洒脱，疏密有致；设色浓淡相依，明丽艳秀。\n而花中奇石用积墨与淡墨晕染相结合绘出，素雅动人。\n在绘画技法上，整幅画作的格调极为工致，造型准确，赋色艳丽，然而却又没有丝毫单滞、艳俗之感，可算得是居氏画作中的精品。\n（1828-194），字古泉，自号隔老人，广西桂林人，占籍广东番禹（今广州），居巢之堂弟。\n善画花鸟、草虫及人物，尤以写生见长。\n初学宋光宝及孟丽堂，亦得恽南田遗意，后吸收诸家之长，自成一体。\n笔法工整，设色妍丽，在继承和发展恽南没骨画法的基础上，创造出撞水法和撞粉法，为岭南派的重要奠基人之一，“二高一陈”皆出自其门下。\n《富贵白头图》自识“丁亥”，应为光绪十三年，也即公元1887年，乃其晚年之笔。\n此时居廉画风已完全成熟，因此其艺术追求和体格特点在这幅画作中有充分的体现。",[23,24,25,95,56,28,62,441,4140,3126,7],"白头鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F575773c294369c3e892af56386f46796.jpg",[],{"id":4144,"slug":4145,"title":4146,"dynasty":296,"author":668,"museum":108,"description":2716,"tags":4147,"thumbUrl":4154,"material":673,"size":4155,"collection":306,"collections":4156,"showCount":4115,"zanCount":11,"manualWeight":46,"mainColor":47},223163,"bai-niao-chao-feng-qian-bu-fen-shen-quan-223163","百鸟朝凤（前部分）",[23,24,26,56,28,62,4148,4149,286,63,201,34,4150,441,4151,415,7,31,4152,3891,4153],"百鸟","凤凰","梅花","翠竹","繁花","四季景色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6000dd4bebda5da888f414ac55bd6c91.jpg","纵40厘米，横1600厘米",[306,264],{"id":4158,"slug":4159,"title":4160,"dynasty":18,"author":387,"museum":360,"description":4161,"tags":4162,"thumbUrl":4163,"material":142,"size":4164,"collection":42,"collections":4165,"showCount":4115,"zanCount":46,"manualWeight":46,"mainColor":149},222346,"bu-xi-tu-tang-yin-222346","步溪图","一人徐步缓行，一人与之相对而立，神态怡然。衣纹洗练流畅，衣袖随风飘舞，生动刻画了悠闲自在的隐士形象。用笔苍秀，构图高远，画格既有南宋[院体]画遗风，又具有元代文人画秀雅的特色。右上自题诗云：[卜宅临溪上，开门近步头。渔樵通互市，耕钓是贻谋。山晓青排闼，波晴绿漾舟。主君朝学海，枕石漱清流。姑苏侍生唐寅作《步溪图》并题奉呈黎老大人先生。]下钤二印。",[23,24,27,36,29,95,34,7,58,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff633694d671ff94560b7fe877887ca21.jpg","纵159厘米，横84.3l厘米",[42,146],{"id":4167,"slug":4168,"title":4169,"dynasty":124,"author":449,"museum":53,"description":4170,"tags":4171,"thumbUrl":4172,"material":4173,"size":4174,"collection":144,"collections":4175,"showCount":4115,"zanCount":764,"manualWeight":46,"mainColor":149},221522,"xiao-xue-shan-xing-tu-ma-yuan-221522","晓雪山行图","此图描写大雪封山的清晨，一山民赶着两只身驮木炭的小毛驴在白雪皑皑的山间行走。山民衣着单薄，弓腰缩颈，使人感到雪天寒气逼人。毛驴、竹筐、木炭及人物衣纹均用干笔钩勒，并施以水墨渲染。\n作为环境的山石以带水墨笔作斧劈皴，方硬有棱角，远处山石用水墨大笔扫出。近处树枝以焦墨钩出，横斜曲折富有变化，远处用淡墨钩出。近与远的笔墨浓与淡效果，有着较强的画面空间感，画面用大斧劈侧锋直皴山石，下笔爽利果断， 画树简括，枝条劲健。作者以局部取景，来表现出当时人们生活。",[23,24,200,25,27,28,36,58,3389,860,242,7,134,612],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5068fd109904211180892e4da691f20e.jpg","卷，绢本，水墨","纵：27.6厘米，横：42.9厘米",[144,42,146],{"id":4177,"slug":4178,"title":4179,"dynasty":124,"author":436,"museum":1043,"description":4180,"tags":4181,"thumbUrl":4186,"material":84,"size":70,"collection":42,"collections":4187,"showCount":4115,"zanCount":764,"manualWeight":46,"mainColor":149},219171,"si-ji-shan-shui-tu-yi-ming-219171","四季山水图","长卷铺展，四季流转于笔墨间。山石以斧劈皴勾勒，棱角分明如剑戟森立；树木或葱郁或萧疏，枯荣交替藏时序更迭。江波浩渺，帆影点点，山间屋舍隐现，行人穿梭林泉，尽显天人合一之趣。墨色浓淡相宜，虚实相生：远处山峦笼薄雾，近处景物纤毫毕现，层次深远如临其境。整幅画作兼具北派雄健风骨与南派秀逸雅致，于咫尺间纳千里江山，既见宋代山水画的精湛技法，更藏文人对自然时序的细腻感知与哲思。",[23,24,26,951,27,2933,7,34,4182,1080,97,3855,4183,4184,4185],"江河","四季","天人合一","虚实相生","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9610bad6f53abc741aa292bb661c52c4.jpg",[42],{"id":4189,"slug":4190,"title":4191,"dynasty":124,"author":4192,"museum":561,"description":4193,"tags":4194,"thumbUrl":4195,"material":40,"size":4196,"collection":289,"collections":4197,"showCount":4115,"zanCount":764,"manualWeight":46,"mainColor":149},218285,"ji-gong-tu-mu-xi-218285","济公图","牧溪","画面人物情态鲜活，右侧身影衣衫宽博，神态不羁却藏温煦，似正与周遭人语。周遭老幼或凝神谛听，或俯身趋近，动态毕现。笔墨简括灵动，线条如行云流水，衣衫褶皱寥寥数笔便见洒脱之姿，墨色浓淡相宜，衬出人物神情的真切。背景淡远，更显群像生动。于简约中见真意，随性之笔捕捉瞬间生活气息，又暗蕴禅家超脱与悲悯，笔墨间那份直击人心的生动与温暖，悄然流转。观者仿佛能听见席间笑语，触到那份不拘形骸的自在，于水墨晕染里，感受画中人物的鲜活与烟火气交织的独特韵味。",[200,24,25,27,712,58,7,1397,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8931c719123b1f804d7302dcd90dfc65.jpg","26x29",[289],{"id":4199,"slug":4200,"title":4201,"dynasty":18,"author":1100,"museum":360,"description":4202,"tags":4203,"thumbUrl":4204,"material":229,"size":3546,"collection":70,"collections":4205,"showCount":4206,"zanCount":46,"manualWeight":46,"mainColor":47},234294,"dong-qi-chang-shan-shui-ce-dong-qi-chang-234294","董其昌山水册","明代画坛流派叠现，异彩纷呈。晚期更有华亭派、武林派等异军突起，影响远泽有清一代。其中，华亭派领袖人物董其昌推崇倡导的摹古风气对后世画坛的影响尤为深刻。对于学习绘画，董其昌认为应先以古人为师，对古人画迹悉心摹写，将其笔墨技法、布局构图于心中融汇贯通，从而得古人笔墨意趣，然后再师法自然，汲取创作灵感。他对自己的主张是身体力行的。\n这套《仿古山水》册共８开，皆为仿唐及宋元诸家如杨昇、惠崇、李公麟、倪瓒等的小幅册页，是董其昌仿古一类绘画中不可多得的妙品。董氏水墨山水名重于世，设色山水也别具一格。此册中“仿唐杨昇”一开青绿山水，以没骨法为之，丛树峰峦等都用石青、石绿、朱砂、赭石等色染出，鲜有勾皴，与李思训一派线条硬劲的青绿山水情趣各异。董其昌曾遍临名家画作，而用功最勤的则是元四家。册中有“仿倪元镇”一开山水，构图布局和树、石、山、亭的画法无不毕肖于倪瓒之作，可谓得其三昧，登堂入室。此套册页虽每开均以“仿”字冠名，其实画面却不尽然，因为每幅都有自出新意之处。再以“仿倪元镇”一开为例，与倪瓒之画呈现的寂寥疏淡的面目相比，此图使人感受到的是勃勃生机，这是董氏取诸家笔墨之长，再运用自身的学养识见加以变化而直抒胸臆、独树风标的不凡魅力，后世众多摹古画家始终无法企及。",[24,25,111,27,36,29,34,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c557e3d03c9fa8ddf25f0c6f8a1e0ef.jpg",[],117,{"id":4208,"slug":4209,"title":4210,"dynasty":296,"author":3417,"museum":239,"description":4211,"tags":4212,"thumbUrl":4214,"material":229,"size":4215,"collection":42,"collections":4216,"showCount":4206,"zanCount":764,"manualWeight":46,"mainColor":149},222626,"gua-bi-fei-quan-tu-zhou-gong-xian-222626","挂壁飞泉图轴","此图描绘大山峻岭，云雾缥缈。山腰松林密布，草木葱茏，又有白瀑流涧，可闻水声。溪涧之上架廊桥一座，虽陂陀斜立，却有房合数间。近处古木并立，树荫浓郁，其间山庄院落隐于树林之中，山径通幽处，但闻鸟语声。作者用积墨法层层渲染山石，笔墨厚重，又“留白”以示云烟白瀑，黑白对比强烈。",[23,24,27,36,95,29,7,34,130,4213,33,31,30],"飞泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff27b66fa0f3b8cdccbe70dc2ab8e964d.jpg","纵273厘米，横99厘米",[42,146],{"id":4218,"slug":4219,"title":4220,"dynasty":296,"author":3185,"museum":2747,"description":4221,"tags":4222,"thumbUrl":4223,"material":40,"size":4224,"collection":42,"collections":4225,"showCount":4206,"zanCount":46,"manualWeight":46,"mainColor":149},220430,"you-gu-tu-kun-can-220430","幽谷图","髡（kūn）残(1612-1692)，清画家。本姓刘，出家为僧后名髡残，字介丘，号石溪、白秃、石道人、残道者、电住道人。湖广武陵(今湖南常德)人。与石涛合称“二石”。髡残一生中大部分时间都在山水中度过，经常驻足于名山大川，在山林泽薮之间，侣烟霞而友泉石，踯躅峰巅，留连崖畔，以自然净化无垢之美，对比人生坎坷、市俗机巧，从中感悟禅机画趣。\n髡残在明末遗民中享有很高的声望，他的画也为世人所瞩目。当时著名的文人兼大鉴赏家周亮工就十分景仰、看重髡残的人品和画学，在《读画录》中为他写小传，谓：“人品笔墨俱高人一头地……绘事高明，然轻不为人作。”张怡在髡残的《仿米山水册》中是这样评价这位心灵相契的老友的：“举天下言诗，几人发自性灵?举天下言画，几人师诸天地?……此幅自云效颦米家父子，正恐米家父子有未到处，所谓不恨我不见 髡残古人，恨古人不见我耳。”他认为髡残的诗，是写出了自己的性灵；髡残的画是直师造化，甚至比宋代米芾父子还好；髡残的佛学是直指本心，而没有出家人开堂说法的那种俗套。张庚《国朝画征录·髡残传》云：“奥境奇辟，缅邈幽深，引人入胜。笔墨高古，设色精湛，诚元人之胜概也。此种笔法不见于世久矣!” [4] 这段话说明髡残的画深得元季四大家的精髓。总之，三百多年来，髡残一直以其人品与画品并重的高华之气，影响着画坛，成为画家心目中的丰碑",[23,24,25,95,29,28,36,60,31,7,34,133,58,1476,427,363],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F784ed53c41b7939b3a557817b650a269.jpg","143.19 × 59.21",[42,264],{"id":4227,"slug":4228,"title":4229,"dynasty":296,"author":3038,"museum":360,"description":4230,"tags":4231,"thumbUrl":4232,"material":84,"size":4233,"collection":42,"collections":4234,"showCount":4206,"zanCount":46,"manualWeight":46,"mainColor":149},218366,"lu-shan-bai-yun-tu-wang-hui-218366","庐山白云图","此图绘于清康熙三十六年（1697年），作者时年66岁，是其晚年诸多仿古作品中的代表性画作之一。据王翚自题，因30年前曾观北宋关仝《庐山白云图》，故今用其法绘制此图，以遵“古香主人”之嘱。王翚曾与其师王时敏遍游大江南北，尽得观摹收藏家之秘本，故其摹古功力极高。王时敏称赞他：“集古人之长，尽趋笔端，故能妙绝千古。前诸制作，固足乱真，此则更为脱化，每仿一家曲尽其致，而超逸之趣则又过之。”这幅作品恰恰印证了王时敏对王翚的评价。\u2028　　“古香主人”即爱新觉罗·岳乐，王翚为其创作极为精心。画面上峰峦起伏，云雾迷茫，其中间的瀑布、杂树、竹亭、山石以浓密的雨点皴出之，正是仿关仝一路北方山水画法。全图工整谨密，秀润苍浑，深得关仝“笔简景少，气壮意长”之旨。",[23,24,25,26,27,28,29,1067,2901,34,130,33,133,7,35,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa38fdd2ef1404824446ef2999ef18a75.jpg","纵35厘米，横323.5厘米",[42],{"id":4236,"slug":4237,"title":4238,"dynasty":124,"author":998,"museum":561,"description":4239,"tags":4240,"thumbUrl":4243,"material":84,"size":4244,"collection":289,"collections":4245,"showCount":4206,"zanCount":382,"manualWeight":46,"mainColor":149},216738,"ren-wu-gu-shi-tu-juan-liu-song-nian-216738","人物故事图卷","人物故事图卷是宋朝时期的一部传统文学作品，由刘松年编撰。这部作品记录了中国历史上许多杰出人物的生平故事，内容涵盖了从周朝到宋朝的历史时期。人物故事图卷以简要的文字和生动的图画讲述了各个人物的故事，并通过对比和描述来展示他们的性格、品质和道德。这部作品对了解中国历史和文化具有重要意义，并且今天仍然是中国传统文学研究的重要参考资料。",[23,56,28,26,38,37,57,58,60,61,34,7,64,1129,4241,33,3632,4242,415,427],"衣冠","人物故事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06547500b479d14c237b5c8c3448d3ed.jpg","26.1x446.5",[289],{"id":4247,"slug":4248,"title":4249,"dynasty":18,"author":19,"museum":360,"description":4250,"tags":4251,"thumbUrl":4254,"material":4255,"size":4256,"collection":70,"collections":4257,"showCount":4258,"zanCount":11,"manualWeight":46,"mainColor":47},234896,"tong-yin-wan-he-tu-zhou-shen-zhou-234896","桐荫玩鹤图轴","北京故宫博物院建院90周年石渠宝笈特展（2015.9.8）首次释出，之前仅见于出版物。具体规格不详。网上找不到更多的资料。从画面上看，乾隆曾经两度题跋，可见对此画之钟爱。绘画风格属于沈周细笔青绿山水一路，表现的是文人雅士向往的闲适生活。\n沈周(1427-1509)，明代书画家。字启南，号石田、白石翁、玉田生、有竹居主人等。长洲(今江苏苏州)人。不应科举，专事诗文、书画，是明代中期文人画吴派的开创者，与文徵明、唐寅、仇英并称明四家。传世作品有《庐山高图》、《秋林话旧图》、《沧州趣图》。著有《石田集》、《客座新闻》等。\n沈周在元明以来文人画领域有承前启后的作用。他书法师黄庭坚，绘画造诣尤深，兼工山水、花鸟，也能画人物，以山水和花鸟成就突出。 在绘画方法上，沈周早年承受家学，兼师杜琼。后来博取众长，出入于宋元各家，主要继承董源、巨然以及元四家黄公望、王蒙，吴镇的水墨浅绛体系。又参以南宋李、刘、马、夏劲健的笔墨，融会贯通，刚柔并用，形成粗笔水墨的新风格，自成一家。沈周中年时成为画坛领袖，技法严谨秀丽，用笔沉着稳练，内藏筋骨。晚年时性情开朗，笔墨粗简豪放，气势雄浑。纵观沈周之绘画，技法全面，功力浑厚，在师宋元之法的基础上有自己的创造，进一步发展了文人水墨山水、花鸟画的表现技法，被誉为吴门画派之领袖。",[24,25,200,95,27,28,36,29,4252,488,7,34,58,132,4253],"桐树","悬崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feff1190c5847d26b513d9f435eb7b973.jpg","绢本 ，设色","纵123.8cm，横62.6cm",[],116,{"id":4260,"slug":4261,"title":4262,"dynasty":124,"author":4263,"museum":1137,"description":4264,"tags":4265,"thumbUrl":4266,"material":84,"size":4267,"collection":42,"collections":4268,"showCount":4258,"zanCount":764,"manualWeight":46,"mainColor":47},218036,"xue-shan-xing-lv-tu-liang-kai-218036","雪山行旅图","梁楷","宋朝时期的画家梁楷是一位杰出的画家，其中最著名的作品之一就是《雪山行旅图》。\n\n《雪山行旅图》是一幅山水画，描绘的是一群人在雪山中旅行的场景。图中的人物用简单的线条勾勒出来，而山川、林木则是用浓厚的墨色勾勒出来的，给人以山水画的秀美感受。\n\n在《雪山行旅图》中，梁楷用笔触简练，表现出了雪山的壮丽景色。图中的人物虽然简练，却也能够传达出自然与人斗争的感觉。整幅画给人以清新、舒适的感觉，让人仿佛置身于山间，感受到大自然的魅力。\n\n《雪山行旅图》在宋朝时期是一幅非常具有代表性的作品，因为它体现了宋朝时期山水画的特点。梁楷在这幅画中巧妙地融合了中国传统的山水画风格与西方的透视画法，使得这幅画在当时颇受欢迎。目前，《雪山行旅图》还是许多博物馆和美术馆的珍藏之作。",[200,24,25,27,36,28,29,860,58,215,242,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10b55a72db1829645297c286ba7aa49e.jpg","24.3x25.7cm",[42],{"id":4270,"slug":4271,"title":4272,"dynasty":296,"author":436,"museum":53,"description":4273,"tags":4274,"thumbUrl":4275,"material":84,"size":4276,"collection":42,"collections":4277,"showCount":4258,"zanCount":517,"manualWeight":46,"mainColor":47},214660,"qian-long-ke-si-shan-shui-gua-ping-si-zhou-1-yi-ming-214660","乾隆缂丝山水挂屏四轴-1","此四轴用挑经显纬的刻丝之法绘就仙山楼阁，有仙鹤和白云，象征着吉祥如意。在山体的岩石部分用蓝色和赭石绘制的织品，使其与丝绸和纸上的绘画完全相同，显示出乾隆时期丝绸织品的精致。",[24,440,28,29,60,34,7,883,488],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f9319e86c70e3c72abbd72d15b43374.jpg","93.8x25.6",[42],{"id":4279,"slug":4280,"title":4281,"dynasty":78,"author":79,"museum":561,"description":4282,"tags":4283,"thumbUrl":4284,"material":70,"size":70,"collection":70,"collections":4285,"showCount":4286,"zanCount":11,"manualWeight":46,"mainColor":149},230907,"shan-shui-tu-ye-huang-gong-wang-230907","山水图页","危崖高峙于右侧，山石以干笔皴擦，淡赭敷色，苍劲朴拙尽显。林麓间村居错落，古木虬枝扶苏，溪岸萦回转绕，远山晕染出空濛清气。\n\n全作用笔松灵秀逸，以简驭繁，淡设色晕染间将秋山萧疏淡远融于尺幅，既有山川厚重质感，又暗含文人幽寂散淡的隐逸意趣。于淡远中见雄浑，细微处藏丘壑，尽显林泉高致的悠然澹泊。",[24,25,111,27,36,29,837,34,35,7,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55c55781314ada71bf26fe09b31ae6de.jpg",[],115,{"id":4288,"slug":4289,"title":4290,"dynasty":124,"author":154,"museum":561,"description":4291,"tags":4292,"thumbUrl":4293,"material":70,"size":70,"collection":70,"collections":4294,"showCount":4286,"zanCount":11,"manualWeight":46,"mainColor":149},227600,"xi-shan-qiu-ji-tu-ju-bu-yi-guo-xi-227600","溪山秋霁图（局部一）","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",[23,200,24,26,27,36,29,34,133,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3d640d86977ce4b9c75fce90e0ebd9d.jpg",[],{"id":4296,"slug":4297,"title":4298,"dynasty":296,"author":4299,"museum":561,"description":4300,"tags":4301,"thumbUrl":4302,"material":142,"size":2126,"collection":42,"collections":4303,"showCount":4286,"zanCount":764,"manualWeight":46,"mainColor":149},224596,"e-pang-gong-tu-ping-yuan-jiang-224596","阿房宫图屏","袁江","本幅无款，钤“袁江之印”、“文涛”印2方。有宋伯鲁录《阿房宫赋》全文并识。\n古代历史上著名的宫阙殿宇和民间传说中的阆苑琼楼都是袁江笔下反复描绘的题材内容，此幅即以秦始皇三十五年（公元前212年）兴建的阿房宫为题。画家凭借自己精深的古建知识和丰富的想象力使一组组已经逝去的带有神秘色彩的建筑得以再现。此图使用12条通景屏的表现手法，充分利用画面的宽度与广度，再现了阿房宫当年的恢弘气势，将华贵绮丽的画风发展到极致。",[23,200,24,25,57,56,28,29,60,7,34,133,317,1262],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f7ea797c054eb61e8fe9d424db56755.jpg",[42],{"id":4305,"slug":4306,"title":462,"dynasty":124,"author":197,"museum":1090,"description":4307,"tags":4308,"thumbUrl":4309,"material":4310,"size":4311,"collection":144,"collections":4312,"showCount":4286,"zanCount":46,"manualWeight":46,"mainColor":149},221507,"shan-shui-tu-xia-gui-221507","夏圭（生卒年不详），字禹玉，临安（今浙江杭州）人，南宋绘画大师。“南宋四家”之一，早年画人物，后来以山水著称。他与马远同时，号称“马夏”。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他的山水画师法李唐，又吸取范宽、米芾、米友仁的长处而形成自己的个人风格。虽然与马远同属水墨苍劲一派，但却喜用秃笔，下笔较重，因而更加老苍雄放。用墨善于调节水分，而取得更为淋漓滋润的效果。在山石的皴法上， 常先用水笔淡墨扫染，然后趁湿用浓墨皴，造成水墨浑融的特殊效果，被称作泥里拔钉皴。传世作品有《溪山清远图》《西湖柳艇图》《雪堂客话图》等",[23,24,27,29,36,34,7,33,113,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ab5472f3ba598d3a5927e16ecc79efb.jpg","绢本 水墨","25.9×34.3厘米",[144,42,146],{"id":4314,"slug":4315,"title":4316,"dynasty":124,"author":4317,"museum":53,"description":4318,"tags":4319,"thumbUrl":4320,"material":28,"size":4321,"collection":144,"collections":4322,"showCount":4286,"zanCount":46,"manualWeight":46,"mainColor":47},221227,"hu-xiang-xue-bu-tu-juan-zhao-ling-rang-221227","湖乡雪捕图卷","赵令穰","此作用淡墨晕染出江南雪后的萧寒清寂，以留白衬出遍野积雪，坡岸沙洲覆着薄雪，汀渚逶迤向远，尽显平远小景的幽旷淡荡。\n枯木虬枝错落，竹丛清劲挺拔，林间茅舍隐现，不见村人渔事，只留空寂的雪色天地。笔法温婉秀雅，淡墨轻勾慢染，不着浓艳重彩，将冬日湖乡的静谧空濛晕染开来，不取雄奇壮阔之景，只以细碎小景铺就幽寂诗意，把江南雪后的雅致清寒娓娓铺展，尽显淡远萧散的文人逸趣，是小景山水里的绝佳逸品。",[23,200,24,26,27,28,29,612,242,1140,7,797,36,4029,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a702fe2585679e8059dde2bea057470.jpg","25.9x161.7",[144,42,146],{"id":4324,"slug":4325,"title":4326,"dynasty":124,"author":436,"museum":53,"description":4327,"tags":4328,"thumbUrl":4329,"material":84,"size":4330,"collection":144,"collections":4331,"showCount":4286,"zanCount":764,"manualWeight":46,"mainColor":149},218797,"hua-hu-tu-yi-ming-218797","画虎图","这幅画上的签名是 袁桂珍画虎。在面板的左侧是 归真 的签名，似乎已经被改变。因此需要进一步研究，以确定这幅画是由 归真 还是 李 姓画家创作的。画中，旷野荒凉，松树茂盛，绿竹随风飘荡，溪水潺潺。中国的习俗是把鹰和虎都画在一起。'虎'字形容地势雄伟险要，'鹰'字指的是雄伟壮丽的人才展示。这是一种比喻方式，表达了一种优越的地位和挥舞大权的能力。对于古代画家来说，老虎并不像今天这样容易看到，这幅画对老虎的形态描绘得非常精致，是中国绘画史上最好的作品之一。画风的上限可能早于元代，但可能是南宋的作品。",[23,24,1900,28,36,2241,1396,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15501d2a2c11b6aebfe96cf28f72ce0c.jpg","25.6x26.6",[144],{"id":4333,"slug":4334,"title":4335,"dynasty":18,"author":387,"museum":283,"description":4336,"tags":4337,"thumbUrl":4339,"material":1609,"size":4340,"collection":70,"collections":4341,"showCount":4342,"zanCount":764,"manualWeight":46,"mainColor":47},232644,"hua-shan-tu-tang-yin-232644","华山图","唐伯虎才气横溢，但并不风流，他的诗、书、画被称为三绝，在绘画上，唐寅擅长山水，又工画人物，尤其是精于仕女，画风既工整秀丽，又潇洒飘逸，被称为“唐画”，为后人所推崇。书法源自赵孟頫一体，俊逸秀挺，颇见功夫。此外，他还能作曲，多采民歌形式。如此多才，明代文人中是少见的。\n唐寅早期绘画，“远攻李唐”、“近交沈周”。早期拜吴门画派创始人沈周为师。沈周和周臣都是当时苏州名画家，沈以元人画为宗，周则以南宋院画为师，这是明代两大画派，唐寅虽师周臣，却有胜蓝之誉。唐寅兼其所长，在南宋风格中融元人笔法，一时突飞猛进，以至超越老师周臣，名声大振。",[24,27,36,28,29,7,130,34,31,133,244,364,4338],"山间建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe916074f76617bd5a06b97eccc3110f2.jpg","116.4x41.4厘米",[],114,{"id":4344,"slug":4345,"title":4346,"dynasty":18,"author":4347,"museum":4348,"description":4349,"tags":4350,"thumbUrl":4351,"material":454,"size":4352,"collection":306,"collections":4353,"showCount":4342,"zanCount":764,"manualWeight":46,"mainColor":149},221940,"bai-he-tu-juan-bian-wen-jin-221940","百鹤图卷","边文进","四川省博物馆","此图笔墨精炼，色调明快，绘白鹤近百只，皆丹顶白毛黑尾长腿，或空中盘旋、或水中嬉戏、或伏地栖息、或飞鸣啄食、或舒翼理毛……神态各异，莫不栩栩如生，各臻其妙。鹤群栖息之处鲜花绽放、松树遒劲、水流奔腾、湖石耸立，群鹤和睦，情景融融。",[23,24,26,56,28,62,488,427,2278,7,34,201,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb94bd1c5f39208d59af0aa9219a8508f.jpg","25.4*241.33cm",[306,264],{"id":4355,"slug":4356,"title":4357,"dynasty":78,"author":1290,"museum":53,"description":4358,"tags":4359,"thumbUrl":4361,"material":203,"size":4362,"collection":42,"collections":4363,"showCount":4342,"zanCount":11,"manualWeight":46,"mainColor":47},221759,"qiu-jiang-dai-du-tu-zhou-sheng-mao-221759","秋江待渡图轴","《秋江待渡图》以两段式深远构图法画近树繁茂，远山起伏，中间澄江如练，芦雁惊飞，风吹树杪，一派清秋气氛。岸上一年老儒者携书童坐地待渡，江中一舟载客摇橹而来，意境清幽。画法略近董源，用笔疏简尖硬，是盛氏代表佳作。\n盛懋创作山水画大多采用深远法、或是高远法，画作清淡素雅，笔法笔墨却也显得较为圆熟。《秋江待渡图》以其浓淡交融的笔墨展现了极为幽静的远山近水景致，构图均衡，树木近景与远山远景形成了上下两段景致，看上去隔着成片留出“空白”的江水却也没有绝然分开的感觉。",[23,24,27,36,95,37,29,34,7,32,201,113,114,3842,4360,82],"芦苇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa83624ed7642a9ada118ca442a0f4a1e.jpg","纵112.5厘米，横46.3厘米",[42,146],{"id":4365,"slug":4366,"title":4367,"dynasty":18,"author":1100,"museum":346,"description":4368,"tags":4369,"thumbUrl":4370,"material":40,"size":4371,"collection":42,"collections":4372,"showCount":4342,"zanCount":764,"manualWeight":46,"mainColor":149},220429,"hua-fa-mi-jue-tu-dong-qi-chang-220429","画法秘诀图","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，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”。",[23,24,25,26,27,28,29,34,7,35,37,38,82,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F335b0d30fc47e443891fea49553c18fa.jpg","31x276.5",[42,264],{"id":4374,"slug":4375,"title":4376,"dynasty":18,"author":1149,"museum":239,"description":4377,"tags":4378,"thumbUrl":4380,"material":673,"size":4381,"collection":306,"collections":4382,"showCount":4383,"zanCount":46,"manualWeight":46,"mainColor":149},222402,"xue-mei-ji-qin-tu-li-zhou-lv-ji-222402","雪梅集禽图立轴","吕纪主要是以工整精丽的院体传统作画，造型准确，设色鲜艳。但也能画活泼生动兼工带写的花鸟画。他的画生动，笔墨清新，是当时与边景昭、林良齐名的花鸟名家。",[23,24,25,95,56,28,62,390,524,4379,7],"雪梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14e407cc061f6c00f1c4b4a682ce1be3.jpg","192cmx110cm",[306,264],113,{"id":4385,"slug":4386,"title":462,"dynasty":296,"author":1987,"museum":4387,"description":4388,"tags":4389,"thumbUrl":4390,"material":27,"size":70,"collection":146,"collections":4391,"showCount":4383,"zanCount":46,"manualWeight":46,"mainColor":47},219104,"shan-shui-tu-wu-chang-shuo-219104","昆仑堂美术馆","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”",[23,24,27,36,29,7,34,391,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0488d490bb0bcbb1636d1d5c2802d4f.jpg",[146],{"id":4393,"slug":4394,"title":462,"dynasty":18,"author":4395,"museum":360,"description":4396,"tags":4397,"thumbUrl":4398,"material":84,"size":4399,"collection":42,"collections":4400,"showCount":4383,"zanCount":11,"manualWeight":46,"mainColor":47},218515,"shan-shui-tu-du-qiong-218515","杜琼","画幅右上画家自题：“余尝写此境为有趣，适陈孟贤、郑德辉二公相访见之。孟贤曰，此幅可，郑公盍求诸？德辉略无健羡之色。孟贤强之，乃启言，予不敢靳也。德辉廉静寡欲，于物无所嗜好，使王维、吴道玄复生亦无所爱，此其所以能养其德也。夫以心之玩好，乃学者之病，观于德辉，则有以警于人人哉！景泰五年甲戌岁上元日，杜琼书。”题跋前钤白文“古心”、朱文“旌节名门”印，题跋后钤朱文“杜氏用嘉”、白文“东原耕者”、朱文“持敬观理”印。画面右下方有白文“陶情写意”印。\n此画作于明景泰五年（1454年），杜琼时年59岁。图中山峰耸峙，层峦迭嶂，弯曲的河流将画面中下部的山峰隔为两段，画面右下山谷林木间有山庄草亭，一文士正在草亭中读书；桥上有一拄杖文士携童子向山庄走来。该幅构图饱满，山石用圆润细密的披麻皴，浓墨点苔，系画家仿元王蒙风格而出新意的代表作之一。杜琼学王蒙颇有心得，他在52岁时作的《萝萱堂水墨山水》中就自题云：“余学黄鹤（王蒙号）最精。”顾复评价他于正统年间所作的《对泉图》时也称他“学叔明（王蒙字）能脱塞实之习，自然高雅”。",[23,200,24,25,95,27,28,36,29,30,31,34,7,58,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15565c9a8c4a1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“画家类能具其相貌，但吾辈胸次。\n自应有一种风规，俾神气悠然，韵味清远，不为物态所拘，便有佳处。 况吾所存，无媚于世而能合于众情者，要在悟此。\n”所以，这是一位皇族画家在受到皇帝恩典后发自内心的无限感激和祈祝之后创作的绘画。\n不过，也有学者认为，《万松金阙图》主要描绘了平江府天庆观及其周围的景致，图中金阙（楼阁）是天庆观内三清殿等为皇家祈福的道教圣殿，是一幅粉饰太平、歌颂孝宗赵昚的绘画作品。\n全图的笔法清细随意，并参用了一些意笔，格调柔丽雅洁，毫无匠气，意味着南宋青绿山水画的崛起。\n这件山水长卷的超越前人之处在于摆脱了自六朝以来青绿山水以钩廓填色的艺匠手法，有机地融进了一些文人意笔。\n使两者巧妙地糅合为一体，画家大量地运用了墨点，横点联树成片，竖点作青苔，手法较为自由随意，这在当时是极富有创意的笔墨技巧。\n山间布置几处“金阙”建筑，用没骨法涂金敷色而成，突出于万松之表。\n几处建筑虽只露顶部，仍可见其造型的准确。\n近景的山石用皴笔为之，浑厚凝重，透视感强。\n此图同时还吸收了马和之等文人画家的笔墨新形式、新趣味，形成了笔法清细繁复、格调清新秀雅的新风格。\n此图开卷作海天杳渺，月明霞青，高松数株挺拔而立，群鹤翔集。\n海岸延伸至海中的礁石嶙峋黝黑，海浪平静起伏。\n坡岸上绿草成茵，围绕松树有一片桃林，红花点点相映其间，仅此开卷一段便有无穷景致。\n起伏层叠的峰岗构成了画面主体，或远或近，或平或伏，皆郁郁葱葱。\n《万松金阙图》显示了赵伯骕在继承传统和改革创新的成功尝试：构图和设色继承唐代李思训《江帆楼阁图》的绘画传统，但又有所突破。\n因此，《万松金阙图》可以视为宋代青绿山水从追求北方的雄浑之美向江南水乡清雅之美转变的一件典型作品，为其后元代文人山水画的发展开创了新局面。\n从该图钤印可知，该图历经清梁清标、安岐、乾隆帝、宣统帝收藏，民国初年被溥仪盗出宫外，新中国成立后被国家收购，195年由文化部文物局（今国家文物局）拨交北京故宫博物院。\n该图曾经《墨缘汇观》、《大观录》著录。\n217年9月15日至12月14日，《万松金阙图》在故宫午门正殿展厅举办的“千里江山——历代青绿山水画特展”中展出。\n赵伯骕（1124～1182） ，南宋宗室，寄居平江府（治今江苏苏州），字希远。\n燕懿王赵德昭后裔。\n绍兴初，荫补入仕，为承节郎、监绍兴府馀姚县酒税。\n历任侍卫马军司干办公事、浙西安抚司干办官。\n隆兴二年（1164），擢浙西兵马副部监兼职德寿宫。\n进浙西兵马钤辖。\n乾道七年（1171），副中书舍人赵雄出使金朝，贺金主生日。\n还朝，自武翼郎超转武翼大夫，俄升浙西副总管。\n淳熙中，累迁浙西提点刑狱，官终武功大夫、和州防御使。\n善画山水花木，傅染轻盈，颇有生意。\n作品有《万松金阙图》、《仙峤白雪图》等。",[23,24,200,26,257,28,56,36,29,427,60,7,133,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1377606a06e9e5e04495fcfb385c4f1.jpg","绢本青绿设色","纵27.7厘米，横136厘米",[],{"id":4431,"slug":4432,"title":4433,"dynasty":78,"author":4434,"museum":360,"description":4435,"tags":4436,"thumbUrl":4440,"material":760,"size":4441,"collection":42,"collections":4442,"showCount":4443,"zanCount":517,"manualWeight":46,"mainColor":47},221721,"wu-jia-he-hui-juan-zhao-yong-wang-mian-zhu-de-run-zhang-guan-fang-cong-yi-221721","五家合绘卷","赵雍 王冕 朱德润 张观 方从义","《元五家合绘》卷，元，赵雍、王冕、朱德润、张观、方从义作。\n此卷包括元代5位画家的5件绘画作品，作品尺幅相近，后人将其合裱为一卷。\n其一《松溪钓艇图》，元，赵雍作，纸本，墨笔，纵30厘米，横52.8厘米。\n款署：“至正二十年二月既望仲穆画。”钤“仲穆”、“魏国世家”。另有清乾隆皇帝御题诗及鉴藏印。至正二十年为1360年，赵雍时年72岁。图绘近岸坡石双松，孤舟钓叟，隔水平峦远岫，意境清幽，笔墨苍润。\n（二）《墨梅图》，元，王冕作，纸本，墨笔，纵31.9厘米，横50.9厘米。\n自题：“吾家洗研池头树，个个花开淡墨痕。不要人夸好颜色，只流清气满乾坤。王冕元章为良佐作。”钤“元章”、“文王子孙”。另有清乾隆皇帝御题诗及鉴藏印。画面中一枝梅花横出，枝干秀挺，花朵疏朗。以淡墨点染花瓣，再以浓墨勾点萼蕊，墨色清润，高情逸趣溢于笔端，表达了作者藉墨梅标榜清高孤洁的思想情感。\n曾经清人梁清标和清内府收藏，《石渠宝笈·续编》著录。\n（三）《松溪放艇图》，元，朱德润作，纸本，墨笔，纵31.5厘米，横52.6厘米。\n自题：“丑石半蹲山下虎，长松倒卧水中龙。试君眼力知多少，数到云峰第几重。朱泽民。”钤“朱泽民氏”。另有清乾隆皇帝御题诗及鉴藏印。\n图绘巨石怪松，孤舟徐行。画松枝用笔爽利迅捷，坡石皴法温润，人物用白描法，笔简意浓。\n曾经明沈周、清安岐收藏。\n（四）《疏林茅屋图》，元，张观作，纸本，墨笔，纵25.8厘米，横59.6厘米。\n款署：“至正戊戌八月，张观制。”另有清乾隆皇帝御题诗及安岐鉴藏印。至正戊戌为元至正十八年（1358年）。\n图画平坡老树，茅舍掩映，水阔山远，清雅控幽。树木勾点结合，错落有致，坡石用墨湿润，画风承北宋李成、郭熙一脉。\n（五）《山水图》，元，方从义作，纸本，墨笔，纵26.5厘米，横45.3厘米。\n款署：“方方壶作。” 另有清乾隆皇帝御题诗及明项元汴等多家鉴藏印。\n图画密林茅舍，小桥流水。画面景物丰满，墨色浓淡相间，笔法灵活潇洒。",[23,24,25,26,27,36,82,29,112,96,32,390,7,113,1931,58,4437,350,227,1622,303,427,242,4438,1944,4439,1397,2177],"远岫","岸滩","山间","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ad6676a3f8f4d776bd2cf92396b87c9.jpg","纵30cm，横52.8cm",[42,146],111,{"id":4445,"slug":4446,"title":4447,"dynasty":124,"author":4037,"museum":53,"description":4448,"tags":4449,"thumbUrl":4451,"material":454,"size":4452,"collection":144,"collections":4453,"showCount":4443,"zanCount":46,"manualWeight":46,"mainColor":149},221349,"xue-jiang-gui-zhao-tu-juan-zhao-ji-221349","雪江归棹图卷","画幅的右上角有宋徽宗赵佶瘦金书“雪江归棹（音照）图” 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落款：乾隆十六年间五月初十日大学士忠勇公傅恒进百鹘一架，命海西臣郎世宁绘图。",[23,200,24,25,56,28,201,427,7,130,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa618ea27a0bd8af02383347a6e3a0f11.jpg","纵121.7×横64公分",[306,264],{"id":4528,"slug":4529,"title":4530,"dynasty":296,"author":436,"museum":3206,"description":4531,"tags":4532,"thumbUrl":4533,"material":84,"size":4534,"collection":42,"collections":4535,"showCount":4484,"zanCount":46,"manualWeight":46,"mainColor":149},219918,"fang-jing-hao-kuang-lu-tu-yi-ming-219918","仿荆浩匡庐图","此作以全景铺陈层峦雄峰，取法北派山水沉郁雄浑的体格，硬朗苍劲的皴笔勾勒出山岩嶙峋质感，峰崖崔嵬直入云间，尽显巍峨磅礴之气。\n\n幽谷间虬木古拙苍劲，山居隐于林麓，飞瀑流泉循着山涧蜿蜒而下，为沉凝的山石注入灵动生机，高远与深远兼具，铺展出辽邈静谧的山林天地。古雅褐调晕染出幽寂的山野氛围，将大山大水的厚重气象，与林下幽居的隐逸意趣相融，摹古之间自有意趣生发，尽显传统山水的庙堂气度与林下风神。",[24,29,27,36,186,7,34,130,30,31,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0eb56e540505fbe81a87741e447dcf3e.jpg","180.3x67厘米",[42],{"id":4537,"slug":4538,"title":4539,"dynasty":124,"author":436,"museum":53,"description":4540,"tags":4541,"thumbUrl":4544,"material":84,"size":4545,"collection":289,"collections":4546,"showCount":4484,"zanCount":764,"manualWeight":46,"mainColor":149},219215,"qi-xi-qi-qiao-tu-yi-ming-219215","七夕乞巧图","该画以赵构历史故事为题材，反映了北宋和南宋之间的政治形势，是一幅重要的历史画卷",[24,25,26,56,28,57,58,33,60,34,7,61,64,3592,4542,4543,213,1140],"坐具","石阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a58d9388e985a9f6a1f3b8c8fc737cb.jpg","29.6x149.2厘米",[289],{"id":4548,"slug":4549,"title":2157,"dynasty":654,"author":655,"museum":561,"description":4550,"tags":4551,"thumbUrl":4552,"material":217,"size":660,"collection":70,"collections":4553,"showCount":4554,"zanCount":11,"manualWeight":46,"mainColor":149},283694,"shan-xi-dai-du-tu-guan-tong-283694","《山溪待渡图》是一幅大山堂堂、气势雄伟的全景画，带有鲜明的北方特色。图中描绘巍峰耸立，瀑布高悬；坂垅、冈阜、峦岭，自近及远盘礴而上；楼阁掩映，远山迷朦；气势阔大，景意幽深。图中强调的是山和溪，山作正面，主峰突兀，两峰环抱之。山势直立，居于构图中轴线，相当稳定。整幅画面既有生活意趣，又有饱满生动之感。 [1] 此画用墨饱满，笔法简炼雄劲",[23,200,24,25,95,27,36,29,7,31,130,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c7d65425f3d01c20799553de0d51c58.jpg",[],109,{"id":4556,"slug":4557,"title":4558,"dynasty":78,"author":1290,"museum":549,"description":4559,"tags":4560,"thumbUrl":4561,"material":673,"size":4562,"collection":42,"collections":4563,"showCount":4554,"zanCount":517,"manualWeight":46,"mainColor":149},221754,"shan-ju-na-liang-tu-zhou-sheng-mao-221754","山居纳凉图轴","《山居纳凉图》用笔工细严谨，如果没有印鉴放入一堆宋画中很难识别。盛懋的父亲就是职业画家，自小盛懋就受到严格的技法训练，尤其是董源和巨然二人的作品更是熟烂于胸。从这一点看，盛懋并不排斥文人画的风格。\n《山居纳凉图》采用传统的三段式构图，中景处添加了大量烟云，在肃穆中增添了活泼的感觉。作为一名职业画家，很重视作品中的通俗性，在创作中喜欢加入故事性元素拉近与欣赏者的距离。画中有一座水阁临泉而建，四面通风，浓荫遮日。尤其是水阁中的雅士身着薄纱，袒胸露腹，画出了世人对雅士的共同印象——洒脱不羁。在用色上，盛懋为了突出青绿山水的装饰性美感，山中密林也精细勾染一丝不苟，让整幅作品在雅致中带有一种富贵气息。这样的作品从技法层面实在挑不出一点毛病。\n欣赏盛懋的作品就可以感受到他是一个认真的人，如此大的一幅山水不露败笔，没有数十年的苦练是无法做到的。不过按照文人画的审美标准来看，这就是盛懋最大的问题。他的画缺少了写的成分，缺少了意趣流露，仅仅是忠于技法，不敢打破严谨的章法。有的时候太认真也成了毛病，这就是绘画最微妙的地方，多了溢出，少了不足，不多不少的时候还要来点儿天然意蕴。",[23,24,25,95,28,36,29,33,32,34,7,58,31,364,258,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57ea5388f9614fe1ee0b4705a3c3810e.jpg","31.27×261.62厘米",[42,264],{"id":4565,"slug":4566,"title":4567,"dynasty":124,"author":154,"museum":53,"description":4568,"tags":4569,"thumbUrl":4570,"material":601,"size":4571,"collection":144,"collections":4572,"showCount":4573,"zanCount":46,"manualWeight":46,"mainColor":149},288542,"xue-jing-shan-shui-tu-guo-xi-288542","雪景山水图","郭熙（约1000～约1090年），北宋杰出画家、绘画理论家。字淳夫，河阳府温县（今属河南）人。他出身平民，早年信奉道教，游于方外，以画闻名。熙宁元年召入画院，后任翰林待诏直长。",[23,200,24,29,27,612,30,31,32,60,242,7,1506,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0f20379281940bfa667cffd341b05cc.jpg","87.7x150.9",[144],108,{"id":4575,"slug":4576,"title":4577,"dynasty":296,"author":4578,"museum":4579,"description":4580,"tags":4581,"thumbUrl":4582,"material":40,"size":4583,"collection":42,"collections":4584,"showCount":4573,"zanCount":46,"manualWeight":46,"mainColor":47},219932,"fang-wen-zheng-ming-shan-shui-tu-gu-yun-219932","仿文徵明山水图","顾澐","辛辛那提艺术博物馆","顾澐（1835-1896），字若波，号云壶、壶翁，以字行。吴县（今属江苏苏州）人。工山水，泽古功深，汇四王、吴、恽诸家之长。清丽疏古，气韵秀出，间作花卉、人物，近于新罗。光绪十四年（1888）游日本，遍览东京诸胜，所画一树一石皆备受赞赏。长期鬻画沪上。出版有《顾若波山水集册》。",[23,24,25,200,95,28,257,36,29,427,30,58,35,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6067fbcb05b4099e0dad02acc22a97e5.jpg","123.2x37.3厘米",[42],{"id":4586,"slug":4587,"title":4588,"dynasty":124,"author":4589,"museum":2747,"description":4590,"tags":4591,"thumbUrl":4592,"material":84,"size":4593,"collection":144,"collections":4594,"showCount":4573,"zanCount":46,"manualWeight":46,"mainColor":47},218643,"yue-xia-yu-she-tu-gu-liang-218643","月下渔舍图","顾亮","皎洁的月光下，三艘渔船停泊在湖岸的左右两边，右边船上的渔民坐在船中央仰望天空，岸边的树木郁郁葱葱，一间小屋躺在树下，四周有围栏，这里安静祥和。",[23,24,200,25,29,28,1385,243,32,96,7,31,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21bd989e6eda292aac4a6ea806d7f79a.jpg","25.7x25.4",[144],{"id":4596,"slug":4597,"title":4598,"dynasty":296,"author":870,"museum":346,"description":2823,"tags":4599,"thumbUrl":4600,"material":40,"size":2826,"collection":70,"collections":4601,"showCount":4573,"zanCount":46,"manualWeight":46,"mainColor":47},214889,"shan-shui-tu-ce-4-shi-tao-214889","山水图册-4",[23,24,27,36,111,37,82,29,31,32,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d80b1de337411d72d248e61d4a115b1.jpg",[],{"id":4603,"slug":4604,"title":4605,"dynasty":296,"author":4606,"museum":53,"description":4607,"tags":4608,"thumbUrl":4609,"material":40,"size":4610,"collection":42,"collections":4611,"showCount":4573,"zanCount":46,"manualWeight":46,"mainColor":47},214537,"wu-she-jie-han-tu-yu-sheng-214537","无射戒寒图","余省","这幅画描绘的是九月初九在福海北岸的高阁上游乐的场景，其实高阁只有三四米高，远没有画面上的那么陡峭，所谓的 升天 只是象征性的。",[24,28,56,36,29,60,33,30,31,58,34,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b971ceb4fd2fd33ceb99ce9b77277c4.jpg","180x106.3",[42],{"id":4613,"slug":4614,"title":4615,"dynasty":296,"author":870,"museum":561,"description":1342,"tags":4616,"thumbUrl":4618,"material":217,"size":660,"collection":70,"collections":4619,"showCount":4620,"zanCount":11,"manualWeight":46,"mainColor":47},290459,"shan-shui-qing-ya-tu-ce-shi-tao-290459","山水清雅图册",[200,24,25,111,29,28,36,7,97,3156,114,82,4617],"清雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3bd638039d20e8dcda51965ebdcf87c.jpg",[],107,{"id":4622,"slug":4623,"title":4624,"dynasty":18,"author":436,"museum":561,"description":4625,"tags":4626,"thumbUrl":4628,"material":217,"size":660,"collection":70,"collections":4629,"showCount":4620,"zanCount":46,"manualWeight":46,"mainColor":663},228412,"wen-shu-pu-sa-zuo-xiang-yi-ming-228412","文殊菩萨坐像","中国雕塑是指具有中国特色且原产于中国的雕塑艺术品。中国雕塑（Chinese sculptures），为中国文化的重要组成部分。中国古代雕塑艺术的主要内容分别是陵墓雕塑（包括地上的纪念性石刻与墓室随葬俑）、宗教雕塑、民俗性及其他内容的雕塑。\n大型陵墓石刻肇始于汉代墓前的石人、石兽。存世的古代陵墓石刻主要为南朝宋、齐、梁、陈及唐、北宋、明、清各代帝陵和勋臣贵戚墓的遗存。北魏、辽、金、西夏等朝代陵墓遭严重破坏，仅有少量石刻遗留下来。南朝和唐代的作品代表了陵墓石刻的最高成就。自唐代乾陵起，以迄北宋，石刻的内容、配置方式，逐步形成定制，并为明、清两代所承袭。宗教雕塑主要保存于寺庙和石窟寺之内，由于寺庙毁损严重，石窟寺雕塑便成为宗教雕塑遗存的主要代表。石窟寺是开凿于山崖之上的宗教寺庙。以佛教为主，也有少量道教或其他宗教内容的造像。石窟形制源自印度，约于 3世纪传至中国。造窟风气最盛的时期为南北朝至唐代中期，约当5～8世纪。重要石窟多以皇室或勋臣贵戚雕造的大像为中心，由众多的窟、龛、摩崖造像等，构成庞大的石窟群。雕造的时间常延续10多个世纪。每个窟内又以立体雕塑本尊佛造像为中心，由弟子、菩萨（以后增加天王、力士）组成群像，四壁布满浮雕或壁画，形成浓厚的宗教氛围。由于造像和壁画、浮雕内容、样式的差异，而形成不同时期、不同地区的艺术风格。功能\n中国雕塑既可以是一个国家文化的标志和象征，又可作为该民族文化积累的产物。雕塑述说着民族发展的历史，凝聚着民族的精神和传统，代表着每一历史时期的精神面貌，反映着自古至今，人们的无限追求与执着信仰，展现价值观念及审美情趣。中国雕塑，城市建筑等，都是一个民族精神文明与物质文明最直观、最集中的表现。\n中国雕塑不仅仅是文化的产物，同时也是一个国际不可或缺的经济投资点。中国雕塑和其他其他国际建筑等共同构成世界高雅美丽的环境，使生活在城市中的人们受到优越的审美体验，感受到文化的魅力与美的精神，中国雕塑的存在影响了中国环境，提升了文化形象，产生了视觉空间的凝聚力，这就创造了一种对于环境的投资潜能。",[24,25,784,56,28,58,29,133,60,34,7,1635,4627,257,57],"古建","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83145718fc035e6637afa89f6ad83dea.jpg",[],{"id":4631,"slug":4632,"title":4633,"dynasty":18,"author":1100,"museum":4634,"description":4635,"tags":4636,"thumbUrl":4637,"material":116,"size":4638,"collection":42,"collections":4639,"showCount":4620,"zanCount":46,"manualWeight":46,"mainColor":47},220119,"xi-shan-xian-guan-tu-dong-qi-chang-220119","溪山仙馆图","日本东京国立博物馆","松江出身的董其昌以取代文徴明成为江南画坛主导者为自身抱负。状似舞蹈般的松树形态、如同金属的山石质感都是其画风特色。",[24,200,27,36,29,837,31,34,7,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F530a93410dd73894a96859af7573f0a2.jpg","79.40×105.83cm",[42],{"id":4641,"slug":4642,"title":4643,"dynasty":18,"author":19,"museum":3660,"description":3661,"tags":4644,"thumbUrl":4645,"material":229,"size":3665,"collection":70,"collections":4646,"showCount":4620,"zanCount":11,"manualWeight":46,"mainColor":250},220056,"hu-qiu-shi-er-jing-tu-ce-11-shen-zhou-220056","虎丘十二景图册-11",[23,24,27,57,111,36,29,60,30,58,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b6682f58f7558d280563737b5c65e9a.jpg",[],{"id":4648,"slug":4649,"title":4262,"dynasty":124,"author":998,"museum":4348,"description":4650,"tags":4651,"thumbUrl":4652,"material":673,"size":4653,"collection":144,"collections":4654,"showCount":4655,"zanCount":46,"manualWeight":46,"mainColor":149},223667,"xue-shan-xing-lv-tu-liu-song-nian-223667","《雪山行旅图》山势苍莽，白雪皑皑，映衬秋霜红叶丛树，分外妖娆。林中房舍隐现，桥横岸渚，山重水回，一舟泊于岸边。行旅者踏雪而行。全画用笔工细，人物面貌高古，神态刻画入微。房舍以界画笔法，工整严谨。作者巧妙地将山水和人物有机地融为一体。画面左侧下端右上署有“刘松年画”四字款。原为张大千收藏。刘松年传世作品极少，从该画可以窥见其善画山水人物的风貌。",[23,24,200,25,95,27,28,29,860,7,242,30,31,214,36,56,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F513fc8700efc5270d65c3050a193f2d5.jpg","纵160厘米，横99.5厘米",[144,42],106,{"id":4657,"slug":4658,"title":2487,"dynasty":124,"author":436,"museum":1043,"description":4659,"tags":4660,"thumbUrl":4661,"material":4662,"size":4663,"collection":144,"collections":4664,"showCount":4655,"zanCount":11,"manualWeight":46,"mainColor":149},223647,"guan-pu-tu-yi-ming-223647","图中危崖耸立，瀑布垂挂直落谷底，水雾弥漫。雅士于园林一角。凭栏观飞泉，神态怡然陶醉，超然清逸之趣溢于画外。 山石全以斧劈皴出之，描绘树木勾点并用。整幅图有峻峭秀逸之气。",[23,24,25,951,28,36,7,130,33,427,31,4253,96,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2237080d6dc050c086dee19035000720.jpg","水墨，淡设色","纵178厘米，横104厘米",[144,42],{"id":4666,"slug":4667,"title":4668,"dynasty":18,"author":52,"museum":360,"description":4669,"tags":4670,"thumbUrl":4672,"material":454,"size":4673,"collection":42,"collections":4674,"showCount":4655,"zanCount":517,"manualWeight":46,"mainColor":149},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。",[23,24,28,56,29,186,4671,31,427,7,130,58,158],"水阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d90792ff94d1f0e49ced0c4da982ca0.jpg","纵41.1厘米，横33.8厘米",[42,264],{"id":4676,"slug":4677,"title":4678,"dynasty":78,"author":107,"museum":1043,"description":4679,"tags":4680,"thumbUrl":4681,"material":40,"size":4682,"collection":42,"collections":4683,"showCount":4655,"zanCount":11,"manualWeight":46,"mainColor":149},220427,"su-an-tu-wang-meng-220427","素庵图","作品布局层峦耸峙，岭头山体突兀而拙实，不为奇巧。近坡老松相映，林间草堂呈“四合院”状。全图气象峥嵘，突现山脚下的草堂。此图为精致优雅的浅绛山水画，明净苍秀，在王蒙轴幅作品中较少见。其妙处在两崖逼而为瀑，瀑泉由上而下，长短相间，气贯全幅。\n此图石法用云头皴，不同于《春山读书图》用单纯的解索皴法，也不同于《青卞隐居图》之融数家皴法于一体。黄宾虹评其“笔力劲利而无怒张之态，墨气酣厚而无痴肥之病”，幽深高淡之趣流露于画面之外。观此秋景，又使人联想到吴渔山所说的王蒙浅绛山水“霜红林密，笔笔生动”的特色。王蒙秋景画法较大痴浅绛用色偏重，其近景树干用朱砂点苔，为其他着色山水所未见，另有一番典雅清新别致的审美效果。图中人物及小鹿、仙鹤，造型虽小，皆笔简形具，耐人寻味。图上以小篆题“素庵图”三字，后两行署“黄鹤山樵王蒙为素庵高士画”，笔致雅拙，趣味高古，与画面形成相得益彰的艺术效果。",[23,24,25,200,95,27,28,29,60,31,34,7,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a2c770848d5adacc5affe77c66ce6a4.jpg","纵136cm，横45cm",[42,264],{"id":4685,"slug":4686,"title":4687,"dynasty":124,"author":2305,"museum":561,"description":4688,"tags":4689,"thumbUrl":4690,"material":84,"size":4691,"collection":144,"collections":4692,"showCount":4655,"zanCount":46,"manualWeight":46,"mainColor":149},219006,"song-yin-xian-zuo-tu-li-song-219006","松荫闲坐图","苍松覆荫，烟岚轻笼远山，黛色隐于薄雾间。近树虬枝盘曲，叶色深浓如墨，似将尘嚣隔绝。林间空地上，一人闲坐石畔，或凝思或望远，身旁童子悄然侍立，动静相衬，幽趣自生。\n\n笔墨简淡却意韵悠长：山石以斧劈皴略施渲染，显峻秀之态；树木枝干苍劲，线条灵动如舞。整幅画于静谧中藏生机，简远中见雅致，恰是宋人山水小品里“天人合一”的写照——将文人寄情林泉、超然物外的心绪，融于每一笔墨、每一处留白，读来如沐清风，心向往之。",[23,24,25,95,27,36,29,427,452,96,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70413899e21118c8e47102d3e86827c9.jpg","118x57",[144],{"id":4694,"slug":4695,"title":462,"dynasty":78,"author":961,"museum":53,"description":4696,"tags":4697,"thumbUrl":4702,"material":601,"size":70,"collection":42,"collections":4703,"showCount":4655,"zanCount":517,"manualWeight":46,"mainColor":47},218761,"shan-shui-tu-wu-zhen-218761","墨色晕染如轻烟绕峰，山石以披麻皴层层铺陈，湿墨点苔似苍苔缀石，尽显古拙厚重。林木萧疏错落，枝干虬劲中藏清逸，与淡墨晕开的云雾交织，拓出深远山水空间。留白处似有山风掠过，裹挟幽寂禅意，恰是元人山水的空灵之境。题跋与朱印相映，诗画相融间，藏着文人对自然的敬畏与心向林泉的淡泊。每一笔都晕染时光沉淀的静谧，观者仿佛步入清旷山水，暂忘尘嚣，只余眼前的淡远与安然。",[23,200,24,27,29,985,7,1066,133,82,37,4698,4699,4700,4701],"禅意","空灵","淡泊","静谧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f1c86c535085fc058d17972928a0b55.jpg",[42],{"id":4705,"slug":4706,"title":2056,"dynasty":124,"author":436,"museum":108,"description":4707,"tags":4708,"thumbUrl":4709,"material":84,"size":4710,"collection":42,"collections":4711,"showCount":4655,"zanCount":517,"manualWeight":46,"mainColor":149},217066,"chun-shan-xing-lv-tu-yi-ming-217066","春山行旅图是宋朝（960-1279年）佚名的一幅山水画作品。这幅画描绘了一位旅人在春天游览山水的景象。画面中的景色十分优美，充满了生机和活力。画中的山峰高耸，水流清澈，树木茂密，空气清新。整幅画浓烈的山水意境，清新自然的画风，使得这幅画在当时颇受欢迎，被认为是一幅杰出的艺术作品。",[24,25,951,36,28,837,34,30,60,7,58,31,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24ab87eb107c3ff0a2caa7861e5582bd.jpg","104x51cm",[42],{"id":4713,"slug":4714,"title":4715,"dynasty":793,"author":2596,"museum":108,"description":4716,"tags":4717,"thumbUrl":4718,"material":142,"size":4719,"collection":42,"collections":4720,"showCount":4721,"zanCount":46,"manualWeight":46,"mainColor":149},221101,"jing-ji-rui-xue-tu-li-si-xun-221101","京畿瑞雪图","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”。",[23,257,28,57,29,60,34,7,612,201,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf2334ec9cbe1a44a99cc3ae230e4e85.jpg","纵42.7cm，横45.2cm",[42,264],105,{"id":4723,"slug":4724,"title":4725,"dynasty":3825,"author":4726,"museum":4727,"description":4728,"tags":4729,"thumbUrl":4730,"material":4731,"size":70,"collection":70,"collections":4732,"showCount":4721,"zanCount":46,"manualWeight":46,"mainColor":47},220579,"fu-chun-jiang-feng-guang-huang-bin-hong-220579","富春江风光","黄宾虹","Smithsonian's National Museum of Asian Art","此作以渴笔焦墨写层叠峰峦，苍劲朴拙，云烟留白虚实相生，铺展出山居的清幽深远。近景村居错落隐于林木间，扁舟泛江，野趣盎然。题画诗与笔墨浑然一体，浑厚华滋中带着疏朗灵秀，将山水静穆与生机相融，尽显山川浑厚、草木华滋的典型风貌。黑密厚重的积墨之法，勾勒江峰奇崛挺拔，留白处氤氲水汽，整幅画刚柔并济，于朴茂中见秀逸，藏万千丘壑于尺幅间，将山水的幽隽诗意娓娓道来，笔底晕染出静谧悠然的山居意趣。",[24,27,36,29,32,33,34,7,31,25,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a79877bcd55fa426bfd1b6ba2533842.jpg","Ink and color on paper",[],{"id":4734,"slug":4735,"title":4736,"dynasty":296,"author":4737,"museum":53,"description":4738,"tags":4739,"thumbUrl":4742,"material":40,"size":4743,"collection":42,"collections":4744,"showCount":4721,"zanCount":11,"manualWeight":46,"mainColor":47},214832,"fang-tang-ren-da-yu-zhi-shui-tu-xie-sui-214832","仿唐人大禹治水图","谢遂","谢遂（1743-1815年）是一位清代画家，他最著名的作品之一是《仿唐人大禹治水图》。这幅画描绘了传说中的大禹如何利用智慧和勇气治理水旱，保护人民免受灾害的故事。画中大禹站在江边，手持着伞，身旁是他的忠实追随者。大禹所在的位置是一座山峰，表示他的权威和力量。整幅画的画风浓重，线条流畅，色彩和谐。这幅画是谢遂在清代的代表作之一，在当时颇受欢迎，并被广泛流传。",[200,24,28,58,29,7,130,4740,4741],"大禹治水","神话传说","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3af9e7e13ca4921759b92fd42dfeb838.jpg","160.7x89.8",[42,289],{"id":4746,"slug":4747,"title":4748,"dynasty":78,"author":79,"museum":561,"description":4749,"tags":4750,"thumbUrl":4751,"material":217,"size":660,"collection":70,"collections":4752,"showCount":4753,"zanCount":46,"manualWeight":46,"mainColor":47},290097,"xi-shan-cao-ge-tu-huang-gong-wang-290097","溪山草阁图","近景左侧横出小坡，岸边立一小亭伫於溪面。中景水道曲折蜿蜒，两旁碎石、平台、坡坨层层相叠，於远景处垒为巨大高耸之山体，一侧可见峭壁陡立，山石间点缀丛密林木，颇显生趣。 此作款署“大痴道人”，然其平台坡石，显受沈周（1427-1509）影响，可能原为16世纪后期蘇州画家的作品。根据印记，此作可能曾为朱之赤（活跃于17世纪）收藏。入清后，为毕泷收藏，嘉庆年间籍没入宫。",[200,24,25,95,27,36,29,33,30,31,96,7,37,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca990138a4223e81ac3c0c9c1ee55fd7.jpg",[],104,{"id":4755,"slug":4756,"title":4757,"dynasty":18,"author":1100,"museum":360,"description":4758,"tags":4759,"thumbUrl":4760,"material":142,"size":4761,"collection":42,"collections":4762,"showCount":4753,"zanCount":764,"manualWeight":46,"mainColor":47},220952,"lin-he-jing-shi-yi-tu-dong-qi-chang-220952","林和靖诗意图","《林和靖诗意图》轴，明，董其昌绘，纸本，墨笔，纵88.7 厘米，横38.7厘米。\n\n本幅署题二 ，右上自题七言诗一首：“山水未深鱼鸟少，此生还拟重移居。只应三竺溪流上，独木为桥小结庐。写和靖诗意。玄宰，甲寅二月廿二日雨窗识”。下钤“董其昌印”白文印。左上又题云：“元时倪云林、王叔明皆补此诗意，惟黄子久未之见，余以黄法为此。玄宰重题，辛酉三月。”下钤“董其昌印”朱文印。此图作于明万历四十二年（1614年），时董氏60岁，明天启元年（1621年）三月67岁时重题。\n\n此图是根据北宋诗人林和靖诗意而创作。以深远法构图，峰峦起伏，林木葱郁，溪水相映，茅屋草舍点缀其间。用笔萧散，用墨秀润，得黄公望遗韵，有秀逸苍浑之气。\n\n鉴藏印左下角钤“高詹事”白文印、“竹窗”朱文印”、“偶为潘省安所有”朱文印、“嘉兴王逢辰藏”朱文印、“惕庵心赏”朱文印，右下角钤“华源草堂”白文印、“小琴鉴赏”白文印、“张照之印”白文印，右上方钤“曾在徐颂鱼处”朱文印、“阮氏琅嬛仙馆收藏印”朱文印。",[23,24,25,27,36,38,82,95,29,34,30,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc10860b979500f162ed912af1de7ff67.jpg","纵：154.4厘米，横：64.2厘米",[42,146],{"id":4764,"slug":4765,"title":29,"dynasty":3825,"author":4766,"museum":4767,"description":4768,"tags":4769,"thumbUrl":4770,"material":70,"size":70,"collection":70,"collections":4771,"showCount":4753,"zanCount":11,"manualWeight":46,"mainColor":47},220477,"shan-shui-fu-bao-shi-220477","傅抱石","中央美术学院美术馆","此作用笔秀润，设色雅致，以烟岚晕染远山，黛色层叠间漾出空濛秋意。中景丹枫与青松交错，赭石铺就秋山暖调，村居隐于林麓，野趣横生。近畔水榭临流，凭栏二人闲对，静赏天光云影，将秋日江村的幽寂闲恬铺陈开来。题画诗与笔墨相映，文心入画，将文人寄情山水、栖居林泉的诗意愿景藏于尺幅之间，观之如临清秋江村，尽揽山居雅趣。",[24,28,36,29,60,34,114,3766,671,427,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7d127d461e95daec85dc02446a8bd1d.jpg",[],{"id":4773,"slug":4774,"title":4775,"dynasty":296,"author":1406,"museum":53,"description":4776,"tags":4777,"thumbUrl":4778,"material":84,"size":4779,"collection":42,"collections":4780,"showCount":4753,"zanCount":46,"manualWeight":46,"mainColor":47},219653,"song-yan-jing-le-tu-wang-shi-min-219653","松岩静乐图","烟客画山水，宗法元四家，晚年尤倾力黄公望，逐入痴翁堂奥，巽笔湿笔，自具心裁。此为七十九岁老年之作，笔墨犹不脱秀润之色。",[24,28,36,29,427,7,31,34,35,364],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe485b1637050632062640af0dec5e5eb.jpg","168x76.3",[42],{"id":4782,"slug":4783,"title":4784,"dynasty":124,"author":769,"museum":53,"description":4785,"tags":4786,"thumbUrl":4787,"material":84,"size":4788,"collection":42,"collections":4789,"showCount":4753,"zanCount":605,"manualWeight":46,"mainColor":149},218527,"yu-wang-zhi-shui-tu-zhao-bo-ju-218527","禹王治水图","大禹治水（鲧禹治水）是中国上古时期大禹治理大洪水的传说。此《禹王治水图》卷传为南宋画家赵伯驹绘。画卷为青绿描金，其主题内容为大禹治水采用凿岭开山、决江济川，疏导方式治理水患的故事。卷末附元代文学家虞集书《禹贡》。此卷现藏于台北故宫博物院。",[23,200,24,25,26,257,28,58,29,56,7,316,34,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1730ee5c62d100c4fdf05af2481cfa4b.jpg","30.5x373cm",[42],{"id":4791,"slug":4792,"title":4793,"dynasty":78,"author":4794,"museum":239,"description":4795,"tags":4796,"thumbUrl":4798,"material":84,"size":4799,"collection":42,"collections":4800,"showCount":4753,"zanCount":764,"manualWeight":46,"mainColor":149},218229,"qing-shan-hong-xing-tu-ma-wan-218229","青山红杏图","马琬","青山红杏图是中国元朝时期著名的画家马琬的杰作之一。这幅图像是一幅山水画，描绘了一片山峰环绕的山谷，谷底有一条清澈的小溪流过。山峰上绿油油的树木点缀着几朵红色的杏花，与苍翠的山峰形成鲜明的对比。整幅画非常细腻，笔触流畅，给人以清新自然的感觉。\n\n马琬是元朝时期著名的画家，他的画风独特，善于描绘自然风光。他的作品中常常出现山水、花鸟、山峰和小溪的景象，并融入了自己的想象力和创造力。青山红杏图就是马琬这种画风的经典代表之一。",[24,200,25,257,28,29,36,837,112,4797,7],"杏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F210df1734801534a679e4b785cd61260.jpg","24.2x22.7cm",[42],{"id":4802,"slug":4803,"title":1846,"dynasty":296,"author":870,"museum":561,"description":1342,"tags":4804,"thumbUrl":4805,"material":217,"size":660,"collection":70,"collections":4806,"showCount":4807,"zanCount":11,"manualWeight":46,"mainColor":47},287452,"yi-jin-ling-ce-shi-tao-287452",[24,111,27,37,82,36,29,242,227,7,1385,1506],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4024d85ab10042e974297b9aa2ce45b2.jpg",[],103,{"id":4809,"slug":4810,"title":4811,"dynasty":654,"author":655,"museum":561,"description":4812,"tags":4813,"thumbUrl":4814,"material":217,"size":660,"collection":70,"collections":4815,"showCount":4807,"zanCount":11,"manualWeight":46,"mainColor":149},283688,"qiu-shan-wan-cui-tu-guan-tong-283688","秋山晚翠图","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。",[23,200,24,25,95,27,28,29,1837,7,34,158,130,36,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff74413aeaf6fe0fbb9e4679e693b6af8.jpg",[],{"id":4817,"slug":4818,"title":4819,"dynasty":18,"author":1100,"museum":1043,"description":4820,"tags":4821,"thumbUrl":4822,"material":229,"size":4823,"collection":42,"collections":4824,"showCount":4807,"zanCount":46,"manualWeight":46,"mainColor":47},220344,"fang-mi-fei-shan-shui-tu-juan-dong-qi-chang-220344","仿米芾山水图卷","“画家初以古人为师，后以造化为师”——先古人、后造化，作为学习中国画的基本程序，这并非董其昌的发明，而是由来已久的传统。这一程序的合理与否姑且不论，我们所要讨论的是，在古人与造化面前，董其昌是如何认识到并揭示出审美关系中“我”的主体性的。",[200,24,25,26,27,29,36,7,34,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9110a3b8272916474ce78d43f4cf6a08.jpg","25.9 x 219.1厘米",[42,648],{"id":4826,"slug":4827,"title":4828,"dynasty":18,"author":2249,"museum":3988,"description":4829,"tags":4830,"thumbUrl":4832,"material":84,"size":4833,"collection":306,"collections":4834,"showCount":4807,"zanCount":11,"manualWeight":46,"mainColor":149},219115,"zao-chun-hua-qin-tu-yin-hong-219115","早春花禽图","枯枝盘曲如铁，山茶吐艳似燃，几枝早梅缀着淡粉花苞，悄然泄露春讯。禽鸟或栖于岩畔顾盼，或立于枝间啁啾，翅羽纹理细如毫发，喙爪色泽鲜妍如生。地面鹌鹑缩颈梳羽，与岩上对视双鸟相映成趣，动静之间满是早春的慵懒与生机。设色温润雅致，墨骨与彩晕交融，既见工笔细腻，又含写意灵动。整幅画如无声春曲，将料峭时节的萌动鲜活凝于绢素，观者仿佛能嗅到微香、听见轻啼，尽览自然生机的悄然苏醒。",[23,24,25,56,28,62,7,31,489,524,34,4831],"早春","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F569747867dc70978b50213d39ad4728a.jpg","纵168.7cm横102.7cm",[306],{"id":4836,"slug":4837,"title":3378,"dynasty":296,"author":870,"museum":561,"description":1342,"tags":4838,"thumbUrl":4839,"material":70,"size":70,"collection":42,"collections":4840,"showCount":4841,"zanCount":46,"manualWeight":46,"mainColor":47},237762,"yuan-ji-shan-shui-tu-ce-shi-tao-237762",[24,25,111,27,36,82,29,427,130,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2602ace4f9f01cb00770af8e9295051f.jpg",[42,264],102,{"id":4843,"slug":4844,"title":4845,"dynasty":3017,"author":4846,"museum":561,"description":4847,"tags":4848,"thumbUrl":4860,"material":217,"size":660,"collection":4861,"collections":4862,"showCount":4841,"zanCount":46,"manualWeight":46,"mainColor":47},225894,"antibes-seen-from-the-salis-garden-1888-mo-nai-225894","Antibes seen from the Salis Garden, 1888","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。",[4849,4850,4851,4852,4853,112,4854,4855,4856,4857,7,113,187,2177,4858,4859],"油画","印象派","点彩","光影捕捉","色彩交融","湖水","城镇","天空","花园","远景","春天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66591dc12d3fde82a8664f11526e454f.jpg","油画精选",[4861],{"id":4864,"slug":4865,"title":4866,"dynasty":3825,"author":4867,"museum":4868,"description":4869,"tags":4870,"thumbUrl":4871,"material":70,"size":70,"collection":70,"collections":4872,"showCount":4841,"zanCount":46,"manualWeight":46,"mainColor":47},220606,"song-shi-shan-shui-qi-bai-shi-220606","宋式山水","齐白石","Kyoto National 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。唐寅晚年生活穷困，依靠朋友接济。嘉靖二年十二月二日，病逝，时年五十四岁。\n山水画宗法李唐、刘松年，融会南北画派，笔墨细秀，布局疏朗，风格秀逸清俊。人物画师承唐代传统，色彩艳丽清雅，体态优美，造型准确；亦工写意人物，笔简意赅，饶有意趣。其花鸟画长于水墨写意，洒脱秀逸。书法奇峭俊秀，取法赵孟頫。\n绘画上与沈周、文徵明、仇英并称“吴门四家”，又称“明四家”。诗文上，与祝允明、文徵明、徐祯卿并称“吴中四才子”。",[200,24,95,27,29,427,227,58,7,31,37,82,36,5065],"闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F107880d5a5ec31ccbe0869de6e5ceedf.jpg",[],98,{"id":5070,"slug":5071,"title":2957,"dynasty":78,"author":2047,"museum":561,"description":5072,"tags":5073,"thumbUrl":5074,"material":217,"size":660,"collection":70,"collections":5075,"showCount":5068,"zanCount":11,"manualWeight":46,"mainColor":149},290152,"xi-yuan-ya-ji-tu-zhao-meng-fu-290152","赵孟頫[fǔ]（1254年10月20日－1322年7月30日），字子昂，汉族，号松雪道人，又号水晶宫道人（一说水精宫道人）、鸥波，中年曾署孟俯。吴兴（今浙江省湖州市）人，原籍婺州兰溪。南宋晚期至元朝初期官员、书法家、画家、诗人，宋太祖赵匡胤十一世孙、秦王赵德芳嫡派子孙。\n赵孟頫于南宋末年曾任真州司户参军。宋亡后隐居不仕。至元二十三年（1286年），赵孟頫经行台侍御史程钜夫举荐，赶赴大都，受元世祖赏识，授兵部郎中。此后历任集贤直学士、济南路总管府事、江浙等处儒学提举、翰林侍读学士等职，累官翰林学士承旨、荣禄大夫。自世祖至武宗、仁宗、英宗四朝皆加礼敬。晚年逐渐隐退，延祐六年（1319年）借病乞归。至治二年（1322年），赵孟頫逝世，年六十九。获赠江浙中书省平章政事、魏国公，谥号“文敏”，故称“赵文敏”。著有《松雪斋文集》等。\n赵孟頫博学多才，能诗善文，通经济之学，工书法，精绘艺，擅金石，通律吕，解鉴赏。在绘画上，他开创元代新画风，被称为“元人冠冕”。其绘画取材广泛，技法全面，山水、人物、花鸟无不擅长。其书取法钟繇、“二王”、李邕、赵构等，于篆、隶、真、行、草诸体皆擅，尤以楷书、行书著称；其书风遒媚、秀逸，结体严整、笔法圆熟，创“赵体”书，与欧阳询、颜真卿、柳公权并称“楷书四大家”。此外，赵孟頫倡导师法古人，强调“书画同源“。其绘画、书法和画学思想对后代影响深远。",[200,24,95,28,58,33,96,2962,37,61,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01d13b76618e140a15986919f4a5c225.jpg",[],{"id":5077,"slug":5078,"title":5079,"dynasty":18,"author":52,"museum":360,"description":5080,"tags":5081,"thumbUrl":5084,"material":454,"size":5085,"collection":70,"collections":5086,"showCount":5068,"zanCount":517,"manualWeight":46,"mainColor":149},233748,"yu-dong-xian-yuan-tu-zhou-chou-ying-233748","玉洞仙源图轴","画面奇峰峻岭，苍松翠柏，琼楼水阁，溶洞流溪，云烟缥缈其间，山壑或隐或现。溪水潺湲的溶洞前，一隐士临流盘膝，停琴静坐，侍童们忙着煮茶、端盘、陈设古玩，俨然人间仙境。这类隐逸题材作品十分多见，而仇英在幽美宁静的意境中表现了一种明快的情调，健康的意趣，在同类作品中颇具特色。\n作品取景宏阔，结构严整，层次清晰，布局有序，景物繁杂而不拥塞，人物虽小但刻画精细，位置突出，反映出画家在驾驭复杂场景、安排主从次序方面精深的造诣。此图用大青绿设色，细劲的线条勾勒轮廓，浓艳的石青石绿渲染山石，同时融以细密的皴法，追求色调的和谐，在宗法南宋青绿山水大家赵伯驹的基础上有所变化，代表了仇英青绿山水的典型画风。",[24,25,95,28,56,257,29,58,60,30,31,427,5082,133,7,33,187,883,34,5083,112],"山洞","石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F705c7a9ce596ceca751a614dbc006b66.jpg","纵169厘米，横65.5厘米",[],{"id":5088,"slug":5089,"title":5090,"dynasty":124,"author":154,"museum":561,"description":5091,"tags":5092,"thumbUrl":5093,"material":70,"size":70,"collection":70,"collections":5094,"showCount":5068,"zanCount":11,"manualWeight":46,"mainColor":149},228262,"shu-shan-xing-lv-tu-guo-xi-228262","蜀山行旅图","此作铺展千里秋江蜀景，峰峦盘曲连绵，矾头苍润皴擦间尽显丘壑雄秀。林木染秋，红黄错落，点染出清寂萧疏的暮秋意韵。江畔村舍错落板桥通幽，山径旅人徐行，水面渔舟泛波，将山野居旅之趣融于烟水间。\n\n水墨设色晕染山峦，淡墨轻笼烟岚，晕开空蒙悠远的江上暮色，尽显山水可观可游可居的幽趣。题咏诗文与画面呼应，将秋日迟暮的怅然与林泉野趣相融，把蜀中山川的浑厚灵秀与文人幽怀合而为一，是山水诗意交织的秋日山居长卷。",[23,24,200,25,26,28,36,29,58,30,31,7,34,32,33,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76cd4d9080725c78fd57d390dac3500b.jpg",[],{"id":5096,"slug":5097,"title":971,"dynasty":18,"author":1100,"museum":360,"description":5098,"tags":5099,"thumbUrl":5100,"material":454,"size":5101,"collection":42,"collections":5102,"showCount":5068,"zanCount":11,"manualWeight":46,"mainColor":47},220942,"shan-shui-zhou-dong-qi-chang-220942","本幅近景画丘坡茅亭、高树疏林，中部为碧波平湖，远处绘峰峦苍莽、草木华滋。用笔松秀灵活，用墨清妍润泽，意境萧散飘逸。\n画中自题仿巨然，但仔细观之，该画除立意、布景略有巨然遗风外，更多地显现的是董其昌晚年秀逸潇洒的风格。",[23,24,27,36,95,29,33,242,130,7,132,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff039a744060007272b38d2af34273261.jpg","纵154.1cm，横64.3cm.",[42,146],{"id":5104,"slug":5105,"title":5106,"dynasty":654,"author":2261,"museum":53,"description":5107,"tags":5108,"thumbUrl":5110,"material":116,"size":5111,"collection":42,"collections":5112,"showCount":5068,"zanCount":46,"manualWeight":46,"mainColor":47},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 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(1280一1354年）的《渔父图》及吴伟 （1459—1508年）的《渔乐图》相提并论。有关戴进的生平资料中，没有记载他管经接触那些过去的作品，但是在北京时，应该有机会见到宋元人作品，后来在浙江享有盛名，也使他有机会结识收藏家，接触到前人的名作，其中可能包括了出生于浙江的吴镇。\n《秋江渔艇》的简笔人物、人物的姿态，斜向的小舟，凸笔中锋的树石，和吴镇《渔父图》有许多相近之处，可以说明两者的关系。不过基本出发点并不相同，吴镇是以张志和《渔父词》为依据，面隐居的文人雅士，戴进关心的是在河川中以捕鱼为业的乡土人物，用笔也较为放纵．转折顿挫十分明显，即使径寸的人物，也表现出强劲有力的线条，和吴镇内敛含蓄的笔法有很大的差别。戴进在这面里发展出的笔墨形态，到了中叶的浙派画家吴伟的《渔乐图》时，运用得过度，尤其是水墨的渲染，已经纯然是笔墨的表演了。",[23,24,25,26,27,28,29,36,243,32,201,96,31,7,5159,724,33,34],"江面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09db0f94b0f1be9504aad5e181144fe8.jpg","46 x 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袁的画法继承宋代宫廷画的风格，结实、工细，体积感强。并能把雄伟壮阔的山色与富丽堂皇的楼阁很好地融为一体，既精细入微，又气势磅礴，有力地提高了“界画”的表现能力，被推为清代“界画”第一。",[24,25,95,57,28,56,60,317,34,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F541a38c45bc135a29e893993570190f9.jpg","纵104厘米，横49.5厘米",[42,264],{"id":5187,"slug":5188,"title":5189,"dynasty":18,"author":5190,"museum":108,"description":5191,"tags":5192,"thumbUrl":5193,"material":116,"size":70,"collection":42,"collections":5194,"showCount":5152,"zanCount":11,"manualWeight":46,"mainColor":149},217058,"chun-shan-pian-zhou-tu-yao-sui-217058","春山扁舟图","姚绥","姚绥是明朝的一位著名画家，他的作品《春山扁舟图》是一幅典型的山水画，描绘了一段美好的春天，山峦翠绿，水面波光粼粼，扁舟悠然自得地漂流在江中。图中的山水景色清新宜人，构图简洁大方，笔墨流畅自然，是姚绥非常优秀的代表作。",[24,27,36,29,32,31,130,34,7,58,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4d7c3ea94eed15c56d67aa937bbc39c.jpg",[42],{"id":5196,"slug":5197,"title":5198,"dynasty":18,"author":1100,"museum":20,"description":5199,"tags":5200,"thumbUrl":5201,"material":40,"size":70,"collection":70,"collections":5202,"showCount":5152,"zanCount":46,"manualWeight":46,"mainColor":663},214658,"qiu-xing-ba-jing-tu-ce-1-dong-qi-chang-214658","秋兴八景图册-1","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。",[723,27,28,29,3692,34,111,36,300,7,2060,565],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10dabbb12a6134bd0b3af4b7144fde3e.jpg",[],{"id":5204,"slug":5205,"title":5206,"dynasty":654,"author":982,"museum":561,"description":5207,"tags":5208,"thumbUrl":5209,"material":70,"size":70,"collection":70,"collections":5210,"showCount":5211,"zanCount":46,"manualWeight":46,"mainColor":149},227263,"dong-bei-yuan-xi-shan-xing-lv-tu-li-zhou-dong-yuan-227263","董北苑溪山行旅图立轴","董源（生卒年不详），字叔达，洪州钟陵（今江西省进贤县钟陵乡）人。五代绘画大师，南派山水画开山鼻祖，与李成、范宽，并称“北宋三大家”。\n南唐时期，曾任北苑副使，人称“董北苑”。南唐灭亡后，进入北宋。擅于山水画，兼工人物、禽兽。其山水初师荆浩，笔力沉雄，后以江南真山实景入画，不为奇峭之笔。疏林远树，平远幽深，皴法状如麻皮，后人称为“披麻皴”。山头苔点细密，水色江天，云雾显晦，峰峦出没，汀渚溪桥，率多真意。“平淡天真，唐无此品”（米芾）。\n存世作品有《夏景山口待渡图》《潇湘图》《夏山图》《溪岸图》《寒林重汀图》《龙宿郊民图》《平林霁色图卷》等。",[23,24,25,200,95,27,36,29,34,30,31,35,58,7,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ce14da05caf0e1610bf356168685eed.jpg",[],96,{"id":5213,"slug":5214,"title":5215,"dynasty":18,"author":387,"museum":360,"description":5216,"tags":5217,"thumbUrl":5218,"material":5219,"size":5220,"collection":42,"collections":5221,"showCount":5222,"zanCount":764,"manualWeight":46,"mainColor":47},222359,"guan-mei-tu-zhou-tang-yin-222359","观梅图轴","画作表现一位高士袖手立于溪桥之上，身后的山崖边两树梅花含苞待放，与作者所题诗意十分吻合。全幅构图汲取南宋院体风格，险中求胜，山石树木的勾勒粗细得当，晕染多于皴擦，清健爽利的笔致和幽静的背景营造突出了主体人物的高洁形象。人物的线描细劲流畅，造型清俊儒雅。从此作的创作风格上看，应是唐寅中年以后的作品。\n此图曾经清代毕沅等人鉴藏。",[23,24,25,95,27,36,38,390,7,58,242,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F709e091fe9b41a1555692ca92f23e3f6.jpg","纸本，淡设色","纵108.6厘米，横34.5厘米。",[42,146],95,{"id":5224,"slug":5225,"title":5226,"dynasty":78,"author":699,"museum":53,"description":5227,"tags":5228,"thumbUrl":5230,"material":40,"size":5231,"collection":306,"collections":5232,"showCount":5222,"zanCount":764,"manualWeight":46,"mainColor":149},218661,"dong-yuan-zai-jiu-tu-cao-zhi-bai-218661","东园载酒图","这幅画画的是曹知白自己在采芝窝的隐居地，山川秀丽，笔墨温润，思想极为高雅明朗，使之成为曹氏山水画的精品。",[23,200,24,25,95,27,36,5229,29,7,34,60,187],"干笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff4e4c7f20f69be119e1b5cb8d07c1f7.jpg","97.1x54.8cm",[306],{"id":5234,"slug":5235,"title":5236,"dynasty":124,"author":182,"museum":561,"description":5237,"tags":5238,"thumbUrl":5239,"material":116,"size":5240,"collection":289,"collections":5241,"showCount":5222,"zanCount":764,"manualWeight":46,"mainColor":47},214915,"xiao-jing-tu-juan-li-gong-lin-214915","孝经图卷","孝经图卷是宋朝时期李公麟所绘的一幅图画，作品名为《孝经图》。该图画记录了中国传统文化中关于孝道的理论。孝道是中国传统文化中的一个重要概念，指的是尊敬父母、敬老尊贤的道德行为。《孝经图》是一幅巨大的图画，长约10米，宽约1.5米，由李公麟于宋朝初年绘制。该图画分为上下两部分，上部是一幅描绘中国传统孝道理论的巨幅图画，下部是记录了关于孝道的文字记录。《孝经图》是一件重要的文化遗产，对于了解中国传统文化中孝道的概念和内涵有着重要的意义。",[23,200,24,25,26,712,27,58,60,30,31,82,215,33,7,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cdceb66d0489c2d2fba02cb93a6f500.jpg","21.9x475.6",[289],{"id":5243,"slug":5244,"title":5245,"dynasty":296,"author":870,"museum":360,"description":5246,"tags":5247,"thumbUrl":5249,"material":229,"size":5250,"collection":70,"collections":5251,"showCount":5252,"zanCount":11,"manualWeight":46,"mainColor":47},233956,"yuan-ji-shan-shui-heng-zhou-shi-tao-233956","原济山水横轴","本册10开，或墨笔或设色，末开自款“时甲子新夏呈阆翁火词宗夫子，清湘秃发济”，钤“冰雪悟前身”，（白文方印）每开上“忍庵图书”一印。\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。",[24,25,5248,27,36,29,159,34,31,32,58,130,427,7],"横轴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff862291aff18cd6d44ac688b5b35c856.jpg","纵46.5cm，横30.7cm",[],94,{"id":5254,"slug":5255,"title":5256,"dynasty":18,"author":19,"museum":53,"description":5257,"tags":5258,"thumbUrl":5259,"material":70,"size":5260,"collection":70,"collections":5261,"showCount":5252,"zanCount":46,"manualWeight":46,"mainColor":149},222109,"fang-fan-kuan-shan-shui-shen-zhou-222109","仿范宽山水","沈周（1427-1509）明代杰出画家。字启南，号石田，又号白石翁、玉田生、有居竹居主人等。长洲（今江苏苏州）人。性情敦厚、博学多才，长于文学，亦工诗画，善画山水、花卉、鸟兽、虫鱼，皆极神妙。常草草点缀，即得意趣。亦常题诗词于画上，当时人称他为“二绝先生”。画宗黄大疾、吴镇，自成一家笔法。亦工墨笔花鸟，和他的学生文征明并称为“吴派”两大家。又与文征明、唐寅、仇英称“明四家”。他每画一画，落笔点苔，绝不苟且。他能从多方面摹习古人，又加自己的创造，更参以二米的笔趣，善用粗笔，圆润挺劲，厚重凝炼。出入于宋元名家，创作态度极为慎重。",[23,24,27,28,29,112,7,58,36,186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a75f134440ced5f01d925c27d12f935.jpg","54.2x99.5厘米",[],{"id":5263,"slug":5264,"title":5265,"dynasty":18,"author":1100,"museum":360,"description":4202,"tags":5266,"thumbUrl":5268,"material":246,"size":3546,"collection":42,"collections":5269,"showCount":5252,"zanCount":46,"manualWeight":46,"mainColor":47},220903,"fang-gu-shan-shui-ce-ye-dong-qi-chang-220903","仿古山水册页",[23,24,25,111,27,28,29,7,34,33,316,114,5267,133,38,82,36,186],"近景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b6dca8d58acbb22b6bed289e5f80247.jpg",[42,264],{"id":5271,"slug":5272,"title":1907,"dynasty":78,"author":107,"museum":53,"description":5273,"tags":5274,"thumbUrl":5275,"material":40,"size":5276,"collection":42,"collections":5277,"showCount":5252,"zanCount":11,"manualWeight":46,"mainColor":47},220806,"dong-shan-cao-tang-tu-wang-meng-220806","《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。",[23,24,27,28,36,29,34,427,7,187,132,158,35,2641,1066,364],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18bd6ec16eba615a58d99aa211fdc5e2.jpg","纵111.4cm，横86.1cm",[42,146],{"id":5279,"slug":5280,"title":5281,"dynasty":296,"author":5282,"museum":53,"description":5283,"tags":5284,"thumbUrl":5286,"material":84,"size":5287,"collection":306,"collections":5288,"showCount":5252,"zanCount":46,"manualWeight":46,"mainColor":47},220405,"song-jian-wo-hu-tu-a-er-bai-220405","松间卧虎图","阿尔粺","清代阿尔粺绘。阿尔粺是一位满族画家，字香榖，舒穆禄氏，满洲镶蓝旗人。阿尔粺善画虎、鹰等，《啸亭杂录》云 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【类别】中国 【年代】明代 【作者】 【规格】该幅44.8128厘米，隔水一14.1厘米，隔水二14厘米，拖尾44.826.厘米 【收藏】 主题与关键字： 房舍、宫殿、马、后妃、渔夫、船夫、军士、瀑布、藤萝、江河、湖海、侍从（侍女、童仆）、兽力车、石磴、栈道、官员（臣）、栏杆、鹤、兵器、高士（士人、隐士）、桃花、溪涧、湍泉、帝王、狐狸、亭、乐器、台阁、杉、篷舟、鹿、仪仗（佛教宝盖）、桥、百姓、云、牛、篱笆、围墙、羊、帐篷、鸾凤、虎、鸡、茅草屋、田畴、松、狗。\n故宫书画录（卷八），第四册，页42 故宫书画图录，第十八册，页5-6 此幅图写 上林赋意，卷末并附有署文徵明款之隶书全文。\n相如此赋乃为献汉武帝而作，以华美靡丽之词句，铺陈颂扬皇家园囿上林苑之堂皇富丽，与天子射猎场面之壮阔伟盛。\n画中极力描绘各种水陆神兽、奇花异卉，宫殿巍耸，人马迤逶，以见天子声威之浩大。\n人马树石造型精谨，用笔工细，设色浓豔亮丽，与赡丽之赋文相辉映。\n此类工笔重设色青绿山水常被标为仇英作品，但应为后人所伪托。\n仇英，明朝，太仓（今江苏太仓）人。\n移家吴县（今江苏苏州）。\n画师 ，工山水、人物、士女，而格力不逮。\n特工临摹，粉图黄纸，落笔乱真。\n至于发翠豪金，丝丹缕素，精丽艳逸，无愧古人。\n尝作上林图，人物、鸟兽、山林、台观、旗辇、军容，皆臆写古贤名笔，斟酌而成，可谓绘事之绝境，艺林之胜事也。\n题其仙弈图谓：“仇实父是 后身，即文、沈亦未尽其法。\n”洵非过誉。\n尤工士女，神采生动，为明代工笔之杰。\n152年（正德十五年）与 合仿 莲社图，藏故宫博物院。",[23,56,257,28,26,29,60,58,34,7,31,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d654d1e6148064ec1640922c1921901.jpg",[],{"id":5424,"slug":5425,"title":5426,"dynasty":3825,"author":5427,"museum":4767,"description":5428,"tags":5429,"thumbUrl":5430,"material":70,"size":70,"collection":70,"collections":5431,"showCount":5397,"zanCount":46,"manualWeight":46,"mainColor":47},220530,"shuang-mao-xu-bei-hong-220530","双猫","徐悲鸿","幽蓝繁枝澹叶垂落，晕开清寂雅致的底色。两只狸奴静踞石上，一醒一眠相映成趣。左侧玄纹花猫抬眸平视，蓬松绒毛以淡墨晕染留白，将软绒质感描摹入微，神情警觉又暗含温驯灵动。右侧花斑小猫蜷身假寐，柔润笔触晕出慵懒憨态。\n\n下方顽石以泼墨写意而成，枯涩苍劲的笔墨衬出朴拙厚重，与猫的柔润形成鲜明刚柔对照。整幅画作融中西技法，以写实造型捕捉生灵鲜活意态，又以文人水墨营造幽澹氛围，将闲庭猫趣定格纸面，尽显悠然松弛的闲适意韵。",[23,200,24,25,95,27,28,300,2381,112,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd12e40cf83c19d7df05c2ff1a576a69e.jpg",[],{"id":5433,"slug":5434,"title":5435,"dynasty":18,"author":5436,"museum":283,"description":5437,"tags":5438,"thumbUrl":5439,"material":84,"size":5440,"collection":289,"collections":5441,"showCount":5397,"zanCount":605,"manualWeight":46,"mainColor":149},220412,"feng-yu-gui-cun-tu-xie-shi-chen-220412","风雨归村图","谢时臣","《风雨归村图》是谢时臣比较有代表性的一幅画，描绘的是渔村风雨之景，图中风紧浪急，渔人纷纷结束劳作回家。各种景物由于受到风雨的影响，产生出了不同的应激反应。",[23,24,25,26,29,28,36,58,30,31,32,724,60,34,7,1931,227,133,3939,658],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45cff486492d2e306434488295267ef7.jpg","40.3×425.4",[289,264],{"id":5443,"slug":5444,"title":5445,"dynasty":18,"author":5446,"museum":360,"description":5447,"tags":5448,"thumbUrl":5449,"material":116,"size":5450,"collection":42,"collections":5451,"showCount":5397,"zanCount":764,"manualWeight":46,"mainColor":47},220110,"mo-bi-shan-shui-tu-chen-chun-220110","墨笔山水图","陈淳","陈氏以写意花卉享誉画坛，与徐谓并称“青藤白阳”，传世山水作品并不多见，此作显示出他在山水画方面别有一番造诣。图中近景绘平坡古树，树下一人翘首远眺，远景高岩耸立，秀木成林，烟云缭绕，掩映着溪流的尽头。画家用笔写意韵味很浓，笔迹放纵老到，淋漓疏爽，细看似乎笔笔皆不经意，纵览全幅却是结构严密，墨色轻重有别，虚实得当。画面中清雅空幽、萧散闲逸的意境流露出来自文氏门下的师承传统。",[23,24,25,95,27,36,29,112,427,30,31,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae7c7f71b3d4294315661e3a9f670632.jpg","纵107.8厘米，横67.8厘米",[42,146],{"id":5453,"slug":5454,"title":5455,"dynasty":124,"author":5456,"museum":53,"description":5457,"tags":5458,"thumbUrl":5459,"material":84,"size":5460,"collection":42,"collections":5461,"showCount":5397,"zanCount":517,"manualWeight":46,"mainColor":149},218533,"yan-shan-xu-bie-tu-zhao-zong-han-218533","雁山叙别图","赵宗汉","画楼台亭榭，二人设几拥书对坐，一人携杖，童子抱琴随行。此图嘉祐二年五月廿九日，宗汉奉使出镇广南，过浙中，其乡人旧友汪子卿少游浙中，登庆历进士，归从雁山，作此图为别。",[24,25,95,28,36,38,37,29,60,34,7,31,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ceca5bf5d4e52df96f93e938393a90e.jpg","纵156公分，横160公分",[42,144],{"id":5463,"slug":5464,"title":5465,"dynasty":18,"author":52,"museum":346,"description":5466,"tags":5467,"thumbUrl":5468,"material":84,"size":5469,"collection":289,"collections":5470,"showCount":5397,"zanCount":46,"manualWeight":46,"mainColor":149},218359,"luo-han-tu-chou-ying-218359","罗汉图","这是一幅十八罗汉过海拜见龙王的画，笔触轻快，造型优美，但与仇英的风格不同。",[23,26,56,28,57,784,58,883,539,60,1396,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa252c007a7e4f43338f663e8242a9940.jpg","24.3x321",[289],{"id":5472,"slug":5473,"title":5474,"dynasty":78,"author":5475,"museum":20,"description":5476,"tags":5477,"thumbUrl":5478,"material":601,"size":5479,"collection":42,"collections":5480,"showCount":5397,"zanCount":11,"manualWeight":46,"mainColor":149},215037,"teng-wang-ge-tu-san-ye-xia-yong-215037","滕王阁图散页","夏永","此图描绘了唐代洪州（今江西南昌）名胜滕王阁，此楼依山傍水，是登高远眺之佳处，与黄鹤楼、岳阳楼并称“江南三大名楼”，唐代诗人王勃曾作滕王阁序，留下“落霞与孤鹜齐飞，秋水共长天一色”的名句，使此楼垂名后世。",[200,24,25,57,27,60,29,32,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3937fc23fb0df816f2e1017fd0ca690c.jpg","纵25.5厘米 横26厘米",[42],{"id":5482,"slug":5483,"title":5484,"dynasty":296,"author":1331,"museum":561,"description":5485,"tags":5486,"thumbUrl":5487,"material":70,"size":70,"collection":42,"collections":5488,"showCount":5489,"zanCount":46,"manualWeight":46,"mainColor":47},237098,"yun-shou-ping-hu-shan-tu-zhou-yun-shou-ping-237098","恽寿平湖山图轴","恽寿平(初名格；1633—1690)，字寿平，以字行，又字正叔，别号南田，一号白云外史、云溪史、东园客、巢枫客、草衣生、横山樵者。江苏武进人，清代著名画家。\n创常州派，为清朝“一代之冠”。特点是以潇洒秀逸的用笔直接点蘸颜色敷染成画，讲究形似，但又不以形似为满足，有文人画的情调、韵味。其山水画亦有很高成就，以神韵、情趣取胜，与“四王”、吴历并称“清初六大家”。他又善诗文和书法，诗被誉为“毗陵六逸之冠”。书法主要学褚遂良，被称为“恽体”。",[24,25,95,27,36,29,32,415,7,133,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2edf4c0fe6fe2640f88f0e56ef758d77.jpg",[42],90,{"id":5491,"slug":5492,"title":5493,"dynasty":296,"author":5494,"museum":561,"description":5495,"tags":5496,"thumbUrl":5497,"material":70,"size":70,"collection":70,"collections":5498,"showCount":5489,"zanCount":764,"manualWeight":46,"mainColor":149},228927,"bai-tou-rong-gui-tu-li-zhou-ma-quan-228927","白头荣贵图立轴","马荃","此作绘就清秋雅景，桂树虬枝斜出，繁花缀于叶间，两只白头翁栖于枝头，羽色晕染细腻，灵动悠然，似在细嗅甜香。苔石苍古朴拙，旁侧芙蓉柔花绽蕊，粉白相衬，妍丽温婉。\n\n笔触工秀兼具，禽鸟绒毛蓬松鲜活，花叶勾勒柔婉，设色明丽雅致却艳而不俗。以白头翁谐“白头”，丹桂、芙蓉寄寓荣华，将秋日生机与吉庆祈愿相融，笔底尽是温婉意趣，静赏间漫溢清和雅致的古典韵味。",[23,200,24,25,95,56,28,62,441,4140,7,1622,1024,439],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa823023cfbac82a24300a34fb689b2f2.jpg",[],{"id":5500,"slug":5501,"title":960,"dynasty":78,"author":961,"museum":561,"description":5502,"tags":5503,"thumbUrl":5506,"material":70,"size":70,"collection":70,"collections":5507,"showCount":5489,"zanCount":46,"manualWeight":46,"mainColor":149},228011,"yu-fu-tu-wu-zhen-228011","《渔父图》是元代画家 创作的绢本墨笔画，现藏于北京故宫博物院。\n《渔父图》画远山丛树，流泉曲水，老树平坡。\n坡旁溪水一泓，小舟闲泊。\n一渔父头戴草笠，一手扶桨，一手执鱼竿，坐船中垂钓。\n笔法圆润，意境幽深。\n《渔父图》，皆天空水阔，几只渔舟活动于其间，随意点染，意境或开阔，或幽深颇多变化，既画出了“放歌荡漾芦花风”，又描绘出“一叶随风万里身”的意境，吴镇以此寄托隐逸之意。\n此幅作远山丛树，流泉曲水，平坡老树。\n坡旁水泽，小舟闲泊。\n一渔夫头戴草笠，一手扶浆，一手执竿，坐船垂钓。\n对岸群山远岫，岗峦起伏，树木茂盛，溪流人家。\n远景诸峰峭拔而立，绵延起伏；中景坡石渐缓，相拥而卧，老树从中斜逸而出，枝干虬曲，树叶繁茂，一道幽泉从远山处蜿蜒而来，流水潺谖，汇人江中；近景的江面上，一渔父泛舟其上，他手扶桨一手执鱼竿，怡然自得地坐在船沿上垂钓，渔船两边沙碛点点，木盛草美，随风飘荡。\n图上正中草书“渔父辞”一首：目断烟波青有无，霜凋枫叶锦模糊，千尺浪，四腮鲈，诗筒相对酒葫芦。\n并款署：“至元二年秋八月，梅花道人戏作《渔父》四幅并题。\n”下钤二印。\n图上有清人王铎诗题。\n吴镇的父亲在宋朝是抗金的将军，其叔父与赵孟頫是至交。\n吴镇秉性孤傲，从不愿意与权势者来往，不愿意做官，也很少卖画，不是卖不掉，而是不愿意卖。\n渔、樵、耕、读是古代文人最爱追求的生活方式，“渔父”的形象是清高、隐士的代名词，特别是在元朝，渔父形象大量出现在文学作品、绘画艺术中，成为文人们的感情寄托。\n吴镇对渔父题材更是情有独钟，但他并不是主要歌颂渔父形象，更多是将渔父形象置于某种背景中，营造出一种空无的境界。\n渔父之意对吴镇而言，是一种超然的生活姿态。\n渔父之“父”又作“甫”，是对老年男子的称呼。\n老年人历经沧桑，明于得失，归心淡泊，古称人老之后不归禅则归道，隐含着超脱之情。\n吴镇那种“曲直知有节”不肯傍人篱落的思想也从他画的众多的《渔父图》中反映出来。\n从“至元二年秋八月“判断，是吴镇五十七岁时的作品。\n《渔父图》中的渔父也和竹子一样，是一个象征意义的形象，透露了元代社会的某些侧面的现实情况。\n《渔父图》是将画者的心襟气象与关乎画面自身形式规范的内在结构有机结合起来的典范之作，其所描绘的场景并未脱离视觉真实，但它注重的已不再是真实物象本身，而是借此传达画家对于宇宙韵律的体吾与把握，进而表现陶冶于自然之中、与天地同体的人格境界。\n据题画诗，可以体悟到吴镇想要云游于天地云水之间、超脱而归于自然的“渔隐”心理。\n墨分五色，而“五墨齐备”是吴镇用墨的高超之处，为更好地发挥墨效，吴镇在选择作画材料上很有讲究，画梅竹喜用纸，画山水则喜用绢。\n画山水选绢，因为绢有厚度，纤维富韧性，多次渲染而不皱折。\n画中载酒船头、垂钓湖面的渔者，沉迷于水天朗月之间，融合在宇宙的秩序和节奏之中，云雾山岚、西风芦荻、水波鱼跃皆与人心息息相通，主观情调与自然景象的交流互渗构成了超出于画面自然山水本身的艺术灵境。\n《渔父图》无论远景、近景均如沐浴在水中，给人“水墨淋漓幛犹湿”之感，但由于渔船与渔父皆以细笔勾出，与湿笔大点大染的山石树木形成鲜明的线面对比、因面画面充溢的湿重之气并没有使人产生闷塞之感。\n此外，吴镇的《渔父图》皆用笔苍劲有力，诗与画交相辉映，形成迷蒙幽深、自由无限的艺术境界。\n故宫博物院研究馆员 ：画中的构图严整精练，置景平奇相间，把处于静态的树木坡石处理得颇有动感，近坡、渔翁、远山三组景物在结构上顾盼自如。\n北京故宫博物院所藏《渔父图》上有清人王铎题诗，此卷曾经明人詹僖，清人吴荣光、潘正炜收藏，现收藏于北京故宫博物院。\n217年9月6日—2月5日，北京故宫博物院举办赵孟頫书画特展，其中《渔父图》为展出珍品之一。\n吴镇（128—154），字仲圭，号梅花道人、梅沙弥，嘉兴人。\n相传吴镇年轻时喜结交豪侠一流的人物，后隐居乡里，以卖卜为生，并吟诗写字作画以消遣，诗书画逐渐有名之后，兼以卖画为生。\n吴镇擅画水墨山水，师法巨然，间学马远、夏主的斧劈皴和刮铁皴，擅用湿墨表现山川林木郁茂景色。\n与 、 、王蒙合称“元四家”。\n传世作品有《双桧平远图》《渔父图》《墨梅图》等。",[23,24,27,36,95,29,32,5504,242,96,7,114,113,34,5505],"渔父","岸边植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03dd03517bdc35106836bd25b858314f.jpg",[],{"id":5509,"slug":5510,"title":5511,"dynasty":124,"author":5512,"museum":561,"description":5513,"tags":5514,"thumbUrl":5515,"material":70,"size":70,"collection":70,"collections":5516,"showCount":5489,"zanCount":46,"manualWeight":46,"mainColor":47},227633,"zuo-kan-yun-qi-tu-wang-wei-shi-yi-ma-lin-227633","坐看云起图-王维诗意","马麟","行到水穷处，坐看云起时。",[23,24,200,25,27,28,29,36,7,34,883,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36fc5a4c30410523ad6dec74afa8db56.jpg",[],{"id":5518,"slug":5519,"title":5520,"dynasty":296,"author":5521,"museum":509,"description":5522,"tags":5523,"thumbUrl":5531,"material":5532,"size":5533,"collection":70,"collections":5534,"showCount":5489,"zanCount":11,"manualWeight":46,"mainColor":149},222817,"gu-su-fan-hua-tu-di-yi-duan-xu-yang-222817","姑苏繁华图第一段","徐扬","画面自灵岩山起，由山下的木渎镇东行，过横山，渡石湖，入姑苏城。再自荮门出阊门外，转入山塘街，至虎丘山止。作者自西向东，由乡入城，重点描绘了一村（山前）、一镇（苏州）、一街（山塘）的景物，画笔所至，连锦数十里内的湖光山色、水乡田园、村镇城池、社会风情跃然纸上。明清时期的苏州是江南著名的大都会，但可能是由于城区内的狭小和管理问题，当时苏州最发达的商贸中心并不在城内，而是阊门城外至枫桥镇的那一段地区。\n《姑苏繁华图》将阊门作为重点加以描绘，并将这部分景致安排于图卷接近尾声的高潮位置。粗略计算，全幅画有各色人物1.2万余人，各色房屋建筑约2140余栋，各种桥梁50余座，大小官船、货船、客船、杂货船、画舫以及竹筏等近400多条，各种商号招牌200余块，涵盖了珠宝、鞋帽、凉席、乐器、盆景和丝绸等50多个手工行业。除了经营本地土产，店铺里所经营的更多是来自外地的名产，有些甚至来自国外，真是“山海所产之珍奇，国外所通之货贝，四方往来，千里之商贾，骈肩辐辏”。完整地表现了古城苏州市井风貌。",[23,200,24,26,28,56,29,5524,5525,5526,4627,60,30,31,5527,5528,58,5529,34,7,5530],"田园","村镇","城池","船舶","商铺","市井","市集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a01f4224a44f2fb29505d1c3e5f9e1a.jpg","设色 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横：72.5cm。",[],{"id":5545,"slug":5546,"title":5547,"dynasty":296,"author":1331,"museum":360,"description":5548,"tags":5549,"thumbUrl":5550,"material":246,"size":5551,"collection":42,"collections":5552,"showCount":5489,"zanCount":46,"manualWeight":46,"mainColor":47},220976,"shan-shui-hua-niao-tu-ce-ye-yu-chu-ji-yun-shou-ping-220976","山水花鸟图册-夜雨初霁","每图各有恽寿平题识，分别钤“寿平”白朱文印、“正叔”朱文印、“寿平”白文印、“恽正叔”白文印、“寿平印”白文印等。每图各有乾隆皇帝题诗一首。鉴藏印有：“乾隆御赏之宝”、“淳化轩”、“石渠宝笈”、“臣庞元济恭藏”、“虚斋至精之品”等二十余方。\n本图册第三开、第十开分别署年款“乙卯秋”、“乙卯十月”。“乙卯”为清康熙十四年（1675年），此作应为恽寿平43岁时作品。\n此山水花卉图册分别描绘鹅群、荷花、山水、古木寒鸦、牡丹、乔柯急涧、夜雨初霁、菊花、兰花蝴蝶花、溪山行旅等。全册为作者临仿宋、元、明诸家。山水以宗董源、巨然、米芾、赵孟頫诸家为主，秀骨清幽，富有文人书卷之气。花鸟以宗徐崇嗣、赵昌、沈周诸家为主，重视写生，力求形似，如第五开的牡丹，技法灵活，宗法徐崇嗣的没骨法，同时又强调“与花传神”，力去华靡，追求“澹雅”，不刻意求工，唯求自然天趣，揭示出恽寿平一向所追求的平淡超逸的审美意趣。",[23,24,25,111,27,28,29,60,30,32,201,34,7,133,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4caaee7acd02f00b671f99fe717cb6e3.jpg","纵27.5cm，横35.2cm",[42,146],{"id":5554,"slug":5555,"title":5556,"dynasty":78,"author":961,"museum":5557,"description":5558,"tags":5559,"thumbUrl":5560,"material":116,"size":5561,"collection":42,"collections":5562,"showCount":5489,"zanCount":11,"manualWeight":46,"mainColor":149},219974,"song-quan-tu-wu-zhen-219974","松泉图","南京市博物馆","此图用秃笔勾勒树石,干墨皴擦,描绘松针则用笔尖,可看出画家的特有风格。画上有画家的自题诗:“长松兮亭亭,流泉兮泠泠, 漱白石兮散晴雪,舞天风兮吟秋声。景幽佳兮足静赏,中有人兮眉青青。松兮泉兮何所拟,研池阴阴兮清澈底,挂高堂兮素壁间,夜半风雷兮忽飞起。”署款“至元四年夏至日,奉为子渊戏作松泉，梅花道人书。”钤有“嘉兴吴镇,仲圭书画记”。",[23,24,25,95,27,36,29,427,3806,7,37,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdefdfbd5e2d90e3f8ec272a86ef27862.jpg","105.3厘米 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绢本 设色","纵198.7厘米，横109.1厘米",[144,289,264],{"id":5621,"slug":5622,"title":5623,"dynasty":124,"author":1573,"museum":3174,"description":5624,"tags":5625,"thumbUrl":5626,"material":142,"size":5627,"collection":70,"collections":5628,"showCount":5601,"zanCount":46,"manualWeight":46,"mainColor":149},221375,"xi-shan-qiu-ji-tu-wang-shen-221375","溪山秋霁图","《溪山秋霁图》是北宋 创作的绢画淡设色画，现藏于美国华盛顿弗利尔美术馆。\n图绘秋日雨过天晴后的山青水秀。\n图上群山叠嶂起伏，江水空阔浩淼；近处雨后树木更愈翠绿，江边草屋掩映于树林中；山中可见数座屋脊；远处云雾下的山峦更显妖娆。\n本图以长卷形式表现 雨过天晴后郊野的清丽风光。\n卷中忽而两山夹峙野水逶迤，忽而重岩叠嶂连绵而起，忽而江水横陈浩渺空阔，其中点缀高人逸士渔夫钓者，表现其悠闲生活情趣。\n此图画风清润秀雅，用笔尖利。\n整幅画面布置有序，意境优美，正如宋人论画山水所写：出于可游可居之景。\n王诜，字晋卿，北宋画家，所作烟江云山、寒林幽谷，水墨清润，设色高古绝俗",[24,200,26,27,36,38,82,29,34,7,132,133,3692],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4cbc8e85c993c64e82f3c902744c596.jpg","纵45.2厘米，横206厘米",[],{"id":5630,"slug":5631,"title":5632,"dynasty":18,"author":1100,"museum":360,"description":5633,"tags":5634,"thumbUrl":5637,"material":5638,"size":5639,"collection":42,"collections":5640,"showCount":5601,"zanCount":11,"manualWeight":46,"mainColor":47},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。",[23,24,25,95,27,29,34,7,36,38,1742,114,5635,242,5636,158,37],"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",[42,146],{"id":5642,"slug":5643,"title":5644,"dynasty":18,"author":424,"museum":360,"description":5645,"tags":5646,"thumbUrl":5647,"material":40,"size":5648,"collection":42,"collections":5649,"showCount":5601,"zanCount":764,"manualWeight":46,"mainColor":47},219721,"shen-cui-xuan-tu-wen-zheng-ming-219721","深翠轩图","文徵明（1470—1559年），原名壁，字徵明，后以字行，改字徵仲，长洲（今江苏省苏州）人。家世武弁，自祖父起始以文显，父文林曾任温州永嘉知县。他幼习经籍诗文，喜爱书画，文师吴宽，书法学李应祯，绘画宗沈周。少时即享才名，与祝允明、唐寅、徐祯卿并称“吴中四才子”。然在科举道路上却很坎坷，从弘治乙卯（1495年）26岁到嘉靖壬午（1522年）53岁，十次应举均落第，直至54岁才受荐以贡生进京，待诏翰林院。四年中目睹官场腐败，一再乞归，57岁回归故里，潜心诗文书画。他通晓各科绘画之艺，擅长各种细粗之法，其目力和控笔能力极佳，80多岁时还能十分流利地书写蝇头小楷竟日不倦。绘画上与沈周共创“吴派”，又与沈周、唐寅、仇英并称“吴门四家”。书法上与祝允明、王宠并誉为“吴中三家”。 文徵明的绘画兼善山水、兰竹、人物、花卉诸科，尤精山水。早年师事沈周，后致力于赵孟頫、王蒙、吴镇三家，自成一格。画风呈粗、细两种面貌。粗笔源自沈周、吴镇，兼取赵孟頫古木竹石法，笔墨苍劲淋漓，又带干笔皴擦和书法飞白，于粗简中见层次和韵味；细笔取法赵孟頫、王蒙，布景繁密，较少空间纵深，造型规整，时见棱角和变形，用笔细密，稍带生涩，于精熟中见稚拙。设色多青绿重彩，间施浅绛，于鲜丽中见清雅。这路细笔山水属本色画，具装饰性、抒情味、稚拙感、利家气诸特征，也奠定了“吴派”的基本特色。文徵明是继沈周之后的吴门画派的领袖，门人、弟子众多，形成当时吴门地区最大的绘画流派。",[23,24,25,26,29,33,34,7,28,723,187,1397],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a42dbab646c091f1f3d17e995011702.jpg","纵23.8cm，横78.3cm",[42,648],{"id":5651,"slug":5652,"title":5653,"dynasty":18,"author":436,"museum":53,"description":5654,"tags":5655,"thumbUrl":5657,"material":84,"size":5658,"collection":264,"collections":5659,"showCount":5601,"zanCount":46,"manualWeight":46,"mainColor":149},219347,"mo-xi-yuan-ya-ji-tu-yi-ming-219347","摹西园雅集图","本幅描绘历史上有名的“西园雅集”情形，在附马都尉王诜家的这次雅集，聚集了北宋当时顶尖的文人雅士，由米芾的一篇记流传后世，历代多有画作。此幅传明人所作，细观或是周臣老画师临摹刘松年原画所作，在历代临摹本中属上品。",[200,24,25,95,28,58,29,427,7,82,186,5656],"西园雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F593962859ed60f1a0711ce80559eaffd.jpg","191.2 x 98.3cm",[264],{"id":5661,"slug":5662,"title":5663,"dynasty":793,"author":5664,"museum":53,"description":5665,"tags":5666,"thumbUrl":5667,"material":116,"size":5668,"collection":146,"collections":5669,"showCount":5601,"zanCount":46,"manualWeight":46,"mainColor":47},219038,"cao-tang-shi-zhi-tu-juan-lu-hong-219038","草堂十志图卷","卢鸿","卢鸿（生活在七世纪和八世纪之间）出生于幽州范阳（今河北大兴）。他隐居在嵩山，是一位博学的学者，也是一位优秀的书画家。玄宗时，他多次被召见，但仍不服气，只是得到了衣服和隐居的茅屋。整卷水墨画共由十幅画面组成，每幅画面由一节组成，每节前有褚、颜、柳等各种书法体书写的十条志令，中间有十幅画面。画的都是自然的园林景物，其配置是注重与周围自然环境的结合，画中的树木山石造型，显得古色古香，用笔方硬，笔墨渲染颇为工整。关于这幅画的科学观点各不相同，并不明确，但可以肯定的是，它并非源自唐代。",[23,24,25,26,27,36,37,38,82,29,1910,34,7,31,33,244,30,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9dc166ed8a2c0a38afe4f307248b55e.jpg","29.4x600",[146],{"id":5671,"slug":5672,"title":5673,"dynasty":296,"author":870,"museum":360,"description":5674,"tags":5675,"thumbUrl":5678,"material":246,"size":5679,"collection":306,"collections":5680,"showCount":5681,"zanCount":46,"manualWeight":46,"mainColor":47},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。",[200,24,25,1465,439,27,28,29,37,38,36,427,227,158,5676,5677,58,7,35,364],"平原","烟树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa60253ab4b37909a1fca2e563c4ae780.jpg","纵27厘米，横21.3厘米",[306,42,264],87,{"id":5683,"slug":5684,"title":5685,"dynasty":18,"author":52,"museum":561,"description":5686,"tags":5687,"thumbUrl":5688,"material":70,"size":70,"collection":70,"collections":5689,"showCount":5681,"zanCount":46,"manualWeight":46,"mainColor":149},228443,"ting-qin-tu-ye-chou-ying-228443","听琴图页","青绿晕染的崖谷间，飞瀑漱石，古松虬曲横斜。松下石台之上，抚琴人信手拨弦，对面听者垂眸凝神，将身心都浸在松风声与琴音里。侧旁童子正俯身溪畔汲水，浑然不觉周遭雅韵。\n画面以静取景，以动点染，明丽的设色衬出林涧清寂，人物神态宛然生动，将山林雅集、知音相和的悠然意趣，尽藏于尺幅之间，把文人寄情丘壑的雅致心境铺陈得淋漓尽致。",[23,24,25,111,56,28,257,29,58,1012,31,34,7,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa31aa149186a2d0e6c5d0c2565807183.jpg",[],{"id":5691,"slug":5692,"title":5693,"dynasty":124,"author":449,"museum":561,"description":5694,"tags":5695,"thumbUrl":5696,"material":70,"size":70,"collection":70,"collections":5697,"showCount":5681,"zanCount":11,"manualWeight":46,"mainColor":149},227819,"yue-ye-tu-ma-yuan-227819","月夜图","虬松盘崖而上，枝干屈铁盘旋，松针劲挺如攒，垂挂的松萝更添古寂幽邃。右侧高台层楼凭山而建，飞檐半隐于松荫，似浸在溶溶月色里。远景山峦晕作淡黛，隐没在昏褐夜色中，空濛虚灵，将天地拉得辽远空阔。\n\n全画以边角取景，淡墨轻皴营造月夜朦胧氛围，不见月华，却处处浸着凉润夜色，似可闻松涛伴着凉风掠过廊檐。尺幅之间以少胜多，留白造境，将秋夜清寂雅致藏在一隅，尽显空灵简远的意境，把江南月夜的幽柔静谧铺陈在绢素之上，余韵悠长。",[23,200,24,25,29,27,28,2933,427,60,114,1385,7,34,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06766d95c6eacad089745833c8a26ebb.jpg",[],{"id":5699,"slug":5700,"title":5701,"dynasty":18,"author":5702,"museum":360,"description":5703,"tags":5704,"thumbUrl":5705,"material":116,"size":5706,"collection":42,"collections":5707,"showCount":5681,"zanCount":46,"manualWeight":46,"mainColor":250},220395,"song-shi-tu-li-yong-chang-220395","松石图","李永昌","李永昌(公元17世纪)，生卒年不详。字周生，安徽休宁人。善画，尤工山水，仿元人笔意，与董其昌齐名，为新安派先锋。此图坡石前一棵老松，左曲右折的松干顶端零星地伸出几个枝桠，疏落凋枯的针叶无言地表明它已进入了暮年。松旁不远，几株杂树簇聚一团，在寥阔的天地间，显得渺小、孱弱，无依无靠。画的右上角自题：“醉剧松可倚，诗成石可刊，何须慕岩穴，咫尺是林峦。甲戌初夏画并题，拟待先社兄览笑。",[23,24,25,95,27,36,427,7,244,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2546621a64c9e5e0abeb01db4b8a812.jpg","纵111cm，横54.5cm",[42,146],{"id":5709,"slug":5710,"title":5711,"dynasty":18,"author":52,"museum":1137,"description":5712,"tags":5713,"thumbUrl":5714,"material":84,"size":70,"collection":42,"collections":5715,"showCount":5681,"zanCount":11,"manualWeight":46,"mainColor":149},219714,"qian-tang-sheng-jing-tu-chou-ying-219714","钱塘胜景图","青绿晕染出崖岫苍润松荫，界画精工勾勒楼阁错落，文人凭栏闲坐，静览浩渺江天。江上帆影轻移，舟楫往来错落，晕开江畔的烟火生机。坡岸处牵马候人，暗合旅途意趣。\n\n整幅设色明丽妍雅，工细间晕开写意悠然，将江南山水的秀润与人文雅趣相融，繁简相宜，把钱塘清旷盛景凝于绢素。观之如临春日江岸，漫赏山光水色里藏着的悠然意韵，尽显雅致隽永的江南情致。",[24,25,95,56,28,29,57,58,60,215,33,34,7,31,1944],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c7b60edc4be7aa1336ee69855f36ec5.jpg",[42],{"id":5717,"slug":5718,"title":5719,"dynasty":124,"author":998,"museum":53,"description":5720,"tags":5721,"thumbUrl":5725,"material":84,"size":5726,"collection":42,"collections":5727,"showCount":5681,"zanCount":46,"manualWeight":46,"mainColor":47},219388,"ma-gu-cai-zhi-xian-tu-liu-song-nian-219388","麻姑采芝仙图","画中一众仙姑，结伴山间采药，正在林间休息。不知何故，仙姑们的发际线严重退后，仅剩一光溜的脸蛋，状貌甚异，身板瘦削，可能是日夜忙碌劳累所致。画中人物用线与山石、松树一般呆硬，人物形象、树、石套路严重，或为明末或清代早期的画作。",[24,28,58,29,7,34,59,5722,5723,5724],"麻姑","采芝","神话","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faca18f2756764adf26aa0982d7262715.jpg","116.4x82.1厘米",[42,289],{"id":5729,"slug":5730,"title":5731,"dynasty":296,"author":3417,"museum":401,"description":5732,"tags":5733,"thumbUrl":5735,"material":116,"size":5736,"collection":146,"collections":5737,"showCount":5681,"zanCount":46,"manualWeight":46,"mainColor":663},219177,"song-lin-shu-wu-tu-gong-xian-219177","松林书屋图","全图笔墨恣肆，气象氤氲，以竹林、书屋等景观构造了一个理想的隐逸世界。左上自题七言诗一首，末署“甲子初秋半亩龚贤并题”。钤“臣贤私印”、“半千”二印。甲子为康熙二十三年，公元1684年，作者时年86岁。",[23,24,27,36,95,29,5734,1658,7,130,34],"松林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe09717ac0071d60023828679c622fb9e.jpg","纵274.5 横128.5厘米",[146],{"id":5739,"slug":5740,"title":5741,"dynasty":18,"author":1149,"museum":53,"description":5742,"tags":5743,"thumbUrl":5745,"material":84,"size":5746,"collection":306,"collections":5747,"showCount":5681,"zanCount":46,"manualWeight":46,"mainColor":149},218789,"chun-xi-tu-lv-ji-218789","春喜图","疏梅横斜，数羽雏鸟栖于枝间，啾鸣似唤春声。老干虬曲，山鹧羽色斑斓，立于石畔枝上，姿态雍容闲雅。靛蓝山石衬暖褐禽羽，白梅与粉花点染其间，清妍与厚重相映。笔墨工致细腻，禽鸟神态鲜活，花木情态毕肖。全图春意氤氲，生机流转，于工笔间见灵动韵致，尽显春日雅趣与自然生机。",[24,25,95,56,28,62,390,301,7,5744],"花枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6167804c0c9e5cfe350a337b21ab551e.jpg","137.4x42cm",[306],{"id":5749,"slug":5750,"title":5751,"dynasty":124,"author":5752,"museum":53,"description":5753,"tags":5754,"thumbUrl":5756,"material":601,"size":70,"collection":146,"collections":5757,"showCount":5681,"zanCount":11,"manualWeight":46,"mainColor":47},218687,"qing-quan-ming-he-tu-ma-he-zhi-218687","清泉鸣鹤图","马和之","淡墨晕染的山峦在云雾中若隐若现，似远似近间透出空濛之趣。岸侧虬枝盘曲，老干新枝交织，墨色浓淡相衬，尽显草木生机。清泉自石间潺潺而下，漱玉之声仿佛可闻。几只仙鹤或立汀洲，或振翅轻翔，羽翅线条流畅如兰叶，姿态灵动逸脱。鹤鸣与泉声相和，在幽寂的山水间漾开清旷之韵。整幅画笔墨简淡却意韵深浓，山石皴法疏朗，构图疏密有致，将自然的静谧与生命的灵动融于一纸，尽显宋人对林泉之乐的诗意追寻，读之令人心向澄明。",[23,24,27,29,201,488,5755,31,34,7,133,36,3980,25,26],"清泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F666423ffde0f0389cb0fa868b5cac17a.jpg",[146],{"id":5759,"slug":5760,"title":5761,"dynasty":18,"author":5117,"museum":2747,"description":5762,"tags":5763,"thumbUrl":5764,"material":84,"size":5765,"collection":42,"collections":5766,"showCount":5681,"zanCount":46,"manualWeight":46,"mainColor":149},218261,"song-xia-wen-yu-tu-wu-wei-218261","松下问渔图","虬松盘曲如铁，枝桠垂覆江畔。两位士人对坐石上促膝清谈，旁侧渔舟静泊，篙楫斜倚。远山含黛，烟霭轻笼，天地间漫着淡远暮色。笔墨苍劲洒脱，松干以浓墨皴擦显肌理，人物衣纹简括传神，寥寥数笔便现悠然神态。山水用淡墨晕染，虚实相生，烟波浩渺中藏无尽悠远。士人问渔，似叩问江湖意趣，亦或人生真味？画面动静相契，渔舟静谧与松风隐动、士人低语与山水无言交织，成一段清雅林下之思。笔墨纵逸却不失韵致，融山水之幽与人文之趣，尽显笔势见长的意趣盎然，引人沉潜其中。",[23,24,27,28,36,58,427,32,7,113,114,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf277986b88ae0aa20f1e4c29aa19150.jpg","218.2x148cm",[42],{"id":5768,"slug":5769,"title":5770,"dynasty":654,"author":5771,"museum":108,"description":5772,"tags":5773,"thumbUrl":5774,"material":84,"size":5775,"collection":42,"collections":5776,"showCount":5681,"zanCount":46,"manualWeight":46,"mainColor":149},217996,"bi-shu-gong-tu-guo-zhong-shu-217996","避暑宫图","郭忠恕","这是现存的宋代绘画中少有的杰作，也是有史以来最高标准的界画之一。",[23,24,57,28,29,60,7,34,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F835da03f2af95dcf5be3dd4c03b0786a.jpg","174x102cm",[42],{"id":5778,"slug":5779,"title":5780,"dynasty":296,"author":4083,"museum":1043,"description":5781,"tags":5782,"thumbUrl":5783,"material":40,"size":5140,"collection":70,"collections":5784,"showCount":5681,"zanCount":11,"manualWeight":46,"mainColor":47},216255,"jing-fu-si-qi-dong-jing-tu-5-qian-wei-cheng-216255","景敷四气冬景图-5","此套《景敷四气》冬景图，是清乾隆时期画家钱维城的作品。此套画册共含十二帧，纯以水墨为之或薄施淡色擦染，构图简练，自出机杼。运笔较为多样，笔法松秀，墨色疏淡，用色恬然，具有很显著的文人绘画的样式。最后一幅有：甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆。\n山意惟余枯树攅，云容欲雪涧收湍。溪轩坐者宜青目，但是高人定耐寒。钤印：澂观",[24,27,29,36,111,242,7,31,33,114,35,244,538],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb149e2e9f85b3297a5f5fc35e75adb1c.jpg",[],{"id":5786,"slug":5787,"title":5788,"dynasty":296,"author":870,"museum":360,"description":5789,"tags":5790,"thumbUrl":5791,"material":229,"size":5792,"collection":70,"collections":5793,"showCount":5794,"zanCount":764,"manualWeight":46,"mainColor":47},233793,"heng-tang-ye-lv-tu-zhou-shi-tao-233793","横塘曳履图轴","图绘疏林湖畔高士拽杖独行的情景。设景布势以“S”形湖堤为主线，通过对近景树石的具象描绘，烘托出远山平湖的虚空迷蒙，画面空间在景致的虚实互映中得“咫尺千里”之趣。画中的山石杂木以饱含水分的润墨表现，点染生动，显现出作者较强的笔墨驾驭能力。此图并非对实景写生，而是作者“搜尽奇峰打草稿”后的胸中丘壑的写照，面目独具，妙得自然。",[24,27,95,36,29,30,31,34,35,7,201,244,2788,272,114,658,578,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec35a9c7d7a205ee549cc4e63ce41cbd.jpg","纵131.4厘米，横44.2厘米",[],86,{"id":5796,"slug":5797,"title":653,"dynasty":18,"author":269,"museum":360,"description":5798,"tags":5799,"thumbUrl":5800,"material":246,"size":5801,"collection":42,"collections":5802,"showCount":5794,"zanCount":764,"manualWeight":46,"mainColor":5803},222028,"guan-shan-xing-lv-tu-dai-jin-222028","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。",[23,24,27,36,29,30,31,112,7,35,1103,215,33,131,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4453bdb6ba4bd1601619ad7aac4456a4.jpg","纵61.8厘米，横29.7厘米",[42,146],"FFFFFF",{"id":5805,"slug":5806,"title":5807,"dynasty":124,"author":5808,"museum":360,"descr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墨笔","123.7cmx46cm",[42,146],{"id":5826,"slug":5827,"title":5828,"dynasty":18,"author":1100,"museum":1137,"description":5829,"tags":5830,"thumbUrl":5831,"material":116,"size":5832,"collection":42,"collections":5833,"showCount":5794,"zanCount":11,"manualWeight":46,"mainColor":47},220002,"pei-jin-gong-shi-yi-tu-dong-qi-chang-220002","裴晋公诗意图","此图是董其昌仿黄公望笔法画唐代裴度的诗意。题跋：门径俯清溪，茅檐古木齐。红尘飞不到，时有小禽啼。君山丈见访海上，写此为赠。补裴晋公（度）诗意图也。 丁已正元三日玄宰识。",[23,24,25,95,27,36,29,7,34,35,58,316],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4c018965263283f7d9de23c6134c8ab.jpg","130.5×39.2cm",[42],{"id":5835,"slug":5836,"title":5837,"dynasty":124,"author":5838,"museum":53,"description":5839,"tags":5840,"thumbUrl":5841,"material":84,"size":5842,"collection":289,"collections":5843,"showCount":5794,"zanCount":11,"manualWeight":46,"mainColor":149},219402,"wu-rui-tu-zhou-su-han-chen-219402","五瑞图轴","苏汉臣","本幅描绘五个孩童带着各式的面具，模仿大人们跳起「大傩舞」，傩是一种驱鬼避邪的仪式﹐主要是以扮演各种鬼怪所害怕的人物﹐以达驱鬼除邪的目的。本幅不但设色鲜艳丰富，画家更精心描绘衣服上的各种质材与花纹。画中场景设在一个置有湖石的花园，湖石以细笔皴擦质地，并以留白显示突起的棱线，地面则以排点与平行短线表现树叶与杂草，这些特点显示与弘治宫廷画家吕文英作品有相同的描绘格套，应为明代宫廷风格。",[200,24,25,95,56,28,58,1250,441,391,7,489],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdff9ef843f31da8da3bf30cd9d26b5ab.jpg","165.5x102.5",[289],{"id":5845,"slug":5846,"title":2275,"dynasty":78,"author":1290,"museum":108,"description":5847,"tags":5848,"thumbUrl":5851,"material":84,"size":5852,"collection":42,"collections":5853,"showCount":5794,"zanCount":46,"manualWeight":46,"mainColor":149},217866,"chun-shan-you-qi-tu-sheng-mao-217866","画中青山起伏，岗岭逶迤，近处乔松茂树间花木正盛，有士人策骡过桥，后有童子肩桃花一枝随行。山路尽处，一庄园隐现于崇岩密林之间。岩下大江空阔，渔歌迭起。远处青山如眉，春色淡荡，令人心醉。画中林木深秀，姿态生动；石用细笔长披麻，勾皴缜密而轻松秀逸；淡青绿设色，明净淹润，了无俗韵；人物、界画都精严有法，点缀有度。",[24,29,28,36,58,215,30,60,33,34,7,578,114,1104,187,5849,5850,132],"游骑","松枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb16d8ae293a59b3b2d5af0c4cf25d10a.jpg","155.5×88cm",[42],{"id":5855,"slug":5856,"title":5857,"dynasty":124,"author":3145,"museum":561,"description":5858,"tags":5859,"thumbUrl":5860,"material":70,"size":70,"collection":70,"collections":5861,"showCount":5862,"zanCount":764,"manualWeight":46,"mainColor":149},227515,"xi-qiao-xian-shui-tu-zhou-mi-fei-227515","溪桥闲睡图轴","米芾平生书法用功最深，成就以行书为最大。南宋以来的著名汇帖中，多数刻其法书，流播之广泛，影响之深远，在北宋四大书家中，实可首屈一指。康有为曾说:唐言结构，宋尚意趣。意为宋代书法家讲求意趣和个性，而米芾在这方面尤其突出。\n米芾习书，自称集古字，虽有人以为笑柄，也有赞美说天姿辕轹未须夸，集古终能自立家(王文治)。这从一定程度上说明了米氏书法成功的来由。根据米芾自述，在听从苏东坡学习晋书以前，大致可以看出他受五位唐人的影响最深:颜真卿、欧阳询、褚遂良、沈传师、段季展。\n米芾作为北宋著名的画家，处在一个文人画的成熟时代，其绘画题材十分广泛，人物、山水、松石、梅、兰、竹、菊无所不画;米芾在山水画上成就最大，但他不喜欢危峰高耸、层峦叠嶂的北方山水，更欣赏的是江南水乡瞬息万变的烟云雾景，天真平淡，不装巧趣的风貌;所以米芾在艺术风格里追求的是自然。他所创造的米氏云山都是信笔作来，烟云掩映。",[23,24,200,95,27,29,36,30,31,58,34,130,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93fc0c226ae1c64375a959be6d59f6a7.jpg",[],85,{"id":5864,"slug":5865,"title":5866,"dynasty":18,"author":1149,"museum":1090,"description":1150,"tags":5867,"thumbUrl":5871,"material":673,"size":1160,"collection":70,"collections":5872,"showCount":5862,"zanCount":11,"manualWeight":46,"mainColor":149},222393,"si-ji-hua-niao-tu-chun-lv-ji-222393","四季花鸟图-春",[23,24,200,56,28,62,390,301,5868,7,5869,95,5870],"鸳鸯","树枝","开花树枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2342faa17d4f14661d3abe4bf10e5735.jpg",[],{"id":5874,"slug":5875,"title":1359,"dynasty":18,"author":5436,"museum":597,"description":5876,"tags":5877,"thumbUrl":5878,"material":885,"size":5879,"collection":42,"collections":5880,"showCount":5862,"zanCount":46,"manualWeight":46,"mainColor":47},222076,"fang-wang-meng-shan-shui-tu-xie-shi-chen-222076","此图为谢时臣的细笔山水佳作。写溪山胜境，山岚层叠，丘壑玲珑，栈道盘旋延伸，楼阁亭轩错落，士人童仆其中，还有雾气升腾，飞瀑直泻，湖光粼粼。画山石用解索皴，点苔用渴墨，皆为黄叔明笔法。此图布局稠密，笔势纵横，墨色淡雅，清丽潇洒。",[23,24,951,186,36,27,7,34,60,30,31,140,33,58,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7bcb0d43ecbe7f8e987e7ae1d117aaa.jpg","58.5X31.2cm",[42,146],{"id":5882,"slug":5883,"title":5884,"dynasty":78,"author":5885,"museum":53,"description":5886,"tags":5887,"thumbUrl":5889,"material":5890,"size":5891,"collection":42,"collections":5892,"showCount":5862,"zanCount":11,"manualWeight":46,"mainColor":149},221689,"yun-heng-xiu-ling-zhou-gao-ke-gong-221689","云横秀岭轴","高克恭","画面上高岭秀拔，烟树云横，清涧流泉，木桥孤亭。笔法厚重，设色浓郁，气韵流润。山顶部分树头作青绿横点，山下坡角多用“披麻”皴法间施赭色，吸收了董源、米芾二家法，别开生面，自成家数，是高氏山水画代表作。本幅无作者款印，上方元邓文原、李衎二题称此图为高氏所画，当可信。李衎题云：“予谓彦敬画山水，秀润有余而颇乏笔力，常欲以此告之，宦游南北不得会面者今十年矣。此图树老石苍，明丽洒落，古所谓有笔有墨者，使人心降气下，绝无可议者”。该题时在至大己酉(19)六月，是高氏去世前一年。高氏创作此图的时间应在此前不久。本幅尚有清乾隆皇帝弘历题诗一首，并钤乾隆诸玺。《石渠宝笈》等书著录。",[23,24,951,95,27,28,36,883,837,5888,34,132,7,133,138],"岭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57a3b151c29770cbb6ae78260a23de70.jpg","绢本，重设色","纵182.2厘米，横16.7厘米",[42,146],{"id":5894,"slug":5895,"title":5896,"dynasty":124,"author":449,"museum":1137,"description":5897,"tags":5898,"thumbUrl":5899,"material":116,"size":5900,"collection":42,"collections":5901,"showCount":5862,"zanCount":11,"manualWeight":46,"mainColor":149},220355,"ge-jiang-yu-di-tu-ma-yuan-220355","隔江渔笛图","虬曲古松斜探向江心，水榭之上，对坐雅士凝神侧耳。江渚渔舟隐约，悠悠笛声似随烟波漫过江心，牵住了右下角策杖白衣人的脚步，他正循声缓行。\n\n空濛烟霭晕染开远近山水，以虚实相生之笔，将无形笛音化为可见的诗意。取景删繁就简，把咫尺画幅铺展出阔远意境，淡墨轻岚间，揉合山水闲趣与知音灵犀，静里含声，淡中藏情，尽揽清雅韵致。",[24,25,29,95,28,36,32,33,58,31,96,243,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8d364841d70827b047f24fae7b80225.jpg","156.1 x 86.3 cm",[42],{"id":5903,"slug":5904,"title":5905,"dynasty":18,"author":5906,"museum":53,"description":5907,"tags":5908,"thumbUrl":5909,"material":116,"size":5910,"collection":42,"collections":5911,"showCount":5862,"zanCount":46,"manualWeight":46,"mainColor":47},214587,"mo-gu-shan-shui-ce-fang-mei-hua-an-zhu-bi-yi-bian-wen-yu-214587","摹古山水册-仿梅花庵主笔意","卞文瑜","明代画家卞文瑜的摹古山水册是一件著名的绘画作品，其中的仿梅花庵主笔意图是一件精美的山水画作品。\n\n卞文瑜是明代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在摹古山水册中，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仿梅花庵主笔意图是卞文瑜摹古山水册中的一幅精美的山水画作品。画中的山水风景清新自然，体现了卞文瑜对自然的热爱和对传统文化的尊重。他运用了山水画的特点，使得整件作品显得舒缓而优美。\n\n总的来说，卞文瑜的摹古山水册是一件精美的绘画作品，其中的仿梅花庵主笔意图是一件优美的山水画作品，它描绘了中国传统的山水风景，也体现了卞文瑜对自然的热爱和对传统文化的尊重。",[200,24,25,111,27,186,36,29,30,31,34,7,35,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcdefabc9be72fadfaa55a3b8a6b54b6.jpg","30.7x21.8cm",[42],{"id":5913,"slug":5914,"title":5915,"dynasty":296,"author":2784,"museum":1137,"description":4102,"tags":5916,"thumbUrl":5917,"material":229,"size":4105,"collection":70,"collections":5918,"showCount":5862,"zanCount":11,"manualWeight":46,"mainColor":149},214356,"san-jue-shan-shui-ce-4-hua-yan-214356","三绝山水册-4",[23,24,25,111,28,27,36,29,7,34,31,97,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F472b6ddb8c19b4a43c8b7bba13cd7d00.jpg",[],{"id":5920,"slug":5921,"title":5922,"dynasty":78,"author":1427,"museum":561,"description":5923,"tags":5924,"thumbUrl":5925,"material":217,"size":660,"collection":70,"collections":5926,"showCount":5927,"zanCount":46,"manualWeight":46,"mainColor":149},290099,"fu-yu-shan-ju-tu-qian-xuan-290099","浮玉山居图","《浮玉山居图》是钱选为山居霅川浮玉山的写景。图中山峦分三组，山势峻峭。湖上烟雾蒙蒙，山坳白云缭绕，更有用简笔点缀的茅舍、渡舟、小桥、老翁，一派江南水乡清润秀妍景色。全卷笔意冲淡，画意静穆，用笔工整而不板。",[23,200,24,25,26,28,29,7,1066,1506,31,37,82,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c05f9c52d56eb6131b8f94b511ff173.jpg",[],84,{"id":5929,"slug":5930,"title":5931,"dynasty":296,"author":2564,"museum":561,"description":5932,"tags":5933,"thumbUrl":5939,"material":70,"size":70,"collection":70,"collections":5940,"showCount":5927,"zanCount":517,"manualWeight":46,"mainColor":47},230206,"yuan-ming-yuan-tong-ban-hua-lang-shi-ning-230206","圆明园铜版画","《圆明园铜版画》是清代郎世宁于1724年创作的纸本画，共2开。\n本幅无款印。\n清雍正二年（1724年）， 皇帝决定扩建康熙年间即已开始兴建的 。\n在雍正、乾隆两朝持续不断的大规模扩建中，通晓西洋建筑学的 曾与法国传教士 、 等一起参与园内著名的“西洋楼”的设计和工程督造，并有机会在较长的时间里住在这座东方名园内，为装饰殿堂画了多幅作品，其中既有欧洲风格的油画，也有以欧洲 在平面上表现深远效果的“线法画”。\n虽然郎世宁在圆明园的这些创作由于兵燹的劫难早已湮没无存，但从此册铜版组画中，我们仍然可以看到郎世宁等西洋宫廷画家在宫廷建筑绘画上的高超造诣与成就。\n这组完全西式的铜版组画也成为清代宫廷建筑绘画全新技法的代表作。\n郎世宁（1688—1766年），意大利米兰人，原名朱塞佩·伽斯底里奥内（Giuseppe Castiglione），青年时期受到系统的绘画训练，后来加入了欧洲基督教下属的宗教组织耶稣会，并于1714年（清·康熙五十三年）以传教士的身份离开欧洲来到东方，次年抵达澳门，起汉名郎世宁，继而北上京师，随即于康熙末期进入宫廷供职，开始了他长达数十年的中国宫廷艺术家的生涯。\n郎世宁在清宫廷内为皇帝画了多幅表现当时重大事件的历史画，以及众多的人物肖像、走兽、花鸟画作品，还将欧洲的焦点透视画法介绍到中国，协助中国学者年希尧完成了叙述这一画法的著作《视学》，成为当时东西方文化交流的重要使者。\n1766年7月16日（清乾隆三十一年六月初十日）郎世宁在北京病逝，终年78岁。",[2567,56,57,5934,60,5935,3323,34,7,5936,187,61,5937,64,5938],"中西合璧","喷泉","水池","雕塑","对称布局","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2f65b9eb8fabb63e8ae379edc225897.jpg",[],{"id":5942,"slug":5943,"title":5944,"dynasty":18,"author":2587,"museum":53,"description":5945,"tags":5946,"thumbUrl":5947,"material":885,"size":5948,"collection":42,"collections":5949,"showCount":5927,"zanCount":764,"manualWeight":46,"mainColor":149},222525,"shan-ting-wen-hui-tu-wang-fu-222525","山亭文会图","此图是王绂的代表作，写文人雅士于山亭聚会的情景。该图立意古逸，构图严谨。图中笔墨浑厚华滋，在继承元代文人画的基础上融合进了自己的笔意。山石先以枯淡墨皴写，按结构层层叠加，最后以浓重墨勾勒点苔，使整幅画面有苍润之感。\n此画立意古逸，构图严谨，山上小溪、泉水流淌有声，山下河中可泛舟，山林间亭台楼阁隐现，这是一处可游可居的幽雅胜境。近景古朴山亭中已有几个文人在那里论诗作画，山下还有文人或乘舟、或步行赶来应约赴会。此图山水胜境为文人雅集提供了优美环境，文人雅集又为山水胜境增添了诗情画意。\n此画笔墨深厚滋润，结构繁密，但密而不塞。画法上颇富于变化，是在王蒙的章法上加以变化而来。山石皴法点苔，似从王蒙法度中来，然后用笔粗犷，又有新意。有的山石以枯笔作解索皴，兼用乱柴皴、小斧劈皴，笔线富于动感。然后层层迭染，最后以浓墨勾皴打点，积墨层层，显得凝重厚实。树木和茅亭的画法在王蒙、倪瓒之间，笔力雄劲，墨气沉厚。即使山顶的小树，也一一画出树干，各具形态，而不是元画中常见的以点为树的处理。整个画面具有既苍茫湿润又清灵爽利的特殊效果。",[24,25,95,27,36,29,33,58,34,7,31,133,364,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe15b31f796803782232999124a14bbe4.jpg","纵219厘米，横87.6厘米",[42,146],{"id":5951,"slug":5952,"title":5953,"dynasty":18,"author":3504,"museum":53,"description":5954,"tags":5955,"thumbUrl":5956,"material":142,"size":5957,"collection":42,"collections":5958,"showCount":5927,"zanCount":46,"manualWeight":46,"mainColor":47},221969,"fang-wang-meng-shan-shui-zhou-wen-zheng-ming-221969","仿王蒙山水轴","该幅画叠峦飞瀑，山溪蜿蜒。全作景密而笔松，意精而迹放，清奇浑厚。此帧纸狭而长，构景重叠而繁复。徵明晚年好作此种，晚期吴派亦多受此影响。\n五月五日，仿王蒙山水轴。此幅构景重叠而繁复，略似沈周庐山高，而庐山高为宽纸短幅，其中时以云水隔断，此帧纸狭而长，峰峦晴爽，故更觉繁密重叠也。徵明晚年好作此种，晚期吴派亦多受此影响。结顶一山，石纹勾勒，甚为奇特，董其昌山水，常在群山中一两处作奇石，盖亦自此出。\n此帧董其昌旁题云：“文待诏仿黄鹤山樵，几欲乱眞”，是出自由衷之赞语。此帧景密而笔松，意精而迹放，清奇浑厚，兼而有之。是大家悉力之作。",[23,24,95,27,36,186,29,7,34,130,33,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd029fea8a32761fc2fa01e64733e96fa.jpg","全幅 57.2公分",[42,146],{"id":5960,"slug":5961,"title":462,"dynasty":124,"author":5962,"museum":3174,"description":5963,"tags":5964,"thumbUrl":5965,"material":27,"size":5966,"collection":144,"collections":5967,"showCount":5927,"zanCount":46,"manualWeight":46,"mainColor":149},221505,"shan-shui-tu-yan-ci-yu-221505","阎次于","阎次平，南宋画家。隆兴初（约1163年）任画院祗候，授将仕郎。父仲，曾任宣和及绍兴画院待诏。继承家学，而画艺超过其父。擅绘山水，法荆浩、关仝，风格接近王诜、李唐；亦善人物，尤工画牛。存世作品有《牧牛图》等。\n弟次于，南宋孝宗隆兴初被补为承务郎，后亦为画院祗候。次于亦传家学，画山水人物，工于画牛。然水平尚逊于次平。",[23,24,200,25,28,36,29,7,34,133,159,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F184450a2d438fd377bdc81ab7f969dee.jpg","24.6×26.0",[144,42,146],{"id":5969,"slug":5970,"title":5971,"dynasty":5972,"author":5973,"museum":53,"description":5974,"tags":5975,"thumbUrl":5976,"material":229,"size":5977,"collection":42,"collections":5978,"showCount":5927,"zanCount":46,"manualWeight":46,"mainColor":149},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。",[23,200,24,25,26,28,36,29,158,34,7,227,5820,82,364],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b825446ccfc90b423b206be2232fcac.jpg","38.4x615",[42,264],{"id":5980,"slug":5981,"title":5982,"dynasty":124,"author":5983,"museum":53,"description":5984,"tags":5985,"thumbUrl":5987,"material":84,"size":5988,"collection":144,"collections":5989,"showCount":5927,"zanCount":46,"manualWeight":46,"mainColor":663},220218,"jiang-shan-xue-ji-tu-lou-guan-220218","江山雪霁图","楼观","楼观（公元13世纪）南宋钱塘（今浙江杭州）人，生卒年不详。\n南宋理宗赵昀朝（1225—1264）为画院祗候，《画史会要》谓其为度宗赵樭朝咸淳（1265—1274）时画院祗候，与马远齐名。\n工画花鸟、人物、山水，师马远，又得夏圭笔法，遂为马夏派。\n善画小品，咫尺千里意趣盎然，尝画《霁雪行旅图》，用小斧劈皴法画崖石，树枝草上俱用粉作雪。\n所作《映月梅花图》，方绢本，设色，梅花如雪，明月悬枝，清光一轮，恍如特照，该画款书臣楼观三字于右角梅枝隙处，上朋理宗赵昀对题：芳意饶呈瑞，寒光助照人。著录于《珊瑚网》。\n传世作品有《江头泊舟图》纨扇，录于《浙江古代画家作品集》《石勒问道图》轴今流入美国。",[23,200,24,951,5986,28,36,837,537,4415,35,34,538,7,60,1932,612],"宋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fa81f7cf0473656e7949a9c3ffe65af.jpg","纵153.4公分，横91公分",[144,42],{"id":5991,"slug":5992,"title":5993,"dynasty":18,"author":387,"museum":5994,"description":5995,"tags":5996,"thumbUrl":2414,"material":84,"size":70,"collection":289,"collections":5997,"showCount":5927,"zanCount":764,"manualWeight":46,"mainColor":149},219588,"wang-xian-zhi-xiu-xi-dao-mao-xu-qu-xin-an-gong-zhu-tu-tang-yin-219588","王献之休郗道茂续娶新安公主图","沃尔特斯艺术博物馆","画面以枯荣交织的柳树起笔，萧寂山水铺陈出沉郁底色。右侧男子抬臂欲语，眉宇间漫着化不开的怅然，满腔无奈终究凝在抬手之间。左侧郗道茂依偎侍女，垂首敛肩将悲戚藏在背影里，被弃的凄楚默然漫溢。\n\n淡墨晕染山石空远幽寂，衬得这场诀别更添孤凉。工细衣纹勾勒出人物仪态，将情爱里身不由己的遗憾揉进绢本，把旧年憾事定格成含蓄深沉的无声诗篇，失意与伤情铺展在山水之间，余韵悠长。",[24,56,28,36,58,59,29,415,7,96],[289],{"id":5999,"slug":6000,"title":6001,"dynasty":78,"author":6002,"museum":53,"description":6003,"tags":6004,"thumbUrl":6005,"material":116,"size":6006,"collection":42,"collections":6007,"showCount":5927,"zanCount":11,"manualWeight":46,"mainColor":47},218168,"xi-ting-qiu-se-tu-zhao-yuan-218168","溪亭秋色图","赵原","《溪亭秋色图》，以墨笔画苍崖古木，溪边水阁。图的左下有作者自署“赵原画”，右上方题有 “有山可樵有水可渔歌彼考槃吾将归欤”，似是点题，但无落款。\n此图笔墨圆润苍秀，变化多端，画风纯熟，应为画家晚年之作。山石勾皴简率，颇有写意之趣；笔锋略带侧锋，类似王蒙的解索皴，但偏于疏朗松秀。通幅墨色清润 恬淡，不重渲染，只在山体的结构折转处加苔点或勾以丛树、垂草，画面极为平淡宁静。这种境界，在方从义的《武夷放棹图》、陆广的《丹台春晓图》中也可感觉 到，这可以说是一种元代文人画的理想境界。但元代画家过于将绘画视作个人“自娱”的笔墨游戏，难以适应明代建国初期的政治文化环境，赵原也就难免悲剧的命运。",[23,24,27,95,36,37,82,29,33,34,7,31,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f3876b8debab1f36f397d0417acb9bd.jpg","纵61.4厘米，横26厘米",[42],{"id":6009,"slug":6010,"title":6011,"dynasty":654,"author":621,"museum":561,"description":6012,"tags":6013,"thumbUrl":6014,"material":217,"size":660,"collection":70,"collections":6015,"showCount":6016,"zanCount":46,"manualWeight":46,"mainColor":149},288460,"yu-le-tu-jing-hao-288460","渔乐图","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",[200,24,25,26,27,951,30,31,1555,7,60,58,243,1588],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fe6d632a1b6babf419082b8f11a8e7b.jpg",[],83,{"id":6018,"slug":6019,"title":6020,"dynasty":296,"author":1795,"museum":360,"description":1959,"tags":6021,"thumbUrl":6022,"material":454,"size":1962,"collection":70,"collections":6023,"showCount":6016,"zanCount":46,"manualWeight":46,"mainColor":149},233116,"peng-lai-xian-jing-tu-zhou-yuan-yao-233116","蓬莱仙境图轴",[24,25,95,57,28,56,29,60,565,133,34,7,30,578,4253],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4f9402250dd3a38046d645019ceaddd.jpg",[],{"id":6025,"slug":6026,"title":6027,"dynasty":296,"author":6028,"museum":561,"description":6029,"tags":6030,"thumbUrl":6033,"material":70,"size":70,"collection":70,"collections":6034,"showCount":6016,"zanCount":11,"manualWeight":46,"mainColor":47},229033,"si-ji-hua-niao-tu-ping-chen-mei-229033","四季花鸟图屏","陈枚","此作用没骨法晕染牡丹，朱红、莹白、粉胭、鎏金的花瓣层叠柔润，将花王雍容之态尽展笔底。苍古顽石虬枝旁逸，墨色叶片浓淡相宜，衬得群芳愈发妍丽。\n\n两只春燕翩跹于空，一黑一白相映成趣，振翅姿态灵动鲜活，似携春风穿掠花间，让静雅画幅漾起融融生气。整体设色明妍雅致，工细中带着写意的松弛，将春日芳华揉入绢素，典雅娴静里满溢春日花鸟的鲜活意趣。",[23,200,24,56,28,62,441,6031,2177,7,6032],"燕子","屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93c30e140c85d897bb067b888cfe4136.jpg",[],{"id":6036,"slug":6037,"title":6038,"dynasty":296,"author":2382,"museum":561,"description":6039,"tags":6040,"thumbUrl":6044,"material":454,"size":6045,"collection":289,"collections":6046,"showCount":6016,"zanCount":11,"manualWeight":46,"mainColor":47},223328,"qun-xian-zhu-shou-shou-juan-ren-yi-223328","群仙祝寿手卷","《群仙祝寿图》作于金笺之上，由十二条通景画构成。表现46个神仙人物共赴王母的寿筵祝寿的仙灵境界，场面宏大，内容祥瑞。对于这幅巨制，唐云先生曾写文章谈到，“‘群仙祝寿图’，尽管是在描写民间传说中的神仙故事，但一举一动都反映出人的性格和情感。把行动诡异的仙人和举止窈窕的仙女种种神态，对照起来看，分外有趣。仙女和仙人，有从空中来，有从海上来，来的地方不同，画面似将各地不同的习惯和性情都表达出来了。一只白鹤，忙着跨上白玉阑干，展翅起舞，回头迎生，竟似一个仙女在拍手热烈欢迎仙宾的情感一样。一对孔雀，也有不同性情:一只爱凑热闹，凝神看着一个举袖轻舞的仙女，另一只似乎嫌太烦乱了，飞到荷香深处，安踞石上，静听着仙女们演奏的美妙音乐，景态十分生动。十二幅通景屏，幅幅风光旖旎，融洽愉快，充分表达了祝寿场面的气氛。”",[23,24,25,26,28,56,3884,29,286,1635,60,2011,34,7,525,6041,1118,6042,6043],"仙人","祝寿元素","兼工带写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0d7fbafaea1f350faf3fa62a1bc3481.jpg","全图尺幅高206.8厘米，横宽720厘米（每幅条屏宽59.5厘米）",[289,264],{"id":6048,"slug":6049,"title":6050,"dynasty":296,"author":2564,"museum":53,"description":6051,"tags":6052,"thumbUrl":6056,"material":28,"size":6057,"collection":70,"collections":6058,"showCount":6016,"zanCount":11,"manualWeight":46,"mainColor":47},222743,"xian-e-chang-chun-tu-03a-lang-shi-ning-222743","仙萼长春图-03a","本册共十六开内容分别描绘牡丹、桃花、芍药、海棠玉兰、虞美人、蝴蝶花、黄刺玫牡丹、石竹、樱桃、罂粟、紫白丁香、百合花牡丹、翠竹牵牛、荷花慈姑花、豆花稷穗、鸡冠花、菊花等，其中有八开还画有鸟禽，整册内容与《石渠宝笈三编》著录之〈郎世宁画花卉册〉一致，对幅皆是空白，而最末一开有宋体书款「臣郎世宁恭画」，依据画风特色推测是郎世宁雍正时期的花鸟佳作。全册不仅设色精緻，构图手法也见新意。特别能于鸟禽形体姿态上有超乎传统的表现，是西法透视手法的精采成果。画中花鸟多处能够显示光影明暗，透过白色颜料提点高光的技巧也常见运用。整册画风都一再显示其与郎世宁雍正前期画风有关。",[23,200,24,25,111,28,56,5934,3885,62,489,244,6053,526,1397,525,6054,6055,2177,7,1373],"叶片","色彩","造型逼真","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83860a3be34dc8440f2f86b13d28b9f5.jpg","宽28.4公分，高33.7公分",[],{"id":6060,"slug":6061,"title":6062,"dynasty":18,"author":19,"museum":597,"description":5348,"tags":6063,"thumbUrl":6064,"material":229,"size":5352,"collection":70,"collections":6065,"showCount":6016,"zanCount":46,"manualWeight":46,"mainColor":47},220031,"dong-zhuang-tu-ce-zhi-zhen-yi-gang-shen-zhou-220031","东庄图册之振衣冈",[23,200,24,25,111,27,29,58,7,34,242,31,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde339e30cbcb09c324052c43eb49532f.jpg",[],{"id":6067,"slug":6068,"title":5036,"dynasty":296,"author":3038,"museum":2747,"description":6069,"tags":6070,"thumbUrl":6071,"material":84,"size":6072,"collection":42,"collections":6073,"showCount":6016,"zanCount":11,"manualWeight":46,"mainColor":149},219911,"qiu-shan-xing-lv-tu-wang-hui-219911","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王” ，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n王翚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。”",[24,25,95,257,28,29,58,215,60,112,7,36,214,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccd3324ba8d0e045e5d6ab0a5260113f.jpg","152.4x78.7",[42],{"id":6075,"slug":6076,"title":6077,"dynasty":18,"author":436,"museum":1137,"description":6078,"tags":6079,"thumbUrl":6080,"material":84,"size":6081,"collection":264,"collections":6082,"showCount":6016,"zanCount":11,"manualWeight":46,"mainColor":149},219251,"dong-shan-wo-hu-tu-yi-ming-219251","冬山卧虎图","寒岩之上，猛虎蜷卧。斑纹以墨线精准勾勒，间杂赭色轻晕，皮毛的蓬松质感似触手可及。虎目微阖，似憩非眠，虽无咆哮之威，却藏沉潜气势。旁侧古松虬曲，枝干如铁，松针疏密有致；岩石皴法朴拙，斑驳处隐见残雪，透出冬日清寂。笔墨兼工带写，动物造型生动传神，山水布景简括古雅。整幅画于静谧中蕴张力，既见画师对生灵姿态的细腻捕捉，亦显对冬日山景的深刻体察，在沉郁色调里，铺展一段自然与生命的悠然对话。",[24,25,28,56,2241,1396,29,427,7,612],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4902029b2d5488e3af7e90169c94e1c.jpg","26.1x40.6厘米",[264],{"id":6084,"slug":6085,"title":2648,"dynasty":124,"author":473,"museum":53,"description":6086,"tags":6087,"thumbUrl":6088,"material":84,"size":6089,"collection":264,"collections":6090,"showCount":6016,"zanCount":46,"manualWeight":46,"mainColor":149},219046,"wen-ji-gui-han-tu-li-tang-219046","内容叙述了中国东汉才女蔡文姬在董卓作乱时，被胡人俘虏，并且嫁给南匈奴的左贤王。直到十二年后，才由曹操派遣使臣，将她赎回汉地。每段画面，对于故事情节和人物、车马、配景，都有非常细腻的描绘。",[23,200,24,25,95,36,27,28,29,58,60,34,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd98081f5e1c3a4f47f750a16639f8f66.jpg","50.7公分*39.7公分",[264],{"id":6092,"slug":6093,"title":6094,"dynasty":124,"author":436,"museum":561,"description":6095,"tags":6096,"thumbUrl":6097,"material":84,"size":70,"collection":144,"collections":6098,"showCount":6016,"zanCount":46,"manualWeight":46,"mainColor":149},218582,"gong-yuan-tu-yi-ming-218582","宫苑图","飞檐翘角隐于松柳荫翳间，回廊曲折勾连亭榭深院。素衣宫人缓步庭阶，衣袂轻扬似携春风漫行。古绢底色晕染时光温润，笔墨细腻勾勒宋式雅致：柳枝垂丝如梳，松针攒簇似绣，格子窗棂映出廊下幽影，石畔苔痕晕开清寂氛围。构图疏密得宜，动静相谐——建筑的规整与草木的生机相映，人物的闲步与庭院的静谧相融，将宫苑深处的雍容闲寂悄然铺展，如一卷慢启的宋时清梦，每一处细节都藏着时光沉淀的温婉与考究。",[200,24,25,57,28,58,60,33,34,7,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb239ee50763d90f5622390b38b842e66.jpg",[144],{"id":6100,"slug":6101,"title":6102,"dynasty":18,"author":560,"museum":561,"description":562,"tags":6103,"thumbUrl":6107,"material":84,"size":6108,"collection":289,"collections":6109,"showCount":6016,"zanCount":517,"manualWeight":46,"mainColor":149},216372,"ri-ben-chang-hen-ge-tu-juan-shang-juan-shou-ye-shan-xue-216372","日本· 长恨歌图卷(上卷)",[23,24,26,28,56,57,58,60,30,31,29,34,317,7,489,1944,6104,61,64,1129,6105,6106,33],"火焰","旗帜","建筑群","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48e3d4c1126d36ec141e6a2311af7404.jpg","31.5x1048.4",[289],{"id":6111,"slug":6112,"title":6113,"dynasty":78,"author":79,"museum":561,"description":6114,"tags":6115,"thumbUrl":6116,"material":217,"size":660,"collection":70,"collections":6117,"showCount":6118,"zanCount":46,"manualWeight":46,"mainColor":47},290827,"dong-ting-qi-feng-zhou-huang-gong-wang-290827","洞庭奇峰轴","此作前景画小舟浮於湖面，其后山岩繁密多姿，高耸杂木散立，山巅处瀑布流泻，左方曲径没入云雾中，其上瑰丽峰峦斜出天表。画中可见黄公望作品中常见母题，然全作结构、山石、树法等，更接近文徵明风格。依题跋可知此画成于1354（元至正十四年）为梅剑庵所作；1410（永乐八年），梅氏后人请沈度（1357-1434）题跋；1510年（正德五年），文征明（1470-1559）亦获观此画，并留下题语。文征明题款“壁”字书为“璧”，与常见不同。此画笔墨、结构堪称佳构，然可能出自明代後期善仿文征明风格者之手。",[200,24,25,95,27,29,36,7,34,31,37,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc83587d8c69519255b6c7d65b856a64.jpg",[],82,{"id":6120,"slug":6121,"title":6122,"dynasty":296,"author":3038,"museum":561,"description":6123,"tags":6124,"thumbUrl":6132,"material":70,"size":70,"collection":70,"collections":6133,"showCount":6118,"zanCount":11,"manualWeight":46,"mainColor":47},237592,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237592","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》。",[24,27,2843,36,29,7,34,565,31,130,35,1465,6125,128,6126,6127,6128,6129,6130,6131],"传统山水","点染","山石皴擦","树木勾勒","山水意境","古典山水","水墨山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89f3e122c7aae29ed9eacddd5644f01b.jpg",[],{"id":6135,"slug":6136,"title":6137,"dynasty":78,"author":720,"museum":561,"description":6138,"tags":6139,"thumbUrl":6140,"material":70,"size":70,"collection":70,"collections":6141,"showCount":6118,"zanCount":11,"manualWeight":46,"mainColor":149},230908,"ku-shu-tu-ye-ni-zan-230908","枯树图页","此作用笔简淡秀峭，枯树虬曲苍劲，枝桠疏朗错落，无半片青叶，满溢荒萧寒寂。山石以干墨轻皴，淡晕出清旷崖壁，屋舍仅以数笔勾出，简净空疏。\n\n画面留白如万顷空湖，将幽冷孤高的隐逸心绪藏于笔墨之间，淡墨薄晕里，是洗尽铅华的静穆。笔意看似疏简荒率，却藏着深隽的简淡之美，枯木寒岩、空屋寂境，暗合避世文人绝尘出世的澹泊襟怀，清冷空疏中晕染出悠远禅意。",[200,24,25,111,27,36,29,242,97,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60c41a63a704c22538c4a9e50706e58d.jpg",[],{"id":6143,"slug":6144,"title":6145,"dynasty":124,"author":5771,"museum":561,"description":6146,"tags":6147,"thumbUrl":6148,"material":70,"size":70,"collection":70,"collections":6149,"showCount":6118,"zanCount":46,"manualWeight":46,"mainColor":149},227513,"ming-huang-bi-shu-gong-tu-zhou-guo-zhong-shu-227513","明皇避暑宫图轴","《明皇避暑宫图》是北宋画家郭忠恕所创作的一幅墨笔画 ，现藏于大阪市立美术馆。\n《明皇避暑宫图》描绘唐明皇的避暑宫，背山面水，宏伟壮观。从图下的宫门向内，亭台楼阁、水榭宫室、长廊庭院，层层深入。单是屋脊斗拱，就不下十几座，无不刻画工细精确，结构严谨华丽。虽然楼阁密集，但有巨石、古树点缀其间，故而前后的层次清晰，加上左边的水色，与后山的空朦相映衬，却也疏密有致，雍容大度。\n《明皇避暑宫图》，勾线劲挺，虽说有界尺相助，但是众多的曲线，依然得徒手勾勒。",[23,24,25,95,57,56,28,29,60,187,34,7,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bc3db0ed91249e6e8c0490e405536b5.jpg",[],{"id":6151,"slug":6152,"title":6153,"dynasty":18,"author":1100,"museum":53,"description":6154,"tags":6155,"thumbUrl":6156,"material":1467,"size":6157,"collection":42,"collections":6158,"showCount":6118,"zanCount":11,"manualWeight":46,"mainColor":47},220945,"feng-jing-fang-gu-tu-zhou-dong-qi-chang-220945","葑泾访古图轴","署款“壬寅首春，董玄宰寫。”幅上有陳繼儒題識。此畫構圖，可分遠景、中景、近景二部分，遠景為重山峻嶺，山頂光禿，山頂煙霧繚繞，山腳下為亂石橫卧，亂石間有幾株雜樹，樹下坐落一間茅屋。右側兩岸間有一板橋高架。中景為一片闊廣的河水，江水如鏡。近景為此畫的主要部分。下邊山石疊砌，山石間長有一棵幹粗葉茂的大樹，大樹下有數間屋宇茅亭。\n從此畫的構圖來看，作者有意識地運用了“層疊”、“重複”、“照應”等手段，使遠近高下統一在浮雕似的筆墨構成的平面意味中。畫法，由於董氏墨法的精微就在於種種墨色的累積，以樹石為例，對此畫大樹下邊那堆山石，是以淡墨連勾帶皺地寫其相依互抱，大小攢聚，就這樣把石的輪廓確定下來：至於此圖的用墨處和空白或無墨處，董氏着意於此，亦即以白當黑。有的山石不作着筆，大石上部則沿邊皆空白，於是每個石塊以其黑、白、陰、陽，表現立體感，而且它們之間左右較實，中間較虛，使畫面虛實互用而十分靈活。此畫中可看出董氏把黑白對襯，虛實相須，運用得十分自然，有着落筆時心手相應的那番快感。\n在此畫面中，董其昌追求一種“禪”的意境，即一種寂寞空虛的境界。畫面的疏密、濃淡、虛實、開合，富有清潤温雅、平和怡然的趣味，拙稚、簡淡中帶有寧靜自然的文人之思。",[23,24,25,95,27,29,36,30,31,34,7,187,82,37,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1f7db1e78a7c60c962c6091b474fc3a.jpg","纵80厘米,横29.8厘米",[42,146],{"id":6160,"slug":6161,"title":6162,"dynasty":78,"author":2047,"museum":53,"description":6163,"tags":6164,"thumbUrl":6166,"material":142,"size":6167,"collection":42,"collections":6168,"showCount":6118,"zanCount":46,"manualWeight":46,"mainColor":149},220849,"song-yin-wan-zhao-tu-zhou-zhao-meng-fu-220849","松阴晚棹图轴","为学日益，为道日损：翩然世间的道家风格\n祸兮福之所倚，福兮祸之所伏：老子的智慧\n鲲鹏展翅，水击三千里：敞开自我的庄子境界\n朝三暮四，名实未亏而喜怒为用：庄子的寓言\n朴素而天下莫能与之争美：自然与本真的守护",[23,24,25,95,28,29,427,32,58,7,34,6165,350,36],"湖面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde18f9b7e341d9b204fbc08d35aed1b4.jpg","152.6x79厘米",[42,264],{"id":6170,"slug":6171,"title":6172,"dynasty":18,"author":424,"museum":3977,"description":6173,"tags":6174,"thumbUrl":6175,"material":116,"size":6176,"collection":42,"collections":6177,"showCount":6118,"zanCount":11,"manualWeight":46,"mainColor":47},219866,"kong-shan-ye-yu-tu-wen-zheng-ming-219866","空山夜雨图","古画中描绘山、水、雨、云乃至兰竹松梅时，若能兼具“画面写实”和“气韵灵动”两方特色，则该作可称佳品。如能在写实中抓住细节，落笔精致，则该作可成精品。若作者还能在此基础上别出心裁，融入巧妙出众的构思设计，则该作可为妙品。\n文徵明此作写景真实、韵致盎然，诚可谓“虚实相生”；在勾皴山石、铺排密林时用笔极细，落墨深浅错落，层次分明，林间篱笆、耕地农人的设计为画面增添生趣，亦反衬出山之“空”，与画作主题暗合；画面上方山峦滞重，山间雨雾轻灵，山下密林幽森，林间水溪温柔，排列有序，刚柔兼济。而此画最值称道者乃作者关于“雨意”的设计。画面中间部分以大块留白作山间云雾，将上方山峦与下部密林分割开来，山石、树林与云雾的衔接处以清淡水墨轻绘，呈现出类似“渐变”的神奇效果。濛雨淡云缭绕山间，尽书实景而灵韵生动，同时也使整幅画面不致因过满而有失轻盈。",[23,24,25,95,27,36,29,34,452,96,31,7,133,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f5d4eb5740ddc8e075045e01785fe8f.jpg","纵71.6厘米，横32.4厘米",[42],{"id":6179,"slug":6180,"title":6181,"dynasty":296,"author":1795,"museum":346,"description":6182,"tags":6183,"thumbUrl":6184,"material":84,"size":6185,"collection":42,"collections":6186,"showCount":6118,"zanCount":46,"manualWeight":46,"mainColor":149},219757,"ni-guo-xi-pan-che-tu-yuan-yao-219757","拟郭熙盘车图","袁耀（生卒年不详），清朝画家，字昭道，江都（今江苏扬州）人。袁江之侄。\n工画山水、楼阁、界画。画风工整、华丽，与袁江相似。其精品有胜于袁江者。偶作花鸟，亦甚佳。\n乾隆十一年作《骊山避夏十二景》，乾隆四十五年作《阿房宫图》，现藏南京博物院。约活动于乾隆中期。不仅青绿工整山水，楼阁作品有名，其所画花鸟，也甚佳。流传作品比袁江多。而且往往是大幅。所画《观瀑图》、《秋江楼观图》等，无论布局，渲染，以至点景人物，都很精致。留有《阿房宫图》及《骊山避暑十二景图》大幅精美作品。《骊山避暑十二景图》现藏于日本。",[24,25,29,57,36,186,28,58,60,214,33,215,3796,7,34,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2dbf03592ab1c501d619c8407e8f510.jpg","纵29横47.80厘米",[42],{"id":6188,"slug":6189,"title":6190,"dynasty":296,"author":6191,"museum":53,"description":6192,"tags":6193,"thumbUrl":6194,"material":40,"size":6195,"collection":264,"collections":6196,"showCount":6118,"zanCount":46,"manualWeight":46,"mainColor":47},219477,"hu-tu-ma-fu-tu-219477","虎图","马负图","此作打破惯常的猛虎范式，坐虎圆颅圆眼，憨态尽显。以丝毛晕染绘皮毛，笔触细腻柔润，斑纹浓淡层次分明，将蓬松质感淋漓展现，褪去兽王的狞厉刻板，尽显稚态娇憨。\n背景浅绛绘就山野，危崖飞瀑隐于轻岚淡雾间，点染苍润草木，晕染出山谷空寂清宁。静虎坐卧于山石，稚拙憨态与山野幽寂相融，工写兼具，笔意温润雅致，把山林王者柔化成邻家稚兽，别出灵动画意，尽显悠然野趣。",[24,25,28,56,36,29,2241,1396,130,7,1397],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90d96f61fde5de07de01651b35d7eae0.jpg","158.1×91.2",[264],{"id":6198,"slug":6199,"title":6200,"dynasty":78,"author":2047,"museum":53,"description":6201,"tags":6202,"thumbUrl":6203,"material":84,"size":6204,"collection":144,"collections":6205,"showCount":6118,"zanCount":11,"manualWeight":46,"mainColor":47},218971,"mao-ting-song-lai-tu-zhao-meng-fu-218971","茅亭松籁图","顶端有强烈的轮廓，不太会凿刻。颜料先用赭石涂抹，然后分别用石绿和石青从山顶上染出。绿色和赭石的结合使这幅画在深度上有一种古朴的优雅，创造了一种宁静的气氛和松树音乐的基调，所谓天人合一。",[23,24,25,1900,28,29,36,33,272,7,30,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F464ec586288683e2204eb12e7e55b91b.jpg","26.4x27.7",[144],{"id":6207,"slug":6208,"title":6209,"dynasty":296,"author":3909,"museum":360,"description":6210,"tags":6211,"thumbUrl":6213,"material":116,"size":6214,"collection":42,"collections":6215,"showCount":6118,"zanCount":46,"manualWeight":46,"mainColor":47},218482,"he-lin-yan-yu-tu-cha-shi-biao-218482","鹤林烟雨图","查士标（1615-1698）字二瞻，号梅壑散人，懒老。安徽休宁人，后寓扬州。明末生员，家富收藏，故精鉴别，擅画山水，为“海阳四家”之一。清初著名画家，书法家和诗人。专事书画，家藏甚富，鼎彝及宋、元真迹皆有，遂精鉴赏，他的山水画，笔墨疏简，风神嫩散，气韵荒寒，晚年画风突变。是明末清初新安派“海阳四家”（江韬、查士标、孙逸、汪之瑞）之一。他的书法以行书、草书见长，书出米、董，上追颜真卿，颇得精要。时称米、董再生，名重天下。行笔俊逸豪放、神韵深邃。入清后不应举，工研书画。精鉴赏，家藏多鼎彝及宋元人真迹。书法学董其昌，纵逸处近米芾。山水初学倪瓒，后参用吴镇、董其昌法，笔墨疏简，空旷荒寒。与弘仁、孙逸、汪之瑞并称“新安四大家”（即海阳四家）。著有《种书堂遗稿》等。",[23,24,25,95,27,36,29,133,427,2901,227,6212,7,34],"烟雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f6f5fc63963b4d7a5fd292f187630f0.jpg","159.5x53.3cm",[42],{"id":6217,"slug":6218,"title":6219,"dynasty":296,"author":6220,"museum":53,"description":6221,"tags":6222,"thumbUrl":6223,"material":40,"size":6224,"collection":289,"collections":6225,"showCount":6118,"zanCount":764,"manualWeight":46,"mainColor":47},216978,"yi-tao-tu-jin-ting-biao-216978","移桃图","金廷标","这幅画展示了一个有绿色树木的村庄。一个男人和一个瘸子站在窗外，教一个孩子种桃花。惟不免作家气重些。",[24,25,56,28,29,58,34,7,31,2278,35,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7567eb36e902b6cd0d71a3b920a0b4d.jpg","187.3x63.2",[289,42],{"id":6227,"slug":6228,"title":6229,"dynasty":18,"author":5117,"museum":360,"description":6230,"tags":6231,"thumbUrl":6234,"material":6235,"size":6236,"collection":70,"collections":6237,"showCount":6238,"zanCount":11,"manualWeight":46,"mainColor":149},233461,"ba-qiao-feng-xue-tu-zhou-wu-wei-233461","灞桥风雪图轴","“灞桥”位于西安市东的灞河之上，是东去洛阳的必经之路，古人常于此送别，唐诗中“灞桥折柳”的典故即由此而出。\n吴伟此图并非写实之景，而是取其送别的含意。图绘严冬景象，山岩积雪，树木萧瑟，行旅之人正在通过一座狭小的木桥。作者用侧锋卧笔勾勒山石，线条粗率，行笔劲疾，锋芒外露。",[24,951,95,27,36,612,6232,30,242,7,131,6233],"严冬","送别","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c5cc504cdaa6433fc325448a895f7b1.jpg","绢本，水墨","纵138.1厘米，横106厘米",[],81,{"id":6240,"slug":6241,"title":6242,"dynasty":296,"author":4299,"museum":346,"description":6243,"tags":6244,"thumbUrl":6245,"material":84,"size":6246,"collection":42,"collections":6247,"showCount":6238,"zanCount":46,"manualWeight":46,"mainColor":149},220076,"peng-lai-xian-jing-tu-yuan-jiang-220076","篷莱仙境图","图中所作楼阁大都建于高山之上，隐于丛林之中，古木、苍松、梅、杏等，或生于岩石之间、或生于夹缝之中，蓬勃繁茂，掩映成趣、生机盎然，洋溢着顽强的生命力。屈曲的枝干应当是受宋人影响，点叶之法比起其前期更为轻松自然、繁而不乱。图中人物，三五成群，神态自若，气质高雅，或论道、或茗茶、或泛舟湖上，本为点景之用，却起到了点睛之妙。衣冠、须发用笔劲细流畅。“雪压青松松更青，霜打红梅梅更红。”松柏、梅花在古代有寓意高洁之意，象征了文人士大夫的傲岸情操。",[23,24,25,200,57,28,56,60,29,30,34,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03f3523312862b3ddc21d4b421d43aaa.jpg","186.8x102.6",[42],{"id":6249,"slug":6250,"title":6251,"dynasty":18,"author":387,"museum":53,"description":6252,"tags":6253,"thumbUrl":6255,"material":203,"size":6256,"collection":70,"collections":6257,"showCount":6258,"zanCount":11,"manualWeight":46,"mainColor":47},287291,"lin-li-bo-shi-yin-zhong-ba-xian-quan-tu-tang-yin-287291","临李伯时饮中八仙全图","以白描法绘人物35位，线条柔和隽秀，人物神态形象逼真；山石树木粗笔勾勒，再以浓墨烘染而成。此幅长卷达八米之长，场景开阔，绘出八仙喝茶听曲，悠闲自得的情景。",[23,24,200,26,25,712,27,186,58,6254,2994,4019,34,7,38,37],"历史人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef12bafcbc98b00a1a699522f02abb9b.jpg","23.8厘米*838厘米",[],80,{"id":6260,"slug":6261,"title":6262,"dynasty":18,"author":3504,"museum":360,"description":6263,"tags":6264,"thumbUrl":6265,"material":70,"size":70,"collection":70,"collections":6266,"showCount":6258,"zanCount":46,"manualWeight":46,"mainColor":47},234327,"wen-zheng-ming-shu-qian-chi-bi-fu-wen-cong-jian-bu-tu-juan-wen-zheng-ming-234327","文徵明书前赤壁赋文从简补图卷","文征明极为喜爱《赤壁赋》，一生之中曾以不同笔法多次书写，据戴立强《明文徵明行书前赤壁赋册记》中统计，仅传世之作就有16件，而周道振先生《文徵明年谱》中记载，更不止此数。“赤壁赋”题材作品无论是存世作品还是《年谱》中提及的作品，创作年代都在文徵明六十岁之后，即为其短暂的赴京任职之后的作品。文徵明在八十九岁高龄之时，更以苏轼笔意，为其《前赤壁赋》卷(台北故宫博物院藏)补写所缺36字，结字欹侧，肉盛于骨，形神兼备，直可乱真。\n文征明原名壁，字征明。后来改以征明为名，更字为征仲。成化六年（1470年）生于长洲（今苏州市），逝于嘉靖三十八年（1559年）享年90岁。祖籍湖南衡山，因号衡山。他不事权贵，尤不肯为藩王、中官作画，任官不久便辞官归乡，留有《甫田集》。\n文征明的书画造诣极为全面，诗、文、书、画无一不精，人称是“四绝”的全才，诗宗白居易、苏轼，文受业于吴宽，学书于李应祯，学画于沈周。其与沈周共创“吴派”。在画史上与沈周、唐伯虎、仇英合称“明四家”（“吴门四家”）。在诗文上，与祝允明、唐寅、徐祯卿 并称“吴中四才子”。\n明代中叶以后，文征明以诗文驰名江南，而书法和绘画的声誉更高。后来一直被认为是明代少数几个有代表性的书画家之一。就书法来说，大字端劲蕴藉，小楷精工温纯，于真、行、草、隶各体，都有一定的造诣。他早年从苏轼入手，后来参合了米芾、黄庭坚和王羲之书法的笔意，淳和圆熟而不失清劲。\n这一本文征明所写的苏轼《赤壁赋》，末尾连署名残失十九字。幸在清代陈焯《湘管斋寓赏编》卷三有这样一段记录：“顷于姚江杨君绪思家见待诏行书此赋，跋云：‘嘉靖戊午冬十一月廿日，夜寒不寐，篝灯漫书。纸墨欠佳，笔尤不精，殊不成字。聊遣一时之兴耳，观者其毋哂焉。征明年八十九。’为最晚年书，而绝无衰飒之状，可宝也。壬寅秋九月附记。”壬寅是乾隆47年（公元1782），那时“聊遣一时之兴耳”等末十九字还未缺。光绪23年（公元1897）陈豪为恽氏题跋时，已经恽氏改装为册。这十九字怎样失去，已无从查考。\n据题记年月，是文征明八十九岁时所书，距他逝世只有四个月。虽然他自己以为“笔尤不精，殊不成字”其实比之现在所见其他各种印本的《赤壁赋》，（一本，嘉靖二十一年壬寅七月十日作，点石斋印；一本，嘉靖二十九年庚戌七月作，有正书局印；一本，嘉靖三十七年戊午二月既望作，原故宫印本，艺苑真赏社复印；一本，嘉靖三十年辛亥四月十六作，日本博文堂印本）都为精到。“潇洒流落，翰逸神飞”可谓已至“人书俱老”的境地。",[23,200,24,25,26,38,27,28,36,29,32,58,7,34,31,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc97afb95360b41d612a230c70e6c22d0.jpg",[],{"id":6268,"slug":6269,"title":106,"dynasty":18,"author":6270,"museum":360,"description":6271,"tags":6272,"thumbUrl":6273,"material":6274,"size":6275,"collection":42,"collections":6276,"showCount":6258,"zanCount":46,"manualWeight":46,"mainColor":149},234318,"shan-shui-ce-song-xu-234318","宋旭","宋旭（1525—1606年），字初阳，号石门山人，浙江湖洲人，后徙居上海松江。宋旭一生喜云游，多居于寺庙精舍，日就禅灯孤榻，时人即用“发僧”来称呼他，即带发的僧人之意。后来他真的出家当了和尚，法名祖玄，自号天池发僧、景西居士等，具体卒年不详，从他尚有1606年作品存世，知他此年还在世。\n宋旭的画法继承明代吴门绘画传统，主要师法明四家之一的沈周，最擅长画山水，兼善人物。山水画在沈周的基础上融其他名家画法于一炉，并加入自己的理解，形成了颇具特色的雄劲古拙的画风。宋旭精研古人之法，尤其对宋代李成、关仝、范宽三家推崇备至，曾说：“画山水惟李成、关仝、范宽智妙入神，才高出类，三家鼎峙，百代标程，前古莫能方驾，近代难继后尘。”（见《无声诗史》卷三）由于他能远师古人，近取成法，创出了有别于吴派绘画的风格而自成一格，并对明末松江地区的画家产生了长足的影响，世人遂称其为“苏松派”的开山之祖，明末赵左、沈士充等皆出其门下。",[24,27,36,111,29,31,30,242,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29f139067519e7c0c0636a193cc49cf5.jpg","纸本 ，设色","纵31cm，横42cm",[42,264],{"id":6278,"slug":6279,"title":6280,"dynasty":124,"author":436,"museum":360,"description":6281,"tags":6282,"thumbUrl":6287,"material":454,"size":6288,"collection":70,"collections":6289,"showCount":6258,"zanCount":11,"manualWeight":46,"mainColor":149},223478,"sou-shan-tu-juan-yi-ming-223478","搜山图卷","《搜山图》卷表现的是民间传说二郎神搜山降魔的故事，所以也称为《二郎神搜山图》。二郎神的故事在民间广泛流传，在许多文艺作品中也有反映。元代有《二郎神醉射锁魔镜》的杂剧，描写二郎神与九首牛魔王、哪吒及金睛百眼鬼比试高低，最后拿住二洞妖魔的故事。据记载，最早有北宋画家高益画的《鬼神搜山图》，受到皇帝的重视。以后明、清两代，不断有传本出现。\n此卷《搜山图》是南宋末或元初人的手迹。人物用工笔重彩，衣纹用铁线描，刚劲有力，形象刻画生动传神，非凡手可及。山林树木皴法豪纵，近乎南宋刘松年的风格。与同一题材的各种不同本子比较，此卷是个残本，其中缺少主神即二郎神部分，但是其绘画技巧却高出其它各本。图中描绘神兵神将们耀武扬威地搜索山林中各种魔怪。魔怪们均是各种野兽变的，有虎、熊、豕、猴、狐狸、山羊、獐、兔、蜥蜴、蛇及树精木魅等。这些妖怪，或是原形，或化为女子，他们都在神将们追逐下，仓惶逃命，或藏匿山洞，或拒绝受擒。而那些神将们则手持刀枪剑戟、纵鹰放犬，前堵后截，使妖怪无处逃身。本来，二郎神是作为正面人物来歌颂的，然而看了此卷之后，却得到了一个相反的印象。那些神兵神将，一个个凶神恶煞，使人们憎恶，而那些妖怪们却面目和善，那种惊怖逃生的内心刻画，令人同情。不知作者是有意还是无意，使观者自然地就会联想到，当时社会那些官兵对老百姓的欺压情形。",[23,24,200,25,26,56,28,58,29,1396,2241,1395,6283,6284,3006,34,7,201,6285,6286],"鹰","蛇","神仙","鬼怪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d5ad08cdb1d23179ccbc0394feeea8b.jpg","纵53.3厘米，横533厘米",[],{"id":6291,"slug":6292,"title":6293,"dynasty":18,"author":387,"museum":20,"description":6294,"tags":6295,"thumbUrl":6296,"material":1809,"size":6297,"collection":42,"collections":6298,"showCount":6258,"zanCount":11,"manualWeight":46,"mainColor":47},222357,"feng-tian-xing-du-tu-zhou-tang-yin-222357","葑田行犊图轴","此图取材于唐代李密的故事，史记李密骑牛住缑山拜访名士包恺，牛角挂一卷《汉书》，边走边读。本图并没有强调此一情节。而是突出了“行过松阴懒着鞭”的悠闲之意。图绘一老者手执长鞭骑牛前行，老者表情悠闲，一路观景，牛身形壮硕，四肢有力；上面松枝繁茂，郁郁葱葱。",[23,24,25,95,27,36,37,58,1103,427,7,96,1746,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa190e60a0b5555ac9e73c97a4767161f.jpg","纵74.7，横42.7厘米",[42,146],{"id":6300,"slug":6301,"title":6302,"dynasty":18,"author":52,"museum":20,"description":6303,"tags":6304,"thumbUrl":6306,"material":229,"size":6307,"collection":42,"collections":6308,"showCount":6258,"zanCount":11,"manualWeight":46,"mainColor":47},222210,"wu-zhu-shu-tang-tu-chou-ying-222210","梧竹书堂图","该图画一精舍，宽敞的书桌置于窗前，上置文具书籍，一士人半作半卧于躺椅上，神态安详。房舍四周修竹、梧桐摇曳生姿。坡石勾皴用拖泥带水法间乾笔皴擦，再以水墨淡淡晕染，颇见浑厚。上缀以萱花、丛菊，显示出隐居的悠雅情调。",[23,200,24,25,95,28,56,6305,391,33,58,29,31,7,34,201,32],"梧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77d7f6ee52d40f0e62de09e6cdce8cbc.jpg","纵148.8厘米，横57.2厘米",[42,264],{"id":6310,"slug":6311,"title":6312,"dynasty":78,"author":79,"museum":53,"description":6313,"tags":6314,"thumbUrl":6315,"material":142,"size":6316,"collection":42,"collections":6317,"showCount":6258,"zanCount":11,"manualWeight":46,"mainColor":149},219504,"tie-ya-tu-huang-gong-wang-219504","铁崖图","此作近景作小坡树石，右置小桥，左布人家；中远景左方峰峦平顶叠加相连，右方则云烟飘渺，仅露出局部山头、崖壁。画中物像钩定轮廓後，多以规整卧笔点叶、点苔，略显平板。",[24,25,95,27,36,29,7,34,133,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb45b7cbc7b51e6e5ecc78a2cd2b60d17.jpg","157.5x64.9公分",[42],{"id":6319,"slug":6320,"title":6321,"dynasty":18,"author":269,"museum":53,"description":6322,"tags":6323,"thumbUrl":6324,"material":27,"size":70,"collection":146,"collections":6325,"showCount":6258,"zanCount":11,"manualWeight":46,"mainColor":149},219339,"fu-song-guan-pu-tu-dai-jin-219339","抚松观瀑图","虬松横斜如探身老者，枝桠间松针攒簇，墨色浓淡相济，尽显苍劲古拙之姿。飞瀑自崖壁垂落，线条如练，与朦胧山雾相融，添几分空濛悠远。松下二人或立或俯，似低语，又或凝听瀑声，神态悠然，将文人雅士闲适心境藏于山水间。左侧亭台半隐松荫，木质结构线条简洁，与自然景致浑然一体。山石皴擦刚健，草木点染灵动，笔墨兼具挺劲与秀逸。整幅画山水相映，人物点睛，传递出远离尘嚣、寄情林泉的淡泊之韵，仿佛能闻松涛与瀑声交织，引人沉醉于这份林泉雅趣中。",[24,25,95,29,36,28,427,130,33,58,7,31,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff224b7dc4b4561098e04194164c63257.jpg",[146],{"id":6327,"slug":6328,"title":6329,"dynasty":78,"author":436,"museum":53,"description":6330,"tags":6331,"thumbUrl":6332,"material":84,"size":70,"collection":264,"collections":6333,"showCount":6258,"zanCount":46,"manualWeight":46,"mainColor":149},218757,"ma-hu-dou-tu-yi-ming-218757","马虎斗图","荒野坡地间，虎躯如弓骤起，斑纹随扑跃之势流转，利爪前探、利齿微张，将猛兽的悍勇凝于一瞬。对面的马似遭突袭，后腿猛蹬沙砾，前蹄腾空欲踹，鬃尾怒扬如帚，肌肉紧绷的线条里满是求生的倔强。周遭荒草疏疏，枯木隐现，浅褐底色更衬出这场对峙的凛冽——没有多余渲染，却让观者仿佛听见虎啸马嘶，触到风里的紧张气息。笔法精准却不刻板，虎的威猛与马的刚烈形成强烈张力，寥寥数笔的环境勾勒，便将荒野争斗的野性拉满，尽显笔墨间蓬勃的生命力。",[23,24,56,28,2241,215,1396,7,1397],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb750130b6ddf73afbbc1100e84494f1.jpg",[264],{"id":6335,"slug":6336,"title":6337,"dynasty":18,"author":6338,"museum":53,"description":6339,"tags":6340,"thumbUrl":6342,"material":40,"size":6343,"collection":42,"collections":6344,"showCount":6258,"zanCount":46,"manualWeight":46,"mainColor":47},218182,"jiao-yuan-shi-er-jing-ce-xue-zhai-shen-shi-chong-218182","郊园十二景册-雪斋","沈士充","明朝时期，沈士充是一位著名的文学家、政治家和官员。他在明朝末年时创作了一本名为《郊园十二景册》的书，其中记录了他在北京城郊外的别墅中所看到的12种风景。这本书成为了明朝时期书写风格优美、内容丰富的作品之一。",[24,25,111,27,29,36,6341,612,33,30,34,7,578],"淡设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff25b1501811aba8c4c17fb7b3d08bf64.jpg","30.1x47.5",[42],{"id":6346,"slug":6347,"title":6348,"dynasty":296,"author":6349,"museum":401,"description":6350,"tags":6351,"thumbUrl":6352,"material":116,"size":6353,"collection":42,"collections":6354,"showCount":6258,"zanCount":46,"manualWeight":46,"mainColor":47},214490,"cheng-fang-fang-gu-shan-shui-tu-cheng-fang-214490","程淓仿古山水图","程淓","清代程淓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，体现了程淓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程淓是清代著名的画家，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，程淓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，也体现了程淓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淓的画风魅力，还能了解中国传统的山水风情。",[23,24,27,2843,36,95,29,34,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64344232495e911adda77560a5895256.jpg","28x17cm",[42],{"id":6356,"slug":6357,"title":6358,"dynasty":124,"author":548,"museum":561,"description":6359,"tags":6360,"thumbUrl":6361,"material":70,"size":70,"collection":70,"collections":6362,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":149},232919,"xue-jing-han-lin-tu-ji-li-cheng-232919","雪景寒林图集","李成(约919-967年),字咸熙,出身贵族,其先人为唐宗室,后周时避居青州营丘(今山东)。李成好友枢密使王朴准备举荐李成,但是此事未及进行王朴就死了,李成虽有文才,但因世变不得志,终日饮酒游玩,最终醉死客栈。李成擅画山水自娱,“一皆吐其胸中而写之笔下”，对北宋的山水画的发展有重大影响，北宋时期被誉为“古今第一”。",[200,24,25,95,29,36,27,612,538,34,7,4029,4949,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d16455b8911f86b1ce9bc374e1d0974.jpg",[],{"id":6364,"slug":6365,"title":6366,"dynasty":18,"author":6367,"museum":561,"description":6368,"tags":6369,"thumbUrl":6370,"material":70,"size":70,"collection":70,"collections":6371,"showCount":5,"zanCount":764,"manualWeight":46,"mainColor":47},228362,"chun-shan-you-qi-tu-zhou-zhou-chen-228362","春山游骑图轴","周臣","此作用笔苍劲老辣，斧劈皴利落勾勒出峭拔山石，层叠崖壁铺展高远之境，山脚溪泉蜿蜒，板桥跨水。虬曲古松扎根危岩，新木抽芽晕染春和之意。\n桥上骑驴缓行，山坞村舍中人物往来鲜活，山野清旷间晕开烟火暖意。干湿墨色交织出林麓的阴晴层次，将雄阔山水与悠游雅兴相融，兼具北派山水刚健气势，暗藏春日踏青的松弛闲情，把寻幽访春意趣藏于丘壑，是兼具全景章法与细腻意趣的山水佳制。",[23,24,25,95,27,36,29,30,31,60,215,58,272,7,112,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd91b60b69348321c76a367aa9f8848fc.jpg",[],{"id":6373,"slug":6374,"title":6375,"dynasty":18,"author":5446,"museum":53,"description":6376,"tags":6377,"thumbUrl":6379,"material":229,"size":6380,"collection":306,"collections":6381,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},222556,"zi-wei-shan-mian-chen-chun-222556","紫薇扇面","陈淳，1483年生，1544年逝世（另一种说法是1482—1539），长洲（今江苏苏州）人。字道复，后以字行，更字复甫，号白阳，又号白阳山人。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。在绘画史上，陈淳与徐渭并称为“白阳、青藤”， 陈淳的绘画当属文人隽雅一路的，即“白阳”一派画家。\n陈淳少年作画以元人为法，深受水墨写意的影响。他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。他能诗文，擅书法，尤精绘画。陈淳与徐渭并称白阳、青藤。陈氏少年作画工细，中年后笔法放纵，自立门户。陈淳从师文徵明，在其门下声誉最高。擅长写意花卉，其作品虽表现一花半叶，却淋漓疏爽，深受当时文人士大夫的赞赏；他是继沈周、唐寅之后对水墨写意花鸟画的发展作出了重要贡献的画家。\n陈淳中年以后间作山水，技法学米友仁、高克恭，多以江南风景为题材，手法简练，极具文人生活情趣，文徵明曾微笑着说：“吾道复举业师耳，渠书、画自有门径，非吾徒也。”存世作品有《红梨诗画图》《山茶水仙图》《葵石图》《罨画图》等。其子陈括继承父风、擅花卉。\n陈淳绘山水，效法米友仁、高克恭，水墨淋漓，颇得氤氲之气。他的泼墨之功，往往见于画烟云之中。在写意花卉方面，陈淳独得玄门，笔法挥洒自如，富有疏朗轻健的风姿，用墨设色，则如徐沁所谓“浅色淡墨之痕俱化矣！”王世贞在《州续稿》中说：“胜国（元朝）以来，写花卉者无如吾吴郡，而吴郡自沈启南（周）后，无如陈道确，陆叔平（治）”。近代画家如蒲华、吴昌硕、齐白石等，在诗文题书画中，都对陈淳做出了极高的评价。明万历年间即有人曾评价过陈淳在花卉方面的造诣和声誉都超过了文征明，成为继沈周之后的吴门大家。明清以来画家，尤其在花鸟画方面，受他的影响很深。他与徐渭齐名，人称“青藤白阳”。现存的陈淳作品大部分均在博物馆收藏，民间甚少得见。",[23,200,24,25,1900,300,27,28,62,6378,7,35,82,37],"紫薇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3d66aa7b277e6d434140b8cfbf7bc17.jpg","纵17.7厘米 横47.9厘米",[306,264],{"id":6383,"slug":6384,"title":6385,"dynasty":18,"author":6367,"museum":53,"description":6386,"tags":6387,"thumbUrl":6388,"material":885,"size":6389,"collection":42,"collections":6390,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},222372,"song-quan-shi-si-zhou-zhou-chen-222372","松泉诗思轴","周臣（1460–1535），字舜卿，号东村，中国明代著名画家。吴（今江苏苏州）人。擅画。\n中国明代中期的著名职业画家。他生活在成化至嘉靖年间。字舜卿，号东村，吴（今江苏苏州）人，生年不详，卒于明世宗嘉靖十四年（即1535年）。擅长画人物和山水，画法严整工细。他有两个学生特别著名，一个唐寅，另一个仇英。唐寅、仇英青出于蓝，风格上极为接近，但当时名气已超过老师。\n周臣山水师承陈暹。曾刻苦临摹李成、郭熙、李唐、马远等作品，其主要取法于李唐派系。画山石坚凝，章法严谨，用笔纯熟。曾与戴进并驱，则互有所长。人物画也非常出色，古貌奇姿，绵密萧散，各极意态。南京博物院收藏的周臣代表作《柴门送别图》 ，描绘一文人携琴访友后，主客分别时依依不舍的情景，明月早已挂在高空，船工也已在船头熟睡，直至客人快要上船了，他还未酲来，说明主客送别时间之长，友谊之深，这其中也融含周臣画体的“院体画”与“文人画”的相融之处。周臣被人们称为非院派的“院派”画家。",[23,24,25,95,27,28,29,427,7,3806,58,36,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9ced993c13860c65afb437b92e109b6.jpg","114.6x53.1",[42,264],{"id":6392,"slug":6393,"title":6394,"dynasty":78,"author":6395,"museum":53,"description":6396,"tags":6397,"thumbUrl":6398,"material":84,"size":6399,"collection":70,"collections":6400,"showCount":5,"zanCount":764,"manualWeight":46,"mainColor":149},221801,"fang-guo-xi-qiu-shan-xing-lv-zhou-tang-di-221801","仿郭熙秋山行旅轴","唐棣","元文宗天历二年(1329)应诏在南京龙翔寺绘制画壁，至顺四年(1333)第二次北上大都，奉诏在宫廷作画。\n在郴州、处州、江阴、嘉兴、休宁、兰溪州、吴江等地均做过官，有政绩。工山水，近学赵孟頫，远师李成、郭熙，亦工诗文，晚年返乡埋头读书作画，生活较凄苦。\n传世作品有元统二年(1334)作《林荫聚饮图》轴、至元四年(1338)作《霜浦归渔图》轴，图录于《中国绘画史图录》上册；《携琴远眺图》轴现藏四川省博物馆；《雪港捕渔图》轴藏上海博物馆；《云浦驾舟图》册页、《仿郭熙秋山行旅图》轴藏台北故宫博物院。",[23,200,24,25,95,27,28,29,7,34,131,36,3692],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8381f79ff9423e46f2961c5ae4ff6f0.jpg","151.9x103.7",[],{"id":6402,"slug":6403,"title":6404,"dynasty":78,"author":436,"museum":3206,"description":6405,"tags":6406,"thumbUrl":6407,"material":84,"size":70,"collection":289,"collections":6408,"showCount":5,"zanCount":764,"manualWeight":46,"mainColor":149},219585,"yue-xia-chang-e-tu-yi-ming-219585","月下嫦娥图","云霭舒卷漫过夜空，朗月悬垂，清辉铺洒幽林。古松虬枝蟠曲如苍龙探云，松针层叠细密，尽显苍劲古拙之态。嫦娥素衣翩跹，独立岩畔，隐在松影云气间，身姿娴静缥缈，自带出尘仙气。\n\n此作用笔简淡清逸，以水墨晕染营造空寂灵幻的月夜氛围，摒弃浓丽金碧，将仙家幽渺之境与山林夜色相融。笔意含蓄却神完气足，把月宫清寒与林下幽寂糅为一处，让人恍如踏入清虚之境，遥想广宫寒寂，体悟藏在仙踪里的清远意趣。",[1900,24,28,58,1385,427,883,7,37,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff447cc4f9a954ca5bb219c6d7be81a21.jpg",[289,264],{"id":6410,"slug":6411,"title":5156,"dynasty":124,"author":436,"museum":183,"description":6412,"tags":6413,"thumbUrl":6414,"material":84,"size":6415,"collection":42,"collections":6416,"showCount":5,"zanCount":11,"manualWeight":46,"mainColor":663},219034,"qiu-jiang-yu-ting-tu-yi-ming-219034","这幅作品的构图精致，特写停泊在河中的渔船和捕鱼的渔夫，宽阔的河面光滑如镜。在远处的场景中，山峰以细密的线条出现，用斧凿的方法画出岩石，更显其威严。少数小屋位于深谷中，山谷中长满了各种树木。溪流从山上蜿蜒流入河中，在山脚下，溪流上建有一座小木桥，特别迷人。整幅画具有鲜明的构图和深厚的气氛。这幅画属于李、郭画派，可能是南宋时期有人以李、郭为榜样而作。梁庆标、安琪收藏的印章",[23,24,951,95,27,36,29,32,30,31,243,34,7,316,2490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac14ed21ddfc4f8c93ceb8d4df1ecf5b.jpg","133.4x56",[42],{"id":6418,"slug":6419,"title":6420,"dynasty":124,"author":473,"museum":53,"description":6421,"tags":6422,"thumbUrl":6424,"material":84,"size":6425,"collection":42,"collections":6426,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":149},218820,"dong-jing-shan-shui-li-tang-218820","冬景山水","这幅画描绘了一个雪白的函谷关，有一条浅浅的小溪，两队牛车跋涉过关，来到一个温暖的休息场所，在那里他们可以温酒纳凉。它的署名是：晞古李唐。",[23,24,25,27,36,28,29,242,5047,227,32,364,538,6423,7,113],"冬景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14280f0a855ef351b9fed104cff2b2b6.jpg","28.4x25.9",[42],{"id":6428,"slug":6429,"title":6430,"dynasty":124,"author":436,"museum":53,"description":6431,"tags":6432,"thumbUrl":6435,"material":601,"size":6436,"collection":42,"collections":6437,"showCount":5,"zanCount":517,"manualWeight":46,"mainColor":149},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。",[23,24,200,29,27,95,36,6433,158,6434,7,538,3843,31,97,3692],"蟹爪法","沟壑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcecae8ef9513b49779e89a829d40705.jpg","172.9x62.7",[42],{"id":6439,"slug":6440,"title":2325,"dynasty":296,"author":498,"museum":3737,"description":6441,"tags":6442,"thumbUrl":6443,"material":40,"size":6444,"collection":42,"collections":6445,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":149},217994,"fang-huang-gong-wang-shan-shui-tu-wang-yuan-qi-217994","图绘高山屹立之下，杂木丛生、洲渚房屋掩映的山光水色之景。山石的顶端多留有空白，虚处笔迹似有似无，表现出岚光浮动的清幽意境。全图笔墨苍润老辣，于粗放中物象毕现，率意中气韵盎然。王氏自言此图仿元代画家黄公望（即作者所谓“大痴”）笔意，实际上又融入了王蒙、倪瓒等人的笔法，应是作者融元人画格的贯通之作。",[23,24,25,95,27,36,29,837,112,272,30,31,35,133,7,1555,658,132,2264,160,5229,3083],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02895e2fbe75d1aecf4043f9b33a3de1.jpg","100.2x45.6cm",[42],{"id":6447,"slug":6448,"title":6449,"dynasty":296,"author":1331,"museum":561,"description":6450,"tags":6451,"thumbUrl":6452,"material":70,"size":70,"collection":70,"collections":6453,"showCount":6454,"zanCount":46,"manualWeight":46,"mainColor":47},233912,"hua-hui-shan-shui-ce-yun-shou-ping-233912","花卉山水册","恽寿平（1633-1690年），初名格，后以字行，又字正叔，别号南田，一号白云外史、云溪外史、东园客、巢枫客、草衣生、横山樵者。江苏武进人。清代著名画家。与“四王”、吴历并称“清初六大家”。其父恽日初诗文杰出，为“复社”中人。叔父恽向（道生）为著名山水画家，自创一派。恽寿平是清朝初期最享盛名的花鸟画家。其画作多写生，人称“写生正派”；更以徐崇嗣为宗，兼取各家之长，极大的发展了没骨画。所画花卉，很少勾勒，以水墨着色渲染，用笔含蓄，画法工整，明丽简洁，天趣盎然。恽寿平不仅画作出众，风格独具，而且兼工诗书，题句清丽流畅，诗格脱俗超逸，为“昆陵六逸”之冠。恽南田《山水花卉册》八帧，其中包括山水，花鸟及情景兼容的人物，攘括了恽南田所有的画种。画中有退耕堂藏印。退耕堂为徐世昌的室名。\n恽寿平一生坎坷，饱经困苦，他幼年聪颖玲利，遭遇战乱，与兄皆被俘，与父亲失散，后遇灵隐寺方丈相救，才得以与家人团聚，归家后，发奋读书学画。经刻苦钻研，于古文、诗词、书画无不精擅。他崇尚气节，誓不应科举，少时的忧患，留下深深的创痛，一生未尝忘情。却在绘画上取得了很高的成就；恽南田曾致书王（翚）说：“格于山水，终难打破一字关，曰‘窘’，良由为古人规矩法度所束缚耳。”又说：“君独步矣！吾不为第二手也”。于是恽寿平转攻花鸟，以后山水不过偶而为之。可见其艺术抱负。《山水花卉册》中的山水，取黄公望笔法，于荒率中见秀润，尖毫勾皴，浓墨点树、高旷清淡，浸润宋元诸家，吸取王蒙、二米等人之长，渐脱刻极。40岁左右作品最为精采，如43岁的《山水花鸟册》，技法灵活多变，表达各家风貌准确，艺术已臻成熟。他的花鸟画成就最为突出，取法徐崇嗣的没骨法，他的没骨花卉，揉合了黄（筌）、徐（熙）两派技法，既重视写生，力求形似，“每画一花，必折是花插之瓶中，极力描摹，得其生香活色而后已。”又强调“与花传神”。力去华靡，追求“ 澹雅”。此册中的花鸟更是形神兼备，清新淡雅，具有新的风貌。",[24,25,200,111,27,29,36,30,242,7,35,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F408186742edebb584c8928001e6a308d.jpg",[],78,{"id":6456,"slug":6457,"title":971,"dynasty":296,"author":498,"museum":561,"description":6458,"tags":6459,"thumbUrl":6460,"material":760,"size":6461,"collection":42,"collections":6462,"showCount":6454,"zanCount":46,"manualWeight":46,"mainColor":47},224390,"shan-shui-zhou-wang-yuan-qi-224390","王原祁，明崇禎十五年（1642年）生，清康熙五十四年（1715年）卒。字茂京，號麓台、石師道人，江南省蘇州府太倉人(今江蘇太倉)，王時敏孫。康熙九年（1670年）進士，觀政於吏部、任順天鄉試同考官，後任直隸順德府任縣（今河北省邢台市任縣）知縣，地當九河下流，滏漳諸水復久壅塞，腴田變為污渚，圪劉累泊等處，即古大陸澤為患，尤甚甲子乙丑秋雨連旬，水勢陡發，堤岸盡壊，田萊俱成巨浸。\n原祁請照淮揚例，永免水荒田賦三千餘金，民困以蘇其餘如，築堤以防水憲，建橋以通水道，斃盜賊以安民命，明僎介以昭典禮，發倉儲以救羸，着跡難以枚舉。丙寅，奉命行取擢諫垣，改翰林，累官少司農，卒於位，賜祭葬如例，康熙五十九年入祀名宦。\n以畫供奉內廷，康熙四十四年奉旨與孫嶽頒、宋駿業等編《佩文齋書畫譜》，五十六年主持繪《萬壽盛典圖》為康熙帝祝壽。擅畫山水，繼承家法，學元四家，以黃公望為宗，喜用幹筆焦墨，層層皴擦，用筆沉着，自稱筆端有金剛杵。與王時敏、王鑑、王翬並稱“四王”，形成婁東畫派，左右清代三百年畫壇，成為正統派中堅人物。享年七十四。\n其所著畫論有《雨窗漫筆》與《麓台題畫稿》。擅長做詩，有《罨畫樓集》3卷。\n晚清婁東畫派代表人物秦祖永論王原祁畫風：『中年秀潤，晚年蒼渾」；論其畫曰：『沈雄驗右，元氣淋漓，筆端金剛杵之語不虛也」",[23,24,27,95,29,36,7,34,132,159,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F917ded737cee2cb67416324c0fd6c159.jpg","纵91厘米，横46厘米",[42],{"id":6464,"slug":6465,"title":6466,"dynasty":296,"author":1795,"museum":360,"description":6467,"tags":6468,"thumbUrl":6469,"material":454,"size":6470,"collection":42,"collections":6471,"showCount":6454,"zanCount":46,"manualWeight":46,"mainColor":149},223285,"shan-shui-si-tiao-ping-yang-zhou-si-jing-wan-song-die-cui-yuan-yao-223285","山水四条屏-扬州四景-万松叠翠","四条屏分别自题：“春台明月”、“平流涌瀑”、“万松叠翠”、“平岗艳雪”，款署“戊戌仲夏邗上袁耀画。”钤“袁耀”、“昭道”印2方。\n这组画屏是袁耀晚年的作品，所绘为扬州北郊的四处名胜景点，均为写生之作。 “春台明月”绘一派怡人春色，湖岸枝头新绿，垂柳依依，用笔细润秀媚，设色淡雅。“平流涌瀑”画夏日高树浓荫，茂茂森森，以浓厚的墨色点染，华滋苍润。“万松叠翠”写秋时萧瑟之意，构图平远、空明，远景山石以简笔勾勒，林木萧疏，只有常青的松树依然叠翠。“平岗艳雪” 绘冬季大地覆雪，老梅独立，神态潇洒，枝干用笔老练苍劲，再以胭脂、白粉点染敷色。画家将瘦西湖两岸的亭台楼阁、名园胜景置于春夏秋冬四季的大自然中，以传统界画的精湛技法把扬州当时“两堤花柳全依水，一路楼台直到山”的繁荣景象真切形象地展现在观者面前。",[23,24,28,57,56,29,427,60,33,1944,7,133,113,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38be0bee0f8a26f4537528925c9e91e0.jpg","纵57cm，横66.1cm",[42,264],{"id":6473,"slug":6474,"title":6475,"dynasty":296,"author":6476,"museum":401,"description":6477,"tags":6478,"thumbUrl":6479,"material":673,"size":6480,"collection":42,"collections":6481,"showCount":6454,"zanCount":46,"manualWeight":46,"mainColor":149},222630,"fang-tang-yin-qiu-lin-shu-wu-tu-gao-jian-222630","仿唐寅秋林书屋图","高简","此幅所绘的《仿唐寅秋林书屋图》绘山峰高耸，云蒸霞蔚；山脚下溪水潺潺，秋树苍茂，主人于书斋静读。\n高简擅长于模仿唐寅，几可乱真，清秀之气可比肩唐寅。左上自题：“仿唐解元秋林书屋图。癸未冬十月一云山人高简。”左上有作者后裔高侪鹤题识。癸未为康熙四十二年，公元1703年，作者时年70岁。\n高简(1634-1707)〔清〕字澹游、德园，号旅云、澹游子、一云山人、旅云山人、娱晖老人，江苏苏州人。能诗，工山水，画学元四家，喜倪云林(瓒)，有“小云林”印。精于尺幅小品，秀洁妍雅，颇有风趣。所作笔墨简淡清臞，布置深稳，脱尽纵横习气。善画梅，好画梅花书屋图，冷隽雅逸。传世作品有康熙六年(1667)作《寒林诗思图》轴，图录于《肥遁庐藏名人山水集》；九年(1670)作《仿曹知白山水图》轴、三十五年(1696)作《夕照落雁图》轴均藏故宫博物院；九年(1670)作《仿古山水册》十二帧、顺治十年(1653)作《仿宋元山水八帧》卷藏上海博物馆；康熙四十二年(1703)作《仿唐解元秋林书屋图》轴藏旅顺博物馆；《青山积翠图》轴藏南京博物院；《仿徐贲山水图》册页藏辽宁省博物馆。",[23,24,25,95,27,186,36,29,242,427,7,1658,31,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41c09d80ba903d033ff21d82621e036e.jpg","96cmx56cm",[42],{"id":6483,"slug":6484,"title":6485,"dynasty":124,"author":6486,"museum":108,"description":6487,"tags":6488,"thumbUrl":6490,"material":84,"size":6491,"collection":42,"collections":6492,"showCount":6454,"zanCount":764,"manualWeight":46,"mainColor":149},218233,"shen-shan-fang-yin-tu-yu-jian-218233","深山访隐图","玉涧","枯松斜倚崖边，松针以墨线疏疏勾出，苍劲中带着荒寒之韵。山石轮廓用简练笔触皴擦，肌理分明，层层向远延伸，山岚似轻烟漫过谷间，模糊了远近界限。林麓深处，几椽屋舍隐现，被松影与雾气轻掩，恰是访隐者追寻的幽居。画面色调古雅，绢本沉郁质感衬得水墨清寂。墨笔题识错落右上角，文气与画意相融，似诉说访隐心境。整幅画以简淡之笔勾勒深山静谧幽深，每一线条、每块墨色都透着对隐逸之境的向往，让人仿佛听见山风穿松的轻响，触摸到林间清寒气息。",[24,27,951,36,300,29,427,7,114,34,1081,363,578,133,6489],"深山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46171ff02094154282d5be54ddfea031.jpg","93x40cm",[42],{"id":6494,"slug":6495,"title":6496,"dynasty":296,"author":4083,"museum":1043,"description":6497,"tags":6498,"thumbUrl":6499,"material":40,"size":5140,"collection":70,"collections":6500,"showCount":6454,"zanCount":11,"manualWeight":46,"mainColor":47},216247,"jing-fu-si-qi-dong-jing-tu-10-qian-wei-cheng-216247","景敷四气冬景图-10","此套《景敷四气》冬景图，是清乾隆时期画家钱维城的作品。此套画册共含十二帧，纯以水墨为之或薄施淡色擦染，构图简练，自出机杼。运笔较为多样，笔法松秀，墨色疏淡，用色恬然，具有很显著的文人绘画的样式。最后一幅有：甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆。\n赭英粉萼共争新，不独迎春且探春。大矣乾元善资始，物犹如此况乎人。钤印：妙意写清快",[24,25,28,29,60,427,7,133,364,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32a0ecdde6718846ff99634ffe2046cb.jpg",[],{"id":6502,"slug":6503,"title":6504,"dynasty":18,"author":2587,"museum":53,"description":6505,"tags":6506,"thumbUrl":6507,"material":116,"size":6508,"collection":42,"collections":6509,"showCount":6454,"zanCount":46,"manualWeight":46,"mainColor":47},215044,"shan-shui-ji-jing-wang-fu-215044","山水集景","王绂（1567-1630）是明朝时期的文学家，他的山水集景是一部著名的诗集。该诗集收录了王绂写的许多关于山水风景的诗歌，这些诗歌描写了自然风光、山川景色、湖泊和其他自然景观。王绂的诗歌以其精美的描写、优美的语言和深刻的思想而闻名，被认为是中国古典诗歌中的杰出作品。",[23,24,27,29,36,391,33,7,34,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fcd65f978a54b6280267aea6cc2cd8f.jpg","68.8x37cm",[42],{"id":6511,"slug":6512,"title":971,"dynasty":296,"author":3185,"museum":561,"description":6513,"tags":6514,"thumbUrl":6515,"material":70,"size":70,"collection":42,"collections":6516,"showCount":6517,"zanCount":46,"manualWeight":46,"mainColor":47},239477,"shan-shui-zhou-kun-can-239477","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。",[24,27,36,95,29,30,31,34,7,133,58,97,3843,578,300],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59008fa5f9a110c1ebed1091d2f5520e.jpg",[42,146],77,{"id":6519,"slug":6520,"title":6521,"dynasty":18,"author":6522,"museum":561,"description":6523,"tags":6524,"thumbUrl":6525,"material":70,"size":70,"collection":264,"collections":6526,"showCount":6517,"zanCount":11,"manualWeight":46,"mainColor":47},239038,"xian-shan-lou-ge-tu-sheng-mao-ye-239038","仙山楼阁图","盛懋烨","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。",[24,25,95,28,29,36,37,60,427,7,114,565],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab740f67c531848bac66c388d0ad2130.jpg",[264],{"id":6528,"slug":6529,"title":6122,"dynasty":296,"author":3038,"museum":561,"description":6123,"tags":6530,"thumbUrl":6531,"material":70,"size":70,"collection":70,"collections":6532,"showCount":6517,"zanCount":46,"manualWeight":46,"mainColor":47},237591,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237591",[200,24,25,111,27,36,29,60,30,31,32,33,34,130,7,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F724471d5eaa3cabd10d34c299b6fd545.jpg",[],{"id":6534,"slug":6535,"title":6536,"dynasty":124,"author":5576,"museum":3174,"description":6537,"tags":6538,"thumbUrl":6541,"material":142,"size":6542,"collection":144,"collections":6543,"showCount":6517,"zanCount":46,"manualWeight":46,"mainColor":149},221418,"dong-xue-shan-shui-tu-juan-yan-wen-gui-221418","冬雪山水图卷","景口郭卑天锡父题。长卷绘山连绵起伏，山顶云雾缭绕，山下河水平静，村落树木白雪覆盖，画面静谧空旷。",[23,200,24,25,26,28,36,29,6539,6540,316,34,7],"冬雪","山脉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F769365f4d6505b4b415e55c2a2bad217.jpg","34.7x354.5厘米",[144,42,146],{"id":6545,"slug":6546,"title":6547,"dynasty":18,"author":1100,"museum":360,"description":6548,"tags":6549,"thumbUrl":6550,"material":760,"size":6551,"collection":42,"collections":6552,"showCount":6517,"zanCount":11,"manualWeight":46,"mainColor":47},220906,"she-shan-you-jing-tu-zhou-dong-qi-chang-220906","佘山游境图轴","《董其昌佘山游境图轴》是明代画家董其昌所创作的一幅纸本纸本墨笔画。",[23,200,24,25,95,27,36,29,7,34,272],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68466d3a79e9cb3ca5526c09f52f5482.jpg","纵98.4厘米，横41厘米",[42,146],{"id":6554,"slug":6555,"title":5375,"dynasty":296,"author":498,"museum":20,"description":6556,"tags":6557,"thumbUrl":6559,"material":84,"size":6560,"collection":42,"collections":6561,"showCount":6517,"zanCount":11,"manualWeight":46,"mainColor":149},218264,"du-fu-shi-yi-tu-wang-yuan-qi-218264","层峦叠嶂间，干笔皴擦的远山如黛，云雾缭绕中透出苍劲之姿。山腰亭台隐于松竹深处，林木葱茏间藏文人栖居的意趣。近景山石以浓墨勾勒，皴染结合尽显厚重质感；虬松枝干盘曲，松针如簇，笔力遒劲。整幅画笔墨苍润，构图深远，将山水之清幽与诗意之境相融，尽显沉雄古逸的娄东派山水韵味，仿佛可闻林泉间的文人雅韵，观之如入静谧悠远的诗意山水世界。",[23,24,25,28,36,29,33,7,133,34,187,6558],"山间路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55e15a2b69c75609ee0d8554e5cc662c.jpg","321x92cm",[42],{"id":6563,"slug":6564,"title":6565,"dynasty":124,"author":449,"museum":53,"description":6566,"tags":6567,"thumbUrl":6570,"material":84,"size":6571,"collection":42,"collections":6572,"showCount":6517,"zanCount":11,"manualWeight":46,"mainColor":47},218163,"xue-tan-shuang-lu-tu-ma-yuan-218163","雪滩双鹭图","画面以雪景为背景，从左侧伸出的带有积雪的树枝，向下弯曲后转向右上伸长，横斜曲折极富变化。左侧及下部的山石，以带水的墨笔作大斧劈皴画出方硬有棱角的“一角”。值得注意的是，整个画面表现出大雪天的寒气逼人、一片宁静，而枝头上两只跳动鸣叫的小鸟，则使之显得静中有动，增添了生机。前景的树枝、山石均以焦墨勾勒，山石后露出的竹叶施以浅色，其余均施以淡淡的水墨，笔墨技法的运用与描写对象的特征及作品意境相适应。",[23,200,24,25,95,27,28,29,242,7,537,6568,6569,244],"滩","鹭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa70fa992caf6ec5e7624ac5e868a7e17.jpg","纵60厘米，横38厘米",[42],{"id":6574,"slug":6575,"title":6576,"dynasty":296,"author":436,"museum":561,"description":6577,"tags":6578,"thumbUrl":6580,"material":84,"size":70,"collection":289,"collections":6581,"showCount":6517,"zanCount":11,"manualWeight":46,"mainColor":663},218125,"fu-hua-luo-han-jiu-zhang-lao-xiang-yi-ming-218125","佛画·罗汉九长老像","佚名的佛画 "罗汉九长老像" 是一幅清朝时期的佛教画作，描绘了九位罗汉，这些罗汉是佛教中的超凡脱俗的人物，他们拥有超凡的智慧和慈悲之心，并且被视为佛教中的榜样。\n\n在这幅画中，佚名以精细的笔触描绘了九位罗汉的形象，每一位罗汉都面带慈祥的微笑，身着精致的法衣，体现出他们超凡的品德和修行的成果。画面中还有许多佛教的装饰元素，如佛像、佛经、菩提树等，为整幅画作增添了浓厚的佛教气息。\n\n总的来说，佚名的 "罗汉九长老像" 是一幅非常精美的佛教画作，其中所传达出的超凡慈悲和修行成果，对于追求佛道的人来说是一种极大的启发和鼓励。",[23,784,28,56,257,58,112,7,6579,883],"瑞兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a09e08d048331cf689d6066907fd6fc.jpg",[289],{"id":6583,"slug":6584,"title":6585,"dynasty":18,"author":1100,"museum":53,"description":6586,"tags":6587,"thumbUrl":6588,"material":116,"size":70,"collection":42,"collections":6589,"showCount":6517,"zanCount":46,"manualWeight":46,"mainColor":47},214614,"fang-song-yuan-ren-suo-ben-hua-ji-ba-ce-fang-gao-ke-gong-shan-shui-dong-qi-chang-214614","仿宋元人缩本画及跋册-仿高克恭山水","董其昌是中国明清时期的画家、书法家，出生于浙江省杭州市。他的作品有许多著名的山水画，其中包括《虞山图》。此外，董其昌还有许多仿宋元人缩本画和跋册，其中包括《仿高克恭山水》。\n\n《仿高克恭山水》是董其昌的一幅仿宋元人缩本画，其中描绘了秀美的山水风光。在这幅画中，董其昌运用了仿宋元人风格的画法，使得画面充满了古朴的气氛。他通过笔触的流畅和墨色的变化，表现出了山水的秀美和自然的灵动。整幅画浑然一体，充满了生机和活力。\n\n《仿高克恭山水》是董其昌的杰作之一，它被广泛收藏和展览，并被认为是中国仿宋元人风格山水画的代表作之一。董其昌的作品对中国书画史上的发展起到了重要的作用，并且被认为是中国书画史上的经典之作。",[24,25,111,27,28,29,2901,34,133,7,132,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1523aa0b726e258ba37810ef1a4d3eeb.jpg",[42],{"id":6591,"slug":6592,"title":1492,"dynasty":18,"author":19,"museum":360,"description":1493,"tags":6593,"thumbUrl":6594,"material":229,"size":1496,"collection":70,"collections":6595,"showCount":6596,"zanCount":46,"manualWeight":46,"mainColor":47},234097,"wu-zhong-shan-shui-ce-shen-zhou-234097",[24,25,111,27,36,38,82,29,60,30,31,32,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe97c78df6684545aea53e3f99cba50f8.jpg",[],76,{"id":6598,"slug":6599,"title":6600,"dynasty":18,"author":19,"museum":561,"description":6601,"tags":6602,"thumbUrl":6603,"material":70,"size":70,"collection":70,"collections":6604,"showCount":6596,"zanCount":46,"manualWeight":46,"mainColor":47},228837,"zi-sang-yin-ru-tu-juan-shen-zhou-228837","紫桑隐如图卷","此作用笔温厚苍润，取景江南水村一隅。近岸篱舍环于木栅，垂柳初舒柔条，丹枫点染暖艳，柴门边家犬迎客，三两屋舍透出融融闲趣。湖面轻舟漾波，渔者撑篙送访客登岸，一动一静，鲜活勾勒乡居日常。\n山石以淡赭晕染，墨色层次雅致，屋舍人物简括生动，将林泉高致的隐逸之趣，揉入江南水乡的温润景致里，淡远冲和，尽显归园田居的恬然意韵。",[23,24,25,26,28,36,29,34,32,58,227,31,7,243,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1dd651f9864f373fed8f9382256e76e.jpg",[],{"id":6606,"slug":6607,"title":6608,"dynasty":296,"author":1177,"museum":53,"description":6609,"tags":6610,"thumbUrl":6611,"material":142,"size":6612,"collection":70,"collections":6613,"showCount":6596,"zanCount":46,"manualWeight":46,"mainColor":47},224479,"fang-zhao-meng-fu-shan-shui-zhou-wang-jian-224479","仿赵孟頫山水轴","王鉴最早从董源入手，1636年，39岁的王鉴结识了董其昌，由此开始深受董其昌影响，后承绪南宗正脉，并涉足擅长青绿山水的三赵 ( 赵令穰、赵伯驹、赵孟頫），绘画兼具其平生倾慕的赵孟頫、王蒙、董其昌三家之长。王鉴所谓的“仿”并非简单地模仿笔墨技巧、构图布局，而是重在表明自己的审美理想和创作思想，然后施之于画幅上，令其画独存灵逸之趣。",[23,24,25,95,2843,257,28,36,29,7,34,30,31,565,58,578],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F228e8ef62ddaeaa716374da839e86119.jpg","110×60cm",[],{"id":6615,"slug":6616,"title":6617,"dynasty":124,"author":436,"museum":561,"description":6618,"tags":6619,"thumbUrl":6621,"material":70,"size":70,"collection":70,"collections":6622,"showCount":6596,"zanCount":11,"manualWeight":46,"mainColor":149},223653,"chi-bi-tu-ce-ye-yi-ming-223653","赤壁图册页","《宋无款赤壁图》是宋代佚名创作的一幅画。\n本幅是一叶扁舟为主景的局部山水，画面中置石壁于右上角，仅画出赤壁之山脚与山石部分，可以说是把赤壁予以浓缩成近景特写。\n扁舟上回身仰望的苏东坡，暗示出他看到的赤壁在画外的高耸着，赤壁的特色，并不因其只画山角而失去，反因取材精简，景致更能突出。\n波浪起伏回转，表现一叶扁舟之摇摇荡荡，飘飘乎遗世而独立，可说极为生动地将〈 〉最为浪漫的憧憬画出了。",[23,24,200,25,111,28,56,36,29,58,32,4415,7,6620],"波浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fcb770c34ae0fb5c7a2dc0e116c105e.jpg",[],{"id":6624,"slug":6625,"title":6626,"dynasty":18,"author":6627,"museum":360,"description":6628,"tags":6629,"thumbUrl":6630,"material":760,"size":6631,"collection":146,"collections":6632,"showCount":6596,"zanCount":46,"manualWeight":46,"mainColor":149},222168,"xiang-jiang-feng-yu-tu-juan-xia-chang-222168","湘江风雨图卷","夏昶","画幅右上方自题图名《湘江风雨》，款“東吳夏昶仲昭筆”，钤“東吳夏昶仲昭書畫印”、“燕寢凝香”印二方。\n夏昶画竹，以其精深的功力和独树一帜的艺术风格名重一时。他一改前人画竹独幅数竿的表现形式，而用巨幅长卷描绘竹树的千竿万梢，同时还“延之以洲渚，加之以风雨”，更显浩浩荡荡，气势恢宏。他笔下的墨竹已不仅仅是简单的文人式的寄兴抒怀，，而且还于其自然的生长环境，在画中融入山水画的笔墨意境。此卷竹林随湘江两岸景致的变化而隐现，起自淡阔的沙洲，之后是平缓的坡陀，继而是坚硬的岩石，又入清冷的江水，再后是壁立的山崖，最后经急湍飞瀑、汩汩溪流而入山，竹树或整或零，或疏或密，老干新枝，各尽其态。画家充分利用了长卷的广度精心描绘出一种起伏张弛的流动性和情节性，实际上是传统墨竹与水墨长卷的结合。夏昶画竹，强调气韵，主张“一气呵成”，“画巨幅尤须如此”，此卷竹叶落墨即是，不见复笔，山石以斧劈皴法大笔侧锋挥扫而成，从首至尾，气脉通连飞动。\n卷后自跋中云此图作于“正統己巳（1449年）秋九月”，正值夏氏62岁出知瑞州之时，是其晚年墨竹长卷的代表作。",[23,24,25,26,27,36,29,391,7,31,130,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8755393eede68b1ee573bab7500c298.jpg","纵35厘米，横1206厘米",[146,6633],"竹石精选",{"id":6635,"slug":6636,"title":6637,"dynasty":18,"author":3243,"museum":360,"description":6638,"tags":6639,"thumbUrl":6640,"material":6641,"size":6642,"collection":42,"collections":6643,"showCount":6596,"zanCount":46,"manualWeight":46,"mainColor":149},221886,"za-hua-tu-ce-fang-li-tang-bi-yi-chen-hong-shou-221886","杂画图册-仿李唐笔意","本册共八开，每开均有作者题跋及款印。所画题材有山水、人物、花鸟，全以工笔写之。山岩之结构，花蝶之动态，人物形象之奇特，均已加入了画家个人之造型意念，精彩绝伦。其中一册，以变形夸张的手法表现古拙奇崛的特征，描写佛教传说中的罗汉拄杖坐于大石上，对面跪拜一人，衣饰长摆，异国情调，突出了装饰性趣味，图页上自题名为“無法可說”，颇具禅机。另一册《玉兰柱石图》，图右侧一太湖石竖立，玲珑剔透，紧靠石下伸出一支玉兰花，石另一侧后面也露出一支海棠花，花上一只彩蝶。画家把握住不同的物象特征进行描绘，湖石的稳重坚硬，衬托出花朵的轻盈柔美，浓重的色调托出了玉兰的洁白。画面层次清晰，设色明丽温和，在线条的表现形式上，均用细劲的墨线勾勒，刚柔相济，巧拙互用，于对比中求统一。\n从署款和绘画风格看，此图是陈洪绶中前期作品，为其代表作之一。",[23,200,24,25,111,28,36,186,29,7,31,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9093bddfe13cc837d377af14452eaabd.jpg","绢本、设色","纵30.2＊横25.1CM",[42,289,264],{"id":6645,"slug":6646,"title":6647,"dynasty":78,"author":1427,"museum":360,"description":6648,"tags":6649,"thumbUrl":6650,"material":246,"size":6651,"collection":42,"collections":6652,"showCount":6596,"zanCount":11,"manualWeight":46,"mainColor":149},221711,"you-ju-tu-juan-qian-xuan-221711","幽居图卷","此图是钱选所绘的青绿山水画作之一。图中湖光山色静谧幽淡，展卷之始见三五秀石零落坡边岸角，青松虬曲其上，村居掩映树石之间，一叶小艇驶向水平如镜的湖中，对岸碧峰起伏，参差错落，楼阁为茂林所环抱，茅舍隐现丛树兀石之后，幽居之景、之境、之情、之趣毕现于纸上。其画山石树木皆用方折的线条勾出轮廓，不作皴法，敷以青、绿、赭等色，山脚处略施金粉，于严整工致中见古拙秀逸之气。图的右上方自题“幽居图”三字，其中“幽”字残缺严重，形近“山”字，故亦被称作“山居图”。本幅及前后隔水有“怡亲王宝”等印共29方，尾纸上有纪仪、纪堂、高士奇、邵松年等人的题跋。\n钱选的山水画以青绿设色为主，近师南宋赵伯驹，远溯杨隋展子虔、李昭道，运笔有生拙之趣，设色明快不失艳丽，布局张弛得度，疏密有致，自成风貌。我院另藏《山居图》一卷，虽与《幽居图》构图相异，但笔法、设色同出一源，两者堪为“双璧”。《浮玉山居图》卷（藏上海博物馆）则是钱选以水墨为主的代表作，卷中山石的阴阳向背用墨笔勾皴来表现，花青淡施丛树小草之上，清逸秀润之气溢出卷外，别具一格，与其青绿山水有异曲同工之妙。\n论成就，钱选跳出两宋院体的窠臼，追求晋唐作风，在元初画坛独树一帜，对开创一代画风起了积极的作用。然而，由于赵孟頫与“元四家”的山水画更符合文人重笔墨、尚意趣的审美观念，和他们相比，钱选对后世的影响便略逊一筹了。",[23,200,24,25,26,28,56,37,82,29,34,35,2490,7,427,114,3766,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8cf429f09a10060fba89347fd3819ea.jpg","纵27厘米, 横115.9厘米",[42,264],{"id":6654,"slug":6655,"title":6656,"dynasty":78,"author":6657,"museum":53,"description":6658,"tags":6659,"thumbUrl":6660,"material":116,"size":6661,"collection":42,"collections":6662,"showCount":6596,"zanCount":764,"manualWeight":46,"mainColor":47},218911,"shan-yin-yun-xue-tu-fang-cong-yi-218911","山阴云雪图","方从义","这幅画的构图相当简单，只是在山顶和树上有一股烟和雾。水墨的使用非常丰富，给树木、岩石、云朵和山峰带来不同的表情和质感。画笔充满了水分，云朵和烟雾似乎随着水分漂浮和移动。虽然这幅画很小，但它显示了一种令人兴奋的水墨节奏。",[23,24,25,95,27,36,82,37,38,29,837,883,537,112,130,7,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6ec60bc5870f2b71d67a4af41f89a6c.jpg","62.6x25.5厘米",[42],{"id":6664,"slug":6665,"title":6666,"dynasty":78,"author":436,"museum":6667,"description":6668,"tags":6669,"thumbUrl":6671,"material":84,"size":6672,"collection":42,"collections":6673,"showCount":6596,"zanCount":605,"manualWeight":46,"mainColor":149},218225,"qing-shan-hua-ge-tu-yi-ming-218225","青山画阁图","朵云轩","此图绘重峦之中的楼阁，游人漫步其中，凭栏远眺，两 只小舟荡于溪水之上。山石的画法受郭熙影响，界画楼阁手法工谨，当属职业画家所创作的山水楼阁画。",[24,25,951,28,257,36,6670,60,30,31,34,7,908],"青山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F460d65a40c463c3ffa5784432d4acd69.jpg","170x103cm",[42],{"id":6675,"slug":6676,"title":6677,"dynasty":18,"author":436,"museum":3206,"description":6678,"tags":6679,"thumbUrl":6680,"material":84,"size":6681,"collection":42,"collections":6682,"showCount":6596,"zanCount":46,"manualWeight":46,"mainColor":149},217911,"shan-zhuang-guan-he-tu-yi-ming-217911","山庄观鹤图","山庄观鹤图是明朝时期的一幅名画，作者是佚名画家。这幅画描绘了一座山庄，山庄周围群山环抱，绿树成荫，空气清新。在山庄的前院，有一只鹤正在观赏花草，显得十分和善。这幅画浓烈的山水意境，深刻地表现出了古人对自然界的敬畏和虔诚，同时也展现了明朝画家独特的画风和技巧。",[24,95,28,29,36,58,33,30,31,60,34,7,488],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2fad8a02e60f7dc3edd0d39a2250f75.jpg","195.5x99cm",[42],{"id":6684,"slug":6685,"title":6686,"dynasty":654,"author":621,"museum":53,"description":6012,"tags":6687,"thumbUrl":6688,"material":601,"size":6689,"collection":70,"collections":6690,"showCount":6691,"zanCount":11,"manualWeight":46,"mainColor":149},289925,"yu-le-tu-zhou-jing-hao-289925","渔乐图轴",[24,95,27,36,29,243,242,244,31,96,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffda905b5bc4e53571550e7355ed79a2b.jpg","189.4x125.9",[],75,{"id":6693,"slug":6694,"title":6695,"dynasty":124,"author":125,"museum":561,"description":6696,"tags":6697,"thumbUrl":6698,"material":217,"size":660,"collection":70,"collections":6699,"showCount":6691,"zanCount":46,"manualWeight":46,"mainColor":663},287539,"xue-shan-lou-ge-tu-fan-kuan-287539","雪山楼阁图","此画结构严谨，气势雄伟。画面左下角有渔夫正卖鱼于顾客，山间小路上的行人冒匆匆赶路，形态生动，比例自然，形象与《溪山行旅图》中的商旅有异曲同工之妙。",[24,29,27,36,60,860,31,7,34,612],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f7164b3c1f63766c284a26f90276d03.jpg",[],{"id":6701,"slug":6702,"title":6703,"dynasty":18,"author":3243,"museum":561,"description":6704,"tags":6705,"thumbUrl":6706,"material":229,"size":70,"collection":289,"collections":6707,"showCount":6691,"zanCount":46,"manualWeight":46,"mainColor":149},237222,"chen-hong-shou-jin-jue-tu-juan-chen-hong-shou-237222","陈洪绶晋爵图卷","陈洪绶（1599年—1652年），字章侯，幼名莲子，一名胥岸，号老莲，别号小净名，晚号老迟、悔迟，汉族，浙江绍兴府诸暨县枫桥陈家村（今 明代著名书画家、诗人。\n年少师事 明亡入 一生以画见长，尤工 所画人物躯干伟岸，衣纹 花鸟等描绘精细，设色清丽，富有装饰味。亦能画 还长于为文学作品创作 其画手法简练，色彩沉着含蓄，其人物画成就，人谓“力量气局，超拔磊落，在仇（英）、唐（寅）之上，盖明三百年无此笔墨”；当代国际学者推尊他为“代表十七世纪出现许多有彻底的个人独特风格艺术家之中的第一人”。",[24,25,26,56,28,58,59,1012,7,34,31,565],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcddd38d94f0d83cb4ba3169e2191ffee.jpg",[289],{"id":6709,"slug":6710,"title":6711,"dynasty":78,"author":436,"museum":1090,"description":6712,"tags":6713,"thumbUrl":6716,"material":142,"size":6717,"collection":70,"collections":6718,"showCount":6691,"zanCount":11,"manualWeight":46,"mainColor":663},223593,"bai-yi-guan-yin-tu-zhou-yi-ming-223593","白衣观音图轴","此作用淡墨白描写就，线条清劲圆转如兰叶拂风，将观音衣袂的舒展柔曼尽数铺陈。菩萨安坐枯木之上，神态恬寂慈悲，身罩圆光，愈发显得清宁出尘。一旁净瓶斜插柳枝，暗点禅意。背景寥寥数笔勾勒寒江枯石，简淡空寂，烘托出幽远澄澈的水月之境。画首题诗暗合观心见性的禅思，笔墨极简却神完气足，以空灵之境托出观音自在无染的悲悯之态，尽显简逸高古的审美意趣，淡远清和之中，悠悠禅韵扑面而来。",[23,24,25,95,784,712,58,213,7,6714,6715],"净瓶","线描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F650731d393f311c93711e07f496fca71.jpg","83x39",[],{"id":6720,"slug":6721,"title":6722,"dynasty":296,"author":6723,"museum":239,"description":6724,"tags":6725,"thumbUrl":6728,"material":68,"size":6729,"collection":289,"collections":6730,"showCount":6691,"zanCount":46,"manualWeight":46,"mainColor":149},222523,"zhu-shou-tu-zhou-wang-wen-wei-222523","祝寿图轴","王文炜","寿星和梅花鹿是这一题材必备的图像，婴戏图表示多子，也代表了吉祥的寓意，除此之外本图中还描绘了对坐书案的两位文仕，为本图平添了高雅的情趣。画面设色妍雅，笔墨生动。",[23,24,25,200,95,28,56,58,1250,6726,4949,427,7,31,6727],"老人","祝寿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca9cf9fe0adff55e94e42726ea4c7077.jpg","80X160",[289,264],{"id":6732,"slug":6733,"title":6734,"dynasty":18,"author":1100,"museum":53,"description":6735,"tags":6736,"thumbUrl":6737,"material":229,"size":6738,"collection":42,"collections":6739,"showCount":6691,"zanCount":46,"manualWeight":46,"mainColor":47},220939,"qi-feng-bai-yun-tu-zhou-dong-qi-chang-220939","奇峰白云图轴","董其昌《奇峰白云图轴》，纵273厘米，横58.9厘米，中国台北故宫博物馆藏。董其昌，字玄宰，号思白，华亭（今上海）人。万历十六年进士，官至礼部尚书。精鉴藏，工书善画。山水宗董巨，集宋元诸家之长。倡南北宗论，以南宗为正统，对清代画坛影响甚巨。\n\n此轴董氏描绘山村小景，境本寻常。奇峰矗立于天外，云影项洞于林表，遂觉景况清爽，分外宜人。画山画树皆用淡墨起手，逐层加浓。树中如有烟气，山色明净而郁厚，盖皆用墨之功也。\n\n由于勤奋和高寿，董其昌一生创作了许多山水画，“早年英锐，中年苍润，晚年纯以骨力胜”。据著录所载，董氏作品之多，在明代画家中仅有文征明可与之相比。这些山水画的题材比较丰富，大致可分为两类：一类是仿古名家的作品，如仿王维《寒林远岫图》、仿董源《夏口待渡图》、仿巨然《出云降雨图》、仿米芾《潇湘白云图》、仿王诜《烟江叠嶂图》、仿赵伯驹《春山读书图》、仿米友仁《楚山清晓图》、仿赵令穰《江乡清夏图》、仿高克恭《夏山烟雨图》、仿黄公望《富春山居图》、仿王蒙《云山小隐图》、仿倪瓒《横云秋霁图》、仿沈周《岚容川色图》等。这类作品虽称仿作，但不是模拟蹈袭，而是在学习前人技法的同时，融以自己的风格，含有继承传统、进而创新的成分。\n\n另一类是独自的创作，如《升山图》（现藏南京博物院）、《遥峰泼翠图》、《山川出云图》、《赠逊之山水图册》、《秋兴八景图册》（现藏上海博物馆）、《岩居图》、《潇湘奇观图》（现藏故宫博物院）、《霜林秋思图》、《婉娈草堂图》（现藏台北士林故宫博物院）、《山水八景图》（现藏美国普林斯顿大学美术馆）、《江山秋霁图》（现藏美国克里夫兰美术馆）等。",[23,24,25,95,27,36,37,82,29,4129,1067,34,35,7,316,133,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e37fd90d7727b977ad5b9503509c64c.jpg","纵273厘米,横58.9厘米",[42,146],{"id":6741,"slug":6742,"title":6743,"dynasty":18,"author":1100,"museum":53,"description":2393,"tags":6744,"thumbUrl":6745,"material":2396,"size":70,"collection":42,"collections":6746,"showCount":6691,"zanCount":46,"manualWeight":46,"mainColor":149},220935,"fang-fan-kuan-xi-shan-xing-lv-tu-dong-qi-chang-220935","仿范宽谿山行旅图",[24,25,29,186,36,27,28,7,158,34,214,159,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f6af289c5e3cc8977a1679c323cf75a.jpg",[42,146],{"id":6748,"slug":6749,"title":6750,"dynasty":296,"author":2382,"museum":6751,"description":6752,"tags":6753,"thumbUrl":6754,"material":1467,"size":70,"collection":70,"collections":6755,"showCount":6691,"zanCount":46,"manualWeight":46,"mainColor":47},220464,"tao-hua-yuan-ren-yi-220464","桃花源","亚瑟·M·赛克勒美术馆","淡墨勾皴层叠岩壁，浅晕青绿晕开山岚清润。老樵负斧驻足，抬首凝望漫山繁花。苍劲虬枝缀满素色花团，如堆雪覆枝，将山野晕染出朦胧柔婉。幽寂山石隐在花影石隙，似藏着无人惊扰的洞天。\n人物衣褶简括灵动，抬首的怔忡神态宛然在目，将误入世外山境的沉醉凝于笔端。淡墨写意晕出空寂悠远的山野氛围，清简笔墨铺展出世外天地的悠然意趣，把隐逸避世的幽韵尽数融在这尺幅之中。",[23,24,95,28,6043,58,29,390,7,34,31,2517],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc2b3db8d3cbb318979a7513a7d5b907.jpg",[],{"id":6757,"slug":6758,"title":6759,"dynasty":296,"author":3185,"museum":346,"description":3700,"tags":6760,"thumbUrl":6761,"material":40,"size":3703,"collection":42,"collections":6762,"showCount":6691,"zanCount":46,"manualWeight":46,"mainColor":47},219758,"shan-shui-si-jing-zhi-dong-kun-can-219758","山水四景之冬",[23,24,25,27,29,452,96,32,31,7,36,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e12908bdfbb0b49c1ea3f005a312023.jpg",[42],{"id":6764,"slug":6765,"title":462,"dynasty":296,"author":297,"museum":346,"description":6766,"tags":6767,"thumbUrl":6768,"material":40,"size":70,"collection":42,"collections":6769,"showCount":6691,"zanCount":46,"manualWeight":46,"mainColor":47},219756,"shan-shui-tu-zhu-da-219756","以枯淡笔墨绘就天地疏景，线条老辣苍劲，不作浓艳晕染，大片留白代水映天，尽显空寂辽远。远山浅勾轻皴，淡宕朦胧如幻，近木虬曲怪诞，寥寥枝桠撑住清寒风骨。屋舍隐于林间坡岸，愈发衬出天地阒寂。\n\n整幅画将孤高沉郁藏在极简构图里，冷逸萧索的意境下，是遗世的喟叹，简淡笔触中尽是疏离孤傲的心境，于空荒冷寂间，晕开独有的禅意与沉郁诗意。",[23,24,25,27,300,36,29,242,7,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fb58644b54bbcc9aee7fe0bc1916a47.jpg",[42],{"id":6771,"slug":6772,"title":6773,"dynasty":793,"author":6774,"museum":346,"description":6775,"tags":6776,"thumbUrl":6777,"material":601,"size":6778,"collection":306,"collections":6779,"showCount":6691,"zanCount":46,"man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创作的绢本设色画，现收藏于北京故宫博物院。\n该图画一老者襟带飘然，风度高雅。\n栖居环境十分优美雅适，高山流水，小桥人家，苍松翠柏，桃花盛开，白云缭绕，草堂幽雅，凉亭洁静，宛如人间仙境。\n整幅画意境如诗入仙，画法精细工瑾，细致入微。\n通幅大青绿着色，色彩艳丽深重。\n这幅画是把滴翠的石绿、秀雅的淡赭、温润的墨色，自然和谐地统一在一起，具有一种不媚不俗的艺术效果。\n图中信步在浓郁的树荫下者即项元淇，他侧身而立，身穿宽服大衫，面目清秀，襟带飘然，风度翩翩，显得十分儒雅，为此图中的主人公：此画以山水为背景，景物十分繁复，远处，高山叠幛，山峰林立，山巅屹立，高峰两侧山势相应较矮小，形成“山”字形，山峦间白云缭绕，更远处的山头隐约可见山涧飞瀑高悬，奔腾直泻，叠泉涌流，水花四溅，汇集下部溪水中，溪水湍流，潺潺流淌：中部为山石嶙峋，有的竖立，有的横卧，错落有致，山石间松柏挺拔，与杂树并茂，山腰、山坳处桃花绽开，几乎染红半山腰，呈现出一派浓浓的春意。\n在苍松翠柏丛中，在半山腰的平坡处，座落草堂屋宇数间，半掩于山坡奇石之间，在桃林中筑孤亭，亭中几席书籍清晰可见，草堂四周环境十分优美，凉亭洁净，正是读书吟诗的好场所，宛如人间仙境。\n小溪从亭旁缓缓流过，溪流小桥上有一童子捧着书卷而来，一人从林荫深处向溪边缓步前来，此人正是主人翁项元淇。\n另有二童子，一在溪边洗砚，一携包屋前。\n清代昆度在边题中称“此图在十父图中亦足称第一。\n” 董其昌题跋：“仇实甫临宋画无不乱真，就中学赵伯驹者，更有出蓝之能，虽文太史让费及矣，此图是也。\n” 款识：“仇实父为少岳先生制。\n”画幅左方有明项元汴题“季弟元汴敬藏”。\n裱边左、右有子固、董其昌二跋。\n下裱徐石雪长跋。\n又有项元汴、耿信公、清高宗等鉴藏印二十方。\n此图是仇英为项元淇所绘。\n项元淇，宁子瞻，丁诗文草书。\n这所桃村草堂是项元淇的居处所，仇英在4岁左右被大鉴赏家、收藏家项元汴请至家中，在项家住了十年之久，为项氏绘画和临摹了大量作品，此《桃村草堂图》便是其中之一幅。\n据徐石雪题跋考证，画中老者即为项元淇。\n由于作者为主人绘制，所以落墨、设色十分认真。\n章法采用传统的“高远”构图法。\n画幅中虽景物繁多，尤其崇山峻岭，山峦叠嶂，可是在画家笔下山峰脉络清晰，山石用传统的勾勒手法，兼用细密的皴法和墨色的烘染，使山石富于质感和立体感：全画设色艳丽浓重，又不失淡雅的韵味。\n此画成功之处，还于突出桃村草堂的主人公项元淇的形象。\n主人公项元淇虽在整个画面中占的比例很小，但画家巧妙地将主人公安置于画面下方正中，身穿白色宽服长衫，特别醒目。\n同时，又注意到人物之间的比例关系，使主人公很自然地融汇到大自然之中。\n同时，画家十分巧妙地在亭子中陈设书籍，及溪边童子洗砚和一童子捧书过桥的情节，以此来说明主人公是一个文人雅士。\n北京故宫博物院研究员单国强：《桃村草堂图》藏于北京故宫博物院，学“二赵”青绿法，精细鲜丽，呈晚年本色画风。\n该图经清内府收藏，后为徐石雪所得。\n未见著录。\n现藏于北京故宫博物院。\n仇英（约1498—1552），字实父，号十洲，江苏太仓人，明代杰出画家。\n仇英早年曾是个油漆工，后改学画，师周臣。\n仇英善于摹古，不拘一家一派。\n人物、鸟兽、山水、楼观、舟车之类，都是他常描绘的对象。\n他的画题材广泛，风格工整秀丽，深受当时地主富商的喜爱。\n仇英的人物画最为精妙，尤其是仕女图，既工设色，又善水墨、白描，能运用多种笔法表现不同对象，或婉转舒畅，或劲丽艳爽，创历史风俗的新格，画风流丽纤巧，在当时反响很大，与沈周、文征明、唐寅并称为“明四家”。\n代表作有《松溪论画图》《汉宫春晓图》《桃园仙境图》《玉洞仙源图》《春夜宴桃李园图》等。",[23,24,25,95,28,56,257,29,58,33,34,31,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74d7c8993b1840527a365334fa6a6479.jpg",[],{"id":6837,"slug":6838,"title":6839,"dynasty":296,"author":4137,"museum":561,"description":6840,"tags":6841,"thumbUrl":6842,"material":70,"size":70,"collection":70,"collections":6843,"showCount":6806,"zanCount":764,"manualWeight":46,"mainColor":47},224366,"hua-hui-si-ping-zhi-er-ju-lian-224366","花卉四屏之二","此作用笔秀雅工丽，素白牡丹以淡墨勾瓣，浅红晕染花心，柔润饱满如凝脂，尽展雍容柔媚之态。墨色叶片浓淡参差，苍润交错，衬出花之洁雅清贵。\n嶙峋湖石以水墨皴擦勾勒，孔洞玲珑古朴，刚硬质感与柔美花株相映，刚柔相济。飞蜂振翅穿行花间，灵动鲜活，为静谧花景添了盎然生机，动静之间尽显春日花下恬然意趣。\n设色明秀清雅，无艳俗之气，兼具写生之真与写意之韵，将花木情态勾勒入神，藏着悠然清逸的文人雅趣。",[23,200,24,25,95,56,28,62,441,1430,7,2177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee9fa90dceefd3869dc23af99f9a1298.jpg",[],{"id":6845,"slug":6846,"title":6847,"dynasty":18,"author":6848,"museum":53,"description":6849,"tags":6850,"thumbUrl":6851,"material":40,"size":6852,"collection":306,"collections":6853,"showCount":6806,"zanCount":764,"manualWeight":46,"mainColor":47},219450,"xian-sui-xiang-ying-zhou-chen-gua-219450","献岁祥霙轴","陈栝","此幅绘水仙、腊梅、茶花、竹枝、文禽，山石雪景。用笔灵动，设色清雅。",[24,25,95,56,28,62,390,301,391,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccf87f356fe872769882685c6c3b9a98.jpg","161.6x43.1厘米",[306],{"id":6855,"slug":6856,"title":6857,"dynasty":18,"author":6858,"museum":4634,"description":6859,"tags":6860,"thumbUrl":6861,"material":28,"size":70,"collection":289,"collections":6862,"showCount":6806,"zanCount":46,"manualWeight":46,"mainColor":47},216774,"ri-ben-xian-ren-gao-shi-tu-ping-feng-you-shou-ye-yong-de-216774","日本· 仙人高士图屏风（右）","狩野永德","虬松盘曲，枝叶垂荫，林间高士或立或行，衣袂轻扬。一人俯身似拾幽趣，几人对语如论玄言，神态闲适淡然，尽得超脱尘俗之致。背景山水晕染朦胧，草木疏朗，与人物清逸之姿相映成趣。笔墨简练传神，衣纹流转自然，树木皴法古雅，将林泉之幽、高士之韵融于尺幅，营造出空灵悠远的意境，尽显文人画的雅致情怀。",[23,65,27,712,28,58,34,7,2697],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf2dc8a5fc99d7b36be27e50fc56ec0a.jpg",[289],{"id":6864,"slug":6865,"title":6866,"dynasty":18,"author":436,"museum":561,"description":6867,"tags":6868,"thumbUrl":6871,"material":70,"size":70,"collection":70,"collections":6872,"showCount":6873,"zanCount":11,"manualWeight":46,"mainColor":149},232909,"fang-xu-xi-hua-niao-tu-juan-yi-ming-232909","仿徐熙花鸟图卷","徐熙，鍾陵（今進賢西北）人，生卒年不詳，出身世家，「世為江南顯族」。但一生沒有出仕做官，因此後世稱他為「江南布衣」或「南唐處士」。他的藝術成就，集中體現在不同凡響的落墨花鳥畫創作方面。在當時，這種畫的畫法不同於一般傳統的技法，而是大膽創新。它的出現，曾引發了一些遵從傳統技法的畫家的震驚和敵視。\n中國花鳥畫成為獨立的藝術，比人物畫、山水畫稍晚，唐代雖然出現了不少名家，但直到五代南唐徐熙和西蜀黃荃兩家的出現，花鳥畫壇才放出了異彩。\n徐熙、黃荃都是中國繪畫史上影響深遠的大畫家，但繪畫風格不同，宋代流行一句話：「黃荃富貴，徐熙野逸」。王安石盛讚徐熙的畫名滿江南，成就卓著。劉道醇的《聖朝名畫評》將徐熙的作品列為「花竹翎毛門」的神品第一名，認為他「與造化之功不甚遠，宜乎為天下冠也」。\n眼光獨特的北宋書畫大家米芾認為徐熙的畫法富於變化，不為常規所有，用普通的追求形色相似的臨摹方法無法描摹、激賞其藝術上的獨創價值。\n徐熙是一位多產的畫家，宋《宣和畫譜》所載藏於御府的畫目中，徐熙的畫有249種。流傳於世間的重要作品有《寒蘆野鴨》《花竹雜禽》《魚蟹草蟲》《雪竹圖》《百鳥圖卷》等，因其開創了中國寫意花鳥畫的先河，時稱「江南花鳥，始於徐家」。",[23,24,25,26,28,56,186,37,62,201,63,488,34,7,1373,6869,2011,6870],"日","鸟类","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90011eff47e64f1294d5d515d140a732.jpg",[],73,{"id":6875,"slug":6876,"title":6877,"dynasty":296,"author":2948,"museum":20,"description":6878,"tags":6879,"thumbUrl":6881,"material":229,"size":6882,"collection":70,"collections":6883,"showCount":6873,"zanCount":11,"manualWeight":46,"mainColor":47},231483,"jiu-xi-feng-he-tu-hong-ren-231483","九谿峰壑图","弘仁（1610-1664），俗姓江，名韬，字六奇，又名舫，字鸥盟。明亡后出家为僧，字无智，号渐江，又号梅花古衲。安徽歙县人。山水学宋元笔意，直追元代的倪瓒，多写黄山松石，为清初“四画僧”之一。\n\n所画山水有强烈的写实性，山石形状多取自他熟悉的黄山和武夷山，坚硬峭拔，石面干净。用笔多方折，墨色干而单，构图简洁，形成一种空旷冷郁的境界。",[24,25,29,712,27,36,2901,6880,242,7,187,82],"壑谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc394a8eac2513dc3a8eac76d6356b43f.jpg","纵110.6厘米，横58.9厘米",[],{"id":6885,"slug":6886,"title":6887,"dynasty":793,"author":2057,"museum":561,"description":6888,"tags":6889,"thumbUrl":6890,"material":70,"size":70,"collection":70,"collections":6891,"showCount":6873,"zanCount":46,"manualWeight":46,"mainColor":149},227243,"gong-dian-tu-ye-li-zhao-dao-227243","宫殿图页","大小李将军：李思训、李昭道\n\n李思训 (653一718)唐代书画家。成纪(今甘肃天水)人。唐宗室,高宗时为江都令。武则天当政，弃官潜匿。神龙元年(705)出为宗正卿。玄宗开元初官左武卫大将军。李邕碑称「云麾将军」。工书法，尤擅画山水树石，笔力犹劲。格调细密。好写湍獭潺湲，云霞缥缈之景，鸟兽草木，皆穷其态。朱景玄说他「国朝山水第一，列神品」。这种青绿为质、金碧为纹的山水画，富有装饰性，源出于隋代展子虔，继承并发展了六朝以来以色彩为主的表现形式。明代董其昌推之为「北宗上之祖。唐代张彦远说「山水之变，始于吴(道子)，成于二李(思训、昭道)」。世称「二李」为「大、小李将军」。画迹有《山居四皓图》、《江山渔乐图》、《群峰茂林图》等十七件，著录于《宣和书谱》。存世作品有《江帆楼阁图》轴，绢本，设色，长松秀岭，翠竹掩映，山径层迭，碧殿朱廊，江天阔渺，风帆溯流，具唐衣冠者四人，山右青绿，有简单斫笔，安岐评谓「傅色古豔，笔墨超轶。」现藏台北故宫博物院。",[23,24,25,257,28,57,29,60,7,34,564,58,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba0c482941c845fe70d4fbfffeaffeec.jpg",[],{"id":6893,"slug":6894,"title":6895,"dynasty":18,"author":6896,"museum":360,"description":6897,"tags":6898,"thumbUrl":6900,"material":246,"size":6901,"collection":42,"collections":6902,"showCount":6873,"zanCount":46,"manualWeight":46,"mainColor":47},222223,"nan-xi-cao-tang-tu-juan-wen-bo-ren-222223","南溪草堂图卷","文伯仁","在明代吴门地区的绘画中，以名人的室名、别号为题材或描绘文人、官宦所居庄园、别墅景观的作品为数众多，此图即属于后一种。根据卷后王穉登所撰《重建南溪草堂记》可知，此图描绘的是江南望族顾氏的庄园“南溪草堂”重修后的景致。\n图中水道蜿蜒纵横，竹林丛树、渔舟小桥、草堂庙宇等散布杂错，建筑与自然景物融为一体，自然和谐。虽有农田、药圃，但无农人艰辛劳作之状，表现的是江南文人泛舟读书的优雅闲适的生活。图中庄园较之一般江南园林的文雅精致，另有一种田园野趣，别具特色。\n全画构图密而不乱，平坡土石以干笔勾勒、皴染，树冠枝叶多以极富变化的墨点画成，点染兼用，间或出以双勾，皆富于层次感。全图笔墨清劲简洁，风格柔和明秀，代表了文伯仁晚年的典型艺术风貌。\n近人汪士元《麓云楼书画论略》著录。",[23,24,26,28,36,29,30,31,33,34,227,32,58,6899,7,578],"田亩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F318c928a273f8a65e6b7ff89c010e31d.jpg","纵34.8厘米，横713.5厘米",[42,264],{"id":6904,"slug":6905,"title":6906,"dynasty":18,"author":6907,"museum":561,"description":6908,"tags":6909,"thumbUrl":6910,"material":246,"size":6911,"collection":42,"collections":6912,"showCount":6873,"zanCount":517,"manualWeight":46,"mainColor":47},222050,"xue-jing-tu-zhang-peng-222050","雪景图","张鹏","图上山顶白雪霭霭，近处树木枝叉覆盖着薄雪，一老翁身着蓑衣，头戴小帽，坐于船头，悠闲的垂钓；此时水面的平静，树木、群山笼罩在白雪中，似乎一切都是静止的。技法上，雪山以粗细条勾勒，淡色晕染山体。张鹏，字应秋，号云程，明代画家，",[23,24,27,36,29,95,612,7,242,32,724,60,1262],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc970e3e8eb98d514e0fe6f4f1bfacc34.jpg","97X53cm",[42,146],{"id":6914,"slug":6915,"title":6916,"dynasty":78,"author":6917,"museum":53,"description":6918,"tags":6919,"thumbUrl":6921,"material":28,"size":6922,"collection":289,"collections":6923,"showCount":6873,"zanCount":46,"manualWeight":46,"mainColor":149},221852,"hua-ke-jiu-si-xie-bin-feng-tu-juan-wang-zhen-peng-221852","画柯九思写豳风图卷","王振鹏","豳，在岐山北，为周先世立国之地。据说成王（？－西元前1021）幼年继位，周公（？－西元前1032）摄政，为令成王了解农桑为政教首务，并关心百姓的四季生活，作豳风晓谕周人祖先后稷、公刘稼穑重农的传统。此卷图绘〈豳风?七月〉，为孔子所辑《诗经》十五国风中最长的一首，由农事之始写至农事之终，先写衣食，次叙农耕蚕桑，最后论至打猎与秋收冬藏，共计八段，全卷青绿设色，每段旁书原文参照。旧题与跋均以为是元代王振鹏（活动于十四世纪前半），及柯九思（1290－1343）作品，然画中已见明代仇英（约1494－1552）影响，推测应为十六世纪后苏州托名之作。",[23,200,24,26,28,56,58,29,30,31,34,489,7,6920],"景物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cb935cec3f8c3cf1b21654d10eed78a.jpg","高53.8隔12本893隔12拖127厘米",[289,264],{"id":6925,"slug":6926,"title":6927,"dynasty":18,"author":5436,"museum":108,"description":6928,"tags":6929,"thumbUrl":6930,"material":84,"size":6931,"collection":42,"collections":6932,"showCount":6873,"zanCount":46,"manualWeight":46,"mainColor":149},220068,"han-lin-xing-lv-tu-xie-shi-chen-220068","寒林行旅图","画面以高远、平远之境铺陈，危崖层叠向上，虬松枯木扎根岩隙，枝桠劲挺尽显冬日元气。中层江天寥廓，远帆点点，衬出寒山空寂萧疏。近处以栈道行旅、山居茅舍破了荒寒，添上烟火暖意。\n\n笔墨兼融雄健与雅致，斧劈皴勾勒山石嶙峋质感，枯笔写木，笔力苍劲老辣，既绘出冬日山林的清寂荒寒，又暗藏旅人赶路的生趣，将山野冷意与人情暖意相融，大气苍莽又不失细腻意韵。",[24,27,36,95,29,538,131,7,130,58,215,32,34,214,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa68c24099e5a53a7f113148c70a7c46.jpg","151.5x74",[42],{"id":6934,"slug":6935,"title":6936,"dynasty":18,"author":5436,"museum":1043,"description":6937,"tags":6938,"thumbUrl":6939,"material":84,"size":6940,"collection":42,"collections":6941,"showCount":6873,"zanCount":764,"manualWeight":46,"mainColor":149},219716,"song-xi-qin-ke-tu-xie-shi-chen-219716","松溪琴客图","危峰层叠巍峨，苍松盘桓于崖壁间，飞瀑隐入烟岚。中部水面空濛留白，汀渚间楼宇半掩，将山野空寂的悠远铺展开来。近岸老松郁茂，清溪蜿蜒穿林，松下雅士围坐，琴韵似随溪水潺潺漫溢山林。\n\n笔墨兼取刚劲与秀润，皴擦点染勾勒出山石肌理的苍劲，淡墨晕染烟霭，虚实相生间，将雄阔山水之壮与林泉雅集之逸相融，把文人寄情丘壑、静享幽居的意趣藏进每一处留白，绘就出一卷兼具大气与闲雅的山居清景。",[24,25,200,95,27,28,36,29,427,31,130,58,7,34,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaa866c2cd2f276fdb3cca85d0d64f70.jpg","141x71.1厘米",[42],{"id":6943,"slug":6944,"title":6945,"dynasty":18,"author":3448,"museum":53,"description":6946,"tags":6947,"thumbUrl":6950,"material":28,"size":6951,"collection":42,"collections":6952,"showCount":6873,"zanCount":764,"manualWeight":46,"mainColor":149},219458,"chun-shan-xi-ge-tu-lu-zhi-219458","春山溪阁图","弘治九年（1496年）生。世代耕读，其父与文徵明有交谊，遂从学于文徵明门下。早年为诸生，屡试不中，转为书画，善画山水、花鸟。隐居支硎山。",[24,28,29,36,6948,6949,30,31,34,7,60],"春山","溪阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd616fa2129ced1c381c18d595332f452.jpg","118.5x66.1",[42],{"id":6954,"slug":6955,"title":6956,"dynasty":18,"author":6957,"museum":4634,"description":6958,"tags":6959,"thumbUrl":6961,"material":229,"size":6962,"collection":42,"collections":6963,"showCount":6873,"zanCount":11,"manualWeight":46,"mainColor":149},216742,"ri-ben-zu-shi-tu-shou-ye-yuan-xin-216742","日本· 祖师图","狩野元信","室町后期画家，称大炊助。受父亲正信水墨画风的影响，加入浓彩的技巧，从而集狩野派新风格之大成。后世称其为古法眼。",[23,6960,95,784,28,56,36,29,58,130,96,7,133],"日本画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6889f3bb0ca60e1076055189342bb67.jpg","176.0x91.8",[42],{"id":6965,"slug":6966,"title":6967,"dynasty":124,"author":449,"museum":561,"description":2958,"tags":6968,"thumbUrl":6969,"material":217,"size":660,"collection":70,"collections":6970,"showCount":6971,"zanCount":46,"manualWeight":46,"mainColor":149},289358,"xue-jing-tu-han-xi-mei-xiang-ma-yuan-289358","雪景图（寒溪梅香）",[200,24,27,29,612,33,32,242,7,31,36,2000],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd288b946405b599d6d3edc3dfbf95485.jpg",[],72,{"id":6973,"slug":6974,"title":6975,"dynasty":296,"author":2948,"museum":360,"description":6976,"tags":6977,"thumbUrl":6978,"material":454,"size":6979,"collection":306,"collections":6980,"showCount":6971,"zanCount":764,"manualWeight":46,"mainColor":47},236353,"hong-ren-jie-shou-tu-zhou-hong-ren-236353","弘仁节寿图轴","弘仁的《节寿图轴》山水画，是一幅画在绢上的比较早的作品。画家51岁的时候画的，风格面貌已经成熟，松树干上有皴擦，石头做了渲染，画得很生动。特别是水，画得有一层一层流动的感觉。当代的一些山水画，常常画山就有水，但是不能明确“水”在画面中所起到的作用。所以水容易画得很概念，留空白就代表水，如果瀑布就从源头一直画到下端，好像瀑布很短、很矮，一眼能够全部看到，这都是不妥当的。其实对于自然山水中的溪流、瀑布来说，一般只能看到一个部分，其他会被山石、树木等遮挡，不可能全部看到。弘仁的这幅作品中，对于水流的处理是一个很好的参考。画中的瀑布溪流，平面过来一层，又有一个平面，又是一层，流过来再有一个下降的过程，就有了节奏和变化，而且符合大自然的规律。要画好水，就要去观察研究水的实际动态，研究古人画的水，研究自然中的水。",[296,27,29,95,36,272,391,7,132,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa70ff3779eca9bcdcd2e3e605f6901b2.jpg","102.2×51.5cm",[306,264],{"id":6982,"slug":6983,"title":6984,"dynasty":18,"author":6985,"museum":360,"description":6986,"tags":6987,"thumbUrl":6988,"material":3189,"size":6989,"collection":42,"collections":6990,"showCount":6971,"zanCount":11,"manualWeight":46,"mainColor":47},236306,"xie-qin-fang-you-tu-zhou-sun-zhi-236306","携琴访友图轴","孙枝","在历代抱琴与携琴图中，多是主人负手举步，缓缓前行，身后跟着抱琴童子。琴多在琴囊之中或被书童抱在怀里，线条干净简单。“我醉欲眠君且去，明朝有意抱琴来”，携琴访友的题材，历代均有描绘，如宋代范宽，明代文徵明、戴进、孙枝，清代陈卓、王翚、黄慎等都有名为《携琴访友图》的作品。代表了一种处于进行时的文士风雅，雅集即将开幕，雅乐即将奏响，一切处于将发而未发之状态，与含蓄蕴藉的古琴精神相合，甚至比对面抚琴更让人有所期待",[24,27,36,95,29,30,31,58,33,34,7,130,201,3602],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa969847ed7cf030565acd834b399bb46.jpg","纵121.3cm，横31.5cm",[42,146],{"id":6992,"slug":6993,"title":6994,"dynasty":124,"author":197,"museum":53,"description":6995,"tags":6996,"thumbUrl":6997,"material":142,"size":6998,"collection":70,"collections":6999,"showCount":6971,"zanCount":46,"manualWeight":46,"mainColor":149},231834,"chang-jiang-wan-li-tu-qian-ban-juan-xia-gui-231834","长江万里图（前半卷）","画卷的前半段，以近平视的角度近景特写江岩块、林木，以及行的舟船，表现三长江峡险峻和波涛汹涌的痛痛\n后半段则是俯视和远观的角度以及江景的活动，沿途所见美景。\n从近逼观者的景物转换到辽阔空旷的范围，这种构图的方式具有戏剧性的效果。\n夏圭，字禹玉，钱塘人，生卒年不详，稍晚于马远，宁宗朝画院待诏。他的山水画在构图和笔墨技法方面与马远非常相似，因此画史上一向以马、夏并称 。夏圭作品的风格和马远接触共同点，又各有独特的境界。马、夏山水大量剪裁，全景拍摄而画边角之景，因被称为「马一角」、「夏半边」 。他们在艺术上的高度提炼，是对传统山水画的发展和深度。",[23,24,25,26,27,36,29,60,34,32,31,7,33,201,3663,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bef87925daef2f4238cf1e2d9c3fcb8.jpg","该幅26.8x1115.3公分",[],{"id":7001,"slug":7002,"title":7003,"dynasty":296,"author":4083,"museum":7004,"description":7005,"tags":7006,"thumbUrl":7007,"material":246,"size":7008,"collection":42,"collections":7009,"showCount":6971,"zanCount":11,"manualWeight":46,"mainColor":149},222698,"shi-zi-lin-tu-juan-qian-wei-cheng-222698","狮子林图卷","加拿大阿尔伯特博物馆","画家以平铺式绘狮子林全景，园林内山石耸立，古木参天，道路蜿蜒崎岖，房屋掩映山石之中，廊亭依水而建，九曲婉转；远处云雾升腾，一片苍茫，如临仙境。",[23,24,25,26,28,29,36,56,37,38,82,7,60,30,31,33,34,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c6fe4918e5ed6590b2c6de0b736a8fd.jpg","187.3＊38.1cm",[42,264],{"id":7011,"slug":7012,"title":7013,"dynasty":18,"author":387,"museum":509,"description":7014,"tags":7015,"thumbUrl":7017,"material":885,"size":7018,"collection":42,"collections":7019,"showCount":6971,"zanCount":764,"manualWeight":46,"mainColor":47},222356,"cao-wu-pu-tuan-tu-tang-yin-222356","草屋蒲团图","绘江南初秋之景色。前景画茅屋于山麓，屋内一文士抱膝坐于蒲团晨读。人物刻划生动，双目炯炯有神，衣纹线描流畅有力。茅屋左面巨石竖立，五株墨竹拔地参天，笔墨苍劲，虚实得当，时隐时现，给人以动感。背景用水墨烘染群山，山腰间云雾飘动，富于变化;山谷间飞泉直泄，形成清溪，环绕草屋湍流而过。整个画面环境幽雅、清静，给人以浑厚、凝重之感。唐寅，字伯虎，又字子畏，号六如居士，桃花庵主，生于明成化六年(1470)，卒于嘉靖二年(1523)。他是位很有才华的画家，初师沈周，后学周臣，远宗李唐、刘松年，近攻元四家，山水、花鸟、人物、仕女无所不精，在技法上虽取法前人，但不落尘俗，自出新意。从唐氏传世作品看，多见雅淡、秀润、细腻，而此作却多雄浑、凝重，这在唐氏作品中还是极为少见的。此图右上端作者自题：“虚亭林木里，傍水着栏干，试展团蒲坐，叶声生早寒”。五言诗一首。下钤“吴趋”、“唐居士”、“南京解元”印三方。此作品的创作时间，应在唐寅四十岁左右。",[23,200,24,25,95,27,28,36,29,58,7016,1140,7,34,133,30],"草屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26f4e471afd9024c518a44d2335c9ae3.jpg","84x52",[42,146],{"id":7021,"slug":7022,"title":1259,"dynasty":296,"author":3112,"museum":20,"description":7023,"tags":7024,"thumbUrl":7025,"material":84,"size":7026,"collection":42,"collections":7027,"showCount":6971,"zanCount":11,"manualWeight":46,"mainColor":47},219846,"shan-shui-tu-ce-xie-sun-219846","本册图绘乡间野外平常小景,笔墨秀雅,造境清幽.谢荪(生卒年未详),清代画家.字缃酉,又字天令,常住南京.擅长画山水、花卉,与龚贤、樊圻齐名,为“金陵八家”之一.写心。",[24,25,111,28,27,36,29,35,34,7,31,4438],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79324e826001e1ae611d0f3618e1a31f.jpg","14.2x19.2",[42],{"id":7029,"slug":7030,"title":7031,"dynasty":18,"author":1149,"museum":360,"description":7032,"tags":7033,"thumbUrl":7035,"material":40,"size":7036,"collection":306,"collections":7037,"showCount":6971,"zanCount":11,"manualWeight":46,"mainColor":47},219286,"ying-que-tu-lv-ji-219286","鹰鹊图","图绘一只苍鹰独立岩顶，两只飞舞的蜜蜂吸引了它的目光，一旁的喜鹊趁机振翅欲逃。作者用笔粗阔，富有简率纵逸的笔墨意趣。吕纪的花鸟画不仅追求形似，更善于表现禽鸟之间的关系，捕捉住禽鸟瞬间的神态和动势，营造出千钧一发的紧迫感和爆发力，突破了传统花鸟画唯美的装饰意味，从而获得了新的艺术生命力。",[23,24,25,95,28,27,56,62,6283,7034,7,5869,201],"鹊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62b4c020881f2a1e771cfb4cf7f1d62f.jpg","纵120.7厘米，横61.5厘米",[306,264],{"id":7039,"slug":7040,"title":7041,"dynasty":18,"author":1149,"museum":3977,"description":7042,"tags":7043,"thumbUrl":7046,"material":84,"size":7047,"collection":306,"collections":7048,"showCount":6971,"zanCount":11,"manualWeight":46,"mainColor":149},219091,"mei-zhu-zhi-ji-tu-lv-ji-219091","梅竹雉鸡图","画面中，雉鸡翎羽斑斓，纤毫毕现，顾盼间神采奕奕，似欲振翅。旁侧梅枝遒劲，蕊瓣凝霜带露，红白相映，清雅动人；竹篁翠影婆娑，叶片舒展如剑，与梅枝交错成趣。背景淡墨晕染，山石轮廓隐约，既衬出前景花鸟的工致，又添悠远意境。工笔与写意相融，浓淡相宜，细节处见精巧，整体中显生机，仿佛能闻梅香浮动，听竹风轻吟，观雉鸡闲步，一派自然生趣跃然绢素，尽显明代院体画的雅致与活力。",[23,24,200,25,1152,56,300,28,390,391,3720,7,7044,7045],"雅致","生机","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe89d86fad1a49b299371ea8c1d3f18c7.jpg","纵151.1横100.3厘米",[306],{"id":7050,"slug":7051,"title":7052,"dynasty":78,"author":7053,"museum":2286,"description":7054,"tags":7055,"thumbUrl":7056,"material":116,"size":7057,"collection":42,"collections":7058,"showCount":6971,"zanCount":764,"manualWeight":46,"mainColor":47},217990,"lin-ting-yuan-xiu-tu-tao-xuan-217990","林亭远岫图","陶铉","“林亭远岫图”是陶铉的代表作之一，是一幅山水画。这幅画以其精美的线条、细腻的笔触和丰富的层次感而闻名。画中，陶铉用浓密的线条勾勒出了山峰、悬崖、峡谷和溪流等山水景观。通过对色彩的运用，他将画面分成了几个不同的层次，使得画面看起来格外丰富。\n\n陶铉的“林亭远岫图”是元朝山水画的杰作，具有极高的艺术价值。它不仅是陶铉本人的代表作，也是元朝画坛的瑰宝。至今，“林亭远岫图”仍是中国绘画史上最著名的山水画之一，并被许多人所熟知和欣赏。",[24,25,27,95,29,36,33,114,112,391,7,31,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeb9601a60ed15025f72dd5d7116adea.jpg","58x31.7cm",[42,146],{"id":7060,"slug":7061,"title":6122,"dynasty":296,"author":3038,"museum":561,"description":7062,"tags":7063,"thumbUrl":7064,"material":217,"size":660,"collection":42,"collections":7065,"showCount":7066,"zanCount":46,"manualWeight":46,"mainColor":47},234956,"wang-hui-fang-gu-shan-shui-ce-wang-hui-234956","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。”",[24,25,111,28,36,186,29,96,7,133,114,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e9365e63d8219fdbc7a9693bddcec7a.jpg",[42,264],71,{"id":7068,"slug":7069,"title":7070,"dynasty":124,"author":449,"museum":561,"description":7071,"tags":7072,"thumbUrl":7073,"material":70,"size":70,"collection":70,"collections":7074,"showCount":7066,"zanCount":46,"manualWeight":46,"mainColor":250},227824,"qiu-jiang-dai-du-tu-ye-ma-yuan-227824","秋江待渡图页","此作以边角取景，尽显空灵澹远之意趣。虬松扎根危崖，枝干苍劲扭转，松叶攒簇间带着秋意萧疏。远山以淡墨轻勾慢染，晕出朦胧黛色，江岸留白成阔朗秋水，愈衬出天地清寂。水岸泊着孤舟，舟上旅人静坐待渡，将羁旅闲愁融于冷寂江天之中。淡赭设色晕出秋日氛围感，笔致简劲秀逸，以少胜多，寥寥笔墨便勾勒出幽远无尽的诗意余韵，将山水间的清冷闲雅尽数藏于尺幅之间。",[23,24,200,25,111,27,36,28,29,32,96,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F986bccab4158b6928756c26c3978e0d8.jpg",[],{"id":7076,"slug":7077,"title":7078,"dynasty":296,"author":1406,"museum":561,"description":7079,"tags":7080,"thumbUrl":7081,"material":70,"size":70,"collection":70,"collections":7082,"showCount":7066,"zanCount":764,"manualWeight":46,"mainColor":149},224431,"song-feng-die-zhang-tu-wang-shi-min-224431","松风叠嶂图","此作用全景式构图铺展丘壑，主峰崔嵬凌天，层峦迤逦延展，兼具高远之雄与深远之幽。以披麻皴写山石肌理，笔触松秀温润，浅绛设色晕染柔和，古雅苍润间带着清和明丽。\n苍松虬枝横斜，涧谷飞泉隐现，山居茅舍错落掩映于林麓间，处处透着幽寂闲逸的林下意趣。题款书法清雅隽秀，与山水笔墨浑然相融，尽显宋元文人画平淡天真的意韵，将林泉高致的静穆之美，尽数凝于尺幅之间，是追摹古意又暗含己心的山水佳制。",[23,24,951,28,36,427,2901,31,34,7,227,30,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84858b1ff2685d5dbd3bc173639e5d99.jpg",[],{"id":7084,"slug":7085,"title":7086,"dynasty":18,"author":3243,"museum":509,"description":7087,"tags":7088,"thumbUrl":7089,"material":84,"size":7090,"collection":306,"collections":7091,"showCount":7066,"zanCount":11,"manualWeight":46,"mainColor":663},221885,"dou-cao-tu-chen-hong-shou-221885","斗草图","这幅画作描绘的是端阳时节，仕女五人围坐石下斗草为戏的情节。人物神态生动微妙，各具神韵。湖石上盘曲老松，质量厚实，与疏朗的人物布局构成鲜明的对比，有利于打破构图的呆板。陈氏画风变形夸张，用笔谨劲连绵，如行云游丝，转折有力；设色艳而不俗。此作正是画家典型风格的代表作。款署[庚寅秋，老莲洪绶画于护兰书堂]。庚寅为清顺治七年，系公元一六五○年，陈洪绶时年五十三岁。款下钤[洪绶]朱文长方印。",[23,200,24,25,56,712,28,59,427,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0622469e201b8215901cfacb0c5aa797.jpg","纵134.3、横48厘米",[306,264],{"id":7093,"slug":7094,"title":7095,"dynasty":124,"author":3003,"museum":3174,"description":3004,"tags":7096,"thumbUrl":7097,"material":142,"size":7098,"collection":144,"collections":7099,"showCount":7066,"zanCount":11,"manualWeight":46,"mainColor":149},221302,"shan-zhuang-tu-ye-yi-yuan-ji-221302","山庄图页",[23,24,25,200,28,36,29,30,31,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f88332f8b93c6ca6e62d137e999a3fc.jpg","31×30",[144,42,264],{"id":7101,"slug":7102,"title":7103,"dynasty":296,"author":7104,"museum":597,"description":7105,"tags":7106,"thumbUrl":7107,"material":28,"size":7108,"collection":306,"collections":7109,"showCount":7066,"zanCount":11,"manualWeight":46,"mainColor":47},220143,"leng-yan-you-xiang-tu-li-shan-220143","冷艳幽香图","李鱓","李鱓（1686—1762），清代画家，江苏兴化人。字宗扬，号复堂、懊道人。康熙五十四年（1715年）举人，官滕县、临淄知县。擅花鸟、山水。绘画师法沈周、林良、陈淳、徐渭、恽寿平、石涛、高其佩、蒋廷锡等人。李鱓比较重视生活感受与传统技法的结合，熟练使用自己领悟到的笔墨，善于发挥水的特性，“水墨融成奇趣”，大胆发挥鲜艳色彩和白粉的特性，将粗笔画法与工细画法结合，形成“纵横驰骋，不拘绳墨而独得天趣”“随意布置，另有别趣”的写意花鸟画风，笔墨雄健劲拔，设色淡雅。他的绘画对吴熙载、赵之谦、吴昌硕等人产生了深远影响。李鱓亦擅书法，用笔古朴豪宕、洒脱自然。从南京博物院藏《冷艳幽香图》中的题跋可见李鱓书法的一些审美意趣和风格特色。",[23,24,25,26,28,27,300,62,390,1647,1744,1743,301,7,82,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F776535ffcb2a3e1e219ec108c1aebfe7.jpg","纵34.5厘米、横362厘米",[306],{"id":7111,"slug":7112,"title":7113,"dynasty":78,"author":7114,"museum":7115,"description":7116,"tags":7117,"thumbUrl":7122,"material":84,"size":7123,"collection":42,"collections":7124,"showCount":7066,"zanCount":764,"manualWeight":46,"mainColor":149},218249,"xi-ge-liu-quan-tu-yao-ting-mei-218249","溪阁流泉图","姚廷美","湖北省博物馆","画面氤氲着清寂悠远的气息。远山如黛，云雾若带，将层峦叠嶂晕染得朦胧辽远。飞泉如练自崖壁倾泻，溅起细碎水花，似有泠泠声入耳。溪畔楼阁隐于苍松翠柏间，窗棂半启，仿佛正待幽人凭栏，静听泉石之语。笔墨苍劲中见秀润，干笔皴擦勾勒山石肌理，树木萧疏却含生机，枝桠交错间透出空灵感。水面波光粼粼，几只水鸟悠然游弋，更添野趣。整幅画以山水为载体，寄寓文人淡泊尘俗、寄情林泉的心境，素净色调里藏着深远意境，干笔皴擦与秀润笔墨交织，引人步入那片远离喧嚣的桃源之境，于无声处感受自然与心灵的共鸣。",[200,24,951,27,36,60,30,31,7,133,7118,7119,7120,7121],"水鸟","松柏","野趣","林泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b966a8551327c4586de5c5c557bf3d2.jpg","26.7x25.2cm",[42],{"id":7126,"slug":7127,"title":7128,"dynasty":296,"author":7129,"museum":53,"description":7130,"tags":7131,"thumbUrl":7132,"material":40,"size":7133,"collection":42,"collections":7134,"showCount":7066,"zanCount":46,"manualWeight":46,"mainColor":47},214812,"jiang-chao-tu-zhang-zong-cang-214812","江潮图","张宗苍","画面描绘了河流的壮丽潮汐和远岸的山脉。海浪是如此强大，当它们遇到岩石时，就会形成银色的怒涛。山脉、悬崖和树木的笔触与王原祁的松树和苍劲的山水有着同样的兴趣。",[23,24,25,29,36,28,82,7,3020,33,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9c2de55def97e2d554b4acbf37b8d33.jpg","166.7x69.5",[42],{"id":7136,"slug":7137,"title":7138,"dynasty":654,"author":982,"museum":561,"description":7139,"tags":7140,"thumbUrl":7141,"material":217,"size":660,"collection":70,"collections":7142,"showCount":7143,"zanCount":46,"manualWeight":46,"mainColor":663},290292,"xi-an-tu-dong-yuan-290292","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。",[23,24,200,29,95,27,7,31,34,33,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9255d946cdf46aa6b96e9d49204902e2.jpg",[],70,{"id":7145,"slug":7146,"title":7147,"dynasty":18,"author":387,"museum":561,"description":5063,"tags":7148,"thumbUrl":7149,"material":217,"size":660,"collection":70,"collections":7150,"showCount":7143,"zanCount":764,"manualWeight":46,"mainColor":149},287972,"qiu-shan-gao-shi-tu-juan-quan-juan-tang-yin-287972","秋山高士图卷(全卷)",[23,200,24,25,26,28,36,29,32,60,7,34,31,1838,33,38,37,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd2fd446df0721e6764bc25b60d786cf.jpg",[],{"id":7152,"slug":7153,"title":7154,"dynasty":296,"author":2564,"museum":561,"description":7155,"tags":7156,"thumbUrl":7157,"material":454,"size":70,"collection":306,"collections":7158,"showCount":7143,"zanCount":11,"manualWeight":46,"mainColor":149},222776,"hua-bai-ying-zhou-lang-shi-ning-222776","画白鹰轴","郎世宁（Giuseppe Castiglione，1688.7.19-1766.7.16），原名朱塞佩·伽斯底里奥内，圣名若瑟，天主教耶稣会修士、画家，意大利米兰人。\n1715年（清康熙五十四年）来中国传教，随即入皇宫任宫廷画家，历经康熙、雍正、乾隆三朝，在中国从事绘画50多年，并参加了圆明园西洋楼的设计工作，为清代宫廷十大画家之一。 郎世宁擅绘骏马、人物肖像、花卉走兽，风格上强调将西方绘画手法与传统中国笔墨相融合，受到皇帝的喜爱，也极大地影响了康熙之后的清代宫廷绘画和审美趣味。\n其主要作品有《十骏犬图》《百骏图》《乾隆大阅图》《瑞谷图》《花鸟图》《百子图》《聚瑞图》《仙萼长春图册》《心写治平图》（《乾隆帝后妃嫔图卷》）等。",[23,24,200,95,28,56,201,1396,427,96,130,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8821bbc34360056591a52a75a4e58a03.jpg",[306,264],{"id":7160,"slug":7161,"title":7162,"dynasty":18,"author":3504,"museum":53,"description":7163,"tags":7164,"thumbUrl":7165,"material":203,"size":70,"collection":42,"collections":7166,"showCount":7143,"zanCount":46,"manualWeight":46,"mainColor":47},221968,"fang-li-cheng-xi-shan-shen-xue-zhou-wen-zheng-ming-221968","仿李成溪山深雪轴","绘山石耸立，悬崖绝壁，白雪霭霭，山涧中一股瀑布倾泻而下，在山脚下汇入河流，河岸边树木修长，树叶凋零，一桥横跨两岸。题识：正德十年乙亥仿李营丘溪山深雪图 徵明。",[23,24,25,95,27,36,186,29,612,7,34,130,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff12e302f69f4a2f9424953933b64b61c.jpg",[42,264],{"id":7168,"slug":7169,"title":7170,"dynasty":78,"author":107,"museum":53,"description":7171,"tags":7172,"thumbUrl":7173,"material":7174,"size":7175,"collection":42,"collections":7176,"showCount":7143,"zanCount":46,"manualWeight":46,"mainColor":47},220811,"lin-quan-qing-qu-zhou-wang-meng-220811","林泉清趣轴","画山林密布，画瀑布从山涧飞下，击打岩石，云雾缭绕，从山下望去，是建在山上的房子，房子里的人都在山影里，都在院子里；书生走进亭子，身后跟着一个手拿着雨伞的少年，一个人站在书生身边，十分抢眼。",[23,24,25,95,27,36,29,33,34,7,31,35,130,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F180bf7a4cf1422c1d432b865bbfa11f2.jpg","纸、水墨","26.4x39.8公分、全幅 62.3公分",[42,146],{"id":7178,"slug":7179,"title":7180,"dynasty":124,"author":436,"museum":20,"description":7181,"tags":7182,"thumbUrl":7183,"material":84,"size":7184,"collection":42,"collections":7185,"showCount":7143,"zanCount":46,"manualWeight":46,"mainColor":149},219957,"jiang-tian-chun-se-tu-yi-ming-219957","江天春色图","以半边雄奇崖壁衬出半幅浩渺江天，虚实相生间铺展出清旷春景。淡施青绿晕染崖石积雪，冷润雅致，带着残冬未尽的清寒。山腰间隐着两隅茅舍，藏于松云崖岫之间，更衬林泉幽寂。汀岸老松虬曲，板桥卧于浅渚，悠悠生出林下幽居的雅趣。远景山峦以淡墨轻晕，和烟波江色融成一片空濛，将春日江天的静穆辽远晕染尽致，暗合寄情林泉、澄怀观道的山水雅意。",[200,24,25,1900,28,36,29,33,30,34,7,4415,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab9003bc40ef9f1cd9031a6c367ac98e.jpg","26.4*20.5",[42],{"id":7187,"slug":7188,"title":7189,"dynasty":78,"author":699,"museum":53,"description":7190,"tags":7191,"thumbUrl":7193,"material":27,"size":7194,"collection":146,"collections":7195,"showCount":7143,"zanCount":46,"manualWeight":46,"mainColor":47},219354,"song-lin-ping-yuan-zhou-cao-zhi-bai-219354","松林平远轴","曹知白（1272～1355），元代画家，字又玄，号云西，人称贞素先生。华亭（今上海市松江县）人 。曹知白善画山水，师法李成、郭熙，从中演变成一种清疏简淡的风格。作品多以柔细之笔勾皴山石，极少渲染。早年笔墨较秀润，晚年变为 苍秀简逸。",[24,25,95,27,951,7192,36,242,7,114,82],"平远构图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F486a1ae065d01421150a94b252022a7e.jpg","75.4x43公分",[146],{"id":7197,"slug":7198,"title":7199,"dynasty":124,"author":436,"museum":53,"description":7200,"tags":7201,"thumbUrl":7202,"material":84,"size":7203,"collection":144,"collections":7204,"showCount":7143,"zanCount":46,"manualWeight":46,"mainColor":47},218839,"song-xi-you-qi-tu-yi-ming-218839","松溪游骑图","画面描绘了一座横跨溪流的桥梁，高大的松树从溪流岸边的大窠中升起，露出农场的大门和农场的一角，主人正从春天的郊游中返回。这幅画与刘松年的画风相似，与故宫收藏的《四季山水卷》中的春景相似，可以确定是刘松年南宋画派的作品。",[23,24,200,25,29,28,36,272,31,215,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3922c2209b73b6b6fb69c2e5b68d4b33.jpg","23.1x25.8",[144],{"id":7206,"slug":7207,"title":7208,"dynasty":78,"author":961,"museum":53,"description":7209,"tags":7210,"thumbUrl":7212,"material":84,"size":70,"collection":42,"collections":7213,"showCount":7143,"zanCount":46,"manualWeight":46,"mainColor":47},218765,"xu-xie-ting-quan-tu-wu-zhen-218765","虚榭听泉图","枯树虬枝如铁，墨色浓淡交织间尽显苍劲老辣。山泉自崖壁倾泻而下，细流蜿蜒，泠泠水声似在耳畔萦绕。林下虚榭空寂，虽无人影，却恍若有隐者凭栏，静听泉石相和，心随流水悠远。远山以淡墨晕染，云雾轻笼，更添空濛之致。整幅画笔墨简淡却意境深幽，散发出元人特有的隐逸气度，于静谧中藏生机，于朴拙中见灵秀。不事雕琢的线条里，浸透着散淡超脱的情怀，引人沉浸其中，暂忘尘俗纷扰，尽享自然之趣。每一处墨色的晕染、线条的勾勒，都藏着对天地的敬畏与对本心的坚守，让观者在无声的画面里，听见心灵与自然的共鸣。",[23,24,27,36,29,33,7211,31,96,7,111],"泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fc9b3797243816d5b728fd7eeef1266.jpg",[42],{"id":7215,"slug":7216,"title":7217,"dynasty":18,"author":6367,"museum":53,"description":7218,"tags":7219,"thumbUrl":7221,"material":84,"size":7222,"collection":289,"collections":7223,"showCount":7143,"zanCount":11,"manualWeight":46,"mainColor":149},218528,"shan-ting-na-liang-tu-zhou-chen-218528","山亭纳凉图","图中显示，一块奇怪的石头直立着，被几株香蕉植物保护着。亭子里，一个有学问的人左手坐着，右手拿着一把羽扇，旁边放着一个卷轴、一本小册子和一个特瓦。他坐在地上，享受着寒冷的感觉。在亭子外面，孩子们伸出手臂为花瓶采摘棉花糖花，营造出一种轻松平静的气氛。签名：周晨。",[23,24,25,95,28,56,58,33,7,302,30,64,525,187,7220],"纳凉场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc79d2558d621c11890f2a8f08fc3817e.jpg","95.9x58.9",[289],{"id":7225,"slug":7226,"title":7227,"dynasty":78,"author":1290,"museum":53,"description":7228,"tags":7229,"thumbUrl":7230,"material":84,"size":7231,"collection":289,"collections":7232,"showCount":7143,"zanCount":11,"manualWeight":46,"mainColor":663},216961,"yuan-an-wo-xue-tu-sheng-mao-216961","袁安卧雪图","袁安在东汉时期来自汝南，被称为邵公。他是河南省的一名官员，是一个善良而有爱心的官员。画中的人身穿大红衣服，骑着马，是洛阳的一名法官。当他在一场大雪中赶到袁安家时，看到他门前的雪还没有被清理干净。邻居们以为袁某死了，于是他们敲门进去了。他问他为什么不出去，回答说不适合打扰别人，因为大家在雪下都很饿。洛阳县令认为他是个有德行的人，就推荐他作为亲属候选人来做这个职位。本画题名为 盛懋，但画风已被明人从其风格中改编。",[24,25,200,95,29,58,612,34,7,36,27,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae3ebe4b34f0a5a378b181b1a4225e6f.jpg","149x83.8",[289],{"id":7234,"slug":7235,"title":7236,"dynasty":18,"author":436,"museum":1137,"description":7237,"tags":7238,"thumbUrl":7240,"material":84,"size":7241,"collection":289,"collections":7242,"showCount":7143,"zanCount":764,"manualWeight":46,"mainColor":149},215030,"si-ma-guang-gui-yin-tu-yi-ming-215030","司马光归隐图","独乐园 是宋代司马光在熙宁六年（1073年）左右建造的，虽然不是什么宏伟的房子，但因为司马光在这里写了《资治通鉴》，苏轼等人也在这里写了诗，所以它就出名了。李格非的《洛阳名园记》描述了该园的 水笔、读书堂、鱼贯寺、药园 和 竹园。《竹园》、《看山台》、《浇花》中也对这七种景象进行了简单的描述。这张图片是对竹子种植园的故事的描述。画中的鲜活人物可与晋国的陶渊明媲美。",[23,24,28,56,58,1140,31,7,7239],"隐逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd32007569961fc2242c4cd2050def5e9.jpg","76x136",[289],{"id":7244,"slug":7245,"title":7246,"dynasty":78,"author":2047,"museum":53,"description":7247,"tags":7248,"thumbUrl":7249,"material":40,"size":7250,"collection":289,"collections":7251,"showCount":7143,"zanCount":46,"manualWeight":46,"mainColor":47},215018,"weng-you-tu-zhao-meng-fu-215018","瓮牖图","这幅画描绘了子贡在住所中与元显会面的情景，以桑门为门，以破瓮为窗的陋室，以示君子以德为乐。岩石很粗糙，只画了草图，后来用绿色和蓝色填充，人物穿着柔软，笔触遒劲，具有唐代的古风。",[23,24,25,26,28,29,58,37,38,82,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1134b50520c2f4c147bc42dc3de893cc.jpg","27.1x619.4",[289],{"id":7253,"slug":7254,"title":106,"dynasty":296,"author":7255,"museum":20,"description":7256,"tags":7257,"thumbUrl":7258,"material":116,"size":7259,"collection":42,"collections":7260,"showCount":7143,"zanCount":46,"manualWeight":46,"mainColor":47},214718,"shan-shui-ce-gao-xiang-214718","高翔","高翔（1688-1753年），字凤冈，号西唐，甘泉（今江苏扬州）人。擅画山水，师法弘仁、石涛，尤工画梅，笔意疏秀，为“扬州八怪”之一。",[200,24,25,111,27,36,29,34,7,133,114,1104,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85a88cf22fa589ab4ab3aa7596243f9d.jpg","纵23.9 厘米，横55.4 厘米",[42],{"id":7262,"slug":7263,"title":7264,"dynasty":18,"author":3122,"museum":561,"description":7265,"tags":7266,"thumbUrl":7267,"material":70,"size":70,"collection":70,"collections":7268,"showCount":7269,"zanCount":11,"manualWeight":46,"mainColor":47},235648,"zhu-ji-tu-zhou-zhou-zhi-mian-235648","竹鸡图轴","通幅以淡墨铺陈，斜耸崖壁以浓淡墨色晕出嶙峋质感，苍劲朴拙。丛竹错落而立，竿瘦劲挺括，竹叶写意挥毫，聚散疏密得宜，干湿墨色互衬，尽显萧疏清逸之态。\n\n下方竹鸡兼工带写，翎毛细笔丝染，蓬松柔润，低伏回身的姿态将野禽的机灵敏锐刻画入微。朱红印章点缀水墨之间，让幽寂山野小景更添静雅意趣。全图以水墨层次变化，融写生写实与文人意趣于一体，尽显水墨写生的精妙意韵。",[24,200,25,95,27,300,62,1140,4066,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3e147db6898a70110d81a90adb71d06.jpg",[],69,{"id":7271,"slug":7272,"title":7273,"dynasty":296,"author":1795,"museum":561,"description":7274,"tags":7275,"thumbUrl":7276,"material":217,"size":660,"collection":70,"collections":7277,"showCount":7269,"zanCount":46,"manualWeight":46,"mainColor":149},230158,"peng-lai-xian-jing-tu-ping-12-tiao-ping-yuan-yao-230158","蓬莱仙境图屏-12条屏","袁耀（生卒年不详），清朝画家，字昭道，江都（今江苏扬州）人。袁江之侄。",[23,24,28,57,56,36,29,60,427,7,133,6620],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54bd480a9dcef63f008711c8e7e61623.jpg",[],{"id":7279,"slug":7280,"title":7281,"dynasty":124,"author":125,"museum":561,"description":7282,"tags":7283,"thumbUrl":7284,"material":70,"size":70,"collection":70,"collections":7285,"showCount":7269,"zanCount":46,"manualWeight":46,"mainColor":149},227494,"shan-shui-tu-zhou-fan-kuan-227494","山水图轴","北宋晚期的《宣和画谱》收录有范宽画作58件，书画家米芾也在其《画史》中记载称见过真迹30件。\n\n目前其流传的作品仅有台北国立故宫博物院收藏的〈谿山行旅图〉为现今艺术史学家所公认。",[23,200,24,25,95,27,28,36,29,32,7,34,1081,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15199fa3c2e2bfaa83fb5e9e78f5236f.jpg",[],{"id":7287,"slug":7288,"title":7289,"dynasty":296,"author":870,"museum":561,"description":7290,"tags":7291,"thumbUrl":7293,"material":70,"size":70,"collection":70,"collections":7294,"showCount":7269,"zanCount":46,"manualWeight":46,"mainColor":149},224496,"gu-mu-chui-yin-shi-tao-224496","古木垂荫","《古木垂阴图》是清朝的文物， 纵175,横5.7cm。\n古木垂阴图 古木垂阴图 清（1644-1911） 纸本 水墨 纵175,横5.7cm 设色绘近景层岩嶙峋，树木丰茂，山径曲折，楼阁深藏，远山挺拔峭立，云烟缭绕。\n用笔皴法多变，赋色雅淡。\n右上角有作者长题，石涛（公元164~？），亦署大涤子、苦瓜和尚等，明宗室后裔，俗名朱若极，清亡后削发为僧。\n善画山水，为清初四画僧之一。",[23,200,24,25,95,27,36,29,1555,7,316,7292,34,452,82],"亭子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d675bfa825848fc195c23b6950913d6.jpg",[],{"id":7296,"slug":7297,"title":7298,"dynasty":124,"author":436,"museum":561,"description":2343,"tags":7299,"thumbUrl":7300,"material":2346,"size":2347,"collection":144,"collections":7301,"showCount":7269,"zanCount":46,"manualWeight":46,"mainColor":149},223548,"luo-shen-tu-juan-yi-ming-223548","洛神图卷",[23,24,25,26,28,56,38,82,58,29,34,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43d7b447c13366eb01191db07eb8dd9d.jpg",[144,289,264],{"id":7303,"slug":7304,"title":4567,"dynasty":124,"author":4263,"museum":1090,"description":7305,"tags":7306,"thumbUrl":7309,"material":142,"size":7310,"collection":70,"collections":7311,"showCount":7269,"zanCount":11,"manualWeight":46,"mainColor":149},221615,"xue-jing-shan-shui-tu-liang-kai-221615","图中描画两个身着白色披风、头戴风雪帽的骑驴人穿行山谷的情景。水边两棵老树，其虬曲的枝干和稀疏的树叶，是以细致的笔法刻画出来的。画山石，仿北宋范宽的笔法，以簇点画密林；而山体皴笔甚少，在以淡墨渲染的天空的映衬下，给人以白雪皑皑之感。整个画面呈现出荒凉萧瑟的氛围。在画幅左下角寒溪边缘有“梁楷”的落款。此图不失为南宋院体山水画的经典之作。",[23,24,200,29,612,58,3389,96,7307,7,27,36,56,7308],"寒溪","荒凉萧瑟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafb6676a5452362239059e95da23644d.jpg","111.3cmx49.7cm",[],{"id":7313,"slug":7314,"title":7315,"dynasty":78,"author":720,"museum":7316,"description":7317,"tags":7318,"thumbUrl":7319,"material":40,"size":7320,"collection":146,"collections":7321,"showCount":7269,"zanCount":46,"manualWeight":46,"mainColor":47},220800,"shui-zhu-ju-tu-ni-zan-220800","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。\n山势低平，山前溪水渚坡坡上杂树五株，树后茅屋丛篁。\n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图右上倪瓒自题：“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。",[23,24,27,951,36,38,37,82,5229,300,539,391,112,7,114,316],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab7872a100371101d8e6bbd7f53608e4.jpg","80 X 53 CM",[146,6633],{"id":7323,"slug":7324,"title":7325,"dynasty":78,"author":107,"museum":509,"description":7326,"tags":7327,"thumbUrl":7328,"material":40,"size":7329,"collection":42,"collections":7330,"showCount":7269,"zanCount":46,"manualWeight":46,"mainColor":47},219971,"tai-bai-shan-tu-wang-meng-219971","太白山图","图绘浙江鄞县太白山天童寺及其周围景物，尤其着重描绘天童寺前二十里夹径松林。画面中远岫层峦，溪流潺潺，人物往还其间，用笔松润，赋色淡雅。画心右上角有小字篆书“太白山图”四字，画尾钤“王蒙印”，近人研究认为此卷为王蒙晚年代表作。",[23,200,24,25,26,29,28,36,60,34,7,133,37,82,30,31,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe223493b23f8c837f2f01362ffb2077f.jpg","28x238.2cm",[42,264],{"id":7332,"slug":7333,"title":7334,"dynasty":18,"author":424,"museum":53,"description":7335,"tags":7336,"thumbUrl":7337,"material":40,"size":7338,"collection":264,"collections":7339,"showCount":7269,"zanCount":764,"manualWeight":46,"mainColor":47},219341,"yu-yu-chun-shu-tu-wen-zheng-ming-219341","雨余春树图","全幅中间为一条宽阔溪水，将其画面纵切成上、下两段，上段即画幅远处崇山叠嶂，山峰耸立，主峰两侧的山峰较矮小，隐约可见。中间山峰顶平壁峭，山上和山坡处树木成林，郁郁葱葱，山脚临河处座落着几间屋宇草舍，掩映在丛树荫下。河滩上有二位高士边闲聊边观赏风景。在溪水夹岸，即此画幅的下段，这是此幅画的主题。夹岸坡陀叠起，崎岖不平，有的坡陀伸展至水上，坡陀上长有几棵高大的松树和其他杂树。古松萧疏错落，坡陀上的平台相参，临溪处筑有一小亭，累见高士策杖优游，间吟望远悠闲自在，展现出一派隐逸文人的诗画境界",[24,25,28,29,112,33,31,7,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad5d61d2c68ecef13e5225b2f2d4ac4b.jpg","纵94.3厘米，横30.3厘米",[264],{"id":7341,"slug":7342,"title":7343,"dynasty":78,"author":7344,"museum":108,"description":7345,"tags":7346,"thumbUrl":7347,"material":116,"size":7348,"collection":42,"collections":7349,"showCount":7269,"zanCount":11,"manualWeight":46,"mainColor":47},217264,"dan-tai-chun-xiao-tu-lu-guang-217264","丹台春晓图","陆广","陆广是元朝时期的一位著名的画家，他的作品《丹台春晓图》是他最著名的一幅画。这幅画描绘了丹台山的景色，山上有云雾缭绕，树木葱茏，小溪流动，鸟儿在枝头鸣叫。这幅画的色彩鲜艳，线条流畅，构图巧妙，深受人们喜爱。\n\n陆广在这幅画中运用了自然写生的技巧，使画面栩栩如生，栩栩如生。他还运用了虚实对比的手法，使画面更加丰富多彩。此外，他还运用了一些中国传统的画法，如重彩和写意画法，使这幅画更加独特。\n\n陆广的《丹台春晓图》不仅是他最著名的作品，也是元朝时期著名的艺术杰作之一。它不仅体现了陆广的才华，也反映了元朝时期艺术的发展。现在，这幅画被广泛收藏和展览，并且被认为是中国传统艺术的杰出代表作之一。",[24,25,95,27,36,29,7,34,30,31,187,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb6a463b9955bf3520ee003ff8feb0ec.jpg","61.6x26cm",[42],{"id":7351,"slug":7352,"title":7353,"dynasty":124,"author":197,"museum":561,"description":7354,"tags":7355,"thumbUrl":7358,"material":217,"size":660,"collection":70,"collections":7359,"showCount":7360,"zanCount":46,"manualWeight":46,"mainColor":149},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。",[23,24,25,200,111,27,36,29,7356,158,7357,7],"树林","烟雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7707d298daece160ecc6b1e0761dcde9.jpg",[],68,{"id":7362,"slug":7363,"title":7364,"dynasty":124,"author":449,"museum":561,"description":7365,"tags":7366,"thumbUrl":7368,"material":70,"size":70,"collection":70,"collections":7369,"showCount":7360,"zanCount":11,"manualWeight":46,"mainColor":149},227821,"song-feng-ting-tu-ye-ma-yuan-227821","松风亭图页","这幅小品以边角取景，将山水意趣藏于尺幅之间。右侧虬松苍劲盘曲，枝干如铁，松针攒簇劲挺，斜斜探向半空，似携着穿林松风。古松之畔，山亭飞檐翘角，半掩于松石间，雅致清寂。左侧留白晕染远山，淡墨轻描，虚实相映，衬出山林空阔萧散的意境。\n\n用笔刚简老辣，墨色干湿浓淡错落，勾勒皴擦间，山石枯涩、古松苍润的质感尽显，以少胜多，把林泉幽居的静谧禅意铺陈开来，藏着文人心中归向林泉的高远意趣，尺幅之中意蕴悠长。",[23,200,24,25,951,57,33,427,7,114,27,28,36,7367,4701,4698,82],"边角取景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa207a22d1b0e544e2ed8382683769b21.jpg",[],{"id":7371,"slug":7372,"title":7373,"dynasty":18,"author":387,"museum":561,"description":7374,"tags":7375,"thumbUrl":7376,"material":116,"size":7377,"collection":42,"collections":7378,"showCount":7360,"zanCount":46,"manualWeight":46,"mainColor":149},220070,"gao-yan-shang-mei-tu-tang-yin-220070","高岩赏梅图","此作用笔灵秀兼具劲健，卷云皴勾勒出高岩奇崛之态，层叠飞泉沿壁下注，木桥架于清溪之上，野意盎然。右侧缓坡疏林茅舍错落，隐士凭栏远眺，远景江天寥廓，落日晕染平川，清寂空濛。\n\n笔墨间糅合宋画的挺括与元人松秀，枯木枝桠简劲，点叶清润雅致。题诗与山水相生，将幽居高卧、寄情林泉的出世襟怀融于尺幅，以淡远之境写澹泊之心，尽显文人山水画的清逸韵致，是诗意与画境完美合璧的佳作。",[24,27,36,95,29,390,33,30,31,7,34,130,58,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf0187c50b0efe3c29ab5d2d6bc7fb4d.jpg","71.5 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厘米",[42],{"id":7380,"slug":7381,"title":7382,"dynasty":124,"author":4037,"museum":53,"description":7383,"tags":7384,"thumbUrl":7385,"material":142,"size":70,"collection":144,"collections":7386,"showCount":7360,"zanCount":46,"manualWeight":46,"mainColor":47},219951,"xi-shan-wan-diao-tu-zhao-ji-219951","溪山晚钓图","此作用平远之法铺展暮色溪山，淡墨晕染出山峦氤氲的烟霭，将黄昏的温润沉凝揉进层叠丘壑，山林在暮色里晕成朦胧黛色，漫出浑然的静谧。前景虬曲枯木苍劲古拙，疏枝横斜，暗合深秋荒寒意趣。右下角一叶扁舟随波轻漾，独钓渔翁静卧舟中，把幽寂闲适的隐逸之思铺陈开来。设色沉雅古穆，赭石淡晕铺就黄昏底色，将晚归溪山的空寂淡远尽数勾勒，将宋人寄情山水的澹泊襟怀藏在朦胧暮色之中，尽显清远萧散的文人意韵。",[23,200,24,25,111,28,36,29,32,724,242,7,31,2229,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63514bbaa1ed78f805a168466c561b14.jpg",[144],{"id":7388,"slug":7389,"title":7390,"dynasty":78,"author":436,"museum":53,"description":7391,"tags":7392,"thumbUrl":7393,"material":2631,"size":70,"collection":42,"collections":7394,"showCount":7360,"zanCount":46,"manualWeight":46,"mainColor":663},219179,"fang-song-ren-xue-jing-tu-yi-ming-219179","仿宋人雪景图","雪覆层岩，天地浸于清寂。山峦巍峨，积雪厚积处晕染得韵，山石轮廓以墨线勾勒，皴擦见骨，显峻峭之势。寒林枝桠虬曲如铁，向空伸展，似欲刺破冬云。涧水凝碧，蜿蜒穿石而过，清冽之态可感。山隅茅舍隐现，添几分人间气息，却未破山林幽寂。笔墨兼融宋工与元逸，于寒寂中藏生机，尽展冬日山林的幽远之趣，观之如临其境，心亦随之沉静。",[23,24,951,186,36,28,612,7,242,31,35,114,1104,427,132,538],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0292fcbd3b7c8dbf3f1351f9a5a7dc06.jpg",[42],{"id":7396,"slug":7397,"title":7398,"dynasty":124,"author":473,"museum":108,"description":7399,"tags":7400,"thumbUrl":7401,"material":84,"size":7402,"collection":306,"collections":7403,"showCount":7360,"zanCount":11,"manualWeight":46,"mainColor":149},218970,"yu-yu-fang-mu-tu-li-tang-218970","雨余放牧图","雨后的山野浸着清润气息，山峦如黛，轻烟似纱晕染其间，远近层次在水墨中渐次铺展。老松虬枝盘结，苍劲枝干斜倚崖边，松针上似还挂着未干的雨珠。坡地间，牛群散卧或缓行，有的低头啃食带露青草，有的两两相依，蹄印浅浅印在湿润泥土上。远处山影朦胧，几只飞鸟掠过天际，更衬出天地静谧。整幅画将田园悠然与自然清旷融于一体，每一笔都带着岁月温润，仿佛能嗅到雨后泥土芬芳，听见风过松林轻响，让人沉醉在这份与世无争的安然里。",[24,25,29,36,27,28,1103,427,201,7,34,96,114,2697],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b23892c23ea69db3c885cc88ea4dc2d.jpg","纵204横96厘米",[306],{"id":7405,"slug":7406,"title":4633,"dynasty":124,"author":436,"museum":53,"description":7407,"tags":7408,"thumbUrl":7409,"material":116,"size":7410,"collection":42,"collections":7411,"showCount":7360,"zanCount":11,"manualWeight":46,"mainColor":47},218802,"xi-shan-xian-guan-tu-yi-ming-218802","这幅画描绘了一座山，上面有一条高高的、遥远的溪流。山的四角有水榭和亭子，渔民在溪水中垂钓，对世界的年龄漠不关心。这幅画是南宋时期的作品，但当你仔细观察其笔触时，它更像是吴镇的作品，或者是他的画派的画家。",[23,24,200,27,36,29,60,31,32,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67b516d907046bcbf6ec55b7114bf4e5.jpg","32.4x24.8",[42],{"id":7413,"slug":7414,"title":7415,"dynasty":18,"author":424,"museum":108,"description":7416,"tags":7417,"thumbUrl":7418,"material":84,"size":7419,"collection":42,"collections":7420,"showCount":7360,"zanCount":46,"manualWeight":46,"mainColor":149},218417,"bi-yin-zuo-diao-tu-wen-zheng-ming-218417","碧荫坐钓图","前景中的松树高大而紧密，松针参差不齐，一个男孩的仆人提着锅回村，一只白鹤望着敞开的大门，坡脚的岩石与水面之间。",[24,25,95,28,29,427,32,724,7,31,1081,243,36,56,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa42da8f8261a31fc6bd4174fd7e6ed3a.jpg","163x61cm",[42],{"id":7422,"slug":7423,"title":7424,"dynasty":78,"author":436,"museum":360,"description":7425,"tags":7426,"thumbUrl":7427,"material":84,"size":7428,"collection":42,"collections":7429,"showCount":7360,"zanCount":11,"manualWeight":46,"mainColor":149},218190,"han-jiang-xing-lv-tu-yi-ming-218190","寒江行旅图","寒江行旅图是元朝时期的一幅佚名画作，其中描绘了一位旅人在寒冷的江边漫步的场景。这幅画作的背景是一片茫茫的冰雪世界，其中的旅人身着厚重的衣服，手持一根长枪，似乎在寻找前进的方向。\n\n整幅画作浓郁的寒冷气氛使人仿佛能感受到严寒的冬风吹过，而旅人身上所持的长枪也让人想起这个时代中漫长而艰苦的旅途。在这幅画作中，旅人的身影是如此的孤独，仿佛在寂寞的冰雪世界中寻找着希望。\n\n尽管这幅画作的作者并不为人所知，但它仍然是元朝时期艺术史上重要的作品之一。它不仅展示了当时艺术家对冬季景观的精细描绘，还揭示了当时旅行者在艰苦和寂寞中寻找希望的主题。无论是从艺术角度还是历史角度，这幅画作都是值得珍藏的杰作。",[24,27,29,58,3389,242,7,4415,724,36,131,214,96,2000],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F818bd7647803bb273020f96437bd8ac8.jpg","24.4x24.7cm",[42],{"id":7431,"slug":7432,"title":7433,"dynasty":296,"author":2784,"museum":1137,"description":4102,"tags":7434,"thumbUrl":7435,"material":229,"size":4105,"collection":70,"collections":7436,"showCount":7360,"zanCount":46,"manualWeight":46,"mainColor":149},214352,"san-jue-shan-shui-ce-10-hua-yan-214352","三绝山水册-10",[23,24,25,111,27,28,29,242,7,58,724,114,3766,32,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2ebe48e1f45176386729c7159310960.jpg",[],{"id":7438,"slug":7439,"title":7440,"dynasty":296,"author":3909,"museum":485,"description":3910,"tags":7441,"thumbUrl":7442,"material":28,"size":3913,"collection":42,"collections":7443,"showCount":7360,"zanCount":46,"manualWeight":46,"mainColor":3915},214194,"xie-qin-you-ju-tu-cha-shi-biao-214194","携琴幽居图",[24,25,26,27,28,29,36,30,31,33,7,34,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c24a38eb02628f19b29d63163ea0de4.jpg",[42],{"id":7445,"slug":7446,"title":7447,"dynasty":654,"author":621,"museum":561,"description":6012,"tags":7448,"thumbUrl":7449,"material":217,"size":660,"collection":70,"collections":7450,"showCount":7451,"zanCount":46,"manualWeight":46,"mainColor":149},290415,"wu-dai-liang-yu-le-tu-zhou-jing-hao-290415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（1751年）高宗南巡，以绘《吴中十六景》画册敬献，称旨，命入都祗候内廷。十九年（1754年）授户部主事。其山水画用笔沉着，山石多加积染，表现出深远的意境，具有苍劲秀雅之风，深得高宗皇帝赏识，成为乾隆朝宫廷的重要画家。《石渠宝笈》著录画作116件。71岁时卒于故里。",[200,24,25,95,951,27,28,36,7,3630,133,60,34,31,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa28583d2a38165b70ad546df9ff0faae.jpg","纵184cm，横117.7cm",[42,146],{"id":7462,"slug":7463,"title":7464,"dynasty":296,"author":668,"museum":561,"description":7465,"tags":7466,"thumbUrl":7468,"material":217,"size":660,"collection":70,"collections":7469,"showCount":7451,"zanCount":46,"manualWeight":46,"mainColor":149},230894,"bai-lu-tu-shen-quan-230894","柏鹿图","此图绘在柏树之下、溪流岸边，两只梅花鹿一立一卧，均仰视远方。图中鹿的描绘十分工整、细腻，山石的点染、溪波的勾勒也有类似笔调，尤为细致而并非完全写实，画面既真实又不泥于细节。",[23,24,200,95,56,28,1396,4949,567,112,7,525,7467],"猴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea79f7002a6ea446d7dfdde2fe39384c.jpg",[],{"id":7471,"slug":7472,"title":7473,"dynasty":296,"author":3417,"museum":561,"description":7474,"tags":7475,"thumbUrl":7476,"material":70,"size":70,"collection":70,"collections":7477,"showCount":7451,"zanCount":11,"manualWeight":46,"mainColor":47},229006,"si-jing-shan-shui-ce-ye-gong-xian-229006","四景山水册页","此作用笔清润简淡，近处坡岸错落，双木挺秀疏朗，苔点晕染出苍润生机。山岩以积墨慢皴，留白衬出山光空濛，半崖茅庐隐于林木间，飞瀑垂落，似可听闻水石相击之音。\n墨色枯润相济铺陈层次，留白烘托山野空濛之致，将林泉高致的隐逸静雅缓缓铺展。笔意简净却藏醇厚诗意，尽显萧散淡远的林下之风，将幽居山野的清寂雅趣揉进每一处笔墨里，尽显幽寂淡远的林泉之美。",[24,27,36,111,29,7,34,227,364,258],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb657688f425d059954c787646ca1cb62.jpg",[],{"id":7479,"slug":7480,"title":7481,"dynasty":654,"author":2261,"museum":53,"description":7482,"tags":7483,"thumbUrl":7484,"material":68,"size":7485,"collection":42,"collections":7486,"showCount":7451,"zanCount":46,"manualWeight":46,"mainColor":149},226700,"qiu-shan-tu-zhou-ju-ran-226700","秋山图轴","是文人雅士卧游的理想之地。构图极富变化，笔墨精妙，设色点缀恰到好处",[24,951,95,27,28,36,3692,7,34,132,565,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e3ae1d313c4e7dd19956e57f3ea4884.jpg","156.2x77.2公分、全幅 78.3公分",[42],{"id":7488,"slug":7489,"title":7490,"dynasty":18,"author":269,"museum":53,"description":7491,"tags":7492,"thumbUrl":7493,"material":454,"size":7494,"collection":42,"collections":7495,"showCount":7451,"zanCount":46,"manualWeight":46,"mainColor":149},222038,"zhang-song-wu-lu-zhou-dai-jin-222038","长松五鹿轴","这幅画的主题是长松和鹿，长松代表长寿，鹿因与「禄」谐音，带有「福禄」或「俸禄」的意思，所以这张画具有祝寿或是祈福的功能。本画的构图与戴进一般作品不同，垂直的松林、形状像石笋的山峰和围绕的祥云几乎塞满画面全部的空间，让整幅画充满平面装饰的趣味。",[23,24,95,28,29,427,4949,1396,36,7,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb8af83ff4d6f77521d790ed2136c0af.jpg","纵：142.5厘米 横：72.4厘米",[42,264],{"id":7497,"slug":7498,"title":7499,"dynasty":18,"author":7500,"museum":53,"description":7501,"tags":7502,"thumbUrl":7503,"material":1609,"size":7504,"collection":42,"collections":7505,"showCount":7451,"zanCount":11,"manualWeight":46,"mainColor":47},221935,"xi-yan-tu-zhou-chen-luo-221935","洗砚图轴","陈裸","陈祼（公元1563~约1639年），初名瓒，字叔祼，后去掉“叔”字，号道樗、白室，江苏吴县（今江苏苏州）人。\n善画山水，远宗赵伯驹、赵孟俯﹝赵孟頫﹞诸家，近师文征明。摹古人笔法逼真，能工书。晚年居虎丘，以吟咏自娱。作品有《石梁飞瀑图轴》，《秋山高隐图轴》。\n所图必深林叠嶂，曲径回塘，以扇面为多。能诗工书，善行楷，晚年居虎丘，以吟咏自娱。传世作品有崇祯九年(1636)作《竹溪花坞图》轴，图录于《故宫书画集》；崇祯十一年(1638)作《山水扇面》，图录于《明代名人画扇集》。崇祯二年(1629)作《雪山行旅图册页》，表现雪山的手法学夏珪，画石用小斧劈皴，画树枝笔触多带有钉头，颇具匠心。曾由吴平斋收藏，后为南京十竹斋藏品。著有《妪解集》。",[23,24,25,95,28,36,29,427,35,130,7,364,58,31,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe91618ed8c738d3b3545416a0e57f159.jpg","122.4x51.5厘米",[42,146],{"id":7507,"slug":7508,"title":7509,"dynasty":78,"author":1290,"museum":360,"description":7510,"tags":7511,"thumbUrl":7512,"material":454,"size":7513,"collection":42,"collections":7514,"showCount":7451,"zanCount":46,"manualWeight":46,"mainColor":47},221753,"zuo-kan-yun-qi-tu-sheng-mao-221753","坐看云起图","图绘古木平岗，林木错落有致，一士人手执如意，席地而坐，岗下山石嶙峋，水中苇草丛生；远处双雁振翅，云雾迷蒙，山峰隐现于云海之中。本幅图体现了雅士宁静的生活情趣。",[23,24,25,1900,27,28,36,29,58,201,96,452,7,883],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dc41d70c8a6c3e79ab91e8b28705867.jpg","27*28cm",[42,264],{"id":7516,"slug":7517,"title":7518,"dynasty":296,"author":3038,"museum":1043,"description":7519,"tags":7520,"thumbUrl":7521,"material":40,"size":7522,"collection":42,"collections":7523,"showCount":7451,"zanCount":46,"manualWeight":46,"mainColor":47},219901,"tai-hang-shan-se-tu-wang-hui-219901","太行山色图","此为王翚仿关仝笔意作太行山图,其于画幅中央作突兀怪石、山泉溪谷,以细密雨点皴作出,颇有范宽枪笔俱均之势",[23,24,25,26,29,28,36,158,133,34,4437,316,7,565,5676,3468],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1cb4b3c91f64f54888179c45394bbda.jpg","25.3x209.4",[42],{"id":7525,"slug":7526,"title":462,"dynasty":18,"author":269,"museum":53,"description":7527,"tags":7528,"thumbUrl":7529,"material":601,"size":7530,"collection":42,"collections":7531,"showCount":7451,"zanCount":46,"manualWeight":46,"mainColor":149},219837,"shan-shui-tu-dai-jin-219837","戴进以浙江地方传统水墨技法作为基，加上南宋院体画，又吸收元代李、郭派的精华。　幅中近景水亭两侧大石以斧劈皴法写之，主峰山势圆浑，造型由郭熙风格蜕化而出，然运笔则用小斧劈皴，余以淡墨大块烘染，浓墨点苔，森森密密，似马夏布墨之法，李郭、马夏风格两相融合，发展形成明初浙派风潮。画面左上有「钱塘戴文进写」六字，并钤「静庵」印记一方。",[24,25,200,36,27,28,29,30,31,32,33,34,130,58,7,95,132,158,363,1932,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5184f9099fce9f5215427da498fc29cc.jpg","本幅 184.5x109.4公分",[42],{"id":7533,"slug":7534,"title":7535,"dynasty":296,"author":4468,"museum":53,"description":7536,"tags":7537,"thumbUrl":7538,"material":40,"size":7539,"collection":306,"collections":7540,"showCount":7451,"zanCount":46,"manualWeight":46,"mainColor":47},218810,"e-mo-niao-tu-yang-da-zhang-218810","额摩鸟图","画面中两只额摩鸟姿态悠然，昂首者似欲引吭，俯身者若寻幽草。翎羽纤毫毕现，颈间蓝红绒羽如霞披覆，肌理质感细腻入微。旁侧牡丹姹紫、玉兰皎洁，枝桠间燕语呢喃，石畔小雀啄食，生机盎然。青绿山石晕染温润，皴擦有致，与禽鸟花木相映成趣。上下题跋为御制诗文，笔墨苍劲，典重之气扑面而来。整幅画作工写兼备，设色妍丽却不失清雅，奇禽异卉共构一堂，既有自然生趣，亦含皇家苑囿的雍容气象，堪称清代宫廷花鸟走兽画的精品之作。",[200,24,25,95,56,28,62,301,441,112,7,37,82,201,303],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe680768fee9dc27723523539b928bca7.jpg","149.8x101cm",[306],{"id":7542,"slug":7543,"title":462,"dynasty":78,"author":7544,"museum":53,"description":7545,"tags":7546,"thumbUrl":7547,"material":116,"size":7548,"collection":42,"collections":7549,"showCount":7451,"zanCount":764,"manualWeight":46,"mainColor":149},218166,"shan-shui-tu-yu-wen-gong-liang-218166","宇文公谅","宇文公谅，是元朝时期著名的画家，他的山水图作品以其精湛的写意风格和生动的自然描绘而闻名。宇文公谅的山水图作品多以自然风光为题材，用简单的笔触勾勒出了山川、河流、树木和花草的形态，并融入了自己的感悟和情感。他的山水图作品给人以舒适、自然的感觉，是元朝山水画的代表作之一。",[23,24,25,95,27,36,29,7,34,31,30,35,130,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9cd57f449a3caa29359ac4b9c9a3970.jpg","116.6x41cm",[42],{"id":7551,"slug":7552,"title":7553,"dynasty":793,"author":436,"museum":7554,"description":7555,"tags":7556,"thumbUrl":7559,"material":7560,"size":70,"collection":70,"collections":7561,"showCount":7451,"zanCount":11,"manualWeight":46,"mainColor":149},217286,"jiang-mo-bian-dun-huang-tu-juan-4-yi-ming-217286","降魔变·敦煌图卷-4","法国国家图书馆","古朴绢本上，笔墨流转间铺展着一段生动叙事。左侧世俗人物神态各异，衣袂飘举间透着生活气息；中间裸身有须者围坐伞下，伞面纹饰繁复，身旁神兽昂首展翼，灵动线条勾勒出其威猛与祥瑞兼具的姿态；右侧僧侣群像肃穆，衣袍色彩沉稳，传递出宁静的宗教氛围。整幅画以流畅线描为骨，设色淡雅却层次分明，人物与神兽、世俗与神圣场景交织，既捕捉生活细节，又蕴含佛教故事的庄严奇幻，岁月痕迹里仍能感受到鲜活的艺术张力。",[200,24,25,26,28,56,784,7557,58,7558,29,201,34,7],"敦煌","神兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc400e9da6b17613f5e9395694aaabf3d.jpg","设色,拓本",[],{"id":7563,"slug":7564,"title":7565,"dynasty":296,"author":7566,"museum":561,"description":7567,"tags":7568,"thumbUrl":7569,"material":84,"size":7570,"collection":289,"collections":7571,"showCount":7451,"zanCount":46,"manualWeight":46,"mainColor":47},214835,"fang-li-xi-gu-cai-wei-tu-quan-juan-xiao-chen-214835","仿李晞古采薇图全卷","萧晨","在右边，伯益坐在山坡上，双膝弯曲，认真听着舒淇的讲话，舒淇俯身向前致意，面前放着一把锄头和一筐野菜。萧琛，字灵溪，号仲素，清代画家，善诗，精画，山水人物，师承唐宋。",[23,24,25,26,186,28,56,36,58,427,7,34,82,1273],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F341cd77a009ea4082f79b83c8e83756d.jpg","\u001659.2x27.1",[289],{"id":7573,"slug":7574,"title":7575,"dynasty":18,"author":1100,"museum":53,"description":7576,"tags":7577,"thumbUrl":7578,"material":40,"size":7579,"collection":42,"collections":7580,"showCount":7451,"zanCount":46,"manualWeight":46,"mainColor":47},214590,"ji-you-hua-ce-jiao-shan-yan-yu-chang-shan-dong-qi-chang-214590","纪游画册-焦山烟雨常山","董其昌是明代著名的画家，他的作品《焦山烟雨常山》是一本纪游画册，记录了他对焦山和常山的游览所作的绘画。这本画册中包含了许多令人惊叹的景观画作，描绘了焦山和常山的自然景观，包括山峦、河流、树木和山水。\n\n董其昌的画风具有浓厚的写实主义倾向，他擅长运用细腻的笔触和精确的色彩渲染，使得他的作品生动形象，充满了真实感。他善于捕捉山水景观的细微变化，表现出了对自然的敬畏之情。\n\n在《焦山烟雨常山》中，董其昌运用了各种不同的画法和技巧，将焦山和常山的自然景观表现得栩栩如生。他擅长运用水墨画的质朴和透明感，使得山水画作充满了韵味。此外，他还注重色彩的运用，运用暖色和冷色的对比，使得画面更加丰富多彩。\n\n总的来说，董其昌的《焦山烟雨常山》是一本绝妙的纪游画册，值得收藏和品味。它不仅体现了董其昌的出色的绘画技巧，而且也展现了他对自然的敏锐观察力和对传统山水画的热爱。董其昌的作品中蕴含着深厚的文化内涵，是中国传统艺术的瑰宝。",[24,25,111,27,36,29,6212,837,112,133,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb86795e50c1a5356ae611c865f7019e.jpg","31.9x17.5cm",[42],{"id":7582,"slug":7583,"title":7584,"dynasty":296,"author":2784,"museum":1137,"description":4102,"tags":7585,"thumbUrl":7587,"material":229,"size":4105,"collection":70,"collections":7588,"showCount":7451,"zanCount":46,"manualWeight":46,"mainColor":149},214350,"san-jue-shan-shui-ce-12-hua-yan-214350","三绝山水册-12",[23,24,25,111,27,36,29,7,34,227,7586,82],"题字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d645bd7614b93420bcf09623d61f35a.jpg",[],{"id":7590,"slug":7591,"title":7592,"dynasty":124,"author":5512,"museum":53,"description":7593,"tags":7594,"thumbUrl":7596,"material":601,"size":7597,"collection":70,"collections":7598,"showCount":7599,"zanCount":46,"manualWeight":46,"mainColor":149},289562,"jing-ting-song-feng-tu-ma-lin-289562","静听松风图","图绘迎风高松三株，偃仰盘曲，宛若苍龙。枝干遒劲，山风阵阵，枝叶飘洒，藤条飞舞。一老者屈腿悠然坐于临岸松树下，衣襟微开，姿态随意，似侧耳聆听松涛，神气舒畅，有道骨仙风，一童执扇立于前。此画中树干用浓墨线密皴，用笔密实，细枝用线刚劲又不乏柔挺之意。山石用小斧劈皴，远山以线条勾勒后多用水墨渲染，使画面更为清润。人物衣纹劲利流畅，秀逸柔润。",[23,200,24,25,95,28,36,58,29,427,7,31,7595,5065],"松风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf04368e056b821d8008c1e1d3ddd623.jpg","226.6x110.3",[],66,{"id":7601,"slug":7602,"title":7603,"dynasty":296,"author":7604,"museum":561,"description":7605,"tags":7606,"thumbUrl":7607,"material":70,"size":70,"collection":42,"collections":7608,"showCount":7599,"zanCount":46,"manualWeight":46,"mainColor":149},238196,"he-lu-tong-chun-tu-juan-gao-qi-pei-238196","鹤鹿同春图卷","高其佩","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。\n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。”",[23,24,26,28,29,36,201,30,31,32,33,7,130,34,488,4949,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bd6322b4c7fb2b01aa3471df812ebcc.jpg",[42,264],{"id":7610,"slug":7611,"title":7612,"dynasty":78,"author":107,"museum":360,"description":7613,"tags":7614,"thumbUrl":7615,"material":229,"size":7616,"collection":70,"collections":7617,"showCount":7599,"zanCount":46,"manualWeight":46,"mainColor":47},233825,"xi-jiao-cao-tang-tu-zhou-wang-meng-233825","西郊草堂图轴","图中绘秋天平远景色。近岸草堂、竹篱掩映于树丛之中，岸边系舟，主人与妻子在屋中各行其是。院后湖面空阔，水波不兴，仅露一段岸角丛树，远山一带，渐远渐淡，没入天际。构图、用笔均较简洁，表现出了江南水乡秋季明净寥落的景色特征。\n深秋茂密的林阴下有茅舍数座，一老翁坐室内案旁读书，旁屋内二仕女侍读。门前清溪潺潺，小船停泊。屋后平湖汀渚，一叶轻舟载客行于湖心，打破了画面的沉寂。远方群山烟林，意境清幽。全图笔墨工细秀逸，构图新颖，为王蒙山水画优秀之作。",[24,25,95,27,28,36,29,227,34,7,31,2490,58,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06eebb0aebdc366ff00a27db47c4ad97.jpg","纵97cm 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墨皴法上还可以看见王蒙的影子，但与王蒙典型的精细密集的牛毛皴相比，图中山石皴法粗短松动，则显著是得到了沈周的影响导致。该画整体感强，皴法晕染能较好地渗入到山石整体的构架之中，构图细腻，笔墨苍润，体现出画家融合前人笔墨创造自己风格的尽力。",[23,24,27,95,29,36,30,31,96,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6e92a7653f3aa0d79eeb78387794f54.jpg","纵84.9厘米，横31.3厘米",[146],{"id":7798,"slug":7799,"title":7800,"dynasty":124,"author":449,"museum":2747,"description":7801,"tags":7802,"thumbUrl":7803,"material":84,"size":7804,"collection":42,"collections":7805,"showCount":7713,"zanCount":46,"manualWeight":46,"mainColor":47},219016,"shan-cun-ce-zhang-tu-ma-yuan-219016","山村策杖图","画的是远处隆起的山峰，靠近水草丰茂的河岸，左边是一个拄着拐杖的有学问的人走向一座桥，后面是一个孩子；右边是几间用栅栏围起来的茅草屋，后面是树木和竹子。",[23,24,25,200,1900,27,28,36,29,30,58,96,7,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66170685f831ddb885e4d7d75d53efbb.jpg","22.5x22.5",[42],{"id":7807,"slug":7808,"title":7809,"dynasty":78,"author":107,"museum":360,"description":7810,"tags":7811,"thumbUrl":7812,"material":84,"size":5305,"collection":42,"collections":7813,"showCount":7713,"zanCount":46,"manualWeight":46,"mainColor":149},218423,"guan-shan-xiao-si-tu-wang-meng-218423","关山箫寺图","本幅设色，钤乾隆玉玺“大源藻”、“颛蓭”、“南韵斋印”、“荣王之印”，不见著录。",[23,24,25,95,28,29,60,34,130,201,7,132,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F153baf897e72c84a87e44ac2e43245d8.jpg",[42],{"id":7815,"slug":7816,"title":7817,"dynasty":78,"author":7818,"museum":561,"description":7819,"tags":7820,"thumbUrl":7821,"material":84,"size":7822,"collection":289,"collections":7823,"showCount":7713,"zanCount":11,"manualWeight":46,"mainColor":149},218381,"xie-qin-guan-pu-tu-liu-guan-dao-218381","携琴观瀑图","刘贯道","层岩间烟岚轻笼，飞瀑自云端垂落漱石。虬松盘曲崖畔，老干如铁，松针如簇，漏下细碎天光。树下石矶上，二三雅士或对坐清谈，或凭石凝睇飞瀑，另有一人携琴而立，似欲鼓琴和鸣山水。笔墨苍劲中见秀逸，山石勾勒简练，松枝墨色有浓淡层次，人物衣袂飘飘神态悠然。整体意境清旷淡远，尽显文人寄情山水、畅怀林泉的雅趣，松涛与瀑声相和，知己围坐论道，心随画境飘向烟水深处。",[24,25,200,95,28,36,29,58,272,130,7,34,3602],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40c2da0de3b85af27da0921f07f0a3cb.jpg","184.3x68.2",[289],{"id":7825,"slug":7826,"title":7827,"dynasty":78,"author":7828,"museum":239,"description":7829,"tags":7830,"thumbUrl":7831,"material":116,"size":7832,"collection":42,"collections":7833,"showCount":7713,"zanCount":11,"manualWeight":46,"mainColor":149},218328,"yan-a-qi-shu-tu-chen-xuan-218328","岩阿琪树图","陈选","图绘翠峰叠嶂，古寺高居于丛林掩映中。山间飞泉直泻，山下溪流婉转，板桥横跨于前，近处杂树参差错落，生动有致。山石以披麻皴、点子皴两种笔法相参并用。树叶则点勾结合，表现出树木葱茏、烟云变幻、一派江南山川苍郁浑厚景象，给人以山高气爽、幽深静谧之感。",[23,24,951,27,36,95,37,82,29,7,34,132,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9252782007aff5c85e16028cb6ed04f.jpg","纵66.6厘米，横27.5厘米",[42],{"id":7835,"slug":7836,"title":7837,"dynasty":18,"author":7838,"museum":1137,"description":7839,"tags":7840,"thumbUrl":7842,"material":84,"size":7843,"collection":289,"collections":7844,"showCount":7713,"zanCount":11,"manualWeight":46,"mainColor":149},215025,"zhu-mai-chen-fu-xin-du-shu-tu-shi-rui-215025","朱买臣负薪读书图","石锐","该图描绘了西汉时期的大臣朱买臣，在得到汉武帝的赏识之前，他在家中一边读书，一边靠打柴为生。这个人物优雅的举止使他有别于普通的木匠，他的双手专注于书本，表明他是一位牧师。人物身上的笔触与物体的画像形式相对应，石头也是以夏的方式刮擦的。然而，其中一个手指不见了，以史睿的地位，似乎不太可能犯这样的小错误。虽然不能确定其年代，但可以断定其年代为明代",[23,200,24,25,95,28,56,58,34,7,4515,7841,3673],"薪柴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f1c51e57b673059f5905e665bc312ca.jpg","126x75",[289],{"id":7846,"slug":7847,"title":7848,"dynasty":793,"author":794,"museum":561,"description":7849,"tags":7850,"thumbUrl":7852,"material":217,"size":660,"collection":70,"collections":7853,"showCount":7854,"zanCount":46,"manualWeight":46,"mainColor":149},289895,"dong-xue-shan-jing-tu-wang-wei-289895","冬雪山景图","王维（701年—761年），字摩诘，号摩诘居士。河东蒲州（今山西永济）人，祖籍山西祁县。唐朝诗人、画家。\n王维出身河东王氏，于唐玄宗开元九年（721年）中进士第，为太乐丞。历官右拾遗、监察御史、河西节度使判官。天宝年间，拜吏部郎中、给事中。安禄山攻陷长安时，被迫受伪职。长安收复后，被责授太子中允。唐肃宗乾元年间任尚书右丞，世称“王右丞”。\n王维参禅悟理，精通诗书音画，以诗名盛于开元、天宝间，尤长五言，多咏山水田园，与孟浩然合称“王孟”，因笃诚奉佛，有“诗佛”之称。书画特臻其妙，后人推其为南宗山水画之祖。著有《王右丞集》《画学秘诀》，存诗约400首。北宋苏轼评云：“味摩诘之诗，诗中有画；观摩诘之画，画中有诗。”",[24,951,27,612,860,242,7,7851,36],"冬季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc6f6f348624fd227878f784726002c9.jpg",[],64,{"id":7856,"slug":7857,"title":7858,"dynasty":793,"author":2057,"museum":561,"description":7859,"tags":7860,"thumbUrl":7861,"material":70,"size":70,"collection":70,"collections":7862,"showCount":7854,"zanCount":11,"manualWeight":46,"mainColor":149},230931,"song-yin-tu-li-zhao-dao-230931","松荫图","此作山峦以皴笔写就，淡墨晕染远山，铺展出沉浑苍劲的山水底色，幽壑层叠间漾出清远意境。近景村舍错落檐下，酒客围坐谈笑，道旁行骑缓辔徐行，田埂间牛犊悠游，草木扶疏间尽是乡野烟火气。将山水幽寂与市井温情相融，以精工笔致摹写太平乡居日常，盛唐雄浑的山水意趣间揉进鲜活的俗世意韵，绘出盛世里的田园悠然图景，尽显大唐乡野风物的温煦情致。",[24,28,29,36,837,539,112,215,1103,58,30,31,7,33,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2028546aabb46cc23747564a9c5f49d.jpg",[],{"id":7864,"slug":7865,"title":7866,"dynasty":18,"author":7867,"museum":53,"description":7868,"tags":7869,"thumbUrl":7870,"material":28,"size":7871,"collection":42,"collections":7872,"showCount":7854,"zanCount":46,"manualWeight":46,"mainColor":47},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",[24,25,26,28,36,29,30,60,34,7,114,7292,187,258,158,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcebe762343913fad16b0e0bdb556a9e5.jpg","27.1x161.2",[42,146],{"id":7874,"slug":7875,"title":7876,"dynasty":18,"author":6896,"museum":509,"description":7877,"tags":7878,"thumbUrl":7879,"material":7880,"size":7881,"collection":146,"collections":7882,"showCount":7854,"zanCount":46,"manualWeight":46,"mainColor":250},222229,"song-feng-gao-shi-tu-wen-bo-ren-222229","松风高士图","该作品是明代画家文伯仁晚年的力作。该作品画中山峦高峻，危崖峭壁之间，山径曲折，飞瀑直下，注入山前的清溪中。苍松翠柏隔岸呼应，遮掩草堂。高士曳杖而立，神态安闲。作品用笔清秀爽利，墨色淡雅苍润。文伯仁在画中的题跋小楷十分工整，自谓仿赵孟頫，实则仅师其大意。其画更多取法元代王蒙及文徵明风格。\n该画作把近处的坡石先以淡墨勾勒，再以干墨或浓墨点苔，分出坡石的脉络。画家在水口处横抹几笔，既显画面空灵，又让人感觉水波轻漾。夹岸的松、柏先双勾树干，再以劲利的短线写松针，以密圈作柏叶，枝柯交错，如虬龙劲舞。茅屋被丛树掩映，有“结庐在人境，而无车马喧”之感。远处群山取自文氏画法。画家先以细密皴法定基调，再以淡墨勾勒山骨，然后用干笔作解索皴、牛毛皴，看似随意点染，却让山体层次分明、凹凸有致。千岩万壑、崇山峻岭、山径盘旋、涧水曲折，苍莽之气毕现于纸上。由于画家用笔多变，又着意经营，所以画面既浑厚华滋，又开阔旷达，毫无促迫感。画家在松树下的桥头处设主、仆两人，有画龙点睛之功，正如文徵明诗中所云：“万叠高山供道眼，千寻飞瀑净尘心。”寄情山林、不求闻达的高士，让这幅山水画有了更深远的韵味。",[23,24,27,36,95,29,272,1838,30,31,7,34,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9139afd4faa992b004cff6b1ffd56da6.jpg","设色纸本","98.7cm×27.6cm",[146,264],{"id":7884,"slug":7885,"title":7886,"dynasty":296,"author":1331,"museum":53,"description":7887,"tags":7888,"thumbUrl":7889,"material":28,"size":7890,"collection":42,"collections":7891,"showCount":7854,"zanCount":46,"manualWeight":46,"mainColor":47},220983,"fang-guo-xi-han-shan-xing-lv-yun-shou-ping-220983","仿郭熙寒山行旅","恽寿平（1633年－1690年），初名格，字寿平，改字正叔，号南田，又号云溪外史、白云外史，武进（今江苏常州）人，清代画家。\n恽寿平生于明崇祯六年（1633年），父恽日初为复社要人。寿平八岁能咏莲，少年遭遇战乱，随父参加抗清运动，兵败后与父失散，被总督陈锦之妻收留。陈锦遇刺身亡，寿平扶灵北归时，在灵隐寺与父相遇，留寺为僧，后回乡与家人团聚。\n子恽念祖，娶西营汤氏，汤谟孙女、汤自明次女。\n生前视钱如无物，晚年贫病交迫，卒于清康熙二十九年（1690年），由好友王翚出资安葬。",[23,24,28,186,36,29,7,242,133,131,214,538,114,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f5acd697e8aabd17c2b3f85707c6b56.jpg","77.2厘米",[42,146],{"id":7893,"slug":7894,"title":7895,"dynasty":296,"author":3038,"museum":53,"description":7896,"tags":7897,"thumbUrl":7898,"material":40,"size":7899,"collection":42,"collections":7900,"showCount":7854,"zanCount":46,"manualWeight":46,"mainColor":47},220382,"qing-wang-hui-fang-zhao-meng-fu-chun-shan-fei-pu-wang-hui-220382","清王翚仿赵孟俯春山飞瀑","细皴粗染入神知。春水初生落涧迟。书识重光诗正叔。天瓶小册合评时。辛亥（西元一七九一年）新正用恽寿平韵。御题。",[24,25,28,257,56,36,186,29,3630,427,7,363,34,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3734e913cfe0bffb73c6f8b6b761edf6.jpg","89.5x37.7",[42,264],{"id":7902,"slug":7903,"title":7904,"dynasty":18,"author":19,"museum":597,"description":5348,"tags":7905,"thumbUrl":7906,"material":229,"size":7907,"collection":70,"collections":7908,"showCount":7854,"zanCount":46,"manualWeight":46,"mainColor":47},220021,"dong-zhuang-tu-ce-zhi-xu-gu-tang-shen-zhou-220021","东庄图册之续古堂",[23,24,25,111,28,27,36,29,33,391,112,7,187,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23226a9c2a97b03509df6c47524c86ca.jpg","28.6cm×33cm",[],{"id":7910,"slug":7911,"title":7912,"dynasty":124,"author":548,"museum":53,"description":7913,"tags":7914,"thumbUrl":7915,"material":84,"size":7916,"collection":146,"collections":7917,"showCount":7854,"zanCount":46,"manualWeight":46,"mainColor":47},219723,"lin-ting-tu-li-cheng-219723","林亭图","图绘山中霜林高阁，文士坐阁中观景。树木繁密，林泉清洌。此幅因画寒林之景，后人附之为李成所作，实是明清人笔墨之格。",[24,25,27,36,26,29,33,96,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1abf21543f24da0a232c5b578e6a8b4f.jpg","37.5x72.2厘米",[146],{"id":7919,"slug":7920,"title":7921,"dynasty":124,"author":7922,"museum":781,"description":7923,"tags":7924,"thumbUrl":7925,"material":84,"size":786,"collection":289,"collections":7926,"showCount":7854,"zanCount":517,"manualWeight":46,"mainColor":663},218606,"wu-bai-luo-han-zhi-jing-dian-qi-rui-tu-lin-ting-gui-218606","五百罗汉之经典奇瑞图","林庭珪","画板中央是一座三层的砖塔，其中一部道教经书已被烧成灰烬，而一部佛教经书则完好无损，熠熠生辉。聚集在宝塔周围的四位罗汉（佛教经文）双手紧握以示喜悦，而另一位罗汉则向两位官员解释情况。右下角的三个道士很震惊。所描绘的场景取自《佛祖传》中提到的焚经比道的著名典故：（永平十五年）正月初一，五岳道士朱善心等人摆出桌子，进行比对。...... 当年道士等将真谛五术福智五百零九卷，毛成子等二十七家二百三十五卷，通共七百四十八卷，放在坛上。这本书被放在祭坛上，朱棣和费祎的弟子们烧香放火。诸子道书灰飞烟灭，楚、费二人从之感而死。接下来将是梵文的火书和赫拉克勒斯，作为一个新的展台，更加明亮和纯净。当时，摩腾法师的神奇变身凌空而起，冷不丁的一句话：，狐狸不是大师级的，灯不是太阳和月亮的光。池子不是巨大的海，山不是蝴蝶的山。达摩的云彩笼罩着世界，美好的种子绽放。达摩的显现无处不在，改造着众生。即使是佛法、戒律和其他神力的宣扬，也让许多出家的人感到惊讶。",[23,200,24,25,784,57,28,58,7,133,187,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F210f5d3021349306409ef4e727b69a10.jpg",[289],{"id":7928,"slug":7929,"title":4567,"dynasty":78,"author":7930,"museum":4634,"description":7931,"tags":7932,"thumbUrl":7933,"material":84,"size":70,"collection":42,"collections":7934,"showCount":7854,"zanCount":11,"manualWeight":46,"mainColor":663},218251,"xue-jing-shan-shui-tu-sun-jun-ze-218251","孙君泽","寒枝疏瘦，柳条如丝绦般摇曳于雪色间。远山覆雪，皴笔淡染出苍茫寒意；近景暖阁内人影依稀，似有围炉清谈之趣。画面融南宋院体的精工与元人山水的空灵，留白处见雪意，线条间藏生机。萧寒天地中，暖阁的烟火气与远山的静谧相映成趣，于素净笔墨间，寻得一份静谧温情，尽显冬日山水的清旷之美。",[24,951,95,27,28,36,612,29,33,415,7,58,5047,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4b3736813819c79171866fb270f653e.jpg",[42],{"id":7936,"slug":7937,"title":7938,"dynasty":124,"author":449,"museum":108,"description":1033,"tags":7939,"thumbUrl":7940,"material":84,"size":1036,"collection":70,"collections":7941,"showCount":7854,"zanCount":11,"manualWeight":46,"mainColor":47},218066,"song-di-ming-ti-ce-san-ma-yuan-218066","宋帝命题册(三)",[23,24,25,111,27,36,37,38,82,29,427,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23c1925505197c148c13f3497d28a207.jpg",[],{"id":7943,"slug":7944,"title":7945,"dynasty":78,"author":107,"museum":53,"description":1755,"tags":7946,"thumbUrl":7948,"material":116,"size":7949,"collection":70,"collections":7950,"showCount":73,"zanCount":11,"manualWeight":46,"mainColor":47},290960,"gu-kou-chun-geng-tu-wang-meng-290960","谷口春耕图",[200,24,25,95,27,29,36,7,96,1506,6899,7947,82,37],"春耕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec2e70b6711706e72d0fd7a32ef37df4.jpg","124.9x37.1",[],{"id":7952,"slug":7953,"title":7954,"dynasty":296,"author":436,"museum":561,"description":7955,"tags":7956,"thumbUrl":7963,"material":217,"size":660,"collection":70,"collections":7964,"showCount":73,"zanCount":517,"manualWeight":46,"mainColor":149},272966,"zi-tan-mu-bian-cai-xiu-mu-dan-tu-gua-ping-yi-ming-272966","紫檀木边彩绣牡丹图挂屏","此作以彩绣成景，嶙峋湖石以深浅蓝阶绣线晕染，苍润沉稳，撑起画面骨架。几枝牡丹柔白舒展，花叶扶疏雅致，绣线排布细腻自然，晕色过渡柔和，将牡丹盛放的娇柔姿态尽数铺陈。角落兰草轻曳点缀，衬得画面愈发娴静悠然。整体色调清雅古淡，兼具工笔设色的雅致与刺绣工艺的肌理美感，把中式庭院的春日闲景藏于方寸之间，尽显温婉意趣，是小品绣制中的雅致佳构。",[7957,7958,7959,62,441,7,7960,28,7961,7962,56],"刺绣","彩绣","挂屏","兰草","木质","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e474073ba64f037d4de801952086e7d.jpg",[],{"id":7966,"slug":7967,"title":7968,"dynasty":296,"author":7969,"museum":360,"description":7970,"tags":7971,"thumbUrl":7972,"material":70,"size":70,"collection":42,"collections":7973,"showCount":73,"zanCount":46,"manualWeight":46,"mainColor":47},239443,"fu-chun-shan-ju-tu-juan-huang-jun-239443","富春山居图卷","黄均","黄均（1775－1850），字上琓，号榖原、榖源、香畴、墨华居士、墨华庵主，元和（今苏州）人。据嘉道间大臣梁章钜(1775 - 1849）所著《楹联丛话全编》，黄均于嘉庆间供奉内廷有年。\n蒋宝龄（1781 - 1840)父子著《墨林今话》记：黄均以议叙官汉阳主簿，施南同知。画山水、花卉、梅竹，入手即通其妙，而於山水尤尽能事。初师黄鼎，继法娄东，堪与王撰并驾，用笔用墨苍楚有致。诗宗晚唐，书学赵孟頫，卖画食贫，怡然自得。尝自言二十馀年以吏为隐。卒年七十六。著《墨华庵吟稿》。\n《清史稿》称：“画晚而益工，于吴中称后劲”。\n黄宾虹议黄榖原“以功力胜，不在纤秀”。",[23,24,26,28,36,29,7,34,316,130,565,1944,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F164d44c5894dd5dcbd4a28934931eb84.jpg",[42,264],{"id":7975,"slug":7976,"title":7977,"dynasty":296,"author":436,"museum":561,"description":7978,"tags":7979,"thumbUrl":7980,"material":70,"size":70,"collection":289,"collections":7981,"showCount":73,"zanCount":11,"manualWeight":46,"mainColor":47},235155,"hong-ren-shan-shui-ce-yi-ming-235155","弘仁山水册","此作为书画合璧，题字行书清隽疏朗，诗文自带幽寂襟怀，与下幅山水浑然相融。\n\n画面以淡墨皴擦写秋山，山石造型方硬简劲，不作繁复修饰，尽显冷峻清瘦之态。几株疏木错落林间，枝叶简淡萧疏，衬出空山寥落之境。林下二人对坐晤谈，于幽寂山境中添上几分文人情致，不见烟火气，只余林泉高致。整幅笔墨极简，却将静穆淡远的出世意趣尽数铺陈，淡而不枯、简而不空，尽显文人山水画以简驭繁的悠远意境，藏着寄心林泉的幽然雅怀。",[24,25,111,27,36,29,34,7,58,1140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a5652b925f461d694a5eb18ea56028f.jpg",[289,648],{"id":7983,"slug":7984,"title":7985,"dynasty":296,"author":870,"museum":561,"description":7986,"tags":7987,"thumbUrl":7988,"material":70,"size":70,"collection":70,"collections":7989,"showCount":73,"zanCount":11,"manualWeight":46,"mainColor":149},229000,"jiao-ye-mo-se-tu-ce-12-kai-shi-tao-229000","郊野墨色图册12开","《石涛花卉》是219年中国书店出版的图书，作者是孙棋。\n石涛是一位多才多艺的艺术家，善画山水，兼工墨竹、花卉、人物。\n他吸收传统文化的精髓，但不受传统精神束缚，反对墨守成规，敢于打破陈法，主张对绘画技法进行变革和创新，是中国绘画史上出类拔萃、屈指可数的人物之一。\n石涛精于花卉蔬果，尤其是传统的“四君子”题材的绘画。\n他在继承传统的基础上进行创新，花卉潇洒隽朗、天真烂漫、清气袭人，人物生拙古朴、别具一格。\n可以说，石涛开清代花鸟画之先河，在中国花鸟画史上有着不可替代的地位。\n着色花卉图册八帧 岷江春色图 花卉图册十二帧 细笔花卉图册十帧 山水花卉图册八帧 郊野墨色图册十二帧 苦瓜和尚书画册十二帧 人物花鸟图册八帧 陶渊明诗意图册十二帧 写枝山诗意图册十帧",[24,27,28,36,111,29,837,539,34,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34a1d8a7dff20448467a31c175199486.jpg",[],{"id":7991,"slug":7992,"title":7993,"dynasty":296,"author":7994,"museum":561,"description":7995,"tags":7996,"thumbUrl":7997,"material":70,"size":70,"collection":70,"collections":7998,"showCount":73,"zanCount":46,"manualWeight":46,"mainColor":47},226639,"shan-shui-shan-mian-pu-ru-226639","山水扇面","溥儒","出身皇室的溥儒（溥心畲），除了自身的天赋才华，从小接受严格的正统教育，加上皇室有大量的书画收藏得以临摹，绘画创作得力诗词文的涵养，使他成为诗、书、画三绝的代表性画家，30年代中期与张大千（1899-1983）齐名，享有「南张北溥」的美誉，移居台湾后，与张大千、黄君璧三人同属台湾画坛中的最杰出的国画大师，被大众称为「渡海三家」，溥儒的山水画宗法宋元，风格淡雅，艺术家重视线条的?画，总呈现出和谐宁静的气氛。 〈山水〉是溥儒1945年的作品，风景自古是文人喜爱的绘画题材，艺术家从小浸淫汉学儒家思想，笔墨功力扎实，善于形塑令人向往的文人境界，〈山水〉流露出雅致的古典气息，画作属纸本立轴。题识： 「尺素生秋水，苍然浦漵分，尚含千峰雨，疑落万峰云。江上鸣瑶瑟，岩前忆隐君。青猿声断续，应是隔溪闻。」 行书行云流水，雅逸自然，配合画面挺拔的山壑与清澈湖水，诗书画三者结合，设色清新淡雅，使人玩味再三，前景的松树是溥儒喜爱的题材，它代表文人高尚的节操，高大的山石生长着茂密的植物，浓淡不一的墨色表现了丰富的层次，值得我们细细品味，而隐居在山林里的小房子甚是可爱，蕴含着隐居的心境。在用色方面，艺术家总以多层薄彩敷色，细腻的笔调，使景物生动自然，营造出柔和辽阔的意境，画面的左半面是空旷的湖面，刻意留白的处理与右半边的景物形成对比，两艘小船为全画增添生命力，整体而言，是幅意境深远的画作，流露出一股天真脱俗的气质。",[23,24,1900,29,28,427,58,7,31,82,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1194f3f821239671a24fdd604c5306ed.jpg",[],{"id":8000,"slug":8001,"title":8002,"dynasty":296,"author":8003,"museum":53,"description":8004,"tags":8005,"thumbUrl":8006,"material":229,"size":8007,"collection":289,"collections":8008,"showCount":73,"zanCount":46,"manualWeight":46,"mainColor":47},223326,"mo-gu-kai-zhi-luo-shen-tu-juan-ding-guan-peng-223326","摹顾恺之洛神图卷","丁观鹏","《清丁观鹏摹顾恺之洛神图》虽是摹本，然山水造型已自朴拙稚趣的古典画洋，转为成熟的金碧山水，且景物间的比例关系已趋精确；援以西洋明暗设色法与定点透视法，表现脸部五官、马匹体态与空间层次，营造合乎视觉经验的画面。丁观鹏在当时受到西洋绘画的影响，本卷中采取光影与透视法即是。",[23,24,25,26,28,56,58,215,34,7,186,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea4b7ef2e14f9b4457400360dcabf0de.jpg","28.1x587.5",[289,264],{"id":8010,"slug":8011,"title":8012,"dynasty":296,"author":2564,"museum":53,"description":3578,"tags":8013,"thumbUrl":8014,"material":673,"size":3583,"collection":42,"collections":8015,"showCount":73,"zanCount":46,"manualWeight":46,"mainColor":250},222761,"shi-er-yue-ling-tu-2-yue-lang-shi-ning-222761","十二月令图（2月）",[23,200,24,56,28,57,29,60,58,61,7,34,390],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa9bcf35cca2199d5fa9312b5a8a3e68.jpg",[42,264],{"id":8017,"slug":8018,"title":8019,"dynasty":18,"author":238,"museum":53,"description":8020,"tags":8021,"thumbUrl":8022,"material":8023,"size":8024,"collection":42,"collections":8025,"showCount":73,"zanCount":46,"manualWeight":46,"mainColor":149},222605,"xue-xi-tu-lan-ying-222605","雪溪图","蓝瑛擅长山水、花卉、兰石，师法宋元名家，早年主要得力于黄公望，作品清 简秀润，韩昴在《图绘宝鉴续纂》中说他：“画从黄子久（即黄公望），入门而醒悟。”中年自立门庭，上窥晋、唐、两宋，遍摹元代诸家笔法，集取优长,由此入门，始能各极变化。不但取法郭熙、李唐及马、夏，而且对二米、云山也精心研究过。对黄公望的画悉心尤力。当代前辈沈周的画也热心师效。加之漫游南北涉猎既广，眼界自宽，故落笔纵横奇古，风格秀润。他的画风是从多方面变代出来的。晚年作品渐趋苍劲疏宕。画风又有多种面貌，有些作品笔墨含蓄隽雅，有些作品青绿重设色，画法工细，色调浓丽，愈老而愈工。晚年他的笔法益苍劲，颇类沈周。他兼工人物、花鸟、兰竹、俱得古人三昧。他虽力追古法，但能融会贯通，自成风范，对以后的明末清初绘画影响很大。",[23,24,28,57,29,60,32,242,7,31,612],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F186dde280fbc8429c16567c2833ffe8a.jpg","绫本","27×38",[42,264],{"id":8027,"slug":8028,"title":8029,"dynasty":18,"author":238,"museum":239,"description":8030,"tags":8031,"thumbUrl":8032,"material":885,"size":8033,"collection":42,"collections":8034,"showCount":73,"zanCount":46,"manualWeight":46,"mainColor":149},222593,"song-luo-wan-cui-tu-lan-ying-222593","松萝晚翠图","此图是蓝瑛38岁的国画作品。画面峰峦层叠，中部有庙宇坐落于茂密的松林中，半隐半露相映成趣。泉水沿着蜿蜒的山涧，飞流直泻，与山脚的河流相连，近处河边杂树成林，林中一老人前行，琴童后随。\n画面布局采用“高远”法，气势雄峻。山石的纹理采用“荷叶皴”兼取“斧劈皴”，墨色润泽，浓淡相间，充分表现出苍山的层次感和体积感，石绿作苔点，疏落有致，色彩明洁，增添了画面的装饰趣味。",[23,24,25,95,28,29,272,112,60,31,130,7,364,33,1746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16b4e2036bc72593e80638f98b23c217.jpg","160x55cm",[42,146],{"id":8036,"slug":8037,"title":8038,"dynasty":18,"author":8039,"museum":53,"description":8040,"tags":8041,"thumbUrl":8042,"material":203,"size":70,"collection":42,"collections":8043,"showCount":73,"zanCount":764,"manualWeight":46,"mainColor":149},222430,"dong-li-qiu-se-tu-li-xiang-222430","东篱秋色图","李相","画取材东晋诗人陶渊明归隐田园的故事。画面中，陶渊明悠闲地坐在室外床榻上观赏菊花，童仆和家人陪伴伺候，屋外有访客造访，山径间还可见到牧童与牛群，整幅画流露出高士隐逸生活的一种典型。 ​​​​",[23,200,24,25,29,27,36,7,34,565,31,130,35,114,5267,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb340c3bf793e605358c2953c86e93e35.jpg",[42,146],{"id":8045,"slug":8046,"title":8047,"dynasty":18,"author":52,"museum":360,"description":8048,"tags":8049,"thumbUrl":8054,"material":454,"size":8055,"collection":70,"collections":8056,"showCount":73,"zanCount":46,"manualWeight":46,"mainColor":47},222188,"ren-wu-gu-shi-tu-zi-lu-wen-jin-chou-ying-222188","人物故事图-子路问津","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。",[23,24,111,8050,28,58,29,34,7,4415,8051,8052,8053,4019],"工笔重彩","马车","子路问津","历史故事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3113aa636a1969d1889567021aaf7551.jpg","每开纵41.4厘米，横33.8厘米",[],{"id":8058,"slug":8059,"title":971,"dynasty":18,"author":269,"museum":53,"description":8060,"tags":8061,"thumbUrl":8062,"material":203,"size":8063,"collection":42,"collections":8064,"showCount":73,"zanCount":46,"manualWeight":46,"mainColor":149},222029,"shan-shui-zhou-dai-jin-222029","此画从构图看全幅构图取近景形式，自下而上，呈上、中、下三段层次。上端即远山迷漾，峰峦环抱，群山侧于画面的左上角，山上和山腰杂木丛生。山下即中景为宽阔水面，汪洋一片，把远景与近景遥遥相隔，河水中无渔舟停泊，亦无水阁临溪，显得十分幽静。近景为此画的主体部分。坡石连绵，坡石高矮不一，其问有几株盘根虬曲的树木，树下山上有数间楼阁，楼阁围有 栏杆，一位长者端坐在楼阁内，正在观赏美丽的山水景致。\n款署，“景泰壬申春三月钱塘戴文进写。”",[23,24,95,29,28,36,33,31,32,58,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d4043ef01c707ccd4702333f8460033.jpg","纵139．0厘米，横79．8厘米",[42,146],{"id":8066,"slug":8067,"title":8068,"dynasty":124,"author":154,"museum":53,"description":8069,"tags":8070,"thumbUrl":8073,"material":84,"size":8074,"collection":144,"collections":8075,"showCount":73,"zanCount":46,"manualWeight":46,"mainColor":663},221286,"feng-nian-rui-xue-tu-zhou-guo-xi-221286","丰年瑞雪图轴","郭熙（十一世纪后叶），河南温县人，1068-1077年（神宗熙宁年间）任画院艺学。善山水，画法学自李成，而能树立一己的面貌。",[23,24,200,25,95,27,28,36,29,612,34,7,8071,1944,565,8072],"桥梁","流水 ```","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F567a440bad362794ef3a58bd9280e8cc.jpg","120.4x74.7厘米",[144,42,146],{"id":8077,"slug":8078,"title":8079,"dynasty":3825,"author":3826,"museum":8080,"description":8081,"tags":8082,"thumbUrl":8083,"material":70,"size":70,"collection":70,"collections":8084,"showCount":73,"zanCount":46,"manualWeight":46,"mainColor":47},220490,"fan-zhou-xin-an-jiang-zhang-da-qian-220490","泛舟新安江","Indianapolis Museum of Art at Newfields","以高远危崖呼应平阔水汀，淡赭晕开朝暮霞光，江雾轻笼天地。枯笔勾出崖石筋骨，焦墨点簇顶间林木，苍劲里暗含秀雅疏朗。水色留白晕染浅青，浅滩枯木枝桠清瘦，间缀浅红秋意，冷寂中晕开暖意。\n\n扁舟横斜汀渚，舟上人影简淡，尽显江湖散人的从容闲逸。整幅画笔简意足，将江乡清灵旷远融于淡墨轻色之间，淡而弥永，尽显萧散简远的文人林下风流。",[23,24,28,36,95,29,32,34,7,316,133,35,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff30913e83fe79ae7e565b04344eaf69a.jpg",[],{"id":8086,"slug":8087,"title":8088,"dynasty":18,"author":8089,"museum":53,"description":8090,"tags":8091,"thumbUrl":8092,"material":84,"size":8093,"collection":289,"collections":8094,"showCount":73,"zanCount":46,"manualWeight":46,"mainColor":47},219552,"jiu-lao-tu-huang-biao-219552","九老图","黄彪","此幅是黄彪摹刘松年九老图而成，得形似而人物传神，虽布置树石稍显薄淡，傅色鲜浮之外，不失为一种临摹传世之佳品。",[23,24,25,26,28,56,58,34,30,31,7,272,391,489,33,37,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f86b80884e1f7a09cf9f31d6902a1ad.jpg","27.2x193厘米",[289,264],{"id":8096,"slug":8097,"title":8098,"dynasty":296,"author":1795,"museum":360,"description":8099,"tags":8100,"thumbUrl":8101,"material":84,"size":8102,"collection":42,"collections":8103,"showCount":73,"zanCount":11,"manualWeight":46,"mainColor":149},219092,"shan-zhuang-qiu-ren-tu-yuan-yao-219092","山庄秋稔图","此图描绘山庄秋天的景色。村舍环绕于绿色山树中，茅庐内村人闲适，近处一牧童放牛于缓坡之上；远山高耸，突兀奇绝，烟云缭绕。设色青绿，构思精巧，结构准确，层次分明，显现出作者精于刻画的写实功力。",[24,28,57,56,36,29,60,7,34,58,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8916945174cef62eec1b5b888a7cedde.jpg","纵182.5厘米，横96.8厘米",[42],{"id":8105,"slug":8106,"title":8107,"dynasty":18,"author":424,"museum":346,"description":8108,"tags":8109,"thumbUrl":8110,"material":84,"size":8111,"collection":306,"collections":8112,"showCount":73,"zanCount":764,"manualWeight":46,"mainColor":149},219028,"qun-lu-tu-wen-zheng-ming-219028","群鹿图","层峦叠嶂间林木苍郁，群鹿嬉戏于溪畔石边，或卧饮清泉，或昂首远眺，或追逐嬉闹，姿态各异，灵动鲜活。鹿谐音“禄”，群鹿齐聚暗合福禄绵延的祥瑞寓意，藏着文人对顺遂生活的寄望。山石以淡墨皴染，线条清劲中见温润；树木勾勒细致，枝叶繁密却不杂乱；鹿群的轮廓与肌理刻画入微，神态毕肖。整幅画将山水的清幽与走兽的生机相融，尽显吴门画派雅致醇厚的格调，古旧绢色更添岁月沉淀的静谧之美，似在诉说自然与人文交织的诗意篇章。",[23,24,28,56,36,29,4949,1396,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e7960bcc17b6b77977da508ad692bfa.jpg","纵186.5横96厘米",[306],{"id":8114,"slug":8115,"title":2325,"dynasty":296,"author":498,"museum":8116,"description":6441,"tags":8117,"thumbUrl":8118,"material":40,"size":70,"collection":42,"collections":8119,"showCount":73,"zanCount":46,"manualWeight":46,"mainColor":47},217987,"fang-huang-gong-wang-shan-shui-tu-wang-yuan-qi-217987","京都国立博物馆",[24,25,95,29,36,28,186,7,34,31,30,133,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a6ccd6d0fbd19162156288da30812a8.jpg",[42],{"id":8121,"slug":8122,"title":386,"dynasty":78,"author":436,"museum":53,"description":8123,"tags":8124,"thumbUrl":8125,"material":84,"size":8126,"collection":289,"collections":8127,"showCount":73,"zanCount":11,"manualWeight":46,"mainColor":149},214667,"sui-chao-tu-yi-ming-214667","这幅画描绘了元旦的热闹场面，村子里人山人海，喜气洋洋，老老少少欢天喜地地迎接春天。从笔触和服装来看，这幅画是由明代仇英画派的画家所作。",[24,28,56,29,58,60,242,61,35,33,201,7,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5571aa43f0fbb8334aac6f762fc1a525.jpg","146.5x45.3",[289],{"id":8129,"slug":8130,"title":8131,"dynasty":296,"author":436,"museum":53,"description":8132,"tags":8133,"thumbUrl":8134,"material":885,"size":8135,"collection":289,"collections":8136,"showCount":8137,"zanCount":46,"manualWeight":46,"mainColor":47},238870,"mei-gui-fei-chun-gui-ren-xing-le-tu-zhou-yi-ming-238870","玫贵妃春贵人行乐图轴","此图描绘玫贵妃与春贵人、鑫常在花园中钓鱼的情景。人物形神毕肖，个性鲜明，明显带有肖像画特征，对研究晚清嫔妃的宫廷娱乐生活具有较为珍贵的影像价值。\n此图所绘主人公玫贵妃，姓徐佳氏，是清代咸丰皇帝的嫔妃，初为贵人，后进玫嫔。同治皇帝在位时，尊封其为玫贵妃。",[24,95,56,28,58,59,415,2011,4502,7,64,489,736,439],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0271796fde7f4f01e55be68f0f4a86c.jpg","纵169cm，横90cm",[289,264],62,{"id":8139,"slug":8140,"title":8141,"dynasty":296,"author":3185,"museum":360,"description":3186,"tags":8142,"thumbUrl":8143,"material":8144,"size":8145,"collection":42,"collections":8146,"showCount":8137,"zanCount":46,"manualWeight":46,"mainColor":47},234264,"wu-wai-tian-yuan-tu-ce-kun-can-234264","物外田园图册",[23,24,27,111,36,37,29,96,244,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8651a5a2e1ca54204c673178db5637fc.jpg","纸本 ，墨笔","纵21.5cm，横16.9cm",[42],{"id":8148,"slug":8149,"title":8150,"dynasty":18,"author":19,"museum":360,"description":8151,"tags":8152,"thumbUrl":8153,"material":368,"size":70,"collection":70,"collections":8154,"showCount":8137,"zanCount":46,"manualWeight":46,"mainColor":47},234159,"shen-zhou-sui-an-tu-juan-shen-zhou-234159","沈周邃庵图卷","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。",[23,24,25,26,27,28,36,37,38,4405,29,7,34,132,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30a686a30f4662dd5e69d37ebb1b90d7.jpg",[],{"id":8156,"slug":8157,"title":8158,"dynasty":78,"author":107,"museum":53,"description":8159,"tags":8160,"thumbUrl":8161,"material":70,"size":70,"collection":70,"collections":8162,"showCount":8137,"zanCount":46,"manualWeight":46,"mainColor":149},232799,"shan-shui-tu-xi-shan-fang-you-wang-meng-232799","山水图(溪山访友)","此画写深秋山水。凌云而出的高山，清冽的溪水，巨石突兀，长松乔木，点缀着寻幽访友的高士，表现了寄情林泉的雅兴。",[24,25,95,27,36,29,30,31,33,34,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a3f4507d7ed0adacc32cb42699c50a5.jpg",[],{"id":8164,"slug":8165,"title":8166,"dynasty":124,"author":197,"museum":561,"description":8167,"tags":8168,"thumbUrl":8170,"material":70,"size":70,"collection":70,"collections":8171,"showCount":8137,"zanCount":46,"manualWeight":46,"mainColor":47},228255,"qiu-jiang-yu-le-tu-xia-gui-228255","秋江渔乐图","此作用边角取景，淡墨晕染开层叠远山，留白铺就浩渺秋江，虚实相生间尽显清旷萧疏。孤舟渔翁垂纶独钓，似与烟水山色相融。坡岸林木苍劲虬曲，群雁振翅惊破江天寂静，寥寥数笔便点活秋江灵动意趣。\n水墨淋漓间以简驭繁，将秋江的冷寂清寒，与渔者隐逸的悠然快意揉入尺幅之中，淡远空寂的氛围感扑面而来，尽显空灵简远的意韵，藏着江湖散人的疏旷闲情。",[23,24,25,26,27,36,38,82,29,32,201,243,34,7,31,8169,724,96],"江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd27660b82a2b352247e4cc452331a1a3.jpg",[],{"id":8173,"slug":8174,"title":6521,"dynasty":78,"author":8175,"museum":561,"description":8176,"tags":8177,"thumbUrl":8179,"material":70,"size":70,"collection":70,"collections":8180,"showCount":8137,"zanCount":11,"manualWeight":46,"mainColor":149},228244,"xian-shan-lou-ge-tu-chen-ru-yan-228244","陈汝言","此作为典型的元人青绿山水，承续唐宋青绿遗韵。层叠峰峦以石青、石绿晕染勾勒，色泽古雅厚重，虽经岁月稍褪，仍可见旧时明丽。苍松虬劲错落，扎根于岩岫之间，楼阁屋舍隐现幽谷林泉，几处文人逸士或策杖徐行、或凭栏晤谈，衬出山居空寂幽深。\n\n整幅疏密得宜，将仙山秘境的超脱清灵铺展于绢素，既带着青绿山水的富丽端严，又融入元人山水独有的萧散意趣，把世外山居的恬然仙气尽数勾勒，尽显缥缈出尘的隐逸雅意。",[23,200,24,25,1304,257,28,951,56,36,95,8178,60,427,30,31,58,7,34,133],"仙山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5e76427d011700fd2ac0d5e310c74ac.jpg",[],{"id":8182,"slug":8183,"title":8184,"dynasty":8185,"author":436,"museum":561,"description":8186,"tags":8187,"thumbUrl":8188,"material":217,"size":660,"collection":70,"collections":8189,"showCount":8137,"zanCount":46,"manualWeight":46,"mainColor":149},223909,"song-shan-hua-shan-shui-tu-yi-shou-jing-mu-tuo-fu-jian-yi-ming-223909","嵩山画山水图，益寿镜木托附件","汉","汉镜有圆形﹑方形。纽多作半球形。正面磨光背面铸有几何形图案或神人禽兽等。东汉中期出现浮雕的画像造形精美。\n两汉时期大体上分西汉、新莽、东 汉三个阶段。汉镜纹饰的主要种类有草叶纹镜、蟠龙纹镜、百乳镜、连弧纹镜、规矩镜、多乳禽兽纹镜和变形四叶镜等。",[24,25,28,56,29,60,30,31,34,7,187,7961],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52e9abe895df9c138c4dc01d0bc15902.jpg",[],{"id":8191,"slug":8192,"title":8193,"dynasty":18,"author":238,"museum":401,"description":8194,"tags":8195,"thumbUrl":8196,"material":1467,"size":8197,"collection":42,"collections":8198,"showCount":8137,"zanCount":46,"manualWeight":46,"mainColor":149},222600,"qiu-shan-you-ju-tu-juan-lan-ying-222600","秋山幽居图卷","这幅画特点较明显的是用笔有顿挫，以疏秀苍劲取胜。善写秋景。在作品的题款中，常署仿某家之作，如“仿张僧繇”、“法荆浩”、“仿李成”、“用云法”等，实则所画都是他自己的面目。他的画法有两种，一种作钩勒浅绛法。另一种作没骨法，设色鲜艳突目，所画红树、青山、白云，运用石青、石绿、朱砂、赭石、铅粉诸色，点染别致，是晚明时期富有变化的山水作品。",[23,24,26,27,36,29,1837,97,34,31,32,201,7,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e087d6380ef6f745979fe23ff227fcc.jpg","26.3x246.5",[42,146],{"id":8200,"slug":8201,"title":8202,"dynasty":18,"author":1100,"museum":360,"description":8203,"tags":8204,"thumbUrl":8205,"material":8206,"size":8207,"collection":42,"collections":8208,"showCount":8137,"zanCount":46,"manualWeight":46,"mainColor":47},220940,"fang-gu-shan-shui-dong-qi-chang-220940","仿古山水","明代画坛流派叠现，异彩纷呈。晚期更有华亭派、武林派等异军突起，影响远泽有清一代。其中，华亭派领袖人物董其昌推崇倡导的摹古风气对后世画坛的影响尤为深刻。对于学习绘画，董其昌认为应先以古人为师，对古人画迹悉心摹写，将其笔墨技法、布局构图于心中融汇贯通，从而得古人笔墨意趣，然后再师法自然，汲取创作灵感。他对自己的主张是身体力行的。\n这套《仿古山水》册共８开，皆为仿唐及宋元诸家如杨昇、惠崇、李公麟、倪瓒等的小幅册页，是董其昌仿古一类绘画中不可多得的妙品。董氏水墨山水名重于世，设色山水也别具一格。此册中“仿唐杨昇”一开青绿山水，以没骨法为之，丛树峰峦等都用石青、石绿、朱砂、赭石等色染出，鲜有勾皴，与李思训一派线条硬劲的青绿山水情趣各异。董其昌曾遍临名家画作，而用功最勤的则是元四家。册中有“仿倪元镇”一开山水，构图布局和树、石、山、亭的画法无不毕肖于倪瓒之作，可谓得其三昧，登堂入室。此套册页虽每开均以“仿”字冠名，其实画面却不尽然，因为每幅都有自出新意之处。再以“仿倪元镇”一开为例，与倪瓒之画呈现的寂寥疏淡的面目相比，此图使人感受到的是勃勃生机，这是董氏取诸家笔墨之长，再运用自身的学养识见加以变化而直抒胸臆、独树风标的不凡魅力，后世众多摹古画家始终无法企及。\n此图册作于明天启元年（1621年），董其昌时年67岁。",[24,25,111,27,29,242,7,31,186,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61ec528469518e200ec75e5ee4b32691.jpg","纸本,水墨和设色","每开纵26.3厘米,横25.5厘米",[42,146],{"id":8210,"slug":8211,"title":8212,"dynasty":78,"author":6917,"museum":1043,"description":8213,"tags":8214,"thumbUrl":8215,"material":84,"size":8216,"collection":289,"collections":8217,"showCount":8137,"zanCount":11,"manualWeight":46,"mainColor":149},220433,"yang-zheng-tu-shi-ze-wang-zhen-peng-220433","养正图十则","此册绘十位有涵养正道智者的故事。细观此册与王振鹏画风不类，揭傒斯题跋更伪，当是明清人伪托之作。",[23,24,25,26,57,56,28,58,60,34,7,31,33,30,37,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1acc070a8884b606278633838a456375.jpg","34×42",[289,264],{"id":8219,"slug":8220,"title":8221,"dynasty":78,"author":6395,"museum":1043,"description":8222,"tags":8223,"thumbUrl":8224,"material":601,"size":8225,"collection":146,"collections":8226,"showCount":8137,"zanCount":11,"manualWeight":46,"mainColor":149},220369,"mo-ji-shi-yi-tu-tang-di-220369","摩诘诗意图","《摩诘诗意图》毫无疑问是唐棣山水画的代表作。画面近景巨树磅礴有力，远景平野延展不绝，树木是典型的蟹爪枝，山石是典型的鬼面石，皴法是典型的卷云皴，真可谓得李郭“真传”。",[23,24,27,29,96,7,36,95,114,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14fd21367e223c6a2061d4a44ff001c3.jpg","71x46cm",[146],{"id":8228,"slug":8229,"title":8230,"dynasty":124,"author":4263,"museum":53,"description":8231,"tags":8232,"thumbUrl":8234,"material":84,"size":8235,"collection":289,"collections":8236,"showCount":8137,"zanCount":46,"manualWeight":46,"mainColor":149},219608,"dong-li-gao-shi-tu-liang-kai-219608","东篱高士图","《宋梁楷东篱高士图轴》是南宋画家梁楷创作的作品此画中一高士手拿菊花，漫步在山中。背景用淡墨烘染，而红叶跟高士手中的菊花，点出这幅图画的是秋天。陶渊明是著名的“隐逸诗人”，又特别爱菊花，因此图中的高士不禁让人联想到陶渊明。",[23,200,24,25,95,8233,27,28,58,1838,96,7,31,1990],"减笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6dfba9b9f71ac3b315d150e8db4344f.jpg","纵71.5厘米，横36.7厘米",[289],{"id":8238,"slug":8239,"title":8240,"dynasty":654,"author":8241,"museum":53,"description":8242,"tags":8243,"thumbUrl":8245,"material":84,"size":8246,"collection":289,"collections":8247,"showCount":8137,"zanCount":764,"manualWeight":46,"mainColor":149},219490,"wen-hui-tu-qiu-wen-bo-219490","文会图","丘文播","图绘四文士宴饮、赋诗、抚琴的雅集场景。四人均宽衣大袍，坐于榻上，身旁置酒杯、酒瓶，似在即席作文行酒。四位人物的姿态不一，一人停笔凝思，一人秉笔疾书，而右下者似已醉态微呈，意欲下榻，侍童忙为其穿靴并扶撑其腰，文士转身挥手，招呼怀抱锦袱之女子，而女子则淡妆素抹，作扭首含羞之态。左下背向文士，则牵住右下文士之腰带，似有不让其离席之状。三位挽双髻女子，或抱琴、或端杯侍立于榻旁。此图人物造型具有唐风，结构严谨，衣纹线条疏密有致，运笔极为娴熟。背景中的古树，枝干劲挺虬曲，树叶以三角形堆叠法绘成，并根据疏密搭配，间以色彩轻重渲染，使之古茂苍雄，更进一步衬托了“文会”主题之雅意。",[200,24,25,56,28,712,58,4019,8244,96,7,3592,1273],"侍女","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a055f28d65527ebeb12ed1c39e04aab.jpg","纵84.9厘米，横49.6厘米",[289],{"id":8249,"slug":8250,"title":8251,"dynasty":18,"author":8252,"museum":53,"description":8253,"tags":8254,"thumbUrl":8256,"material":84,"size":8257,"collection":264,"collections":8258,"showCount":8137,"zanCount":46,"manualWeight":46,"mainColor":149},219328,"chun-shan-tai-xie-zhou-liu-du-219328","春山台榭轴","刘度","此图描写翠巖积秀，碧树繁花，楼阁台榭，临水错落。一人坐于阁中休憩，僮仆捧茶碗侍候，另有一童正在煮茶。台阁用界尺画，工细而不呆板，青绿设色妍丽而生动。山光水影，一派清秀。 据作者款题，此幅乃应友人之请而作，所绘的内容是昔日在西湖精舍见到宋人的《春山台榭》图卷，受到深刻的启发有感而作。 刘度的生卒年不详，存世作品见于1630年至1660年间。此幅画于1636年（崇祯九年丙子），是刘氏传世画作中较早期的作品。",[200,24,25,95,28,56,36,29,60,33,30,31,7,34,8255,61,132,363],"台榭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe971e96e88677a3473d270d202a8981f.jpg","119.9x47.8",[264],{"id":8260,"slug":8261,"title":8262,"dynasty":124,"author":8263,"museum":561,"description":8264,"tags":8265,"thumbUrl":8266,"material":84,"size":70,"collection":42,"collections":8267,"showCount":8137,"zanCount":46,"manualWeight":46,"mainColor":149},218611,"han-lin-ce-zhang-tu-hu-yan-long-218611","寒林策杖图","胡彦龙","寒林枝干虬曲如铁，墨色浓淡交织出萧瑟之态。右侧山石以沉凝皴笔勾勒，纹理苍劲，与疏林相映成趣。坡岸之上，策杖者孑然独立，衣袂轻扬似携山风，身影虽小却意态悠然。古雅的棕褐底色衬出笔墨清劲，虚实间藏着宋人的隐逸情怀——林泉之致，不在喧嚣，而在山、树、人的静默相对里。笔墨简淡却韵味悠长，冬日清寒与心境澄明揉进每一笔，观者仿佛能听见林间风声，触到山石凉，读懂那份寄情山水的淡然。",[24,25,29,58,96,7,36,28,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60709ae11956c61255df326d8727958c.jpg",[42],{"id":8269,"slug":8270,"title":8271,"dynasty":78,"author":436,"museum":597,"description":8272,"tags":8273,"thumbUrl":8274,"material":84,"size":8275,"collection":42,"collections":8276,"showCount":8137,"zanCount":517,"manualWeight":46,"mainColor":149},218207,"song-zhai-jing-zuo-tu-yi-ming-218207","松斋静坐图","松斋静坐图是中国元朝时期的一幅著名绘画，作者是佚名。\n\n这幅画的主要内容是一位老僧人在森林中静坐，周围的景色非常宁静。老僧人的脸上没有表情，但整个画面都透露出一种深沉的内省与冥想的气息。\n\n这幅画的风格融合了中国传统的山水画和人物画的元素，画面精致细腻，色彩和谐。松斋静坐图是元朝时期佛教文化的经典代表之一，也是中国绘画史上的珍贵艺术品。",[24,951,36,28,272,96,7,33,130,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d571379b374461e93289d1506ce0bf6.jpg","170x106.7cm",[42],{"id":8278,"slug":8279,"title":8280,"dynasty":78,"author":436,"museum":108,"description":8281,"tags":8282,"thumbUrl":8284,"material":84,"size":8285,"collection":306,"collections":8286,"showCount":8137,"zanCount":46,"manualWeight":46,"mainColor":149},216751,"shi-hu-san-biao-tu-yi-ming-216751","十虎三彪图","这是一幅虎画长卷，名曰《十虎三彪图》，宋人佚名作，共画了十只虎，三只彪。\n\n龙生九子，各有不同。虎生三子，必有一彪。\n\n在传统文化里，龙虎都少不了一些衍生同类，彪是虎演化而来的。故事相传，母虎生有三虎崽，其中一虎崽格外凶狠彪悍，有吞食另外两只幼崽的能力，因此母虎日夜提防着凶虎崽和另外两只虎崽单独相处。",[23,24,25,26,27,36,2241,8283,1396,34,7],"彪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22319c2472e4a7063456b1ee2a4fb07f.jpg","27x349cm",[306],{"id":8288,"slug":8289,"title":8290,"dynasty":124,"author":3003,"museum":108,"description":8291,"tags":8292,"thumbUrl":8293,"material":84,"size":8294,"collection":306,"collections":8295,"showCount":8137,"zanCount":11,"manualWeight":46,"mainColor":149},216669,"yuan-xi-tu-yi-yuan-ji-216669","猿戏图","枝间猿猱倒挂，长尾如丝垂悬，似欲探取下方轻物，姿态灵动若脱纸而出。虬枝盘曲如铁，缀以青果繁叶，墨色浓淡交错间，见苍劲中含生机。远山以淡墨皴染，近石用粗笔勾勒，虚实相映间拓开清旷空间。猿之毛发细劲蓬松，根根可见；果叶晕染鲜活，如沐朝露。笔墨工致却不失野趣，于方寸圆扇内凝注山林间的灵动瞬间——风过枝颤，猿眸流转，似能闻叶隙间的轻响。宋画的精微与诗意在此尽显：以细致笔触捕捉生命本真，用简淡意境传递自然野逸，让观者仿若置身深林，与这灵物共醉于片刻闲趣。风过枝摇时，灵猿的每一寸毛发都似在轻颤，果叶的脉络里藏着晨露的光，深林的野趣与宋人的雅致，尽凝于这一方圆幅中。",[24,200,28,56,1396,7467,112,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e09b8ae55b49ba935e0ab9aca615986.jpg","26x26cm",[306],{"id":8297,"slug":8298,"title":123,"dynasty":124,"author":8299,"museum":561,"description":8300,"tags":8301,"thumbUrl":8302,"material":217,"size":660,"collection":70,"collections":8303,"showCount":8304,"zanCount":46,"manualWeight":46,"mainColor":149},288839,"xi-shan-xing-lv-tu-zhu-rui-288839","朱锐","朱锐，中国宋代画家。生卒年不详，活动于北宋末南宋初。河北人。原为北宋宣和画院待诏，南渡后又入绍兴画院，任待诏，授迪功郎，赐金带。擅山水，工雪景，师法王维，所画多骡纲、雪猎、盘车、行旅等题材，表现了车辆旅人跋涉于荒寒苍凉的溪山之间的艰辛之状。形象真实，主题鲜明，情景动人。有《盘车图》传世。",[24,951,27,36,242,7,31,214,1103,58,131,612,4922],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea03f9828d4df9b53dc2f163cd69a4a0.jpg",[],61,{"id":8306,"slug":8307,"title":8308,"dynasty":18,"author":1100,"museum":561,"description":3495,"tags":8309,"thumbUrl":8310,"material":217,"size":660,"collection":70,"collections":8311,"showCount":8304,"zanCount":46,"manualWeight":46,"mainColor":47},283738,"fang-gu-shan-shui-ce-shi-kai-dong-qi-chang-283738","仿古山水册（十开）",[200,24,111,27,29,7,31,34,97,82,37,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a9ee79f5dfee7fbf9889135e8f1f2b7.jpg",[],{"id":8313,"slug":8314,"title":2506,"dynasty":296,"author":436,"museum":360,"description":733,"tags":8315,"thumbUrl":8318,"material":454,"size":739,"collection":70,"collections":8319,"showCount":8304,"zanCount":46,"manualWeight":46,"mainColor":149},236168,"yong-zheng-shi-er-yue-xing-le-tu-zhou-yi-ming-236168",[24,56,28,57,36,29,60,58,391,7,31,201,61,187,34,2861,8316,8317,64,35,2960],"石桥","人物活动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47c3e8128a600870ae2951e88c5416b8.jpg",[],{"id":8321,"slug":8322,"title":8323,"dynasty":296,"author":8324,"museum":360,"description":8325,"tags":8326,"thumbUrl":8327,"material":246,"size":8328,"collection":289,"collections":8329,"showCount":8304,"zanCount":46,"manualWeight":46,"mainColor":47},233152,"huang-shan-tu-ce-mei-qing-233152","黄山图册","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。",[24,27,36,111,29,112,33,30,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0239d3facce2a658eb2b134f4725799.jpg","纵26厘米，横33厘米",[289,42],{"id":8331,"slug":8332,"title":8333,"dynasty":296,"author":8334,"museum":561,"description":8335,"tags":8336,"thumbUrl":8339,"material":70,"size":70,"collection":70,"collections":8340,"showCount":8304,"zanCount":11,"manualWeight":46,"mainColor":250},231018,"xiu-qiu-chun-niao-tu-wen-ding-231018","绣球春鸟图","文定","此作为工笔花鸟佳作，构图错落雅致。虬曲老干苍劲横斜，团团绣球柔白雅致，与翠色枝叶相映成趣。枝上彩鸟造型写实，翎毛晕染精细入微，长尾舒展顾盼生姿，以灵动打破画面沉静。\n湖石以青绿晕染，石色厚重秀雅，配搭秋菊、幽兰，敷色柔润雅致，枝叶区分浓淡虚实，层次分明。整体笔法工致细腻，设色妍丽沉稳，兼具院体花鸟的工整法度与文人花鸟的清逸意趣，铺展出春日园林的幽柔静谧，尽显融融春日的娴雅生机。",[23,24,25,95,28,56,62,8337,301,5869,8338,7,1990],"绣球","树叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff4f1110d26ae54c1b2b96fff34fa30f.jpg",[],{"id":8342,"slug":8343,"title":8344,"dynasty":296,"author":4299,"museum":561,"description":8345,"tags":8346,"thumbUrl":8349,"material":70,"size":70,"collection":70,"collections":8350,"showCount":8304,"zanCount":46,"manualWeight":46,"mainColor":47},224593,"liang-yuan-fei-xue-tu-yuan-jiang-224593","梁园飞雪图","《梁园飞雪图》是清代画家 创作的绢本设色画，现藏于 。\n此画真实细致地描绘了景色优美、构筑精致的梁园美景。\n画面中，雪片纷纷扬扬，给大地铺上了一层白色的绒毯。\n梁园里豪华的筵席，并不因为天气的阴寒而停止，殿堂里灯火通明，人来人往，非常热闹。\n画家认真地描绘了华丽精致的建筑物，以极为均匀挺直的线条描绘了房屋的各个细节，比例精当，造型准确，丝丝入扣。\n由于大雪覆盖屋顶，画家索性将屋顶留为空白，与细密的斗拱，隔窗等形成了鲜明的对比，给人以美好的视觉享受。\n该画中宫殿台阁，布置宽畅而紧密，楼阁中有数十人围坐谈话状，另一宫殿中有三位贵妇人交谈状，长廊亦有人活动；远景山峦，雪色凝寒，气氛冷峻；近景所画山石峭立，竹林茂密，枯树苍劲。\n本幅自题：“梁园飞雪，庚子徂暑邗上袁江画。\n”钤“袁江之印”、“文涛”印两方。\n袁江的《梁园飞雪图》是以西汉枚乘的《梁王兔园赋》、南朝梁江淹的《学梁王兔园赋》为依据进行创作的 ，根据款识可知该画作于康熙五十九年（172） 。\n“梁园”又名“兔园”，是汉代梁孝王刘武所建的一处私家园林，其旧址据说在今河南商丘古城东南 。\n梁孝王雅好文翰，广泛结交当时的文人名士，如司马相如、枚乘、邹阳等皆为其座上宾客，许多人长期居住园内，乐而忘返，“梁园”因此而闻名。\n袁江以古代的宫殿、名园为题材作画，他将历史上梁园安排在冬天的雪景中。\n这画作是袁江楼阁界画的代表作，表现华丽的建筑是作者创作的重点，均匀挺直的线条勾画出房屋的各个细部，繁密的斗拱，玲珑的窗格，显示了高超的界画技巧，同时作者亦注意到周围环境与自然气氛的烘托，使画面具有诗一般的意境。\n严寒冬季大雪纷飞，覆盖着大地，白雪皑皑，寒气逼人。\n可是，豪华的宫殿内的宴席，并不因为寒冷而停止，殿堂名园中灯火通明，人来人往，熙熙攘攘，举酒碰杯，热闹非凡。\n不过作者还是着重地描绘华丽宫殿、楼阁、水榭等建筑物。\n画面仅选取梁园一角，如宫殿、台阁、回廊等，房屋的各个细部全用均匀的直线画出，线条准确细劲，一丝不苟。\n在设色方面，也利用屋顶的白色，衬托出建筑物瑰丽斑澜的彩画。\n另外，还在建筑物周边画有翠竹苍松、回廊花台等，建筑物以山石及庭院相隔，殿阁前有古树参天，疏密有致。\n远山一带峰峦隆起，尽在白雪凝寒之中，烟波飘渺，远处仅微露出一座台阁顶尖，与下端华丽的宫殿，遥相呼应，给人以宽广深远之感。\n袁江将这座梁园描绘得可居可游，层次分明，又突出重点。\n他既注意描绘宫殿楼台建筑物本身，而又不忘记周围环境的烘托，使景色开阔，显示出自然美与人工美的完美结合。\n屋顶端复盖着白雪，将瓦楞掩没，作者将它留为空白，即将建筑物的屋顶和庭院使用白色，湖面则以淡色晕染，形成对比，突出了主体。\n同时，又利用建筑物顶上和庭院里积雪与色彩艳丽的斗拱、门窗、扉扇、纹饰等形成虚实的强烈对比。\n上海大学上海美术学院教授 ：《梁园飞雪图》利用天然石山土坡，略加修整，如水上架桥、岸边种竹等，直将梁园与自然环境融为有机的整体。\n袁江的界画作品《染园飞雪图》为读者提供了理解中国传统园林不同的研究切入点和观察视角，是研究中国传统园林的重要图像史料。\n袁江（约1671—1746年），清代画家。\n字文涛，江都（今江苏扬州市江都区）人。\n擅山水、楼台，初学仇英，后吸取宋人画法。\n康熙问在扬州、南京、会稽一带作画；雍正年间受聘至太原尉姓家作画。\n所作景物多曲折有致，笔墨严整，为清代界画能手。",[23,200,24,25,57,56,28,29,60,612,8347,34,187,61,7,8348,4627,5047,538,565,3323],"桥","长廊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a462904cd78720e19ebc39b254ab476.jpg",[],{"id":8352,"slug":8353,"title":8354,"dynasty":296,"author":2564,"museum":53,"description":3578,"tags":8355,"thumbUrl":8356,"material":673,"size":3583,"collection":42,"collections":8357,"showCount":8304,"zanCount":46,"manualWeight":46,"mainColor":149},222760,"shi-er-yue-ling-tu-12-yue-lang-shi-ning-222760","十二月令图（12月）",[23,200,24,56,28,57,5934,58,60,29,4029,34,61,35,1129,64,7,7851,187,8317],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa59e46a0d4516642432e21125cc72aab.jpg",[42,264],{"id":8359,"slug":8360,"title":8361,"dynasty":296,"author":8362,"museum":20,"description":8363,"tags":8364,"thumbUrl":8365,"material":7880,"size":8366,"collection":42,"collections":8367,"showCount":8304,"zanCount":46,"manualWeight":46,"mainColor":47},222632,"jiang-shan-wu-jin-tu-juan-gao-cen-222632","江山无尽图卷","高岑","创作年代不详，据此图之笔意推断，应是高岑年轻时期、即崇德顺治年间的作品。张跋诩之“云林之淡远，山樵之缜密”，并以“黄子久之山水烟云生动林壑虚闲”以为比拟，认定《江山无尽图》“堪为书画舫中第一珍玩”。\n高岑的山水画从宋元入手,并承明代吴门诸家之法,形成两种面貌:一种承继所谓“北宗”传统,从宋范宽到明唐寅;另一路山水,则远绍元代的黄公望、王蒙，近法明代沈周，文徵明。《千里江山图》就是高岑吸取了黄公望空灵简洁的勾线法和王蒙圆润细密的皴染法。",[23,24,25,26,27,28,36,29,837,539,34,7,35,32,31,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe635978855f747c8aa390e5a7b497820.jpg","26×455",[42,146],{"id":8369,"slug":8370,"title":8371,"dynasty":78,"author":107,"museum":53,"description":8372,"tags":8373,"thumbUrl":8374,"material":142,"size":8375,"collection":42,"collections":8376,"showCount":8304,"zanCount":46,"manualWeight":46,"mainColor":149},220817,"xi-shan-gao-yi-zhou-wang-meng-220817","溪山高逸轴","密林深处，茅屋三椽，屋中士人抚琴案上，旁童子待，屋前平坡白鹤展翅，另一人正欲渡桥而来，溪旁屋后四松挺翠。全幅皴山画树，层层点染，浓荫繁盛。此图的构图意境在显示所欲写“菊琴友”草堂抚琴之主题。",[23,200,24,25,95,27,28,36,29,34,31,30,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F067de7b72861ee94fa127638ad6c1f4c.jpg","该幅113.7x65.3公分；诗塘26.5x65公分；全幅93公分",[42,264],{"id":8378,"slug":8379,"title":8380,"dynasty":18,"author":424,"museum":360,"description":8381,"tags":8382,"thumbUrl":8383,"material":40,"size":8384,"collection":648,"collections":8385,"showCount":8304,"zanCount":46,"manualWeight":46,"mainColor":47},218499,"luo-yuan-cao-tang-tu-wen-zheng-ming-218499","洛原草堂图","本幅设色，后幅许宗鲁、刘储秀、李濂、康海、王九思、杨慎、白悦、清长照等十三家题记。钤乾隆、嘉庆、梁清标等藏印。",[23,24,25,26,723,27,28,56,29,60,30,31,33,34,7,37,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29260d365a157def23b5c4e428155c4e.jpg","纵28.8cm，横94cm",[648,42],{"id":8387,"slug":8388,"title":462,"dynasty":18,"author":5702,"museum":360,"description":8389,"tags":8390,"thumbUrl":8391,"material":40,"size":8392,"collection":42,"collections":8393,"showCount":8304,"zanCount":764,"manualWeight":46,"mainColor":47},218374,"shan-shui-tu-li-yong-chang-218374","层岩叠嶂间，笔墨勾勒出山川苍劲骨力。主峰巍峨，披麻皴皴染结合显浑厚质感；侧峰错落，林木点缀其间，松针挺劲，杂树枯枝带萧散之态。山间屋舍隐于林麓，或傍崖或临溪，似有幽人栖居之意。\n\n线条简劲，墨色层次分明，干笔皴擦见苍率，湿墨点染显润泽。近景树木扶疏，中景峰峦起伏，远景云雾含藏，虚实相生间得山水深远之致。整幅画存宋元遗韵，又具新安画派初兴的清逸之气，简淡中见古雅，丘壑间寄幽情，仿佛可闻林泉响，可感山居静。",[23,24,27,36,95,82,29,7,34,242,427,35,1506],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F547c8176db772742ccf265437f537614.jpg","纵125.7cm，横58.8cm",[42],{"id":8395,"slug":8396,"title":834,"dynasty":18,"author":387,"museum":561,"description":5063,"tags":8397,"thumbUrl":8399,"material":217,"size":660,"collection":70,"collections":8400,"showCount":8401,"zanCount":11,"manualWeight":46,"mainColor":47},290852,"pin-cha-tu-zhou-tang-yin-290852",[200,24,25,95,27,37,82,38,4450,29,58,242,7,35,8398],"品茶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c39e34cc459a2556e9473dfeb7bd579.jpg",[],60,{"id":8403,"slug":8404,"title":1513,"dynasty":124,"author":436,"museum":561,"description":8405,"tags":8406,"thumbUrl":8407,"material":217,"size":660,"collection":70,"collections":8408,"showCount":8401,"zanCount":517,"manualWeight":46,"mainColor":149},288461,"xi-shan-wu-jin-tu-yi-ming-288461","此作用全景长卷铺展丘壑，群峰层峦拔地而起，或雄峙崔嵬，或玲珑峭拔，烟云在峰林之间舒卷弥漫，晕染出远近山岫的虚实层次。\n\n笔墨苍劲古拙，以浑厚皴法写出山石嶙峋肌理，林木错落点染，蓊郁苍茂。澄澈水面留白托景，行舟、山居隐现于林泉，将山野的雄浑大气与村居野趣相融，于咫尺长卷中铺陈出千里江山的无尽意趣，尽显林泉高致的山水雅韵，藏着天地悠悠的静穆生机。",[23,24,26,27,951,7,34,31,32,30,565,133,36,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dd2b09a208c3f6337ea5aa4bf8bcfd5.jpg",[],{"id":8410,"slug":8411,"title":8412,"dynasty":296,"author":498,"museum":561,"description":8413,"tags":8414,"thumbUrl":8415,"material":229,"size":8416,"collection":42,"collections":8417,"showCount":8401,"zanCount":46,"manualWeight":46,"mainColor":47},234876,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234876","王原祁仿古山水册","丁巳为康熙十六年（1677年），王原祁时年三十六岁。册前王时敏款署西庐八十七老人题，应为康熙十七年（1678年）所题，即王原祁创作该册后的次年所书。以丁巳下推至庚午，不足十五年，而自跋中今阅十五年，当是王原祁笔误。\n画前副页有王时敏隶书灵心自悟四大字。画册后跋纸为王原祁自题：此余丁巳春间往云间笔也。先奉常见之谓余为'可教'，题识四字。个阅十五年矣，于古人笔墨终未梦见，殊愧先大父指授，为之泫然。康熙庚午长夏观于毘陵舟次谨题，原祁。钤原祁之印（白文）、麓台（朱文）、兴与烟霞会（白文），画册首副页，尾纸只有庞元济藏印11方。\n该册仿古山水，是王原祁早期绘画的代表作品。所仿元六家山水各具形貌，笔墨或设色又颇具苍润、恬淡、秀丽等不同特点，所以王时敏以灵心自悟夸赞其孙王原祁在仿古的同时，边学习古人的画法，同时又寻求开创个人独特艺术特点的创作方向。该册是研究工原祁早期绘画的宝贵材料。",[24,25,111,28,29,36,186,82,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb3906ab5fe733b92e1b4dac6a6a17ae.jpg","纵21厘米，横27厘米",[42,264],{"id":8419,"slug":8420,"title":106,"dynasty":18,"author":1100,"museum":360,"description":4202,"tags":8421,"thumbUrl":8422,"material":246,"size":3546,"collection":42,"collections":8423,"showCount":8401,"zanCount":46,"manualWeight":46,"mainColor":47},233800,"shan-shui-ce-dong-qi-chang-233800",[24,25,111,27,28,29,36,837,539,34,1140,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F034929475ad5bc8450af2c928ccea8b8.jpg",[42],{"id":8425,"slug":8426,"title":8427,"dynasty":296,"author":2910,"museum":561,"description":8428,"tags":8429,"thumbUrl":8430,"material":70,"size":70,"collection":70,"collections":8431,"showCount":8401,"zanCount":46,"manualWeight":46,"mainColor":149},224591,"yu-tang-fu-gui-tu-zou-yi-gui-224591","玉堂富贵图","《玉堂富贵图》是清代邹一桂的作品，该图规格为197×96cm，此图中牡丹、玉兰、海棠、杜鹃，布满全幅，最后还用石青衬底。\n民间常以兰花象征玉堂，牡丹花象征富贵，这两种花卉图借喻玉堂富贵，祝愿职位高升，富裕显贵的意思。\n该图画是邹一桂的作品，作于清代。\n此图中牡丹、玉兰、海棠、杜鹃，布满全幅，最后还用石青衬底。\n汉代皇宫有“玉堂殿”，后世以“玉堂”指翰林院，“历金门，上玉堂有日矣”的意思是职位高升指日可待。\n“富贵”一词出自《论语-颜渊》：“商闻之矣，生死有命，富贵在天。\n”，指富裕而显贵的意思。\n民间常以兰花象征玉堂，牡丹花象征富贵，这两种花卉图借喻玉堂富贵，祝愿职位高升，富裕显贵的意思。\n牡丹敷以淡粉，用重粉点染边缘，显得晶莹剔透、庄重典雅。\n整个画面热烈而秀雅，韵味十足。\n，字小山。\n善画人物、花卉、翎毛、偶画山水。\n擅长水墨花卉，极有重名。",[23,200,24,25,95,56,28,62,441,920,7,489],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74591eb4de60da169f51849ba65b2284.jpg",[],{"id":8433,"slug":8434,"title":8435,"dynasty":18,"author":1100,"museum":53,"description":8436,"tags":8437,"thumbUrl":8438,"material":203,"size":8439,"collection":42,"collections":8440,"showCount":8401,"zanCount":46,"manualWeight":46,"mainColor":47},220962,"feng-jing-fang-gu-tu-dong-qi-chang-220962","葑泾仿古图","此图古意森然而秀润，正体现了画家的艺术特点，用笔柔中带刚，中锋直皴。 董其昌的山水画，大体有两种面貌，一种是水墨或兼用浅绛法，此画便属于这一种。另一种则是青绿设色，有时出以没骨，比较少见。在这幅作品中，既有董源、巨然、米芾、赵孟頫、黄公望、倪云林乃至李唐的遗风余韵，又有他自己的动人华彩。",[23,24,25,27,29,36,186,37,38,82,30,31,34,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a40e34b394a4d345fd98856c1f31ff1.jpg","纵79.72cm 横30.25cm",[42,146],{"id":8442,"slug":8443,"title":123,"dynasty":296,"author":8444,"museum":1043,"description":8445,"tags":8446,"thumbUrl":8447,"material":116,"size":8448,"collection":42,"collections":8449,"showCount":8401,"zanCount":46,"manualWeight":46,"mainColor":47},220009,"xi-shan-xing-lv-tu-liu-yu-220009","柳堉","柳堉（1620—1689年以后），字公韩、公含，号愚谷，江宁（南京）诸生。工诗、画，书法李邕，山水遒逸苍茫，最得董、巨遗法。惟水口流泉，不能自然，有霸悍之态。柳堉身在清代经济和文化发达的南京，受到广泛的艺术影响，众家风格的融合都体现在了这幅画上。作品中体积庞大的群山体反映受到了董其昌的影响。由黑色小叶子点缀的苍松、干燥的笔触表明了对安徽画派的熟悉，而奇妙的景观形态和深邃的远距离景观与惊人的特写镜头的大胆并置，显示了他对早期南京画家如吴彬的崇尚。",[23,24,25,26,27,36,29,30,31,32,33,201,96,60,130,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4f721d9feb3a8cf66ea0346ad6bd077.jpg","26.4x508.6厘米",[42],{"id":8451,"slug":8452,"title":462,"dynasty":78,"author":8453,"museum":8454,"description":8455,"tags":8456,"thumbUrl":8457,"material":84,"size":8458,"collection":42,"collections":8459,"showCount":8401,"zanCount":11,"manualWeight":46,"mainColor":149},218242,"shan-shui-tu-yan-hui-218242","颜辉","开封市博物馆","层岩叠壑间云雾氤氲，似将山峦晕染成流动的诗行。枯木虬枝如墨笔狂舞，皴擦点染间尽显苍劲力道，却又于虬曲中藏着生机。山间屋舍隐于林麓，半露半藏，似有逸士凭窗观云，将尘嚣隔绝在外。水墨淋漓处，浓淡干湿交织，远山如黛，近石如铁，树木扶疏间，光影流转成幽寂之境。\n\n这幅山水将自然丘壑化为心象，笔墨既见法度又含写意，于沉郁中透出空灵。它以苍劲的笔触勾勒天地骨架，用氤氲的墨气晕开文人幽怀，仿佛能让人听见山风穿林、涧水潺潺，在静默中与天地精神往来，尽显元人寄情山水、以笔抒怀的意趣。",[24,27,28,36,29,7,34,33,35,96,578],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8acb54e2e79d4575f1c162e13375372.jpg","136x127cm",[42],{"id":8461,"slug":8462,"title":8463,"dynasty":296,"author":3437,"museum":108,"description":8464,"tags":8465,"thumbUrl":8466,"material":116,"size":70,"collection":42,"collections":8467,"showCount":8401,"zanCount":46,"manualWeight":46,"mainColor":47},217980,"fang-bei-yuan-qiu-shan-ting-zi-tu-wu-li-217980","仿北苑秋山亭子图","吴历的画风清新自然，笔法简洁流畅。在这幅画中，他巧妙地运用了构图、色彩和线条的对比，使得整幅画面显得格外生动。他还细心地捕捉了自然界的细节，比如山亭的屋顶上长满青苔，树叶上的露珠闪闪发光。\n\n这幅画被认为是吴历的杰作之一，其独特的画风和精细的绘画技巧得到了广泛赞誉。它不仅是一幅美丽的画作，也是对中国古代山水画的精湛再现。",[24,25,27,29,33,112,7,36,186,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bd29e36c3ff5f94f648797f2e11c33d.jpg",[42],{"id":8469,"slug":8470,"title":8471,"dynasty":18,"author":8472,"museum":108,"description":8473,"tags":8474,"thumbUrl":8475,"material":40,"size":8476,"collection":289,"collections":8477,"showCount":8401,"zanCount":46,"manualWeight":46,"mainColor":47},214882,"quan-sheng-yu-sheng-shan-ye-wen-zhen-heng-214882","泉声语声扇页","文震亨","皴染的山石间，细泉蜿蜒而下，似携泠泠清音穿林过隙。二三文士散坐岩畔，衣袂轻扬处，或侧耳凝听泉鸣，或执手低语清谈，语声与泉声相和，融于松风竹韵间。笔墨简淡却意韵悠长，古雅绢色衬出山林的清幽，人物情态生动传神，尽显文人林下雅聚的悠然意趣。不必刻意铺陈，却于方寸扇面间，藏尽自然之妙与人文之雅，仿佛能让人暂离尘嚣，静享这片刻的泉声语声交织的清宁。",[1900,24,25,28,29,58,36,7,34,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3285efdae6163e4d15a75b0ff14abde9.jpg","16.5x50.5cm",[289],{"id":8479,"slug":8480,"title":8481,"dynasty":18,"author":8482,"museum":360,"description":8483,"tags":8484,"thumbUrl":8485,"material":217,"size":660,"collection":70,"collections":8486,"showCount":8487,"zanCount":764,"manualWeight":46,"mainColor":149},289995,"chan-gong-yue-tu-tu-tao-cheng-289995","蟾宫月兔图","陶成","陶成（生卒年未详），字孟学，号雪湖仙人，宝应（今江苏宝应）人。成化七年（1471年）举人。生性疏狂，多才艺，诗文古朴。书善四体，善画花鸟人物，山水多用青绿，浓丽蔚拔，喜作勾勒，竹兔与鹤鹿均妙，随意画山水、花鸟、人物，都非常接近南宋人。芙蓉称为神品，为世人所珍藏。",[24,200,95,56,28,257,391,3006,1385,29,31,7,5724,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47c9583ba3902ef676ff0c13ef74bb75.jpg",[],59,{"id":8489,"slug":8490,"title":2957,"dynasty":124,"author":998,"museum":561,"description":8491,"tags":8492,"thumbUrl":8494,"material":217,"size":660,"collection":70,"collections":8495,"showCount":8487,"zanCount":764,"manualWeight":46,"mainColor":149},288324,"xi-yuan-ya-ji-tu-liu-song-nian-288324","刘松年 （约1131-1218），号清波，南宋画家，历孝宗、光宗、宁宗三朝，浙江省金华市汤溪镇宅口人。刘松年与刘龟年兄弟随父亲宦居钱塘清波门，以住地自号刘清波，因清波门又称南“暗门”，故外号宋“暗门刘”。\n刘松年工山水人物，山水皴法受李唐影响，画风笔精墨妙，变雄健为典雅，水墨青绿兼工，着色妍丽典雅，常画西湖，多写茂林修竹，山明水秀之西湖胜景，因题材多园林小景，人称“小景山水”。",[23,200,24,26,25,28,56,58,29,30,31,7,1555,272,302,489,2962,2963,8493,82],"赏景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc1182922653740754f1d2cf37a3c1d6.jpg",[],{"id":8497,"slug":8498,"title":8499,"dynasty":124,"author":473,"museum":561,"description":8500,"tags":8501,"thumbUrl":8504,"material":217,"size":660,"collection":70,"collections":8505,"showCount":8487,"zanCount":46,"manualWeight":46,"mainColor":149},288223,"qiu-dong-shan-shui-tu-li-tang-288223","秋冬山水图","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。",[24,951,27,36,242,427,130,7,8502,8503],"秋冬","寒寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ec7f5b52580af7e7f6660f1752608c3.jpg",[],{"id":8507,"slug":8508,"title":7977,"dynasty":296,"author":2948,"museum":561,"description":2949,"tags":8509,"thumbUrl":8510,"material":217,"size":660,"collection":42,"collections":8511,"showCount":8487,"zanCount":11,"manualWeight":46,"mainColor":47},235611,"hong-ren-shan-shui-ce-hong-ren-235611",[24,25,27,29,60,427,4253,7,363,1465,36,38,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff9adc4adea84818538ce7cff5131eed.jpg",[42],{"id":8513,"slug":8514,"title":8515,"dynasty":296,"author":8516,"museum":401,"description":8517,"tags":8518,"thumbUrl":8521,"material":142,"size":8522,"collection":70,"collections":8523,"showCount":8487,"zanCount":46,"manualWeight":46,"mainColor":47},230107,"hong-lou-meng-188-sun-wen-230107","红楼梦188","孙温","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸",[24,25,28,56,57,58,60,30,31,33,2278,7,64,61,34,2861,8519,8520,132],"假山","圆窗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F179797fe31faa009c06c9f9a7e085fc1.jpg","纵43.3厘米、横76.5厘米",[],{"id":8525,"slug":8526,"title":8527,"dynasty":296,"author":2706,"museum":53,"description":8528,"tags":8529,"thumbUrl":8530,"material":203,"size":8531,"collection":42,"collections":8532,"showCount":8487,"zanCount":46,"manualWeight":46,"mainColor":47},223121,"xi-hu-shi-jing-juan-dong-bang-da-223121","西湖十景卷","《西湖十景图卷》由清代书画家董邦达绘。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。",[23,24,25,26,28,29,36,57,82,60,30,31,34,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd37682559659c3eec6e7025d6f306b2a.jpg","41.6×361.8",[42],{"id":8534,"slug":8535,"title":8536,"dynasty":296,"author":3417,"museum":509,"description":8537,"tags":8538,"thumbUrl":8540,"material":8541,"size":8542,"collection":42,"collections":8543,"showCount":8487,"zanCount":46,"manualWeight":46,"mainColor":149},222609,"yi-dao-fei-quan-gong-xian-222609","一道飞泉","画面描绘了近景崇山，山上有丛林、枝繁叶茂，几间茅庵掩映于树丛之中，使得寂静的山林更增添了几分幽邃之感，清清的泉水顺山而下，明快、幽雅、整幅画面笔酣墨润、气韵即足，给人一种清新自然之感。作者运用了“披麻皴”“雨点皴”等画法，虽不用泼墨，湿墨，但有泼墨之淋漓，浓郁苍润的效果。代表了作者山水画之独特风格。\n画的右上角有作者自题七言律诗： “静壁春泉一道飞，白龙藏影见斜辉，谁家草阁遥无际，半醉之窗向翠微。”署 “甲子上元(1684年1月15日)半亩龚贤书并题”款。下钤“龚贤印”白文方印，“半千”朱文方印。画上钤有“绶福堂藏画印”等鉴藏印。此画系作者晚年作品，现藏辽宁省博物馆。龚贤，字半千，又字野遗，号半亩，又号柴丈人。江苏昆山人，流寓江陵(今南京)清凉山。工诗文，行草，尤工山水，有《草香堂集》、《画诀》、《柴丈人画诀》、《课徒画稿》等著作行世，是金陵画派中最有成就的画家，并居金陵画派之首。\n在这幅画中，作者以石象征“长寿”，与牡丹相配合，寓意“富贵长寿”，是民间喜庆节日广为引用的吉祥图案。此画构图虽满，却巧妙地利用了绘画中的透视法则，以静映动，以深托远，尽显距离的美感，使有限的空间，充满无限的张力。\n繁茂的枝叶表现的甚为精彩，细如游丝的叶筋，其走向笔笔皆有交代，棱角分明，线条柔而刚劲，出神入化，使得薄如蝉翼的墨色叶片，正侧向背，顾盼顾仰，鲜活灵动。\n该画中所画之石，粗砺凝重，具有坚贞的傲骨和顽强的生命力，是其自身性格绝好的写照。从其改用左手绘画，到创作此幅画作止，历时九年，九年里从不习惯到习惯，从不熟练到熟练再到精益求精，其为之所付出的艰辛和努力，可想而知。幅首其左手题字也为整幅画面增色不少，其左冲右突，飘飘忽忽的结体，在这里好似垂挂的珠帘一般，随风摆动，与图画有机地结合在一起，别具韵致，给人雾里看花，隔帘观美之感。",[23,200,24,25,95,27,8539,29,31,34,7,33],"积墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24def22080b1526b2fb90ee14de849af.jpg","纸本水墨画","画心纵79、横38.2厘米",[42,146],{"id":8545,"slug":8546,"title":3351,"dynasty":78,"author":1290,"museum":53,"description":8547,"tags":8548,"thumbUrl":8550,"material":203,"size":8551,"collection":42,"collections":8552,"showCount":8487,"zanCount":11,"manualWeight":46,"mainColor":47},221752,"hua-xue-jing-zhou-sheng-mao-221752","盛懋：元临安（今杭州）人。住嘉兴魏塘镇。与吴镇居比邻。洪子。善画山水、人物、花鸟，始学陈仲美（琳），略变其法，精致有馀，特过于巧。皇庆二年（1313）有仿张僧繇山水图，台北故宫周刊载有其1362年（至正二十二年）所作夏山行旅图。",[23,200,24,25,95,27,28,36,29,612,538,34,35,8549,316,364,7,4029,1105],"茅舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2f80914710acf1baa725ccfa5af835f.jpg","151x27.3公分",[42,146],{"id":8554,"slug":8555,"title":8556,"dynasty":18,"author":52,"museum":53,"description":8557,"tags":8558,"thumbUrl":8559,"material":40,"size":8560,"collection":289,"collections":8561,"showCount":8487,"zanCount":46,"manualWeight":46,"mainColor":47},220378,"tong-yin-qing-hua-tu-chou-ying-220378","桐阴清话图","本幅画石峰嶙嶙，梧桐垂荫。树下两人拱立清谈，一童悄然侍立。前景另绘丛筱沿坡，野水奔流。此等景境，纵或出自画家揣想，然而人语溪声，竟恍若身历其境。岩岩画法，明显受到周臣「宁戚饭牛图」的直接影响。不过仇英此作较周臣略为谨慎，虽然线条挺拔劲健，强调笔墨的速度美感，但皴法则尽量包藏在轮廓之内，并且让岩石表面布满肌理与明暗变化，不失却形象的精准掌握。",[24,200,25,95,56,28,27,36,58,4019,1011,4252,7,1140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5b6d0ee5bae513958f0ef6cec9a2004.jpg","279.5x100",[289,264],{"id":8563,"slug":8564,"title":8565,"dynasty":18,"author":436,"museum":2747,"description":8566,"tags":8567,"thumbUrl":8568,"material":84,"size":8569,"collection":306,"collections":8570,"showCount":8487,"zanCount":46,"manualWeight":46,"mainColor":149},220340,"chun-jing-hua-niao-tu-yi-ming-220340","春景花鸟图","画面以早春雪景铺陈意境，老梅虬枝盘曲，枝头凝雪，冰萼缀枝。群雀栖于梅梢，灵动啾鸣，破了雪天的清寂。下方奇石覆雪，锦雉静静伫立，翎羽斑斓细腻，身旁细竹轻沾雪色，更衬出禽鸟的安然。角落里山茶吐艳，朱砂色的花萼点亮冷调的底色。\n\n工笔设色晕染柔和精微，禽鸟绒毛的蓬松、古木皲裂的苍劲都刻画入微，清冷雪景与暖调花色禽羽相映，将冬寒未褪、春意初萌的幽澹野趣尽藏其中，尽显雅致静穆又生意暗涌的格调。",[23,24,200,25,56,28,390,391,7,301,3720,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1068b2760f18f253d69357fe4d36b4c1.jpg","155.2 × 93.3",[306,264],{"id":8572,"slug":8573,"title":8574,"dynasty":18,"author":3122,"museum":53,"description":8575,"tags":8576,"thumbUrl":8578,"material":84,"size":8579,"collection":306,"collections":8580,"showCount":8487,"zanCount":46,"manualWeight":46,"mainColor":149},219319,"qu-ge-jie-shou-tu-zhou-zhi-mian-219319","衢歌介寿图","周之冕(1521-?)，明代画家。字服卿，号少谷，长洲(今江苏苏州)人。卒年不详，活跃于万历年间。擅花鸟，注重观察体会花鸟形貌神情，及禽鸟的饮啄、飞止等种种动态。",[2252,3096,24,25,95,142,28,62,489,524,427,7,8577,6043],"勾花点叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F345b4913e090ae3d73841591489baea3.jpg","138.1×56.7cm",[306],{"id":8582,"slug":8583,"title":8584,"dynasty":124,"author":473,"museum":53,"description":8585,"tags":8586,"thumbUrl":8587,"material":84,"size":8588,"collection":144,"collections":8589,"showCount":8487,"zanCount":46,"manualWeight":46,"mainColor":47},218968,"da-jiang-fu-yu-tu-li-tang-218968","大江浮玉图","图片显示的是一条大河，波涛汹涌，两艘河船一起停泊在附近的码头上。有一些岛屿升入河中，几块巨石与主山遥相呼应，而森林树木、寺庙和漂浮的人物被描绘得非常详细。其笔法与郭熙的《早春》相似，结构与徽宗的《溪山秋色》相似。它可能是郭熙在宣和、绍兴年间（1119-1162）制作的。",[23,24,25,27,29,36,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54993d0fc188603ac72284d8609e6fb4.jpg","20.8x22.2",[144,42],{"id":8591,"slug":8592,"title":8593,"dynasty":124,"author":436,"museum":561,"description":8594,"tags":8595,"thumbUrl":8596,"material":84,"size":8597,"collection":289,"collections":8598,"showCount":8487,"zanCount":764,"manualWeight":46,"mainColor":149},218449,"rui-ying-tu-yi-ming-218449","瑞应图","服饰、服装、建筑和家具都是典型的宋代制度。画风古朴，以绿色为背景，以树木和流云为组合，大量镀金和重彩绘制，都是五代初期和北宋时期的风格。",[24,200,28,57,56,58,60,30,34,7,187,1635,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cd80077892a3a20c59217572e0e60d9.jpg","35x56.5",[289],{"id":8600,"slug":8601,"title":8602,"dynasty":78,"author":8603,"museum":360,"description":8604,"tags":8605,"thumbUrl":8606,"material":116,"size":8607,"collection":42,"collections":8608,"showCount":8487,"zanCount":764,"manualWeight":46,"mainColor":47},218302,"lin-tang-xiao-se-tu-wu-jin-218302","林塘晓色图","吴瑾","淡墨晕开晓雾，塘面似蒙轻纱，水汽氤氲间，近岸松石苍劲。松针以中锋勾勒，如笔如毫，透着坚韧；山石干笔皴擦，纹理古拙，与湿墨晕染的水面相映，干湿相济，漫出清晨的湿润。远岫隐于薄雾，墨色渐浅，层次叠生，平远之境悠然展开。林木错落，枝干虬曲，似沐晨风，摇曳生姿。无浓艳设色，仅以水墨浓淡虚实，织就林塘晓色的静谧清幽。元代文人画“以意为先”的韵致在此尽显——观者仿佛立于塘边，闻晨露滴叶，见天光初透，心随画面沉入那份天地初醒的恬淡与悠远。",[24,25,951,27,36,300,82,37,34,7,31,1105,132,242,272,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F248c446d889f8b9b86494e01e5e523fe.jpg","30x54cm",[42],{"id":8610,"slug":8611,"title":8612,"dynasty":124,"author":780,"museum":781,"description":8613,"tags":8614,"thumbUrl":8615,"material":84,"size":786,"collection":70,"collections":8616,"showCount":8487,"zanCount":11,"manualWeight":46,"mainColor":663},217004,"wu-bai-luo-han-zhi-guan-she-li-guang-tu-zhou-ji-chang-217004","五百罗汉之观舍利光图","画的顶部是一个高高的悬崖，有一个瀑布，太阳照在云层之上，有三道灵光照下来，每道灵光都有一个小孩子拿着棍子。下面，在松树、柏树和岩石之间，五个罗汉庄严地抬头。",[23,24,25,95,56,28,784,58,29,7,130,34,7558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20e2fafd5ebc853e0a35328f40becb95.jpg",[],{"id":8618,"slug":8619,"title":8620,"dynasty":296,"author":8621,"museum":561,"description":8622,"tags":8623,"thumbUrl":8624,"material":70,"size":70,"collection":42,"collections":8625,"showCount":8626,"zanCount":46,"manualWeight":46,"mainColor":47},239411,"fang-wang-hui-shan-shui-juan-qin-bing-wen-239411","仿王翬山水卷","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。\n为晚清“娄东画派”主要画家之一，其画作列入国家文物局《精品和各时期代表作品不准出境者》名单。",[24,25,26,27,186,36,29,30,31,32,33,96,7,58,427,415,35,2490,114,1104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8187a166c877f30e4c6d5a06b1680c9.jpg",[42],58,{"id":8628,"slug":8629,"title":8630,"dynasty":18,"author":8631,"museum":561,"description":8632,"tags":8633,"thumbUrl":8636,"material":70,"size":70,"collection":306,"collections":8637,"showCount":8626,"zanCount":46,"manualWeight":46,"mainColor":149},236618,"gui-shi-lan-zhi-zhou-chen-can-236618","桂石兰芝轴","陈粲","陈粲名，1524年出生，国籍中国，是 万历间画家，代表作是春景鸳鸯图。\n陈粲名（1524～？）明代万历间画家。\n字长倩，一字兰谷，号雪庵、道光、雪谷子，长洲 （今江苏苏州）人。\n万历间以善花鸟闻名于时。\n传世作品有《春景鸳鸯图》轴，绢本，设色，纵17.4厘米，横82.7厘米，现藏 ；《桂石兰芝图》轴，绢本，设色，纵11.2厘米，横49厘米，藏故宫博物院；万历四十三年(1615)作《兰竹图册》著录于《 》。",[24,25,95,28,56,62,8634,5083,2915,1647,489,7,8635],"桂","明代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63ab0a3d62a43789402ff3fa5ee685e5.jpg",[306,264],{"id":8639,"slug":8640,"title":8641,"dynasty":296,"author":436,"museum":360,"description":8642,"tags":8643,"thumbUrl":8645,"material":70,"size":8646,"collection":70,"collections":8647,"showCount":8626,"zanCount":46,"manualWeight":46,"mainColor":47},234388,"hong-li-sui-chao-xing-le-tu-zhou-yi-ming-234388","弘历岁朝行乐图轴","瑞雪轻覆朱宫翠檐，琼枝素裹，将御苑晕作琉璃天地。整幅画笔致工细入微，殿宇雕梁画栋分毫毕现，人物衣袂鲜活灵动。岁朝佳节间，众人或围聚展玩古玩，或信步笑谈，稚童嬉闹于阶前，暖阁中老者安坐闲话，融融暖意漫过银装素裹的苑囿，将年节的雍容闲适与团圆意趣铺陈得鲜活生动，清冷雪景晕染下，更衬出岁朝的温情缱绻，尽显雅致年味。",[24,28,56,57,95,29,58,60,33,34,612,61,4543,64,7,187,5047,3580,8644],"宫室","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85f954ae56eb1839f49ca658db575e98.jpg","纵305厘米，横向206厘米",[],{"id":8649,"slug":8650,"title":8651,"dynasty":296,"author":870,"museum":360,"description":8652,"tags":8653,"thumbUrl":8654,"material":246,"size":8655,"collection":70,"collections":8656,"showCount":8626,"zanCount":517,"manualWeight":46,"mainColor":47},233959,"dui-ju-tu-zhou-shi-tao-233959","对菊图轴","图绘双松虬结的庭院内梅、竹互映，房舍错落，屋内高士观赏秋菊，其品菊的举止生动传神，点明了“对菊”的画作主题。庭院外是迂回盘桓的山峦和自远而近的江水，它们为高士远离世俗的隐居之地平添了几分清幽。此图与石涛贯有的笔墨雄健纵恣、豪放洒脱的画风不同，刻画工整细腻，或徐或疾的笔致和富于节奏变化的朱点、墨点自得一股苍莽之气。此幅当属石涛居住扬州时期创作的一幅难得的精细之作。",[24,25,27,36,95,82,29,272,1743,986,7,34,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7030dd986967133b9acf5ab16c143856.jpg","纵99.5厘米，横40.2厘米",[],{"id":8658,"slug":8659,"title":8660,"dynasty":124,"author":449,"museum":561,"description":8661,"tags":8662,"thumbUrl":8663,"material":70,"size":70,"collection":70,"collections":8664,"showCount":8626,"zanCount":11,"manualWeight":46,"mainColor":149},227822,"jiang-yin-du-shu-tu-ye-ma-yuan-227822","江荫读书图页","此作用边角取景，绘就江天寥廓之境。淡墨晕染远山，隐现烟霭之中，愈显空濛悠远。近岸危崖虬曲，寒梅凝枝、丹枫缀艳，冷暖相映为萧索冬色添几分鲜活。板桥之上，二人围坐展卷，在幽寂江隅漫品诗书，闲雅意趣随江风漾开。\n笔意苍劲洗练，大片留白拓宽了江天之境，将冬日江隅的清寂与文人林下雅兴相融，尽显空灵隽秀的诗意之美。",[23,200,24,25,111,28,56,36,29,58,242,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e2d753a9bb5372213332d31fe07b403.jpg",[],{"id":8666,"slug":8667,"title":8668,"dynasty":296,"author":8669,"museum":360,"description":8670,"tags":8671,"thumbUrl":8672,"material":8673,"size":8674,"collection":42,"collections":8675,"showCount":8626,"zanCount":46,"manualWeight":46,"mainColor":149},223136,"shi-wan-tu-ce-ren-xiong-223136","十万图册","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。",[23,24,25,111,28,257,29,36,7,34,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F665e6202ad6aba5ebcf701093a7cb813.jpg","泥金笺，设色","纵26.3厘米，横20.5厘米",[42],{"id":8677,"slug":8678,"title":8679,"dynasty":296,"author":2564,"museum":53,"description":3578,"tags":8680,"thumbUrl":8683,"material":673,"size":3583,"collection":42,"collections":8684,"showCount":8626,"zanCount":46,"manualWeight":46,"mainColor":149},222759,"shi-er-yue-ling-tu-11-yue-lang-shi-ning-222759","十二月令图（11月）",[23,24,56,28,58,60,34,7,61,8681,8682],"参禅","古建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f6ec9adc0590d630722ea9245c07bfe.jpg",[42,264],{"id":8686,"slug":8687,"title":8688,"dynasty":18,"author":52,"museum":53,"description":8689,"tags":8690,"thumbUrl":8691,"material":142,"size":70,"collection":70,"collections":8692,"showCount":8626,"zanCount":46,"manualWeight":46,"mainColor":47},222202,"hua-zhu-shen-he-jing-ce-ye-chou-ying-222202","画竹深荷静册页","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”。\n综述:\n仇英的山水画多学赵伯驹、刘松年，发展南宋李唐、刘松年、马远、夏圭的“院体画”传统，综合融会前代各家之长，即保持工整精艳的古典传统，又融入了文雅清新的趣味，形成工而不板、研而不甜的新典范，还有一种水墨画，从李唐风格变化而来，作界画楼阁，尤为细密。\n仇英擅人物画，尤工仕女，重视对历史题材的刻画和描绘，吸收南宋马和之及元人技法，笔力刚健，特擅临摹，粉图黄纸，落笔乱真。尤善于用粗细不同的笔法表现不同的对象，或圆转流畅，或顿挫劲利，既长设色，又善白描。人物造型准确，概括力强，形象秀美，线条流畅，有别于时流的板刻习气，直趋宋人室，对后来的尤求、禹之鼎以及清宫仕女画都有很大影响，成为时代仕女美的典范，后人评其工笔仕女，刻画细腻，神采飞动，精丽艳逸，为明代之杰出者\n纵观仇英的山水画，大致具有如下几个鲜明的特点：\n首先，在境界上不一味追求富丽堂皇或空漠冷寂的气氛，而在“秀雅纤丽”中有一种飘逸优雅的气息。所作山水多为表现士大夫林泉诗酒生活和清新旷远之自然景色。由于仇英出身贫寒、读书不多，其画作中也少有诗文题跋，一般仅于画幅边角落款，未有诗画结合之面貌。但是所画丘壑泉石、烟云竹树、亭台楼阁、人物景色皆精描细染而又不失清秀雅逸的气韵。特别是他描写文人高士隐遁生活的作品，如《桃源高隐图》《蕉荫结夏图》《月下吹笛图》《园居图》《春夜宴桃李园图》等，无时不流露其隽秀飘逸的情怀，画卷气溢于笔墨之中。\n其次，仇英的山水画虽隽逸优雅，“士气”十足，却少有一般文人画家笔下那种冷寂空疏的情调，而总是流溢出清新明丽的气氛，有的作品还充满蓬勃欢乐的意趣。如《莲溪渔隐图》中平远山水、溪岸水畔、房屋堂轩、茅舍鱼罟、田亩葱郁、小桥相通、行人往来，画面布局清旷，一片江南夏日情景，极富生活气息，给人以可游可居之感。再看描绘四川剑门关景色的《剑阁图》，画面峰峦重迭，远处是皑皑的雪崖雪峰，近处是重彩辉映的山峦，陡峭的绝壁上树木茂密，残雪覆盖，在崎岖的栈道上，人马众多，或隐或现迎面而来。人马动态各异，行人身着各式冬装，无不具体生动。此画画风工整，色彩浓艳，丰满壮观，可谓仇英青绿画法的代表作。仇英作品中这种浓艳而清新、壮阔而平朴的审美意趣与明中期整个美学思想的世俗化倾向相一致。\n第三，仇英的山水画风格虽源于传统青绿和“院体”画法，但并不拘于一家一派的面貌。就其整个山水画而言，在技法上可分为三类：一是较为纯正的大青绿山水，山石勾勒后不用细皴，山脚以赭石分，以青绿重色染石面，然后每一块面再加染石绿，或分以石青，使各山色协调而有分别，树木云岫勾勒精细。其《九成宫图》《桃源仙境图》等属此类典型之作。二是青绿画法与水墨画法相融合的一类。通常近处山石用小斧劈细细皴成，用青绿法以绿与石青相间染出，色不凝笔。远峰不作皴笔，以花青或石青、石绿和墨渍染而成，似有董源或沈、文画法之精神。《秋江待渡图》《莲溪渔隐图》《仙山楼阁图》等为此类代表作。三是以水墨皴染为主的画法，此类画法得到刘松年、李唐院体家法，山石用细笔小斧劈法，分面细，然于阴暗处和墨淋之，立即又以清水接染，绢地不吸水，故能产生含混融和的意趣，略见吴派绘画之影响。树法中增强转折趣味，衬以夹叶，叶叶分明，一枝一叶无不与实景契合。《松亭试泉图》《松溪论画图》等均属此类画法。",[23,24,25,1900,56,28,29,391,1744,34,227,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F878a5dc84b1d01f557f1f963ad693448.jpg",[],{"id":8694,"slug":8695,"title":8696,"dynasty":18,"author":269,"museum":509,"description":8697,"tags":8698,"thumbUrl":8699,"material":454,"size":8700,"collection":42,"collections":8701,"showCount":8626,"zanCount":46,"manualWeight":46,"mainColor":149},222035,"xi-tang-shi-yi-tu-zhou-dai-jin-222035","溪堂诗意图轴","图绘群山环绕中，泉水汇于山涧，桥上一童子置琴而过，对面草堂内一老者坐于凳上手执诗文认真观看；远处山峰险峻，树木葱郁，几座亭台隐约显现。本幅图采用典型的对角线构图，以斧劈皴勾画石头的轮廓，以焦墨中锋画出树木虬劲枝干，层次感突出。",[23,200,24,25,95,27,28,36,29,33,30,31,34,130,58,7,133,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f8e0f302f05704359484a669d345933.jpg","194x104cm",[42,146],{"id":8703,"slug":8704,"title":8705,"dynasty":18,"author":8706,"museum":1043,"description":8707,"tags":8708,"thumbUrl":8709,"material":246,"size":8710,"collection":42,"collections":8711,"showCount":8626,"zanCount":46,"manualWeight":46,"mainColor":47},221875,"jin-ling-si-ji-tu-shou-juan-wei-ke-221875","金陵四季图手卷","魏克","图绘旧时金陵（今南京）四季景色。描绘一年四季中山峦、湖泊、城外景色，春之雾气，夏之浪涛、秋之碧波、冬之冰雪。魏之克，后名克，明朝画家，善画山水兼工花卉，传世画作《松崖待渡》扇面，《水仙梅图》等。",[23,24,25,26,28,29,56,36,27,4183,60,30,31,33,201,7,34,133,58,564,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd979470a53b8a003d3e9e4fae584c457.jpg","31.3 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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。",[23,24,951,95,27,28,36,7,34,363,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4da237f95d56b5840f04b1a93af93930.jpg","该幅47.6x32.5公分；诗塘28x32.6公分",[42,146],{"id":8721,"slug":8722,"title":8723,"dynasty":296,"author":8724,"museum":108,"description":8725,"tags":8726,"thumbUrl":8727,"material":84,"size":8728,"collection":42,"collections":8729,"showCount":8626,"zanCount":46,"manualWeight":46,"mainColor":149},220422,"shou-shi-tu-jiang-pu-220422","寿石图","蒋溥","蒋溥（清），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8年（1730）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。乾隆26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。",[23,24,56,28,95,62,427,7,3020,6869,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa74aae3d6d0e66ce7cd8ad41fc531baf.jpg","141×41.5cm",[42,264],{"id":8731,"slug":8732,"title":8733,"dynasty":124,"author":998,"museum":53,"description":8734,"tags":8735,"thumbUrl":8736,"material":84,"size":8737,"collection":289,"collections":8738,"showCount":8626,"zanCount":11,"manualWeight":46,"mainColor":149},219610,"zui-seng-tu-liu-song-nian-219610","醉僧图","画面左侧一遒劲苍松，顶天立地，倔强而粗壮的树身扎根于坡石之中，稳健地镇住整个画面，使古意充盈纸上。画面右上方淡笔擦出的远山和细笔轻快而流畅地勾出的浮云，使画面更增超逸出尘之气。飘然潇洒的长松针密布于画面上方，把观者的视线吸引到树荫之下的三个人物身上。中间坐于石凳之上、解衣盘礴、乘兴挥毫者，想必是“草圣”怀素，此时他所乘之兴应与身后松枝上高挂的酒葫芦有关，似为正酣的酒兴也。怀素头呈微仰之势，似不经意地提笔挥毫，颇有“信手拈来皆文章，下笔不惑皆妙墨”之神采。他微微翘起的右脚，好像正在轻轻摆动，将他那放浪形骸的性格特征更加明显。笔法劲秀的衣纹线条，转折有力而肯定，不但极准确地刻画出人物外形，更形象地表现出怀素外表狂放，内心坚贞、高洁的性情。右边一童子面对怀素持卷肃立，神情专注于其行笔之处。怀素左边，一童子左手持砚、右手握墨，似墨刚研毕，正仔细审视是否正好可用。此《醉僧图》笔法精细秀润，布景极为高古，意境静雅、淡定，人物间呼应关照、贴切妥当，神态呼之欲出、传神入微，把“草圣”以酒助书兴、运笔酣畅的场景描绘得淋漓尽致，是一幅难得的佳作。\n此图最让人动心之处就是淡定、静雅的境界。潘天寿先生在《论画残稿》中曾说道：“艺术之高下，终在境界，境界层上，一步一重天，咫尺之隔，往往辛苦一世，未必梦见。”陈子庄先生也言：“必须于性灵中发挥笔墨，于学问中培养意境。”南宋的苟安一隅，使当时很多文人多少有些失落的悲观的情怀。刘松年的这幅为怀素的写照之作，在我看来倒有几分自况之意。心不能畅怀，借酒以发之，身不能居之境，借画以图之，借醉僧之超然境界，表达自己卧游畅神之思。当然，这只是我面对刘松年这位八百年前的古人之作，做的一番遐想而已。",[23,5986,24,25,56,28,58,96,7,2994,784],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22cb54f38c3dcb5f0c2d377e84953eb4.jpg","纵95.8厘米，横47.8厘米",[289],{"id":8740,"slug":8741,"title":8742,"dynasty":18,"author":436,"museum":346,"description":8743,"tags":8744,"thumbUrl":8745,"material":84,"size":8746,"collection":289,"collections":8747,"showCount":8626,"zanCount":46,"manualWeight":46,"mainColor":149},218516,"fang-li-tang-cai-wei-tu-yi-ming-218516","仿李唐采薇图","这一页是模仿李唐画的伯夷和叔齐在首阳山上爬行的故事，以浙派画家的风格画出服装图案，并加上项元汴的募捐图案。",[24,28,186,36,58,452,96,7,1273,1056,29,2697],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48fcd4411154c6a9a5705445bf616bd6.jpg","30.7x28.6",[289],{"id":8749,"slug":8750,"title":8751,"dynasty":124,"author":548,"museum":561,"description":2806,"tags":8752,"thumbUrl":8753,"material":217,"size":660,"collection":70,"collections":8754,"showCount":8755,"zanCount":46,"manualWeight":46,"mainColor":149},289660,"song-xia-gao-shi-tu-li-cheng-289660","松下高士图",[23,24,200,95,27,29,58,242,1838,36,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f602d1c6e4474cdb9b8901a8eac0943.jpg",[],57,{"id":8757,"slug":8758,"title":8759,"dynasty":296,"author":1177,"museum":561,"description":8760,"tags":8761,"thumbUrl":8762,"material":229,"size":70,"collection":42,"collections":8763,"showCount":8755,"zanCount":46,"manualWeight":46,"mainColor":149},238971,"wang-jian-shan-shui-tu-zhou-wang-jian-238971","王鉴山水图轴","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。",[200,24,25,95,27,36,29,33,31,34,7,227,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc7418118584b0267cf220052b12893a.jpg",[42,146],{"id":8765,"slug":8766,"title":8767,"dynasty":296,"author":1795,"museum":360,"description":8768,"tags":8769,"thumbUrl":8770,"material":454,"size":8771,"collection":42,"collections":8772,"showCount":8755,"zanCount":46,"manualWeight":46,"mainColor":47},236719,"shan-shui-lou-ge-zhou-yuan-yao-236719","山水楼阁轴","此图是袁耀中年时期创作的大幅画作。绘高山峻岭，山石陡峭，树木葱郁，楼阁华丽壮观，境界幽美。图中用笔严谨精到，山水以工笔画出，墨色富于浓淡变化，明净雅致，意境恬淡，别有一番韵致。",[24,57,28,56,36,29,60,7,34,316,32,187,1944],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd2cab51c3f5a3bcd636d980beb75aed.jpg","纵202.3厘米，横118.5厘米",[42,264],{"id":8774,"slug":8775,"title":8776,"dynasty":296,"author":7994,"museum":53,"description":8777,"tags":8778,"thumbUrl":8779,"material":229,"size":8780,"collection":70,"collections":8781,"showCount":8755,"zanCount":46,"manualWeight":46,"mainColor":47},231958,"song-shu-ren-wu-tu-zhou-pu-ru-231958","松树人物图轴","松树画的苍劲有力。不过，要说到画松树的高手，还是要提到明代的听松老人过仪，他画的松树是最值得称道的。\n溥心畬[yú]（1896年9月2日—1963年11月18日），满族，原名爱新觉罗·溥儒，初字仲衡，改字心畬，自号羲皇上人、西山逸士，北京人，著名书画家、收藏家。为清恭亲王奕訢之孙。曾留学德国，笃嗜诗文、书画，皆有成就。画工山水、兼擅人物、花卉及书法，与张大千有“南张北溥”之誉，又与吴湖帆并称“南吴北溥”。",[23,24,27,36,95,427,58,29,244,133,7,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03cbbd4de942e3134374eef408c4a33d.jpg","130x32cm",[],{"id":8783,"slug":8784,"ti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水激流入江，屋舍茅亭、渔翁小舟、板桥雅士点缀其间。画面上云烟飘渺，草木华滋，笔法纵肆，神变万状，墨沈淋漓，苍茫浓郁，气韵生动。虽为仿米之作，却自具风貌。",[24,25,26,27,29,186,3409,133,34,7,130,33,31,114,1104,160],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f59ad95d193c191833e0c060f6d0654.jpg","纵14．8厘米横247．2厘米",[],{"id":8894,"slug":8895,"title":845,"dynasty":18,"author":52,"museum":561,"description":8896,"tags":8897,"thumbUrl":8898,"material":217,"size":660,"collection":70,"collections":8899,"showCount":8874,"zanCount":11,"manualWeight":46,"mainColor":47},228455,"du-le-yuan-tu-chou-ying-228455","《独乐园图》卷由明代仇英绘。画卷内容根据司马光的《独乐园记》立意，依次描绘了弄水轩、读书堂、钓鱼庵、种竹斋、采药圃、浇花亭、见山堂等景致。卷后拖尾接裱为文徵明书《独乐园记》《独乐园七咏》，苏东坡《独乐园诗》及项禹揆等人题跋。",[23,24,25,26,28,56,57,58,60,30,31,33,34,1140,7,61,64,1397],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec1edf8089fe9785596584cae9f689ef.jpg",[],{"id":8901,"slug":8902,"title":8903,"dynasty":124,"author":197,"museum":561,"description":8904,"tags":8905,"thumbUrl":8906,"material":70,"size":70,"collection":70,"collections":8907,"showCount":8874,"zanCount":46,"manualWeight":46,"mainColor":47},227726,"song-xia-guan-pu-xia-gui-227726","松下观瀑","《松下观瀑图》为南宋画家夏圭所作。右下山石处款署“夏圭”。\n\n图绘一瀑布飞流，水边峭壁悬一古松。一高士坐于松下观赏飞瀑。\n夏圭，临安人（杭州），生卒年不详，字禹玉，中国著名山水画大家，南宋四家之一，与马远、刘松年、李唐齐名。在南宋画坛，他与著名画家马远合称“马夏”。他没有入官，但进入过南宋画院担任待诏工作。\n\n据文献记载，夏圭在绘画上入手学习的是人物画，但不久以后他转入了山水并作为主攻方向。夏圭学习过李唐、范宽、米芾、米友仁的山水画技术，并主要以李、范为根基。夏圭在笔墨构建上，倾向于苍劲、开张、有力的特色，所以他的山水画有滋润淋漓之美。山水画技术中，有一种皴法泥里拔钉皴，就是夏圭首先运用的。这种皴法先用淡墨铺底染，然后根据其湿度状况，加以浓墨勾皴，使得浓淡墨达到理想的交融状态，视觉上有层次丰富之效果。\n\n夏圭更为人称道的是他的构图法。他经常只取景施绘在画面的一部分，而空出另一部分。这种处理法的好处是将重点突出，让欣赏者有更佳的代入感。因此人们将夏圭这种方式称作“夏半边”，它与马远的“马一角”并称南宋画坛。\n\n夏圭的作品传世至今尚有不少珍品，其中冠名为他的绘画有长卷画《江山清远图》、《长江万里图》等。有其他立轴、方幅画《溪山无尽图》、《溪山奇观图》、《山川钟秀图》、《雪山图》、《松崖客话图》、《溪山清远图》等。这些作品大多收藏在北京故宫博物院、台北故宫博物院等著名机构中。",[23,24,25,200,1900,27,36,29,427,130,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea35dcf8553220d48caebb48114605af.jpg",[],{"id":8909,"slug":8910,"title":8911,"dynasty":18,"author":436,"museum":561,"description":8912,"tags":8913,"thumbUrl":8914,"material":673,"size":8915,"collection":42,"collections":8916,"showCount":8874,"zanCount":46,"manualWeight":46,"mainColor":149},223460,"shan-shui-lou-ge-tu-ye-yi-ming-223460","山水楼阁图页","图中绘高山峻岭，山石陡峭，树木葱郁，群山中有一楼阁，作为画中心，色彩不同于高山树木的墨绿，采用偏黄绘画，具有中国建筑特色，极为突出",[23,24,25,111,57,27,28,29,60,34,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58ae4ea4a3f42436225874305e3ba8ce.jpg","40X43",[42,146],{"id":8918,"slug":8919,"title":8920,"dynasty":296,"author":2564,"museum":53,"description":3578,"tags":8921,"thumbUrl":8923,"material":673,"size":3583,"collection":42,"collections":8924,"showCount":8874,"zanCount":764,"manualWeight":46,"mainColor":47},222767,"shi-er-yue-ling-tu-8-yue-lang-shi-ning-222767","十二月令图（8月）",[23,24,25,56,28,57,58,60,34,7,61,33,489,64,4543,8922,3323],"围墙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd9d2819dab19c67c4bf7cfb5fc58f1a.jpg",[42,264],{"id":8926,"slug":8927,"title":8928,"dynasty":18,"author":6896,"museum":53,"description":8929,"tags":8930,"thumbUrl":8931,"material":40,"size":8932,"collection":146,"collections":8933,"showCount":8874,"zanCount":11,"manualWeight":46,"mainColor":47},222227,"song-gang-zhu-wu-tu-zhou-wen-bo-ren-222227","松冈竹坞图轴","文伯仁松的《冈竹坞图》画中前景有戴笠僧人拄杖前行，将进入林间寺院；中景有一渡桥文士，或许即为“放浪溪山已有年”的文伯仁；远景宛若随著云雾浮现，凛立天际的秀峻山头，应是令作者追求神往的盛景。文伯仁是习仿文征明风格的后辈与学生中，自成面目，卓然出众者。他将文征明结构繁复的图式，朝更精致严密的方向发展，以工细的用笔与敷色，别出心裁的构图，表现郁茂清幽的山林胜景，散发出文派作品特有的雅澹气质。",[23,24,25,95,27,28,36,82,29,272,391,33,30,31,7,34,201,96,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2a43776896fe834580cb168f04bc481.jpg","132.6x30.7cm",[146,264],{"id":8935,"slug":8936,"title":8937,"dynasty":18,"author":5311,"museum":53,"description":8938,"tags":8939,"thumbUrl":8941,"material":27,"size":8942,"collection":42,"collections":8943,"showCount":8874,"zanCount":46,"manualWeight":46,"mainColor":47},222184,"han-shan-shi-liu-tu-zhou-zhao-zuo-222184","寒山石溜图轴","赵左（1573—1644）左一作佐，字文度。活跃于明代后期。万历、崇祯时华亭（今上海松江）人。\n赵左，为诸生时，诗文即出众，曾赴北京，以一首秋草诗一鸣惊人，人呼为“赵秋草”。后得顾正谊赏识，让他与宋懋晋向好友宋旭学画，此后画名渐显。山水师法董源，兼学黄公望、倪瓒。画云山以己意出之，有似米（芾）非米之妙。善用干笔焦墨而又长于烘染，后受董其昌的画风影响，形成笔墨灵秀、设色雅致的风格。他与弟子沈士充、朱轩、叶有年、陈廉、李肇亨等构成的艺术群体，被人们称为“苏松派”。论画主张要得所画物象之势，应取势布景交错而不繁乱。因一生穷困，曾为董其昌代笔。所著《大愚庵遗集》已失传，散落的诗文由其子搜辑成一集存世。传世作品有万历三十九年（1611）作《秋山幽居图》扇面（藏上海博物馆）、万历四十年（1612）作《溪山无尽图》卷）收录于《中国绘画史图录》下册）、万历四十四年（1616）的《长江叠翠图》卷（藏中国美术馆）等。另有藏于故宫博物院的《富春大岭图》卷，台北故宫博物院藏《寒江草阁图》轴及上海博物馆藏《仿大痴秋山无尽图》卷、《山水卷》等。\n绘画特色:\n一、师从宋旭。宋旭（1525-？年），字初旸，号石门，浙江湖州人，后徙居上海松江，以画山水最为擅长，主要师法“明四家”之一的沈周，风格雄劲古拙，为“松江派”之祖。赵左的山水画是以宋旭为基础，上溯源流，追摹董源、倪瓒笔意，兼采米氏云山与黄子久浅绛法，善用干笔焦墨，长于烘染，水墨湿润，极富神韵。清王原祁《佩文斋书画谱》中即有云：“（赵左）学于宋旭……其画宗董源，兼有黄公望、倪瓒之意。\n二、受董其昌山水画影响。董其昌是明代后期书画大家，其山水画理论与实践影响了明末乃至清代山水画的发展，加之董氏社会地位显赫，官至南京礼部尚书，以太子太保致仕，结交了大量的仕宦、文人和书画家，因此名重一时，影从者甚众。由于董其昌是松江人氏，因此当时松江地区的许多画派都以追随董氏，强调摹古，重视笔墨为潮流，而赵左身处其间，在绘画创作上受乡贤之影响也是必然的。\n赵左与董氏是翰墨挚友，并有着长期的书画交往，是董氏绘画最重要的代笔人之一。对此，清朱彝尊（1629-1709年）在《论画绝句十二首》中指出“隐君赵左僧珂雪，每替香光应接忙。泾渭淄渑终有别，漫因题字概收藏。”又朱氏自注云：“董文敏疲于应酬，每倩赵文度及雪公代笔，亲为书款。” 同时，清姜绍书（生卒年不详）在《无声诗史》中亦有云：“与董思白为翰墨友，流传董迹，颇有出文度手者。”可见，赵左为董氏代笔在当时已是公开的秘密，这也从一个侧面反映了赵左在绘画上的功力确是不凡。\n赵左绘画作品《山水册》，现由金陵天渡楼收藏。\n当然，赵左为董其昌代笔与董氏原作是有本质区别的。赵氏长于烘染，在树木等的刻画上立体感强，层次繁复，风格细润，于绘画技巧上更为精能，但笔墨功力与董其昌相比则略显单薄，这主要是由于董氏所具有的超凡书法功底是赵左力所不逮的。赵左作为“松江派”山水的领袖，自具有其独到之处。《无声诗史》记其论画一则，阐述了他对山水画创作的艺术见解。他主张画山水，须得山川林木、楼观舟车、人物屋宇之势，做到取势布景，交错而不繁乱；景物布置,须一一自然合理；景色先以朽笔勾出，然后落墨,使景致、笔墨交融，成画后才富有意味。\n他创作的山水画，亦力求体现这些思想。景物大多较为繁复，有时画烟岚云雾流动于层峦叠嶂、坡谷幽溪涧；并以斜径、溪桥、房屋、树木,掩映穿插。笔墨方面,或用浓、湿、浅、淡的墨色染出山峦向背，同时渍出浮动的白云；或作浅绛设色，与笔墨的运用相融。还经常参用米氏父子、黄公望、倪瓒等画家的不同画法\n他的山水画秀劲飘逸的韵致也吸引了一大批松江画家追随其左右，如赵泂、叶有年、吴振、释常莹等，都从学于赵左绘画，使得明末清初的松江画坛呈现出一派生机盎然的景象。而赵左的许多作品也为时人和后世视为世袭之珍。",[23,200,24,25,95,27,36,7,242,133,130,8940,538,29],"小亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdc4008b1851240fd1b92482966a63c8.jpg","52.7x36.9厘米",[42,264],{"id":8945,"slug":8946,"title":8947,"dynasty":296,"author":2564,"museum":360,"description":8948,"tags":8949,"thumbUrl":8951,"material":84,"size":8952,"collection":306,"collections":8953,"showCount":8874,"zanCount":46,"manualWeight":46,"mainColor":149},219870,"song-xian-ying-zhi-tu-zhou-lang-shi-ning-219870","嵩献英芝图轴","正中是一只兀立于石上的白鹰，画面的右边是一棵弯曲盘绕的老松，还有一棵藤萝攀绕着松树枝干，松树的根部和石头的缝隙之间有灵芝数株，画幅左边为坡石以及急湍的溪流。 图中所绘苍松、雄鹰、灵芝、山石、流水，在中国文化中多有强健、长寿和吉祥的美好寓意。但在色彩上，鹰白、松绿、芝棕红、土坡绛色和藤萝花粉紫，却是不同于中国传统、属于郎世宁风格的鲜明、绚丽和浓重。",[23,200,24,25,95,56,28,5934,427,130,7,8950,2915],"白鹰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35ede8b111d7cac1c43336e0de1b2972.jpg","纵242.3cm，横157.1cm",[306],{"id":8955,"slug":8956,"title":8957,"dynasty":296,"author":1177,"museum":360,"description":8958,"tags":8959,"thumbUrl":8960,"material":84,"size":8961,"collection":42,"collections":8962,"showCount":8874,"zanCount":46,"manualWeight":46,"mainColor":149},219220,"fang-da-chi-shan-shui-tu-wang-jian-219220","仿大痴山水图","此图沿“S”形的水路，绘一河两岸的景色，笔墨技法精湛，设色清丽脱俗，表现了江南山水沉郁深秀的自然气象。图中山石、树木勾染以仿大痴，即黄公望的画面为主，同时参法董源及唐初巨然的笔力，显现出王鉴晚年对古人笔墨融会贯通的掌控能力。",[23,200,24,25,95,28,29,31,7,34,186,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7b4bb0de74fcee4bbd39f292a92cc45.jpg","纵122.5厘米，横61.5厘米",[42],{"id":8964,"slug":8965,"title":8966,"dynasty":124,"author":436,"museum":561,"description":8967,"tags":8968,"thumbUrl":8969,"material":142,"size":8970,"collection":144,"collections":8971,"showCount":8874,"zanCount":11,"manualWeight":46,"mainColor":149},219049,"xun-mei-fang-you-tu-yi-ming-219049","寻梅访友图","2012年6月3日，北京保利古代书画夜场，南宋佚名《寻梅访友图》同样也争夺激烈，最终以超出估价80多倍的880万落槌，该作品之前估价为RMB: 50,000-100,000。",[23,200,24,25,28,36,29,96,33,31,58,215,82,7,30,390],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1279c5adc874b1dfa7d108c60362dd6b.jpg","24×24.5",[144],{"id":8973,"slug":8974,"title":8975,"dynasty":78,"author":436,"museum":561,"description":8976,"tags":8977,"thumbUrl":8978,"material":27,"size":70,"collection":146,"collections":8979,"showCount":8874,"zanCount":46,"manualWeight":46,"mainColor":149},218496,"dong-po-qi-lv-tu-yi-ming-218496","东坡骑驴图","驴背人影衣袂掀动，似携一身野风穿行于淡墨峰峦间。松枝斜出如笔，与天边流云共织清寂，驴蹄轻踏处，草叶簌簌声仿佛随墨色漫开。笔墨简劲却藏深情，没有繁复设色，仅以水墨勾勒人物的孤远与从容——那是坡公贬谪途中的淡然，也是画者对先贤心境的隔空呼应。峰峦的淡皴如旧梦晕染，松风与驴鸣似在耳畔低回，简淡画面里，沉潜着文人遭际中的旷达文心。每一道笔触都像在诉说：纵使前路风雨，仍以悠然姿态，踏遍山河。画面虽简，意蕴却厚，如陈酒浅酌，余味漫过时光。",[23,24,25,95,27,300,712,58,3389,112,7,1140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66f93ebd14f269b38bf81415ee2b5a2d.jpg",[146],{"id":8981,"slug":8982,"title":8983,"dynasty":296,"author":2706,"museum":53,"description":8984,"tags":8985,"thumbUrl":8986,"material":116,"size":8987,"collection":42,"collections":8988,"showCount":8874,"zanCount":46,"manualWeight":46,"mainColor":47},218319,"fang-wang-meng-wan-die-fu-rong-tu-dong-bang-da-218319","仿王蒙万叠芙蓉图","董邦达为清代画家，在山水题材上造诣颇深。他具有双重身份，不仅为朝廷命官，而且是一位颇有才气的画家。作为官员的董邦达，一生可谓仕途通达，早年高中进士，身为朝廷命官，平日忙于公务，作画只是董邦达的业余爱好。然而，董邦达具有绘画的天赋，尤其擅长山水画，名噪一时。",[24,27,951,36,186,7,34,35,316,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1794d4956e0a07d2cd810a08d5a76fc0.jpg","纵133cm，横63.3cm",[42],{"id":8990,"slug":8991,"title":8992,"dynasty":296,"author":8993,"museum":561,"description":8994,"tags":8995,"thumbUrl":8997,"material":70,"size":70,"collection":306,"collections":8998,"showCount":8999,"zanCount":11,"manualWeight":46,"mainColor":47},238178,"xian-zhi-zhu-shou-tu-zhou-shen-zhen-lin-238178","仙芝祝寿图轴","沈振麟","沈振麟（生卒年不详，生活于19世纪），字凤池，一作凤墀，元和（今江苏省吴县）人。他以创作题材广泛，花鸟虫鱼人物山水各臻其妙，笔法工细写实而成为晚清重要的宫廷画家。任如意馆画作首领数十年。",[24,95,28,56,244,2915,489,2177,7,3451,8996],"白色花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F035c9856899db7d34109e2309e3bffa5.jpg",[306],55,{"id":9001,"slug":9002,"title":9003,"dynasty":18,"author":1919,"museum":561,"description":9004,"tags":9005,"thumbUrl":9007,"material":70,"size":70,"collection":306,"collections":9008,"showCount":8999,"zanCount":46,"manualWeight":46,"mainColor":149},237577,"bai-xian-zhou-wang-wei-lie-237577","白鹇轴","王维烈[明]花鸟在周之冕下，高阳之上。泰昌元年（一六二o）作树石孔雀图。南京博物院藏有其崇祯十三年（一六四o）作寒雀争梅图。",[24,28,56,95,62,9006,427,1140,7,441,1621,201,1555],"白鹇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7a3695a1f1f05cfc401f1714fd482ef.jpg",[306,264],{"id":9010,"slug":9011,"title":9012,"dynasty":296,"author":1630,"museum":360,"description":9013,"tags":9014,"thumbUrl":9015,"material":454,"size":9016,"collection":70,"collections":9017,"showCount":8999,"zanCount":46,"manualWeight":46,"mainColor":149},234262,"si-xu-tu-juan-yao-wen-han-234262","四序图卷","此图卷描绘宫廷仕女春游、纳凉、游湖、赏雪四季不同的享乐生活。布局巧妙，境界幽曲，将人物、山水、楼台亭阁、春夏秋冬的不同树木花卉及其景色容于一卷。精心刻划，形象生动，笔墨工细，赋彩随类，颇为自然。人物虽小，然曲尽各种姿态，形神俱备，景物虽繁，然疏密有度，为烘托人物的各种游乐活动而恰到好处。确是精心经营的佳作。\n姚文瀚，号濯亭，顺天（今北京）人，生卒年不详。乾隆时供奉内廷，工道释、人物、山水、界画，《石渠宝笈》著录其曾作《仿清明上河图》卷，文瀚于群工角艺之时，胸具别裁，画成缩本，乾隆喜而题诗并注：“此卷较择端原本尺幅纵横倍减，而临摹毕肖，人物益小，尤见精能。”尝画《梧阴清暇图》轴、《春朝婴戏图》轴、《岁朝欢喜图》轴、《观音像》轴、《文殊像》轴等。乾隆十七年（1752）尝作《仿宋人文会图》卷，二十六年（1761）作《紫光阁锡宴图》卷。\n传世作品有《四序图》卷，绢本，设色，描绘宫廷仕女春游、纳凉、游湖、赏雪四季不同之悠闲生活、构思巧妙，意境幽曲，刻画细腻，形象生动，笔墨工整，设色典雅。此作人物虽小，然曲尽姿态，形神兼备，现藏故宫博物院。",[23,24,26,28,56,57,58,60,29,34,2011,1932,61,7,565,736,578,187,3323,1397,4906],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F932487c9f43ccf74b8dc4bf3654f4db3.jpg","纵31．5厘米，横318厘米",[],{"id":9019,"slug":9020,"title":9021,"dynasty":18,"author":387,"museum":360,"description":9022,"tags":9023,"thumbUrl":9024,"material":760,"size":9025,"collection":70,"collections":9026,"showCount":8999,"zanCount":11,"manualWeight":46,"mainColor":47},233707,"you-ren-yan-zuo-tu-zhou-tang-yin-233707","幽人燕坐图轴","图中云峰缥缈，涧壑丛竹，水阁中一人静坐，旁设书籍、茶具，似有所待。溪流边一人拄杖独立，远眺山色。画法上多用干笔细皴描绘树石人物，笔致坚劲，刻画精微，风格缜密秀润，反映出唐寅善于以早年师从周臣学习宋“院体”山水技法，来表现和传达文人画清雅幽澹的功力。",[24,25,95,27,36,29,33,34,7,31,58,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5448d0d425ec0f6d6a2e9b1bd7bf7016.jpg","纵120.3厘米，横25.8厘米",[],{"id":9028,"slug":9029,"title":9030,"dynasty":78,"author":2047,"museum":1043,"description":9031,"tags":9032,"thumbUrl":9034,"material":673,"size":9035,"collection":42,"collections":9036,"showCount":8999,"zanCount":11,"manualWeight":46,"mainColor":149},232902,"hua-xi-yu-ma-tu-zhao-meng-fu-232902","花溪浴马图","此画展现了一个充满生活趣味的浴马场景：在碧波清流之上，一大群马匹随着马倌入水、洗浴、出水。骏马温顺而矫健。\n《花溪浴马图》虽不知其创作时间，但从内容与风格上看，此图与北京故宫博物院所藏的《浴马图》应是同一时期作品。\n《花溪浴马图》布局开阔：岸边梧桐垂柳，绿荫成趣；溪水涓涓而流，清澈透明；骏马七匹，马倌八人，有序地安排在长长的画幅之中。在一片清幽、充满村野之趣的自然景象中，人与马悠然平和，各得其乐。画中马的姿态各异，神态生动，有的立于水中，有的饮水吃草，有的昂首嘶鸣。马倌们各自分工不同，或冲洗马身，或牵马上岸，或岸边小憩。赵孟頫以文人意笔勾线，行笔偏工，设色法唐人的青绿和重彩，人与马勾勒精细，设色雅致，并且色不掩笔。此图是一幅形神兼备、妙逸并具、风格高雅的鞍马画精品。\n赵孟頫(1254-1322)是元代文人画家中罕见的全能“选手”，山水、人物、鞍马、花鸟、竹石，无一不能，无一不精。再加上诗词、书法的成就，以及对篆刻的深刻理解，可以说，他基本界定了后世文人画家诗书画印全能的标准。",[23,200,24,25,26,1304,28,56,58,215,31,34,2697,7,9033,132],"树荫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b00a4e6db6c090c8f49c508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但点子纤细呈短条状。树木出现直且呈排列状的姿态。",[23,24,951,186,36,27,28,860,7,242,97,95,612],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18f304fcaa92d84ebd0825d65cc92b1c.jpg","本幅 187.7x115.5公分、全幅 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5○5年间），浙江鄞县人。明孝宗时任职于仁智殿作画，并被授予锦衣指挥的官名。",[200,24,25,95,56,28,62,201,9256,9257,7,525,82],"野禽","草花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28a86ac72036a3a520bff486521df824.jpg","146.4x58.7cm",[306],{"id":9262,"slug":9263,"title":9264,"dynasty":18,"author":9265,"museum":360,"description":9266,"tags":9267,"thumbUrl":9268,"material":84,"size":9269,"collection":42,"collections":9270,"showCount":9122,"zanCount":46,"manualWeight":46,"mainColor":149},218760,"hong-nong-du-hu-tu-zhu-duan-218760","弘农渡虎图","朱端","此画构图奇突，场面壮观，景物与人物活动相辅相成，充满生趣。画法上看，其人物、马匹的线条简练，姿态土动。人物多承马远，用线顿挫。画树木，笔法曲折多顿挫变化，枝如鹰爪；画山石顿笔勾描，略施皴染，间用马、夏的斧劈皴和水墨渍染。天与水皆用淡墨晕染，烘托出了雪景。从此图的内容到形式来看，都体现了明代院体画的特色。",[23,24,25,95,28,56,36,58,215,2241,29,7,34,214,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F886a91eebdb1ac1117494daf67ec29d6.jpg","纵174厘米，横113.6厘米",[42,289],{"id":9272,"slug":9273,"title":9274,"dynasty":124,"author":9275,"museum":2747,"description":9276,"tags":9277,"thumbUrl":9278,"material":84,"size":9279,"collection":42,"collections":9280,"showCount":9122,"zanCount":11,"manualWeight":46,"mainColor":47},218280,"feng-yu-shan-shui-tu-li-shan-218280","风雨山水图","李山","三条瀑布从画面右侧倾泻而下，与下方的岩石撞击出波浪，而左岸的松树形状奇特，树枝拍打着，似乎在跟随风向向右倾斜。一座桥横跨两岸，两个人和一头驴子在桥上逆风而行。",[23,24,25,29,452,96,36,28,3939,7,34,133,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75f605ea64091fed8c0af258bb334556.jpg","24.1x24.8cm",[42],{"id":9282,"slug":9283,"title":9284,"dynasty":78,"author":7344,"museum":108,"description":9285,"tags":9286,"thumbUrl":9287,"material":116,"size":9288,"collection":42,"collections":9289,"showCount":9122,"zanCount":11,"manualWeight":46,"mainColor":149},218256,"xi-ting-shan-se-tu-lu-guang-218256","溪亭山色图","峰峦层叠如黛，飞瀑如练悬垂崖间，水汽似漫过纸面。坡岸旁枯木疏枝意态萧散，秋意清寂尽现。临流筑榭，隐者凭栏或对谈，时光缓缓流淌。笔墨苍润兼具，皴擦间见山石肌理，线条灵动藏古雅韵致。整幅画清幽淡远，文人丘壑化为纸上烟霞，尽显元人山水空灵超脱。观之如入静谧之境，尘心渐息，仿佛能闻瀑声松涛，触到溪畔清风。",[24,95,27,36,29,33,112,130,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F143810d1b0b02dc21227e0b62f9768c8.jpg","89.1x25.4cm",[42],{"id":9291,"slug":9292,"title":462,"dynasty":18,"author":9293,"museum":108,"description":9294,"tags":9295,"thumbUrl":9296,"material":84,"size":9297,"collection":42,"collections":9298,"showCount":9122,"zanCount":46,"manualWeight":46,"mainColor":663},218098,"shan-shui-tu-li-zai-218098","李在","明朝时期的画家李在是一位著名的山水画家。他的作品以其精细的写实技巧、恢弘的气势和自然的造型而闻名。\n\n李在的山水图以其鲜明的色彩和细腻的线条而著称。他善于运用笔墨勾勒出高山峻岭、秀美的林木、碧波荡漾的江河、以及蒙蒙细雨的天气。他的画作还经常加入人物、建筑和动物的元素，使得作品更具生动感。\n\n李在的山水画不仅具有艺术价值，而且在当时也被视为象征君权的艺术品。他的作品深受当时的皇帝和贵族的青睐，并在历史上留下了深远的影响。\n\n总之，李在是一位杰出的山水画家，他的作品以其精细的写实技巧和自然的造型而闻名，并在历史上留下了深远的影响。",[24,25,200,95,27,28,36,29,2901,34,30,31,133,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc76f77a8ae01189e0f35aebdf3f3f1bb.jpg","138.8x83.2cm",[42],{"id":9300,"slug":9301,"title":9302,"dynasty":18,"author":436,"museum":53,"description":9303,"tags":9304,"thumbUrl":9305,"material":40,"size":9306,"collection":306,"collections":9307,"showCount":9122,"zanCount":46,"manualWeight":46,"mainColor":47},216216,"ming-ren-hua-suan-ni-tu-yi-ming-216216","明人画狻猊图","这幅画的主题是狻猊，它是古代中国神话中的一种强大的兽，被认为是一种深深联系着天地万物的神兽。在这幅画中，画家细致地描绘了狻猊的身体特征，并运用了各种色彩来表现狻猊的神秘和强大。这幅画是一个经典的代表作，展现了明朝画家对古代传统文化的热爱和尊重。",[24,200,25,28,56,1396,8836,96,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d8a9122c3bb3c95220a73fd82916619.jpg","211.9x178.6cm",[306],{"id":9309,"slug":9310,"title":9311,"dynasty":296,"author":9312,"museum":561,"description":9313,"tags":9314,"thumbUrl":9315,"material":70,"size":70,"collection":42,"collections":9316,"showCount":9317,"zanCount":46,"manualWeight":46,"mainColor":47},238212,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238212","仿王翬山水册","曹夔音","曹夔音，清代乾隆年间的山水画家，字莪塍，号红椒道人，江苏江宁（南京）人，其生卒年月不详。据资料，知其曾在乾隆初年以御用画师身份供奉朝廷。期间，曹氏遵御旨摹仿了一批传统经典作品，最具水准也最受称道的，是仿赵黻《长江万里图》长卷。因其笔墨逼真，又弥补了原作残旧之憾，故甚为乾隆皇帝喜爱，成为“御览之宝”。此外，曹夔音还奉旨与金昆、张镐复制了王维《辋川图》，又与周鲲、姚文瀚等人临摹了丁云鹏罗汉手卷数卷。而曹氏所作《寒谷鸣泉》扇面画与背面乾隆御临王羲之法帖的成扇。",[200,24,25,111,27,36,29,60,30,31,34,7,565],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae9b3150b1bdefaa340be12a343409a0.jpg",[42,264],53,{"id":9319,"slug":9320,"title":9321,"dynasty":296,"author":436,"museum":360,"description":9322,"tags":9323,"thumbUrl":9324,"material":4255,"size":9325,"collection":289,"collections":9326,"showCount":9317,"zanCount":46,"manualWeight":46,"mainColor":47},236179,"hong-li-sui-chao-xing-le-tu-xiang-yi-ming-236179","弘历岁朝行乐图像","暖阁里主仆围聚，主人逗弄怀中幼童，满堂融融暖意弥散。阶下有人持笛奏乐、孩童嬉闹，檐下案头陈设瓶花清供，雅趣横生。近旁苍松虬劲古朴，崖石覆雪添了冬日清寒，远景烟霭轻笼，亭台隐没云间，冷暖景致相映成趣。\n\n整幅工笔妍丽细腻，将皇家岁朝的闲温情致，与园林雅致意趣揉合一处，把佳节天伦之乐绘得鲜活动人，尽显华贵静谧的宫廷年味图景。",[24,200,56,28,57,58,60,427,7,61,1250,66,1118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9cf7690222da77f1a730090ee748426.jpg","纵384cm，横160.3cm",[289,264],{"id":9328,"slug":9329,"title":9330,"dynasty":296,"author":9331,"museum":561,"description":9332,"tags":9333,"thumbUrl":9344,"material":70,"size":70,"collection":70,"collections":9345,"showCount":9317,"zanCount":11,"manualWeight":46,"mainColor":47},234599,"qing-lv-shan-shui-wan-shan-jiang-yun-234599","青绿山水纨扇","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 房屋、渔舟、云气正是表现了人的伟大和大自然的永恒。",[24,25,1900,257,28,29,31,32,34,7,133,33,9334,9335,9336,9337,9338,9339,9340,9341,9342,9343],"青绿山水","设色山水","扇面画","传统国画","古典书画","山水景物","流水孤舟","云雾缭绕","山石树木","亭台建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e9fc52f859f06ac6e06372c7f3cfa33.jpg",[],{"id":9347,"slug":9348,"title":9349,"dynasty":18,"author":3504,"museum":53,"description":9350,"tags":9351,"thumbUrl":9352,"material":229,"size":9353,"collection":70,"collections":9354,"showCount":9317,"zanCount":46,"manualWeight":46,"mainColor":47},234187,"wen-zheng-ming-jiang-nan-chun-tu-bing-shu-ci-juan-wen-zheng-ming-234187","文徵明江南春图并书辞卷","本图纸本轴装，纵106厘米，横30厘米。文徵明（1470-1559）自题：“江南春”（八分书）；并书追和云林先生词二首（行草书）。此图成于嘉靖二十六年丁未春二月（1547），作者时年78岁，画中的图像，平远湖山，绿树高耸，高士乘舟横过，远处临水人家，这是江南太湖景色。",[23,24,26,25,38,27,29,34,7,35,30,31,201,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14b1c1a838314382435f0ddc9dcfafa8.jpg","106.00×30.00cm",[],{"id":9356,"slug":9357,"title":1492,"dynasty":18,"author":19,"museum":360,"description":1493,"tags":9358,"thumbUrl":9359,"material":229,"size":1496,"collection":70,"collections":9360,"showCount":9317,"zanCount":46,"manualWeight":46,"mainColor":47},234093,"wu-zhong-shan-shui-ce-shen-zhou-234093",[24,25,111,27,29,33,34,7,38,36,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8897142206a362f22c1dbeaf4b0aeea3.jpg",[],{"id":9362,"slug":9363,"title":9364,"dynasty":18,"author":3504,"museum":360,"description":9365,"tags":9366,"thumbUrl":9367,"material":9368,"size":9369,"collection":70,"collections":9370,"showCount":9317,"zanCount":11,"manualWeight":46,"mainColor":47},233711,"wen-zheng-ming-lv-yin-chang-hua-tu-zhou-wen-zheng-ming-233711","文徵明绿荫长话图轴","《绿荫草堂图》绘山中村落之景，于崇山环抱中见开阔。一瀑飞泻，汇成清清池塘。村居数间皆掩映于绿荫之下。山中闲居，有客拄杖来访。其意态优容，尽显隐士风流。画上除作者自书两题外，尚有蔡羽、王宠、陆师道诸家题记。",[24,95,27,36,29,96,30,31,58,7,37,38,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe16c50eb1cb998daffc1a6e2435c3d91.jpg","纸本 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，《 》中记载：“擅人物、花卉，兼长山水，好作斧劈皴，风格颇似戴文进。\n”他创作的道士、佛神像，皆笔法工整，设色古雅。\n在这幅《春山听阮图》轴中，作者一改以往的艺术特色，不见斧劈痕迹，风格却似 作品的格调。\n不过这倒使我们从另一个角度领略到画家对不同艺术境界的探求。\n山间的瀑布、亭宇、林木相互掩映，在烟岚缭绕的气氛中若隐若现。\n近景溪边的亭台上有一人正在弹阮，他神情怡然，气质脱俗，想必正沉浸在乐曲独特的旋律之中；他的身边有一人正聚精会神地聆听着，想必是其朋友，那坐卧斜倾的姿态，看上去像是完全被阮音优美的旋律所醉倒。\n右边的低崖上有二人正在观景，或许是回荡在山谷里美妙的阮音打断了他们的话题，使他们不由得回转过头，听着佳音赏着眼前的美景。\n我们虽然听不到这美妙的乐音，但早已被这些生动的描绘带入“春山听阮”的意境，从听阮者那专注的神情里，可以想像到这位高士弹奏的高妙之处，从那溪水与闲云的流动中，那绿石、苍松融融的气息间，更感受到春的惬意。\n因为有这委婉动听的阮音回绕，这春山，这草木，这流水，这自然之机，便清雅宜人，恍若梦中的仙境。\n该作为竖构图，满布局，结构严谨，层次分明，经营有序，不见壅塞。\n笔法工细挺秀，轻皴淡染，设色艳丽。\n溪边人物虽小，但刻画细致入微，形神毕俱。\n山石是勾勒后，稍加皴制，不露笔痕，然后再以石青、石绿轻轻晕染。\n松树以淡墨层层染之，桃花用少许胭脂染成，使得整幅画面不仅构图饱满而且颜色丰富，典雅超逸。\n此画左上角自题“舜江吕焕成写”。\n轴纵观此图气势超逸，高雅脱俗。\n画中一座座雄伟的山峰拔地而起，前呼后拥，左右相迎；山势陡绝、奇丽，从近到远层层推移，既高大又深远，既峭峻又缥缈，给人一种于壮美中见超然的 。\n吕焕成（16-175），清初画家。\n字吉文，号祉园山人，浙江余姚人。\n擅长嘶人物、山水，兼画花卉。\n笔法工整，设色古雅。\n吕焕成是明代书画家文征明的外孙女婿，正因这特殊身份，使其始终执迷于“吴派”绘画。\n清代初期，他坚持“吴派”山水作风。\n作品既有“北宗”画法的崇高峻美，也有“南宗”画法的秀润笔致。\n时时透露出一股清新和洒脱的气息。\n传世作品较少，主要有《春山听阮图》轴。",[23,24,25,95,257,28,56,57,29,58,60,427,7,31,364,2278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbd09de321dae177cef791720d8eb004.jpg",[],{"id":9390,"slug":9391,"title":9392,"dynasty":18,"author":52,"museum":561,"description":9393,"tags":9394,"thumbUrl":9396,"material":217,"size":660,"collection":70,"collections":9397,"showCount":9317,"zanCount":46,"manualWeight":46,"mainColor":47},228438,"lin-guan-xiu-bai-miao-luo-han-tu-juan-chou-ying-228438","临贯休白描罗汉图卷","所绘罗汉,有的庞眉大目,有的高颧隆鼻,面貌都是“胡貌梵相”,这种奇异之相,立意免俗。",[23,24,25,26,712,186,784,58,9395,2241,7467,1396,7,883,82],"罗汉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f322aff8127d791c2c05a48d900a610.jpg",[],{"id":9399,"slug":9400,"title":9401,"dynasty":654,"author":2261,"museum":53,"description":9402,"tags":9403,"thumbUrl":9404,"material":601,"size":9405,"collection":42,"collections":9406,"showCount":9317,"zanCount":11,"manualWeight":46,"mainColor":149},226699,"xi-shan-lin-sou-tu-zhou-ju-ran-226699","溪山林薮图轴","本幅画群山溪壑，林树弥望，山石皴纹多以湿笔染破，明晦隐现，轮廓模糊，特饶山野烟霭之致。本幅无作者款印，依据旧签，定为巨然之作，然笔墨则与江参（活动于西元十二世纪初）较为近似。巨然（十世纪），南唐钟陵人，为开元寺僧。南唐亡（九七五年），随李后主煜降宋，至汴梁。工画山水，师事董源。善状烟岚景象，臻于妙境，与师齐名，并称董巨",[24,25,95,27,36,29,34,7,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaea97df204f97573ac4f38769fcb90c.jpg","221.3x119.7",[42],{"id":9408,"slug":9409,"title":9410,"dynasty":296,"author":3437,"museum":7316,"description":9411,"tags":9412,"thumbUrl":9413,"material":885,"size":9414,"collection":42,"collections":9415,"showCount":9317,"zanCount":11,"manualWeight":46,"mainColor":47},224495,"tao-fu-song-ju-tu-wu-li-224495","陶甫松菊图","绘群山连绵，山峰高耸入云，山上松树成林，高大茂盛；山脚下房屋隐现，人影绰绰，泉水潺潺，秋景宜人。技法上，皴染浑穆，层峦叠障，气韵深沉。用笔纯用中锋，谨严厚朴，气魄雄厚。此图笔墨幽微，拟元代大画家王蒙的风格，有一种空幻的感觉，令人有悠然远隔尘嚣之想，巧妙地体现了陶圃主人陆廷灿的思想境界：在出世与入世之间。",[23,24,28,36,95,29,7,31,32,427,1990,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d825f00689d43da1412df9f4ac0c81e.jpg","纵178.68CM 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御题行书(乾隆甲辰御题。诗文不录)。\n鉴藏宝玺 乾隆御览之宝。古稀天子。五福五代堂古稀天子宝。八徵耄念之宝。避暑山庄。钤於诗塘。文津阁宝。钤於左边幅。太上皇帝之宝。钤於右边幅。五玺全。嘉庆鉴赏。三希堂精鉴玺宜子孙。三印钤於右边幅。宝笈三编。",[23,24,27,29,32,391,112,7,113,82,36,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28f664c5ad22e60535497a22874ce361.jpg","纵47厘米，横37.8厘米",[42,146],{"id":9443,"slug":9444,"title":3551,"dynasty":18,"author":9445,"museum":401,"description":9446,"tags":9447,"thumbUrl":9448,"material":142,"size":9449,"collection":42,"collections":9450,"showCount":9317,"zanCount":11,"manualWeight":46,"mainColor":149},222172,"shan-shui-tu-juan-ling-bi-zheng-222172","凌必正","凌必正，明朝时期人物，字贞卿，一字蒙求，号约庵，太仓（今江苏太仓）人。",[23,24,26,28,36,56,29,33,30,31,60,34,7,35,1932,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d833055d321b7858277278949b9816d.jpg","32X159厘米",[42,146],{"id":9452,"slug":9453,"title":9454,"dynasty":18,"author":1100,"museum":53,"description":2393,"tags":9455,"thumbUrl":9456,"material":2396,"size":70,"collection":42,"collections":9457,"showCount":9317,"zanCount":46,"manualWeight":46,"mainColor":47},220934,"fang-wang-meng-fang-dong-yuan-qiu-shan-xing-lv-tu-dong-qi-chang-220934","仿王蒙仿董源秋山行旅图",[24,25,29,27,36,186,28,7,34,60,30,31,214,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c15c82af0fc77e48f2b48d1c1ee14c.jpg",[42,146],{"id":9459,"slug":9460,"title":9461,"dynasty":296,"author":9462,"museum":4387,"description":9463,"tags":9464,"thumbUrl":9465,"material":116,"size":9466,"collection":146,"collections":9467,"showCount":9317,"zanCount":46,"manualWeight":46,"mainColor":47},220418,"fang-yao-shou-shan-shui-tu-xi-gang-220418","仿姚绶山水图","奚冈","此幅是奚铁生仿姚公绶所做山水图，布置可以看出是倪云林的一河两岸式构图，盖因录姚绶是学倪瓒，故铁生学姚氏，亦是学云林。",[23,24,27,36,25,29,33,34,427,7,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0d17a8733a36b0f1f967ce40e437690.jpg","横36，纵124",[146,42],{"id":9469,"slug":9470,"title":9471,"dynasty":18,"author":238,"museum":346,"description":9472,"tags":9473,"thumbUrl":9474,"material":84,"size":9475,"collection":42,"collections":9476,"showCount":9317,"zanCount":46,"manualWeight":46,"mainColor":149},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",[23,24,25,29,28,36,537,132,32,488,34,7,227,612,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c18c1ed7f1b694637bbfe4ff1320c4.jpg","纵75.6横36.5厘米",[42],{"id":9478,"slug":9479,"title":9480,"dynasty":18,"author":9481,"museum":346,"description":9482,"tags":9483,"thumbUrl":9484,"material":601,"size":9485,"collection":42,"collections":9486,"showCount":9317,"zanCount":46,"manualWeight":46,"mainColor":149},219734,"xie-qin-fang-you-tu-jiang-song-219734","携琴访友图","蒋嵩","此作用高远之法构景，主峰拔地参天，以水墨晕染出漫山烟霭，远景山峦隐没在空蒙雾气里，晕染出萧疏冷寂的天地氛围。\n\n近岸枯木虬曲苍劲，枯枝硬挺如戟，笔力老辣苍拙，尽显荒寒之态。下方旅人策杖徐行，仆从携琴缓步郊野，渺小身影衬出山川寥廓，暗合寻幽访友的雅意。\n\n全幅以浓淡水墨铺陈，简淡间尽显沉郁苍茫，将林泉寄怀的隐逸之思藏在烟岚丘壑中，纵放笔意里裹挟含蓄悠邈的林下闲情，尽显淡远疏离的山水意境。",[23,24,25,95,27,36,29,58,96,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6537ec875cb6c627561f0a23bede3fac.jpg","纵148.6横89.4厘米",[42],{"id":9488,"slug":9489,"title":9490,"dynasty":78,"author":8843,"museum":53,"description":9491,"tags":9492,"thumbUrl":9493,"material":84,"size":70,"collection":42,"collections":9494,"showCount":9317,"zanCount":46,"manualWeight":46,"mainColor":47},219617,"song-jian-heng-qin-tu-zhu-de-run-219617","松涧横琴图","画面中下部，是一条左低右高的石磵，且清且浅的河水自远及近蜿蜒跳跃而下，俞远愈淡。近岸左右有两松矗立，一直一曲，一高一低。左边的松树高而直，以一浓一淡两棵杂树副之。右边的松树似虬龙一样盘曲左伸，松下则是磵边开阔微斜的石头滩地，三位老者盘腿对坐在蒲团之上，中间有一盘食物，置三酒杯。一人双手放在琴上，眼睛左看，似正在弹琴并与左边的朋友目光交流，右边的老者则闭目笼袖，似乎听得很是入神。画面的右上角，署名“朱泽民”并有题句：峰阳之桐，声越冰泉；天然宫商，松风画弦。\n该画的人物、场景及构图，非常类似其立轴大画《林下鸣琴图》，似是一图多本。不过可能因画幅太小尚不盈尺，故而画得更为简洁，无法画出对岸的坡陀岗峦。就画中人物而言，这种扮相与组合曾出现在其他画中，显然就不仅仅是文人雅士简单的时尚风雅，而有着特定的时代的情感映射。或许，这既是“七匠八娼九儒十丐”历史境遇中被侮辱被边缘化的元代知识分子的实际生存状态，也是其理想化的精神家园。",[23,24,25,1900,27,36,29,427,31,58,1012,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03fe743673cf85aafc314641bd35833e.jpg",[42],{"id":9496,"slug":9497,"title":971,"dynasty":296,"author":1706,"museum":53,"description":9498,"tags":9499,"thumbUrl":9500,"material":116,"size":9501,"collection":42,"collections":9502,"showCount":9317,"zanCount":11,"manualWeight":46,"mainColor":47},219481,"shan-shui-zhou-huang-ding-219481","这幅画中，江亭空旷，江山深邃，秀美。",[24,27,95,36,82,29,112,7,30,227,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff353d9af0a3e032c79871c2d0edac77a.jpg","78x39.3",[42],{"id":9504,"slug":9505,"title":9506,"dynasty":18,"author":238,"museum":53,"description":9507,"tags":9508,"thumbUrl":9509,"material":84,"size":9510,"collection":42,"collections":9511,"showCount":9317,"zanCount":46,"manualWeight":46,"mainColor":149},219397,"shan-shui-tu-yi-hai-qiu-zhong-lan-ying-219397","山水图-已亥秋仲","画面层峦叠嶂隐于烟霭，远山如黛，近岫含翠。苍松劲柏立岸而生，枝干虬劲，墨色浓淡相宜；水面波光粼粼，一叶扁舟悠然泛波，岸边茅屋隐于林间，野趣横生。中段亭榭临溪，飞檐翘角与周遭林木相映成趣。山石皴法刚健，兼具浙派风骨与文人雅致，墨色晕染自然，设色淡雅温润。秋仲清寂悠远尽显笔端，仿佛可闻林间风声、水面桨声，引人步入静谧山水之境，体味超然物外的闲适安宁。",[24,25,95,28,29,33,31,32,112,7,227,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dc24749ccb3e2b4cacaa976f90dcd98.jpg","145.8x71.6",[42],{"id":9513,"slug":9514,"title":9515,"dynasty":124,"author":5576,"museum":53,"description":9516,"tags":9517,"thumbUrl":9518,"material":84,"size":9519,"collection":42,"collections":9520,"showCount":9317,"zanCount":46,"manualWeight":46,"mainColor":47},218936,"xue-xi-cheng-xing-tu-yan-wen-gui-218936","雪溪乘兴图","这幅画采用了团扇的形式，描绘了一位优雅的男子在寒林和水榭的山谷中乘船拜访朋友。颜文贵（967-1066）是浙江吴兴人。以前隶属于军队，在太宗时期退役，在京城（河南开封）跟随郝惠学习书法。他擅长画山水、人物和船只，尤其擅长画四季，画风清雅秀丽，被誉为 燕家景。",[23,200,24,25,1900,27,28,36,29,31,32,5047,34,612,132,538,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b8d2f37f64bed82c6552fdc2774171c.jpg","22.3x23.8",[42,144],{"id":9522,"slug":9523,"title":9524,"dynasty":18,"author":9525,"museum":53,"description":9526,"tags":9527,"thumbUrl":9529,"material":40,"size":9530,"collection":289,"collections":9531,"showCount":9317,"zanCount":46,"manualWeight":46,"mainColor":149},217034,"bai-ma-tuo-jing-tu-ding-yun-peng-217034","白马驮经图","丁云鹏","白马驮经图是中国明朝时期画家丁云鹏所作的一幅著名的中国画。这幅画描绘了一匹白马背负着丰满的袋子，路过田野、山谷和小村庄，显然是在途中运送物资。\n\n丁云鹏是明朝时期著名的画家，他的作品风格独特，被称为“丁式画法”。他的作品中经常出现农村生活的题材，善于捕捉农民劳作的真实生活。白马驮经图就是其中的一幅代表作。\n这幅画的特点在于对光影的运用，丁云鹏巧妙地运用阴影和明暗来突出画面的立体感，让人感觉白马和背负的袋子都是立体的，充满了生命力。此外，画中的风景也很优美，景色宁静而美好，给人带来深刻的视觉冲击。\n\n总的来说，白马驮经图是一幅充满生命力和美感的中国画，值得一看。",[23,24,25,56,28,784,58,215,112,29,7,2697,316,82,2653,9528],"经箱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74fd292e518fbf95bea5b9e942631f6c.jpg","130.9x54.5",[289],{"id":9533,"slug":9534,"title":9535,"dynasty":78,"author":436,"museum":9536,"description":9537,"tags":9538,"thumbUrl":9539,"material":84,"size":9540,"collection":42,"collections":9541,"showCount":9317,"zanCount":46,"manualWeight":46,"mainColor":149},215145,"xi-shan-lou-ge-tu-yi-ming-215145","溪山楼阁图","重庆市博物馆","溪山楼阁图是一幅中国古代山水画，作者佚名，来自元朝（1271-1368年）。这幅画以其精美的画风和丰富的山水景观而闻名，是一件珍贵的艺术瑰宝。\n\n在这幅画中，作者以逼真的笔触和精细的构图技巧，勾勒出了一座位于山谷中的楼阁。楼阁的四周环绕着秀美的山水景观，山峦起伏，溪流潺潺，树木葱茏，给人以清新的视觉享受。\n\n在这幅画中，作者还融入了许多寓意深刻的元素，如山间的松柏、荷花池塘、仙人掌等都被视为吉祥物，象征着幸福、长寿、繁荣等。\n\n总的来说，溪山楼阁图是一幅精美的山水画作品，充分展现了中国古代画家对自然美景的热爱和描绘技巧。",[200,24,28,57,257,29,60,34,31,7,133,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86fc87bbefb1be97892e5282dfcc31c1.jpg","27.5x26.4cm",[42],{"id":9543,"slug":9544,"title":9545,"dynasty":18,"author":9546,"museum":1137,"description":9547,"tags":9548,"thumbUrl":9549,"material":40,"size":9550,"collection":42,"collections":9551,"showCount":9317,"zanCount":11,"manualWeight":46,"mainColor":47},214379,"jiang-feng-juan-diao-tu-wang-qi-214379","江风卷钓图","王綦","明代王綦的江风卷钓图是一幅令人钦佩的作品，它描绘了一个渔夫在江边钓鱼的生动场景。\n\n这幅画的色彩鲜艳，笔触细腻，构图巧妙。画中的渔夫坐在船上，手持鱼竿，朝着江边抛出鱼饵。鱼儿们在水面上游动，形成一道道弧线，展现了渔夫抓鱼的技巧和耐心。背景是江边的树木和山峦，体现了王綦对自然的描绘。\n\n王綦是明代著名画家，他的作品擅长运用自然色彩，表现出自然界的美感。在《江风卷钓图》中，他运用了浅蓝色和淡黄色来描绘水面和天空，使整幅画显得清新自然。同时，他还运用了细腻的笔触来描绘渔夫和鱼儿的细节，使得这幅画充满生命力和真实感。\n\n总的来说，明代王綦的江风卷钓图是一幅精美的艺术品，它描绘了明代渔民的生活，也体现了王綦对自然的描绘。通过这幅画，我们不仅能感受到王綦的艺术才华，还能了解明代渔民的生活和文化。",[23,24,25,95,27,36,29,96,452,30,31,215,58,7,34,82,612],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa90fc46736ca32af793a380d64ede047.jpg","130.2x32.2",[42],{"id":9553,"slug":9554,"title":9555,"dynasty":124,"author":436,"museum":561,"description":9556,"tags":9557,"thumbUrl":9559,"material":217,"size":660,"collection":70,"collections":9560,"showCount":9561,"zanCount":46,"manualWeight":46,"mainColor":149},289879,"shui-yue-guan-yin-tu-yi-ming-289879","水月观音图","水月观音的形象，最早始于中唐时期，据张彦远《历代名画记》 ，为周昉(约730-800)所创，「菩萨端严，妙创水月之体」。周昉所画，「掩障菩萨圆光及竹，并是刘整成色。」后朱景玄《唐朝名画录》及《太平广记》均有类似记载，唯其画无传。现存最早的水月观音画，见于敦煌莫高窟《千手千眼观音菩萨坐像》，水月观音位于该画右下角，绘成于九四三年，现藏法国吉美博物馆。画中观音右手持柳枝，左手托净瓶，坐姿呈半跏思维相；周围泉水萦映，背倚修竹。观音头饰宝冠，身披璎珞，富丽华美，法相庄严。",[23,24,200,95,784,712,27,58,9558,1385,7,31],"观音","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffad1c02b1758bf9ed874046a042ba650.jpg",[],52,{"id":9563,"slug":9564,"title":9565,"dynasty":124,"author":436,"museum":561,"description":9566,"tags":9567,"thumbUrl":9569,"material":217,"size":660,"collection":70,"collections":9570,"showCount":9561,"zanCount":46,"manualWeight":46,"mainColor":250},288349,"fang-ma-yuan-dong-tian-lun-dao-tu-yi-ming-288349","仿马远洞天论道图","此作截取山林一角取景，虬松盘桓苍劲，松萝垂拂摇曳，尽显古木苍莽野趣。幽壑洞天深处，二人相对清谈，逸韵飘然恍如世外。右下角山道之上，负杖策蹇的行者缓行而来，似赴雅约，动静之间，让画面生出悠远意趣。\n\n笔墨承袭院体风骨，山石以硬劲水墨皴擦，棱线清刚利落，林木晕染秀润柔和，虚实相映间，铺展出林泉高隐的悠然意境，将文人林下谈玄、寄情丘山的雅逸襟怀尽数铺陈，空灵雅致，尽显宋画小品的隽永韵味。",[1900,24,200,27,36,29,3156,7,58,9568,7239],"论道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24f673a57d4c4662982d4368a198aef3.jpg",[],{"id":9572,"slug":9573,"title":9574,"dynasty":18,"author":3342,"museum":561,"description":3343,"tags":9575,"thumbUrl":9578,"material":217,"size":660,"collection":70,"collections":9579,"showCount":9561,"zanCount":11,"manualWeight":46,"mainColor":47},287414,"lin-li-gong-lin-wu-bai-luo-han-tu-juan-wu-bin-287414","临李公麟五百罗汉图卷",[23,200,24,25,26,28,3884,9576,9395,286,4149,9577,7,213,186],"宗教画","猕猴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F649847a4103d91e1042f3e8d8a5d52a4.jpg",[],{"id":9581,"slug":9582,"title":9583,"dynasty":18,"author":1100,"museum":561,"description":3495,"tags":9584,"thumbUrl":9586,"material":217,"size":660,"collection":70,"collections":9587,"showCount":9561,"zanCount":46,"manualWeight":46,"mainColor":47},283750,"xi-shan-yue-guan-tu-zhou-dong-qi-chang-283750","溪山樾馆图轴",[200,24,25,95,27,29,34,9585,7,36,37,82],"屋宇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F778662d1b02ed3453eaa167d51351294.jpg",[],{"id":9589,"slug":9590,"title":9591,"dynasty":296,"author":1406,"museum":360,"description":9592,"tags":9593,"thumbUrl":9594,"material":760,"size":9595,"collection":42,"collections":9596,"showCount":9561,"zanCount":46,"manualWeight":46,"mainColor":47},237574,"song-he-gao-shi-tu-zhou-wang-shi-min-237574","松壑高士图轴","本幅款署：“松壑高士图。辛丑秋日为耿庵社长先生六十初度寿，弟王时敏。”钤“王时敏印”白文印，“西庐老人”、“西田”朱文印二方。鉴藏印有：“荫北鉴藏”、“壶中墨缘”、“莱臣心赏”、“虚斋审定”共四方。\n“辛丑”是清顺治十八年（1661年），王时敏时年70岁。\n据款题而知，此图是作者为祝好友金俊明（耿庵）60寿辰所作。因此，图中特别突出地表现了具有长寿寓意的峰峦和松柏，以此寄托其祝福友人“寿比南山”的美好意愿。图中山石、树木以娴熟的笔墨皴擦点染，于苍润浑厚中不失清幽秀雅，颇得董源、黄公望“平淡天真”的神韵，是王时敏晚年山水画的典型之作。",[24,27,95,29,36,427,2901,130,31,97,34,30,7,133,1838],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5d169b622a802e787ceb891fe543c00.jpg","纵79厘米，横47.8厘米",[42,146],{"id":9598,"slug":9599,"title":9600,"dynasty":296,"author":870,"museum":360,"description":9601,"tags":9602,"thumbUrl":9603,"material":368,"size":70,"collection":70,"collections":9604,"showCount":9561,"zanCount":11,"manualWeight":46,"mainColor":47},234145,"yuan-ji-shan-shui-ren-wu-tu-juan-shi-tao-234145","原济山水人物图卷","石涛（1630-1724），清初画家。法名原济，一作元济、道济。石涛本姓朱，名若极，字石涛，又号苦瓜和尚、大涤子、清湘陈人等，汉族，广西全州人，晚年定居扬州。明靖江王之后，出家为僧。半世云游，饱览名山大川，工诗文，善书画。所画山水，笔法恣肆，离奇苍古而又能细秀妥帖，画花卉也别有生趣。与弘仁、髡残、石涛、八大并称画坛“四僧”。\n出生于帝王胄裔，国破家亡之痛，感触尤深。但其出家更多只是一种政治姿态，这与渐江的“受性偏孤”不同，石涛性格中充满“动”而身处佛门心向红尘。康熙南巡时，石涛曾两次接驾，主动进京交结达官显贵，企图出人头地，但权贵们仅将其当作一名会画画的和尚，并未与之计较，故而功败垂成。因此其在清高自许与不甘岑寂之间矛盾地渡过了一生，但他巧妙地把这种矛盾发泄到画作之中，使作品纵横排闼、闪转腾挪，充满了动感与张力，这也正是其异于常人的高明之处。\n石涛具有创新才能且创作题材广泛，为一多产画家。他的表现手法富于变化，又能将独特、和谐统一为自己的风格特色。一生游历过广西、江西、湖北、安徽、浙江、江苏和北京等地，在自然的真实感受和探索中加以对前人技法长处的融会。对绘画创作强调“师法自然”，把绘画创作和审美体系构成为“借笔墨以写天地而陶泳乎我也”。石涛的画似有一种超凡脱俗的意境，无论是山水、人物、还是花卉、走兽都有很高的艺术成就，“搜尽奇峰打草稿”是其绘画艺术取得成功的重要关键。\n擅山水，兼工兰竹。山水不局限于师承某家某派，而广泛师法历代画家之长，将传统的笔墨技法加以变化，又注重师法造化，从大自然吸取创作源泉，并完善表现技法。作品笔法流畅凝重，松柔秀拙，尤长于点苔，密密麻麻，劈头盖面，丰富多彩；用墨浓淡干湿，或笔简墨淡，或浓重滋润，酣畅淋漓，极尽变化；构图新奇，或全景式场面宏阔，或局部特写，景物突出，变幻无穷。尤其善用“截取法”以特写之景传达深邃之境，无论是黄山云烟，江南水墨，还是悬崖峭壁，枯树寒鸦，或平远、深远、高远之景，均力求布局新奇、意境翻新。画风新颖奇异、苍劲恣肆、纵横排奡、生意盎然。\n其作花鸟、兰竹亦不拘成法，自抒胸臆，笔墨爽利峻迈，淋漓清润，极富个性。花鸟继承徐渭等人的大写意花鸟传统，并自探“灵苗”，以天骨开张的艺术魅力表现其对生命与自然的热爱。作花卉墨竹，纵横肆意，于无法中有法，直抒性灵，并讲求诗意与绘画的结合生发，开拓了作品的意蕴。\n代表作品有《泼墨山水卷》、《山水清音图》、《苦瓜和尚妙谛册》等。著有《苦瓜和尚画语录》，以“一画”的命题把山水画理论提高到哲理的高度。",[23,24,26,27,36,38,712,29,58,32,7,34,415,427,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58b8c89ebfd89cb31b396bff027a9532.jpg",[],{"id":9606,"slug":9607,"title":9608,"dynasty":124,"author":197,"museum":360,"description":2773,"tags":9609,"thumbUrl":9610,"material":885,"size":2777,"collection":70,"collections":9611,"showCount":9561,"zanCount":46,"manualWeight":46,"mainColor":149},234069,"xue-tang-ke-hua-tu-ye-xia-gui-234069","雪堂客话图页",[200,24,27,36,111,29,537,2775,32,242,7,316],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e55a19b946913db261fab13dbdda68c.jpg",[],{"id":9613,"slug":9614,"title":9615,"dynasty":296,"author":3417,"museum":561,"description":9616,"tags":9617,"thumbUrl":9618,"material":70,"size":70,"collection":70,"collections":9619,"showCount":9561,"zanCount":46,"manualWeight":46,"mainColor":47},229007,"shui-mo-shan-shui-ce-gong-xian-229007","水墨山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1671—1746年以后），字文涛，江都（今江苏扬州）人。\n擅画山水楼阁。\n早年师法仇英，中年时曾得无名氏画谱，技艺大进。\n其界画在清代被推为第一。",[24,57,56,28,142,9870,259,60,7,9871,9872,29,5724],"蓬莱仙岛","云海","大海","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7046a2be5c72aa6e5af46b7e932afdb.jpg",[],{"id":9876,"slug":9877,"title":9878,"dynasty":296,"author":870,"museum":561,"description":9879,"tags":9880,"thumbUrl":9881,"material":70,"size":70,"collection":70,"collections":9882,"showCount":9837,"zanCount":11,"manualWeight":46,"mainColor":47},235908,"yuan-ji-shan-shui-ren-wu-tu-ye-shi-tao-235908","原济山水人物图页","这幅水墨小景以平远之法铺陈，淡墨晕染的远山如笼轻烟，虚灵悠远，将江天的空寂缓缓铺展。近岸茅舍错落，枯木遒劲疏朗，不着片叶，清寒萧索之意扑面而来。两位策杖逸士缓行低语，简括的衣纹里藏着松弛意趣，为冷寂山水晕开鲜活的人间烟火气。\n\n笔墨枯淡松秀，皴擦简省，只以淡墨扫出山形轮廓，留白疏密相宜，将江村冬日的清旷淡远尽数勾勒，禅意与野趣相融，于尺幅小景中尽显萧散简远的文人意趣，淡而有味，简中见深，藏着林泉幽居的悠悠雅怀。",[200,24,27,36,111,29,58,242,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9fcbddf539067fbbc2e5d9fd3d589cc.jpg",[],{"id":9884,"slug":9885,"title":9886,"dynasty":18,"author":387,"museum":893,"description":9887,"tags":9888,"thumbUrl":9889,"material":229,"size":9890,"collection":70,"collections":9891,"showCount":9837,"zanCount":11,"manualWeight":46,"mainColor":149},231837,"qi-feng-gao-yin-tu-tang-yin-231837","奇峰高隐图","弘治十年（1497年），唐寅参加录科考试期间与好友张灵宿妓喝酒，放浪形骸。提学御史方志十分厌恶这种行径，唐寅在录科考试中名落孙山。苏州知府曹凤爱惜人才，为唐寅求情，方志录于榜末。注：方志，字信之，成化二十三年进士。 弘治十一年（1498年），唐寅中应天府乡试第一，在他的《领解元后谢主司》一诗之中写道：壮心未肯逐樵渔，秦运咸思备扫除。剑责百金方折阅，玉遭三黜忽沽诸。红绫敢望明年饼，黄绢深惭此日书。三策举场非古赋，上天何以得吹嘘。唐寅作《送文温州序》和《金粉福地赋》。 弘治十二年（1499年），唐寅与江阴徐经入京参加会试，因牵连徐经科场案下狱，后被罢黜为吏。 弘治十三年（1500年），唐寅被罢黜为浙藩小吏，个人深以为耻坚决不去就职。唐寅归家后夫妻失和，休妻。",[23,24,25,95,28,36,29,2901,30,31,34,7,130,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24db9aed0cc0e34002c0bec4c6d5e69f.jpg","75x56",[],{"id":9893,"slug":9894,"title":9895,"dynasty":78,"author":1301,"museum":561,"description":9896,"tags":9897,"thumbUrl":9898,"material":70,"size":70,"collection":70,"collections":9899,"showCount":9837,"zanCount":11,"manualWeight":46,"mainColor":149},228035,"shan-shui-hua-ce-12-ye-guan-dao-sheng-228035","山水画册12页","此作以水墨晕染铺就烟岚浮动的幽寂之境，山峦隐现于流云薄雾之间，虚实相生，似有若无，将江南山水的氤氲柔婉尽数铺陈。坡岸修竹清挺秀逸，枝叶以细劲墨线勾勒，在朦胧烟霭中愈见清雅灵秀，与淡墨晕开的云山相映成趣。\n\n全画舍去繁复皴法，以淡墨烘染出云雾流荡之态，留白与晕染交织，令观者仿若身临幽寂空茫的山林，听溪声、沐烟霞，尽显元画尚意的审美意趣，于尺幅间藏万千丘壑，将文人画简淡空灵的意境抒发得淋漓尽致。",[24,25,111,27,36,29,391,7,31,133,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42fa9d27742c0b2b8d4e4c85f9f39255.jpg",[],{"id":9901,"slug":9902,"title":9903,"dynasty":124,"author":2305,"museum":561,"description":9904,"tags":9905,"thumbUrl":9906,"material":70,"size":70,"collection":70,"collections":9907,"showCount":9837,"zanCount":46,"manualWeight":46,"mainColor":149},227742,"lou-ge-tu-li-song-227742","楼阁图","李嵩(1166—1243)，宋钱塘（今杭州）人。出身贫寒，年少时曾以木工为业。好绘画，颇远绳墨。被宫廷画家李从训收为养子，承授画技，终成一代名家。宋光宗、宋宁宗、宋理宗三朝（1190—1264）画院待诏，时人尊之为“三朝老画师”。工画人物道释，得从训遗意，尤长于界画。人物画用笔细致，神采奕奕；花鸟画精丽严谨，不觉繁缛呆滞；山水画以意匠经营，情留象外，引人入胜；界画不用界尺，而宫苑楼阁规矩绳墨皆备，不同凡响。绘画题材丰富多彩，从宫廷到民间、从城市到农村、从生产到生活、从吃喝到娱乐、从仙山到龙宫、从历史到现实均在画中有所反映，以反映农村风土和农民生活的居多，所作有精工鲜丽之院体画，作品甚丰，仅著录者就达50多幅。如《明皇斗鸡图》《花篮图》；有白描淡色之风俗画，如《货郎图》；也有水墨渲染之山水画，如《西湖图》等。\n\n传世作品有嘉定四年（1211）作《货郎图》卷、《花篮图》页、《骷髅幻戏图》轴藏故宫博物院；《西湖图》卷藏上海博物馆；《听阮图》、《夜月看湖图》及传为李嵩的山水小品画《水殿招凉图》等藏台北故宫博物院。传世作品还有《椿溪渡牛图》、《服田图》、《采莲图》和《观潮图》等，题材后世论画者题其画说：“李师最识农家趣”。\n\n李嵩的风俗画更为知名，他画过许多表现下层社会生活的农村生活风俗画，把劳动人民的生活作为审美对象来描绘，这在中国古代美术发展史上有着重要的意义。 其《货郎图》有多种本子存世，以故宫博物院收藏的一卷为最佳。此画描写一挑担货郎在乡村被孩童围住的情景，充满浓厚的乡土气息。藏于故宫博物院的《骷髅幻戏图》轴，人物表情甚佳，衣纹丁头鼠尾，多用直线，细而有力。",[24,25,57,56,28,29,60,112,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feee79b8cdce1dc5eed5659beb992a37f.jpg",[],{"id":9909,"slug":9910,"title":9911,"dynasty":296,"author":9912,"museum":561,"description":9913,"tags":9914,"thumbUrl":9915,"material":70,"size":70,"collection":70,"collections":9916,"showCount":9837,"zanCount":11,"manualWeight":46,"mainColor":47},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。",[23,24,25,26,27,712,36,29,7,34,565,316,158,4437,5267,4858,427,363,658,133,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F007e50ac54acef202389bbd66e88ceb5.jpg",[],{"id":9918,"slug":9919,"title":9920,"dynasty":124,"author":182,"museum":509,"description":9921,"tags":9922,"thumbUrl":9923,"material":229,"size":9924,"collection":289,"collections":9925,"showCount":9837,"zanCount":11,"manualWeight":46,"mainColor":149},223398,"shang-shan-si-hao-hui-chang-jiu-lao-tu-li-gong-lin-223398","商山四皓会昌九老图","此图卷以白描手法分别画秦末高士东园公、甪里、绮里季、夏黄公四人避乱隐居中商山的故事和唐会昌五年三月二十四日九位退休老人白居易、胡杲、吉皎、郑据、刘真、卢真、张浑、李元爽、释如满等九位老人相聚洛阳履道坊白居易居所欢聚“尚齿”之会，既醉且欢之际赋诗画画的情景。",[23,24,25,26,712,28,58,29,7,34,565,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe46ace2e8df223b406f8896937f90bac.jpg","30.7，横：238厘米",[289,146],{"id":9927,"slug":9928,"title":9929,"dynasty":18,"author":1149,"museum":239,"description":1150,"tags":9930,"thumbUrl":9932,"material":229,"size":9933,"collection":306,"collections":9934,"showCount":9837,"zanCount":46,"manualWeight":46,"mainColor":149},222391,"si-xi-tu-li-zhou-lv-ji-222391","四喜图立轴",[23,24,28,56,62,95,6283,9931,272,130,7,201],"喜鹊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35b651d770ecc93ed64e2befaf762c39.jpg","93x51",[306,264],{"id":9936,"slug":9937,"title":9938,"dynasty":78,"author":9939,"museum":360,"description":9940,"tags":9941,"thumbUrl":9942,"material":246,"size":9943,"collection":42,"collections":9944,"showCount":9837,"zanCount":11,"manualWeight":46,"mainColor":47},221807,"shan-lin-qing-qu-tu-zhang-guan-221807","山林清趣图","张观","描绘江岸老树坡石之中，一老者独坐，一童子抱琴，渺茫江面一帆归来之景，右下款署“至正戊戌八月，张观制”，现藏故宫博物院；另有《月下人物图》册页，相传为其所作，藏美国纽约大都会博物馆。",[23,24,27,36,29,96,58,7,34,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8247aabb43e9b76e19440df1094c1f30.jpg","纵30厘米，横54．7厘米",[42,264],{"id":9946,"slug":9947,"title":9948,"dynasty":296,"author":1331,"museum":485,"description":9949,"tags":9950,"thumbUrl":9951,"material":9952,"size":9953,"collection":42,"collections":9954,"showCount":9837,"zanCount":46,"manualWeight":46,"mainColor":149},220972,"shuang-song-liu-quan-tu-yun-shou-ping-220972","双松流泉图","双松流泉图描绘巍峨高耸的远山被浮云游雾隔于天外，远处的瀑布从山崖之间逶迤婉转地涌出，因矶石抵柱而迥旋激荡，如同泉流。近景堤岸沙坡之上灵石伫立，苔草凝碧；临水的山角处双松并峙，针茂如冠，楮竹相生，杂然成林。一溪春水波光粼粼，仿佛正有和煦春风从水面掠过。画上虽然杳无人迹尘嚣，但并不荒疏冷寂。回荡壑谷的风声，击石鸣涧的水声，松涛如潮的树声，或许还有空山飞鸟的啼声，都为这本来幽静的画面平添了许多的幽趣，共同唱响一曲自然生趣的清歌，大有声情并茂的韵味。上端有画家自题语和款署：“双松流泉图，为六朋词兄六十寿。”落款：“毗陵恽寿平。”",[23,24,25,95,27,29,427,31,7,36,1140,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2b3e81025a8acac7cd4862aa16daff2.jpg","轴，卷本设色","纵172厘米，横67厘米",[42,146],{"id":9956,"slug":9957,"title":9958,"dynasty":18,"author":6896,"museum":283,"description":9959,"tags":9960,"thumbUrl":9961,"material":40,"size":9962,"collection":42,"collections":9963,"showCount":9837,"zanCount":46,"manualWeight":46,"mainColor":47},219977,"zhen-yi-qian-ren-gang-tu-wen-bo-ren-219977","振衣千仞岗图","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。",[23,24,25,29,28,36,31,7,96,364,158,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ff079bfcc13d6102a4df986fa0f2775.jpg","67x31cm",[42],{"id":9965,"slug":9966,"title":9967,"dynasty":296,"author":1177,"museum":597,"description":9968,"tags":9969,"thumbUrl":9971,"material":116,"size":70,"collection":42,"collections":9972,"showCount":9837,"zanCount":11,"manualWeight":46,"mainColor":47},219914,"cai-zhao-shi-yi-tu-wang-jian-219914","蔡肇诗意图","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。",[24,25,200,27,36,95,951,29,34,31,32,7,9970,133,242,159,258],"河岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bb7e789e1591565f7fc6f26d2254029.jpg",[42],{"id":9974,"slug":9975,"title":9976,"dynasty":18,"author":1126,"museum":1043,"description":9977,"tags":9978,"thumbUrl":9979,"material":116,"size":9980,"collection":289,"collections":9981,"showCount":9837,"zanCount":11,"manualWeight":46,"mainColor":47},219726,"tao-yuan-ming-shang-ju-tu-du-jin-219726","陶渊明赏菊图","陶渊明所处的时代，正属朝代更迭、战乱频发的乱世。况且当时的官制延续自汉代起的“九品中正制”，很多寒门士子无法入朝为官施展抱负，他们只能屈居于无能世家子弟的治下屡屡碰壁，故而纷纷绝望，选择归隐避世。",[23,24,95,27,56,58,1743,272,7,37,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06c5282b11790f03544ec06823922541.jpg","48 x 36 厘米",[289],{"id":9983,"slug":9984,"title":9985,"dynasty":296,"author":7604,"museum":183,"description":9986,"tags":9987,"thumbUrl":9988,"material":40,"size":70,"collection":42,"collections":9989,"showCount":9837,"zanCount":46,"manualWeight":46,"mainColor":47},219488,"song-yin-mu-ma-tu-gao-qi-pei-219488","松荫牧马图","虬干古松下，巨石错落横陈。苍松枝桠奇崛舒展，枯笔皴擦出斑驳肌理，尽现岁月经年的苍劲风骨。\n林下白衣高士凭石闲坐，神色悠然，童子恭立身侧，一旁骏马垂首缓行，静中藏动。淡墨点染疏草矮木，晕开山野清寂逸趣。\n整幅以指墨写意，笔意简括洗练，寥寥数笔便将人物情态尽展，寄情林泉的超然雅趣藏于淡墨轻岚之间，尽显幽远出尘的林下之风。",[24,25,95,27,28,427,7,58,215,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8484813b251832063d3488c3306199e.jpg",[42,289,264],{"id":9991,"slug":9992,"title":9993,"dynasty":18,"author":9994,"museum":53,"description":9995,"tags":9996,"thumbUrl":9997,"material":27,"size":70,"collection":146,"collections":9998,"showCount":9837,"zanCount":46,"manualWeight":46,"mainColor":149},219372,"shan-shui-tu-yun-hu-yan-zuo-wang-wen-219372","山水图-云湖燕坐","王问","层岩叠嶂间，笔墨皴染交织出苍劲山体，草木葱茏处藏着几椽茅舍，溪水蜿蜒似带清音。溪边人物凭栏凝思，与幽居景致相映，尽得林泉之趣。干湿浓淡的墨色变化，既显山石肌理，又透文人逸气；题跋与山水相融，文心画意浑然一体。整幅画作于雄健中见清雅，将山水之秀与隐逸之情交织，尽显文人画的诗意与哲思，仿佛可闻松风溪语，可感隐者心境，是一幅兼具笔墨功力与精神内涵的佳作。",[24,25,95,27,36,29,30,31,58,96,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c40552f9ad1d350d633836f89864fdc.jpg",[146],{"id":10000,"slug":10001,"title":10002,"dynasty":296,"author":10003,"museum":53,"description":10004,"tags":10005,"thumbUrl":10006,"material":40,"size":10007,"collection":42,"collections":10008,"showCount":9837,"zanCount":11,"manualWeight":46,"mainColor":47},219332,"gui-yin-tu-tang-dai-219332","归隐图","唐岱","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。",[24,25,29,28,36,7,34,158,33,132,427],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1876c740f1a043e94f3409e2f9793278.jpg","86.2x48.4",[42],{"id":10010,"slug":10011,"title":10012,"dynasty":18,"author":10013,"museum":53,"description":10014,"tags":10015,"thumbUrl":10016,"material":116,"size":10017,"collection":146,"collections":10018,"showCount":9837,"zanCount":46,"manualWeight":46,"mainColor":47},219322,"fang-yuan-ren-bi-yi-zhou-hou-mao-gong-219322","仿元人笔意轴","侯懋功","侯懋功（生卒年不详），号夷门，苏州人，活跃于明代万历(1573-1620）年间。画中冈峦秀伟，崖径、栈道蜿蜒其间，若可游赏，并通向山顶隐蔽村舍。构图与山石树木之造型、用笔可见明代文征明之影响。「Y」字分界的前景石块及山间平顶，追仿着元代黄公望（1269-1354）的母题；繁密又多细节的景致，颇具元代王蒙遗意。此画不落蹊径地展现元人意趣，实为侯氏佳作。",[24,25,95,27,36,186,29,7,34,31,30,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b7ea70bfb859b086a831915d3eb4616.jpg","112.3x34.9",[146],{"id":10020,"slug":10021,"title":10022,"dynasty":296,"author":436,"museum":53,"description":10023,"tags":10024,"thumbUrl":10028,"material":28,"size":10029,"collection":289,"collections":10030,"showCount":9837,"zanCount":764,"manualWeight":46,"mainColor":47},218509,"san-xing-tu-song-yi-ming-218509","三星图颂","图中绘有代表幸福、繁荣和长寿的三颗星，还有一个婴儿的玩偶，虽然是编织的，但与图像无异，代表了清朝时期宫廷的编织水平。",[24,56,28,58,10025,1250,427,7,1635,489,10026,10027,66,61],"老者","传统服饰","祥瑞题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22f2d6afa3a98fe6874490590030f7ca.jpg","182x83.3",[289],{"id":10032,"slug":10033,"title":10034,"dynasty":296,"author":7604,"museum":53,"description":10035,"tags":10036,"thumbUrl":10037,"material":84,"size":10038,"collection":42,"collections":10039,"showCount":9837,"zanCount":46,"manualWeight":46,"mainColor":149},218290,"jiang-shan-chun-ai-tu-gao-qi-pei-218290","江山春霭图","高其佩（西元一六七二－一七三四年），字 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图笔触苍劲，墨色敷彩浓淡有致，层次分明。",[24,28,29,36,95,7,34,31,32,60,158,578,35,257],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6464c85911fb2dd25ec5ae4d6085248b.jpg","241.8x128.1cm",[42],{"id":10041,"slug":10042,"title":10043,"dynasty":18,"author":6367,"museum":1897,"description":10044,"tags":10045,"thumbUrl":10047,"material":40,"size":10048,"collection":42,"collections":10049,"showCount":9837,"zanCount":46,"manualWeight":46,"mainColor":47},217921,"shan-jing-xing-lv-tu-zhou-chen-217921","山径行旅图","画面中可以看到蜿蜒的山径，周臣巧妙地运用了线条和色彩来表现山径的弯曲起伏。顶部的云朵和树林以及画面下方的山峰和溪流，使得整幅画充满了生机和动感。\n\n此外，周臣还细致地描绘了山径两侧的植物和动物，包括花草、山石、鸟类、鹿等。这些细节使得画面更加丰富多彩，也展示了周臣对生物的热爱和观察力。\n\n总的来说，《山径行旅图》是周臣的杰作，它展现了他对自然的热爱和描绘能力，也是中国画史上的一颗明珠。",[24,1900,29,10046,131,58,215,34,7,27,28,36],"山径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b2a6eebb70a11f31cd71bd92a3caf50.jpg","33.5x61cm",[42],{"id":10051,"slug":10052,"title":10053,"dynasty":296,"author":7770,"museum":360,"description":10054,"tags":10055,"thumbUrl":10056,"material":40,"size":10057,"collection":306,"collections":10058,"showCount":9837,"zanCount":46,"manualWeight":46,"mainColor":47},216233,"shi-jun-quan-tu-ai-qi-meng-216233","十骏犬图","图为乾隆皇帝在宫中豢养的欧洲纯种猎犬画像。作者以西方的素描技法，运用解剖学，以短细的笔触一丝不苟地刻画出猎犬健美的体态和皮毛的质感，具有极强的写实性。每幅图的对开上均标明犬名，对宫廷御用犬的研究具有极高的史料价值。图中的衬景山水是中国画家创作的。中西画家携手创作是乾隆朝宫廷绘画的一大特色。\u2028　　款署：“臣艾启蒙恭绘。”钤“臣艾启蒙”白文印、“恭画”朱文印。每图对开页有嵇璜书写的乾隆朝大学士汪由敦和梁诗正撰写的题赞。鉴藏印有“乾隆鉴赏”、“宜子孙”等。\u2028　　此图旧藏紫禁城内的乐寿堂。《石渠宝笈》著录。",[23,439,24,56,28,4450,82,1396,2973,7,112,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ffec4435ecb0b05c797d72ed5d75aa9.jpg","纵24.5厘米，横29.3厘米",[306],{"id":10060,"slug":10061,"title":10062,"dynasty":296,"author":436,"museum":561,"description":10063,"tags":10064,"thumbUrl":10065,"material":217,"size":660,"collection":70,"collections":10066,"showCount":10067,"zanCount":46,"manualWeight":46,"mainColor":47},290186,"fang-gong-xian-shan-shui-ce-5-kai-yi-ming-290186","仿龚贤山水册5开","此作用积墨之法写山林幽境，层层晕染铺就氤氲烟岚。右侧崖壁以焦墨勒定轮廓，淡墨反复皴擦堆就厚重质感，石间点植杂木，苍拙古茂，崖巅古亭半隐，暗合林泉幽居之趣。左侧以留白糅合淡墨晕染云烟，虚实相生，将山壑深渺朦胧之态铺陈开来，与沉凝崖壁形成虚实对照，尽显开合之妙。边角题字与山水相映成趣，诗画相融，暗合原作静穆苍润之韵，将江南山水的空寂淡远藏于尺幅间，笔墨间尽是林泉高致的悠然意趣。",[24,111,27,29,60,7,133,82,37,186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F904f9bc9a41f1ddb33e9bbe19d78320f.jpg",[],49,{"id":10069,"slug":10070,"title":10071,"dynasty":124,"author":197,"museum":561,"description":10072,"tags":10073,"thumbUrl":10075,"material":217,"size":660,"collection":70,"collections":10076,"showCount":10067,"zanCount":46,"manualWeight":46,"mainColor":149},288224,"song-xia-guan-pu-tu-xia-gui-288224","松下观瀑图","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。",[23,200,24,1900,27,29,427,130,7,58,36,10074,5065],"观瀑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc28ecc0a7025721416ab7cb43a1afd43.jpg",[],{"id":10078,"slug":10079,"title":10080,"dynasty":296,"author":3038,"museum":561,"description":7062,"tags":10081,"thumbUrl":10082,"material":217,"size":660,"collection":70,"collections":10083,"showCount":10067,"zanCount":46,"manualWeight":46,"mainColor":47},235564,"lin-ni-zan-xi-ting-shan-se-tu-shan-mian-wang-hui-235564","临倪瓒溪亭山色图扇面",[24,25,1900,27,186,36,37,82,29,33,112,7,130,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9946beb712e3f30922fe588e598acbf8.jpg",[],{"id":10085,"slug":10086,"title":10087,"dynasty":124,"author":473,"museum":561,"description":10088,"tags":10089,"thumbUrl":10090,"material":70,"size":70,"collection":70,"collections":10091,"showCount":10067,"zanCount":46,"manualWeight":46,"mainColor":149},227966,"gui-qu-lai-xi-tu-juan-li-tang-227966","归去来兮图卷","此作将陶潜归田之思铺陈于绢素之上，前段平远旷阔，烟波轻笼田舍村墟，农人往来、隐者凭栏，尽显乡居安闲意趣；后段峰峦崔嵬，林木蓊郁，幽涧流泉间高士策杖寻幽。\n笔墨糅合北宋山水的雄浑与苍劲院体笔法，勾勒简括，皴染厚重，丘壑幽邃与田园清逸相融。搭配纵逸题笔，诗书画印浑然一体，把守拙归园、寄情山水的林下襟怀淋漓展现，萧散静穆的隐逸气象扑面而来。",[200,24,25,26,27,28,29,58,60,30,31,33,112,7,908,37,82,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a5cc3cee1ceef518ee7b74df05ac966.jpg",[],{"id":10093,"slug":10094,"title":10095,"dynasty":296,"author":2564,"museum":53,"description":3578,"tags":10096,"thumbUrl":10100,"material":673,"size":3583,"collection":42,"collections":10101,"showCount":10067,"zanCount":46,"manualWeight":46,"mainColor":47},222763,"shi-er-yue-ling-tu-4-yue-lang-shi-ning-222763","十二月令图（4月）",[23,24,28,56,58,60,30,31,33,7,489,10097,10098,10099],"细雨","赏花","消遣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cd2462abe95344680ac6dca3956b1cd.jpg",[42,264],{"id":10103,"slug":10104,"title":10105,"dynasty":18,"author":1100,"museum":53,"description":10106,"tags":10107,"thumbUrl":10108,"material":116,"size":10109,"collection":42,"collections":10110,"showCount":10067,"zanCount":46,"manualWeight":46,"mainColor":47},220938,"xia-mu-chui-yin-tu-zhou-dong-qi-chang-220938","夏木垂阴图轴","此图截取山坡一角，其上有柳树、松柏，共三株。树木主干苍劲高耸，枝叶繁茂蓊郁。构图简洁饱满，用笔老辣迅疾，墨色浓淡得宜，生动地表现出林木枝叶纷披的景象。又以长披麻皴皴染山石，皴与染相结合，加上浓重的苔点，使得长满青苔的山石因而具有湿润的质感。在墨色的运用上，整幅画面主要以浓墨与留白相对比，黑、白、灰关系明确，营造出清爽明丽之氛围，使观者似乎感受到夏日树荫之中的凉爽清幽。\n董其昌的山水画大体有两种面貌，一种是水墨或兼用浅绛法，这种面貌的作品比较常见；另一种则是青绿设色，时有出以没骨，比较少见。他十分注重师法古人的传统技法，题材变化较少，但在笔和墨的运用上，有独特的造诣。",[23,24,200,25,95,27,36,29,34,7,132,114,1104,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82925c244a2cd56242a7317cc1c18543.jpg","纵91.3cm，横44cm",[42,146],{"id":10112,"slug":10113,"title":10114,"dynasty":78,"author":10115,"museum":1043,"description":10116,"tags":10117,"thumbUrl":10118,"material":601,"size":10119,"collection":42,"collections":10120,"showCount":10067,"zanCount":46,"manualWeight":46,"mainColor":149},220425,"shi-shang-song-hua-tu-zhang-xun-220425","石上松花图","张逊","元代张逊书画世所罕见，故宫博物院藏有其白描双勾竹一卷，足见风采。此山水一幅是王季迁旧物，1997年捐给大都会艺术博物馆。用笔学董、巨，山中静日长，只见松花开又落。落款自题：“石上松花落又开，山樗无用亦成材，蒲轮不到樵人径，白发徒过五十来。张逊。”另有倪瓒、李瓒题诗。",[23,24,951,95,27,28,7,34,539,114,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff011efff5735f2afb6e05f576839c3ab.jpg","90.8cm×42.5cm",[42,146],{"id":10122,"slug":10123,"title":10124,"dynasty":18,"author":5446,"museum":346,"description":10125,"tags":10126,"thumbUrl":10128,"material":601,"size":70,"collection":42,"collections":10129,"showCount":10067,"zanCount":46,"manualWeight":46,"mainColor":47},219893,"zhou-jin-tang-ji-chen-chun-219893","昼锦堂记","陈淳(1483-1544)，字道复，后以字行，更字复甫，号白阳，又号白阳山人，长洲(今江苏苏州)人，明代绘画大师。",[23,24,25,26,38,10127,4405,27,28,58,60,30,31,32,33,112,7,82],"草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba68ea872e59a506e45fdc29a7bc85d6.jpg",[42,648],{"id":10131,"slug":10132,"title":10133,"dynasty":296,"author":10134,"museum":346,"description":10135,"tags":10136,"thumbUrl":10137,"material":84,"size":70,"collection":289,"collections":10138,"showCount":10067,"zanCount":46,"manualWeight":46,"mainColor":149},219835,"cai-zhi-tu-yu-bing-shun-219835","采芝图","禹秉舜","此作以青绿晕染烟霞山峦，古松虬枝横斜，苍劲的松针间裹挟流云，将山林晕染出空寂出尘的仙气。下方溪桥之上，仕女衣袂翩跹徐行，侍女手捧灵芝紧随其后，人物眉目温婉情态娴静，衣纹勾勒细腻雅致。\n\n画作兼用工写之法，山石松干以粗笔淡墨皴擦出苍润古意，人物则精细描摹，明丽设色衬出雅致格调，将林下寻芝的隐逸雅趣融于山水之间，淡远清和，尽显温婉古韵。",[23,24,28,56,95,427,7,133,59,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3adb0c561ceeb62412f8daaea5ff098e.jpg",[289],{"id":10140,"slug":10141,"title":10142,"dynasty":18,"author":424,"museum":53,"description":10143,"tags":10144,"thumbUrl":10145,"material":40,"size":10146,"collection":264,"collections":10147,"showCount":10067,"zanCount":46,"manualWeight":46,"mainColor":149},219340,"jue-he-gao-xian-tu-wen-zheng-ming-219340","绝壑高闲图","深林密荫，悬壁周环，瀑布清冷，淙淙然仿佛可闻流水声。主来客坐，别无其它通径，真有与世隔绝之概。此图与其八十岁所作「古木寒泉」有相通之处，但不及其简链。",[24,25,27,28,36,723,29,58,34,7,130,1476,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c19e7ef475d412fcce34d90c5a2f1f7.jpg","148.9x177.9cm",[264],{"id":10149,"slug":10150,"title":10151,"dynasty":124,"author":10152,"museum":53,"description":10153,"tags":10154,"thumbUrl":10155,"material":84,"size":70,"collection":144,"collections":10156,"showCount":10067,"zanCount":46,"manualWeight":46,"mainColor":47},218935,"song-xiu-yu-cun-tu-gao-ke-ming-218935","松岫渔村图","高克明","在画作中央的山坡上画着一栋村舍，它与右边的坡石由一座木桥连接，桥下的溪水流淌着，仿佛在鸣叫。桥上的一个男人正向村子走去，后面跟着一个孩子。坡岸上有房屋和树木，远处的山峰上也有树木；远处的山峰被涂上了鲜艳的色彩，还有蒸腾的雾气，这种场景类似于中国南方的晚春日落。这幅作品的构图是典型的边缘化，场景本身只占整个画面的一半，形成一条从远处山顶的树梢到倾斜的海岸的对角线。虽然这是一部小作品，但它具有巨大和深远的潜力。笔触低调，构图和主题一再显示出与马夏画派的亲和力。",[23,24,1900,29,427,7,34,31,32,36,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15a818024b4d6462ac770c4d1cfc69bc.jpg",[144],{"id":10158,"slug":10159,"title":10160,"dynasty":124,"author":449,"museum":53,"description":10161,"tags":10162,"thumbUrl":10163,"material":84,"size":10164,"collection":70,"collections":10165,"showCount":10067,"zanCount":46,"manualWeight":46,"mainColor":47},218572,"hua-niao-shan-shui-xiao-pin-ce-song-ge-yuan-tiao-ma-yuan-218572","花鸟山水小品册-松阁远眺","分别绘茶花、牡丹、葡萄、桃子，色彩鲜艳，用笔精致。山水绘山阁远眺，策杖登高，孤棹泛波，意趣悠然。",[23,200,24,25,111,28,36,29,60,427,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a243811f9d11bd8f802140177b34ff7.jpg","33*19",[],{"id":10167,"slug":10168,"title":462,"dynasty":18,"author":3448,"museum":3988,"description":10169,"tags":10170,"thumbUrl":10171,"material":40,"size":10172,"collection":42,"collections":10173,"showCount":10067,"zanCount":46,"manualWeight":46,"mainColor":47},218089,"shan-shui-tu-lu-zhi-218089","陆治的山水图以其细腻的线条、精细的绘制技巧和浓郁的气韵而闻名。他对自然的描绘十分精确，能够将山川、河流、草木、云彩和其他自然元素都表现得十分逼真。他的作品中常常会出现山峰突出的场景，比如《凌云图》中的高峰，以及《雁荡图》中的荡秋千的山峰。\n\n陆治还善于表现水的流动，他的作品中常常会出现河流奔流的场景。他还会把水和山结合起来，比如在《凌云图》中就有悬崖峭壁上流出的小溪，以及《雁荡图》中的湖泊和山峰的结合。\n\n总的来说，陆治的山水图以其精细的绘制技巧和浓郁的气韵而闻名，是明朝山水画的巅峰之作。",[23,24,951,36,27,7,34,565,187,130,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb76928577a7dc880899d9fd527dc9dd1.jpg","139x69.9cm",[42],{"id":10175,"slug":10176,"title":10177,"dynasty":78,"author":2047,"museum":561,"description":5072,"tags":10178,"thumbUrl":10179,"material":217,"size":660,"collection":70,"collections":10180,"showCount":10181,"zanCount":46,"manualWeight":46,"mainColor":149},290892,"song-yin-gao-shi-tu-zhou-zhao-meng-fu-290892","松阴高士图轴",[24,200,95,28,257,58,29,427,7,1838],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6154f78d6a189c4f588ad38f90341d9f.jpg",[],48,{"id":10183,"slug":10184,"title":10185,"dynasty":654,"author":2261,"museum":561,"description":10186,"tags":10187,"thumbUrl":10189,"material":217,"size":660,"collection":70,"collections":10190,"showCount":10181,"zanCount":46,"manualWeight":46,"mainColor":149},290250,"gao-shan-zhi-yu-tu-ju-ran-290250","高山知遇图","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。\n名下画作有《秋山问道图》《山居图》《萧翼赚兰亭图》《万壑松风图》《层岩丛树图》《秋山图》等传世。",[200,24,951,95,27,36,10188,30,31,33,130,34,7],"高山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45fd1673d01e02f62973c92de006d169.jpg",[],{"id":10192,"slug":10193,"title":123,"dynasty":124,"author":5512,"museum":53,"description":10194,"tags":10195,"thumbUrl":10196,"material":601,"size":10197,"collection":70,"collections":10198,"showCount":10181,"zanCount":46,"manualWeight":46,"mainColor":47},289563,"xi-shan-xing-lv-tu-ma-lin-289563","马麟，麟一作驎，钱塘（今浙江杭州）人。南宋画家。马世荣之孙，马远之子。\n生卒年不详。其父马远是宋光宗、宋宁宗两朝（1190～1224）画院待诏，马麟画承家学，擅画人物、山水、花鸟，用笔圆劲，轩昂洒落，画风秀润处过于乃父。宁宗嘉泰间（1201～1204）授画院祗候，颇得宁宗赵扩、恭圣皇后杨氏及杨妹子称赏，每于父子画上题句。在《层叠冰绡图》中题诗云：“浑如冷蝶宿花房，拥抱檀心忆旧香。开到寒梢尤可爱，此般必是汉宫妆。”",[23,200,24,25,95,27,29,36,60,214,7,215,37,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dbb3bd480aa2c88a3b827d39dcc5bc3.jpg","147.9x60.5",[],{"id":10200,"slug":10201,"title":10202,"dynasty":18,"author":52,"museum":561,"description":10203,"tags":10204,"thumbUrl":10205,"material":217,"size":660,"collection":70,"collections":10206,"showCount":10181,"zanCount":46,"manualWeight":46,"mainColor":47},288005,"bai-miao-luo-han-tu-juan-xia-bu-chou-ying-288005","白描罗汉图卷（下部）","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”。",[23,200,24,25,26,712,27,58,29,96,7,784,9395],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F170319a288dca7837131a3e85962f9be.jpg",[],{"id":10208,"slug":10209,"title":10210,"dynasty":18,"author":436,"museum":561,"description":10211,"tags":10212,"thumbUrl":10213,"material":217,"size":660,"collection":70,"collections":10214,"showCount":10181,"zanCount":46,"manualWeight":46,"mainColor":149},287563,"ming-ren-pin-cha-tu-yi-ming-287563","明人品茶图","苍松虬劲，古藤垂绕，将山林幽寂晕染开来。林下雅士围坐，一人展卷吟哦，一人捧盏凝思，眉宇间尽是松弛自在。旁侧童子煨火煮茶，溪畔稚童俯身汲水，动静相映，把春日雅集的闲逸铺陈开来。\n\n笔墨朴拙古雅，山石皴染厚重，人物意态舒展，将文人寄情林泉、品茶论书的林下之趣勾勒尽致。松涛泉声仿佛随画卷漫出，隔绝喧嚣，只余清茗香气与书卷文思，尽显雅致风流，把静心忘俗的意趣藏在寸寸绢素之中。",[24,95,28,58,427,7,31,8398,1272,200,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2f61d450f734bcdaa1462c5372d5cf5.jpg",[],{"id":10216,"slug":10217,"title":10218,"dynasty":296,"author":1617,"museum":561,"description":10219,"tags":10220,"thumbUrl":10221,"material":70,"size":70,"collection":42,"collections":10222,"showCount":10181,"zanCount":46,"manualWeight":46,"mainColor":47},238823,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238823","董诰墨庄览胜图册","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），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，所写哀诗中有“只有文章传子侄，绝无货币置田庄”之句，并亲自拨款建立“董公祠”。",[24,25,111,28,29,36,7,34,427,35,30,31,133,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa443f86659d1246ce2824ef78b06a3ac.jpg",[42,264],{"id":10224,"slug":10225,"title":10226,"dynasty":296,"author":10227,"museum":360,"description":10228,"tags":10229,"thumbUrl":10230,"material":70,"size":70,"collection":42,"collections":10231,"showCount":10181,"zanCount":11,"manualWeight":46,"mainColor":47},238539,"nan-tian-men-guan-yin-si-tu-zhou-li-zong-wan-238539","南天门观音寺图轴","励宗万","励宗万（1705年—1759年），字滋大，号衣园，又号竹溪，直隶静海（今天津市静海县）人，励廷仪子，清代藏书家、书画家。\n康熙六十年（1721年）进士，入翰林，年才十七。历官刑部侍郎。以画供奉内廷，兼工山水、花鸟，笔意恬雅，设色古淡。书法褚、颜、苏、米，圆劲秀拔，与张照齐名，称“南张北励”。卒年五十五。《清画家诗史》、《归石轩画谈》、《熙朝名画录》、《桐阴论画》、《香树斋文集》、《读画辑略》。乾隆二十四年（1759年）卒，葬于北五里庄。",[24,25,95,27,36,29,60,784,82,214,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c63efd8e91a869a77380de50cf1ac31.jpg",[42,146,648],{"id":10233,"slug":10234,"title":10235,"dynasty":296,"author":1617,"museum":561,"description":10219,"tags":10236,"thumbUrl":10239,"material":70,"size":70,"collection":648,"collections":10240,"showCount":10181,"zanCount":11,"manualWeight":46,"mainColor":47},238318,"pen-hua-si-yong-zhou-dong-gao-238318","盆花四咏轴",[24,95,56,28,441,1621,390,10237,82,62,7,10238],"盆景","花盆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F876b0af7bf8e0501b0f448f609ce86c3.jpg",[648],{"id":10242,"slug":10243,"title":10244,"dynasty":18,"author":10245,"museum":893,"description":10246,"tags":10247,"thumbUrl":10253,"material":142,"size":10254,"collection":70,"collections":10255,"showCount":10181,"zanCount":11,"manualWeight":46,"mainColor":149},231591,"kong-que-tu-lu-zhao-yang-231591","孔雀图","卢朝阳","这幅画描绘了一对生活在牡丹丛中巨石上的孔雀，以及杏花丛中的一对蓝丝带。 卢朝阳代代相传的作品很少。 这个有边景昭，吕纪风致，可以看出他学来的渊源。",[23,24,28,56,62,63,441,4150,201,7,489,2252,142,8818,10248,1436,8050,524,10249,1622,526,10250,160,10251,10252],"花卉禽鸟","花木","羽毛","晕染","勾勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee51507f3008fc01a7b7141c72840283.jpg","281x119厘米",[],{"id":10257,"slug":10258,"title":10259,"dynasty":296,"author":1320,"museum":20,"description":10260,"tags":10261,"thumbUrl":10262,"material":142,"size":10263,"collection":289,"collections":10264,"showCount":10181,"zanCount":11,"manualWeight":46,"mainColor":149},222875,"xue-yan-tu-leng-mei-222875","雪艳图","冷枚，清代宫廷画家，大约生于1669年，卒于1742年。字吉臣，号金门画史，山东胶州人，焦秉贞弟子。善画人物、界画，尤精仕女。所画人物工丽妍雅，笔墨洁净，色彩韶秀，其画法兼",[24,25,95,439,56,28,58,59,8244,4150,7,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40f985d1b3640c0897853b0e606f7428.jpg","60cmx105cm",[289],{"id":10266,"slug":10267,"title":10268,"dynasty":18,"author":8482,"museum":561,"description":10269,"tags":10270,"thumbUrl":10271,"material":70,"size":70,"collection":306,"collections":10272,"showCount":10181,"zanCount":46,"manualWeight":46,"mainColor":47},221878,"xie-sheng-hua-hui-juan-zhou-tao-cheng-221878","写生花卉卷轴","此作所绘湖石、竹簧、水仙与山茶树，松竹花石高与纸齐，往往笔力苍挺，气象峥嵘，而乏悠远层迭之趣。水仙与新竹双钩留白，与浓变化的山茶叶呼应对比，煞是美妙。虽率意布置，而秀润苍老，清气满幅，笔情墨法，令人不能窥其稚奥，真独步艺苑。\n陶成，字孟学，一作懋学，后更字敬学，号云湖、云湖山人，尝自署云湖仙人。江苏宝应人，成化七年举人。陶成为明代中前期以“诗书画三绝”盛名于世的奇才，他生性疏狂、不拘小节、放荡不羁，有米南宫、郭忠恕之风而豪荡过之。其艺术活动主要在成化、弘治年间，画芙蓉最著名且为世人所珍。陶成晚年因坐谪而被戍边，虽时间不久，然放归后即离世。",[23,24,25,26,27,28,4492,489,1743,391,923,7,37,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90df80a9b3832e286d021025ff6327e5.jpg",[306,146],{"id":10274,"slug":10275,"title":10276,"dynasty":18,"author":1100,"museum":1043,"description":10277,"tags":10278,"thumbUrl":10279,"material":10280,"size":10281,"collection":648,"collections":10282,"showCount":10181,"zanCount":46,"manualWeight":46,"mainColor":47},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。”",[23,24,25,26,27,29,36,723,37,38,82,158,34,565,30,31,133,658,364,7,366,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F430208679d199a4467c6e992ac417f39.jpg","手卷，纸本设色","纵26厘米，横92.6厘米",[648],{"id":10284,"slug":10285,"title":10286,"dynasty":78,"author":107,"museum":53,"description":10287,"tags":10288,"thumbUrl":10289,"material":203,"size":10290,"collection":70,"collections":10291,"showCount":10181,"zanCount":11,"manualWeight":46,"mainColor":47},220813,"qin-shu-zi-yu-tu-zhou-wang-meng-220813","琴书自娱图轴","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。",[23,24,25,95,27,36,29,34,60,7,578,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8731d7e633af79f8819632ef335518d0.jpg","144.6x41.9",[],{"id":10293,"slug":10294,"title":10295,"dynasty":296,"author":3417,"museum":283,"description":10296,"tags":10297,"thumbUrl":10298,"material":116,"size":70,"collection":42,"collections":10299,"showCount":10181,"zanCount":46,"manualWeight":46,"mainColor":149},220283,"fang-dong-ju-shan-shui-tu-gong-xian-220283","仿董巨山水图","龚贤（1618—1689），又名岂贤，字半千，号野遗、柴丈人、半亩等。昆山人，居金陵。性格孤癖，与人落落难合。既对明末宦官专权腐朽黑暗不满，又对清政府采取不合作态度，是一位刚直不阿有骨气的文人，能诗，懂书，善画。其书画另辟蹊径独出幽异，超然脱俗，对其画作有此评价：“画有繁简（减），乃论笔墨，非论境界也。北宋人千丘万壑，无一笔不减。元人枯枝瘦石、无一笔不繁。通此解者，其半千乎？”从其作品中看，龚贤继承传统有着一条鲜明的轨道可概略为，董巨、二米，倪黄、沈周及董其昌。他的作品面目清晰鲜明，并有各时期的特点。如白龚、灰龚、黑龚之说。尽管如此，他还是坚持不泥古人古法而师法自然师法造化。他说：“古人之书画，与造化同根、阴阳同候，非若今人泥粉，本无先天，奉师说为上智也。”龚贤的作品，最大的特点就是善于用墨。继承和发展了“积墨法”，形成了浓重浑厚，朴实滋润的特点。其作《溪山无尽图》巨制长卷，表现江南重山复水，连绵起伏，丛林房舍，飞瀑流泉，小榭栈道，亭台楼阁，烟云萦绕等自然万物应有齐全，浑厚苍润、丰茂明丽，是积墨法之精品。此图可局部临习；也可通幅临习，用墨应由淡人深，层层叠加，点染数遍。使山石之轮廓和结构与多次皴擦之干湿用笔浑然一体。也可以把龚贤的创作过程理解为由实至虚达厚现润生韵的过程。关于这一点需要我们认真体会。",[23,24,25,95,29,8539,36,2901,133,34,132,130,7,1506],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa59a83655a20a43f31c61d9dc139d6bb.jpg",[42],{"id":10301,"slug":10302,"title":10303,"dynasty":78,"author":7930,"museum":10304,"description":10305,"tags":10306,"thumbUrl":10307,"material":84,"size":10308,"collection":42,"collections":10309,"showCount":10181,"zanCount":46,"manualWeight":46,"mainColor":149},220084,"lou-ge-shan-shui-tu-sun-jun-ze-220084","楼阁山水图","日本静嘉堂文库","孙君泽（生卒年不详），元代画家，生活在14世纪，杭州人。工山水人物，宗法马远、夏圭，画风工致谨细，对明代以后浙派绘画的发展有直接的影响。他的作品广见于日本旧藏中。孙君泽的山水是在继承和吸收了马、夏的画法的基础上加以发展和创造，进而形成自己风格的。",[23,24,25,29,57,28,36,58,60,427,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa91562f156e7a92824fb05acd2a8fa7a.jpg","135×76.5",[42],{"id":10311,"slug":10312,"title":10313,"dynasty":18,"author":19,"museum":597,"description":5348,"tags":10314,"thumbUrl":10315,"material":40,"size":5352,"collection":70,"collections":10316,"showCount":10181,"zanCount":46,"manualWeight":46,"mainColor":47},220014,"dong-zhuang-tu-ce-zhi-qu-chi-shen-zhou-220014","东庄图册之曲池",[23,24,27,28,111,31,4502,2011,34,7,364,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4be52ac42f2b1996ec3a9bfa4d090913.jpg",[],{"id":10318,"slug":10319,"title":10320,"dynasty":124,"author":436,"museum":561,"description":10321,"tags":10322,"thumbUrl":10323,"material":116,"size":70,"collection":42,"collections":10324,"showCount":10181,"zanCount":764,"manualWeight":46,"mainColor":149},218598,"guan-he-tu-yi-ming-218598","观河图","岸畔古木扶疏，浓荫覆石，二人伫立凝眸，似为河上烟光所引。左侧层岩叠翠间，楼阁隐现，塔影凌霄，与远岫的淡墨烟岚相映成趣。河面平波如镜，映带天光，留白处尽蓄悠远之思。笔墨简淡却意韵丰饶，山石用皴笔勾勒出肌理，树木以点染晕出葱茏，人物虽小却神形毕肖。咫尺画幅间含纳天地浩渺，观之如临烟水之湄，心随景远，恍若闻得松风与流水和鸣。宋人的山水意趣，尽在这淡墨轻岚里，于无声处诉说着自然与人文的交融，让观者沉湎于烟霞流转的静谧之境。",[23,24,25,200,29,27,28,36,34,58,60,30,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76711a84df84311c78bb431889086739.jpg",[42],{"id":10326,"slug":10327,"title":462,"dynasty":296,"author":1177,"museum":360,"description":10328,"tags":10329,"thumbUrl":10330,"material":116,"size":10331,"collection":42,"collections":10332,"showCount":10181,"zanCount":46,"manualWeight":46,"mainColor":47},218511,"shan-shui-tu-wang-jian-218511","此幅是祝寿题材画，作者在构图上巧意安排：近景绘常青不衰有贺寿寓意的苍松以突出主题；远景绘起伏叠嶂的山峦，寓寿比南山、生命连绵持续之意。中景是清波碧水，其曲折的水面不仅为画面增添了诗意，而且将远、近景有机地相连成一体，令全图的空间层次分明，同时不失画面的完整性。",[23,24,25,29,27,36,95,427,7,316,30,35,34,114,3766],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c28b0ebb2012e66eb252820326bc507.jpg","纵155.3厘米，横86.9厘米",[42],{"id":10334,"slug":10335,"title":10336,"dynasty":124,"author":10337,"museum":561,"description":10338,"tags":10339,"thumbUrl":10340,"material":217,"size":660,"collection":70,"collections":10341,"showCount":10342,"zanCount":46,"manualWeight":46,"mainColor":149},290494,"xue-shan-gui-lie-tu-di-yuan-shen-290494","雪山归猎图","翟院深","《宋翟院深雪山归猎图》，此画表现北方山区冬日寒冽景象。此画左下楷书署款“营丘翟院深画”，右下角钤“天水郡口藏书画印记” 。\n翟院深无作品流传于世，画中雪山崔巍，老木寒柯，气象萧疏，是一幅李成传派的宋画。",[23,24,951,36,860,242,7,612,1396],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F213ef25e23b1ae0d2de584a8008fe774.jpg",[],47,{"id":10344,"slug":10345,"title":10346,"dynasty":124,"author":548,"museum":53,"description":10347,"tags":10348,"thumbUrl":10350,"material":217,"size":660,"collection":70,"collections":10351,"showCount":10342,"zanCount":764,"manualWeight":46,"mainColor":149},290328,"han-lin-tu-zhou-li-cheng-290328","寒林图轴","该幅画以近景为主，画幅中央矗立著三株巨树，一湾溪水三叠流出，激流漱石，幅内烟岚飘忽游于林中，虚实相映。勾画树干、皴树皮、点叶皆用细笔，虽劲拔挺捷，然仍具一股娟秀气息，树干上勾圈出很多木瘿，枝桠若龙蛇四面分张，苍劲遒逸，涧流两侧土坡淡墨卧笔层叠皴染，笔法细腻又具变化。水纹及腾溅水花之取笔粗细并用，且劲挺有力，似闻激溅之声。",[24,200,95,27,29,58,242,538,7,130,10349,37,82],"寒景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7053bf2f5e8d19cc962f067e8bb0dcd9.jpg",[],{"id":10353,"slug":10354,"title":10355,"dynasty":18,"author":3736,"museum":360,"description":10356,"tags":10357,"thumbUrl":10358,"material":246,"size":10359,"collection":42,"collections":10360,"showCount":10342,"zanCount":11,"manualWeight":46,"mainColor":47},234806,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-qian-ren-zuo-tu-ye-wen-jia-234806","吴门诸家寿袁方斋三绝册-千人座图页","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。",[24,25,111,28,29,36,58,33,7,34,37,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0427d2997d7f999e233f980c215411ae.jpg","22.2*26.7cm",[42],{"id":10362,"slug":10363,"title":10364,"dynasty":296,"author":7129,"museum":360,"description":10365,"tags":10366,"thumbUrl":10368,"material":142,"size":70,"collection":306,"collections":10369,"showCount":10342,"zanCount":46,"manualWeight":46,"mainColor":47},234108,"hua-hong-li-du-jiang-shi-yi-juan-zhang-zong-cang-234108","画弘历渡江诗意卷","张宗苍（1686-1756），字默存，江苏苏州人，画家。师承清代娄东画派的传人黄鼎。擅山水画，代表作有《吴中十六景》。\n公元1751年，乾隆皇帝南巡，张宗苍进献了画册《吴中十六景》，深得乾隆皇帝的欣赏，后来进入清宫廷画院供奉，为宫廷作画，是乾隆时期一位重要的宫廷画家。清代宫廷绘画在清代绘画史上有着重要的地位，特别是乾隆时期，设立了如意馆广收人才，创作了很多纪实、历史故事、宗教及装饰题材的作品，具有特殊的历史与艺术价值，在乾隆一朝的宫廷画家中，张宗苍是很重要的一位。张宗苍的山水画，画风苍劲，用笔沉着。山石皴法多以干笔积累，林木之间使用淡墨，干笔和皴擦的手法相结合，表现出了深远的意境和深厚的气韵，一洗宫廷画院惯有的甜熟柔媚的习气，特别被乾隆皇帝所喜爱\u2028 《石渠宝笈》收录了他的116幅作品，很多作品上都有乾隆皇帝的题诗。 初以主簿理河工事。善画，山水出黄鼎之门，用笔沈著，山石皴法多以乾笔积累，林木间亦用淡墨，乾擦凑合，神气颇觉葱蔚可观。乾隆十六年（一七五一）高宗南巡，以吴中十六景画册进呈，称旨。命入都祗候内廷。十九年（一七五四）授户部主事。年七十一卒於家。",[24,25,26,28,29,316,1944,10367,2404,34,7,82,38,36],"岛屿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa140c914ee1ce52abac214f62a6488a8.jpg",[306,42,264],{"id":10371,"slug":10372,"title":10373,"dynasty":18,"author":6896,"museum":360,"description":10374,"tags":10375,"thumbUrl":10376,"material":246,"size":10377,"collection":70,"collections":10378,"showCount":10342,"zanCount":11,"manualWeight":46,"mainColor":47},232954,"wan-he-song-feng-tu-zhou-wen-bo-ren-232954","万壑松风图轴","作者绘高峰巨嶂、松竹叠翠和隐庐数间，构图和笔墨、造型尽得元代王蒙的形与神。构图繁密而不拥塞，行笔细密却不琐碎，山路松声，云壑泉涌，满幅风动。气韵浑然一体，纯系文徵明传派的风韵。",[24,25,95,29,27,36,427,7,130,1476,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f80f6c03b7173bd4fc3b16e9e9bfec6.jpg","纵104.7厘米，横25.8厘米",[],{"id":10380,"slug":10381,"title":10382,"dynasty":296,"author":8516,"museum":401,"description":8517,"tags":10383,"thumbUrl":10384,"material":142,"size":8522,"collection":70,"collections":10385,"showCount":10342,"zanCount":46,"manualWeight":46,"mainColor":47},230105,"hong-lou-meng-186-sun-wen-230105","红楼梦186",[24,25,56,28,57,58,59,60,61,34,242,427,7,64,2861,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4501237256ff4155c35bcd53221f87ba.jpg",[],{"id":10387,"slug":10388,"title":10389,"dynasty":18,"author":387,"museum":53,"description":10390,"tags":10391,"thumbUrl":10392,"material":116,"size":10393,"collection":42,"collections":10394,"showCount":10342,"zanCount":46,"manualWeight":46,"mainColor":250},228481,"guan-pu-tu-zhou-tang-yin-228481","观瀑图轴","画面上方描绘瀑布倾泻而下，正是李白《望庐山瀑布水（二首）》其二中的名句“飞流直下三千尺，疑是银河落九天”的意境。近景浓荫之下，巨石突兀，一文士仰卧其上，满目青翠欲滴的树色，远望则千岩万壑。想必那水声、树声交织出的华美乐章令画中人沉醉。此图构图雄奇，笔法狂放，或横，或竖，或卷，不拘一格，任意挥洒，看似草草，实则内蕴雄浑沉厚的张力。",[24,25,95,27,29,130,34,7,58,31,133,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2d863025c22e5c994d3525d679e99f5.jpg","103.6x30.3",[42],{"id":10396,"slug":10397,"title":10398,"dynasty":78,"author":107,"museum":561,"description":10399,"tags":10400,"thumbUrl":10402,"material":70,"size":70,"collection":70,"collections":10403,"showCount":10342,"zanCount":46,"manualWeight":46,"mainColor":149},228083,"shuang-song-tu-wang-meng-228083","双松图","此作用双松撑起画面骨架，古松扎根嶙峋顽石，枝干虬曲扭转如苍龙探海，松针攒簇苍劲，带着历经岁月的沉凝古拙。\n以干笔皴擦写出斑驳松皮，枯墨见笔力，淡墨晕染远景平沙远渚，留白疏朗空寂，以简淡衬出双松的雄浑厚重，将高远与平远意境相融。\n错落题跋与画面相映成趣，诗文的林下幽怀和萧散画境合二为一，笔墨间满溢林泉隐逸之趣，仿佛能让人枕松听浪，静看云卷云舒，尽显元人尚意的画中真味。",[23,200,24,25,95,27,36,300,427,7,29,34,227,10401],"土地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8baca3f8b4fccb2a156d2bb5fa09314a.jpg",[],{"id":10405,"slug":10406,"title":10407,"dynasty":296,"author":10408,"museum":561,"description":10409,"tags":10410,"thumbUrl":10411,"material":70,"size":70,"collection":70,"collections":10412,"showCount":10342,"zanCount":46,"manualWeight":46,"mainColor":47},224354,"lin-quan-chun-mu-tu-zhou-jian-jiang-224354","林泉春暮图轴","渐江","此作用笔瘦硬峭拔，以极简勾勒写危崖峻立，皴擦淡简却见山石棱骨清奇。崖间古木槎枒、幽居隐现，水岸扁舟系于浅汀，茅舍独处一隅，寥寥数笔便晕开暮春空山的静寂清寒。\n\n画面留白空灵通透，淡墨轻岚里裹挟着出尘禅意，题诗与画意相融，将杜鹃啼暮的春深意趣和林泉幽隐的襟怀合而为一。笔底萧疏淡远，把江南山水的冷雅秀逸，化作洗尽铅华的林下高致，尽显静穆出尘的画中真意。",[23,24,25,95,27,36,712,29,7,34,35,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50e89fcb2f45dbcaccf688fec7a72e8a.jpg",[],{"id":10414,"slug":10415,"title":10416,"dynasty":296,"author":2706,"museum":53,"description":10417,"tags":10418,"thumbUrl":10420,"material":229,"size":10421,"collection":42,"collections":10422,"showCount":10342,"zanCount":46,"manualWeight":46,"mainColor":47},223118,"qiu-shan-xiao-si-zhou-dong-bang-da-223118","秋山萧寺轴","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。",[23,24,29,27,95,36,7,34,31,10419,35,30],"寺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ffd24cfe5738efc1434df698a67139a.jpg","159.3x83.9",[42,146],{"id":10424,"slug":10425,"title":10426,"dynasty":18,"author":9293,"museum":360,"description":10427,"tags":10428,"thumbUrl":10430,"material":10431,"size":10432,"collection":42,"collections":10433,"showCount":10342,"zanCount":11,"manualWeight":46,"mainColor":47},222160,"kuo-zhu-yao-feng-tu-zhou-li-zai-222160","阔渚遥峰图轴","此作曾经被误定为北宋郭熙所绘，后在画面上发现李在的印记，于是正名。\n作品取全景式山水，气势宏阔，皴笔细密扎实，墨韵浑厚，画树木呈“蟹爪枝”状，从意境和笔法来看，确实与郭熙极为相似，是典型的北派山水面貌。",[23,24,200,95,29,36,60,30,31,32,96,7,34,35,10429],"渔舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5eb459656d4d1747466ba4346c2db73e.jpg","绢本水墨","纵165.2厘米，横90.4厘米",[42,146],{"id":10435,"slug":10436,"title":10437,"dynasty":18,"author":1100,"museum":53,"description":10438,"tags":10439,"thumbUrl":10440,"material":142,"size":3644,"collection":42,"collections":10441,"showCount":10342,"zanCount":46,"manualWeight":46,"mainColor":47},220949,"shuang-lin-qiu-si-zhou-dong-qi-chang-220949","霜林秋思轴","此画近景崎岖不平的山石，其中有的山石较陡与中景的山石相粘接，近景的山石间有几棵树木，有的树干粗壮挺拔，有的枝干弯扭，但其枝叶茂密，大树下和山腰间有两间茅屋座落其间。\n中景的山石与远景的山石一样浓重；那片决定中、远景的距离感的白色炯云，上连霄汉，下通江湖，犹如“一炬之光，通体皆灵”。\n此画构图紧凑。\n画法上用淡笔勾出轮廓，作横笔米点皴；山石用润笔，连皴带擦，远处树不分叶，近树横点，画面突出主峰，渲染江南秀丽风光。\n从总体来看，此画笔墨清雅温和，秀润恬淡，能代表他的一般风格和思想情趣：董氏笔墨秀朗，此图可视为代表作。",[23,200,24,25,95,36,28,38,37,82,29,96,452,671,33,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bd267582e0fb38cd6c5d23cf8ca4e0a.jpg",[42,264],{"id":10443,"slug":10444,"title":10445,"dynasty":18,"author":1100,"museum":53,"description":10446,"tags":10447,"thumbUrl":10448,"material":10449,"size":10450,"collection":42,"collections":10451,"showCount":10342,"zanCount":46,"manualWeight":46,"mainColor":149},220946,"yu-shan-yu-ji-zhou-dong-qi-chang-220946","虞山雨霁轴","幅中以長披麻皴作山石，演繹黃公望如北京故宮所藏〈天池石壁〉一系風格。前景坡岸茅屋兩間，後有小坡圈圍水域，自成一區。\n中景巨石頂上陡斜平臺，數株佳樹展列，與其後堆疊向上的遠山，連成一氣，若有擎天之勢。畫中平臺所敷色料，似因年久變色，原色應較青綠。 此作山石樹法與北京故宮所藏趙左萬曆四十一年繪製的山水冊近似，疑為趙左代筆、董其昌題款的作品。",[23,24,25,95,27,28,36,29,34,7,316,35,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cc7b8372b4b3ac2ca482b3a013bba9b.jpg","绢本浅设色","12×48.7厘米",[42,264],{"id":10453,"slug":10454,"title":10455,"dynasty":78,"author":4794,"museum":4579,"description":10456,"tags":10457,"thumbUrl":10458,"material":116,"size":10459,"collection":42,"collections":10460,"showCount":10342,"zanCount":46,"manualWeight":46,"mainColor":47},219943,"cheng-xi-jing-yue-tu-ma-wan-219943","澄溪静樾图","马琬（？—1378？）元末明初画家。字文璧，号鲁钝生、灌园人、西处士。江苏南京人，长期寓居松江府（今上海金山吕巷）。有志节，工诗善画，诗工古歌行，画长山水，官至抚州郡守。善画山水人物，工诗能书。诗书画时号“三绝”。",[23,200,24,25,95,27,36,29,30,31,7,34,82,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5f75498f05d30a6b58ef024fbc5bd1b.jpg","58.5x31.0厘米",[42],{"id":10462,"slug":10463,"title":1416,"dynasty":18,"author":424,"museum":346,"description":10464,"tags":10465,"thumbUrl":10466,"material":116,"size":10467,"collection":42,"collections":10468,"showCount":10342,"zanCount":11,"manualWeight":46,"mainColor":47},219772,"han-lin-tu-wen-zheng-ming-219772","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”。",[23,24,27,95,36,29,242,96,7,31,538,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff2886a246a12879ab8f83cd5651ca80.jpg","纵90.5横31",[42],{"id":10470,"slug":10471,"title":10472,"dynasty":18,"author":3448,"museum":20,"description":10473,"tags":10474,"thumbUrl":10475,"material":40,"size":10476,"collection":289,"collections":10477,"showCount":10342,"zanCount":11,"manualWeight":46,"mainColor":47},219413,"yuan-ye-yan-ji-tu-juan-lu-zhi-219413","元夜燕集图卷","陆治（1495-1576），字叔平，号包山，江苏苏州人。明代书画家，擅行、楷，尤精绘事。为祝允明、文徵明弟子。工写生，得徐、黄遗意。山水受吴门派影响，也兼取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗。\n这幅画是陆治记录嘉靖二十六年丁未（1547）年元旦参加文徵明家元旦集会的纪实之作，卷后附诗并记其事。钤朱文“叔”、“平”连珠印。",[23,18,24,25,26,28,56,38,37,82,58,60,33,34,7,61,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef790692ba6b005ce05b71ce60c88a59.jpg","纵28厘米，横118.4厘米",[289,648],{"id":10479,"slug":10480,"title":10481,"dynasty":124,"author":5752,"museum":183,"description":10482,"tags":10483,"thumbUrl":10485,"material":40,"size":10486,"collection":306,"collections":10487,"showCount":10342,"zanCount":46,"manualWeight":46,"mainColor":149},219133,"pu-bian-you-lu-tu-ma-he-zhi-219133","瀑边游鹿图","瀑流如素练倾泻而下，溅起碎玉般的水花，山石间苔痕隐现。左侧枯树盘曲，枝桠似铁线勾勒，苍劲中藏清逸之姿。几只游鹿或低头饮泉，或侧耳听瀑，姿态悠然，与山林气韵相融。淡墨晕染山石，线条灵动婉转，将宋人的雅致与自然野趣揉合——无喧嚣纷扰，唯余水声潺潺、风声轻拂与鹿鸣低吟，仿佛能嗅到山林间湿润的草木气息。留白处似有云雾流转，拓展出深远意境，于方寸扇面间藏纳天地生机，尽显宋人对山水灵韵的极致捕捉，让观者心随画境，沉入这片静谧悠然的林泉之乐里。",[200,24,25,1900,28,29,1396,10484,7,31,130],"枯藤老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2f935cf5ded05b595572aec0df2933a.jpg","20.3x23.5cm",[306],{"id":10489,"slug":10490,"title":10491,"dynasty":78,"author":1290,"museum":53,"description":10492,"tags":10493,"thumbUrl":10494,"material":84,"size":70,"collection":70,"collections":10495,"showCount":10342,"zanCount":764,"manualWeight":46,"mainColor":47},218776,"qing-lin-cui-ai-tu-sheng-mao-218776","青林翠霭图","画面轻烟如纱，青林错落生姿，翠霭氤氲漫过山峦。近树以中锋勾出苍劲骨态，侧锋晕染枝叶润意；远山层叠似黛色屏障，皴擦笔触藏着山石厚重。霭气用淡墨晕出虚实，牵起远近景致呼应，让山林浸在朦胧里，似醒非醒。笔墨兼工带写，工致处见细节，疏朗处显逸气，凝住元代文人的林泉之趣。目光游走间，仿佛触到山间润凉，听见风过林梢轻响，心境随翠霭舒展，跌入烟霞缭绕的清幽之境。",[23,24,25,1900,28,29,34,30,31,133,7,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76dd3226144d3acd2cf8d656af4e3d72.jpg",[],{"id":10497,"slug":10498,"title":10499,"dynasty":124,"author":154,"museum":53,"description":10500,"tags":10501,"thumbUrl":10504,"material":84,"size":10505,"collection":42,"collections":10506,"showCount":10342,"zanCount":46,"manualWeight":46,"mainColor":47},218686,"yan-yu-jiang-fan-tu-guo-xi-218686","烟雨江帆图","这幅画描绘了秋雨中从泉水中升起的瀑布，一个撑着伞的行人，以及远处的河帆。这是郭熙图的一个更正式的版本，应该是明清两代的模仿对象。",[24,25,27,28,36,29,6212,10502,32,7,34,133,4415,114,1104,10503],"江帆","帆影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff4f60d63f6a7a645911e3539d415c2f.jpg","28.1x27.7cm",[42],{"id":10508,"slug":10509,"title":10510,"dynasty":296,"author":3038,"museum":360,"description":10511,"tags":10512,"thumbUrl":10513,"material":40,"size":10514,"collection":42,"collections":10515,"showCount":10342,"zanCount":764,"manualWeight":46,"mainColor":47},218369,"dou-he-ben-quan-tu-wang-hui-218369","陡壑奔泉图","此图为王翚于康熙十五年（1676年），时年四十五岁时所作，仿王蒙画法，皴法细腻，墨色干湿相间，层次分明，气韵秀润。该图为清宫旧藏。",[23,24,25,95,27,36,29,34,427,7,31,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F843436601bf77f374d0da682061f8e02.jpg","纵74.3厘米，横31.4厘米",[42],{"id":10517,"slug":10518,"title":5465,"dynasty":18,"author":436,"museum":346,"description":10519,"tags":10520,"thumbUrl":10521,"material":84,"size":10522,"collection":289,"collections":10523,"showCount":10342,"zanCount":11,"manualWeight":46,"mainColor":149},218368,"luo-han-tu-yi-ming-218368","这幅画与林廷珪、周继昌的《五百罗汉受虎贲图》是同一题材，其笔触和色彩也与宋代的画作相近。大英博物馆将这幅画归于明代，但如果我们参照台北故宫收藏的《十六罗汉双肩图》来看，我们可以认为它是在元代绘制的。",[24,28,56,784,58,391,2241,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01738ac3829421493eb90de1e7375c9f.jpg","170.5x88",[289],{"id":10525,"slug":10526,"title":10527,"dynasty":18,"author":387,"museum":346,"description":10528,"tags":10529,"thumbUrl":10530,"material":84,"size":10531,"collection":70,"collections":10532,"showCount":10342,"zanCount":11,"manualWeight":46,"mainColor":149},218349,"ren-wu-gu-shi-ce-2-tang-yin-218349","人物故事册-2","这是一本关于人物故事的小册子，每幅画中的明代题款似乎是一个人的作品，所以可以肯定这是清人伪托唐伯虎的画作，但画作本身还是很出色的，如果能刻上他的原名，那将是一套很好的人物画。",[23,24,25,111,28,58,724,244,96,923,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ca306525f4cf012010116dad3d5517c.jpg","32x40.5",[],{"id":10534,"slug":10535,"title":10536,"dynasty":18,"author":52,"museum":561,"description":10537,"tags":10538,"thumbUrl":10539,"material":84,"size":70,"collection":70,"collections":10540,"showCount":10342,"zanCount":46,"manualWeight":46,"mainColor":149},216290,"er-shi-si-xiao-tu-5-chou-ying-216290","二十四孝图-5","二十四孝图是明朝时期著名的书画作品，由仇英创作。它描绘了中国传统文化中的二十四种孝道场景。二十四孝图的内容涵盖了人生各个阶段的孝道行为，从小学阶段的“孝悌忠信”到晚年的“慈孝双全”。这幅作品在明朝时期广受欢迎，并被视为一部重要的文化遗产。",[24,25,56,28,58,29,242,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82c3a9804fb203921bac19a332163675.jpg",[],{"id":10542,"slug":10543,"title":106,"dynasty":296,"author":10544,"museum":561,"description":10545,"tags":10546,"thumbUrl":10548,"material":70,"size":70,"collection":42,"collections":10549,"showCount":10550,"zanCount":46,"manualWeight":46,"mainColor":47},238137,"shan-shui-ce-yun-xi-238137","允禧","允禧字谦斋，号紫琼，亦作紫噊，别号紫琼崖道人、春浮居士等。康熙皇帝二十一子。善书画，该图层次分明，笔法老到，颇具文人画之风韵。",[24,28,29,36,111,242,35,30,31,7,10547,82],"湖泊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d89a59d4ebcdbd28b9133d9dda8babf.jpg",[42,264],46,{"id":10552,"slug":10553,"title":10554,"dynasty":78,"author":720,"museum":360,"description":10555,"tags":10556,"thumbUrl":10560,"material":1467,"size":10561,"collection":70,"collections":10562,"showCount":10550,"zanCount":46,"manualWeight":46,"mainColor":149},233884,"lin-ting-yuan-xiu-tu-zhou-ni-zan-233884","林亭远岫图轴","《林亭远岫图轴》为倪瓒“三段式”构图的典型之作，行笔施墨较简逸，绘坡地上有高树修竹，临江建草亭，远山起伏，隔江相望。“一水两岸”的“三段式”是指在近处画石坡和土岸，上面有几棵枯树，远景画的是平缓的山峦。远处的山与近处的树之间有很大面积的空白是水面，广阔的水面上基本上一个物体也没有，通常看不见人。“三段式”的构图方法到倪瓒达到了一个顶峰，至少是前无古人，后无来者，倪瓒把它发挥得淋漓尽致，运用得出神入化。我们可以这样说，是倪瓒铸就了“三段式”绘图方法的经典运用和不朽传奇，而“三段式”的构图方法成就了倪瓒在中国绘画史上不可替代的位置。",[24,25,95,27,29,10557,10558,3083,4437,10559,242,35,7,31,1742,38,244],"干笔皴擦","留白","林亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3daac7b068ff6b3cd54bbe1eb7114c01.jpg","纵87.3厘米，横31.4厘米",[],{"id":10564,"slug":10565,"title":2363,"dynasty":78,"author":79,"museum":360,"description":2364,"tags":10566,"thumbUrl":10567,"material":246,"size":2367,"collection":70,"collections":10568,"showCount":10550,"zanCount":46,"manualWeight":46,"mainColor":47},233745,"dan-ya-yu-shu-tu-zhou-huang-gong-wang-233745",[24,25,95,29,27,36,1911,34,427,7,158,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1070ac311ec6c2b81b3e0fff9701a55d.jpg",[],{"id":10570,"slug":10571,"title":10572,"dynasty":124,"author":154,"museum":360,"description":10573,"tags":10574,"thumbUrl":10576,"material":10431,"size":10577,"collection":70,"collections":10578,"showCount":10550,"zanCount":11,"manualWeight":46,"mainColor":47},232992,"chun-jiang-fan-bao-tu-ye-guo-xi-232992","春江帆饱图页","《春江帆饱图》传为郭熙作品，其画风也与郭熙相似。原载《四朝选藻册》，绘远岫高松，中分一水。右岸竹离茅舍，窜石丛林。岸边二帆船停泊。远方夕阳西下，江水如潮。二小船饱帆破浪前进，从而点出了画面的主题。图中远山用淡墨勾染，浓墨点小树，松树，帆船用细笔勾描。全图笔法缜密严谨，画风学郭熙一派而又另立新意，不愧是宋期小幅山水的佳作。画面无款。对幅有清高宗弘历的题诗。此作曾经清内府收藏，《石渠宝笈续编》著录。",[24,25,111,29,27,36,32,96,7,31,34,1080,2422,114,10575],"水波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F757940eae81773af499baea0cc31c22e.jpg","纵26.2厘米，横27厘米",[],{"id":10580,"slug":10581,"title":10582,"dynasty":296,"author":4299,"museum":20,"description":10583,"tags":10584,"thumbUrl":10585,"material":142,"size":10586,"collection":70,"collections":10587,"showCount":10550,"zanCount":46,"manualWeight":46,"mainColor":149},231939,"zhan-yuan-tu-yuan-jiang-231939","瞻园图","在中国的传统山水画科中，有一种需要借助界笔、直尺来刻画线条以表现各种建筑物的画，称为“界画”。这种用界笔、直尺作画的方法适于表现帝王宫苑、庙宇寺观、亭台楼榭、舟车桥梁等等，体现古代建筑之美。界画尽精入微，耗时费力。画家不仅需要通晓建筑知识，还需要有高超的专业技术。所以，画界画就不能像文人戏墨那样酣畅淋漓、乘兴挥写，常被文人画家视为“其术近苦”，长期以来受到人们的贬抑和轻视。然而，钟情于界画、甘于寂寞之道、终有所成者代不乏人。清代画家袁江就是其中翘楚。\n《瞻园图》卷绢本设色，纵 51.5 厘米，横 254.5 厘米。瞻园原系明朝开国元勋徐达府邸的西圃，乾隆帝曾御题“瞻园”匾额。整幅画卷采用平展式的构图方式描绘物象。画面以一池湖水为中心，环湖有低山、树木、回廊、水榭、楼阁等。庭院内草木葱郁，柳树垂荫，奇花异卉争奇斗艳。楼屋、廊轩回环错落，分布有致。在一处挂有“一览楼”牌匾的高楼上，主人正在会见宾客。庭院中仆人洒扫、童子嬉戏，一派生气勃勃、安静祥和的生活气息。高高的院墙成为苑囿和外界的明显界限。墙垣外密集的民房，或冲出画面之外，或隐没于烟霭之中。远景的楼观、寺塔隐现于云雾之中，虚淡缥缈、扑朔迷离，给人以无限的遐想空间。卷尾画家楷书题写“袁江图”，下钤朱文印“文涛”和白文印“袁江之印”。在《瞻园图》卷中，画家注重对山石、树木外轮廓的描画以及用线的起伏变化。山石的皴法或雨点皴、或骷髅皴，皆卷曲玲珑。袁江精于晕染设色。据高其佩《指头画说》记载，高其佩的指画就曾得到袁江的秀笔妙染。\n袁江生活在一个文人画盛行的时代，因而他的画并不被当时的士人所重。有清一代，没有人专门为其写过传记，画史上记载其事迹也寥寥数语。袁江曾在山西太原姓尉的富商家里作画，“凡尉姓各家，无论堂、屏、卷、册、灯笼、槅扇之类，无不应有尽有，且每种多至若干幅”（李智超《界画的发展和界画构图的研究》）。袁江初学仇英，中年得无名氏所临画稿，遂画艺大进。对于“无名氏所临画稿”的解释，目前有两种：一种是陈传席先生根据袁江、袁耀的画风所推测的，是宋、元人的工笔山水楼阁画稿；另一种是王伯敏先生认为的，乃民间画工的画稿，因为民间画工的临摹稿一般都不落款，即所谓“无名氏”。袁江的画风工整严谨，继承了传统青绿山水的画法，同时又吸收了民间绘画的精妙，使其山水画呈现出峻异幽奇的境界，形成了自己独特的艺术风格。\n中国传统的界画，建筑物的表现手法不同于西洋绘画的焦点透视，而是采用了等角透视——向视平线延伸的各种直线呈平行状态而不交汇于灭点，这样物象就没有了近大远小的变化。而平行的四边形相对两角为等角，故而称之为等角透视。东晋顾恺之在其《魏晋胜流画赞》中说：“台榭一定器耳，难成而易好，不待迁想妙得也。”建筑物需要按照一定的规则结构来画，丝毫不能疏忽。由于这类画用笔、构图精致细密，所以容易见好。然而，要想真正画出建筑物严谨工巧、玲珑剔透的美感，却非易事。《瞻园图》卷中，画家采用“以大观小”的鸟瞰式描绘（这是传统界画所惯用的方法）。这种居高临下的观察方法和表现方式，易于把握景物全貌，能够同时体现建筑物的正、侧、顶三面，使物象更加完整、更加立体。在对秩序规整的建筑物的刻画上，袁江十分注重用线和用色的变化。如屋顶的外廓、台榭的立柱等所画的线条要粗一些，颜色也稍微重一些；而画瓦片、窗格等用线则相对细一些，颜色也淡一些。近处的建筑物整体用线较粗，远处的建筑物整体用线较细。画面中，物象精微准确，但又没有被绳墨所拘；粗细、浓淡、主次，对比协调统一，笔画匀壮，深远通透，增强了秩序感和空间感。\n袁江的《瞻园图》卷以真实的园林景色为依据，并融入自己丰富的想象。楼阁长廊、云雾缭绕，仿若仙境。名山大川、奇园异境经过画家画笔的夸张、变化，而出现异样的画境。袁江将雄伟壮阔的山色与富丽堂皇的楼阁很好地融为一体，有力地提高了界画的表现力，开一代界画之新风。",[23,57,56,28,29,60,33,34,7,1262,30,61,187,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53f1713b2c697e2ee16c0e4744b7f3fa.jpg","纵 51.5 厘米，横 254.5 厘米",[],{"id":10589,"slug":10590,"title":10591,"dynasty":296,"author":870,"museum":561,"description":10592,"tags":10593,"thumbUrl":10594,"material":70,"size":70,"collection":70,"collections":10595,"showCount":10550,"zanCount":46,"manualWeight":46,"mainColor":47},228976,"shan-shui-ce-12-kai-shi-tao-228976","山水册12开","此帧取峡谷行舟之景，以淡赭浅绿晕染峰峦，笔墨清润秀雅。江流蜿蜒淌过春色，两岸崖石简括空灵，枯槎倒挂于危岩，野趣暗生。扁舟篷屋静立，舟子缓棹行于碧波，将羁旅闲意揉进烟岚里。\n\n左侧题诗与山水相契，把远客随波逐流的幽寂心境藏在空濛山色中。画师以灵动简约的笔法，融山川清旷与江湖行旅的澹泊诗意于一纸。不着浓艳重彩，仅以浅墨淡彩铺陈暮春江峡的柔婉空蒙，寥寥数笔便勾画出天地间的悠然意趣，引观者随舟驶入这片清远绝尘的山水烟霞，沉醉于疏朗安闲的世外情致之中。",[24,25,111,28,27,29,32,31,7,34,36,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1eda3d02caac8e2863fc2d9a4078a1ad.jpg",[],{"id":10597,"slug":10598,"title":10599,"dynasty":78,"author":1290,"museum":53,"description":10600,"tags":10601,"thumbUrl":10602,"material":142,"size":10603,"collection":70,"collections":10604,"showCount":10550,"zanCount":11,"manualWeight":46,"mainColor":149},228044,"xi-shan-qing-xia-tu-zhou-sheng-mao-228044","溪山清夏图轴","《溪山清夏图》绘崇山复岭，白云缭绕，楼阁掩映于丛树之中。近景溪水环绕，岸边筑有水阁亭榭，为可游可居之景。图中人物或于水榭纳凉，或悠游林下。构图繁复深曲，用长披麻皴表现山石，繁皴密点。界画楼阁严整，人物工能精谨，云霭以线勾勒，复染色彩。全图画法精巧，体现出盛懋在受文人画家影响的同时所具备的职业画家的一些特点。",[24,25,95,28,36,29,60,34,7,132,227,114,3766,258],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63f46afb98159ce1ffbc7ee3adb4a1a9.jpg","纵204．5厘米，横108.2厘米",[],{"id":10606,"slug":10607,"title":6695,"dynasty":124,"author":125,"museum":561,"description":10608,"tags":10609,"thumbUrl":10610,"material":70,"size":70,"collection":70,"collections":10611,"showCount":10550,"zanCount":46,"manualWeight":46,"mainColor":149},227578,"xue-shan-lou-ge-tu-fan-kuan-227578","北宋，范宽作, 绢本设色，传范宽，纵182.4 厘米，横103厘米。\n\n此画结构严谨，气势雄伟。画面左下角有渔夫正卖鱼于顾客，山间小路上的行人冒匆匆赶路，形态生动，比例自然，形象与《溪山行旅图》中的商旅有异曲同工之妙。\n\n现藏美国波士顿美术博物馆。\n\n范宽（生卒不详）：本名中正，字中立（又作仲立，因性情宽和，不拘成礼，时人呼之为“宽”，遂以范宽自名。华原（今陕西耀县）人。据《宣和画谱》记载，他“风仪峭古，进止疏野，性嗜酒，落魄不拘世故”。山水初学李成，继法荆浩，后感“与其师人，不若师诸造化”，因移居终南山、太华山，对景造意，不取繁饰，自成一家。宋人将其与关仝、李成并列，誉为“三家鼎峙，百代标程”。后人将之与李成、董源二人合称“宋三家”，之后的“元四家”、明朝的唐寅，以至清朝的“金陵画派”和现代的黄宾虹等大师，都受到范宽画风的影响。",[23,200,24,25,95,36,27,29,837,537,60,34,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa375bbe146b99d0065149a804c5dc346.jpg",[],{"id":10613,"slug":10614,"title":10615,"dynasty":124,"author":548,"museum":561,"description":2806,"tags":10616,"thumbUrl":10617,"material":70,"size":70,"collection":70,"collections":10618,"showCount":10550,"zanCount":46,"manualWeight":46,"mainColor":149},227412,"bai-yuan-xian-shou-tu-li-cheng-227412","白猿献寿图",[23,24,25,200,28,56,1396,7467,130,7,201,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd21c51cd22e4004907bdc5e4839ebbe4.jpg",[],{"id":10620,"slug":10621,"title":3396,"dynasty":296,"author":2910,"museum":561,"description":10622,"tags":10623,"thumbUrl":10624,"material":70,"size":70,"collection":70,"collections":10625,"showCount":10550,"zanCount":46,"manualWeight":46,"mainColor":47},224589,"hua-shan-shui-zhou-zou-yi-gui-224589","此作以浅绛绘就山居胜景，层峦叠嶂以干笔皴擦出嶙峋肌理，淡赭晕染衬出山骨清奇。古松虬曲苍劲，斜斜探向溪谷，枝叶攒簇尽显老郁生机。板桥横溪，行人策杖徐行，林麓间山居掩映，茅亭凭山而设，溪泉潺潺隐于岩岫，将幽寂山居之趣铺陈开来。\n\n笔墨简淡秀雅，设色清和柔润，题诗钤印与山水景致相融，尽显文人画诗画合一的意趣，把林泉高致的萧散闲逸藏在每一处笔触中，观之如临幽林深谷，静享世外恬然。",[23,24,95,28,36,29,30,31,33,427,7,60,58,130,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97b45691176ef9d6ddb5230768b87ab9.jpg",[],{"id":10627,"slug":10628,"title":10629,"dynasty":296,"author":1177,"museum":561,"description":10630,"tags":10631,"thumbUrl":10632,"material":70,"size":70,"collection":70,"collections":10633,"showCount":10550,"zanCount":46,"manualWeight":46,"mainColor":47},224478,"fang-fan-kuan-shan-shui-li-zhou-wang-jian-224478","仿范宽山水立轴","此作用笔取法北派山水意趣，主峰巍峨崔嵬，以密集的雨点皴摹写山石肌理，将岩体质感的浑厚苍莽尽显无遗。褶皱间晕染留白，云气蒸腾游走，为峻峭山体晕开空濛灵秀。\n飞瀑层叠穿流于深谷，灵动水意打破山峦沉郁。山坳坡脚隐现村舍古寺，林下幽人策驴徐行，将山野烟火意趣融于雄阔山水间，刚柔相济。\n整作墨色浓淡相宜，主次分明，师法先贤又自出情致，在厚重苍莽中暗藏细腻温婉，是师古化新的精妙手笔。",[23,24,25,95,27,36,186,29,130,34,60,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16e948ce6ac35fc4fa235ff25f0ffea0.jpg",[],{"id":10635,"slug":10636,"title":10637,"dynasty":18,"author":10638,"museum":239,"description":10639,"tags":10640,"thumbUrl":10645,"material":10646,"size":10647,"collection":42,"collections":10648,"showCount":10550,"zanCount":46,"manualWeight":46,"mainColor":47},222836,"yan-huan-qiu-se-tu-xiao-yun-cong-222836","烟鬟秋色图","萧云从","作品以平远式绘山水之景，远处云蒸霞蔚，画卷右侧山峦连绵，山涧中泉水流淌，汇合成溪，松柏苍翠，枫叶红遍山中；左侧地势平缓，河流平静，绿树成荫。",[23,24,26,28,36,29,7,34,60,33,30,31,133,114,5267,1066,10641,578,97,132,161,160,10642,10643,10644],"丘壑","墨色","线条","意境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b949075d1afc6f7f966f92e1cc53931.jpg","纸本 设色","30cmx590cm",[42,264],{"id":10650,"slug":10651,"title":10652,"dynasty":18,"author":238,"museum":10653,"description":10654,"tags":10655,"thumbUrl":10656,"material":454,"size":10657,"collection":70,"collections":10658,"showCount":10550,"zanCount":11,"manualWeight":46,"mainColor":149},222602,"qiu-shan-xing-lv-tu-zhou-lan-ying-222602","秋山行旅图轴","河北省博物馆","此画远山耸峙，树木苍劲，红叶明丽，野桥曲径，桥上一老者骑驴款款而过，其后有荷物及策仗者相随。构图气势雄伟，笔势雅健清逸，为蓝氏刻意之作。图作于清顺治十三年（1656年），时年七十二岁。",[23,24,95,29,36,28,837,539,32,34,60,7,316,365,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6e6bf379581e527114f0c1753e94efe.jpg","纵186.5、横69厘米",[],{"id":10660,"slug":10661,"title":10662,"dynasty":124,"author":154,"museum":3174,"description":8069,"tags":10663,"thumbUrl":10664,"material":10665,"size":10666,"collection":144,"collections":10667,"showCount":10550,"zanCount":46,"manualWeight":46,"mainColor":47},221287,"dai-du-tu-ye-guo-xi-221287","待渡图页",[23,24,25,111,27,28,29,242,32,7,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F946bc8b1acd959ef038570ca597f5d99.jpg","册页绢本设色","26.1x30.4厘米",[144,42,146],{"id":10669,"slug":10670,"title":10671,"dynasty":793,"author":10672,"museum":53,"description":10673,"tags":10674,"thumbUrl":10675,"material":203,"size":10676,"collection":42,"collections":10677,"showCount":10550,"zanCount":11,"manualWeight":46,"mainColor":149},221073,"yuan-ma-zhou-han-gan-221073","猿马轴","韩干","该幅无款，旧题唐代韩干作。韩干，大梁人（河南开封），亦有作长安或蓝田人。公元742－755年（天宝）召入宫中为供奉。曾师曹霸，以画马而得名，唐张彦远极为推崇之。此幅绘竹石树林，三猿戏於枝间石上，其下绘黑白双骏。画上宋徽宗题字和“御书”一玺，及理宗“缉熙殿宝”玺皆伪，当为后加。然画中不论猿、马、树石、枝叶，皆描绘细腻，或为南宋作品。",[23,24,95,56,28,1396,7467,215,112,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf7b8bdb4c78758314a20784df579585.jpg","48.58X136.8",[42,146],{"id":10679,"slug":10680,"title":7647,"dynasty":296,"author":3038,"museum":1043,"description":10681,"tags":10682,"thumbUrl":10683,"material":116,"size":10684,"collection":42,"collections":10685,"showCount":10550,"zanCount":46,"manualWeight":46,"mainColor":47},220415,"qiu-jing-shan-shui-tu-wang-hui-220415","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。",[23,24,27,28,36,29,7,34,31,33,3692,158,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3155ce21c8b276af793c7fd0c681c43.jpg","57.2x40.6厘米",[42],{"id":10687,"slug":10688,"title":10689,"dynasty":18,"author":9994,"museum":53,"description":10690,"tags":10691,"thumbUrl":10692,"material":27,"size":70,"collection":146,"collections":10693,"showCount":10550,"zanCount":11,"manualWeight":46,"mainColor":149},219373,"shan-shui-tu-dan-chi-qiao-ge-wang-wen-219373","山水图-丹池樵歌","山峦层叠如浪涌，皴笔与墨染交织，苍润中透着秀逸之气。峰麓间林木葱茏，几椽屋舍隐于幽径旁，似藏着尘外闲情。右下角人影孑立，许是负薪而归的樵者，虽无歌声入耳，却能从那悠然的姿态里，想见林泉间清歌回荡。淡墨晕出空濛氛围，山石的厚重与林木的疏朗相映，既显自然雄浑，又含文人雅致。丹池边的樵歌意趣，融于山水静谧之中，仿佛踏入一片远离尘嚣的桃源，心随画境渐次安宁。",[24,28,36,95,29,34,58,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98f213dfe3146bfc7ca66ed0f86cc217.jpg",[146],{"id":10695,"slug":10696,"title":4326,"dynasty":78,"author":436,"museum":53,"description":10697,"tags":10698,"thumbUrl":10699,"material":84,"size":10700,"collection":306,"collections":10701,"showCount":10550,"zanCount":46,"manualWeight":46,"mainColor":149},219239,"hua-hu-tu-yi-ming-219239","松林石涧间,一巨虎黄皮黑纹,毛色鲜丽,体态威武雄壮.虎之双眼,俱以金粉涂饰,并略染汁绿,显得格外神气逼人.其背隆起,宛如张弓欲发,隐然有即将出击之势.虎口微启,低吟而未啸.树梢,二山鹧见状,相与惊跃鸣叫,更为此猛虎出山的场景,平添紧张、不安的气息.通幅描绘如真,渍染极得润厚的韵致.画无名款,旧签定为元人.惟据画风判断,与明代宫廷画风,颇多相近处,是以推断,本幅或出自明代良工之手",[23,24,95,28,2241,7,34,923,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb563ac7aba93522a5230f6ac6e3bb83c.jpg","206.5x122cm",[306],{"id":10703,"slug":10704,"title":10705,"dynasty":78,"author":9659,"museum":893,"description":10706,"tags":10707,"thumbUrl":10709,"material":84,"size":70,"collection":306,"collections":10710,"showCount":10550,"zanCount":11,"manualWeight":46,"mainColor":149},219067,"ying-sun-tu-ren-ren-fa-219067","鹰隼图","画面描绘了一只白腹黑背、体态丰满、羽毛整齐的大壮鹰，用一对锋利的爪子按住一只麻雀，张开翅膀，圆睁双眼，张开嘴，却无计可施。",[200,24,56,28,95,6283,10708,242,4515,489,7,62],"隼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81e640e66b80da72ad388df45295a7d4.jpg",[306],{"id":10712,"slug":10713,"title":10714,"dynasty":124,"author":3003,"museum":53,"description":10715,"tags":10716,"thumbUrl":10718,"material":84,"size":10719,"collection":144,"collections":10720,"showCount":10550,"zanCount":46,"manualWeight":46,"mainColor":47},218948,"qiao-ke-yuan-gua-tu-yi-yuan-ji-218948","乔柯猿挂图","图绘山野之中，两黑一白三只小猿猴在老柏树上嬉戏玩耍。形象生动，用笔细腻，应是从写生中得来。",[23,24,200,56,27,28,1555,10717,7,1396,34],"猿猴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3c73ab950f34a4402a9ba1c8dd4002e.jpg","24.2x26.4",[144],{"id":10722,"slug":10723,"title":462,"dynasty":78,"author":6657,"museum":53,"description":10724,"tags":10725,"thumbUrl":10726,"material":116,"size":10727,"collection":42,"collections":10728,"showCount":10550,"zanCount":46,"manualWeight":46,"mainColor":149},218826,"shan-shui-tu-fang-cong-yi-218826","这幅画显示了云层耸立在山峰之上，笔触犀利而清晰。人们怀疑这幅画被后来的人裁剪过，而且画的下部有很大一部分缺失，其含义也不完整。张大千捐赠",[23,24,25,27,36,29,7,34,452,96,4515],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f63cfb3ccca5dd4dea47902f8e2a9b7.jpg","30.7x46.6厘米",[42],{"id":10730,"slug":10731,"title":10732,"dynasty":18,"author":436,"museum":346,"description":10733,"tags":10734,"thumbUrl":10735,"material":40,"size":70,"collection":70,"collections":10736,"showCount":10550,"zanCount":11,"manualWeight":46,"mainColor":47},217953,"ming-ren-shan-shui-hua-ce-er-yi-ming-217953","明人山水画册(二)","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。",[23,24,27,111,186,29,96,242,33,31,30,7,34,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97a3aa4634d316f237a6ce6618e6632b.jpg",[],{"id":10738,"slug":10739,"title":10740,"dynasty":18,"author":436,"museum":108,"description":10741,"tags":10742,"thumbUrl":10743,"material":84,"size":10744,"collection":42,"collections":10745,"showCount":10550,"zanCount":46,"manualWeight":46,"mainColor":149},217194,"han-shan-tu-yi-ming-217194","寒山图","寒山图是一幅来自明朝的中国山水画，作者不详。这幅画描绘了寒山寺的景象。寒山寺是位于浙江省杭州市的一座古刹，据说是由印度佛教徒达摩在公元7世纪传入中国时建立的。\n\n寒山图呈现了寒山寺庙宇及其周围的山林风光。画中可以看到寺庙的精巧建筑，以及周围的峰峦叠嶂、清澈的溪流和葱郁的树木。寒山图还描绘了几个小人物，可以想象出当时僧人在寺庙里修行的情景。\n\n寒山图的画风典雅，线条流畅，色彩和谐。整幅画充满了宁静、平和的氛围，令人心旷神怡。这幅画反映了明朝时期对佛教文化和自然风光的热爱，是一件具有深刻文化意义的艺术珍品。",[24,25,27,29,36,837,242,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1d10bba28441129d6c7c5a8126dd416.jpg","33.5x23cm",[42],{"id":10747,"slug":10748,"title":10749,"dynasty":124,"author":3003,"museum":183,"description":10750,"tags":10751,"thumbUrl":10752,"material":84,"size":10753,"collection":306,"collections":10754,"showCount":10550,"zanCount":11,"manualWeight":46,"mainColor":149},216666,"ju-yuan-tu-yi-yuan-ji-216666","聚猿图","此图水墨画群猿在山壑丛树间的情景：画面的背景为嶙峋山石，高低不一，山石起伏，山峦亘连，山间树木丛生，有的生长在山脚下，有的生长在山缝处，充满着顽强的生命力，遍布整个山石。山谷间溪水潺潺流淌，游息其间的二十余只猿猴，只只生动活泼，姿态各异，或坐立、或攀援、或倒挂、或跳跃、或嬉戏、或食饮、或亲昵、或爱抚。\n画卷结尾有元钱选跋，图中则分别钤有南宋贾似道、清耿昭忠、安岐及清内府等鉴藏印，画上并有清乾隆皇帝弘历旧题。",[23,200,24,25,26,56,36,27,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al":70,"size":70,"collection":70,"collections":10827,"showCount":45,"zanCount":11,"manualWeight":46,"mainColor":149},228734,"wang-chuan-bie-shu-tu-juan-zhao-bo-ju-228734","辋川别墅图卷","以石青石绿敷染峰峦，古雅绢底晕开明丽苍润的山水气象。峰峦连绵开合，汀渚回环萦带，山居殿宇错落林泉，平湖轻舟泛波，林木蓊郁点染山野。笔法精细秀雅，青绿设色妍丽沉稳，承唐人青绿的华贵明艳，又融宋人的雅致意境，将林泉高致铺叙成一卷悠远山居长卷，把山水、村居、舟游融为和谐整体，尽显文人寄情丘山的雅逸意趣，是青绿山水里工致兼具写意的佳构。",[23,24,25,26,257,28,29,60,34,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F532ab89b8018cc96566364f4966f4c51.jpg",[],{"id":10829,"slug":10830,"title":10831,"dynasty":18,"author":3243,"museum":561,"description":10832,"tags":10833,"thumbUrl":10834,"material":70,"size":70,"collection":70,"collections":10835,"showCount":45,"zanCount":11,"manualWeight":46,"mainColor":149},228291,"juan-qiu-tu-chen-hong-shou-228291","眷秋图","《明陈洪绶眷秋图》是明代画家陈洪绶所创作的一幅设色画。\n由该作品中的题记可知，此图为仿唐人同题画。\n其中石头浓墨粗点为陈洪缓所作，而构图、人物、梧桐树则为其弟子所作。\n图中画一 手执菊花信步于庭院林石间，后有一侍女举扇，扇面上画有梅花图，前有一侍女捧盘，盘中有壶和秋叶。\n陈洪绶（1598~1652年），明代画家。\n号老莲、悔迟，诸暨（今属浙江）人。\n幼年即喜爱绘画，一度为宫廷作画，后南返。\n擅画人物、山水、花鸟、竹石、鱼虫，初学蓝瑛，后学李公麟、赵孟频。\n绘有《水浒叶子》、《博古叶子》、《九歌》和《西厢记》等绣像插图。\n传世作品有《拳石山茶图》、《笼鹅图》、《升庵簪花图》、《摘梅高士图》。\n著有《宝论堂集》等。",[23,24,25,200,95,28,58,59,96,7,1385,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F217fca3cd0fb6c774655daffdbd538d9.jpg",[],{"id":10837,"slug":10838,"title":10839,"dynasty":296,"author":3038,"museum":561,"description":10840,"tags":10841,"thumbUrl":10845,"material":70,"size":70,"collection":70,"collections":10846,"showCount":45,"zanCount":11,"manualWeight":46,"mainColor":149},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。",[23,10842,28,36,27,56,10843,158,132,1067,565,34,7,35,133,10844,187,130],"清代山水画","传统山水技法","松树林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd88c671433772a4b87aa285537a3616b.jpg",[],{"id":10848,"slug":10849,"title":10850,"dynasty":654,"author":436,"museum":561,"description":10851,"tags":10852,"thumbUrl":10853,"material":70,"size":70,"collection":70,"collections":10854,"showCount":45,"zanCount":764,"manualWeight":46,"mainColor":149},223600,"shen-jun-tu-juan-yi-ming-223600","神骏图卷","画面分野有致，左侧白马踏波驰行，骑手身姿稳练，骏马昂首翘尾，四蹄舒展，神骏勃发之态毕现。右侧林下石台，红衣士人凭坐回望，僧者坦腹怡然对晤，旁侧仆童持毛刷侍立，情态松弛闲适。\n设色古雅沉稳，青绿晕染坡岸，墨线细劲流畅，将人马灵动与林下幽逸相融，把世外雅集的清旷高逸尽显纸面，残卷仍掩不住精工雅致的风韵，尽显六朝清谈雅集的风流意趣。",[23,24,25,26,28,56,58,215,112,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d9205dfb3e7d9803703624ce638d146.jpg",[],{"id":10856,"slug":10857,"title":10858,"dynasty":296,"author":10859,"museum":10860,"description":10861,"tags":10862,"thumbUrl":10863,"material":229,"size":10864,"collection":306,"collections":10865,"showCount":45,"zanCount":46,"manualWeight":46,"mainColor":47},222823,"shan-yin-cao-tang-tu-xu-gu-222823","山阴草堂图","虚谷","广州艺术博物院","虚谷（1823～1896），清代著名画家，海上四大家之一，有“晚清画苑第一家”之誉。俗姓朱，名怀仁，僧名虚白，字虚谷，别号紫阳山民、倦鹤，室名觉非庵、古柏草堂、三十七峰草堂。籍新安（今安徽歙县），居广陵（今江苏扬州）。初任清军参将与太平军作战，意有感触，后出家为僧。工山水、花卉、动物、禽鸟，尤长于画松鼠及金鱼。亦擅写真，工隶书。作画有苍秀之趣，敷色清新，造型生动，落笔冷消，别具风格。性情孤僻，非相处情深者不能得其片纸。早年学界画，后以擅画花果、禽鱼、山水著名。风格冷峭新奇，绣雅鲜活，无一笔滞相，匠心独运，别具一格。亦能诗，有《虚谷和尚诗录》。",[23,200,24,25,26,27,36,37,38,29,34,7,1910,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53d1a7fdce3cd4a97891e59a5fb55386.jpg","283.6x29",[306,146],{"id":10867,"slug":10868,"title":10869,"dynasty":18,"author":5436,"museum":10870,"description":10871,"tags":10872,"thumbUrl":10873,"material":27,"size":10874,"collection":70,"collections":10875,"showCount":45,"zanCount":46,"manualWeight":46,"mainColor":47},222077,"hu-qiu-tu-juan-xie-shi-chen-222077","虎丘图卷","美国波士顿博物馆","此幅《虎丘图卷》，笔法苍古，墨色稳健，气格清隽高雅，接近沈石田粗豪蕴藉一路的山水风格。",[23,24,25,26,27,28,29,36,38,82,37,60,30,31,32,33,34,7,578],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F995bbad5d6523cb39112fba363c9046b.jpg","19.0 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创作的一幅绢本设色画。\n本幅自题：“延陵村在茅山之东，有张从申碑。\n从申，唐大历时司直。\n赵子固称其书品在李北海之右。\n玄靖天师碑与延陵季子此碑皆在华阳，笔法类徐浩三藏法师碑。\n延陵碑萧定作也。\n略曰‘听乐辩刊国之兴亡，审贤知世数之存没，挂剑示不言之信，避国保无欲之贞，玄风可想，至德如存云’。\n旁有四贤，以祀董永、韦昭、王素与季子而四。\n癸亥二月，画于丹阳舟中，因命之延陵村图并书此。\n董玄宰。\n“癸亥”为明天启三年（162年），董其昌时年69岁。\n清青浮山人编《董华亭书画录一卷》著录。",[23,24,25,95,27,28,36,38,82,29,7,34,35,114,1104,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8da1148d2290dcb3cc11ce0563bf06a8.jpg","纵78.5厘米，横30.2厘米",[42,146],{"id":10908,"slug":10909,"title":10910,"dynasty":18,"author":19,"museum":597,"description":5348,"tags":10911,"thumbUrl":10912,"material":229,"size":5352,"collection":70,"collections":10913,"showCount":45,"zanCount":46,"manualWeight":46,"mainColor":47},220020,"dong-zhuang-tu-ce-zhi-sang-zhou-shen-zhou-220020","东庄图册之桑州",[23,24,25,111,27,28,29,34,7,5820],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd451e05aae9ee860e65702e5c77a968d.jpg",[],{"id":10915,"slug":10916,"title":10917,"dynasty":18,"author":19,"museum":597,"description":5348,"tags":10918,"thumbUrl":10920,"material":40,"size":5352,"collection":70,"collections":10921,"showCount":45,"zanCount":46,"manualWeight":46,"mainColor":47},220011,"dong-zhuang-tu-ce-zhi-dong-cheng-shen-zhou-220011","东庄图册之东城",[23,200,24,25,111,27,36,29,60,30,34,10919,986,7],"城墙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18e337d9ab671c3c1794f7a4f8e3e804.jpg",[],{"id":10923,"slug":10924,"title":10925,"dynasty":296,"author":10926,"museum":283,"description":10927,"tags":10928,"thumbUrl":10930,"material":116,"size":10931,"collection":42,"collections":10932,"showCount":45,"zanCount":46,"manualWeight":46,"mainColor":47},220006,"shi-liang-yu-lai-ting-tu-dai-xi-220006","石梁雨来亭图","戴熙","南宋贾似道在石梁创昙花亭。清道光戊戌，即1838年，亭被毁。适舍人潘功甫（名曾沂）过石梁，议集资兴修。寺僧请求改昙华亭为雨来亭，因天台山田多旱，改名以志喜。潘功甫为此作诗一首，诗云：“平章事业江河大，有漏涓涓自不知。七十二蓬参遍了，昙华亭上雨来时。”\n图绘天台山石梁飞瀑，天生桥东西方向，连接着对峙的两座山崖，溪水三折，冲出桥洞，形成了如虹一般的飞瀑，起舞婆娑，坠入脚下的惠泽潭。雨来亭坐落在飞瀑之畔，方广寺如在天外，唯见其塔。全图有一种上下贯通的浩然之气与空灵之韵。",[23,24,25,26,27,36,10929,82,29,33,30,31,201,34,7,130],"隶书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3aaf57368d5249cfd0b4a4f0247cc250.jpg","纵35cm，横316cm",[42],{"id":10934,"slug":10935,"title":10936,"dynasty":124,"author":10937,"museum":53,"description":10938,"tags":10939,"thumbUrl":10941,"material":84,"size":10942,"collection":289,"collections":10943,"showCount":45,"zanCount":11,"manualWeight":46,"mainColor":149},219609,"song-xia-ye-zhang-tu-xu-dao-ning-219609","松下曳杖图","许道宁","湖滨之畔，苍松翠竹，盘纡成阴，松下逸士自小径出，持杖凝神，倾听松籁竹韵。江渚野趣，清朗怡人。本幅结构严密，景物偏幅右边，全图描写着重一风字。幅内之松、竹、草、枯枝、士人衣褶帽带皆因风势顺成一向，双钩墨笔点画松竹人物，描绘甚为灵动。本幅旧签题为许道宁，然依画松竹人物等作风则与刘松年较近，可能为南宋后期受刘氏影响的作品。本幅为「历代名绘」册第八幅。许道宁（约西元11世纪），河北河间人。初市药于都门，好描绘街坊各色人物。后游太华山，转好写山水。",[23,200,24,25,1900,28,58,272,7,10940],"曳杖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecbfb88746858382f40f7dd5ca3d89fb.jpg","24.2x25.3厘米",[289],{"id":10945,"slug":10946,"title":10947,"dynasty":296,"author":10948,"museum":53,"description":10949,"tags":10950,"thumbUrl":10951,"material":116,"size":10952,"collection":289,"collections":10953,"showCount":45,"zanCount":11,"manualWeight":46,"mainColor":149},219594,"sui-chao-zhong-kui-tu-zhang-zhong-xue-219594","岁朝钟馗图","张仲学","该幅画岁除时节，钟馗搦管书桃符。桃木自古即被视同可以制鬼避邪的灵物。",[24,27,95,58,427,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7d7d656b930f10e70ec46acf48de3e4.jpg","127.5×63.5公分",[289],{"id":10955,"slug":10956,"title":10957,"dynasty":18,"author":5436,"museum":53,"description":10958,"tags":10959,"thumbUrl":10960,"material":84,"size":10961,"collection":264,"collections":10962,"showCount":45,"zanCount":46,"manualWeight":46,"mainColor":149},219408,"shan-shui-tu-xia-mu-chui-yin-xie-shi-chen-219408","山水图-夏木垂阴","层岩叠嶂间，飞瀑如练坠幽谷，云雾轻笼远岫，添几分空濛。近景浓荫匝地，夏木枝繁叶茂，墨色沉郁中见灵秀。茅舍隐于林麓，小桥横卧溪畔，行人缓步、屋中对坐，皆含闲适之趣。笔致兼具雄健与秀逸，山石皴擦刚劲，树木点染细密，云雾淡扫留白，层次分明。整幅画将夏日山居的清幽与生机融于一体，既见自然之壮美，亦含人文之雅韵，尽显融浙派骨力与吴门风神的独特笔墨。",[24,29,27,36,95,837,112,33,30,31,130,58,133,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd80770ddfcfa65f88c30367964f7d5a6.jpg","140x62.9",[264],{"id":10964,"slug":10965,"title":5465,"dynasty":18,"author":269,"museum":53,"description":10966,"tags":10967,"thumbUrl":10968,"material":40,"size":10969,"collection":289,"collections":10970,"showCount":45,"zanCount":46,"manualWeight":46,"mainColor":149},218463,"luo-han-tu-dai-jin-218463","明人画景，喜欢参透人物的真实，戴进这幅画中的罗汉手持法杖静静地坐在堂前，左手徐徐伸向猛虎，另一个僮仆侧身在门后窥视，表现出恐惧，而罗汉、猛虎却平静自如。人物的脸部刻画精细，生动传神；岩石上凿有大斧头，水墨淋漓，粗壮有力。笔触迅捷，推进有形，笔墨有聚有放，工作与书写之间刚柔相济，巧拙相间。",[23,24,25,95,784,712,27,58,2241,1396,391,112,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a316db5cd7b66cdcda9599be7778b79.jpg","113.9x36.7",[289],{"id":10972,"slug":10973,"title":10974,"dynasty":78,"author":107,"museum":53,"description":10975,"tags":10976,"thumbUrl":10977,"material":116,"size":10978,"collection":70,"collections":10979,"showCount":45,"zanCount":46,"manualWeight":46,"mainColor":149},218122,"hua-xi-yu-yin-tu-san-wang-meng-218122","花溪渔隐图(三)","此图写霅溪风景，款题为玉泉尊舅作。玉泉已不可考。通幅用笔绵密而精工，垂柳一行，与赵孟𫖯「鹊华秋色」卷中画柳之法相同。「花谿渔隐」是从〈桃花源记〉衍生的画题，创始于赵孟𫖯。王蒙是赵孟𫖯的外孙，所受影响，不仅技法而已。",[23,24,25,27,36,29,32,31,112,7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angqi.store\u002Fthumbweb\u002F1abbe124c0e31104ad7c8467b2cb3887.jpg",[42,289],{"id":11044,"slug":11045,"title":11046,"dynasty":78,"author":4957,"museum":53,"description":11047,"tags":11048,"thumbUrl":11049,"material":84,"size":11050,"collection":70,"collections":11051,"showCount":11007,"zanCount":46,"manualWeight":46,"mainColor":149},231404,"jun-ma-tu-zhao-yong-231404","骏马图","此画中主题与关键字是春景、高士（士人、隐士）、官员（臣）、马，描写平野放牧的景致，空旷幽远的构图布局中，五匹骏马安逸地散游在水边的几棵杂树之间；驯马人倚靠着松树，竟然打起瞌睡来，一副安然自在的样子。后方平静的湖水与秀丽的山峦连成一片，气氛更显得静穆、祥和。\n该幅《骏马图》，描写平畴牧马景致，画中山水的分量极重，布局空阔而幽远。水滨画杂树林立，骏马五匹散游其间，自得其乐；圉人（饲马的胡人）倚松假寐，神情极为逍遥；湖水如镜，远岫屏列，益觉一派静穆祥和。马匹结体壮硕，颇有唐代画马名家曹霸、韩干的遗意。配景设色则以青绿为之，夹叶填彩的表现法，已近乎图案形式，实滥觞于隋唐所盛行的青绿传统。唯远山掺用披麻皴纹，透露出董源、巨然山水风格的影响辙痕。\n早在秦汉时期，马匹造形即被广泛运用于殉葬的明器当中，魏晋的陵墓壁画，亦不乏骑马、射猎等生活写照。有唐一代，随着养马风尚高涨，画马的艺术也臻于极峰，举凡曹霸、陈闳、韩干、韦偃等人，均有作品传世。\n宋元以后，画马风气受到山水画勃兴的影响，逐渐趋向式微，除却李公麟的白描人马尚自具一格外，鲜少能超迈前贤的力作。而赵雍置身于复古思想炙热的元代，笔端吞吐着浓郁的唐人风范，诚属“汲古以创新”的心态所使然。事实上，赵雍画马已不似唐马那般丰肥，线条的感觉较为柔婉、秀丽，加上揉合青绿设色与董、巨披麻皴纹的山水配景，致使全画于装饰意味之外，犹未失却文人作画所特有的儒雅本色。显然，赵雍笔下的人马业已展现出元朝的时代风貌，不复为单纯的临摹与仿古了。\n该幅画平畴林野牧马的景致，画骏马五匹或磨肩，或依偎，或觅食于树荫下，不管在结构或造形上，皆显示画家对马匹曾做仔细的观察与了解，轻而易举地掌握复杂的造型。圉人倚松假寐，状至悠闲逍遥。人马以中锋钩画，人物表情生动，马匹结体雄壮。树叶以近似图案的工整格式画出，装饰性强，饶古拙之趣。画家更利用平镜无纹的湖水，及罗列的远山，加强空间的推衍及层次感，呈现阔远松秀的画面。其青绿设色及用笔虽颇有唐人遗意，但因结合设色与皴法，远较唐之青绿山水雅淡，充分地发挥笔墨情趣。\n这幅画是赵雍为色目人官员─孛颜忽都所画的。画风主要承袭自隋唐时代青绿山水，设色主要填染了石青、石绿，色彩浓丽；还有，如画树叶先勾出轮廓，再填入颜色，正是工笔画中夹叶填彩的画法。此外，马匹高大肥硕的体型，也是追法唐代画马的意趣。不过，赵雍的这幅画还揉合了五代画家董、巨一派的笔意，例如：表现远山质感、那种类似苎麻纤维的线纹，叫做披麻皴:。综而观之，《元赵雍骏马图轴》的人物、马匹及山水背景，虽具唐宋古意遗韵，但在构图上一水两岸的平远景致，依旧是典型的元人特色。赵雍在元代复古的风潮中，也开拓了新的时代风格。",[24,200,25,95,56,28,215,112,7,2697,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd50ae8022a673be0e735a42f54526d7.jpg","186x106",[],{"id":11053,"slug":11054,"title":11055,"dynasty":18,"author":387,"museum":561,"description":11056,"tags":11057,"thumbUrl":11058,"material":70,"size":70,"collection":70,"collections":11059,"showCount":11007,"zanCount":46,"manualWeight":46,"mainColor":149},228468,"shi-ming-tu-juan-tang-yin-228468","事茗图卷","此作为诗书画印合璧的长卷，绘江南山居幽景：茅舍临溪，主人幽坐煎茶，苍松倚石，烟云绕峰，飞瀑藏于远山淡霭之间，尽展林泉雅寂的隐逸氛围。\n\n书法由榜书大字开篇，笔力沉凝苍劲；行书题诗俊逸疏朗，收尾小楷《事茗辩》端秀清雅。将品茶雅事寄寓山水，把日常茶事升为精神栖居，尽显明代文人茶中寻幽、以茶寄怀的林下风流，诗书画印浑融无间，是写意文人雅趣的绝佳之作。",[23,200,24,25,26,27,28,951,36,37,38,82,29,112,35,58,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F055da1b43b081819b900223c28def283.jpg",[],{"id":11061,"slug":11062,"title":11063,"dynasty":18,"author":11064,"museum":53,"description":11065,"tags":11066,"thumbUrl":11067,"material":70,"size":70,"collection":70,"collections":11068,"showCount":11007,"zanCount":46,"manualWeight":46,"mainColor":149},228319,"san-you-si-xi-tu-bian-jing-zhao-228319","三友四喜图","边景昭","此作用全景铺陈开卷，松挺竹劲梅娇，聚成岁寒三友之姿，群雀翔集枝梢，啾唧喧闹间衬出林野生机。四只喜鹊或栖或飞，墨白羽色鲜亮醒目，于群鸟中格外灵动。\n\n画师落笔精工写实，禽鸟翎毛细密柔润，根根分明；松竹梅的枝干皴擦细致，苍秀兼具。整幅画面动静交织，既见院体花鸟的细腻工致，又借三友暗喻君子风骨，以喜鹊托举祥瑞吉意，将雅致品格与喜庆意蕴融于一卷。",[23,24,56,28,62,201,391,390,272,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a9c628ba03bd30ead976aed52184f75.jpg",[],{"id":11070,"slug":11071,"title":11072,"dynasty":78,"author":436,"museum":561,"description":11073,"tags":11074,"thumbUrl":11075,"material":70,"size":70,"collection":70,"collections":11076,"showCount":11007,"zanCount":46,"manualWeight":46,"mainColor":149},228215,"you-xing-shi-nv-tu-yi-ming-228215","游行仕女图","古绢底色晕染岁月沉浑，雄健湖石倚立，芭蕉阔叶舒展如伞，猩红花穗挺立于叶隙，墨色浓淡晕开草木蓬勃生机。仕女衣袂轻扬雅致，或垂眸敛容，或侧身顾盼，柔缓徐行间尽显端静含蓄的仪态。画作以大石丛蕉衬出仕女窈窕娟秀，上下分景疏密相宜，设色古淡沉静，笔致简净含蓄，藏雅致余韵，将庭院闲游的松弛意趣，融在古朴沉静的画境之内，淡墨轻彩晕开旧时光里的闺中清致。",[23,24,25,95,56,28,58,59,7,302],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffb2be621dcd64401a64de5a6e7d8444.jpg",[],{"id":11078,"slug":11079,"title":11080,"dynasty":124,"author":473,"museum":561,"description":11081,"tags":11082,"thumbUrl":11083,"material":70,"size":70,"collection":70,"collections":11084,"showCount":11007,"zanCount":11,"manualWeight":46,"mainColor":149},227965,"qi-zi-du-guan-tu-juan-li-tang-227965","七子度关图卷","此卷以苍林古道铺展荒寒底色，将避乱行旅的群像铺陈于绢素。旅人或策驴徐行、或驻马待发，仆从牵驮辎重、神色仓皇，将乱世迁客的羁旅劳顿藏在蹙额的神情、驱驰的动态之间，写实工细又带着沉郁的氛围感。\n\n卷后篆额古拙雄奇，行书题跋笔墨隽秀，书画合璧晕开史事余韵。既有宋画的精工写实，又兼具文人画幽远意趣，将乱世怆然与丹青雅致融于一卷，尽显古画的厚重底蕴与迁客流离的沉痛感怀。",[23,24,25,26,56,28,58,215,112,7,214,37,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd484ab2362b165a1f08fdab816e5527.jpg",[],{"id":11086,"slug":11087,"title":11088,"dynasty":124,"author":449,"museum":561,"description":11089,"tags":11090,"thumbUrl":11091,"material":70,"size":70,"collection":70,"collections":11092,"showCount":11007,"zanCount":11,"manualWeight":46,"mainColor":149},227818,"chun-you-fu-shi-tu-juan-ma-yuan-227818","春游赋诗图卷","《春游赋诗图·溪山无尽图》是216年中信出版集团、中信出版社出版的图书，作者是马远。\n《春游赋诗图》描绘乡间春景：枝头萌绿，万象更新，柳条飘拂，新竹摇曳，溪水潺湲，小桥连岸。\n路上有驮物的驴马，水中有渔归的小舟，但在廊前溪边，已有三三两两的踏青者。\n古松下的案桌前，更是围满了人，文人学子即兴赋诗，一人执笔而书，周旁还有妇人幼童嬉戏。\n山间泉源，几个小童在洗杯煮茶，一派平和融乐的场景。\n《溪山无尽图》全卷以水墨浅绛写江南四季景色，布局多取近景，突出崖岸，山石作大斧劈皴，方硬有棱角。\n山峰林立，峭壁悬崖间有流泉飞瀑，松柏蓊郁、云雾弥漫、长桥石栏、渔舟帆客、楼观村庄，清幽秀俊的江南景色成为一个整体，有着诗意般的意境。\n马远（约114－约1225后），字遥父，号钦山，祖籍河中（今山西永济），生长在钱塘（今浙江杭州）。\n出身绘画世家，南宋光宗、宁宗两朝画院待诏。\n擅画山水，取法李唐，能出新意，下笔遒劲严整，设色清润。\n山石以带水笔做大斧劈皴，方硬有棱角；树叶有夹笔，树干浓重，多横斜之态；楼阁界画精工，且加衬染。\n喜作边角小景，世称“马一角”。\n又工画水，兼精人物、花鸟。\n与李唐、刘松年、夏圭并称“南宋四家”。",[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"description":11210,"tags":11211,"thumbUrl":11212,"material":70,"size":11213,"collection":70,"collections":11214,"showCount":11175,"zanCount":46,"manualWeight":46,"mainColor":47},234855,"wen-zheng-ming-shan-shui-ce-ye-wen-zheng-ming-234855","文徵明山水册页","文徵明（１４７０～１５５９），初名壁，字徵明，号衡山，４２岁后以字行，改字徵仲，江苏苏州人。他一生１０余次应试，皆未中举，１６２３年被荐授翰林院待诏，故后人称“文待诏”，但三年后即辞官回乡，此后再未出仕。他为人正直，不媚权贵，自订书画有三不应：宗藩、中贵、外国，因此清代顾复称他为“古今第一流人物，吾吴（吴县）之所以借光者也”。\n文徵明早年并不聪慧，据称曾因不善书法而被拒绝参加乡试。但他生活在一个良好的文化环境里，先后拜沈周、李应桢、吴宽和王鏊等人为师，又与吴中才子祝允明、唐寅、徐祯卿等相友善，加上本身刻苦努力，终于成为一代文宗，不仅在“吴中四才子”和书法的“吴门四家”中都占据一席，在画上也与沈周、唐寅、仇英齐名，后人称“明四家”。在沈周、祝允明等相继弃世后，主持吴门文坛艺坛数十年，影响极大。书法家周天球、王穉登、陆师道、陈淳（也厕身吴门四家）等都是他的弟子，他折辈与交的王宠（吴门四家之一）实际也曾受到他的指点。他的子弟后人，也多能书善画，风流延续数代。\u2028　　　文徵明于书法也和祝允明一样各体兼修，号称篆、隶、楷、行、草俱佳。但篆隶其实并未充分了解秦汉的传统，因而置诸书史，不足成家。真正有成就的，是小楷、行书和草书。\u2028　　　其小楷，师法锺繇、二王及欧阳询，兼及其他各家，以精严谨肃见长，至老不怠，８９岁高龄时仍能悬腕作小楷，且笔力不减，无一懈笔。代表作有《醉翁亭记》、《后赤壁赋》、《离骚经》、《四山五十咏》、《太上老君说常清净经》等，其中《离骚经》书于８５岁，４０００多字，笔画入锋爽快，横多尖起圆收，折笔干净利落，竖画坚挺峻健，撇捺匀稳平和，结体紧密遒健，总体风格清新爽洁、温纯闲雅，堪与赵孟頫比肩。",[200,24,25,111,27,36,29,34,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53a5e1234ce6cac24dc759d6c01cc0e1.jpg","纵27.4，横14.9厘米",[],{"id":11216,"slug":11217,"title":11218,"dynasty":78,"author":11219,"museum":360,"description":11220,"tags":11221,"thumbUrl":11222,"material":885,"size":11223,"collection":70,"collections":11224,"showCount":11175,"zanCount":11,"manualWeight":46,"mainColor":149},234039,"yao-cen-yu-shu-tu-zhou-jin-cheng-234039","瑶岑玉树图轴","金城","画雪景山林，水阁飞瀑，山脚泉水奔流湖中。阁内一人闲坐，其外山路崎岖蜿蜒，有数人或策蹇负囊，或骑驴行旅。图中画山石似卷云，树枝似鹿角、蟹爪，宗法李成、郭熙一派。全图笔法沉雄，缜密。",[24,95,27,28,29,36,7,34,5047,130,565,58,215,31,452,96,538,364],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00fe504468d6d6243b66ab68fb7765a6.jpg","97.4×41.2cm",[],{"id":11226,"slug":11227,"title":1166,"dynasty":296,"author":1406,"museum":360,"description":11228,"tags":11229,"thumbUrl":11230,"material":760,"size":11231,"collection":70,"collections":11232,"showCount":11175,"zanCount":46,"manualWeight":46,"mainColor":47},233402,"xian-shan-lou-ge-tu-zhou-wang-shi-min-233402","上诗堂有清初吴伟业题云：“陈子静孚母夫人方太君七十，王烟客奉常、王湘碧郡伯绘仙山楼阁图以为祝。郡伯所制可以颉昂松雪，若太常此帧苍深高远，尺幅之中恍见仙真楼上，出入于烟云缥缈间，笔墨之奇非仅得子久三昧也。太夫人女箴妇德可镌琬琰，余将托诸诗歌，得两公妙染，真所谓画中有诗，不待九如之颂，可效凹觥之祝矣。吴伟业题。”\n此图是王时敏为友人陈静孚之母七十寿辰而作。画面上峰峦叠嶂，林木葱郁，流泉曲绕，长松挺立。山谷中点缀着茅亭草舍，环境清幽。在构图和笔墨方面都具备典型的中国画特征。首先，构图方面采用全景式构图，以散点透视的方法描绘景物，近景双松清晰挺拔，远景高山连绵巍峨，所画内容具有美好的象征意义，十分契合祝寿的主题。其次，在笔墨表现方面，继承董巨（董源、巨然）、元人的笔墨传统，尤其是黄公望的画法，以仿古见长，具有程式化的特点。笔法精绝老到，为王氏晚年佳作。",[24,25,95,29,60,34,2901,132,35,27,36,7,114,1104,578],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e1c5058cf54925d7fcced41900d4ce1.jpg","纵133厘米，横63.3厘米",[],{"id":11234,"slug":11235,"title":11236,"dynasty":296,"author":870,"museum":561,"description":11237,"tags":11238,"thumbUrl":11239,"material":70,"size":70,"collection":70,"collections":11240,"showCount":11175,"zanCount":46,"manualWeight":46,"mainColor":47},228978,"shan-shui-tu-ce-8-kai-zhang-da-qian-jiu-cang-shi-tao-228978","山水图册8开-张大千旧藏","此作笔墨简淡萧疏，以淡墨晕开远山，只留朦胧轮廓，似烟霭轻笼，清寂淡远之味扑面而来。近侧丘石以枯笔皴擦，朴拙苍厚，带着不加修饰的古雅意趣。坡岸林木尽褪繁叶，枝桠错落伸展，空寒疏朗间尽显秋冬的萧索清宁。临水茅舍三两间隐于石木之间，幽寂安闲，似藏着避世幽居的自在意趣。\n\n题句与四方朱印错落排布，诗书画印相融，为素淡画面晕开一抹朱红暖意。整幅以简驭繁，将空山新雨后的微茫清润藏在尺幅间，笔底漫着林下幽居的静穆悠然。",[24,27,36,111,29,242,35,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1034ecc6c707758e750317af7df068c0.jpg",[],{"id":11242,"slug":11243,"title":11244,"dynasty":296,"author":11245,"museum":485,"description":11246,"tags":11247,"thumbUrl":11249,"material":261,"size":11250,"collection":306,"collections":11251,"showCount":11175,"zanCount":46,"manualWeight":46,"mainColor":149},222806,"hua-niao-zhen-qin-tu-you-cui-222806","花鸟珍禽图","尤萃","图绘山脚坡石之间，流溪如练，天竹数丛，卓秀多姿。野生蔷薇，随风摇曳。丛丛簇簇的幽兰，各放馨香。树下一双美雉，悠然唱和，美丽动人。石后文杏高耸，繁花缀满枝头，鹦鹉停息树梢，双燕穿飞花间。一个鸟语花香的世界。",[23,24,25,56,28,62,390,301,11248,7,303,2177],"雉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1c8d78323e1e166ec5d52532c3a4c51.jpg","纵196.7cm，横96.5cm",[306,264],{"id":11253,"slug":11254,"title":11255,"dynasty":296,"author":2923,"museum":7316,"description":11256,"tags":11257,"thumbUrl":11258,"material":6235,"size":11259,"collection":42,"collections":11260,"showCount":11175,"zanCount":46,"manualWeight":46,"mainColor":149},222633,"tian-tai-bai-song-tu-gao-feng-han-222633","天台白松图","绘松树两棵，松杆粗壮，松针茂密；灵芝依树而生，形状如耳。此幅图亦是一幅祝寿图，松树寓长寿，灵芝是长生，瑞草有“松树延年 灵芝祥瑞”的寓意。图上自题：“天台白松 高凤翰左手 祝”。",[23,200,24,25,95,27,427,7,36,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F108d7a22714402bfdc04e275079a27eb.jpg","105x34cm",[42,146],{"id":11262,"slug":11263,"title":11264,"dynasty":18,"author":2587,"museum":53,"description":11265,"tags":11266,"thumbUrl":11267,"material":3031,"size":70,"collection":42,"collections":11268,"showCount":11175,"zanCount":46,"manualWeight":46,"mainColor":149},222526,"mo-bi-shan-shui-zhou-wang-fu-222526","墨笔山水轴","明代画家王绂（1362-1416）为无锡人，号九龙山人、鳌叟。其画以墨竹最为知名，山水则承续元代文人画风，为吴派前驱。王绂密布层迭岩垒及林木，近景临岸渔船，一艘似正炊煮，一艘则在用餐，船上张挂着披晒的衣物；中景船只则正收拾风帆；右方山路行旅也疾疾赶路入城，一派日暮归人景致。\n乾隆皇帝于旅程中欣赏此图时，并非草草展阅山水大势，而是连小小的舟中生活都注意到了，并成为他吟咏的重心，由此可感受到他品画时的细腻与留心。",[24,128,95,36,29,34,427,7,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8f6a38fa5ce0f20cabdeca5c267ff32.jpg",[42,146],{"id":11270,"slug":11271,"title":9021,"dynasty":18,"author":387,"museum":360,"description":11272,"tags":11273,"thumbUrl":11274,"material":1809,"size":9025,"collection":42,"collections":11275,"showCount":11175,"zanCount":11,"manualWeight":46,"mainColor":47},222339,"you-ren-yan-zuo-tu-zhou-tang-yin-222339","图中云峰缥缈，涧壑丛竹，水阁中一人静坐，旁设书籍、茶具，似有所待。溪流边一人拄杖独立，远眺山色。画法上多用干笔细皴描绘树石人物，笔致坚劲，刻画精微，风格缜密秀润，反映出唐寅善于以早年师从周臣学习宋“院体”山水技法，来表现和传达文人画清雅幽澹的功力。\n本幅右上有清代书法家王澍于雍正丁未年（雍正五年，1727年）十二月的题识，叙述了自己收藏此图并馈赠给惠山听松庵僧的经过。裱边及包首外签有当代书画家和鉴定家吴湖帆在庚寅年（1950年）为仲麟题签并记，文中除了记载王澍所云之事外，对惠山听松庵收藏的其他古代名画如王绂《竹炉图》的流传作了介绍，并对时事离乱之际文物的劫难发出了感喟。",[23,24,25,95,27,36,29,33,34,7,31,58,364],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d12d445bfae2e8d760c703ae5c64b78.jpg",[42,146],{"id":11277,"slug":11278,"title":11279,"dynasty":18,"author":52,"museum":509,"description":11280,"tags":11281,"thumbUrl":11282,"material":454,"size":11283,"collection":70,"collections":11284,"showCount":11175,"zanCount":764,"manualWeight":46,"mainColor":47},222216,"chi-bi-tu-juan-quan-juan-chou-ying-222216","赤壁图卷全卷","传世仇英所作《赤壁图》，我们所见有三幅：一藏辽宁省博物馆，一藏上海博物馆，再者便是《石渠宝笈初编》著录的这一卷了。前二幅皆绢本短卷，画的都是白露横江、断岸千尺，东坡与客泛舟中流这一情景。本幅则为纸本而略长，后段多了苇汀浅屿、石桥曲涧、秋林霜浓等山间夜景。读者可以借画家营造的美景，去想象苏轼舍舟登岸，“摄衣而上，履腵岩，披蒙茸，攀栖鹘之危巢，俯冯夷之幽宫”这一夜游情境。其构思立意较前二图更为丰富美备\n三幅《赤壁图》画家都未记年。上海博物馆一图，用笔峻健方硬，应是他得到周臣指授，力学李唐等南宋院画的盛年时作品。辽宁省博物馆一图，与仇英在项元汴家《临宋人六景》画风相近，应是他较晚之作。《石渠宝笈初编》著录的这幅《赤壁图》卷，画法细缜，淡冶蕴藉，与几幅可以断为仇氏早年真迹的作品风格相似，创作年代比上海博物馆《赤壁图》要略为早些。\n关于仇英早年画风，学者们都认定他受到文徵明的影响。援引的史料一是彭年所说“十洲少即见赏于衡翁”；一是文徵明《湘君图》上王登转述文氏自己的话，说他“曾使仇实父设色，两易纸皆不满意”，不得不自己重作之。上述二处记载，一般可以看作是文氏对青年仇英的赏识器重。不过，如对题跋做进一步思索，则可以发现文、仇二人非同寻常的关系。中国绘画史上多有老师画成墨稿后请学生敷彩的情况，如吴道子的画作每使弟子翟琰、张藏布色，文徵明是一个谦和温厚之人，他这么做并如此直言不讳，至少可见他们师徒般真率坦诚的情谊。\n此幅《赤壁图》 画出了宋代苏东坡《后赤壁赋》的诗意，其上钤有“石渠宝笈”、“乾隆御览之宝”、“嘉庆御览之宝”、“宣统御览之宝”及“三希堂精鉴玺”等印，笔法俊朗，风神秀雅，气息纯正，款字极精，印章亦佳。加上又是清宫旧藏且著录于《石渠宝笈》初编，清晰可考，珍稀之极。\n从其画风来看属画家在中年时期所作。仇英在年轻时结交了文徵明、周臣等一批书画家，故而其中年作品里也受了文徵明等人的技法影响，皴法多以小皴为主。在这幅《赤壁图》就能看见披麻皴、斧劈皴等典型皴法，皴笔绵密画风工整细腻。\n《赤壁图》本幅则为纸本而略长，后段多了苇汀浅屿、石桥曲涧、秋林霜浓、云房窅深等等山间夜景。此画以石青、石绿为主色调，画苏轼携友泛舟夜游赤壁。作者用细腻的笔触将一个秋高气爽、月光如银的宁静夜晚极富诗情地融入于令人陶醉的画意之中。布局爽朗、明媚，用笔工细绵密，敷色淡雅清丽，技法纯熟稳健，具有笔致墨韵，为仇英佳作。\n拍卖\n《赤壁图》在2007年11月7日嘉德拍卖中最终以7952万元人民币成交，创造了当时中国绘画拍卖成交价的世界纪录，标志着中国绘画作品的拍卖成交价首次超过1000万美元级别。",[23,24,25,26,28,56,257,38,82,29,58,32,4415,34,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd79a1ca13ecd5f3c3d80de512b422359.jpg","25.1×90.8cm",[],{"id":11286,"slug":11287,"title":11288,"dynasty":124,"author":125,"museum":53,"description":1718,"tags":11289,"thumbUrl":11290,"material":142,"size":11291,"collection":70,"collections":11292,"showCount":11175,"zanCount":46,"manualWeight":46,"mainColor":149},221387,"bao-shan-shi-jing-ce-fan-kuan-221387","包山十景册",[23,200,24,25,111,28,29,7,34,565,58,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F547a3b1370dc9ee21fc24baeb7fb8ad8.jpg","30.2x31.8",[],{"id":11294,"slug":11295,"title":11296,"dynasty":78,"author":6395,"museum":1043,"description":11297,"tags":11298,"thumbUrl":11300,"material":116,"size":11301,"collection":146,"collections":11302,"showCount":11175,"zanCount":46,"manualWeight":46,"mainColor":149},220426,"song-xi-gui-yu-tu-tang-di-220426","松溪归渔图","唐棣(1287–1355)，字子华，号遁斋,祖籍钱塘(今浙江杭州)，因先世在吴兴做官，迁徙归安(今浙江湖州)。父唐清，元初赠承务郎，任归安县令。唐棣幼聪颖好学，文思敏慧，能诗善画，有“奇童”之称，为赵孟頫、马煦赏识，弱冠时便拜赵孟頫为师。工山水，近学赵孟頫，远师李成、郭熙，亦工诗文。",[23,25,24,951,36,28,95,272,31,30,7,10429,96,11299,243],"岸坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F035ce24fe5889e9c85d096ccf8fbc2fd.jpg","134.3x86cm",[146],{"id":11304,"slug":11305,"title":11306,"dynasty":296,"author":1177,"museum":360,"description":11307,"tags":11308,"thumbUrl":11309,"material":116,"size":11310,"collection":146,"collections":11311,"showCount":11175,"zanCount":46,"manualWeight":46,"mainColor":47},220113,"fang-mei-dao-ren-xi-ting-shan-se-tu-wang-jian-220113","仿梅道人溪亭山色图","图绘秋湖静水、疏林远岫的江南风景。王鉴一生推崇元人倪瓒自然淳雅的画面，乐此不疲地到处找寻其画作并且加以临摹，仅仿倪氏的《溪亭山色图》就有数件之多，此图是其中最有代表性的一幅。从一河两岸式的构图到山石树枝的方折用笔，再到以淡墨层层擦染的施墨法，均可见作者晚年对倪氏画风的摹仿已达到炉火纯青的窘境。",[23,24,25,95,27,36,29,7,31,33,112,1140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe03d588fe722f33791954b625b63098.jpg","纵87.4厘米，横45.7厘米",[146],{"id":11313,"slug":11314,"title":11315,"dynasty":296,"author":10638,"museum":11316,"description":11317,"tags":11318,"thumbUrl":11319,"material":116,"size":11320,"collection":42,"collections":11321,"showCount":11175,"zanCount":11,"manualWeight":46,"mainColor":47},220098,"zong-qing-qiu-he-tu-xiao-yun-cong-220098","纵情丘壑图","洛杉矶博物馆","萧云从(1596年-1673年) ，字尺木，号于湖老人、无闷道人、默思。安徽芜湖人，明末清初著名画家，姑孰画派创始人。父亲肖慎余，为明乡饮大宾，懂绘画。云从幼而好学，“笃志绘事，寒暑不废”。\n明崇祯十一年（1638年）加入复社，与阉党保守势力集团进行了积极的斗争。入清后隐居不仕。其人物画主要继承了宋代李公麟的白描法，亦吸收明代陈洪绶之长，造型准确，形象生动。其山水画自成一家，笔墨清疏苍秀，饶有逸致。他的画在家乡芜湖地区影响甚大，形成了“姑熟画派”，传其衣钵者有其弟云倩，子一旸，侄一荐、一箕，犹子一芸，以及黄戢、施长春、施道光等人。萧云从的挚友、清初四画僧之一弘仁的早期山水亦受其影响。\n云从国画，师法古人而创新，师造化而独特。山水画，融宋元诸家笔墨、丘壑于一体，“以黄公望的瘦树、山石为之纵横，润以马远泼墨之法”，而能随意成卷丈余。其间丘壑布置，千变万化，层出不穷，使人观之不厌；岩石林木的表现，深厚坚实，穿插有致；不论水墨着色，皴擦喧染，都苍劲秀润，呈现出空间深度；点景人物，自然生动，屋宇、舟车、驮马安排得体。",[23,24,25,26,27,36,29,7,34,35,1944,114,3766,427,10641,133,4438,187,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef9382c6c6129fee9bfc87b3661bc7a8.jpg","23.81x429.9",[42],{"id":11323,"slug":11324,"title":11325,"dynasty":18,"author":11326,"museum":401,"description":11327,"tags":11328,"thumbUrl":11331,"material":84,"size":11332,"collection":42,"collections":11333,"showCount":11175,"zanCount":11,"manualWeight":46,"mainColor":149},220036,"xi-shan-mu-yun-tu-zhang-lun-220036","溪山暮云图","张伦","左上自题王维《过香积寺》诗：“不知香积寺，数里入云峰。古木无人径，深山何处钟？泉声咽危石，日色冷青松。薄暮空潭曲，安禅制毒龙。”款署：“摹元人笔法，时甲辰秋前二日，画于披月草堂，瘦生张伦。”图录于《艺苑掇英》第三十五期。艺术活动约在嘉靖、万历间。",[23,24,200,27,29,95,30,31,1555,7,35,6489,37,11329,36,784,11330],"摹古","薄暮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0da047626d853db8b7883f88e25a34c.jpg","纵174.5厘米，横78.8厘米",[42],{"id":11335,"slug":11336,"title":11337,"dynasty":18,"author":9525,"museum":346,"description":11338,"tags":11339,"thumbUrl":11340,"material":40,"size":11341,"collection":42,"collections":11342,"showCount":11175,"zanCount":11,"manualWeight":46,"mainColor":47},219750,"liu-ruan-tian-tai-tu-ding-yun-peng-219750","刘阮天台图","石缘林漱玉凉，远上紫逻更苍苍。溪边列树云和静，洞口落寞水亦香。作记未应拟彭泽，成诗早见有曹唐。浙东仙境依然在，可复双鬟待二郎。乾隆戊寅春御题",[23,24,200,95,56,28,82,29,58,34,7,133,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F151f3ed0233acb65b06439368bfeb4ac.jpg","纵136.7横33.5厘米",[42],{"id":11344,"slug":11345,"title":11346,"dynasty":18,"author":436,"museum":2747,"description":11347,"tags":11348,"thumbUrl":11349,"material":84,"size":11350,"collection":289,"collections":11351,"showCount":11175,"zanCount":46,"manualWeight":46,"mainColor":149},219620,"ming-ren-lao-zi-chu-guan-tu-yi-ming-219620","明人老子出关图","古松虬劲盘绕城关，苍枝舒展如盖。老子安卧牛车之中，仆从前后相随，道童负囊循山径而来，行旅意态松弛悠然。远景山峦以斧劈皴挥写，雄奇险峻间晕染流岚云雾，晕化开山林的幽深空寂。画作以山水衬行旅，将道家归隐出关的澹然意趣，融于苍阔山景之间，人物刻画细腻生动，山水笔力刚劲爽利，把出世的超脱与山川的雄浑相融，尽显古典山水人物画的雅致意韵，藏着悠远沉静的道家风骨。",[24,25,200,95,28,58,29,60,214,1103,3796,112,7,36,883],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b3b3a50865b6183c2ae52a94aaca214.jpg","纵140.3横67.5厘米",[289],{"id":11353,"slug":11354,"title":11355,"dynasty":18,"author":3448,"museum":53,"description":11356,"tags":11357,"thumbUrl":11358,"material":28,"size":11359,"collection":289,"collections":11360,"showCount":11175,"zanCount":46,"manualWeight":46,"mainColor":47},219460,"dan-lin-cui-zhang-tu-lu-zhi-219460","丹林翠嶂图","本幅以狭长画面安排景物布局，桃树繁密，变化丰富。以尖细折线勾勒山石轮廓，用笔方劲，青绿敷染细致。惜因构图过于充塞，虽工细精道，略少自然之态。",[24,25,95,28,36,29,34,671,7,35,58,31,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc15e51996325c5786e52bffb0c5e172.jpg","90.2x30.7",[289],{"id":11362,"slug":11363,"title":11364,"dynasty":124,"author":1427,"museum":53,"description":11365,"tags":11366,"thumbUrl":11367,"material":84,"size":11368,"collection":289,"collections":11369,"showCount":11175,"zanCount":764,"manualWeight":46,"mainColor":149},219308,"san-yang-kai-tai-tu-qian-xuan-219308","三阳开泰图","本幅画巨岩青松下，一童骑羊，手持斜挂鸟笼的梅枝，其后跟随二羊。「羊」与「阳」谐音，「三阳」为易经中的乾坤交泰卦象，显示天地间万物皆有生意，为吉祥表征。画中款题钱选，诗塘亦有清代姚文田敬书乾隆御制诗题，是为作者名称由来。然而本幅画风与元初文人画家钱选的作风差距甚远，应为明代晚期假托名家且具有吉庆意味的作品。",[24,25,28,56,58,1396,272,7,37,4450,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8769a1d46532f390e5b84462dde32b02.jpg","122.4x49.9",[289],{"id":11371,"slug":11372,"title":11373,"dynasty":18,"author":436,"museum":346,"description":10733,"tags":11374,"thumbUrl":11375,"material":40,"size":70,"collection":70,"collections":11376,"showCount":11175,"zanCount":46,"manualWeight":46,"mainColor":47},217952,"ming-ren-shan-shui-hua-ce-san-yi-ming-217952","明人山水画册(三)",[23,24,25,111,27,28,29,33,30,244,427,96,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F239dd48d883d23420a8004f26072dd6a.jpg",[],{"id":11378,"slug":11379,"title":11380,"dynasty":124,"author":5512,"museum":561,"description":10194,"tags":11381,"thumbUrl":11382,"material":217,"size":660,"collection":70,"collections":11383,"showCount":11384,"zanCount":46,"manualWeight":46,"mainColor":149},290274,"han-que-shuang-ying-tu-ma-lin-290274","寒鹊双鹰图",[24,1152,56,28,6283,7034,201,242,7,612,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd91a9ddfc54f74ad80aef86a825a385e.jpg",[],42,{"id":11386,"slug":11387,"title":2260,"dynasty":654,"author":2261,"museum":561,"description":2262,"tags":11388,"thumbUrl":11389,"material":217,"size":660,"collection":70,"collections":11390,"showCount":11384,"zanCount":46,"manualWeight":46,"mainColor":149},288526,"ceng-yan-cong-shu-tu-ju-ran-288526",[200,24,25,95,27,29,36,7,1066,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facd3164fd8f949a0856660bec8ea7a0f.jpg",[],{"id":11392,"slug":11393,"title":11394,"dynasty":296,"author":1406,"museum":53,"description":11395,"tags":11396,"thumbUrl":11397,"material":40,"size":11398,"collection":70,"collections":11399,"showCount":11384,"zanCount":46,"manualWeight":46,"mainColor":47},288285,"fang-wang-wei-jiang-shan-xue-ji-tu-wang-shi-min-288285","仿王维江山雪霁图","王时敏（1592年－1680年），本名王赞虞，字逊之，号烟客，又号偶谐道人，晚号西庐老人，南直隶苏州府太仓人，明末清初画家，大学士王锡爵之孙，翰林编修王衡之子，“四王”第一代人。\n系出高门，文采早著，以祖荫，官至太常寺少卿。明清鼎革后，家居不出，奖掖后进，名德为时所重。明季画学董其昌，少时亲炙，得其真传。于黄公望墨法，尤有深契，暮年益臻神化。爱才若渴，四方工画者踵接于门，得其指授，无不知名於时，为一代画苑领袖。康熙十九年卒，年八十九岁。\n王时敏主张摹古，笔墨含蓄，苍润松秀，浑厚清逸，构图较少变化。其画在清代影响极大，王翚、吴历及其孙王原祁均得其亲授。王时敏开创了山水画的“娄东派”，与王鉴、王翚、王原祁并称四王，外加恽寿平、吴历合称“清六家”。\n晚清娄东画派代表画家与评论家秦祖永之《桐阴论画》评王时敏：运腕虚灵，布墨神逸，随意点刷，丘壑浑成。",[200,24,951,95,28,36,186,537,7,34,60,31,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a350d41c4997b3ce106edd3a6b3b931.jpg","133.7x60",[],{"id":11401,"slug":11402,"title":11403,"dynasty":296,"author":436,"museum":561,"description":11404,"tags":11405,"thumbUrl":11406,"material":70,"size":70,"collection":264,"collections":11407,"showCount":11384,"zanCount":46,"manualWeight":46,"mainColor":149},239527,"qian-long-guan-kong-que-kai-ping-tie-luo-yi-ming-239527","乾隆观孔雀开屏贴落","《乾隆观孔雀开屏贴落》是清代佚名创作的绢本设色画。\n这是一幅表现乾隆皇帝宫廷生活的巨幅作品，曾张贴于圆明园某殿内。\n图中乾隆端坐在亭台之上，闲适地观赏庭院中一对美丽的孔雀。\n此画虽无作者款识，但从技法和水平分析，人物肖像、两只孔雀和建筑的主要部分应出自郎世宁之手。\n其中楼阁的描绘无论前后、远近，大小的比例关系均适当，将西洋绘画的透视原则把握得恰到好处，具有强烈的空间感和纵深层次。\n由于篇幅宏大，描绘真实，使人有身临其境之感。\n正是由于郎世宁等西洋传教士画师的到来，使中国传统的楼阁画发生了变化，最终促使清代宫廷建筑绘画“中西合璧”的画风形成。",[200,24,25,56,28,57,60,58,63,7,34,61,31,427],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14b7e348cc7f93d2fc0fa76bd64ebef5.jpg",[264],{"id":11409,"slug":11410,"title":11411,"dynasty":296,"author":436,"museum":53,"description":11412,"tags":11413,"thumbUrl":11414,"material":70,"size":70,"collection":264,"collections":11415,"showCount":11384,"zanCount":11,"manualWeight":46,"mainColor":149},238934,"qing-ren-qun-xian-zhu-shou-tie-luo-yi-ming-238934","清人群仙祝寿贴落","画面分境铺陈仙宴盛景：云端仙袂翩跹，凌风御虚似携云而来；苍松怪石间，仙宾或晤语清谈，或凭崖远眺，仪态雍和。水滨舟上群仙围坐言欢，山麓间侍从捧礼随行，步履悠然。\n\n设色古雅沉静，石青晕染出山峦苍劲，赭红点染衣褶灵动，线描清细秀逸，将仙众出尘之姿描摹入微。整体动静相映，把祝寿的吉庆意涵融在清虚悠远的山水意境中，尽显仙乡雅聚的祥和瑞气，将雅致古淡的仙佛画韵致铺陈开来。",[24,25,28,56,58,29,883,112,908,215,784,6727,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdf80cd142cdc24231bc03c616a78b24.jpg",[264],{"id":11417,"slug":11418,"title":11419,"dynasty":296,"author":7770,"museum":11420,"description":11421,"tags":11422,"thumbUrl":11432,"material":70,"size":11433,"collection":42,"collections":11434,"showCount":11384,"zanCount":11,"manualWeight":46,"mainColor":47},238590,"ping-ding-liang-jin-chuan-de-sheng-tu-ce-ai-qi-meng-238590","平定两金川得胜图册","德国国立柏林民俗博物馆","两金川即大小金川，位于今四川省西部，大金川是大渡河上流，小金川则是大渡河上流东面的一条支流，都为藏族聚居地。自元代开始，中央政府先后在两金川分设土司，令其各守疆界，相互牵制，借以捍卫边围。惟土司众多，彼此之间每因承袭土职或边界纠纷日寻干戈，仇杀不已。清初沿明旧制，颁授印信，大小金川接受清廷册封。土司们常以朝廷名号恃强掠夺，蚕食邻邦，不安住牧，声势日盛，边境不安，加之大小金川在地理位置上接近成都，远连卫藏，威胁到内地的安全，为求永靖边围，乾隆皇帝遂兴师进剿，乃有平定大小金川之役。\n《平定两金川得胜图》描绘了清乾隆十二年至四十一年（1747—1776年）清政府两次出兵平定四川大小金川叛乱的战绩。十六幅图分别为：收复小金川、攻克喇穆及日则丫口、攻克罗博瓦山碉、攻克宜喜达尔图山梁、攻克日旁一带、攻克康萨尔山梁、攻克木思工噶克丫口、攻克宜喜甲索等处碉卡、攻克石真噶贼碉、攻克葘则大海昆色尔山梁并拉枯喇嘛寺等处、攻克贼巢、攻克科布曲索隆古山梁等处碉寨、攻克噶喇依报捷、郊台迎劳将军阿桂凯旋、午门受俘、紫光阁凯宴成功诸将士。\n较之《平定准噶尔得胜图》，该组铜版战图在造型、透视、构图等方面受中国传统画法影响更深，整个画面多利用散点透视的方法，去掉了阴影和明暗对比，因而画面呈现出一种平面效果。树木、山石皆用线蚀法刻画，层次感和质感稍差。",[2567,11423,11424,4481,11425,11426,11427,11428,11429,11430,11431,7,1066],"得胜图","画册","平定大小金川","山地","碉楼","士兵","战争场景","线蚀法","散点透视","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1b6be4afc3a400f4ea003bfdf7d4806.jpg","纵51cm，横88.5cm",[42],{"id":11436,"slug":11437,"title":106,"dynasty":296,"author":11438,"museum":53,"description":11439,"tags":11440,"thumbUrl":11441,"material":70,"size":70,"collection":42,"collections":11442,"showCount":11384,"zanCount":46,"manualWeight":46,"mainColor":47},238258,"shan-shui-ce-zhang-yan-238258","张演","此作以边角取景造境，右侧危岩迭起，苍松斜倚石畔，谷中云气漫漶，远山隐没于烟岚，虚实交织出清幽空蒙之态。左侧山居枕溪而卧，窗内幽人凭栏凝睇，坡岸佳木葱茏，一人策蹇缓行，野意悠然。\n\n设色清润雅致，山石勾勒细劲，浅赭与花青轻敷晕染，皴擦间尽显肌理质感。云水以留白晕化，愈衬山林阒寂。整体意境萧散淡远，以尺幅小景藏丘壑万千，将林泉幽居的闲逸之趣尽显无遗，笔墨温润秀雅，兼得元人山水的简旷与吴门画派的雅致风神。",[24,25,111,28,27,36,29,31,7,34,35,133,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d2ed93952dff40ea52e2910d1c80cd3.jpg",[42,264],{"id":11444,"slug":11445,"title":11446,"dynasty":296,"author":3909,"museum":360,"description":11447,"tags":11448,"thumbUrl":11449,"material":229,"size":11450,"collection":42,"collections":11451,"showCount":11384,"zanCount":46,"manualWeight":46,"mainColor":47},237139,"qiu-jing-shan-shui-zhou-cha-shi-biao-237139","秋景山水轴","此图描绘秋天江南秀丽的山乡一隅景色，江南的秀丽山景，在秋日晴空中愈显得明媚秀美。画幅远景，崇山叠嶂，峰顶峦石，山顶平台，山头光秃，在山坡或山坳处，仅有稀疏杂树。山脚下一片空蒙。最下端为山石和坡岸，树木稀疏，树叶有些枯黄，呈现出一派深秋景色。画幅右下角为一泓溪水，溪水平静如镜，无丝毫波纹，在溪水上架有一座板桥，将两岸连接。板桥上有位长者策杖远眺，在尽情地观赏这里的山山水水。图的左上方有行书四行，为作者自题五言诗一首，款署：“癸丑九秋画以一如道长兄。查士标。”\n此画是查士标59岁时为友人所作。\n此画作者采用平远构图法，构图高远、严谨，造型虚实相间，近处树木舒展自如，形态历历可见。远处山石叠嶂，刻画精腻；山从枯笔淡墨画出后，稍加皴擦，尤其是山头仅寥寥几笔皴染。杂树稀少，点出了已到深秋时节。树以较湿润的笔墨勾点，施以淡色，有的树木采用点叶、夹叶树法。从此画中可以看出他师法倪瓒的笔法较多，但又都变成自己的笔意，又较云林山水画更具“动”感。此画颇具新意。故他的画受到当时大鉴赏家宋荦的赞赏，称颂查氏是董其昌后一人而已，恽南田也把他与董其昌相提并论。",[24,27,28,36,95,29,7,34,242,671,30,58,132],"https:\u002F\u002Foss.chuangqi.store\u002Ft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公分",[],{"id":11485,"slug":11486,"title":11487,"dynasty":296,"author":1406,"museum":561,"description":11488,"tags":11489,"thumbUrl":11490,"material":70,"size":70,"collection":70,"collections":11491,"showCount":11384,"zanCount":11,"manualWeight":46,"mainColor":47},230180,"du-fu-shi-yi-tu-ce-wang-shi-min-230180","杜甫诗意图册","《清王时敏仿杜甫诗意图册》是清代王时敏创作的中国画。\n此图共十二页，每幅隶书杜诗二句， 后幅页又自跋云：“少陵诗体宏众妙，意匠经营高出万层，其奥博沉雄，有掣鲸鱼探凤髓之力，故宜标准百代，冠古绝今，余每读七律，见其所写景物，瑰丽高寒，历历在眼，恍若身游其间，辄思寄兴盘礴。\n适旭咸甥以巨册属画，寒窗偶暇，遂拈景联佳句，点染成图，顾以肺肠枯涸，俗赖填塞，于作者意惬飞动之致，略未得其毫末。\n诗中字字有画，而画中笔笔无诗，漫借强题，钝置浣花翁不少，惭愧！惭愧！西庐老人王时敏”。\n此册页画巫峡弈棋，松云绝壁，山村春色，藤月荻花。\n用笔颇为潇逸，满纸墨韵，非常生动。\n王时敏（1592—168年），字逊之，号烟客，晚号西庐老人，江苏太仓人。\n其祖父是明礼部尚书兼文渊阁大学士王锡爵，父亲是明翰林编修王衡。\n明万历二十九年（161年）举进士，崇祯初以荫仕至太常寺卿，崇祯十三年（164年）辞官隐居，入清不仕。\n工隶书，善画山水，以元黄公望、倪瓒为宗，又受董其昌影响。\n他极力主张恢复古法，反对自出新意，是清初画坛正统派的领袖，后世称“娄东派”，与王鉴、王石谷、王原祁合称“四王”，位列“清初四王”之首，在当时有很大影响。\n第一开 设色 康熙乙巳（四年，一六六五年） 丛山落涧。\n自识：[蓝水远从千涧落，玉山高并两峰寒。\n]钤[王时敏印]（白文）。\n第二开 设色 康熙乙巳（四年，一六六五年） 江村月色。\n自识：[白沙翠竹江村暮，相送柴门月色新。\n]钤[逊之]（朱文）。\n第三开 设色 康熙乙巳（四年，一六六五年） 山村春色。\n自识：[花径不曾缘客扫，柴门今始为君开。\n]钤[烟客]（朱文）。\n第四开 墨笔 康熙乙巳（四年，一六六五年） 松云绝壁。\n自识：[断壁过云开锦绣，疏松隔水奏笙篁。\n]钤[烟客]（朱文）。\n第五开 设色 康熙乙巳（四年，一六六五年） 秋山红树。\n自识：[含风翠壁孤烟细，背日月枫万木稠。\n]钤（烟客）（朱文）。\n第六开 墨笔 康熙乙巳（四年，一六六五年） 落木江帆。\n自识：[无边落木萧萧下，不尽长江滚滚来。\n]钤[逊之]（朱文）。\n第七开 设色 康熙乙巳（四年，一六六五年） 山城夕照。\n自识：[孤城返照红将敛，近寺浮烟翠且堇。\n]钤[时敏]（白文）。\n第八开 墨笔 康熙乙巳（四年，一六六五年） 山庄草阁。\n自识：[白年地僻柴门过，五月江波草阁寒。\n]钤[烟客]（朱文）。\n第九开 墨笔 康熙乙巳（四年，一六六五年） 藏藤月荻花。\n自识：[请看石上藤萝月，已映舟前芦荻花。\n]钤[时敏]（白文）。\n第十开 设色 康熙乙巳（四年，一六六五年） 秋山枫菊。\n自识：[石出倒听枫叶下，橹摇背指菊花开。\n]钤[烟客]（朱文）。\n第十一开 设色 康熙乙巳（四年，一六六五年） 巫峡弈棋。\n自识：[楚江巫峡半云雨，清口疏帘看弈棋。\n]钤[烟客]（朱文）。\n第十二开 设色 康熙乙巳（四年，一六六五年） 雪涧寒林。\n自识：[涧遣余寒历冰雪，石门斜日到林止。\n乙巳腊月写少陵诗意十二帧似旭咸贤甥，时年七十有四，时敏。\n]钤[王时敏印]（白文）[真寄]（朱文）。\n作品在立意、布局、运笔、色彩、线条等方面都达到了登峰造极的地步，在 海中是一朵瑰丽的奇葩，永不凋谢",[23,24,200,29,28,36,111,837,539,130,132,34,7,133,1081,58,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed362af805b6b8e900886c925e20e209.jpg",[],{"id":11493,"slug":11494,"title":11495,"dynasty":654,"author":982,"museum":561,"description":11496,"tags":11497,"thumbUrl":11498,"material":70,"size":70,"collection":70,"collections":11499,"showCount":11384,"zanCount":46,"manualWeight":46,"mainColor":663},227264,"xi-an-tu-bo-wu-guan-ben-dong-yuan-227264","溪岸图(博物馆本)","《溪岸图》是五代画家董源创作的一幅绢本设色画，现收藏于美国大都会博物馆。\n\n《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\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。",[200,24,25,95,36,27,28,29,7,34,31,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79f4bd7c9a668001f1943f2c22bc8be1.jpg",[],{"id":11501,"slug":11502,"title":11503,"dynasty":296,"author":8516,"museum":401,"description":8517,"tags":11504,"thumbUrl":11507,"material":142,"size":8522,"collection":70,"collections":11508,"showCount":11384,"zanCount":46,"manualWeight":46,"mainColor":47},223078,"hong-lou-meng-64-sun-wen-223078","红楼梦64",[23,439,56,28,58,60,61,34,7,1140,11505,11506,1373,8519,187],"门窗","屋顶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2f6af9ab7a5efed7373e5af0719d36f.jpg",[],{"id":11510,"slug":11511,"title":971,"dynasty":78,"author":699,"museum":53,"description":7190,"tags":11512,"thumbUrl":11513,"material":27,"size":11514,"collection":42,"collections":11515,"showCount":11384,"zanCount":46,"manualWeight":46,"mainColor":47},221789,"shan-shui-zhou-cao-zhi-bai-221789",[23,24,25,95,27,36,29,242,1140,7,34,114,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf838ea1e6905938ba9311926e6629d5.jpg","该幅 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，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻嶒，与文征明、沈周并重。作品有：《秋山红叶图》《江皋话古图》《白云红树图》《松岳高秋图》《苍岩嘉树图》等，其画派在晚明影响甚大，传其画法者甚多。\n蓝瑛 （1585-1664），一作（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂”，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n蓝瑛一生以绘画为职业，曾漫游南北，饱览名胜，眼界开阔，因而不断丰富了创作内容。他的传派，直接继承衣钵的有蓝氏一家子孙，如蓝孟、蓝深、蓝涛等，弟子刘度、王奂等都各有成就。明末同时和稍后的如陈洪绶以及金陵八家等著名画家，也都受他的影响。\n蓝瑛绘画对明末清初影响很大，被后人称为“武林派”。画史上称之为“后浙派”，将其与戴进、吴伟合称“浙派三大家”。 [2] 但实际上他的画风与戴进等不同，不能完全附属于“浙派”之后。蓝瑛字田叔，号蜨叟，晚号石头陀，又号东郭老农，所居榜额曰“城曲茅堂”。\n蓝瑛是我国明末清初的画家，曾有美术史家把他列为“浙派”，对此，有专家学者提出异议认为：蓝瑛与戴进之间既无师承关系，在绘画面貌、艺术风格上也大相径庭，故不应因二人同处浙江杭州而列为同一画派“浙派”。\n清代沈宗骞在《芥舟学画编》中提出“蓝瑛倡为武林派”，蓝瑛和他的追随者们应称为“武林派”。我们知道，画史上有一些画家因种种原因没有留下更多的生平资料，使后人很难从他们一生的行踪、生活背景、个性脾气、思维方式中去了解他们所形成的艺术风格、审美理念，只能从他们留存于世的绘画作品中去洞察其艺术之轨迹，蓝瑛就是这众多画家中的一位。长期以来，学术界对文人画家及其作品比较重视，由于蓝瑛是一位职业画家，又没有诗文和著作留存于世，因此在画史上很少有关于他的记载和涉及。本文试通过对蓝瑛绘画作品的具体分析，来阐述蓝瑛山水绘画的艺术特色和所取得的成就。\n画家的创作理念和他个人所生活的时代、环境、文化素养、审美标准是分不开的。蓝瑛作为明末清初的画家，他的绘画风格同样也脱离不开他所生活的时代。因此，在探讨蓝瑛山水绘画的艺术特色之前，我们首先要对蓝瑛的生平及师承有所了解。\n蓝瑛，生于公元1585年，卒年不详，1664年尚在，字田叔，号蜨叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号西湖外民、西湖外史、东郭老农、吴山农等，所居榜额曰“城曲茅堂”。生长于“浙派”发源地钱塘(今浙江杭州)，二十三岁寓居松江，后来长期活动于杭州、嘉兴、南京、扬州、绍兴等地，卖画授徒，影响深远，追随者主要集中于杭州一带，被称为“武林派”(武林为今杭州别称)，在明末万历到清初康熙年间足以与“松江派”抗衡。其画风融合南北两宗，自成一家，属于一位文人画的职业画家。清代以来不少学者把蓝瑛称为“浙派”的“后劲”或“殿军”。\n他工书善画，长于山水、竹石、梅兰、人物、花鸟等，技法全面，尤以山水画著名，是明末清初颇具影响力的山水画家。他的绘画特点比较明显的是用笔有顿挫，以疏秀苍劲取胜，善写秋景。在其作品的题款中，常署仿某家之作，如“仿张僧繇”、“法荆浩”、“仿李成”等，实则所画均为他自己的面目。他的山水绘画画法有两种：一种作钩勒浅绛法，另一种作没骨法，设色鲜艳夺目，所画青山、红树、白云，运用石青、石绿、朱砂、赭石、铅粉诸色，点染别致，是晚明时期富有变化的山水绘画作品。蓝瑛享年八十有余，一生以绘画为职业，笔耕不辍，传世的绘画作品面貌多样，数量众多。\n从蓝瑛传世的作品看，他的山水画创作大致可分为早、中、晚三个时期。早期为其五十岁以前。从现存蓝瑛早期的绘画作品中可以看出，他在临习古人绘画作品的过程中，打下了扎实的笔墨功底。在艺术成就的取得上，他主要得益于黄公望、王蒙、倪瓒、吴镇的助力。元四家的笔墨虽不尽相同，但蓝瑛在学习他们的绘画技法时却能择良而取，并注意吸取对自己有用的东西，藉以丰富个人的表现能力。博采众长，应该是一个艺术家取得成就的途径之一，这也是我国艺术史上久经证明的成功经验。此时蓝瑛作品呈现出的面貌基本是以中锋运笔，皴法以长披麻皴、解索皴、荷叶皴为主。山石的画法润泽浑圆，没有过多的棱角，苔点圆润。树木的画法则是多种多样，体现了他绘画技法的娴熟。在构图上，近景的树木与远景的山峦之间具有明显的空间感。设色平淡和润，风格秀润清和，疏松简略。\n《溪山秋色图》为癸丑新秋(1613年)，画家29岁时创作的一件传世绘画佳作。画卷右起为辽阔的水域，远山朦胧，云气蒸腾。中部山石突起，溪水潺潺，蜿蜒的水流从山石间缓缓淌过，坡石上零星地分布着杂草树木。整幅画作淡泊宁静，用笔柔和，山石少皴，偶有淡淡的荷叶皴，构图松秀，设色清和，墨色滋润，从中可看出蓝瑛此时的绘画受“松江派”绘画风格影响之痕迹。\n《仿李唐山水图》是蓝瑛早年创作的一件绘画作品。图中景物茂密，近景岩石累累，形成坡坨，处于曲流之畔。坡石上树木茂蔚，造型古朴，刻画细致，疏密枯润，各显生态。树林间有一茅亭临于溪边，亭内二隐士对坐畅聊。隔溪远景是巨石高峰，岩石突兀奇特，下有瀑布，泻入清溪。整个画面山石崚嶒，古树结节，山石的皴法，以小斧劈皴、刮铁皴相济并用，稍以色彩点簇，水墨晕染，刚中见柔。布局稳当，气氛清谧。远山近树，继承了李唐院体画派的风范而自有发挥，作品较多地留有宋代遗风。\n中期为五十至六十五岁之间。这时他不但取法郭熙、李唐及马远、夏圭，而且对二米、云山也精心研究，对黄公望的画更是悉心尤力。时人吴门画派沈周、文徵明的笔法他也热心师效。加之他漫游南北涉猎广泛，眼界宽广，兼融南北，形成了苍劲雄强、骨力刚硬的个人风格，此时的蓝瑛已经达到能“分别宋元家数，某人皴梁法脉，某人蹊径勾点，毫不差谬”的水平。他以自己对各家绘画特色的见解，以中锋、侧锋交替运笔，用各种皴法、点苔法熟练地画出各种形态的山石、树木。以各家的典型构图，或高远或平远，或简或繁，显现出一种笔墨苍劲、气势雄浑的境界，反映出他在三十余年仿古绘画的实践中渐渐脱开单纯的临与仿，开始形成了自己独立的绘画风格。\n《仿古山水册》作于乙亥春仲(1635年)，画家时年51岁。此山水画册的风格以临黄子久为主，笔触粗短，用笔方折，山石少皴，偶用折带、荷叶皴，略加修饰，山石敷以淡青绿和浅绛，加浓墨苔点醒神，用笔简练，设色淡雅。全册共计十二幅，每幅均可见蓝瑛中年绘画之风格。首幅水墨画枯树数株，槎枒矗立，画上题云：“云林之法，妙在简远。瑛法之，未必耳。笑笑。”第二幅浅设色画，一红衣士人立于松下，隔岸观瀑，画上题云：“偶法郭河阳画。西湖外史蓝瑛。”第三幅设色画临水岩上，桃红满树，舟人浮江而行，款“蓝瑛画”。第四幅设色画村舍数间，丛树环绕，小桥流水，画上自题：“赵令穰画法，蓝瑛。”第五幅设色画层峦飞瀑，草阁间士人独坐，画上自题“蓝瑛法大痴画”；第六幅水墨画水畔虚亭，自题：“梅华道人画法，画于富春之吉祥山房。蓝瑛。”第七幅设色画青山红树，画上题云：“元之高彦敬尚书画法米南宫，有白云红树画。蓝瑛仿之。”第八幅设色画层峦蓊郁，群树繁茂，士人独坐水岸，观泉听瀑，自题“王黄鹤听泉图。蓝瑛法。”第九幅设色画苍松红树，孤舟临岸，画上题云：“赵仲穆画似其翁，一段秀古，自成别门。蓝瑛法。”第十幅设色画秋林丹翠，篷舟沿溪，自题：“乙亥春仲法李唐画。西湖外史蓝瑛。”第十一幅设色画秋林丛聚，清雾弥漫，士人独行，自题：“法松雪斋秋林觅句。蓝瑛。”第十二幅设色画，白雪覆树，水岸亭间，士人观景，自题：“乙亥春仲法右丞画。蓝瑛田叔。”\n《乔岳松年图》是蓝瑛55岁时为宁庵祝寿时所绘。画上的景物，笔墨苍劲，山石突兀嶙峋，白云在山间缭绕，远处的楼阁隐现于流动的烟雾之中，时隐时现，增加了画面的动感。画之近处有九株苍干虬枝的古松，繁密的松针，碧绿青翠，使得画面苍浑郁茂，平添了清新的气氛。在松树的掩映下有一茅亭，亭内一老者正在观赏那飞流而下的瀑布。整个画面笔墨精到，用色灵巧，再加上山石间有规律的点以苔藓，使得画中的景物更加雄奇壮观。\n晚年为六十五岁以后，这是蓝瑛一生中最精彩的时期。此时他在融会贯通前人技法的基础上，自立门户，形成了自己的绘画风貌。有人评其晚年画风“绝似仲圭，复似启南”，一语道出蓝瑛画风在渊源上与文人画的关系和晚年苍劲雄浑的画风。从此时期的作品来看，笔法苍劲疏宕，伟峻老练，画风呈多种面貌，有些作品笔墨含蓄隽雅，有些作品青绿重设色，画法工细，色调浓丽，愈老而愈工。这一时期他主要以敏捷快速的粗笔山水为主，山石的轮廓线短小、破碎、躁动，以破笔点苔，以侧锋皴擦；树木的画法更加曲屈苍老和类型化。构图上也基本形成了一种统一的样式：巍峨雄伟的山体以棱角分明的几何体组成并繁复堆积，占据画面的大部分且多偏向一侧，而于另一侧留出一定的空间，山顶突出。山间有飞瀑丛树，山脚以渔樵隐士、老树茅屋点缀。同时出现了山体的立轴画中纵向拉长，在手卷中则横向延伸的变形现象。晚年的作品中没有了早期所保留的一定的空间感，代之以一种逼人的气势，无论是仿荆浩、董源还是仿黄公望，在风格和笔墨上已经没有了差别，它们都已化为蓝瑛的典型山水样式。蓝瑛晚年的作品，笔益精良，构图高嶂巨壁，丘壑深远，重山叠翠，更加苍浑古朴。\n《华岳高秋图》作于1652年，画家时年68岁。画中远景，高山耸立，山顶作平台状，山隈深处，楼阁崔嵬，流泉飞溅，山石勾勒线条硬折，运用荷叶皴、折带皴和牛毛皴，树草稀少，显得崚嶒。中景，群山环绕之中，筑有楼榭，溪流淙淙而下，老树粗壮，用短笔勾成，树叶采用双勾夹叶填色，松针用传统笔法，排列有序，挺拔有力，不失古气。水口用笔转折生硬，受南宋影响，类似浙派。近景，山径迂回，满山红树，二高士漫步小道，观瀑笑语。构图气势雄伟，笔势刚健豪迈。山石用荷叶皴，参以折带皴加水墨渲染，罩花青赭色，树木苍劲，枫叶明丽，描绘出华岳的深秋景色。\n《秋壑飞泉图》为蓝瑛74岁时所作的传世佳作。该画尺幅巨大，气势磅礴，画心高近四米，颇见蓝氏构图设景之能力所在，作品凝聚了画家毕生的技艺与功力。画面层峦耸翠，幽谷深邃，轻岚浮动，红树青山。山谷间的飞瀑和桥上的高士顾盼有情，高远及深远相结合，是典型的蓝氏山水画之模式。画中的高山巨峰，上部的山石重叠峻峋，瀑布悬崖，飞泉溅落。中部巨石杂树间有一茅亭，一人于内赏景，稍下建筑数座，红叶映天，浮桥卧地，小桥上二叟持杖交谈，颇有生活意趣。从这幅绘画的技法上，可以看出他在融汇前人技法方面的成就，也能看出他在创新方面的景物。作者采用“荷叶皴”，在形式与内容方面得到了和谐的结合，取得了较好的效果。那独具特点的置苔，尤显得画面苍润而厚重。有些树叶以赭色画出，突出了节令气氛，使画面秋意盎然。该画构图雄伟，气势阔大，足见蓝瑛博大精深的笔墨造诣。\n纵观蓝瑛早、中、晚三个时期的绘画作品，大体可以得到这样一些认识：早年的作品，是学宋代诸大家的笔法，尤其是学元四家的作品。此时笔法较细润，明显地呈现出某派的笔法痕迹。中年，在学习前人技法的基础上开始变法，也就是向开创独特风格的途程上逐步迈进。晚年则开创了一种雄伟浑穆的独特面貌，画不离苔以及多画秋景，善施赭色，巧用荷叶皴等等，也都是蓝瑛作品的特点。\n蓝瑛的山水画艺术成就，得益于他“性耽山水”。虽然他下苦功夫临习了晋唐宋元诸家，并达到了精妙乱真的程度，但他不以摹仿为能事。他不仅擅于师古人之意进行变革创新，而且还注重生活，注重行万里路，饱游饫看，“游闽粤荆襄，历燕秦晋落，涉猎既多，眼界弘远”。因为他胸中有真丘壑的观察积累，眼界开阔，所以能落笔纵横，水墨淋漓，独创一格一派—武林派。蓝瑛的绘画，影响广泛，师法他的人可分成三类：一类是蓝瑛的嫡传弟子，如早期的刘度、蓝孟等人；第二类是出自蓝瑛的嫡传弟子门下或模仿蓝瑛画风的职业画家，如蓝涛等；第三类是早年曾经出自蓝氏门下，后来自立门户创立了独立画风的陈洪绶、禹之鼎等。千百年来，为祖国锦绣山河传神写貌的画家，能够开宗立派的屈指可数。蓝瑛的绘画崛起于江南，熔铸古今，独开门庭，这是难能可贵的。",[23,24,28,36,29,34,7,33,35,31,187,132,272,161,10641,1066,1506,364,160,11689,11690,6128],"淡赭","山石皴染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2731e556314b70131bad67ebbce5091.jpg","74.1×161.7cm",[42,146],{"id":11695,"slug":11696,"title":11697,"dynasty":18,"author":11698,"museum":509,"description":11699,"tags":11700,"thumbUrl":11701,"material":229,"size":11702,"collection":42,"collections":11703,"showCount":11569,"zanCount":46,"manualWeight":46,"mainColor":47},222572,"wan-he-qiu-tao-tu-he-hao-222572","万壑秋涛图","何浩","此幅作品就画的是松树。据此笔者认为这个名叫何浩的画家，是一位明代中期与画家林良同时或略晚于林良的供职宫廷的职业画家。那么，现在又可以多出一名明朝的宫廷画家了，又可以增加一幅明朝的宫廷绘画作品了。",[23,24,25,26,27,29,36,34,7,31,133,82,2252,3692,1476,258],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c2dc1674f138f535644c5f04d9896db.jpg","纵27厘米、横448厘米",[42,146],{"id":11705,"slug":11706,"title":11707,"dynasty":18,"author":9525,"museum":53,"description":11708,"tags":11709,"thumbUrl":11710,"material":885,"size":11711,"collection":42,"collections":11712,"showCount":11569,"zanCount":46,"manualWeight":46,"mainColor":149},222381,"lu-shan-gao-zhou-ding-yun-peng-222381","庐山高轴","丁云鹏是中国明代画家，于1547年出生，字南羽，号圣华居士，安徽休宁人。\n天启五年（1625）尚在作《白马驭经图》，瓒子，詹景凤门人。工书法，学钟繇、王羲之。画善白描人物、山水、佛像，无不精妙。白描酷似李公麟，设色学钱选。丝发之间而眉睫意态毕具，非笔端有神通者不能也。兼工山水、花卉。中年用笔细秀，略近文征明、仇英画法，晚年风格朴厚苍劲，自成一家。 [1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。\n丁云鹏是仇英之后最著名的人物画家，他工给的笔法不下仇英，而高古文雅似又过之。他最擅长的是佛教题材，佛祖、菩萨、罗汉在他笔下既栩栩如生，又庄严肃穆。此帧李公麟《维摩演教图》画人物五十三，动物数头，趁具法器、峰峦堂宇、树石祥云，皆精密工给，非费一两月之功不能为此。董其昌与丁云鹏为挚交，曾题丁氏所绘《五像观音图卷》云：“丁南羽写此时，在吾松为顾光禄正心所馆，年三十馀，故极工妙。自后不复能事，多老年漫应。”",[24,25,95,27,28,29,130,31,34,7,133,36,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c977c8e01db35618436bdcc1f93e189.jpg","280x85.5",[42,264],{"id":11714,"slug":11715,"title":11716,"dynasty":18,"author":19,"museum":597,"description":11717,"tags":11718,"thumbUrl":11719,"material":1809,"size":11720,"collection":70,"collections":11721,"showCount":11569,"zanCount":764,"manualWeight":46,"mainColor":47},222125,"luo-hua-shi-yi-tu-quan-juan-shen-zhou-222125","落花诗意图全卷","该图写晚春最象，远山隐约，桃李花谢，落英缤纷，溪岸上有一老者倚杖临流感慨。笔墨简洁厚润，从宋元人水墨写意中发展而来，别具一格。明代兴起的以个性解放为中心的思想解放运动，在哲学上的表现是争取人的解放，在文艺上的表现则是争取文艺解放，而哲学启蒙则为文艺启蒙提供了思想理论武器。而《落花诗意图》正是作者抒发春暮感伤的个人感情，在一定意义上反映了当时艺术的民主色彩。\n该图描绘了老者一身影孑然独立于自然中的情景。画幅右半部为全幅最主要的部分，也是实景部分。该处主要部位作树五株，分为两组，以胡椒点笔法点出树叶，疏密聚散，然后以花青、赭石笼染数遍。右边下部则以平台和山坡为主，先勾出大体轮廓，然后在坡石的结合处以披麻皴皴出层次，稍作渲染，再以花青、赭石笼染。两平台分开，同时在两平台间作一小桥与平坡相连，平台上散落的一簇簇粉红的落花。靠近左面的平台上有一老人扶杖远望。左边下半部则作碎石三四块，对坡岸微作交代，且是左半部平台、坡石的过渡、延伸。远处的山色以花青稍作渲染，染出峦头即止，隐约之间，已经将晚春的空气烘染出来。整个画面只有近景和远景部分，中间部分简略处理，一片虚空，而将观者的视线引向扶杖老人为主的近景上来。\n构图:该图为典型的一角式、半边式小景构图，是南宋马远、夏圭、刘松年绘画风格的综合。当然也与浙派的某些用笔、用墨和构图有相通之处。注重渲染以及水墨的苍劲追求和有意识地省略中间景物层次等，便与浙派的绘画风貌十分相近。\n笔墨:该图树叶的画法，先用湿墨点染，后用花青烘染。而浅坡皴法则用笔硬挺，笔、力紧实，线条洗练，树身的双勾线也坚硬爽朗，同老人衣纹线一道构成了画面的骨力，这样就与树叶的清润、近水的空蒙、远山的秀逸形成明显的对比。苍中带秀、粗中挟细，雅淡中蕴含骨力，营造出了既显苍老雄健又凝重清旷旷的绘画意境，已经包含有浙派画家和宋元人不具有的新的绘画因素，这是沈周在前人基础上的创造。沈周的粗笔运用，也遥接张僧繇疏笔画的观念。",[23,24,25,26,28,27,38,37,36,29,34,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a99abcc648d34fdd1fe5bb5e6af96de.jpg","纵36厘米，横750厘米",[],{"id":11723,"slug":11724,"title":11725,"dynasty":18,"author":3504,"museum":53,"description":11726,"tags":11727,"thumbUrl":11728,"material":673,"size":11729,"collection":42,"collections":11730,"showCount":11569,"zanCount":46,"manualWeight":46,"mainColor":47},221973,"qian-yan-jing-xiu-wen-zheng-ming-221973","千岩竞秀","画面底部，两位高士对坐于参天巨木之下，临飞瀑溪泉而谈。巨木引看画者的视线上升，进入由丘陵、碎石、坡壁、悬崖交织结合的复杂山体。\n繁密的山体多采用吴中文人画家较为推崇的短披麻皴表现，但又将披麻皴的柔润转变为尖锐。飞泉上部耸立突出的山崖高踞在厚重的基座之上，而基座山体又不断曲折延伸，形成了一条极为深远的脉络。这条脉络以“S”形向上延展，串联起无数细碎的山体和林木苔点，形成兼具向上生长又左冲右突、相互挤压的骚动之势。\n如此狭长的画幅，往往与其他画作构成条屏。文徵明也确实创作了与《千岩竞秀图》配成一对的《万壑争流图》。按照当时的风气，一旦作配对之画，则这种创作会立即显得专注于装饰、商业、礼仪，具有了某种功利性。然而，文徵明却在《万壑争流图》上明言“余性雅不喜作配幅，然于默川不能终却，漫尔涂抹，所谓一解不如一解也”，以此强调自己创作的非功利性。\n在经营位置方面，《千岩竞秀图》略微体现了郭熙所言的“自山下而仰山巅”的高远，更颇为夸张地突出了“自山前而窥山后”的深远，唯独忽略了“自近山而望远山”的平远。不仅如此，《千岩竞秀图》在用墨上完全没有使用近浓远淡的手法制造透视的效果，墨色笔触鲜有变化，在浅绛设色上也基本用平涂法，使得画上群山好像都生长在另一些山峰之上，而不是向远方延伸。\n此外，文徵明在画中还特别强调了山水平面的不可进入性——画中的高士走不出画纸，也并不生活在画中，而观画者更无法有“可行、可望、可游、可居”之感。画面与现实的凛然隔绝，其实也暗含着画家内心和现实之间的隔绝，并以此将精神寄寓在平淡无聊、郁郁无为的现实生活之外。",[23,24,28,36,95,29,7,34,427,31,58,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76a88c6378825cac7e0dc34f649fe26e.jpg","画长142.6厘米，宽仅34厘米",[42,264],{"id":11732,"slug":11733,"title":11734,"dynasty":124,"author":5512,"museum":53,"description":11735,"tags":11736,"thumbUrl":11739,"material":11740,"size":11741,"collection":70,"collections":11742,"showCount":11569,"zanCount":46,"manualWeight":46,"mainColor":47},221179,"fang-chun-yu-ji-tu-ma-lin-221179","芳春雨霁图","《芳春雨霽圖》描繪荒野平溪，窠石疏林。枝上嫩葉初露，春意濃郁。遠方煙靄出沒，隱約可見。畫中怪石用斧劈皴，老樹用嚴謹的雙鈎填墨法，樹葉用淡褐色點染。全圖用筆瘦硬勁峭，構圖簡括，畫風學馬遠而又有自己的創新，為馬麟山水畫佳作。",[23,24,25,27,28,29,56,36,11737,11738,96,244,7,34,2060],"春雨","霁景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc250f3f66b0a8950d7b6bc515696ee5a.jpg","轴，绢本，浅设色","纵27．5厘米，横41．6厘米",[],{"id":11744,"slug":11745,"title":11746,"dynasty":18,"author":1100,"museum":360,"description":11747,"tags":11748,"thumbUrl":11749,"material":1107,"size":3546,"collection":70,"collections":11750,"showCount":11569,"zanCount":46,"manualWeight":46,"mainColor":47},220915,"shan-shui-ce-9-dong-qi-chang-220915","山水册9","《仿古山水图》册，明，董其昌绘，8开，纸本，墨笔6开，设色2开，每开纵42cm，横29.6cm，北京故宫博物院藏。\n\n此册画于“戊午”（明万历四十六年，1618年），董其昌时年64岁。墨笔六开，构图缜密，笔笔精到；设色二开，格调高远，艳而不俗，皆极经意之品。从鉴藏印可知，此册为董氏传与其子董祖源珍藏，又经王时敏赏鉴，故应是真笔无疑，可作鉴定之样本。",[23,24,25,111,27,29,36,242,7,1081,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c33f118062bda18bcde2cd0e0d405dc.jpg",[],{"id":11752,"slug":11753,"title":7227,"dynasty":78,"author":8453,"museum":53,"description":11754,"tags":11755,"thumbUrl":11756,"material":601,"size":11757,"collection":146,"collections":11758,"showCount":11569,"zanCount":46,"manualWeight":46,"mainColor":149},220389,"yuan-an-wo-xue-tu-yan-hui-220389","画面上天寒地冻，林木萧索，积雪封山。洛阳令乘坐牛车，带领仆从逶迤而来，在寒林掩映下的袁安屋舍前停下。一名随侍前行几步，手叩柴门。图中树石以墨染晕刷而成，人物衣纹则劲健多折，称得上是画中珍品。",[23,24,25,200,27,28,36,29,612,242,7,58,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4bd070e278c143edef678f3376f82a5.jpg","本幅 160.2x105.7公分、全幅 107.7公分",[146],{"id":11760,"slug":11761,"title":11762,"dynasty":296,"author":3437,"museum":360,"description":11763,"tags":11764,"thumbUrl":11766,"material":11767,"size":11768,"collection":42,"collections":11769,"showCount":11569,"zanCount":46,"manualWeight":46,"mainColor":47},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。",[23,24,25,95,27,36,29,272,7,187,2932,1476,34,58,132,158,133,61,4543,160,11765,10642],"笔法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43f1ae5df2a2b2579a5aa0ea6073745c.jpg","设色,水墨","纵103cm，横50.5cm",[42],{"id":11771,"slug":11772,"title":11773,"dynasty":124,"author":436,"museum":53,"description":11774,"tags":11775,"thumbUrl":11778,"material":84,"size":11779,"collection":144,"collections":11780,"showCount":11569,"zanCount":764,"manualWeight":46,"mainColor":149},220231,"jing-de-si-tu-yi-ming-220231","景德四图","全卷分四段，前图后文，各段并有榜书主题。依据研究，此卷应与皇佑元年（1049）宋仁宗同臣僚观看的〈三朝训鉴图〉有关；〈三朝训鉴图〉录宋太祖至真宗三朝事一百件，作为帝王训鉴之用。 「契丹使朝聘」为景德二年（1005）辽使来贺真宗生日；「北寨宴射」是景德元年（1004）澶渊盟后真宗到北寨与武将宴射。 「舆驾观汴涨」景德三年（1006）宋真宗亲巡汴河河堤的修整；「太清观书」则是景德四年（1007）真宗召文臣观书于太清楼。",[23,24,25,26,28,56,57,4450,58,60,317,29,34,61,1129,6105,7,11776,11777],"官员","仪仗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F886b1b71398ace05b9a53062fdfdb8f3.jpg","39x169.1",[144],{"id":11782,"slug":11783,"title":11784,"dynasty":296,"author":1331,"museum":360,"description":11785,"tags":11786,"thumbUrl":11787,"material":116,"size":11788,"collection":42,"collections":11789,"showCount":11569,"zanCount":46,"manualWeight":46,"mainColor":47},220105,"mao-lin-shi-bi-zhou-yun-shou-ping-220105","茂林石壁轴","恽寿平（公元1633—1690年），清代书画家。初名格，字寿平，后以字行，改字正叔，号南田、白云外史等，江苏武进人。他一生坎坷，以卖画为生。其山水宗宋、元诸家，尤得益于黄公望。后改习花鸟，其没骨花卉创一代新风，为“清初六大家”之一。 亦工诗、朽，著有《瓯香馆集》、《南田诗抄》。传世作品有《落花游鱼图》轴、《锦石秋花图》轴等。",[23,24,95,27,29,36,7,9770,1066,427],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5da1eec41de8c823ec9d4768363849cc.jpg","纵118厘米，横57厘米",[42,146],{"id":11791,"slug":11792,"title":11793,"dynasty":296,"author":11794,"museum":346,"description":11795,"tags":11796,"thumbUrl":11797,"material":40,"size":11798,"collection":42,"collections":11799,"showCount":11569,"zanCount":46,"manualWeight":46,"mainColor":47},220078,"feng-dong-tu-ye-xin-220078","风洞图","叶欣","叶欣（生卒年未详，公元17—18世纪)，字荣木，华亭(今上海市松江)人，流寓江苏金陵(今南京)，书画家。善山水，学宋赵令穰法，复师明姚允在之意，能独抒性灵。山水画素以“工细幽淡”著称。\n叶欣的山水画素以“工细幽淡”著称，所作野岭荒烟，孤城古渡，大有令人动秦月汉关之思。此画描绘春游之景，在桃花三月，荡舟于青湖绿山之中，徜徉于烟雾弥漫的秀丽中，陶陶然如醉如痴。此画用笔轻灵，墨色清淡，景致悠远，意境秀雅，真所谓“淡远又淡远，淡远以至于无”的情趣。",[23,24,951,27,36,7,34,58,1911,578,37,82,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc51675d8aeea351bbbd90ae98e8b724b.jpg","88.2X52.3",[42],{"id":11801,"slug":11802,"title":11803,"dynasty":18,"author":436,"museum":53,"description":11804,"tags":11805,"thumbUrl":11806,"material":142,"size":70,"collection":306,"collections":11807,"showCount":11569,"zanCount":46,"manualWeight":46,"mainColor":663},219978,"shuang-xi-tu-yi-ming-219978","双喜图","古松虬曲苍劲，皴笔勾勒出嶙峋肌理，两只鹊鸟栖于枝桠，一者侧目远眺，一者敛羽静立，灵动生姿暗破幽寂。坡石间野卉柔婉绽放，灵芝丛生，青绿与赭石晕染出幽润山意。工写兼施，勾勒细腻却无板滞之感，沉古设色晕染出静谧雅致的氛围，将山野一隅的清宁生机铺陈开来，藏祥瑞意趣于林泉小景，尽显雅致悠远的林下况味，把幽居山野的恬然意趣凝于笔墨方寸间。",[24,28,56,95,62,201,427,7,489,2915,34,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88f61b9d977cd1947a41502e7a1ac6a3.jpg",[306],{"id":11809,"slug":11810,"title":11811,"dynasty":18,"author":6270,"museum":2747,"description":11812,"tags":11813,"thumbUrl":11814,"material":116,"size":11815,"collection":42,"collections":11816,"showCount":11569,"zanCount":11,"manualWeight":46,"mainColor":663},219869,"qian-shan-xue-ji-tu-song-xu-219869","千山雪霁图","宋旭（1525―1606年后），字初穤，号石门、石门山人，（明画录作字初旸，式古堂书画汇考作字初旸，号石门）。后为僧，法名祖玄，又号天池发僧、景西居士。湖州（今浙江省湖州市）人，为“苏松画派”的先声，为吴门派支流。博宗内外典，通禅理。善山水，兼长人物。万历间名重海内。师沈周，学有师承，故出笔逈不犹人。其山头树木，苍劲古拙，巨幅大幛，颇有气势。与云间莫廷韩，入芟山社绘白雀寺壁，时称妙绝。赵左、沈士充、宋懋晋等都出于他的门下。其识款喜用八分书。万历三十三年（一六o五）作罗汉图、平沙落雁图，时年八十一。《嘉兴府志》、《明画录》、《无声诗史》、《图绘宝鉴续纂》、《读画辑略》、《珊瑚网》。传世作品有藏于故宫博物院的《五岳图》卷及上海博物馆藏《天香书屋图》轴等。",[24,27,36,95,29,537,837,112,242,30,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c9e6bf704b2ff11a1d07aa4c3c75b19.jpg","151.8x79cm",[42],{"id":11818,"slug":11819,"title":11820,"dynasty":78,"author":436,"museum":53,"description":11821,"tags":11822,"thumbUrl":11824,"material":84,"size":11825,"collection":289,"collections":11826,"showCount":11569,"zanCount":46,"manualWeight":46,"mainColor":149},219494,"qiu-jing-xi-ying-zhou-yi-ming-219494","秋景戏婴轴","秋郊明月下，六婴儿穿各色绣花长衫，在大树坡石间嬉戏，或捧花提篮，或抚弄兔儿，或招呼同伴，前有盤，盛秋季应时水果。",[24,95,28,56,58,1250,3692,112,7,489,4496,11823],"婴戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1427670394fd3c7c1a634e14fcc05070.jpg","127x61公分；全幅 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此番行旅给沉闷的山中带来生气。 此图即为姚廷美结合李、郭与董、巨两派画法而又具备自家风貌的代表作。图中画大树枝叶茂盛，后有草堂，前有乱石，一高士正临流独坐。画面右部浅滩与对岸远山遥相呼应，使空间更加开阔深远。因为是综合两派画法而又寻求自家风格，所以笔墨生拙质朴，脱略前人蹊径。",[23,24,951,36,28,860,7,242,187,30,131,34,11963,35],"道路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecff78b31d250b799136e520b6ccc06c.jpg","98.1× 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年）三月，钱杜时年50岁。上款“云伯”即清代诗人陈文述。陈文述（1771～1843）初名文杰，字谱香，又字隽甫、云伯，英白，后改名文述，别号元龙、退庵、云伯，又号碧城外史、颐道居士、莲可居士等，钱塘（今浙江杭州）人。嘉庆时举人，官昭文、全椒等知县。诗学吴梅村、钱牧斋，博雅绮丽，在京师与杨芳灿齐名，时称“杨陈”，著有《碧城诗馆诗钞》、《颐道堂集》等。据《陈鸿寿年表》，这一年画家当与陈文述同在溧阳。按画卷上的题跋，钱杜是在春天画成此画，到七月秋天的时候，钱杜到吴中桂叶书堂，展玩已经装裱成卷的《梦游天台图卷》，即兴在卷后补题诗一首。",[23,24,27,26,37,82,36,29,7,34,130,565,114,133,132,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1613412aaaf28443ed367cc74a41e904.jpg","29.8X131厘米",[42],{"id":11994,"slug":11995,"title":11996,"dynasty":18,"author":9265,"museum":4634,"description":11997,"tags":11998,"thumbUrl":11999,"material":84,"size":12000,"collection":42,"collections":12001,"showCount":11867,"zanCount":46,"manualWeight":46,"mainColor":149},219941,"han-jiang-du-diao-tu-zhu-duan-219941","寒江独钓图","朱端，是以粗放笔墨为特色的浙派后期代表性画家之一，其山水师法戴进等浙派早期名家，后溯源两宋，尤其马夏画法为重，本图是以雪景山水作品，水墨绢本，略带淡彩，有明显梁楷、牧溪笔意，构图空旷，笔意悠远，体现作者内心渴望的一种寂静与禅意。此作曾为曼殊院旧蔵品，现存于东京国立博物馆。",[23,24,200,25,95,27,36,29,32,724,242,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46e54c1695abeb8054da50fc4026f2a3.jpg","171.9×109.0cm",[42],{"id":12003,"slug":12004,"title":12005,"dynasty":296,"author":3038,"museum":597,"description":12006,"tags":12007,"thumbUrl":12008,"material":40,"size":12009,"collection":42,"collections":12010,"showCount":11867,"zanCount":11,"manualWeight":46,"mainColor":149},219912,"ceng-luan-qiu-ji-tu-wang-hui-219912","层峦秋霁图","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。",[24,951,28,36,3084,2901,34,132,7,3692,133,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F088fa3e078227eb0f8335ab5623452f8.jpg","142x66.1cm",[42],{"id":12012,"slug":12013,"title":5375,"dynasty":296,"author":1406,"museum":360,"description":5377,"tags":12014,"thumbUrl":5379,"material":84,"size":12015,"collection":42,"collections":12016,"showCount":11867,"zanCount":11,"manualWeight":46,"mainColor":149},219747,"du-fu-shi-yi-tu-wang-shi-min-219747",[23,24,25,26,951,27,28,391,34,7,132,30,33,31,244],"纵39厘米，横25.5厘米",[42],{"id":12018,"slug":12019,"title":12020,"dynasty":18,"author":9525,"museum":1043,"description":12021,"tags":12022,"thumbUrl":12023,"material":40,"size":70,"collection":42,"collections":12024,"showCount":11867,"zanCount":11,"manualWeight":46,"mainColor":47},219715,"xun-yang-song-ke-tu-ding-yun-peng-219715","浔阳送客图","此作以平远之法铺陈秋江暮色，设色清隽雅致。远景山峦以淡墨轻晕，烟岚空蒙，晕染出江天寥廓的空寂。江岸枯木萧疏，苍松虬然挺立于岩岫之间，为凄清秋意晕开一抹苍劲生机。\n\n画中江畔舟中对坐执盏，将临别之际的缱绻不舍凝于咫尺。线条清劲柔婉，山石林木以赭石花青轻染，带着吴门画派的温润秀雅，以简淡意境烘托出离别的黯然销魂，将诗文里的浔阳别绪藏进苍茫江色，淡而韵长，尽写古人送别的缱绻情深。",[24,28,56,29,58,32,34,7,316,36,95,37,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4df47f62d0026f7a3a39ac0a0b6aecb.jpg",[42],{"id":12026,"slug":12027,"title":2840,"dynasty":18,"author":12028,"museum":1137,"description":12029,"tags":12030,"thumbUrl":12031,"material":40,"size":12032,"collection":42,"collections":12033,"showCount":11867,"zanCount":11,"manualWeight":46,"mainColor":47},219677,"fang-gu-shan-shui-ce-yun-xiang-219677","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。”",[111,28,38,82,36,29,837,96,32,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a9216d1ebee0a965f0c8cc37df5f44c.jpg","26x15.2",[42],{"id":12035,"slug":12036,"title":12037,"dynasty":18,"author":4395,"museum":360,"description":12038,"tags":12039,"thumbUrl":12040,"material":27,"size":12041,"collection":42,"collections":12042,"showCount":11867,"zanCount":46,"manualWeight":46,"mainColor":47},219206,"wei-wu-kuan-zuo-shan-shui-tu-du-qiong-219206","为吴宽作山水图","此图绘深山幽谷，溪桥流水，林木草屋，极为森藐悠远。构图饱满繁密，用笔秀润苍健，画风慎密清逸，格调高远古朴，意境深邃澹然。",[23,24,27,36,95,29,34,7,31,32,30,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde3d1b0e984c125a383b3b438fdff855.jpg","纵108.2cm，横38.2cm",[42],{"id":12044,"slug":12045,"title":12046,"dynasty":296,"author":7129,"museum":360,"description":7456,"tags":12047,"thumbUrl":12048,"material":84,"size":7459,"collection":306,"collections":12049,"showCount":11867,"zanCount":11,"manualWeight":46,"mainColor":149},218524,"cang-qiu-lan-fei-pu-tu-zhou-zhang-zong-cang-218524","苍秋岚飞瀑图轴",[23,200,24,95,29,28,36,7,3630,31,34,60,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd631dc13de2e69a5451abd4d5af28756.jpg",[306],{"id":12051,"slug":12052,"title":5465,"dynasty":296,"author":436,"museum":561,"description":12053,"tags":12054,"thumbUrl":12055,"material":84,"size":12056,"collection":289,"collections":12057,"showCount":11867,"zanCount":11,"manualWeight":46,"mainColor":149},217061,"luo-han-tu-yi-ming-217061","罗汉图是清朝时期的一张著名图画。这张图画描绘了一个罗汉，也就是佛教中的一种超凡脱俗的人物。罗汉图通常都会描绘罗汉坐在一个莲花座上，并且脸部表情非常平静。罗汉图被认为是一张具有深刻哲学意义的图画，它可以帮助人们思考人生、审视自己内心世界的问题。",[23,24,28,56,784,58,427,7,489,524,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f0f92db8d3a95be73cc37fc1f75a538.jpg","63x39",[289],{"id":12059,"slug":12060,"title":12061,"dynasty":296,"author":12062,"museum":53,"description":12063,"tags":12064,"thumbUrl":12066,"material":84,"size":12067,"collection":306,"collections":12068,"showCount":11867,"zanCount":46,"manualWeight":46,"mainColor":149},216212,"suan-ni-zhou-liu-jiu-de-216212","狻猊轴","刘九德","刘九德（Liu Jiude）是一位清朝的画家，他的狻猊图是他最著名的作品之一。狻猊图是一幅大型油画，描绘了一只狮子在草原上的场景。这幅画以其精细的细节、生动的色彩和传神的描绘而闻名。刘九德在创作狻猊图时，深受中国传统山水画的启发，并结合自己的独特艺术风格。狻猊图被认为是中国清朝时期最优秀的艺术作品之一，并被广泛收藏。",[24,25,95,28,56,1396,12065,427,7,1140],"狮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce7c5161fa971df7d7b5ae04c0307600.jpg","176.8x238.5cm",[306],{"id":12070,"slug":12071,"title":12072,"dynasty":18,"author":1100,"museum":20,"description":5199,"tags":12073,"thumbUrl":12074,"material":40,"size":70,"collection":70,"collections":12075,"showCount":11867,"zanCount":46,"manualWeight":46,"mainColor":47},214649,"qiu-xing-ba-jing-tu-ce-8-dong-qi-chang-214649","秋兴八景图册-8",[24,25,111,28,257,38,37,36,29,32,60,34,201,31,7,883,350],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42cbb4fb5fa1b201a43ea69f5624d486.jpg",[],{"id":12077,"slug":12078,"title":12079,"dynasty":124,"author":12080,"museum":561,"description":12081,"tags":12082,"thumbUrl":12083,"material":217,"size":660,"collection":70,"collections":12084,"showCount":12085,"zanCount":46,"manualWeight":46,"mainColor":47},290864,"ke-si-shan-shui-zhou-shen-zi-fan-290864","缂丝山水轴","沈子蕃","祖籍定州孟家庄。缂丝名匠。",[200,24,95,440,257,28,29,33,30,31,32,96,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34435ac0ec43f64123746736c26b0390.jpg",[],39,{"id":12087,"slug":12088,"title":12089,"dynasty":78,"author":961,"museum":561,"description":12090,"tags":12091,"thumbUrl":12092,"material":217,"size":660,"collection":70,"collections":12093,"showCount":12085,"zanCount":764,"manualWeight":46,"mainColor":149},290829,"qing-jiang-chun-xiao-zhou-wu-zhen-290829","清江春晓轴","图画清江两岸的美丽风光。江之左岸，高山耸立．巍峨壮观，笔直的山峰直插云天。远山采用水墨渲染，用淡墨勾勒出山之轮廓，隐约可见连绵起伏之势。主景画平缓的山坡，坡上的苍松翠梧只是用笔尖画出一些小点点，但山泉和因落差形成的瀑布倒挂于两山之间，却清晰可见。主景的高山，巨峰陡然耸立，占据了画面的二分之一强。山峰采用渴笔擦皴法，山峰壁削，山坡平缓都画得非常形象逼真。山巅之上，花草树木也是采用写意的画法，用笔尖墨点来表现。只有山角下、河岸边的松林方可见其真面目，树干、树叶等，一一画出。幽寂的山谷间，有亭台楼阁，有的画其全貌，有的只画楼之一角。山脚坳中有平房数间，掩映在松树林中。从左至右，平房所处的山石之间，有三座木桥相连。清江右岸江心岛上，也有平房数间，由坡岸到江心岛，由两座木桥相连。可谓小桥流水人家，一派世外桃源的平和景象。江中心一叶扁舟，顺流而下。船上四人，或高谈阔论，或尽情欣赏清江两岸的大好风光。这些舟桥，既以其小巧与大山相映成趣；又起到了将画面各处景物连贯为一个有机整体的作用，在构图上很见匠心。",[24,25,95,27,36,29,30,31,32,60,34,7,37,38,82,243,1208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9786e996b3ba3ec502dce1a7d92ae95.jpg",[],{"id":12095,"slug":12096,"title":123,"dynasty":124,"author":8299,"museum":561,"description":8300,"tags":12097,"thumbUrl":12098,"material":217,"size":660,"collection":70,"collections":12099,"showCount":12085,"zanCount":46,"manualWeight":46,"mainColor":149},288950,"xi-shan-xing-lv-tu-zhu-rui-288950",[24,951,27,36,612,214,242,7,97,3796,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08e5e368d045f07f690c0d3294e3aae4.jpg",[],{"id":12101,"slug":12102,"title":12103,"dynasty":296,"author":297,"museum":561,"description":12104,"tags":12105,"thumbUrl":12107,"material":217,"size":660,"collection":70,"collections":12108,"showCount":12085,"zanCount":11,"manualWeight":46,"mainColor":47},288093,"fang-guo-zhong-shu-shan-shui-gua-zhou-zhu-da-288093","仿郭忠恕山水挂轴","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。",[23,24,200,25,95,27,36,186,29,7,34,12106,58,82],"亭屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fba1eb735d31099514794c6d03e0419.jpg",[],{"id":12110,"slug":12111,"title":12112,"dynasty":296,"author":12113,"museum":360,"description":12114,"tags":12115,"thumbUrl":12116,"material":229,"size":70,"collection":42,"collections":12117,"showCount":12085,"zanCount":11,"manualWeight":46,"mainColor":149},237451,"fei-quan-bi-liu-zhou-fu-shan-237451","飞泉壁流轴","傅山","傅山，初名鼎臣，字青竹，改字青主，又有浊翁、观化等别名，汉族， 山西太原人。明清时期道家思想家、书法家、医学家。\n傅山自称为老庄之徒，他自己也在很多场合与作品中反复强调、自陈：“老夫学老庄者也”、“我本徒蒙庄”、“吾师庄先生”、“吾漆园家学”。自觉继承道家学派的思想文化。他对老庄的“道法自然”、“无为而治”、“泰初有无”、“隐而不隐”等命题，都作了认真的研究与阐发，对道家传统思想作了发展 ,常以老庄之徒自居。\n傅山于学无所不通，经史之外，兼通先秦诸子，又长于书画医学。北京大学教授、引碑入草开创者的李志敏评价：“傅山的草书圈眼多，繁而不乱，于郁勃浑脱之中，又有逸岩之态”。 [3] 著有《霜红龛集》等。一些武侠小说里，傅山被描写为武侠高手。他是著名的道家学者，哲学、医学、内丹、儒学、佛学、诗歌、书法、绘画、金石、武术、考据等无所不通。他被认为是明末清初保持民族气节的典范人物。\n傅青主与顾炎武、黄宗羲、王夫之、李颙、颜元一起被梁启超称为“清初六大师”。著有《傅青主女科》《傅青主男科》等传世之作，在当时有“医圣”之名。《清史稿》卷五百一有传。",[200,24,25,95,27,36,29,4213,34,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa85371dd8be5ee5e07f223747997c78c.jpg",[42,146],{"id":12119,"slug":12120,"title":971,"dynasty":296,"author":3185,"museum":561,"description":12121,"tags":12122,"thumbUrl":12123,"material":70,"size":70,"collection":42,"collections":12124,"showCount":12085,"zanCount":46,"manualWeight":46,"mainColor":47},236915,"shan-shui-zhou-kun-can-236915","髡 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。\n髡 残,善画山水，亦工人物、花卉。山水画主要继承元四家传统，尤其得力于王蒙、黄公望。构图繁复重叠，境界幽深壮阔，笔墨沉酣苍劲，以及山石的披麻皴、解索皴等表现技法，多从王蒙变化而来；而荒率苍浑的山石结构，清淡沉着的浅绛设色，又近黄公望之法。他还远宗五代董源、巨然，近习明代董其昌、文徵明等，兼收并蓄，博采众长。在学习传统基础上，重视师法自然，自谓“论画精髓者，必多览书史。登山寡源，方能造意”。一生中大部分时间都在山水中度过，经常驻足于名山大川，流连往返。他“僻性耽丘壑”、“泉石在膏肓”，主观的情感、性灵与客观的景物、意境相感应、交融，使其山水画景真情切，状物与抒情成为一体。所作山水，在平淡中求奇险，重山复水，开合有序，繁密而不迫塞，结构严密，稳妥又富于变化，创造出一种奇辟幽深，引人入胜之境，生动地传达出江南山川空口茂密、浑厚华滋的情调。他喜用渴笔、秃毫，苍劲凝重，干而不枯，并以浓淡墨色渲染，使得笔墨交融，形成郁茂苍浑、酣畅淋漓的情趣，使画面产生雄浑壮阔、纵横蓬勃的气势。存世代表作有《报恩寺图》，绘南京聚宝门外报恩寺，通过概括提炼，表现了金陵名胜的磅礴、奇异气象。《云洞流泉图》、《层岩叠壑图》和《雨洗山根图》（均藏故宫博物院），以繁密的布局、苍劲的用笔、郁茂的景致、幽深的境界，显现出石溪鲜明的艺术特色。",[24,27,36,95,37,82,29,60,7,34,364,227,114,133,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfe511ee2e75e086c05f0dfcddd70af4.jpg",[42,146,648],{"id":12126,"slug":12127,"title":12128,"dynasty":296,"author":9138,"museum":360,"description":12129,"tags":12130,"thumbUrl":12131,"material":142,"size":12132,"collection":42,"collections":12133,"showCount":12085,"zanCount":11,"manualWeight":46,"mainColor":149},236112,"qiu-lin-ye-zhang-tu-zhou-zhang-yu-sen-236112","秋林曳杖图轴","该图构图险中求隐，用笔多变灵活，细皴密点，石作卷云，水作横波，松枝虬曲披靡，既得茂蔚之姿，又获空灵之气，设色优美，不落俗套。\n张雨森，生卒年不详，初名雨，字作霖，一字紫琅，号苍野，安徽当涂人，经子，工山水，得文家风韵。善泼墨，惜用墨皆渗以胶。亦善画花鸟。乾隆时曾供奉内廷。",[24,200,95,29,28,36,30,31,7,952,5850,33,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff7483aa2c190af398b7e81ccbdcca24.jpg","纵157厘米，横100厘米",[42,264],{"id":12135,"slug":12136,"title":12137,"dynasty":296,"author":8003,"museum":561,"description":12138,"tags":12139,"thumbUrl":12141,"material":70,"size":70,"collection":70,"collections":12142,"showCount":12085,"zanCount":11,"manualWeight":46,"mainColor":149},236043,"qian-long-huang-di-xi-xiang-tu-zhou-ding-guan-peng-236043","乾隆皇帝洗象图轴","此作以洗象场景铺陈，将禅门仪轨融于山林野趣。虬松苍劲盘桓，荫蔽出一方幽凉，巨象安驯仁厚，侍者持具涤扫，动作舒展自然。画面人物神态各殊，或静立垂目，或俯身劳作，衣袂翩跹雅致，敷色明柔妍丽。远景以淡墨晕出平沙烟岚，衬出清旷悠远的林下氛围。\n\n整作工笔精细雅致，线条婉转流畅，将肃穆礼佛之意揉入悠然山野图景，兼具规整细腻与空灵澹远，把清宁禅意与林下雅趣相融，观之如临其境，见一场祥和清寂的林间佛事，韵致悠长。",[24,95,56,28,58,12140,2241,1396,29,34,7,258],"大象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e64a545b5a01030f15e8610b035d154.jpg",[],{"id":12144,"slug":12145,"title":106,"dynasty":18,"author":12146,"museum":561,"description":12147,"tags":12148,"thumbUrl":12151,"material":70,"size":70,"collection":42,"collections":12152,"showCount":12085,"zanCount":46,"manualWeight":46,"mainColor":47},235817,"shan-shui-ce-li-liu-fang-235817","李流芳","此作以平远视角绘就郊野秋光，浅滩秋水澄澈空蒙，远岸林影澹澹如幻。近岸杂木荣枯相间，掩映村居茅舍，草垛朴拙错落，尽是乡野闲趣。\n\n笔墨简淡苍润，以淡赭晕染出温柔秋意，勾勒皴擦松灵随性，无浓艳铺陈，却将江南秋日的清寂闲适尽数铺展。搭配题诗相映成趣，师法吴门风神，把文人幽居的澹然襟怀融于浅淡笔墨间，萧散天真，尽显晚明文人画雅逸空远的意趣，于平淡间见风神。",[24,25,111,27,28,36,29,34,7,35,316,12149,12150,1066,1105,986,113],"平远","淡彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9287426ebcc1b5a52c748d89a972a0b.jpg",[42,306],{"id":12154,"slug":12155,"title":12156,"dynasty":78,"author":107,"museum":360,"description":12157,"tags":12158,"thumbUrl":12159,"material":246,"size":12160,"collection":70,"collections":12161,"showCount":12085,"zanCount":46,"manualWeight":46,"mainColor":149},233787,"ge-zhi-chuan-yi-ju-tu-zhou-wang-meng-233787","葛稚川移居图轴","元代道教盛行，表现道教题材的绘画作品为数众多，此图描绘的是晋代著名道士葛洪携家移居罗浮山修道的故事，截取了葛洪在移居路上的一段情景。画面以山水为主体，重山复岭，丹柯碧树，飞瀑溪潭，茅亭草舍，一派深秋山林佳境。全画构图繁复，但层次井然，飞瀑、山径引导观者的视线层层深入，使画面气脉贯通，虽满而不迫塞。图中山石纯用水墨，皴擦点染兼参，干湿浓淡互用，勾画缜密，而树木、人物、屋宇则施以赭石、藤黄、花青，设色沉稳浑厚，极富古雅的韵致。整个画面谨严、深秀，创造出一幅理想的隐居环境。王蒙与葛洪虽然年代相隔久远且身份迥异，但在许多方面却有着相同之处：二人皆出自名门，都欲入世作官，却均遭世弃，最终都选择了避世隐居。此图是反映王蒙避世隐居思想的最具代表性的作品。",[24,25,95,28,257,29,36,58,215,7,31,34,883],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faff523932734437a78bb03a9d5015869.jpg","纵139厘米，横58厘米",[],{"id":12163,"slug":12164,"title":12165,"dynasty":18,"author":3243,"museum":239,"description":12166,"tags":12167,"thumbUrl":12169,"material":70,"size":70,"collection":70,"collections":12170,"showCount":12085,"zanCount":11,"manualWeight":46,"mainColor":149},228286,"zhai-mei-gao-shi-tu-chen-hong-shou-228286","摘梅高士图","《对镜仕女图》是明代画家 创作的中国画，现收藏于清华大学艺术博物馆。\n该画画了一位恬静仕女，手托镜子自照，用笔细劲内敛，设色古雅隽永，人物形象稍事变形夸张，高雅脱俗。\n此图的画面突出的是一位恬静、娟秀的仕女形象。\n她两手托镜自照，神态悠闲，身穿交领右衽束袖短上衣，外系长裙，腰间配有锦纹织物以及玉环小绶。\n上衣短而下裙长，袖口窄，下角圆，裙腰束得很高。\n种桃三百树，颜色亦如之。\n莫向汉宫说，美人争自为。\n洪绶似天耳社长兄。\n洪绶之印（白文）、章侯（朱文）。\n­ 渊雷室藏（朱文）、曾在朱屺瞻家（朱文）、印章漫漶（朱文）。\n该画是作者陈洪绶中后期的作品，大约创作于明崇祯九年（公元166年）。\n此图为工笔人物画，画面居中位置的仕女，面颊丰润，眉目细长，体态较同时期的人物画略显丰腴，发鬓高耸以桃花、云簪装饰，其渲染方式承唐代之法，画中仕女手持青铜菱花镜合于胸前，微微颔首垂目视镜，眉宇间略显哀愁，若有所思。\n画中人物襦裙高系，刻意变形的比例关系，又通过深色的前襟和裙摆的佩饰加以视觉的平衡。\n画面环境树石相伴，泉水隐现，人景契合 ，画面右上角斜出的桃树与画面下方皴染的几处坡石等补景起到了突出主体与调节画面的作用。\n整个画面，人物属于密体而背景属于疏体，从而形成人和自然之间的节奏变化，在艺术处理上别具匠心。\n造形夸张，带圆弧形，时常失调，反映了文人写意画脱略形似的审美意识。\n此图设色淡雅，坡石以或浓或淡的墨色与淡赭色皴染勾勒，布局疏密得当，主体突出。\n画面左上角以草书题诗，线条苍劲老练，炉火纯青。\n此图的衣饰用笔，纯属中锋，则寓清刚圆劲于长短、轻重抑扬、顿挫之中，如同奏乐，使人体会到一种韵律感。\n该画用笔细劲流畅，十分强调线条的运用，特别是服饰的摺纹，借鉴了唐人、宋人、元人的线条技巧，又重性情挥洒自如，形成了人物的线条美。\n中国艺术研究院教授 ：仕女眉毛和眼睛距离很宽，显得意态非同寻常，人物仍然是圆浑丰满的。\n线条细劲，有转折和轻重的变化，且内含苍道刚劲之力。\n设色古淡，仅于女人嘴唇点朱红色，其余地方若淡若无。\n根据收藏印记可知该画经渊雷室、近代收藏家 等收藏，现收藏于清华大学艺术博物馆。\n218年6月16日，该画在“清华藏珍·翰墨丹青——清华大学艺术博物馆藏品展”中展出。\n陈洪绶（1598—1652年），明代画家。\n号老莲、悔迟，诸暨（今属浙江）人。\n幼年即喜爱绘画，一度为宫廷作画，后南返。\n擅画人物、山水、花鸟、竹石、鱼虫，初学蓝瑛，后学李公麟、赵孟頫。\n绘有《水浒叶子》《博古叶子》《九歌》和《西厢记》等绣像插图。\n传世作品有《拳石山茶图》《笼鹅图》《升庵簪花图》《摘梅高士图》。\n著有《宝论堂集》等。",[23,24,25,95,56,28,712,58,1838,2653,242,244,12168,7,34,159],"梅枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8babe604516aae8491081e1577cd1935.jpg",[],{"id":12172,"slug":12173,"title":3226,"dynasty":654,"author":2261,"museum":283,"description":12174,"tags":12175,"thumbUrl":12176,"material":70,"size":70,"collection":70,"collections":12177,"showCount":12085,"zanCount":46,"manualWeight":46,"mainColor":149},227597,"xi-shan-lan-re-tu-ju-ran-227597","《宋巨然溪山兰若图》为宋代画家巨然创作的一幅绢本墨笔画，现于美国克利夫兰博物馆藏。\n\n此图高耸云表的山峦雄居于画幅上部，山头布有矾头状的卵石，犹是巨然本色，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。画幅右上有“巨五”编号，当是六幅通景屏风中的第五幅，仅为大幅山水的一部分。\n\n巨然，五代宋初画家。江宁（今江苏南京）人。南唐亡，至开封（今属河南省），为开元寺僧。多以长披麻皴画山水，山顶多作矾头（石块），与董源并称“董巨”，为南方山水画派之祖。",[23,24,25,29,95,27,36,837,34,3229,132,187,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cac38e11a74525e15e53089cd141edb.jpg",[],{"id":12179,"slug":12180,"title":12181,"dynasty":296,"author":436,"museum":53,"description":12182,"tags":12183,"thumbUrl":12185,"material":70,"size":70,"collection":289,"collections":12186,"showCount":12085,"zanCount":11,"manualWeight":46,"mainColor":149},223410,"ma-zu-qi-ji-yi-ming-223410","妈祖奇迹","妈祖，以中国东南沿海为中心的海神信仰，又称天妃、天后、天上圣母、娘妈等等，是历、现代船工、海员、旅客、商人和渔民共同信奉的神祗。妈祖，原名林默，宋建隆元年（960年）农历三月二十三日诞生于莆田湄洲岛，因救助海难于宋太宗雍熙四年（987年）九月初九逝世。",[23,24,25,56,28,58,34,7,187,578,6105,12184],"船帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0c2fadc1572fad66eb39c5b51f5f0e9.jpg",[289,264],{"id":12188,"slug":12189,"title":12190,"dynasty":296,"author":1795,"museum":360,"description":12191,"tags":12192,"thumbUrl":12193,"material":454,"size":12194,"collection":42,"collections":12195,"showCount":12085,"zanCount":46,"manualWeight":46,"mainColor":149},223289,"shan-yu-yu-lai-tu-zhou-yuan-yao-223289","山雨欲来图轴","本幅自题：“山雨欲来风满楼，袁耀拟意。”钤“袁耀之印”、“昭道氏”印2方。\n此幅取唐代诗人许浑《咸阳城东楼》诗意，原诗为“一上高城万里愁，蒹葭杨柳似汀洲。溪云初起日沉阁，山雨欲来风满楼。鸟下绿芜秦苑夕，蝉鸣黄叶汉宫秋。行人莫问当年事，故国东来渭水流。”画面描绘暴雨来临前乌云狂风之下的建筑。黑沉沉的浓云正滚滚而来，弓曲的树木、低伏的庄稼、飘摇的小舟、逆风而行的农夫以及状貌扭曲、高耸危人的山岩都为画面增添了戏剧性的紧张情节和内在张力。风本无形，但画家创造性地用富于动感的笔调将闲雅剔透的静态楼阁穿插在充满动感的山水中，构成画面的诸多元素对比呼应而又谐调冲和，在动静之间达到平衡。",[23,24,95,57,29,60,7,34,133,32,28,36,58,724,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5e7ab7029b365df7bfd3780da6b16bf.jpg","纵195.1厘米，横116.8厘米",[42,264],{"id":12197,"slug":12198,"title":12199,"dynasty":296,"author":8516,"museum":401,"description":8517,"tags":12200,"thumbUrl":12201,"material":142,"size":8522,"collection":70,"collections":12202,"showCount":12085,"zanCount":46,"manualWeight":46,"mainColor":149},223035,"hong-lou-meng-160-sun-wen-223035","红楼梦160",[23,24,56,28,33,60,31,58,30,34,4502,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96a3b36d5f100795b59ea7df0714f34a.jpg",[],{"id":12204,"slug":12205,"title":12206,"dynasty":18,"author":12207,"museum":53,"description":12208,"tags":12209,"thumbUrl":12210,"material":673,"size":12211,"collection":289,"collections":12212,"showCount":12085,"zanCount":46,"manualWeight":46,"mainColor":149},222550,"xuan-yuan-wen-dao-tu-juan-shi-rui-222550","轩辕问道图卷","石芮","这张画是石锐（石芮）替一位「延右观」的杨姓道长所绘的画作。描述上古时代有位仙人「广成子」隐居在崆峒山，轩辕氏（黄帝）听说他的道行高深，前往拜访的故事。因为这个事件带有许多神仙的色彩，所以在道教界十分盛行。",[23,24,26,56,28,58,29,60,427,7,133,114,57,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90506c85bbeab4041895ff4e32c7a3b0.jpg","32cmx152cm",[289,264],{"id":12214,"slug":12215,"title":12216,"dynasty":18,"author":6338,"museum":53,"description":12217,"tags":12218,"thumbUrl":12219,"material":70,"size":12220,"collection":42,"collections":12221,"showCount":12085,"zanCount":46,"manualWeight":46,"mainColor":47},222329,"hua-jiao-yuan-shi-er-jing-ce-liang-xin-tang-shen-shi-chong-222329","画郊园十二景册－凉心堂","沈士充，明代画家，生卒年不详。字子居，华亭（今松江属上海市）人。出宋懋晋之门，兼师赵左。郡人能画者多师之\n他擅长画山水画，笔法松秀，墨色华淳，皴染淹润，画山很少有突兀之势，清蔚苍古.所作山水，丘壑蓓葱，皴染淹润，为云间正传。松江画派的正宗人。他常为董其昌代笔.陈继儒（一五五八-一六三九）札云：“子居老兄：送去白纸一幅，润笔三星，烦画山水大堂。明日即要，不必落款，要董思老出名也。”今赝董画充塞天下，若沈士充、赵文度（左）作，已为上驷矣。万历四十六年（一六一八）作山水扇，见风雨楼扇粹，崇祯六年（一六三三）作寒林浮霭图、四时山水卷。《明画录、无声诗史、图绘宝鉴续纂、桐阴论画、松江志》\n沈士充是明末“松江派”的画家，陈继儒写给他求为董其昌代笔作画的一封信，已成了后世美术史家研究董其昌与松江绘画的重要史料。其实他的画笔，与董其昌判然有别。沈氏长于构图，皴染周至，是技巧纯熟的作家画；董氏用笔生秀，不拘形模，是但称己意的士夫画。有：《仿古山水图》卷及《天香书屋图》轴，现藏故宫博物院；《山楼观稼图》 轴、《寒塘渔艇图》轴 、《寒林浮霭图》轴 [3] 现藏故宫博物院；《秋林水阁图》轴，藏南京博物院；《仿黄公望天池石壁图》卷，辑入《沈子居陈眉公书画合壁》单印本。",[23,24,25,111,28,27,29,36,30,31,242,427,366,7,187,364],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdffa2c0791df43a9dd53e4e0c8c7774a.jpg","69.4x52.5厘米",[42,264],{"id":12223,"slug":12224,"title":12225,"dynasty":18,"author":19,"museum":53,"description":12226,"tags":12227,"thumbUrl":12229,"material":229,"size":70,"collection":70,"collections":12230,"showCount":12085,"zanCount":11,"manualWeight":46,"mainColor":47},222091,"tai-jing-lin-ting-tu-shen-zhou-222091","苔迳林亭图","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。",[23,1900,27,36,29,33,96,7,12228,82],"苔藓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66a2b67b5b31a4fb17975c34793c69e7.jpg",[],{"id":12232,"slug":12233,"title":12234,"dynasty":18,"author":9109,"museum":53,"description":12235,"tags":12236,"thumbUrl":12237,"material":40,"size":12238,"collection":42,"collections":12239,"showCount":12085,"zanCount":46,"manualWeight":46,"mainColor":47},222087,"xi-tong-tu-zhou-qian-gu-222087","洗桐图轴","此图以人物为主，其背景作为陪衬，在画幅左下角画有连绵不断的山石，山石向竹草从杂\n此图绘一高士，坐在圏手椅上，头戴浩然巾，面日清瘦，身着宽服长袍，宽袖，双脚露出，双手扶在手椅上。圏手椅形制如栲佬式，传说唐代诗人孟浩然始用，明清时为流行，常用于文人逸士。这位高士仰首观望二童子洗园中一棵桐树，桐树下一童予抬水桶，往上使劲，又有一童子蹬坐在树楼上，左手扶着桐树枝，右手正用力吊起水桶为洗桐之用，另一童穿着开襟宽袖长服，持有鹅毛扇伫立于高土左侧，亦在目不转珠地望着两个孩童洗桐的情景。",[23,24,25,95,28,56,58,112,7,11672,66,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc5caf239e655e2b04c3f4276936b930.jpg","纵129.8厘米，横445厘米",[42,264],{"id":12241,"slug":12242,"title":12243,"dynasty":18,"author":387,"museum":108,"description":12244,"tags":12245,"thumbUrl":12246,"material":601,"size":12247,"collection":42,"collections":12248,"showCount":12085,"zanCount":46,"manualWeight":46,"mainColor":149},219982,"jiang-shen-cao-ge-tu-tang-yin-219982","江深草阁图","此幅作品以焦墨作江千石壁,二松虬结其间,松下一座茅亭,亭中幽人清坐,山拗间流泉飞落,山间小路曲折隐现,左中部有画家自题:'五月江深草阁寒苏门唐寅写增次明吴君．'下铃朱文印'唐子畏图书'、'某景书屋'．画心及诗堂有沈周、吕秉之、叶恭绰、吴湖帆等人题跋,整幅作品皴笔清劲、缜密,于风骨奇峭中透出明洁秀爽的雅逸之气。\n此幅作品虽无年月可考,但从风格上看,确为少年真迹．按吴湖帆的考证,沈周题诗书迹为60 余岁时作,沈又长子畏43 岁．沈周与吕秉之的题均为前辈勉励后生之语．按唐寅中弘治戊午解元时年29 岁,以吕秉之所题'子且不试艺'句,此幅作于29 岁之前无疑。",[23,200,24,25,95,27,36,29,60,7,31,34,58,130,4543],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fece99a18e25e8053cb0da8812a3492fb.jpg","纵84 厘米,横36.7 厘米",[42],{"id":12250,"slug":12251,"title":12252,"dynasty":124,"author":12253,"museum":53,"description":12254,"tags":12255,"thumbUrl":12256,"material":28,"size":70,"collection":42,"collections":12257,"showCount":12085,"zanCount":46,"manualWeight":46,"mainColor":47},219950,"he-ting-xiao-shu-tu-zhao-shi-lei-219950","荷亭消暑图","赵士雷","水岸铺陈开清寂夏景，临水亭台错落相衔，飞檐回廊隐在垂柳荫翳间，柔条拂过静波，将暑意揉碎在漾漾水色中。远景轻笼烟霭，把天地晕成淡润的墨色，消解了溽热烦躁。\n亭畔静立侍者，等候凭栏观水的主人，晕染出幽居消暑的松弛意趣。全图笔法秀润温婉，布景虚实相映，古雅绢色衬出一片临水纳凉的闲雅天地，将耽于林泉、静享幽夏的隐逸襟怀晕染尽致。",[23,200,24,25,111,56,28,57,33,1744,34,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa754d1f34c6e3092b4d0c8dc675fbfe9.jpg",[42],{"id":12259,"slug":12260,"title":12261,"dynasty":296,"author":8362,"museum":20,"description":12262,"tags":12263,"thumbUrl":12264,"material":84,"size":12265,"collection":289,"collections":12266,"showCount":12085,"zanCount":11,"manualWeight":46,"mainColor":47},219428,"gu-kou-you-ju-tu-gao-cen-219428","谷口幽居图","高岑，字蔚生，号榕园。浙江钱塘（今杭州）人。明崇祯至清康熙间画家。居金陵（今南京），高阜弟，为“金陵八家”之一。初师同里朱睿营，晚乃以己意行之。擅山水及水墨花卉，写意入神。",[24,951,95,27,28,36,7,130,31,32,35,427,242,132,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fee21b39327abc0b64688cf74652603.jpg","纵332厘米，横80 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其善鸣秉性；绶带鸟身姿优美，深蓝色羽毛分外夺目。花鸟绚丽的色泽和生动的情致，营造出喜庆、欢悦的气氛和吉祥、华美的意趣。\n此图画法工整鲜丽，继承了宋代“黄家富贵”的宫廷“院体”花鸟传统。同时，工笔重彩的花鸟与粗笔水墨的树石相间，也反映了吕纪兼工带写的成熟花鸟画风格。",[2252,56,28,12401,12402,1990,12403,201,12404,7,489],"院体","桂树","山禽","树干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59bccc1179ac574e6114c194b238a5df.jpg","纵192厘米，横107厘米",[],{"id":12409,"slug":12410,"title":12411,"dynasty":296,"author":1406,"museum":360,"description":12412,"tags":12413,"thumbUrl":12414,"material":246,"size":12415,"collection":70,"collections":12416,"showCount":12330,"zanCount":46,"manualWeight":46,"mainColor":47},233822,"qiu-shan-bai-yun-tu-zhou-wang-shi-min-233822","秋山白云图轴","图绘烟云浩渺、林木葱郁的雨后山景。据款题而知，此图是作者有感于“三伏生秋”之意于盛夏的雨后仿元人黄公望笔意所作的秋景图。王时敏自明崇祯五年（1632年）辞官归里后便潜心于对宋、元诸家绘画的研究，期间创作了大量摹仿黄公望的作品，此图便是其中一幅深得黄氏“浅绛”画风的力作。其笔法松秀灵动，色、墨富于变化而有层次，重叠交错的墨点更是将山形树貌有机地统一于高逸的境界中。\n款题：“己丑六月望，过西田村舍，毒热不异炮灼，僵卧挥汗，雠睨笔砚。适雨后稍凉，忆古人三伏生秋之句，戏作秋山白云图。虽曰摹仿大痴，实未得其脚汗气也，愧绝愧绝。王时敏识。”钤“王时敏印”白文印、“西田”朱文印。又题：“此余十年前所作，公瑕将以赠宿章道兄。复携见示，追忆挥汗舐笔时，宛然如昨。今年至力衰，百事慵懒，不复求旧管城公，诵少陵‘丹青不知老将至’之句，益深慨叹。辛丑子月时敏又题。”钤“烟客”、“儒斋”朱文印二方。“己丑”为清顺治六年（1649年），作者时年58岁。“辛丑”为清顺治十八年（1661年），作者时年70岁。",[24,25,95,27,28,29,36,1837,1067,34,7,132,227,114,138,1889],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77e0e8853100f701b1b8e23fd8d4e2ff.jpg","纵96.7厘米，横41厘米",[],{"id":12418,"slug":12419,"title":12420,"dynasty":18,"author":3504,"museum":360,"description":12421,"tags":12422,"thumbUrl":12423,"material":1809,"size":12424,"collection":70,"collections":12425,"showCount":12330,"zanCount":46,"manualWeight":46,"mainColor":47},233169,"wen-zheng-ming-yi-lan-shi-tu-juan-wen-zheng-ming-233169","文徵明猗兰室图卷","文徵明花鸟、人物、山水皆擅，尤其以山水画成就最高，虽然他到过北京，但毕竟居苏州为多，画园林小景尤真。绘画分为“粗”、“细”两种突出的风格。其中“细”画最具特色，成就也最高。\n此图构图严谨缜密，境界幽雅清旷，用笔精细而苍秀，无一笔随意，沉稳而文静，自成一种工秀清苍的风格。这正是文徵明细笔画的突出特征，也是明画不同于元画，更不同于宋画的突出特征。\n虽然文徵明细笔画精工细谨，为宋、元画所不及，但其笔墨的生动性却较宋、元画为逊色。虽有大幅、小幅、设色和水墨之别，大抵皆如此。",[24,25,26,27,56,37,38,82,427,35,58,61,7,1397],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c87cd8f162906ee461fcf682ad41ec4.jpg","纵26.3CM 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日本画家。名等杨，又称雪舟等杨。生于备中赤浜（今冈山县总社市）。曾入相国寺为僧，可能随同寺的山水画家周文学过画。作品广泛吸收中国宋元及唐代绘画风范。后被维也纳世界和平大会通过决定公认他为世界文化名人。",[23,24,951,95,36,28,29,7,427,242,35,5047,34,316],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365df2d00150d1369082f0a9ceeb720c.jpg",[42],{"id":12446,"slug":12447,"title":12448,"dynasty":124,"author":154,"museum":561,"description":12449,"tags":12450,"thumbUrl":12454,"material":70,"size":70,"collection":70,"collections":12455,"showCount":12330,"zanCount":46,"manualWeight":46,"mainColor":149},227413,"xue-shan-lan-re-tu-guo-xi-227413","雪山兰若图","郭熙（约1000-约1080），字淳夫，今河南孟县人，北宋画家、绘画理论家。郭熙出身平民，早年信奉道教，游于方外，以画闻名。熙宁元年召入画院，后任翰林待诏直长。山水师法李成，山石创为状如卷云的皴笔，后人称为“卷云皴”。树枝如蟹爪下垂，笔势雄健，水墨明洁。早年风格较工巧，晚年转为雄壮，常于巨幛高壁作长松乔木，曲溪断崖，峰峦秀拔，境界雄阔而又灵动飘渺。\n\n郭熙在学画之初并无老师，后在临摹李成山水画中受到启发，笔法大进，亦能自放胸臆，笔势雄健，水墨明洁。画山石多用卷云或鬼脸皴，画树如蟹爪下垂。1068-1077年间为图画院艺学，后任翰林待诏直长，成为宫廷画院重要成员。于画论方面亦有建树，总结出对四季山水的审美感受及山水构图三远法等。创作活动旺盛的时代正是宋神宗在位的1068-1085年，深受神宗的恩宠，有“神宗好熙笔”，“评为天下第一”之说。",[24,951,200,27,36,12451,860,612,7,12452,60,132,12453],"卷云皴","寒树","雄阔意境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb64c6c4a6dae4f904ca25689a573a408.jpg",[],{"id":12457,"slug":12458,"title":12459,"dynasty":5972,"author":12460,"museum":561,"description":12461,"tags":12462,"thumbUrl":12463,"material":70,"size":70,"collection":70,"collections":12464,"showCount":12330,"zanCount":11,"manualWeight":46,"mainColor":47},227045,"zhong-qiu-tie-wang-xian-zhi-227045","中秋帖","王献之","《中秋帖》，传为晋王献之书，纸本，手卷，纵27厘米，横11.9厘米。\n《中秋帖》是著名的古代书法作品，曾被清高宗弘历（乾隆皇帝）誉为“三希”之一，意即希世珍宝。\n行草书3行，共22字，释文：\n“中秋不復不得相還爲即甚省如何然勝人何慶等大軍。”\n无署款。\n《中秋帖》是《宝晋斋法帖》所刻的王献之《十二月割帖》的不完全临本，原帖在“中秋”之前还有“十二月割至不”六字。帖用竹料纸书写，这种纸东晋时尚制造不出，约到北宋时方出现。从行笔中可知，所用毛笔是柔软的无心笔，而晋朝使用的是有心硬笔，吸水性较差，笔的提、按、转折往往不能灵活自如，常出贼毫，如此帖那种丰润圆熟、线条连贯、行气贯通、潇洒飘逸的效果是写不出来的。清吴升《大观录》云：“此迹书法古厚，墨采气韵鲜润，但大似肥婢，虽非钩填，恐是宋人临仿。”据当代书画鉴定家研究，大多认为是宋米芾所临，故同样宝贵。\n卷前引首清高宗弘历行书题“至寶”两字。\n前隔水乾隆御题一段。\n帖正文右上乾隆御题签“晉王獻之中秋帖”一行。\n卷后有明董其昌、项元汴，清乾隆帝题跋，并附乾隆帝、丁观鹏绘画各一段。\n卷前后及隔水钤有宋北京“宣和”内府、南宋内府，明项元汴、吴廷，清内府等鑑藏印。\n此帖曾经宋代宣和、绍兴内府，明项元汴，清内府收藏。民国时由敬懿皇贵妃携出宫外，流散民间，由郭葆昌拥有，再转予其子郭昭俊。后与王珣《伯远帖》一起被典当于香港一家外国银行。1951年底，典当期将满时，国外有人意图购获，周恩来总理闻讯，当即指示有关部门购回，入藏故宫博物院。\n宋内府《宣和书谱》、明张丑《清河书画舫》、《清河见闻表》、《清河秘箧表》、汪砢玉《珊瑚网书跋》，清顾復《平生壮观》、卞永誉《式古堂书画汇考》、吴升《大观录》、内府《石渠宝笈·初编》等书著录。",[23,37,38,26,25,82,28,58,34,1140,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa82a2dbb0797a6f684a6a878caebc856.jpg",[],{"id":12466,"slug":12467,"title":12468,"dynasty":296,"author":3038,"museum":561,"description":12469,"tags":12470,"thumbUrl":12471,"material":70,"size":70,"collection":70,"collections":12472,"showCount":12330,"zanCount":46,"manualWeight":46,"mainColor":47},224455,"shan-shui-zhu-lan-he-yan-wen-gui-wang-hui-224455","山水朱兰和燕温归","此卷以全景铺展山水胜境，云气氤氲缠绕峰峦洲渚，虚实相生间划分出悠远层次。山石以披麻皴写就，皴染兼施，苍润浑厚又不失秀雅，丘壑繁复却井然有致。\n林麓水岸错落村居渔舍，江面渔舟泛波，松岩深处隐现山寺塔影，烟火意趣融于林泉丘壑间。画作兼具宋元山水笔墨意韵，将可居可游的文人理想寄于卷中，徐徐铺展出清旷淡远的水墨江山，尽显江南山水空濛灵秀之致。",[23,24,25,26,28,36,29,837,539,112,242,908,2490,33,97,201,130,133,7,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e4828d72b42a0bf1f9867b188e3185f.jpg",[],{"id":12474,"slug":12475,"title":5036,"dynasty":78,"author":436,"museum":360,"description":12476,"tags":12477,"thumbUrl":12478,"material":673,"size":12479,"collection":144,"collections":12480,"showCount":12330,"zanCount":46,"manualWeight":46,"mainColor":663},223604,"qiu-shan-xing-lv-tu-yi-ming-223604","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》。",[23,24,25,27,28,36,29,158,7,34,242,32,3692,578],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1647631e1d4bc460e54daf2facef359.jpg","161*112厘米",[144,42,146],{"id":12482,"slug":12483,"title":12484,"dynasty":296,"author":2706,"museum":360,"description":12485,"tags":12486,"thumbUrl":12487,"material":203,"size":12488,"collection":42,"collections":12489,"showCount":12330,"zanCount":46,"manualWeight":46,"mainColor":149},223103,"san-xi-tang-ji-yi-tu-dong-bang-da-223103","三希堂记意图","图为人物故事题材，以山水、楼阁作为环境衬托。画以水墨为主，略作淡设色，笔墨清朗，儒雅涵蓄，富文人画韵致。史上关于王氏父子的故事有很多，此图即表现其中一则。据传，王献之自幼学书甚勤，全神贯注。王羲之趁其不备从身后欲拔其手中之笔，却未提起，于是称赞他握笔有力。图中，献之神态端凝，伏案作书，羲之正欲提笔，人物生动，画面情节性很强",[23,24,25,29,27,36,7,34,130,33,187,82,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01542a4359a4273ef1ba982d468592bb.jpg","纵201.5cm，横154cm",[42,146],{"id":12491,"slug":12492,"title":12493,"dynasty":296,"author":12494,"museum":283,"description":12495,"tags":12496,"thumbUrl":12498,"material":10646,"size":12499,"collection":42,"collections":12500,"showCount":12330,"zanCount":46,"manualWeight":46,"mainColor":47},222798,"xiang-jiao-qiu-wu-tu-juan-zou-zhe-222798","乡郊秋雾图卷","邹喆","乡郊秋雾图是一幅立体展示江南景色的长卷。画家以全景的视角，细腻的笔触，刻画薄雾之下的山光水色，画面大开大合，云、水、山、树布置得宜，阡陌河湖穿插有致，全画给人一气呵成之感。",[23,24,26,27,36,951,12497,34,7,316,35,364,58,133,114,1104,1105],"秋雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde1ab990d4547dd9e592713d2d3329f5.jpg","29.5x280cm",[42,146],{"id":12502,"slug":12503,"title":12504,"dynasty":296,"author":3417,"museum":561,"description":12505,"tags":12506,"thumbUrl":12507,"material":760,"size":12508,"collection":70,"collections":12509,"showCount":12330,"zanCount":46,"manualWeight":46,"mainColor":47},222622,"shan-shui-shan-mian-3-gong-xian-222622","山水扇面-3","龚贤（1618-1689年），一名岂贤，字半千，号半山野人，江苏昆山人，寓居南京（今江苏南京）。擅画山水，用墨层层染渍，独创一格。为“金陵八家”之首。\n龚贤在明朝末年曾参与“复社”力图改变时弊，入清后不好仕进，以鬻画、课徒为生。康熙六年（1667年），龚贤在南京清凉山下隐居，筑半亩园，不履市井，潜心研习山水画创作，著有《香草堂集》、《画诀》、《龚半千授徒画稿》等著作。\n全卷共分八段，绘江南湖光潋滟、烟雨朦胧之色。卷内，水墨，设色之景相互穿插，较为全面的展现出龚贤山水画的多种面貌。龚贤的绘画技法远追五代董源、宋代米氏父子、元代吴镇的绘画风格而自成一家。从龚贤书于卷尾的落款看，他在创作此卷时借鉴了沈周、文徵明的笔墨意韵。是卷作于康熙廿三年（1684），作者时年67岁。",[23,24,25,1900,27,36,29,33,112,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f6191e681c7f9801e2bd66e8502b32f.jpg","纵22.7厘米，横63.1厘米",[],{"id":12511,"slug":12512,"title":12513,"dynasty":18,"author":9076,"museum":509,"description":12514,"tags":12515,"thumbUrl":12516,"material":885,"size":12517,"collection":42,"collections":12518,"showCount":12330,"zanCount":11,"manualWeight":46,"mainColor":250},222084,"han-shan-shi-de-tu-you-qiu-222084","寒山拾得图","寒山、拾得是唐代富有传奇色彩的人物。此图画唐贞观年间高僧寒山与拾得二人。寒山亦称寒山子，居天台始丰县寒岩，好吟词偈，状似疯癫。拾得是孤儿，寺僧拾而养之，故名拾得，在寺执炊涤器，与寒山友善。\n《寒山拾得图》是人物画中的佳作, “奇而不诡于正，真高流逸墨”。用笔大胆粗犷,线条流畅爽利。图中寒山右手指天,谈笔风生；拾得袒胸露腹,欢愉静听。两人披头散发,憨态可掬。从画面上，我们能够感觉到他是受了李唐画风的影响，两个人物安排在近处，给人一种很强烈的视觉印象，而远景的虚化处理，更强化了人物的形象。背景部分用笔较为豪放粗简，向外探出的树干向背分明，树枝行笔错落而不失坚挺，表现藤蔓的线条潇洒飘逸。",[23,24,27,712,95,58,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e9b4eeb60e8f3530895eeb0a7701d9c.jpg","纵121厘米，横30 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，明末清初画家。字昭法，号俟斋、秦余山人，吴县（今江苏苏州）人，殉节官员徐汧之子。崇祯十五年举人。入清，遵父遗命不仕异族，隐居于天平山麓“涧上草堂”，自称孤哀子。书擅行草，长于山水画，取法董源、巨然、荆浩，关仝，亦宗倪瓒、黄公望，与杨无咎、朱用纯并称“吴中三高士”。终身不入城市，卖画自食，例不书款，与宣城沈寿民、嘉兴巢鸣盛称“海内三遗民”。",[24,25,95,27,36,186,29,30,31,32,33,242,35,7,34,1944,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22cf86f12a79e42e072f9f756f4288f6.jpg",[42],{"id":12695,"slug":12696,"title":971,"dynasty":296,"author":297,"museum":561,"description":12697,"tags":12698,"thumbUrl":12699,"material":70,"size":70,"collection":42,"collections":12700,"showCount":12626,"zanCount":46,"manualWeight":46,"mainColor":47},237906,"shan-shui-zhou-zhu-da-237906","八大山人的花鸟画深受林良、陈淳、徐谓等大家的影响，他的作品特别强调缘物寄情，因而个性极为鲜明。这种种孤僻、冷漠、悲愤、反常、怪异的特征，当然是他奇特艺术风格的具体化。而这种表象下折射出来的，正是画家一种有别于常人的人格心理。",[24,27,95,36,29,34,7,96,244,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaeb96d04f2547d63809c206cc57897c.jpg",[42],{"id":12702,"slug":12703,"title":12704,"dynasty":296,"author":3038,"museum":561,"description":6123,"tags":12705,"thumbUrl":12706,"material":70,"size":70,"collection":306,"collections":12707,"showCount":12626,"zanCount":46,"manualWeight":46,"mainColor":47},237888,"wang-hui-ya-zhen-tu-heng-fang-ye-wang-hui-237888","王翚鸦阵图横方页",[24,128,1465,36,27,201,242,7,31,34,244,82,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f77cb5f5efef0d0dd541b2a6f81ea3a.jpg",[306,146],{"id":12709,"slug":12710,"title":12711,"dynasty":296,"author":1177,"museum":360,"description":12712,"tags":12713,"thumbUrl":12714,"material":760,"size":3307,"collection":42,"collections":12715,"showCount":12626,"zanCount":46,"manualWeight":46,"mainColor":47},237611,"fang-wu-zhen-shan-shui-zhou-wang-jian-237611","仿吴镇山水轴","本幅上部自识长题，款署：“王原祁画并题。”钤“王原祁印”白文印，“茂京文”白朱文印，“扫华庵”朱文印。右下角钤“西庐后人”朱文印。\n此图无年款。据王原祁自题“身伏噩庐，心违琐闼”之句，知是图当为他55岁左右为其父王揆守丧之日所作。\n图绘江南清幽小景。在构图上，王原祁通过对山石杂木由近至远、由低至高的层层展示，有秩地拓展了画境。在山石树木的表现上，王原祁掌握了吴镇擅于运用湿笔的特点，亦以包含水分的润墨表现山川林木郁茂之景。笔墨淋漓雄劲，得吴镇山水画“苍苍莽莽，有林下风”之趣。",[24,27,95,36,186,82,29,130,34,35,7,132,364],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde793e600e15d4b6130ffe9d41788be4.jpg",[42,146],{"id":12717,"slug":12718,"title":12719,"dynasty":296,"author":870,"museum":360,"description":12720,"tags":12721,"thumbUrl":12722,"material":229,"size":70,"collection":42,"collections":12723,"showCount":12626,"zanCount":11,"manualWeight":46,"mainColor":149},237409,"yuan-ji-tai-bai-shi-yi-shan-shui-tu-zhou-shi-tao-237409","原济太白诗意山水图轴","清初的画坛上，和尚画家之多，在中国绘画史上是极其罕见的。更为人所熟知的，便是弘仁、髡残、八大山人、石涛这四位活跃于明末清初的僧人画家，他们与清初“四王”分庭抗礼，在画史上合称“四僧”。为了让读者更加了解他们的生平及书画创作风格，文藏特将此作为系列文章形式展现给大家。\n石涛是中国艺术史上一位颇具研究话题的人物，他的身世经历、佛老信仰，交游关系，书画理论、诗文解读、作品辨伪，无不令后世的书画爱好者、鉴藏者和研究者们着迷。然而他的这些话题之所以会引起后世如此巨大的关注度，正是源自他的书画艺术，在历经三百多年的沉淀之后，依旧散发着无穷的魅力，给人以新鲜之感。这种魅力便是其每幅作品中无不体现着的诗境、书境和画境的完美结合。\n石涛原名朱若极，广西桂林人，是明宗室后裔，明靖江王朱亨嘉的长子，他晚年常自署款「阿长」、「极」，并有「赞之十世孙阿长」等印，以表明自己的身世。石涛出生仅两年明王朝就灭亡了，随后，他的父亲朱亨嘉又在南明朝廷内部的权力斗争中失败被杀。此时，年仅四岁的石涛，不得不由家中仆臣护送逃至全州躲藏，后在当地湘山寺出家为僧，法名原济，字石涛；他的仆臣也一同在此出家，法名原亮，字喝涛。从此二人以佛门师兄弟相称。在明末清初政权更迭的时候，很多不愿降清的明室宗亲和文人旧臣除了以死殉国，就只能选择隐藏身份出家为僧这一条路了，而石涛更要躲避来自清王朝和南明政权的双重追杀。\n隐居期间，石涛读书临帖，研习书画，同时跟随师兄喝涛旅居武昌，游历两湖地区，后又从武昌顺江而下，经庐山、南京、松江至杭州，再由越中到宣城。石涛居宣城十四年，在此结识了施闰章、吴肃公、梅清、梅庚等当地遗民诗人画家，经常与他们结伴游览黄山、敬亭山。他们一起不仅以诗文相唱和，绘画创作亦相互影响，于笔墨和构图上探索求新。这期间，石涛与喝涛还曾同拜旅庵本月为师，正式确立了在禅林中的地位。然而，佛门身份和朋友交游，并没有抹去石涛在自己身份上的孤寂感与逃避感，他在作品中，常借山水、人物等题材来表达其孤、隐之意。他这一时期所创作的《山水人物图》卷、《山水图》册、《陶诗采菊图》轴等书画，都有这种心境的流露。\n石涛在第二次接驾康熙时得识博尔都，则让他看到希望。作为清室皇族，博尔都是一位颇具慧眼的书画鉴赏家，石涛从他的赏识中找到了艺术认同感，故接受了博尔都北游的邀请。在北京期间，石涛为博尔都创作了大量书画，博尔都也利用各种机会向京城名流推介石涛的作品。但这些努力并没有让石涛被主流画坛所接受，遂于一六九二年秋离京南返，再次回归他徜徉于江南山水间的闲逸生活。然而内心的孤独与苦闷依旧。石涛在五十八岁时画《太白诗意山水图》轴自题云：「李白将进酒。此诗何可画？虽似任达放浪，然太白素抱用世之才而不遇合，亦自慰解之词耳。吾亦借此诗，写此画，消吾之岁月云。」这些都是石涛晚年回到扬州后，孤独失落心境的真实写照。",[24,25,95,300,27,36,29,35,34,427,7,31,58,37,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0671f77e48690f57096fdd8ba83ed84c.jpg",[42,648],{"id":12725,"slug":12726,"title":12727,"dynasty":18,"author":5436,"museum":561,"description":12728,"tags":12729,"thumbUrl":12731,"material":70,"size":70,"collection":70,"collections":12732,"showCount":12626,"zanCount":46,"manualWeight":46,"mainColor":149},235238,"xue-jing-shan-shui-zhou-xie-shi-chen-235238","雪景山水轴","整幅画作晕染出萧寒静谧的冬日元气。危崖覆雪，古松虬曲苍劲，松针凝着残雪，愈显老干挺秀。山居茅屋藏于寒林之中，屋中人围炉闲坐，暗生融融暖意，山道上仆童瑟缩徐行，一动一静、一暖一寒，反差鲜活。右侧寒木疏朗，烟霭漫过江渚，远景虚茫朦胧，将冬日荒寒漫漶开来。以浓墨衬积雪，虚实相生，把山野间清寂萧索的冬意铺陈尽致，又暗藏幽居避世的温情意趣，题诗衬景，诗画相融，尽显冬日山居的澹远意境。",[24,25,95,27,36,29,612,427,35,58,242,7,364,12730,5047],"寒枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ec8ecd49d56bdd396f437f4e4ea846e.jpg",[],{"id":12734,"slug":12735,"title":12736,"dynasty":296,"author":6028,"museum":561,"description":12737,"tags":12738,"thumbUrl":12739,"material":217,"size":660,"collection":289,"collections":12740,"showCount":12626,"zanCount":46,"manualWeight":46,"mainColor":47},234937,"yue-man-qing-you-ce-chen-mei-234937","月漫清游册","《月曼清游图》册描绘的是宫廷嫔妃们一年12个月的深宫生活：正月“寒夜探梅”、二月“杨柳荡千”、三月“闲亭对弈”、四月“庭院观花”、五月“水阁梳妆”、六月“碧池采莲”、七月“桐荫乞巧”、八月“琼台玩月”、九月“重阳赏菊”、十月“文窗刺绣”、十一月“围炉博古”、十二月“踏雪寻诗”。通过这一幅幅生动的画面体现了宫廷生活与民间生活的密切关联。嫔妃们的活动内容，在民间生活中均习以为常，只不过由于宫廷的特殊地位，而令这些活动从内容到形式都具有更加富贵、繁琐及典制化的特点。\n作者在人物创作的审美取向上有别于唐代张萱、周昉笔下体态丰腴的嫔妃形象，而以明代唐寅、仇英笔下的仕女画为审美标准，追求秀润飘逸的情致。画家以工细流畅的线条和亮丽鲜活的色彩将嫔妃们描绘成身材修长、体态轻盈、“倚风娇无力”之貌。她们三五成群地行进在以界画表现的亭台楼阁内或是细笔勾染皴点的花石下。富贵闲逸的宫苑生活令她们的物质生活十分充足，也使她们的精神世界极度贫乏。在技法上，此图所绘人物造型生动准确，笔致工细严谨，源于宋代院体画风。图中的楼台房室建筑则采用西洋焦点透视法绘成，根据图中透视线斜度的变化，可以准确地推求出灭点的具体位置，从而加强了平面画幅的立体、纵深效果，在有限的画面上扩展出无限的空间。此图册于乾隆三年（1738年）绘成后深得乾隆皇帝的赞赏。\n乾隆帝于六年谕令皇宫“造办处”的优秀匠人，如擅镶嵌技艺的常存，擅牙雕工艺的陈祖章、陈观泉父子及顾彭年、萧汉振等，以陈枚的这本图册为画稿，用象牙、玉石等进行雕刻。匠人们精雕细琢，密切结合牙雕和镶嵌的技艺特点，令画面层次分明，富有立体感。这件雕有103人的牙雕精品被称作“百美图”。乾隆皇帝在为它题写诗文时将其正式定名为《月曼清游》。",[24,25,111,28,56,58,60,31,64,34,7,61,10026,187,3323],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b64d9f8816d7446b826324b78143f92.jpg",[289,264],{"id":12742,"slug":12743,"title":12744,"dynasty":18,"author":436,"museum":561,"description":12745,"tags":12746,"thumbUrl":12751,"material":70,"size":70,"collection":70,"collections":12752,"showCount":12626,"zanCount":11,"manualWeight":46,"mainColor":149},234931,"ming-ren-qiu-jing-huo-lang-tu-zhou-yi-ming-234931","明人秋景货郎图轴","当“双十一”掀开一个全民购物狂欢的序幕，放眼远在千百年前的临安街头，货郎们一人一担一声叫卖，仅凭这种最原始的“人肉购物车”，便足以吸引市井众人的注目，引出一番欢悦的情景。李嵩等画家以此为题奋笔挥毫，定格了过去一段段市井风貌。沉醉于塞满购物车再一朝清空快感的，不光只有21世纪的网购达人，中国古人的“购物车”更是让人眼花缭乱，甚至叹为观止。 在历代流传下来的“货郎图”图示中，我们便可略窥一二。宋代绘画是写实主义的巅峰，《货郎图》则是这一巅峰上的一片奇岫。南宋吴自牧《梦粱录》中提到，当时杭州的小贩在沿街叫卖时“挑担抬盘架”，“担瑜石钉铰金装架儿”，《清明上河图》中，也有货郎在一根扁担的两头各挑一个货架，说明这种一根扁担挑两个货架的销售形式，在两宋很是普遍。因此，画中这位货郎和他的货担，可谓是对十一至十三世纪的流动小商贩的忠实记录。“货郎图”是宋代较为流行的一种表现当时流动小商品买卖的绘画形式。如今存世较为知名的主要有四幅南宋李嵩的《货郎图》（分别藏于北京故宫博物院、台北故宫博物院、美国大都会博物院、美国克利夫兰美术馆）以及一幅传为北宋苏汉臣所作的《货郎图》。",[24,28,56,95,58,12747,12748,3062,34,64,7,1373,66,3692,1118,12749,12750,525],"儿童","妇女","货郎担","棚架","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b38b5a780482a0e4fa98b8ed68079b5.jpg",[],{"id":12754,"slug":12755,"title":12756,"dynasty":18,"author":19,"museum":360,"description":12757,"tags":12758,"thumbUrl":12759,"material":12760,"size":12761,"collection":70,"collections":12762,"showCount":12626,"zanCount":46,"manualWeight":46,"mainColor":47},233413,"jiang-ting-bi-shu-tu-shan-ye-shen-zhou-233413","江亭避暑图扇页","此图是幅笔笔紧贴诗意的画作。图绘夕阳下，高士策杖至江亭避暑的小景。扇面构图为左右开合式，设色以绿色为主，其青翠明洁的色调与简约的景致相呼应。清爽、平淡的审美意趣与消除烦燥求得清凉的避暑主题相契合，烘托出远离市俗寻幽独行高士其清逸雅淡的心境。",[24,25,1900,27,28,36,29,33,427,7,58,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8f7c91afe93a2c98ff6b01f36ce6f9d.jpg","金笺，设色","纵18厘米，横46厘米",[],{"id":12764,"slug":12765,"title":6366,"dynasty":18,"author":6367,"museum":360,"description":12766,"tags":12767,"thumbUrl":12768,"material":454,"size":12769,"collection":70,"collections":12770,"showCount":12626,"zanCount":46,"manualWeight":46,"mainColor":47},233406,"chun-shan-you-qi-tu-zhou-zhou-chen-233406","此图以传统的春山行旅为题材，描绘高山石崖险峻陡峭，楼阁房舍掩映其间，错落有致。近景山溪岸边春花几树，山溪湍流，小桥流水，主仆一行三人正在过桥。山上苍松浓郁，遒劲多姿。舍后绿树成荫，一派春机昂然的景象。画家在全景式的构图中突出前景，着意表现春山、游骑、桃花、虬松，以此点明题意。\n作品构图繁复而不失明旷，稳健周密，雄中寓秀，密中呈疏；设色清妍秀丽，笔法劲健明秀；人物用细线淡色，笔意流畅，是周臣代表作品之一。本幅山石方折峻嶒，勾皴细密硬朗，松树略为倒挂多杈，斧劈皴挺括，造景雄奇，其艺术风格主要继承了南宋的“院体”画传统，也融合了北宋李成、郭熙的画法。",[24,25,95,27,36,29,30,31,215,58,34,7,35,427,316],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49fc7872baa9dc7316ddebbdb9b0a10e.jpg","纵185.1厘米， 横64厘米",[],{"id":12772,"slug":12773,"title":12774,"dynasty":296,"author":436,"museum":360,"description":12775,"tags":12776,"thumbUrl":12779,"material":229,"size":12780,"collection":42,"collections":12781,"showCount":12626,"zanCount":46,"manualWeight":46,"mainColor":47},233082,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-233082","平定苗疆战图册","清朝宫廷内绘制的大量画幅，在清王朝覆灭之前，大部分均藏储于宫中及皇家园林行宫内。其中一部分于咸丰十年（1860）和光绪二十六年（1900），英法联军及八国联军侵华时遭到劫掠，或被毁坏，或流失海外，清亡后亦有少量散佚，而主要部分后来都成为在明、清皇宫基础上建立起来的北京故宫博物院的藏品。现在，清代的宫廷绘画，除了少量分藏于境内外其他一些博物馆外，比较集中地收藏于北京故宫博物院和台北故宫博物院。",[24,25,111,28,56,57,58,29,215,30,60,7,34,6105,12777,12778,1118],"军队","战阵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb44c58ab354d81ed622cd3e2e54cb07.jpg","纵55.4cm，横90.8cm",[42,289,264],{"id":12783,"slug":12784,"title":6430,"dynasty":296,"author":3185,"museum":561,"description":12785,"tags":12786,"thumbUrl":12787,"material":229,"size":70,"collection":70,"collections":12788,"showCount":12626,"zanCount":46,"manualWeight":46,"mainColor":47},231940,"qiu-shan-tu-kun-can-231940","髡残，生于明万历四十年(公元1612年)，卒年不详。俗姓刘，字介邱，号石谿，又号白秃、电住道人、天壤残道者，湖南武陵(今常德县)人。四十三岁后长居南京。据说，他青年时曾参加南明何腾蛟等人的军队，投入了抗清斗争。抗清失败 后，隐居桃源深处，于四十岁公元1651年 出家做了和尚。其后，便到各地云游，与高僧们参究禅学。四十三岁(公元1654年)到了南京，住在城南大报恩寺，有时住栖霞寺和天龙古院，晚年定居牛首祖堂山幽栖寺十余年，一直到老终。\n顺治十三年(公元1656年)髡残和清代学术大师顾炎武结为朋友，一见如故，情投意合，常在一起饮酒赋诗，切磋学问。他最知己的朋友是程正揆，二人既是同乡，又是佛教徒，都擅长诗、书、画。顺治十四年程辞官后回到南京，常去栖霞、牛首，髡残老年多病，去城里看病，也是宿在程氏家。他们共同商讨艺术，鉴赏书画，一起作画。当时“金陵八家”中之龚贤对他们二人的艺术推崇至极，龚在给周亮工题程正揆《山水册》里说：“金陵画家能品最夥，而神品、逸品亦各有数人，然逸品首推二谿：曰石谿，曰青谿。石谿，残道人也，青谿，程正揆侍郎也，皆寓公。残道人画粗头乱服，如王孟津清书法家王铎书法，程侍郎画冰肌肉骨，如董华亭明季书画家董其昌书法。百年来论书法则王、董二公应不让，若论画艺，则今日两谿又奚肯多让乎哉。”可见髡残、程正揆在南京画坛的地位，是非常突出的了。",[23,200,24,25,26,27,28,36,29,242,7,31,32,2229,33,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4eabf1eab9024ddbec39703a04a2ae13.jpg",[],{"id":12790,"slug":12791,"title":12792,"dynasty":78,"author":4794,"museum":53,"description":12793,"tags":12794,"thumbUrl":12795,"material":1809,"size":12796,"collection":70,"collections":12797,"showCount":12626,"zanCount":764,"manualWeight":46,"mainColor":47},231336,"chun-shan-qing-ji-tu-yuan-dai-ji-jin-zhi-wu-ma-wan-231336","春山清霁图－元代集锦之五","画中高山层层迭迭突起，林木长长矗立，清溪蜿蜒，渔舟摇摇，山村亭阁，曲径相通，滋润的笔墨，体会出大地草木华兹。款题：“春山清霁（楷书）。至正丙午岁（1366年）春正月望日，马文璧画于书声斋。”丙午（1366年）去黄公望《富春山居》之“庚寅”（1350年）题记，只有满15年之距离。全幅结构皴法，大抵出于元黄公《望富山居图》，如以近景主山峰的造形，远山一列丘陵起伏，近者淡远者浓，与皴法运用，勾线涂抹，几与《富春山居》相同；此“春山”也不尽让人想起同样的画《富春山居》。\n黄公望《富春山居》（无用师卷）山峰树石草木，表现出来的是重视笔趣与墨意，从元人的画迹来了解，黄公望《富春山居》成为一种文人画山水的“典范”。也就是以五代北宋董源、巨然为主的风格传承。从赵孟頫为起点，尔后，另一位吴镇也有充满着“披麻皴”风格的人物。那踵步者足为代表，应是这件马琬《春山清霁》。款题所指：“画于书声斋（行书），”为夏士文之斋居，也是云间夏氏知止堂裔孙。夏士文为夏士良文彦兄弟行。杨维祯至正二十年庚子秋曾为作《书声斋记》。元黄公望《富山居图》款题即书于夏氏“知止堂”。夏氏云间“知止堂”。主人为谁？杨维桢又有《知止堂记》，主人是云间老人夏谦齐氏，取《老子》之经有警人者，曰“知止不殆”的典故，堂有匾是赵孟俯所书。其四叶孙颐贞，在兵火之后，重建。马琬为杨维祯学生，张雨、黄公望均与杨维祯友好。马琬生平也是一位亲炙过黄公望的人物。",[24,25,26,27,36,29,7,34,31,32,60,82,37,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb9a84ff4dd4e7bbd78e820d09fd9b8d.jpg","纵27厘米，横102．5厘米",[],{"id":12799,"slug":12800,"title":12801,"dynasty":3017,"author":12802,"museum":561,"description":12803,"tags":12804,"thumbUrl":12805,"material":70,"size":70,"collection":70,"collections":12806,"showCount":12626,"zanCount":46,"manualWeight":46,"mainColor":149},230483,"an-tu-tao-shan-guan-feng-tu-ping-feng-shou-ye-xiu-lai-230483","安土桃山 观枫图屏风","狩野秀赖","的命名缘于当时的统治者织田信长，丰臣秀吉所在居城的地名而来，这个时代的文化被称为桃山文化（或安土桃山文化）。\n安土指织田信长的居城安土城，桃山指秀吉晚年的居城伏见城。\n为何伏见城又叫做桃山呢？是因为元和9年（162）幕府下令废弃伏见城，并在遗址上种植了很多桃树的原因。\n这个时期的文化主要体现在大名，豪商等阶层的繁荣奢华以及佛教影响力衰弱，西洋文化开始传播等方面。\n历来作为军事据点的城郭，由于领国经营等政治上的原因，从中世以来一直利用天险防御为中心的山城形态，渐渐过渡到小山丘上的平山城，最终形成通过濠（护城河），石垣来防御的平地上建筑的平城。\n在近世更是由于城下町的发达成为政治经济的中心。\n城郭内部的建设在这个时期也很出名，壮丽的 为军事和政治的中心，也是权力的象征，外围二丸三丸等环城和橹。\n这个时代的代表城郭有，平山城形态的有有 之美名的 （兵库县，附图2），有日本最古老的天守阁的犬山城（也称白帝城，爱知县）和彦根城（也称金龟城，滋贺县）；平城的代表有 ，松本城（又名深志城，长野县）。\n秀吉在京都的居所聚乐第，伏见城的城郭和书院式建筑的内部曾用黄金建造，光彩夺目，窗格采用镂空的雕刻。\n虽然现在已不存在，但是通过从被认为是聚乐第伏见城被拆毁时迁筑的建筑物身上可以推断出来。\n聚乐第的遗址是德大寺唐门和 飞云阁，伏见城的遗址为都久夫须麻神社本殿和西 书院·唐门。\n都久夫须麻神社为 的竹生岛上的神社。\n室内的隔扇·屏风上采用类似于浓绘的障壁画（障屏画）。\n障壁画有水墨画和金碧浓彩画两种，后者也可算作 浓绘，余白以金色和银色为地，采用绿青红等的浓彩的画法。\n障壁画的主流是狩野派。\n狩野派的奠基人 把室町时期盛行的水墨画和日本传统的大和绘巧妙的融合，运用丰富的色彩和强力的线描，雄大的构图等优点于一体的集大成者。\n永德的门人狩野山乐等创作了大量的障壁画。\n狩野永德的代表作品有《唐狮子图屏风》，《桧图屏风》（浓绘）；狩野山乐则有《松鹰图》，《牡丹图》。\n其他的还有海北派的始祖海北友松，长谷川派的始祖 等，也有很多优秀的浓绘和水墨画传世。\n海北友松的代表作《山水图屏风》（水墨画），长谷川等伯的《智积院袄绘》（浓绘）《松林图屏风》（水墨画）。\n另外，以都市和百姓生活，风俗等为题材的风俗画也很盛行。\n狩野永德所做描画京都内外名所和市民生活的《洛中洛外图屏风》。\n狩野长信的《花下游乐图屏风》，狩野吉信的《职人尽屏风图》，狩野秀赖的《高雄观枫图屏风》等为风俗画的代表作。\n武将和富裕的町众（町内的有力者）专注于茶道（茶会）和花道（插花）。\n， ， （后两人与千利休并称三宗匠）等茶人的出现，特别是 主张的“侘び茶”（静茶）由于受到秀吉和诸大名的赏识而广为流传。\n侘び茶指的是在小屋中举行茶会，感受茶道极致的意思。\n千利休的茶室以妙喜庵待庵为代表，侘び茶的精神在草庵风的单层屋顶的茶室里得到了极至的体现。\n其他的茶室如织田有乐斋的如庵也很有名。\n织田有乐（斋），即是织田信长的弟弟 。\n相对于侘び茶的茶室，秀吉修建了“黄金茶室”。\n叠的茶室里，使用大量的金和金箔。\n对于茶道的理解不同也导致了后来发生的悲剧。\n天正15年（1587），秀吉召开北野大茶会，不问身份贫富皆可参加，（但由于佐佐成政的肥后 爆发），预定1日的茶会不得不在一天就结束，极大地损害了为茶会奔走的堺商人的脸面。\n后又由于在 山门前的木像事件，愤怒的秀吉令利休切腹。\n伴随着茶道的盛行，茶室以外诸如茶器和庭园文化也得到了长足的进步。\n代表庭院为醍醐寺三宝院庭园。\n以高向寺荫绘有名。\n陶瓷器方面，乐烧为代表。\n是以京都的乐家的烧制为基础，初代的长次郎在聚乐第烧制为由而命名的。\n乐家以外的烧制者也很多。\n在桃山时代，美浓烧，赖户烧，备前烧，伊贺的 ，京的乐烧所制的陶器最受茶人们的欢迎。\n出兵朝鲜的将领中有抢抓朝鲜的陶工回国做工的事情发生。\n借由此，九州等西部沿海地区的陶业开始了急速的发展，其中 的有田烧（李参平创始）， 的上野烧， 的沙萨摩烧， 的高取烧，毛利辉元的萩烧的最为有名。\n此时，甲胄的制作也有了长足的进步。\n以 的歌舞伎，高三隆达的隆达节（曲），人形净琉璃最为盛行。\n阿国歌舞伎是指由阿国开创的かぶき踊り（歌舞）。\nかぶき踊り指异样的服装和 ，其中加入了能狂言（日本表演艺术的种类）和当时流行的念佛舞。\n阿国是就算不是首演者，也会是这项演出的来由者。\n关于阿国的最早记录是天正1年（1582） 的春日神社若宫拜殿的“ややこ踊”演出，出自于兴福寺的记录。\n“阿国自称为出云大社的巫女，边唱神歌或小歌边舞蹈。\n随后又开始念佛跳舞，更有女扮男装男扮女装的所作事（舞蹈剧名），再加入简单的动作跳かぶき踊り，这就是阿国歌舞伎的开始。\n” 庆长年间京都的四条河原等地风行，后来甚至波及到伏见城。\n由于人气的激增，模仿者辈出，才有了女歌舞伎到今天的发展。\n但是，在当时歌舞伎发展的初期，还是以歌舞为主兼带卖淫业务的，因此歌舞伎者被冠以“河原乞食”，“小屋者”，“芝居者”等蔑称，后来发展到野郎歌舞伎的时候，技艺才受到了普遍的重视。\n隆达节是界的商人高山隆达谱曲，重复吟唱《闲吟集》的小歌，也包含当时的恋歌和自作词。\n人形净琉璃是指搭配运用三味线和净琉璃来操作木偶的表演艺术。\n三味线是中国元代创作的三弦，在永禄年传来。\n本体用蛇皮包裹，故称蛇皮线，还有就是日本特有的猫皮线。\n由于国内的统一，和平的背景下都市顺利发展，生活文化也有着向上的趋势。\n服装方面，代表风格的小袖十分流行。\n小袖就是缩短了袖子的服装。\n另外木棉代替了麻成为了普通百姓的衣原料。\n豪华的表演服也出现来。\n住宅方面书院式建筑普及，京都还出现了2层的建筑。\n食文化方面，一日三餐的形式开始普及，调味料品新增了酱油和白糖。\n受到南蛮文化的广泛熏陶也是这一时期的文化特征之一。\n在绘画方面狩野派的画家有很多都是以南蛮人的风俗或和南蛮人做交易场景为主题来作画的。\n代表作品有根据舶来品世界图扩展摹写的《世界地图屏风》和据说是 命造的描画南欧骑马王侯战姿的《泰西王侯骑马图屏风》。\n许多新技术也通过贸易的开展而传入，耶稣会的传教士Valignano（意大利人）带来了西方的活字印刷术。\n出版了基督版（天草版）书籍，其中以全文葡萄牙语系罗马字记录的《天草版平家物语》和《天草版伊曾保物语》最为有名。\n另有说出兵朝鲜时也被传入印刷术，但是两者都在 被废止，原因是重版的时候非活字的方法比较经济实用。\n另外，航海术，造船术乃至天文，地理，医学等海外知识源源传入。\n服装和食物方面的专用名词也是在这个时代被定格的。\nパン、カステラ、ジュバン、タバコ、ラシャ是葡萄牙语系的外来语，ガラス、コーヒー是荷兰外来语，メリヤス、ビロード是西班牙语系。\nパン为面包，カステラ为蛋糕，ジュバン为和服的内衬衣，タバコ为烟草，ラシャ为毛衣，ガラス为杯子，コーヒー为咖啡，メリヤス为针织品，ビロード为绒毛衫",[23,28,56,58,1587,427,7,29,671],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F565459c5684f9f641815ea8b1c04085c.jpg",[],{"id":12808,"slug":12809,"title":1259,"dynasty":296,"author":297,"museum":561,"description":12104,"tags":12810,"thumbUrl":12811,"material":217,"size":660,"collection":70,"collections":12812,"showCount":12626,"zanCount":46,"manualWeight":46,"mainColor":47},230276,"shan-shui-tu-ce-zhu-da-230276",[24,27,36,111,82,29,96,7,35,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4472f7aa214cb40bd93f48ed4bffbe09.jpg",[],{"id":12814,"slug":12815,"title":12816,"dynasty":18,"author":1941,"museum":561,"description":12817,"tags":12818,"thumbUrl":12819,"material":70,"size":70,"collection":70,"collections":12820,"showCount":12626,"zanCount":46,"manualWeight":46,"mainColor":47},228916,"mo-xi-shan-xing-lv-tu-zhang-hong-228916","摹溪山行旅图","此作为雪景山水，以淡墨晕染山石，留白铺就厚雪，尽显冬日山峦清寂素净。层叠岩崖间枯木萧疏，偶有青松点翠，破开雪色单调。山涧水色灰蒙，栈道、板桥连贯幽谷，旅人驱驴缓行，山居茅舍错落山坳，细节生动，将羁旅行路意趣，糅进空阔冷逸冬山之中。\n\n用笔精细秀雅，勾勒皴擦兼具宋画雄浑骨架，又带明人笔墨温润雅致，将冬日深山的荒寒宁静与人间烟火暖意相融，复刻古意又自出机杼，尽显溪山行旅的幽远况味。",[23,24,26,27,36,186,29,860,30,31,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe83c124ad11c5e878f782bec67b93f0a.jpg",[],{"id":12822,"slug":12823,"title":12824,"dynasty":18,"author":52,"museum":1137,"description":12825,"tags":12826,"thumbUrl":12827,"material":70,"size":70,"collection":70,"collections":12828,"showCount":12626,"zanCount":46,"manualWeight":46,"mainColor":149},228440,"bian-qiao-hui-meng-tu-chou-ying-228440","便桥会盟图","画卷起首旌旗列阵，甲士森然，仪帐整肃尽显阵列威仪。烟柳垂杨衔接着迤逦青绿山峦，笔墨晕染出郊野的开阔沉静。转至卷右，层叠山坳间人马错杂，战场的紧绷感在青绿山色间暗涌。\n\n全作用色古雅厚重，赭黄绢底晕开石青石绿，让沉郁的历史氛围感浸透画卷。方寸间人物姿态鲜活分明，人马旌旗、山川林泉排布疏密有致，将盟约前后的张弛节奏暗藏于山水长卷之中，把宏大叙事融于青绿山水的雅致意境，铺展出一段藏在笔墨间的往昔风云。",[23,24,200,26,56,28,257,29,58,215,34,6105,7,12777],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d809453efefbe7ab56381e63a8c0a93.jpg",[],{"id":12830,"slug":12831,"title":12832,"dynasty":124,"author":998,"museum":561,"description":12833,"tags":12834,"thumbUrl":12835,"material":70,"size":70,"collection":70,"collections":12836,"showCount":12626,"zanCount":46,"manualWeight":46,"mainColor":149},227802,"shan-zhuang-du-shu-tu-ye-liu-song-nian-227802","山庄读书图页","山峦叠翠流云轻绕，幽谷飞瀑隐于翠微之间，整幅画以温润青绿晕染出江南山居的清寂雅境。屋舍藏在松竹蕉荫深处，堂中人正展卷静读，周遭林木蓊郁苍润，山石皴法细腻匀净，古雅的青绿设色晕开沉静的宋人意趣。\n\n笔致工稳秀润，将文人幽居林泉的理想铺陈绢素，山野间无车马喧嚣，唯有山光树影伴衬书香。山石草木皆含静气，把宋人内敛雅致融在每一处细节里，让观者仿佛能踏入这方世外山居，共赴林泉书香的闲淡之约。",[23,200,24,25,28,29,56,36,34,7,60,114,133,130,58,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39d558e62e4e589222cc081f24c1e325.jpg",[],{"id":12838,"slug":12839,"title":12840,"dynasty":124,"author":473,"museum":561,"description":12841,"tags":12842,"thumbUrl":12843,"material":70,"size":70,"collection":70,"collections":12844,"showCount":12626,"zanCount":46,"manualWeight":46,"mainColor":149},227767,"gong-dian-hua-yuan-tu-ye-li-tang-227767","宫殿花园图页","李唐（1066年－1150年），字晞古，亦作希古，宋朝著名画家，河阳三城（今河南孟县）人。\n\n李唐原供奉北宋徽宗的画院，1127年金兵攻陷汴京，李唐颠沛流离，逃往临安（今杭州），以卖画度日。南宋恢复画院后，李唐经人举荐，进入画院，授成忠郎职务。\n\n李唐精于山水画，变荆浩、范宽之法，山水画最初用峭劲的笔墨，写出北方山河雄峻气势；晚年去繁就简，创大斧劈皴；画水打破鱼鳞纹程式，而得盘涡动荡之状；兼工人物画，初似李公麟，后衣褶变为方折劲硬；并以画牛著称。\n\n描绘青绿山水，如《万壑松风图》、《长夏江寺图》等，是北派山水的著名代表人之一，其后用笔及取景变的简括凝炼、构图精练、意境优美，开辟南宋的新画风，并创作人物画《胡笳十八拍》、《采薇图》等，借历史抒发怀念故国，希图中兴的感情。\n\n李唐的画风对后世有很大影响，他也培养了一些杰出弟子如萧照，其后马远、夏圭继承和发展了他的画风，和他一起，并称为“南宋四家”（李唐、刘松年、马远、夏圭）。",[23,200,24,28,57,58,60,34,7,61,3980],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa52bbd47fa75dd0f52917c93d10f58b.jpg",[],{"id":12846,"slug":12847,"title":12848,"dynasty":124,"author":12849,"museum":561,"description":12850,"tags":12851,"thumbUrl":12852,"material":70,"size":70,"collection":70,"collections":12853,"showCount":12626,"zanCount":46,"manualWeight":46,"mainColor":149},227411,"hu-ren-xiang-ma-tu-lian-bu-227411","胡人相马图","廉布","此图绘白马长啸，一白衣胡人在观马，一异装胡人在羌管，似与白马之啸互相呼应。此幅左上角题：四蹄玉削耳披风，独立昂藏气势雄，争向瑶池夸八骏，如何图内有真龙。山阳廉布。钤一印模糊不辨。然观此作绝非北宋末画迹，但人马描绘俱佳，也非庸手所为，当是托名廉布以射利。廉 布。字宣仲，号射泽老农。楚州山阳（今江苏省淮安）人。妙年登科，官至武学博士，以张邦昌婿，负才不得用。后居绍兴，既绝仕宦之念，以诗酒自娱。画山水，尤工枯木丛竹、奇石松柏、种种飘逸，师东坡而青出于蓝。",[23,24,200,28,56,58,215,112,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc845275590a4df7a346a1debac89576f.jpg",[],{"id":12855,"slug":12856,"title":12857,"dynasty":793,"author":794,"museum":561,"description":12858,"tags":12859,"thumbUrl":12861,"material":70,"size":70,"collection":70,"collections":12862,"showCount":12626,"zanCount":46,"manualWeight":46,"mainColor":149},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！",[23,200,24,25,12860,29,28,36,860,7,242,5047,158],"唐代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1cc41d747600fbec5bb8ee4187a8527.jpg",[],{"id":12864,"slug":12865,"title":12866,"dynasty":654,"author":1977,"museum":561,"description":12867,"tags":12868,"thumbUrl":12870,"material":70,"size":70,"collection":70,"collections":12871,"showCount":12626,"zanCount":764,"manualWeight":46,"mainColor":47},226713,"huo-lang-tu-ye-li-sheng-226713","货郎图页","这是一幅人物风俗画卷，画面上货郎的货担上物品繁多，不胜枚举，从锅碗盘碟、儿童玩具到瓜果糕点，无所不有。在商品流通尚不够发达的时期，货郎们走街串巷，一副货担就是一个小小的百货店，货郎们不仅为偏僻的乡村带来所需的货物，也带来各种新奇的见闻，货郎的到来往往象节日般热闹场景。画家借助货郎这一题材表现了当时市井生活的一个侧面，那些令人眼花缭乱的物品，虽然今天有很多已不明其用途，但却真实地记录了那个时代百姓的生活方式，是民俗学家不可多得的珍贵史料。",[23,200,24,25,1465,56,28,58,12869,66,34,2697,7],"货担","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70b73176be8077b5a0404118925f2e78.jpg",[],{"id":12873,"slug":12874,"title":12875,"dynasty":296,"author":12876,"museum":561,"description":12877,"tags":12878,"thumbUrl":12879,"material":70,"size":70,"collection":70,"collections":12880,"showCount":12626,"zanCount":11,"manualWeight":46,"mainColor":250},224578,"qing-ke-si-qun-xian-zhu-shou-zhou-qing-ren-224578","清缂丝群仙祝寿轴","清人","云端玄女乘鹤御风而来，松荫之下众仙执笙捧盏，衣袂翩跹顾盼生姿，满含恭谨喜色，似正静待贺寿吉时。下方仙姝俯身采撷芝草灵卉，奇石虬松环伺左右，流云漫卷天际，将海天仙乡的缥缈灵秀铺展尽致。\n\n此作用通经断纬之技晕染衣纹褶皱的柔婉层次，石色苍古明润，松针纤毫毕现，将群仙赴寿的欢愉雅景织就，既见仙班贺寿的祥瑞吉庆，又尽显工致秀雅的匠艺风华，恍将清虚仙境凝于尺幅之中。",[200,24,25,95,440,28,58,29,34,1635,286,4149,1373,7,201,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87520e9eaeef0cd56b73baacd54137b6.jpg",[],{"id":12882,"slug":12883,"title":2325,"dynasty":296,"author":498,"museum":360,"description":12884,"tags":12885,"thumbUrl":12886,"material":760,"size":6461,"collection":42,"collections":12887,"showCount":12626,"zanCount":46,"manualWeight":46,"mainColor":149},224389,"fang-huang-gong-wang-shan-shui-tu-wang-yuan-qi-224389","其实王原祁和他的祖父都特别喜欢黄公望的作品，这也是他临摹黄公望作品的原因。 王原祁代笔之作很多，由于他受皇帝赏识，学他风格者上千，成为“娄东派”，此派左右清代三百年画坛，正为正统派，对后世影响极大。清代山水画一蹶不振，这也是一大原因。",[23,200,24,951,186,36,27,28,95,837,539,34,30,35,132,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32e310151c7d582dfc8711bd2fb5cf10.jpg",[42],{"id":12889,"slug":12890,"title":12891,"dynasty":124,"author":436,"museum":360,"description":12892,"tags":12893,"thumbUrl":12894,"material":673,"size":12895,"collection":144,"collections":12896,"showCount":12626,"zanCount":46,"manualWeight":46,"mainColor":149},223532,"shui-ge-feng-liang-tu-yi-ming-223532","水阁风凉图","绘古木掩映下一茅亭临江而建，远处山色空蒙，中为平川水田。宁外巨石错落，泉水奔流，亭内置一方桌，一折衣长者袖手停立桌前，仆人执扇侍立一侧。",[23,24,25,29,28,36,60,112,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37929b949c027168c6a1aef447280eae.jpg","22.5x21.1厘米",[144,42,146],{"id":12898,"slug":12899,"title":12900,"dynasty":78,"author":699,"museum":360,"description":12901,"tags":12902,"thumbUrl":12904,"material":3031,"size":12905,"collection":42,"collections":12906,"showCount":12626,"zanCount":11,"manualWeight":46,"mainColor":149},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。",[23,24,27,29,95,36,860,158,242,538,7,5047,12903],"孤亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff27e97755cc21cee6f7621a139816eab.jpg","纵97.1厘米，横55.3厘米",[42,146],{"id":12908,"slug":12909,"title":12910,"dynasty":78,"author":699,"museum":53,"description":12911,"tags":12912,"thumbUrl":12914,"material":203,"size":12915,"collection":42,"collections":12916,"showCount":12626,"zanCount":46,"manualWeight":46,"mainColor":47},221791,"shu-song-you-xiu-tu-zhou-cao-zhi-bai-221791","疏松幽岫图轴","描绘平溪远岫，疏林飞瀑，山谷间房舍隐现。近处高松老树疏简错落，枝干虬曲，形态优美。",[23,24,25,95,27,36,29,12913,96,7,34,82],"疏松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78ce6cb5c7be500033f0c32f59285ed1.jpg","纵74.5厘米，横27.8厘米",[42,146],{"id":12918,"slug":12919,"title":12920,"dynasty":78,"author":699,"museum":53,"description":12921,"tags":12922,"thumbUrl":12923,"material":601,"size":12924,"collection":42,"collections":12925,"showCount":12626,"zanCount":46,"manualWeight":46,"mainColor":149},221787,"shuang-song-tu-zhou-cao-zhi-bai-221787","双松图轴","滨水石坡上两棵虬松，拔地而起，势如参天，背衬以杂树，掩映在烟霭中，渐远渐晦。并立双松，干顶枝条向周围虬蟠伸长，旁配以远水，成无尽景，画成于1329（天历二年），时年曹知白五十八。以松树成为山水画中描摹的一重点，概与元朝整个大环境有关，画家藉事物明志，而松之坚拔，使双松正可作为友情坚贞之象徵\n在元画中这类作品甚夥，如朱德润、唐棣等大家之作。审视诸家之双松，皆可找出从李衎以来，所持有李郭派描写树石的严谨传统。但和诸家笔下略带书法性夸张的松树相较，先生在树形及用笔上，展现了平实的个人风貌。\n画家以直线皴配合鳞皴表现松干皮，并在树身上加上齐列的横点苔，显得工整规律，但伸展曲折诡谲的松枝经营，枝梢回转上仰之姿，和向四面散射细疏的松针，打破了松身的平整。杂树枯枝则取蟹爪笔法，和其晚年七九岁所作《群峰雪霁图》前景三松简淡笔墨对照，此幅用笔显得严整而厚实。",[23,24,25,95,27,36,29,427,7,34,1622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e1cce535f431daf2980dd1b72ee3a27.jpg","132.1x57.4公分",[42,146],{"id":12927,"slug":12928,"title":12929,"dynasty":18,"author":4395,"museum":360,"description":12930,"tags":12931,"thumbUrl":12932,"material":246,"size":12933,"collection":70,"collections":12934,"showCount":12626,"zanCount":46,"manualWeight":46,"mainColor":149},220390,"you-song-tu-du-qiong-220390","友松图","此画无款，钤“东原斋”、“杜用嘉”、“一丘一壑”三印。\n后有文伯仁跋，说明为杜琼之作。据张丑《清河书画舫》著录：“东原先生为其姊丈魏友松写号图，当时有题诗，不知何时脱落，尚赖刘完庵长句具存，足称艺林双璧。”又据杜琼文集中有关魏友松的诗文可知，杜琼姊丈魏本成，号友松，魏氏一家都是仕宦文人。",[24,25,26,29,28,56,36,30,31,7,34,427,35,64,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b1af06046dc35154b5afb75f3032f83.jpg","纵28.8厘米，横92.5厘米",[],{"id":12936,"slug":12937,"title":12938,"dynasty":18,"author":5311,"museum":183,"description":12939,"tags":12940,"thumbUrl":12941,"material":84,"size":70,"collection":42,"collections":12942,"showCount":12626,"zanCount":11,"manualWeight":46,"mainColor":47},219704,"zhu-yuan-feng-seng-tu-zhao-zuo-219704","竹院逢僧图","赵左（1573-1644）的风格兼容苏州与松江两地画学传承。画中小茅屋里面对僧人而坐的文士，吻合右上方所书的唐人诗句「因过竹院逢僧话，又得浮生半日闲」。此画题颇受欢迎，而赵左的诠释方式，除了利用竹林、巨石、水面与大片云雾，将竹院独立出来，更有趣的是利用树干与围幕，将文士框限于一小方空间，促迫地享受仅存的闲逸。",[23,200,24,25,27,951,36,112,7,1081,31,58,391],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2de72b6897a34154bfb9dd405d03101.jpg",[42],{"id":12944,"slug":12945,"title":12946,"dynasty":296,"author":498,"museum":360,"description":12947,"tags":12948,"thumbUrl":12949,"material":84,"size":12950,"collection":42,"collections":12951,"showCount":12626,"zanCount":11,"manualWeight":46,"mainColor":149},218508,"qing-shan-die-cui-zhou-wang-yuan-qi-218508","晴山叠翠轴","山峦层叠如浪，墨色皴擦间见苍劲骨力，干笔积染出岩壑的厚重肌理。云雾轻笼谷口，牵起远近峰峦的呼吸，让重山不显壅塞，反生空濛之趣。\n\n溪流蜿蜒穿林，石岸错落间，几座亭台隐于松荫下，似有琴音随波漫散。松枝如铁，竹叶含翠，笔墨间藏着岁月的温润——既见北地山水的雄浑骨架，又融江南草木的秀逸情致。\n\n整幅画如一卷徐徐展开的清梦，每一笔皴擦都浸着文人的静穆心思，将自然丘壑凝练成纸上的悠远意境，让人观之忘俗，仿佛能踏入那片松风竹影里，听山涧流水，享片刻清宁。",[23,24,25,95,29,36,28,837,112,31,30,35,7,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65267561fee9a2d6709bd2cb30d8768c.jpg","139.5x61cm",[42],{"id":12953,"slug":12954,"title":12955,"dynasty":296,"author":498,"museum":360,"description":12956,"tags":12957,"thumbUrl":12958,"material":84,"size":12959,"collection":42,"collections":12960,"showCount":12626,"zanCount":46,"manualWeight":46,"mainColor":47},218507,"fang-shan-qiao-shan-shui-zhou-wang-yuan-qi-218507","仿山樵山水轴","干笔皴擦的峰峦如黛，层层积墨间藏着云气轻烟。近处松枝横斜，溪畔孤舟静泊，山间隐约露人家檐角。笔墨苍劲却不失秀润，构图繁复仍显空灵，将山樵淡远意境与自家沉雄笔力相融。尺幅间铺展静谧悠远的山水天地，峰峦跌宕里见林木繁密，溪涧蜿蜒处映云雾缭绕，尽显文人画的气韵生动与笔墨精神，仿佛能听见山风掠过松涛、溪水潺潺流过石滩的轻响，把传统山水的沉雄气象凝于一纸之上。",[23,24,95,27,36,29,2901,7,34,427,31,32,565,364],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c6d1ab3c13a67e13f50739433bb5efa.jpg","纵95.5cm，横51.5cm",[42],{"id":12962,"slug":12963,"title":12964,"dynasty":296,"author":1320,"museum":346,"description":1321,"tags":12965,"thumbUrl":12966,"material":84,"size":1324,"collection":70,"collections":12967,"showCount":12626,"zanCount":46,"manualWeight":46,"mainColor":47},218337,"shen-xian-gu-shi-tu-ce-1-leng-mei-218337","神仙故事图册-1",[23,24,28,56,58,31,7,34,6285,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9a61ad2a7e96dd17ea8b4e38b2355c5.jpg",[],{"id":12969,"slug":12970,"title":12971,"dynasty":78,"author":436,"museum":509,"description":12972,"tags":12973,"thumbUrl":12974,"material":84,"size":12975,"collection":42,"collections":12976,"showCount":12626,"zanCount":46,"manualWeight":46,"mainColor":149},218209,"song-quan-gao-shi-tu-yi-ming-218209","松泉高士图","图画的背景是一片茂密的森林，松树和松针在风中摇曳。整幅图画给人以庄严肃穆的感觉，表达了对松泉高士伟大品格的敬意。",[24,200,1900,28,29,58,272,7211,31,7,34,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4041017ea2d172063a033356abfa97ad.jpg","24x27.3cm",[42],{"id":12978,"slug":12979,"title":12980,"dynasty":18,"author":1100,"museum":108,"description":12981,"tags":12982,"thumbUrl":12983,"material":40,"size":70,"collection":70,"collections":12984,"showCount":12626,"zanCount":46,"manualWeight":46,"mainColor":47},217015,"fang-gu-shan-shui-ce-liu-kai-6-dong-qi-chang-217015","仿古山水册六开-6","董其昌是明朝时期著名的画家，他的仿古山水册六开是他的代表作之一。这本册子包含了六幅仿古山水画，每幅画都经过精心绘制，画面细腻，线条流畅，再现了古代山水的美感。董其昌在绘制这些画的时候，采用了仿古的手法，借鉴了古代画家的画风，使得这些画看起来非常传统和古朴。这本册子被广泛认为是董其昌最优秀的作品之一，也是明朝仿古山水画的典范。",[23,24,25,111,27,36,29,7,427,30,7292],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c6211ae8ca6eddfebd49ee0a2f4aec4.jpg",[],{"id":12986,"slug":12987,"title":12988,"dynasty":78,"author":79,"museum":561,"description":12989,"tags":12990,"thumbUrl":12991,"material":217,"size":660,"collection":70,"collections":12992,"showCount":12993,"zanCount":46,"manualWeight":46,"mainColor":149},290148,"zhi-lan-shi-tu-ke-luo-ban-huang-gong-wang-290148","芝兰室图 （珂罗版）","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》。",[23,24,27,29,36,7,34,1506,33,30,31,37,82,1647],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19cc32f6b467d1055b76d9b1b43ef70e.jpg",[],36,{"id":12995,"slug":12996,"title":12997,"dynasty":124,"author":12998,"museum":561,"description":12999,"tags":13000,"thumbUrl":13002,"material":217,"size":660,"collection":70,"collections":13003,"showCount":12993,"zanCount":46,"manualWeight":46,"mainColor":149},288735,"xiao-xiang-ba-jing-tu-juan-wu-wang-hong-288735","潇湘八景图卷五","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。",[200,24,25,26,27,36,29,316,7,34,130,13001,114,133,58],"亭舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F339dada0ada5326f09ea7594fb34f379.jpg",[],{"id":13005,"slug":13006,"title":13007,"dynasty":296,"author":7129,"museum":561,"description":13008,"tags":13009,"thumbUrl":13010,"material":70,"size":70,"collection":42,"collections":13011,"showCount":12993,"zanCount":11,"manualWeight":46,"mainColor":149},238234,"wu-zhong-shan-shui-tu-juan-zhang-zong-cang-238234","吴中山水图卷","公元1751年，乾隆皇帝南巡，张宗苍进献了画册《吴中十六景》，深得乾隆皇帝的欣赏，后来进入清宫廷画院供奉，为宫廷作画，是乾隆时期一位重要的宫廷画家。清代宫廷绘画在清代绘画史上有着重要的地位，特别是乾隆时期，设立了如意馆广收人才，创作了很多纪实、历史故事、宗教及装饰题材的作品，具有特殊的历史与艺术价值，在乾隆一朝的宫廷画家中，张宗苍是很重要的一位。张宗苍的山水画，画风苍劲，用笔沉着。山石皴法多以干笔积累，林木之间使用淡墨，干笔和皴擦的手法相结合，表现出了深远的意境和深厚的气韵，一洗宫廷画院惯有的甜熟柔媚的习气，特别被乾隆皇帝所喜爱。",[24,26,951,27,36,5229,29,60,30,33,7,1066,31,35,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7deab10c68df88dc06873ce369f679d.jpg",[42,264],{"id":13013,"slug":13014,"title":6122,"dynasty":296,"author":3038,"museum":561,"description":6123,"tags":13015,"thumbUrl":13016,"material":70,"size":70,"collection":70,"collections":13017,"showCount":12993,"zanCount":46,"manualWeight":46,"mainColor":47},237588,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237588",[200,24,25,111,27,28,36,2843,29,34,7,31,33,114,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c371ad1b554c4cb74d1d00a8c6b3ead.jpg",[],{"id":13019,"slug":13020,"title":13021,"dynasty":296,"author":3038,"museum":360,"description":6123,"tags":13022,"thumbUrl":13023,"material":760,"size":13024,"collection":42,"collections":13025,"showCount":12993,"zanCount":11,"manualWeight":46,"mainColor":47},236769,"zhu-qu-zhou-wang-hui-236769","竹趣轴",[24,95,27,36,29,391,132,7,34,1081,114,5267,3315,1397],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a53edaed5daacf78869c55444abcab9.jpg","纵138.8厘米，横29.9厘米",[42,146],{"id":13027,"slug":13028,"title":12365,"dynasty":78,"author":13029,"museum":13030,"description":13031,"tags":13032,"thumbUrl":13033,"material":229,"size":13034,"collection":70,"collections":13035,"showCount":12993,"zanCount":46,"manualWeight":46,"mainColor":47},233767,"jiu-ge-tu-juan-zhang-wo-233767","张渥","吉林省博物院","“九歌”的名称来源很早，据说在夏朝的时候就已经出现了，《离骚》《天问》和《山海经》中都曾经提到过它。《离骚》中说：“奏九歌而舞韶兮”。“韶”，相传是舜帝的舞曲，把它与“九歌”并举，可见都是远古的乐章。而《山海经》则说“九歌”是启（传说中大禹的儿子）从天上偷来的，这便给她添上了神话色彩。现存“九歌”，其实是楚国南部流传已久的一套民间祭神的乐歌，后来经过屈原的加工改写而创造出来一种独特的抒情诗。张渥的这幅画上有屈原的画像，可见他也是根据屈原的《九歌》来创作这幅作品的。\n屈原所作《九歌》是根据民间祀神乐曲加工润色而成的诗章。当时楚国的巫风兴盛，人们的娱乐生活往往和宗教祭祀杂糅在一起，通过所祀之神来表达自己的理想和愿望。屈原《九歌》从内容到风格形式，都保存着南方原始祀神民歌的基本格调，在长期的历史进程中一直闪耀着动人的光辉，并吸引着历代画家们以此为题材进行艺术创作。据传最早绘制《九歌图》的画家是宋代李公麟。元代画家张渥的《九歌图卷》历来被认为是李公麟原作的摹本，这从该画卷后的题款“临李龙眠九歌图”即可看出。 [4] 此图是张渥为好友言思齐（世贤）所作。\n展开画卷，首先映入眼帘的是发髻束起，身着广袖长服，拱手站立的屈原像。他庄重而坚毅、孤独而傲岸、感伤而执著的神韵跃然于纸上，令人感佩动容。在对主人公形象的塑造上，画家运用了以线条勾勒为主的白描手法，用笔苍老润洁，遒逸秀劲，勾勒简练畅意，古拙脱俗，使人物更加生动传神，而且令整幅画面极具一种装饰美。其后以篆书题写《渔父》一篇，这就使读者似乎看到了屈原被放逐后徘徊于江滨那种忧心国事的情怀，不由自主地把屈原的品格同他的《九歌》密切地联系起来。\n紧随屈原像后，作者依据《九歌》原诗的情节逐一绘制出东皇太一、云中君、湘君、湘夫人的形象。画家熟练地运用线条长短、迂回、曲直变化，流畅飞扬，宛似行云流水，人物形象充满了各自的不同神韵。大司命手执拐杖，头上几根洗练的线条和些许淡墨晕染，恰如其分地表现了纱巾透明的质感，其下的发髻隐约可见。衣裤则用比较劲秀而又略有不同的线描画成，使人觉得衣与裤的质料也有所差异。至于面部和双手，用笔更细、更淡、更柔、更富于变化，枯笔画成的须眉成功地表现了它的疏落和蓬松，一副老年人的沧桑感突现出来。少司命左手执笔，右手握卷，慈眉善目，飘浮于祥云之上。左一持杖侍女似正听其嘱咐。东君浓眉大眼，鬓须满脸，手持法器，立于祥云之上。\n在原诗中，东君是人们想象中的太阳神，张渥却捕捉住“举长矢兮射天狼”这一爱憎鲜明的情节，把太阳神和天狼星之间的矛盾冲突集中在一个画面上。太阳神被描绘成一个全副武装、魁梧雄伟的武士，一手持弓，一手握箭，翻身怒视天狼星，须眉怒张，强调了他的勇武；衣带飘拂，加强了动势的表现。天狼星则被画成一个小小圆球，仿佛摇摇欲坠。这种艺术处理充分显现了原诗中那种热爱光明、仇视黑暗的思想感情，比之孙承泽旧藏传李公麟《九歌图》中髭须飘洒、抱弓而立的东君，从思想内容到艺术技巧都增加了新的内容。河伯骑于海龟之上，其衣服帽带的飞扬，波涛的奔涌，把河伯迎风破浪前进的形象淋漓尽致地表现了出来。\n《山鬼》是屈原《九歌》11首诗中最摄人魂魄的一首，它出自楚国一个美丽凄婉的传说，描写一个美丽而幽怨的女神。画卷中的山鬼裸体骑赤豹于松林之中。《国殇》原诗用较多的篇幅描写将士们奋不顾身英勇作战的场面，画家则根据原诗精神，通过一个侧面，充满想象力地进行了生动的描绘：用苍郁的笔法略施渲染，绘成几株参天大树和树下挥戈而前的勇士，铠甲的明亮与树石的阴郁形成了鲜明的对比，从而突出了人物形象。树下走在最前面的人怒目仰视，张口狂呼，仿佛可以听到他叱咤风云的不息喊杀声。在他的身后，无数战士的头在树木的繁枝密叶间攒动。这里，画家的笔墨非常精练，能看到的只有几个被枝叶遮蔽得不完整的头部，但却突出了勇往直前的眼神，成功地运用了构图的掩映和读者的错觉，因而落墨不多却表现了千军万马不可压倒之势。\n《九歌图》人物的塑造特点是形象饱满，个性鲜明。例如，东皇太一是天之尊神。张渥将他塑造为一个王者的形象，高大威严，垂裳冠冕，一手捻须，一手若有所指。与他的高大不同，天女的形象则娇小纤弱，形成对比。又如，大司命是生命之神。张渥将他刻画成一个和蔼的长者，慈眉善目，扶杖驾云而来，全无命运之神的狞厉恐怖。再如，东君为日神。张渥将他描绘成一员武将，披挂整齐，举剑携弓，凝视前方的天狼星。\n《九歌图》不仅对于考订张渥画家的年表、纠正有关记述中的疏误有所裨益，而且为了解张渥的艺术成就提供了一件有价值的资料。\n壬子年为明洪武五年，张渥去世当在此之前。可见自1346年此图创作完成之后至明初的一段时间里，这件作品一直保存在言氏手中。此后《九歌图》在明代的流传情况并不清楚。\n清乾隆时期曾流入内府，画面上铃有乾隆、嘉庆、宣统的印玺多枚。\n清亡后，溥仪令宝熙等审定内府书画时将此卷列为上上，记录在审定内府书画目原稿中。此后，《九歌图》又以赏赐的方式被辗转运往长春的伪皇宫。1945年日本投降后，《九歌图》便一直保存在长春王世宜手中，1971年捐赠吉林省博物馆。",[23,24,25,26,712,58,1396,2241,31,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83685df6eeeedeb07127abdd163834aa.jpg","纵29厘米、横523.5厘米",[],{"id":13037,"slug":13038,"title":106,"dynasty":296,"author":10408,"museum":561,"description":13039,"tags":13040,"thumbUrl":13041,"material":70,"size":70,"collection":70,"collections":13042,"showCount":12993,"zanCount":46,"manualWeight":46,"mainColor":47},230115,"shan-shui-ce-jian-jiang-230115","这幅以渴笔淡墨绘就的山水，清劲冷逸。山石仅以疏朗线条勾勒轮廓，略施苔点，便将丘壑的清峭风骨尽数托出。留白代水，不着一笔却尽显秋江空茫之意。\n\n坡上矮屋孑然，旁立两株枯木，枝桠疏疏落落，和远山细树遥遥相对。整幅画删尽冗杂，以极简笔墨撑起满幅萧疏空寂，角落朱印如空山余温，更衬出天地静穆。于淡远简净之中藏着苍润深秀，将人带入空山无人、水流无息的幽寂禅境。",[24,25,111,27,36,29,35,34,7,1105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1421d5380835cb3a6b3385be97e94568.jpg",[],{"id":13044,"slug":13045,"title":13046,"dynasty":18,"author":5436,"museum":561,"description":13047,"tags":13048,"thumbUrl":13050,"material":70,"size":70,"collection":70,"collections":13051,"showCount":12993,"zanCount":46,"manualWeight":46,"mainColor":149},228749,"wu-xia-yun-tao-tu-xie-shi-chen-228749","巫峡云涛图","此作用全景式铺陈，以苍劲斧劈皴勾勒危崖峻岭，古木虬枝错落，丹黄枝叶点缀出清秋意趣。云气以淡墨晕染留白，将层峦半遮半掩，恍若仙境浮空。下方急流曲回，浪纹细密写实，孤舟搏浪于波谷峰尖，既尽显巫峡水势之汹涌诡谲，也暗透出旅人穿险的惶然张力。画作兼融北派山水的雄浑与南派的秀润，笔力厚重苍莽，墨色层次丰盈，将山川云涛的磅礴瑰奇与行旅意趣相融，绘就出巫峡吞吐云波的壮绝天地。",[23,24,25,95,27,28,36,29,13049,32,34,130,7,133],"云涛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e51511415c782138d8297a287b8d354.jpg",[],{"id":13053,"slug":13054,"title":13055,"dynasty":18,"author":52,"museum":561,"description":13056,"tags":13057,"thumbUrl":13058,"material":70,"size":70,"collection":70,"collections":13059,"showCount":12993,"zanCount":764,"manualWeight":46,"mainColor":149},228444,"da-jin-de-yun-tu-juan-chou-ying-228444","大金德运图卷","此作用浓妍石青石绿晕染群峰，峭拔清奇的山峦错落于烟波间，淡赭晕开云霞，铺就幽渺辽远的天地格局。山坳水畔，村舍错落、人马往来，或驱马穿行山道，或聚居于林田之侧，烟火气浸透仙山灵境，尽显太平聚落的悠然意趣。\n\n书画合璧尽显古韵，青绿设色承袭唐宋古意，又以细腻人物村景铺陈，将恢弘山水与俗世温情融于一卷，既有大青绿的堂皇瑰丽，又暗含市井闲趣，是工笔青绿中兼具叙事性与观赏性的精妙之作。",[23,24,26,56,28,257,29,58,215,30,31,34,7,133,36,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0e63b6572fbf6fb41c1a558ac53c9e9.jpg",[],{"id":13061,"slug":13062,"title":13063,"dynasty":124,"author":3406,"museum":561,"description":13064,"tags":13065,"thumbUrl":13066,"material":70,"size":70,"collection":70,"collections":13067,"showCount":12993,"zanCount":11,"manualWeight":46,"mainColor":47},227705,"mi-you-ren-si-ma-huai-shan-shui-he-juan-mi-you-ren-227705","米友仁司马槐山水合卷","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。”",[23,24,25,26,27,36,37,82,29,34,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f2f43864087629e2b88a87765eedeee.jpg",[],{"id":13069,"slug":13070,"title":13071,"dynasty":124,"author":13072,"museum":53,"description":13073,"tags":13074,"thumbUrl":13075,"material":142,"size":70,"collection":70,"collections":13076,"showCount":12993,"zanCount":46,"manualWeight":46,"mainColor":149},227397,"hu-xi-san-xiao-tu-xiao-zhao-227397","虎溪三笑图","萧照","宋代佚名《虎溪三笑图》，绢本设色，纵26.4厘米，横47.6厘米，无款印，钤“宣统御览之宝”、“珍秘”等鉴赏印四枚，现收藏在台北故宫博物院。画面中，古树参天，虎溪蜿蜒奔流，水花飞溅，红叶飘洒，雾霭沉沉；三位老者气宇轩昂，肢体夸张，面对淙淙虎溪，相识无语，仰天长笑；左一童子肩负包袱、右二童子牵驴等候，样子朴实天真。图中笔细劲锐，设色古雅，远山以淡墨勾染，古树细笔勾勒，浓墨点小树，山石则淡青色皴染，墨线勾勒轮廓，整幅画面相融一气，极富立体灵动之感，体现了宋人卓越的绘画成就。",[23,24,200,28,36,29,58,1103,31,112,7,214,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F709f3a195d6a3665c242433604b692d1.jpg",[],{"id":13078,"slug":13079,"title":13080,"dynasty":78,"author":436,"museum":509,"description":13081,"tags":13082,"thumbUrl":13084,"material":13085,"size":13086,"collection":42,"collections":13087,"showCount":12993,"zanCount":46,"manualWeight":46,"mainColor":149},223461,"shan-xi-shui-mo-tu-yi-ming-223461","山溪水磨图","《民物熙乐图轴》又名《山溪水磨图》，描绘了山水、楼阁、盘车，山石画法受北宋风格影响，画法写实，界画整饬，人物生动，富于浓郁的生活气息。画面上无题款及收藏印记，也未见画史著录，有印章数枚，但是模糊难辨，系20世纪50年代初辽宁省博博物馆从民间收购获藏。曾经有人认为是明代作品，从画风看应为元人所作，后来鉴定为元人真迹，是一幅带有界画特点的典型的民间风俗画，可以使我们了解到宋元风俗画、界画的面貌。",[23,24,25,28,29,57,56,60,31,7,34,58,1103,13083],"水磨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3136e54ffa0e16bac85bd2b82cc151b.jpg","绢本淡设色，立轴","纵153.5厘米，横94.3厘米",[42,146],{"id":13089,"slug":13090,"title":13091,"dynasty":296,"author":8516,"museum":401,"description":8517,"tags":13092,"thumbUrl":13093,"material":142,"size":8522,"collection":70,"collections":13094,"showCount":12993,"zanCount":46,"manualWeight":46,"mainColor":47},223077,"hong-lou-meng-63-sun-wen-223077","红楼梦63",[23,56,28,57,58,60,7,34,302,61,2961,4936,31,29,4627],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6287c52639c4ee11c3285d5cf2df0f6d.jpg",[],{"id":13096,"slug":13097,"title":13098,"dynasty":78,"author":4957,"museum":53,"description":13099,"tags":13100,"thumbUrl":13102,"material":28,"size":13103,"collection":42,"collections":13104,"showCount":12993,"zanCount":764,"manualWeight":46,"mainColor":149},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。",[23,24,951,200,95,36,28,29,32,34,7,31,35,427,2490,158,13101,1066],"岸石","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",[42,146],{"id":13106,"slug":13107,"title":13108,"dynasty":124,"author":4263,"museum":1090,"description":13109,"tags":13110,"thumbUrl":13112,"material":142,"size":13113,"collection":70,"collections":13114,"showCount":12993,"zanCount":46,"manualWeight":46,"mainColor":149},221614,"xue-shan-xing-lv-tuan-shan-liang-kai-221614","雪山行旅团扇","画面以大雪覆盖的高山为背景，绘有一位在酷冬严寒之中骑驴的旅人，与南宋马远、夏珪风大量使用留白、仅表现出自然一角的山水画不同，这幅画出色地表现出大自然的博大精深。画面中相对于大雪山显得细微渺小的骑驴人物的精细表现、以及雁群飞过山等画面的各个角落都展现了梁楷的精妙笔法，如实地体现了梁楷作为山水画家的不凡功力。",[23,200,24,1900,27,29,537,215,7,242,58,131,34,612,13111,36],"简笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6642a6a7959b2fdb36f7e5b0ea9b676.jpg","24.3x25.7厘米",[],{"id":13116,"slug":13117,"title":11288,"dynasty":124,"author":125,"museum":53,"description":1718,"tags":13118,"thumbUrl":13124,"material":142,"size":11291,"collection":70,"collections":13125,"showCount":12993,"zanCount":46,"manualWeight":46,"mainColor":47},221386,"bao-shan-shi-jing-ce-fan-kuan-221386",[23,24,25,3096,111,27,36,29,96,7,244,33,158,242,159,5008,1436,6131,13119,13120,13121,13122,5009,13123],"山间景物","山水景观","石质山体","树木景观","皴笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed28aa2f9c150b73b313c757a0820177.jpg",[],{"id":13127,"slug":13128,"title":13129,"dynasty":3825,"author":5427,"museum":4767,"description":13130,"tags":13131,"thumbUrl":13132,"material":70,"size":70,"collection":70,"collections":13133,"showCount":12993,"zanCount":46,"manualWeight":46,"mainColor":47},220531,"xin-sheng-ming-huo-yue-qi-lai-xu-bei-hong-220531","新生命活跃起来","画面以淋漓水墨绘就奔腾雄狮，鬃毛肆意飞卷，四肢舒展腾跃，将百兽之王的雄健悍勇尽数铺展。作者以写实造型融入写意笔墨，精准捕捉雄狮迸发的蓬勃力道，野性生命力跃然纸面。\n\n背景山石苍简古拙，虬松横斜造势，以简淡衬雄浑，让醒狮冲破沉郁，似要踏过山巅，暗喻着挣脱桎梏的觉醒之气。整幅画将民族精神寄于狮形，借跃动醒狮传递出冲破混沌、昂扬奋进的时代强音，笔墨刚柔并济，把写意的洒脱与造型的精准相融，让猛兽的野性与新生的朝气交织碰撞，成为那个时代民族心气的生动注脚。",[24,27,300,1396,8836,427,7,3825],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e2f73da70e9963040779c5153e13dd7.jpg",[],{"id":13135,"slug":13136,"title":13137,"dynasty":296,"author":2948,"museum":360,"description":13138,"tags":13139,"thumbUrl":13140,"material":229,"size":13141,"collection":70,"collections":13142,"showCount":12993,"zanCount":46,"manualWeight":46,"mainColor":47},220323,"huang-shan-tu-ce-7-hong-ren-220323","黄山图册-7","《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。",[23,200,24,111,27,36,29,4253,427,35,133,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6273e3416479027eeb1ab9d4d8cccedb.jpg","21.5x18.3厘米",[],{"id":13144,"slug":13145,"title":13146,"dynasty":18,"author":9293,"museum":2286,"description":13147,"tags":13148,"thumbUrl":13149,"material":84,"size":13150,"collection":42,"collections":13151,"showCount":12993,"zanCount":46,"manualWeight":46,"mainColor":149},220146,"shan-ting-tu-li-zai-220146","山亭图","李在，明代宫廷画师，字以政，福建莆田人，迁居云南，后召入京。宣德时与戴进、谢环、石锐、周文靖同待诏入直仁智殿。自戴进以下一人而已。其山水细润处近郭熙，豪放处宗马、夏，多摹仿古人，笔气生动。《闽画史稿》谓其：“其人物笔致苍古，八面生动，开闽派之先。”日本画僧雪舟，曾与之切磋画艺。传世作品有《琴高乘鲁图》《阔渚晴峰图》《归去来兮图》《山亭图》等。",[23,24,25,29,95,27,36,33,30,7,35,96,578,34,58,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35489b0dded68401fc6628330b040d8f.jpg","124.9cm×59.4cm",[42],{"id":13153,"slug":13154,"title":13155,"dynasty":78,"author":107,"museum":108,"description":13156,"tags":13157,"thumbUrl":13159,"material":40,"size":13160,"collection":42,"collections":13161,"showCount":12993,"zanCount":764,"manualWeight":46,"mainColor":47},220091,"zhi-lan-shi-tu-wang-meng-220091","芝兰室图","王蒙《芝兰室图》是为杭州净慈寺古林昌公所作。卷首绘秃山怪石，重岩飞瀑。山石不着树木，仅有数丛荒草于风中摇曳。过瀑布，有茅屋数椽，为古林和尚之芝兰室。芝兰室庭院临水，岸边遍植兰与芝;庭院前厅供奉佛像，左右置椅，内置芝兰数盆;厅外长松入云，枝苍叶翠。松荫之下，僧儒席地而坐，听泉论道。小童手捧芝草侍立身后。图左绘山崖壁立，各色杂树遮天蔽日，曲折的小径掩映其间。卷尾绘岩穴临径，岩穴中三僧一儒相谈甚欢，石径之上，侍者穿梭。\n《芝兰室图》卷首篆题有“宝石泉壑，芝兰室图”八字，卷中所绘飞瀑流泉、松风万壑。宝石山位于西湖北里湖之北岸，山体属火成岩中的流岩和凝灰岩，含氧化铁而呈赭红色。在日光的映照下，满山流霞缤纷，熠熠闪光如宝石一般。王蒙绘制此卷亦以写生法为之，山石略施淡赭石红以应，正所谓“随类赋彩”。",[23,200,24,25,26,27,28,36,29,60,244,33,96,13158,130,7,34,82,37,38,4405],"古林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b969ba820d4e2d7d9f47016d1cf0529.jpg","画心：25×103 cm题跋：25×228 cm.",[42],{"id":13163,"slug":13164,"title":13165,"dynasty":296,"author":3038,"museum":3206,"description":13166,"tags":13167,"thumbUrl":13168,"material":84,"size":13169,"collection":42,"collections":13170,"showCount":12993,"zanCount":46,"manualWeight":46,"mainColor":149},219847,"guan-e-tu-wang-hui-219847","观鹅图","此作用笔秀润，以高远山居搭配平远水色，远山巍峨苍浑，飞泉隐于云壑林麓间，清寂辽远。临水楼阁中，文士凭栏远眺，溪上白鹅悠游浮掠，浅滩处侍童持物静立。\n\n皴擦松柔，晕染淡净，林木苍古秀雅，亭台简雅空灵，取景错落舒展，将林泉幽居的闲逸雅致铺陈开来，尽显观鹅寄怀的隐逸雅兴，淡墨轻岚间浸透着静穆萧散的文人意趣，简淡中见隽永悠远的林下之风。",[24,95,27,36,28,29,58,33,201,34,7,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d4100c5e85a00f55e5bd56e3b266434.jpg","130.5x39.4cm",[42],{"id":13172,"slug":13173,"title":13174,"dynasty":296,"author":436,"museum":53,"description":13175,"tags":13176,"thumbUrl":13177,"material":84,"size":13178,"collection":289,"collections":13179,"showCount":12993,"zanCount":46,"manualWeight":46,"mainColor":47},219595,"wan-nian-bu-lao-ce-yao-chi-chun-yan-yi-ming-219595","万年不老册-瑶池春宴","此作分上下二幅，上方以墨绿为底，泥金小楷端正隽秀，古雅沉静。下幅工笔设色，绘就瑶池春宴盛景。烟波之上，仙宾乘槎踏浪而来；苍松翠峦间，群仙或围坐清谈，或悠然伫立，麋鹿仙鹤闲游林泉，自在怡然。笔触精细工致，敷色妍丽明净，晕染出山石松涛的温润质感，将神话仙境的缥缈出尘，融于人间雅集的恬和悠然之中，把瑶池宴饮铺作世外清景，尽显工笔仙佛题材的雅致意趣，氤氲着清宁出尘的仙家气韵。",[200,24,25,111,28,56,58,6285,488,4949,112,883,7,33,6579,1273],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faba36c2019ede989fac397469dd36396.jpg","39x57.5厘米",[289],{"id":13181,"slug":13182,"title":13183,"dynasty":18,"author":13184,"museum":53,"description":13185,"tags":13186,"thumbUrl":13187,"material":84,"size":13188,"collection":42,"collections":13189,"showCount":12993,"zanCount":46,"manualWeight":46,"mainColor":149},219514,"bi-wu-jiang-shu-tu-song-mao-jin-219514","碧梧降暑图","宋懋晋","此作用高远兼平远之法铺陈景致，上部山峦以轻淡墨色晕染，肌理温润朦胧，似有夏山蒸腾的暑气轻笼。画面下畔的庭院为眼目所在，两株青梧亭亭如盖，将浓荫覆入院中，屋中幽人闲坐，静纳竹风凉意。溪上木桥轻架，垂柳拂过水面，坡岸细草茸茸，处处漫着夏日慵闲松弛的意趣。\n\n全画笔秀色雅，浅淡设色衬出清和氛围，将文人幽居消暑、耽于林泉的隐逸襟怀，融于山川院宇之间，淡而有神，静中生韵，尽显山居消暑的雅逸情致。",[24,25,95,28,29,36,30,31,34,35,7,1140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83e2ed619f72ec4ecb79001d077b24f1.jpg","124x38.4厘米",[42],{"id":13191,"slug":13192,"title":13193,"dynasty":78,"author":436,"museum":360,"description":13194,"tags":13195,"thumbUrl":13197,"material":84,"size":70,"collection":306,"collections":13198,"showCount":12993,"zanCount":46,"manualWeight":46,"mainColor":149},219258,"ying-fu-tu-yi-ming-219258","鹰凫图","画面定格鹰扑击野鸭的瞬间：鹰爪紧扣猎物，翎羽贲张如蓄势之弓，野性力量破纸而出；野鸭双翼垂落却仍微挣，脖颈屈折间藏着不甘，生死博弈的张力在方寸间拉满。背景芦苇疏淡、岩石朴拙，以极简之笔衬出主体冲突，暗合元代对生命张力的隐寓。笔墨细腻处见翎羽纹理纤毫毕现，粗犷处显山石气韵苍劲，动静相生间，将自然法则的残酷与壮美凝于绢素，尽显元代花鸟画写实与写意交融的妙境——于无声处听惊雷，于绢素间观天地。",[24,200,62,56,28,6283,13196,7,4515,201],"凫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0cc36a821ca8467128e4f60dec1bde6.jpg",[306],{"id":13200,"slug":13201,"title":13202,"dynasty":124,"author":436,"museum":53,"description":13203,"tags":13204,"thumbUrl":13206,"material":84,"size":70,"collection":289,"collections":13207,"showCount":12993,"zanCount":11,"manualWeight":46,"mainColor":149},219172,"shan-yang-tu-yi-ming-219172","山羊图","粉面朱唇的稚子端坐羊背，衣袂鲜妍如霞，手中轻挥短鞭。群羊毛色胜雪，犄角宛转似玉，或驰于坡前，或驻于石畔，或低头嗅草，姿态灵动如生。背景松枝虬劲，梅蕊初绽，墨色浓淡间晕染出清寂古意。线条工细若蚕丝，衣纹褶皱、羊身毫毛皆刻画入微；设色沉敛温润，赭石与石青相映，既见宋画的雅致，又藏孩童嬉戏的稚趣。动静相宜间，似能听见羊蹄踏石的轻响，稚子清脆的笑声，将寻常生活的闲情，凝作千年不褪的画卷。",[24,25,200,56,28,13205,58,272,390,7,1373],"山羊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00d784dda5b0462addae6b69112b558a.jpg",[289],{"id":13209,"slug":13210,"title":13211,"dynasty":124,"author":436,"museum":53,"description":13212,"tags":13213,"thumbUrl":13215,"material":84,"size":13216,"collection":144,"collections":13217,"showCount":12993,"zanCount":46,"manualWeight":46,"mainColor":47},218842,"song-yin-fang-dao-tu-yi-ming-218842","松荫访道图","这幅画描绘了一位国王和一位王子向一位僧人请教冥想的情景，并将人物放在一条阴松溪的岸边，溪上有一座石桥，暗示渡口可以到达彼岸。这幅画与刘松年的画派相似，是山水画中人物团扇的典范。",[23,24,28,56,36,13214,272,58,7,34,4937],"团扇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94fd283639ef962c56bc157245007996.jpg","22.5x24.8",[144],{"id":13219,"slug":13220,"title":13221,"dynasty":296,"author":13222,"museum":53,"description":13223,"tags":13224,"thumbUrl":13225,"material":84,"size":13226,"collection":42,"collections":13227,"showCount":12993,"zanCount":11,"manualWeight":46,"mainColor":47},218723,"fang-zhao-qian-li-jiu-cheng-gong-tu-sun-hu-218723","仿赵千里九成宫图","孙祜","这幅画描绘的是一座高大的宫殿，人物众多，尺寸不大，是清朝宫廷画家孙祜和丁观的作品，赵伯驹的原作还在，相比之下，孙祜的画一定是再创作，精度极高。",[24,25,200,95,9334,57,56,28,29,60,317,7,34,58,61,578,187,37,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cdff0e72c31b9ba871ad9ac21069156.jpg","43.4×42.3cm",[42],{"id":13229,"slug":13230,"title":13231,"dynasty":18,"author":387,"museum":360,"description":13232,"tags":13233,"thumbUrl":13234,"material":116,"size":13235,"collection":146,"collections":13236,"showCount":12993,"zanCount":46,"manualWeight":46,"mainColor":47},218405,"wang-gong-bai-xiang-tu-tang-yin-218405","王公拜相图","这幅画表现的是王鏊上山做官，是唐寅作为弟子画的，所以画得很用心。王鏊在1506年左右来到宫廷，当时唐寅36岁，其画风，山石树木如李唐，人物如李公麟，无疑是真迹。",[23,24,25,26,27,28,56,36,37,38,82,58,29,60,34,7,33,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc31d64915532e56e517bdba4db86340f.jpg","73.5x20",[146],{"id":1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ynasty":296,"author":13309,"museum":561,"description":13310,"tags":13311,"thumbUrl":13312,"material":70,"size":70,"collection":42,"collections":13313,"showCount":13270,"zanCount":11,"manualWeight":46,"mainColor":47},239027,"shan-shui-zhou-wang-xue-hao-239027","王学浩","王学浩（1754—1832）字孟养，号椒畦，江苏昆山人。乾隆五十一年（1786）举人。为人恬澹旷适，绝意干禄。遍历燕、秦、楚、粤。山水得原祁正传，结体精微，笔力苍古。著有《山南论画》，立论精当。于书无不工，篆、隶古劲，直接秦、汉而不自谓能。真书从欧入褚，晚探二王秘。行书更得瘗鹤铭笔意，坚苍浑厚，自成一家。工诗，卒年七十九。",[24,25,95,28,36,29,35,34,7,31,364],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03ac2666c3007bbc5a92459091d826e3.jpg",[42,264],{"id":13315,"slug":13316,"title":13317,"dynasty":296,"author":2706,"museum":561,"description":13318,"tags":13319,"thumbUrl":13320,"material":70,"size":70,"collection":42,"collections":13321,"showCount":13270,"zanCount":46,"manualWeight":46,"mainColor":47},238708,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238708","画弘历和江文通诗意图册","此作用淡墨绘就幽居小景，敞轩之内，文士展卷校读，神态悠然专注。周遭古木虬枝舒展，湖石玲珑错落，浅溪萦回其间，清寂雅致。\n\n笔墨秀润清简，以淡墨皴擦晕染山石肌理，细笔点染出林叶苍然之态，构图疏密得宜，将林下闲居的静穆氛围铺陈开来。画作呼应诗意，把耽于文墨、寄兴丘山的隐逸襟怀融于景致之中，尽显冲淡萧散的文人雅趣，将文人心底幽远的林下之思藏在清和水墨间，尽显风雅静谧的文人画意趣。",[24,25,111,27,36,58,33,34,7,37,38,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa84e46151266133c953b99627ae19f1f.jpg",[42,289,146],{"id":13323,"slug":13324,"title":13325,"dynasty":296,"author":2948,"museum":561,"description":13326,"tags":13327,"thumbUrl":13328,"material":70,"size":13329,"collection":70,"collections":13330,"showCount":13270,"zanCount":46,"manualWeight":46,"mainColor":47},238032,"hong-ren-shan-shui-tu-ce-hong-ren-238032","弘仁山水图册","弘 仁（1610-1664），清画家。俗姓江，名韬，字六奇，又名舫，字鸥盟。明亡后于福建武夷山出家为僧，字渐江，号梅花古衲。安徽歙县人。为清初四画僧之一。擅画山水，初学宋人，晚法萧云从、倪瓒，笔法清刚简逸，意趣高洁俊雅。尤好绘黄山松石，为“新安画派”创始人，和查士标、孙逸、汪立瑞等四人并称“新安四大家”。兼写梅竹，工诗。存世作品有《枯槎短荻图》《西岩松雪图》《黄海松石图》等。",[24,27,36,1465,29,427,7,363,1140,31,244,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ebf488d534c551f08afd778cd7b6d19.jpg","50×36",[],{"id":13332,"slug":13333,"title":13334,"dynasty":296,"author":870,"museum":360,"description":13335,"tags":13336,"thumbUrl":13337,"material":6274,"size":5250,"collection":70,"collections":13338,"showCount":13270,"zanCount":46,"manualWeight":46,"mainColor":47},233957,"yuan-ji-cai-shi-tu-zhou-shi-tao-233957","原济采石图轴","《采石图》中石头峻峭奇丽，独具一格。石涛石涛山水画非常大胆新奇，他对景物的勾勒描绘灵活多变，意境高深，他人很难模仿，他笔下的景物有一种灵性和生命，是中国山水画的珍品。",[24,27,36,95,29,244,427,7,31,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a194ee879f1e77435ad72edf054ce3b.jpg",[],{"id":13340,"slug":13341,"title":13342,"dynasty":18,"author":9109,"museum":360,"description":13343,"tags":13344,"thumbUrl":13345,"material":246,"size":13346,"collection":70,"collections":13347,"showCount":13270,"zanCount":11,"manualWeight":46,"mainColor":47},233751,"qian-gu-hu-qiu-qian-shan-tu-zhou-qian-gu-233751","钱穀虎丘前山图轴","钱穀主张绘画师法造化。他曾说：“丹青者，熔以法，模以天。”此幅作于隆庆元年丁卯（1567年）钱穀59岁时，写虎丘山前山实景，描绘了从二山门到山顶佛阁的景象。千人石、剑池、双吊桶、虎丘寺塔皆收入幅中。从题诗上看，画家是着意表现秋天空林落木、清寂高旷的景致，借景抒情，传达出寻胜访幽的文人雅趣。与《求志园图》一样，此幅山水不只是虎丘山云岩寺的简单再现，而是画家根据画面需要将有特征性的景物进行了重新安排，是意笔楼阁与文人山水紧密结合之作。如果去掉画面中虎丘寺塔等特殊性建筑物，则完全变成了一幅纯文人山水画。",[24,28,36,95,29,60,33,2404,34,7,58,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a26491f6fd766a14bd39dce498d642a.jpg","纵111.5厘米，横31.8厘米",[],{"id":13349,"slug":13350,"title":1875,"dynasty":296,"author":870,"museum":360,"description":5246,"tags":13351,"thumbUrl":13352,"material":13353,"size":13354,"collection":70,"collections":13355,"showCount":13270,"zanCount":46,"manualWeight":46,"mainColor":47},233426,"yuan-ji-shan-shui-ce-shi-tao-233426",[24,27,36,111,29,7,364,34,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8b294c65ccb30f4efcb803f6d027904.jpg","纸本 ，设色\u002F墨笔","纵27.7cm，横39.7cm",[],{"id":13357,"slug":13358,"title":13359,"dynasty":18,"author":6367,"museum":360,"description":13360,"tags":13361,"thumbUrl":13362,"material":246,"size":13363,"collection":70,"collections":13364,"showCount":13270,"zanCount":11,"manualWeight":46,"mainColor":149},233233,"chun-quan-xiao-yin-tu-juan-zhou-chen-233233","春泉小隐图卷","此图为别号图，是周臣为一位裴姓，号春泉的文人所作。画面起首以裴君的草堂为中心展开，草堂轩敞明亮，陈设简洁，堂外古松盘曲。主人正伏案假寐，堂外一童子持帚清扫，体现出闲雅出尘之趣。其后，板桥连岸，春水潺湲，远处青山逶迤，平湖无涯。中国画中往往绘文人隐士昼眠以示对外界的漠不关心，暗示他们与作官者有不同的享受，宣扬自我解脱、自我慰籍的处世哲学。画家巧妙地突出近景的板桥流水，以示“春泉”之意，又以假寐表示“小隐”，点明主题。\n此件作品在艺术风格上继承了南宋的“院体”画传统，构图洗练紧凑，状物准确生动，人物线条细劲流畅，情态传神。树石用笔刚劲峭利，多为小斧劈皴，墨色浓重而清润，显示了画家高超的绘画技巧。",[24,26,27,56,36,29,30,31,58,33,427,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1304a7914be5bc7d69117e298de3e6c9.jpg","纵26.3厘米，横85.5厘米",[],{"id":13366,"slug":13367,"title":13368,"dynasty":78,"author":1427,"museum":561,"description":13369,"tags":13370,"thumbUrl":13371,"material":229,"size":13372,"collection":70,"collections":13373,"showCount":13270,"zanCount":46,"manualWeight":46,"mainColor":149},232903,"shi-lei-wen-dao-tu-juan-qian-xuan-232903","石勒问道图卷","钱选（1239—1299），宋末元初著名画家，与赵孟頫等合称为“吴兴八俊”。字舜举，号玉潭，又号巽峰，霅川翁，别号清癯老人、川翁、习懒翁等，湖州（今浙江吴兴）人。\n南宋景定三年乡贡进士，入元不仕。工诗，善书画。画学极杂：山水师从赵令穰；人物师从李公麟；花鸟师赵昌；青绿山水师赵伯驹。人品及画品皆称誉当时。继承苏轼等人的文人画理论，提倡士气说，倡导戾家画。他提倡绘画中的“士气”，在画上题写诗文或跋语，萌芽了诗、书、画紧密结合的文人画的鲜明特色。",[23,24,25,26,28,56,58,34,1140,7,82,784],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07e96d6b7370b4a6dd7401122337fd33.jpg","28.6x138.5厘米",[],{"id":13375,"slug":13376,"title":13377,"dynasty":124,"author":780,"museum":3174,"description":13378,"tags":13379,"thumbUrl":13380,"material":142,"size":13381,"collection":70,"collections":13382,"showCount":13270,"zanCount":46,"manualWeight":46,"mainColor":149},232613,"tian-tai-shi-qiao-ying-zhen-zhou-ji-chang-232613","“天台”石桥应真","《“天台石桥”五百罗汉图》包括有南宋宁波地区民间佛像画家周季常的《应身观音》、《洞中入定》、《经典奇瑞》、《渡水罗汉》，及林庭珪的《施饭饿鬼》等五件作品。据作品上的金泥铭文所示，唐天祐元年（904），明州（今宁波）惠安院青山顶有十六罗汉灵异示现，故称罗汉院，罗汉信仰应运兴起，至南宋绍羲住持惠安院时，约请周季常、林庭珪，历时十余年创作百幅罗汉图以作供养。\n《“天台石桥”五百罗汉图》绢本，均通长约110厘米、宽约53厘米左右，《应身观音》图中央画一位十一面观音，坐于方椅上，左右有四位罗汉。从服饰、赤足及身体的肤色可知，这位十一面观音应是罗汉示现。画面描绘工整细致，用线富有变化。\n此作品显示，南宋佛教人物画的描绘，从单纯的人物塑造向情节性描述发展，从对肃穆凝重气氛的刻画，转向对人物精神状态的描述，尤其对故事情节的关注，成为绘画焦点，具有风俗画与肖像画的特质。此画风对后世影响深远。\n根据《日本原有寺传》记载，《“天台石桥”五百罗汉图》原有百幅，其中六幅原收藏在日本镰仓寿福寺，后相继为北条氏、丰臣秀吉所得，最后进入京都大德寺，另有十二幅于日本明治年间流入美国，华盛顿弗利尔美术馆收藏《天台石桥应真》与《临流洗濯》二幅，波士顿美术馆所得《僧俗供养》、《经典奇瑞》、《舍利观光》等十幅，成为这两馆入藏的两宋绘画珍品。日本京都大德寺则收藏《罗汉供茶》等八十二幅。《“天台石桥”五百罗汉图》作为南宋民间佛画的艺术珍品，于十五世纪被带到日本，递藏源流清晰，画风纯熟、保存良好，是举世无双的瑰宝。\n笔者因30多年研究天台山文化，对天台山佛画亦比较喜欢。在《翰墨荟萃——细读美国藏中国五代宋元书画珍品》书中，读到白话文教授的《中国的罗汉与罗汉画》一文，得知美国华盛顿弗利尔美术馆收藏《“天台”石桥应真》与《临流洗濯》二幅，波士顿美术馆收藏《僧俗供养》、《经典奇瑞》、《舍利观光》等十幅，日本京都大德寺收藏《罗汉供茶》等八十二幅等讯息后，立即联系日本友人，问询何处收有南宋周季常、林庭珪所作《“天台石桥”五百罗汉图》的书籍出版。后经日本友人告知，日本奈良国立博物馆于平成21年（2009）7月曾编辑出版了《圣地宁波》一书，是书追溯了日本佛教与宁波、台州一千三百年的源流关系。其中就收录了日本京都大德寺南宋周季常、林庭珪所作《“天台石桥”五百罗汉图》八十二幅，还收有美国华盛顿弗利尔美术馆与波士顿美术馆收藏的《“天台”石桥应真》与《临流洗濯》、《经典奇瑞》、《舍利观光》等十二幅。笔者喜出望外，立即向在日本东京开“琼芯斋”书店的华人店主黄海先生，订购了《圣地宁波》这部书，并于今年乙未羊年春节收讫。仔细欣赏南宋周季常、林庭珪所作的现存九十四幅《“天台石桥”五百罗汉图》中，有三幅图，最能体现天台山文化特色，故令人最为难以忘怀。\n《“天台”石桥应真》图系笔者故乡天台山石梁飞瀑的圣景，而石桥为中国佛教惟一的五百罗汉道场，此图又是迄今为止发现的最早关于天台山石桥罗汉佛画之作。“石桥应真”，石桥是指天台石梁桥，应真是指“罗汉”。据《“天台”石桥应真》图题记，此图为南宋明州籍画家周季常、林庭珪，于南宋淳熙五年（1178）开始，至淳熙十五年（1188）始毕。画面完全写实:石桥之上瀑水的形态，以及石桥右侧的“横石”，左侧崖际，无不与实地契合。石桥前罗汉驾云而观，右上“栋宇宏壮，图塔瑰奇”；二位罗汉排云出迎，“叙接宛同素识”；而石桥之上僧人恭敬合掌，冀渡桥而入应真之列。观此图，无不与南朝梁释慧皎《高僧传·竺曇猷传》内容相吻。乃知周、林二位毕十年之功，遍访形胜，探寻典故，所作罗汉图并非面壁虚拟。古人作事，虽书画一道，仍郑重非常，于此可见一斑。《“天台”石桥应真》图与《临流洗濯》图二幅，今藏于美国华盛顿弗利尔美术馆。",[24,95,784,56,28,58,29,8316,130,7,213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbbbcfe273eca337ff5473accf68cb25.jpg","109.9x52.7cm",[],{"id":13384,"slug":13385,"title":13386,"dynasty":296,"author":297,"museum":561,"description":13387,"tags":13388,"thumbUrl":13389,"material":70,"size":70,"collection":70,"collections":13390,"showCount":13270,"zanCount":46,"manualWeight":46,"mainColor":47},230278,"za-hua-ce-zhu-da-230278","杂画册","此帧以极简笔墨绘就松下双鹿，苍松横斜，枯干缀以寥寥松针，山石空灵淡远。双鹿姿态悠然，犄角挺秀，躯体线条清劲凝练，于幽寂山隅流露自在生机。\n\n配书题诗笔致圆劲古雅，朴拙疏朗，诗画相生，将世外丘壑的清逸冷寂尽藏其间。清冷笔墨下暗涌细腻意趣，荒简构图里饱含澹泊襟怀，尽显简远空灵的禅意逸韵，将天地生灵与林泉幽境融为一体，尽释超然物外的文人意趣。",[24,25,111,27,4949,1396,427,7,37,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7626f6421259e86c2bb63e5b96a3926d.jpg",[],{"id":13392,"slug":13393,"title":6521,"dynasty":18,"author":13394,"museum":561,"description":13395,"tags":13396,"thumbUrl":13397,"material":70,"size":70,"collection":70,"collections":13398,"showCount":13270,"zanCount":46,"manualWeight":46,"mainColor":149},228739,"xian-shan-lou-ge-tu-li-shi-da-228739","李世达","这幅画作以古雅青绿晕染山峦，层叠峰岫苍劲灵动，云雾漫过山坳林麓，将整座仙山晕染出空濛虚灵的缥缈意境。林麓间隐着幽致楼阁，烂漫桃林遍植溪谷，白衣雅士或驻足晤谈，或循溪漫游，将山居雅逸尽显。画面以细腻皴法写就山石肌理，青绿设色厚重沉静，糅合出世外仙源的悠然意趣，将文人心中的桃源之境具象铺展，尽显仙逸雅致的古典山水审美意韵。",[23,24,25,257,28,56,36,29,60,58,34,7,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F580ee793cdf2d67b3c1bf37812f2920f.jpg",[],{"id":13400,"slug":13401,"title":13402,"dynasty":18,"author":238,"museum":561,"description":13403,"tags":13404,"thumbUrl":13405,"material":70,"size":70,"collection":70,"collections":13406,"showCount":13270,"zanCount":11,"manualWeight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工绘画，兼擅书法。有《墨林山人诗集》、《蕉窗九录》等。",[24,25,95,27,29,58,244,31,427,7,133,82,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6608705547db80176fd9fd3ef2b8ff11.jpg","130*30.5cm",[289],{"id":13489,"slug":13490,"title":13491,"dynasty":296,"author":13492,"museum":53,"description":13493,"tags":13494,"thumbUrl":13496,"material":84,"size":13497,"collection":42,"collections":13498,"showCount":13270,"zanCount":46,"manualWeight":46,"mainColor":47},219471,"qiu-ri-shan-ju-tu-gu-da-shen-219471","秋日山居图","顾大申","主峰浑穆苍润，烟霭轻缠峰腰，谷内隐见飞瀑流泉，侧畔古寺露檐，幽寂空灵。山坳林木蓊郁，丹黄点染枝叶，暗合秋意。近滩怪石错落，古木虬曲偃仰，苍皮黛叶间杂霜色。溪岸茅舍柴扉轻掩，静听溪石漱水。\n\n以干笔皴擦写山峦肌理，湿墨晕染铺就空蒙烟岚，设色清隽雅致，将林泉幽居的萧散意趣尽数铺展，把幽人忘俗寄迹丘山的襟怀融在尺素间，淡远冲和，尽显秋日山居清旷之美。",[24,25,95,28,29,36,1506,34,7,133,60,30,31,33,13495],"秋日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e23cb5e36ed224305684f548d71d341.jpg","179.1x70厘米",[42],{"id":13500,"slug":13501,"title":13502,"dynasty":124,"author":436,"museum":53,"description":13503,"tags":13504,"thumbUrl":13505,"material":84,"size":13506,"collection":42,"collections":13507,"showCount":13270,"zanCount":11,"manualWeight":46,"mainColor":47},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。",[23,24,1900,28,57,56,60,33,427,64,7,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60c80f01916371f7568e1b5d290868c0.jpg","24.8x25.8",[42],{"id":13509,"slug":13510,"title":2957,"dynasty":124,"author":436,"museum":53,"description":13511,"tags":13512,"thumbUrl":13513,"material":84,"size":13514,"collection":289,"collections":13515,"showCount":13270,"zanCount":11,"manualWeight":46,"mainColor":47},218734,"xi-yuan-ya-ji-tu-yi-ming-218734","它描绘了王诜在西园雅集的故事，一石激起千层浪，人物安排得饶有兴味，人物画风古朴，可能是南宋李公麟作品的翻版。",[23,24,25,28,56,58,34,7,3323,4019,6817,61,3592],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94bc6ae28ac3a522246a2352340f410b.jpg","23.9x24",[289],{"id":13517,"slug":13518,"title":462,"dynasty":18,"author":11520,"museum":4634,"description":13519,"tags":13520,"thumbUrl":13521,"material":601,"size":13522,"collection":42,"collections":13523,"showCount":13270,"zanCount":46,"manualWeight":46,"mainColor":149},218419,"shan-shui-tu-wang-e-218419","画面中山峦巍峨，云雾似轻纱缭绕峰谷，虚实相生间显深远之致。近景几株树木枝干虬劲，枝叶婆娑灵动；树下小径上，行旅者或策骑缓行、或负物徐步，身形小巧却动态毕现，为静谧山水添生活意趣。笔墨工细中见洒脱，山石勾勒劲挺皴擦有度，树木点染鲜活，人物刻画传神。构图层次分明，远近错落营造开阔幽深的空间感，既得山川雄浑，又含林泉雅致，尽显明代院体山水的精妙韵致。",[24,29,28,36,95,34,7,58,215,214,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd462fa3e723446f765cd83d78591601.jpg","146x80cm",[42],{"id":13525,"slug":13526,"title":7281,"dynasty":296,"author":13527,"museum":20,"description":13528,"tags":13529,"thumbUrl":13530,"material":70,"size":70,"collection":42,"collections":13531,"showCount":13270,"zanCount":46,"manualWeight":46,"mainColor":13532},201833,"shan-shui-tu-zhou-zhang-zhu-201833","张翥","层岩错落间，飞瀑悬垂，小径蜿蜒入林。山间楼阁隐于苍松枯木之后，清寂中藏雅致。笔墨苍劲，皴法细腻勾勒山石纹理，枯树虬枝与葱郁松竹相映，尽显秋冬山林之趣。近景林木扶疏，溪畔人家隐约，动静相宜，传递出文人寄情山水的淡泊心境。",[29,27,36,60,130,242,272,364,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31d96e2ff8894c997d7bd76a9b378257.jpg",[42],"ada091",{"id":13534,"slug":13535,"title":13536,"dynasty":78,"author":79,"museum":561,"description":13537,"tags":13538,"thumbUrl":13539,"material":217,"size":660,"collection":70,"collections":13540,"showCount":13541,"zanCount":46,"manualWeight":46,"mainColor":149},290821,"tian-chi-shi-bi-tu-zhou-huang-gong-wang-290821","天池石壁图轴","《天池石壁图》描绘了天池山水的景色，图中多用淡赭，染以墨青墨绿，层峦叠嶂，山石相间，陡崖、矾石高坡、岩块形态各异，姿态万千，展示了天池石壁的雄秀。",[24,200,95,29,27,28,36,7,34,33,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa76bf999b054c15ee955a1c5b71c389b.jpg",[],34,{"id":13543,"slug":13544,"title":13545,"dynasty":124,"author":197,"museum":561,"description":10072,"tags":13546,"thumbUrl":13548,"material":217,"size":660,"collection":70,"collections":13549,"showCount":13541,"zanCount":46,"manualWeight":46,"mainColor":663},290495,"xue-feng-gu-si-tu-xia-gui-290495","雪峰古寺图",[200,24,27,95,29,612,13547,60,96,7,36],"古寺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bdf0183f3349bf16394d96e91e0cba5.jpg",[],{"id":13551,"slug":13552,"title":13553,"dynasty":78,"author":961,"museum":53,"description":13554,"tags":13555,"thumbUrl":13557,"material":601,"size":13558,"collection":70,"collections":13559,"showCount":13541,"zanCount":46,"manualWeight":46,"mainColor":149},290135,"qiu-jiang-yu-yin-tu-wu-zhen-290135","秋江渔隐图","此图起手处画清石水草于水中，后有一渔父坐船垂钓，当中一洲．上植二树，对岸是连绵山丘，远处高峰 图中用略浓而有变化的墨勾山石轮廓，略淡的线条作披麻状皴之，复加湿墨衬染，湿墨略分浓淡，罩在线条上面．使线半隐半显，使面透明而光亮。最后再以焦墨浓墨点苔：远山用淡墨没骨抹出。两棵树，以浓淡来区分，所以数百年之后，仍有“幛犹湿”之感。",[200,24,25,95,27,29,32,13556,7,427,31,35,37,82,36],"渔隐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6825a9b589672b07f1adb448c8239461.jpg","189.1x88.5",[],{"id":13561,"slug":13562,"title":2487,"dynasty":124,"author":449,"museum":561,"description":2958,"tags":13563,"thumbUrl":13564,"material":217,"size":660,"collection":70,"collections":13565,"showCount":13541,"zanCount":46,"manualWeight":46,"mainColor":149},290069,"guan-pu-tu-ma-yuan-290069",[23,24,200,95,27,29,96,58,97,7,36,10074],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff37bca2c65f632d778c3b87fd875bfa1.jpg",[],{"id":13567,"slug":13568,"title":13569,"dynasty":124,"author":4317,"museum":561,"description":13570,"tags":13571,"thumbUrl":13574,"material":217,"size":660,"collection":70,"collections":13575,"showCount":13541,"zanCount":46,"manualWeight":46,"mainColor":149},288545,"jiang-cun-qiu-xiao-tu-zhao-ling-rang-288545","江村秋晓图","赵令穰（生卒年不详），字大年，北宋汴京（今河南开封）人，画家。宋太祖赵匡胤五世孙。官至光州防御使﹑崇信军观察留后，卒赠“开府仪同三司”，追封“荣国公”。其孙赵伯驹为宋代著名画家，官至浙东兵马钤辖。赵令穰工画山水、花果、翎毛，笔致秀丽，尤长金碧山水。远师李思训父子。代表作品《风云期会图》《春山图》《阿阁图》《后赤壁图 》《文会图》《鸟雀图》等。留传到现在的有《汉宫图》《阿阁图》《万松金阙图》等。",[24,26,27,29,658,201,31,34,7,4360,13572,13573],"秋晓","宁静","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e4bf7eee613995343f6bb7227076da9.jpg",[],{"id":13577,"slug":13578,"title":13579,"dynasty":124,"author":548,"museum":561,"description":2806,"tags":13580,"thumbUrl":13582,"material":217,"size":660,"collection":70,"collections":13583,"showCount":13541,"zanCount":11,"manualWeight":46,"mainColor":149},288227,"han-jiang-diao-ting-tu-zhuang-biao-li-cheng-288227","寒江钓艇图（装裱）",[200,24,951,95,27,36,32,724,29,242,7,31,612,2000,13581],"幽寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda17c8d4d4176bfba2ffea8afab0c08a.jpg",[],{"id":13585,"slug":13586,"title":2325,"dynasty":296,"author":1177,"museum":53,"description":9968,"tags":13587,"thumbUrl":13588,"material":40,"size":13589,"collection":70,"collections":13590,"showCount":13541,"zanCount":46,"manualWeight":46,"mainColor":47},287767,"fang-huang-gong-wang-shan-shui-tu-wang-jian-287767",[24,200,25,95,27,28,186,36,29,30,31,7,34,37,82,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6c65d60415a5a08a23fe71311ba2551.jpg","78.8x38.8",[],{"id":13592,"slug":13593,"title":13594,"dynasty":18,"author":13595,"museum":561,"description":13596,"tags":13597,"thumbUrl":13598,"material":70,"size":70,"collection":42,"collections":13599,"showCount":13541,"zanCount":46,"manualWeight":46,"mainColor":149},238078,"shan-shui-juan-ye-cheng-238078","山水卷","叶澄","叶澄[明]字原静（无声诗史作元静，明画录遂以叶澄为叶元静，疑误）。其先吴（今江苏苏州）人。画山水仿董源，为戴进之师。",[23,24,26,28,36,29,7,34,114,671],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49e87689d8a91e2721e35664da5c862c.jpg",[42],{"id":13601,"slug":13602,"title":13603,"dynasty":18,"author":13604,"museum":561,"description":13605,"tags":13606,"thumbUrl":13607,"material":70,"size":70,"collection":289,"collections":13608,"showCount":13541,"zanCount":46,"manualWeight":46,"mainColor":47},236018,"ren-wu-tu-ce-zhu-ting-ce-zhang-wen-nan-shou-mao-weng-236018","人物图册－竹亭策杖","文柟寿茂翁","画面取一角山居小景，竹亭凭崖兀立，修竹环拥生翠。石径之上，策杖老者携童子缓行，衣袂舒缓尽显悠然。笔墨清润苍秀，皴擦点染间衬出岩壑草木之生机，将林泉幽居的散淡隐逸铺陈开来。\n\n左侧题诗笔意舒展雅致，诗书合璧，为小品添了酬赠的温雅情致。整体意境萧疏淡远，尽显江南文人幽游林泉的闲情逸致，把超脱尘俗的林下风流藏进尺幅之间，尽显文人画寄兴山水的雅致内核。",[24,25,111,27,28,58,33,391,7,38,82,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a7b1e5d7e83d196b36c3559a29ec377.jpg",[289,42],{"id":13610,"slug":13611,"title":13612,"dynasty":296,"author":1331,"museum":561,"description":13613,"tags":13614,"thumbUrl":13615,"material":70,"size":70,"collection":70,"collections":13616,"showCount":13541,"zanCount":46,"manualWeight":46,"mainColor":47},235683,"ceng-luan-you-xi-zhou-yun-shou-ping-235683","层峦幽溪轴","此作用笔松灵秀逸，以浅绛淡彩晕染山峦林泉，笔墨清简却意致悠长。层峦以淡墨轻勾慢皴，敷色明净素雅，衬出山石温润质感。幽溪蜿蜒穿谷而过，渔舟静泊水面，林麓崖畔错落隐着村舍山居，枝叶扶疏间尽显林下清寂。\n题跋与画作相生相融，以书入画更添文人气韵，将江南山野的幽闲之境铺陈开来，观之如踏入世外幽居，沉浸式感受林泉间安谧隐逸的雅趣，尽显文人山水以意驭笔的空灵格调。",[24,25,95,27,36,29,31,32,33,112,1140,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe54ca2ae0ddaf9169d825040fa333bfa.jpg",[],{"id":13618,"slug":13619,"title":13620,"dynasty":296,"author":3437,"museum":561,"description":13621,"tags":13622,"thumbUrl":13623,"material":217,"size":660,"collection":70,"collections":13624,"showCount":13541,"zanCount":46,"manualWeight":46,"mainColor":47},235637,"fang-gu-shan-shui-ping-wu-li-235637","仿古山水屏","吴历（1632年—1718年）清初书画家，天主教传教士。字渔山，号墨井道人、桃溪居士，江南常熟（今属江苏）人 。少时学诗于钱谦益，学画于王鉴、王时敏。康熙二十一年入天主教，继至澳门进耶稣会，前后在嘉定、上海等处传教三十年。著有《墨井诗钞》《三巴集》《桃溪集》《墨井画跋》。",[24,25,29,28,36,2843,60,7,34,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3df074ba8c51f80c12f8c57d5b60b59c.jpg",[],{"id":13626,"slug":13627,"title":106,"dynasty":296,"author":3437,"museum":360,"description":13628,"tags":13629,"thumbUrl":13630,"material":760,"size":13631,"collection":42,"collections":13632,"showCount":13541,"zanCount":46,"manualWeight":46,"mainColor":47},235015,"shan-shui-ce-wu-li-235015","此图册布局饱满，笔墨苍拙，文人画气息浓郁，具有作者所追求的“神逸”韵味。无年款，从书画笔法来看，应为吴氏晚年画作精品。\n第一开：自识：“月中疏处最秋多，叶叶斜斜映浅波。曾折长条赠行客，只今黄落未归何。予秋柳诗也，并书。墨井道人。”钤“延陵”、“墨井” 朱文印二方。\n第二开：自识：“远岫接烟光，斜阳在钓航。众渔归已尽，独自过横塘。东楼暑薄写此。墨井。”钤“渔山”朱文印二方。\n第三开：自识：“林鸠唤雨不成雨，山鹊呼晴亦未晴。尽日声声是何意，欲催泼墨米图成。梅雨乍霁。延陵历。”钤“吴历”朱文印、“吴历之印”白文印。\n第四开：自识：“春事已云莫，落花门外无。何为井上树，四月尚如枯。渔山子。”钤“渔山”、“墨井”朱文印二方。\n第五开：自识：“墨井道人雨窗拟古，竹醉日。”钤“延陵”、“墨井” 朱文印二方。\n第六开：自识：“萧萧踈踈，木落草枯。空山无人，夜吼於菟。墨井道人。”钤“吴历之印”白文印、“延陵”朱文印。\n第七开：自识：“写元人画，大抵要简澹趣多，曲折有韵。五月小尽日，墨井历。”钤“吴历”、“渔山” 朱文印二方。\n第八开：自识：“石激水流处，天寒松色间。墨井道人。”钤“渔山”、“墨井” 朱文印二方。\n第九开：自识：“前人草草涂抹，自然天真绚烂。小重阳后一日，渔山子。”钤“延陵”朱文印、“吴历之印”白文印。\n第十开：自识：“不是看山定画山，的应娱老不知还。商量水阔云多处，随意茆茨着两间。墨井道人从上洋归，写于东楼。”钤“吴历之印”白文印、“延陵”朱文印、“墨井”朱文印。\n鉴藏印有“虚斋审定”、“莱臣心赏”等17方。",[24,25,111,27,28,29,30,33,242,7,612],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdea3efc5d206a3c127338aa7c9ce390b.jpg","23.2厘米，横28厘米",[42,146],{"id":13634,"slug":13635,"title":13636,"dynasty":296,"author":13637,"museum":360,"description":13638,"tags":13639,"thumbUrl":13640,"material":246,"size":13641,"collection":70,"collections":13642,"showCount":13541,"zanCount":11,"manualWeight":46,"mainColor":47},233119,"xi-xi-yu-yin-tu-zhou-zhang-ci-ning-233119","西溪渔隐图轴","张赐宁","主人公西溪时年47岁，身处邗上（约今江苏一带）。图绘西溪长髯戴笠、左手执钓竿、端坐于坡陀之上的情景。他双目有神，神情淡定，面部稍加晕染，衣纹线条简洁。其身后为溪水潺潺，群山渺渺。近前树木高者茂盛，矮者丛生，坡石嶙峋。繁而不杂的景致与清丽淡雅的设色，极好地衬托出西溪高逸的人格和淡泊的情怀。",[24,25,95,27,28,36,29,34,7,58,243,244,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc78d95e4f7aa37f40fd62d0d5360cbe2.jpg","纵194厘米，横94.5厘米。",[],{"id":13644,"slug":13645,"title":13646,"dynasty":124,"author":182,"museum":561,"description":13647,"tags":13648,"thumbUrl":13649,"material":70,"size":70,"collection":70,"collections":13650,"showCount":13541,"zanCount":11,"manualWeight":46,"mainColor":47},227607,"lan-ting-xiu-xi-tu-li-gong-lin-227607","兰亭修禊图","《李公麟兰亭修禊图》是宋朝李公麟创作的人物画，再现了当年王羲之等人雅集之状，现被私人收藏。",[23,200,24,25,28,57,29,58,60,33,34,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36c442252580f8eabaa25ca0afe38259.jpg",[],{"id":13652,"slug":13653,"title":13654,"dynasty":124,"author":436,"museum":561,"description":13655,"tags":13656,"thumbUrl":13657,"material":454,"size":13658,"collection":144,"collections":13659,"showCount":13541,"zanCount":46,"manualWeight":46,"mainColor":149},223503,"song-yan-xian-guan-yi-ming-223503","松严仙馆","图绘崇山中的多处建筑群，自上而下分部。画面顶端在绿树的围绕中，多座房顶露出，房屋建造宏伟，青瓦飞檐，四方端正，应为图名“仙馆”了；画中部所绘山石断面很有特色，细线勾勒整齐而光滑；近处流水涓涓，两边绿树苍翠，实为世外桃源之美景。",[23,24,25,951,28,56,36,272,60,7,34,31,114,133,187,363,1066],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc06f5b71e8e16df60afd252093360347.jpg","60x89.15cm",[144,42,146],{"id":13661,"slug":13662,"title":13663,"dynasty":124,"author":436,"museum":13664,"description":13665,"tags":13666,"thumbUrl":13667,"material":142,"size":13668,"collection":70,"collections":13669,"showCount":13541,"zanCount":46,"manualWeight":46,"mainColor":663},223409,"ru-yi-lun-guan-yin-tu-yi-ming-223409","如意轮观音图","英国不列颠博物馆","如意轮观音是密宗六观音之一，其形象一般为六臂，至于手持之物和结印，则依不同经典而有别，但一般因持有如意宝珠和宝轮而称之为如意轮观音。六臂表示能游于六道，解除六道众生的诸种苦恼。",[23,200,24,25,95,784,56,28,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b67a20266f43fbe0dead932e5b9e98a.jpg","纵127.8厘米 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，字尺木，号于湖老人、无闷道人、默思。安徽芜湖人，明末清初芜湖著名画家，姑孰画派创始人。其父萧慎余，为明乡饮大宾，懂绘画。云从幼而好学，“笃志绘事，寒暑不废”。",[23,24,27,36,95,29,7,34,31,33,114,366],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9506285d1f977096cfef7d4935bf92db.jpg","轴","67×52cm",[42,264],{"id":13687,"slug":13688,"title":13689,"dynasty":18,"author":13690,"museum":561,"description":13691,"tags":13692,"thumbUrl":13693,"material":454,"size":13694,"collection":42,"collections":13695,"showCount":13541,"zanCount":46,"manualWeight":46,"mainColor":149},222163,"qi-ma-you-shan-tu-liu-yan-222163","骑马游山图","刘琰","图绘崇山峻岭中一座高楼映入眼帘，飞檐立柱，高大宏伟；屋前树木葱郁，繁花开放，一位红衣男子骑马停步赏景！此幅图的山脉绿树画法很具特色，与同时代画家蓝瑛有相似之处。",[23,24,28,56,57,29,58,215,60,34,7,671,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e0f2a66c07d9c664105cdc11e6d8c1b.jpg","纵49cm，横67cm",[42,146],{"id":13697,"slug":13698,"title":13699,"dynasty":78,"author":13700,"museum":1043,"description":13701,"tags":13702,"thumbUrl":13703,"material":27,"size":13704,"collection":70,"collections":13705,"showCount":13541,"zanCount":46,"manualWeight":46,"mainColor":47},221723,"liu-chen-ruan-zhao-ru-tian-tai-shan-tu-juan-zhao-cang-yun-221723","刘晨阮肇入天台山图卷","赵苍云","赵苍云是宋代皇室家族成员，经历了南宋灭亡、蒙元统治的巨大变化。他采用李公麟的白描手法描绘了汉代刘晨、阮肇入天台山遇仙的故事。天台山在浙江天台县北，传说刘晨、阮肇入天台山采药，遇见两个仙女，留他们住了半年。后来他们要求回家，到家乡时发现已经过了七世，这种天堂与人间的巨大反差让他们感到疏离与不适应，这也是许多宋代遗民在蒙古人统治下的心境。\n关于赵苍云的资料，我们只有在这幅画卷的题跋中所知一二。第一段跋中，元代人华幼武（字彦清，号栖碧，无锡人。生于元成宗大德十一年，卒于明太祖洪武八年，年六十九岁。平生笃于孝友。少有盛名。）说赵苍云以没骨法作水墨山水与人物画。华还说赵苍云年轻时比他的同宗赵孟坚、赵孟頫更有名气。后来赵苍云归隐山林，不婚不仕，他的生平资料没有任何记载，只有这幅画留存人世。\n华幼武跋语：苍云山人，本赵宋宗室。高奇嗜酒，绘事入神。山水横放，大都仿没骨图，而生动过之。人物工致，别有姿韵，世不多见。所作刘阮天台图，意境萧散，神趣闲逸，曹衣吴带，设色妍妙，有诸家所不能及者。窃意刘阮未必非乌有子虚，唐人云：“仙姝宜属魅界。”但得此墨妙，觉灵山俨然，西园犹在，展卷不知身在桃云柳浪、清风红日间也。苍云早岁，名在子昂、子固之上，不婚不宦，每隐于山林湖舫，虽亲串无从踪迹，世人得其片帧，几如拱璧，此其匠心运意，备极惨澹，当不能有二也。洪武十二年秋九月，华幼武书於春草轩。",[23,200,24,25,26,712,27,58,29,7,34,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84f6ca0b72de89d4c9bf952820d989cd.jpg","22.5cm×561.34cm",[],{"id":13707,"slug":13708,"title":13709,"dynasty":124,"author":13710,"museum":360,"description":13711,"tags":13712,"thumbUrl":13713,"material":673,"size":13714,"collection":42,"collections":13715,"showCount":13541,"zanCount":46,"manualWeight":46,"mainColor":47},221216,"song-he-ceng-lou-tu-ye-zhang-dun-li-221216","松壑层楼图页","张敦礼","張敦禮 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画面左上方巨岩的主峰直冲云霄，有立壁之势。",[24,25,95,13761,28,29,58,7,34,364],"指画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff10c5c3af2a80ea2558949079d71c527.jpg",[42],{"id":13765,"slug":13766,"title":13767,"dynasty":296,"author":6220,"museum":53,"description":13768,"tags":13769,"thumbUrl":13774,"material":2631,"size":13775,"collection":264,"collections":13776,"showCount":13541,"zanCount":46,"manualWeight":46,"mainColor":47},219439,"zhang-zhi-tian-xian-zhou-jin-ting-biao-219439","长至添线轴","三仕女或立或蹲，围聚一处，纤指捻线穿针，神态专注。古松虬枝盘结，怪石嶙峋错落，梅梢疏影横斜，几点红萼点缀其间，清寂中透着雅致。笔触细劲流畅，衣袂飘举若流云，设色温润淡雅，将冬至添线的闺阁雅事凝为静谧时光片段。山石苍朴与仕女柔婉相映，草木疏朗与神情专注相衬，尽显传统生活里的闲情与温情，似能闻得针线轻捻的细碎声响，漫溢出岁月的静好。",[24,95,28,56,58,159,1373,12168,13770,13771,3468,13772,13773,1397,7],"古代服饰","庭院景致","细笔勾勒","设色淡雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ded8ec5791225f131ba582f53901274.jpg","144.5x55.1",[264],{"id":13778,"slug":13779,"title":13780,"dynasty":3017,"author":436,"museum":53,"description":13781,"tags":13782,"thumbUrl":13784,"material":142,"size":13785,"collection":42,"collections":13786,"showCount":13541,"zanCount":46,"manualWeight":46,"mainColor":149},219369,"wu-kuan-shan-shui-zhou-yi-ming-219369","无款山水轴","这幅山水轴以细腻笔触勾勒出静谧悠远的自然之境。前景林木扶疏，枝干交错间掩映着几椽茅舍，似有幽人闲坐，静听溪涧潺潺。中景溪流蜿蜒，石矶错落，墨色层次分明，尽显生机。远山层叠，云雾轻笼，墨色由浓转淡，渐次隐入天际，拓展出深远的空间感。山石皴染结合，苍劲中见温婉；树木点染有致，姿态自然生动。整体色调古雅沉静，笔墨意趣盎然，将自然之美与文人隐逸情怀融于一体，引人沉浸其中，体味那份远离尘嚣的恬淡与自在。",[200,24,951,95,27,36,28,1066,8549,132,7,133,7239,13783],"恬淡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7339aa747e902c48320949a28e177acb.jpg","84.5x65.6",[42],{"id":13788,"slug":13789,"title":13790,"dynasty":124,"author":182,"museum":53,"description":13791,"tags":13792,"thumbUrl":13793,"material":27,"size":13794,"collection":42,"collections":13795,"showCount":13541,"zanCount":46,"manualWeight":46,"mainColor":149},219357,"xi-qiao-san-bu-zhou-li-gong-lin-219357","溪桥散步轴","云雾轻笼远山，层峦叠嶂间隐现沙洲，溪水流淌过平野，小桥横卧其上。近岸枯木疏枝错落，几椽茅舍掩映于林麓，有人影缓步溪畔，似与自然低语。山石以细腻线条勾勒，墨色浓淡相宜，皴擦间显苍劲质感；水面留白处见清浅波纹，愈显空濛。整幅画面虚实相生，远近层次分明，笔墨雅致温润，将文人隐逸的闲适心境与山水之清幽完美契合，尽显自然之趣与人文之韵，宛如一曲无声的田园牧歌，引人沉醉于这份宁静悠远之中。",[24,200,25,95,27,36,29,30,31,34,7,35,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83fc4e06587a7f9fc815ef7ad4a35387.jpg","50.4x25.3",[42],{"id":13797,"slug":13798,"title":13799,"dynasty":78,"author":436,"museum":53,"description":13800,"tags":13801,"thumbUrl":13802,"material":84,"size":13803,"collection":289,"collections":13804,"showCount":13541,"zanCount":46,"manualWeight":46,"mainColor":47},218228,"di-yi-a-ying-a-ji-da-zun-zhe-yi-ming-218228","第一阿迎阿机达尊者","尊者趺坐石畔，衣纹流转如微风拂过的涟漪，一手托腮，眸光低垂却似洞穿万象。眉宇间凝着浅浅思索，唇边漾开若有若无的笑意，禅意便在这静默神态里漫溢。身后古木虬枝，叶影婆娑，与头顶圆光相衬，晕开温润光晕。远处峰石隐现，亭台依稀，似是尘外清境。\n\n笔墨以线塑形，婉转中见骨力，淡墨晕染出清寂氛围，将尊者的沉静与天地的悠远交织。无需浓墨重彩，只凭简淡之笔，便勾勒出禅者澄明心境，尽显元人绘佛的空灵韵致——于寻常物象藏深意，于静默观照见真如。",[24,25,95,784,712,27,28,58,34,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75cf9de2fc1b5e28c349fd7a531f9aaa.jpg","109.5x46",[289],{"id":13806,"slug":13807,"title":13808,"dynasty":78,"author":13809,"museum":108,"description":13810,"tags":13811,"thumbUrl":13813,"material":116,"size":70,"collection":306,"collections":13814,"showCount":13541,"zanCount":46,"manualWeight":46,"mainColor":149},216725,"yi-yin-geng-shen-tu-du-ben-216725","伊尹耕莘图","杜本","伊尹耕莘图，又名伊尹莘图，是一部被认为是元朝最优秀的地图作品之一，是由元朝时期的地理学家杜本所创作的。\n\n该地图主要描述了中国当时的地理概况，包括各省、城市、河流、山脉、道路等信息。其中，最为突出的特点是对中国各省的精细描述，其中包括了各省的地理位置、面积、人口、资源、经济情况等信息。\n\n伊尹耕莘图被认为是中国历史上最为精确的地图之一，并被广泛应用于当时的军事、经济、文化等方面。它的创作也标志着中国地图制作技术的巨大发展，对中国地图学的发展产生了深远的影响。",[24,25,26,27,56,712,36,58,1103,112,7,10401,132,13812],"农具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2087df4b0af8e6ce8e4200bf6af9f34a.jpg",[306],{"id":13816,"slug":13817,"title":13818,"dynasty":18,"author":19,"museum":561,"description":1197,"tags":13819,"thumbUrl":13820,"material":217,"size":660,"collection":70,"collections":13821,"showCount":13822,"zanCount":46,"manualWeight":46,"mainColor":47},290889,"liu-tang-qi-an-shen-zhou-290889","柳塘埼岸",[24,25,111,27,38,82,29,415,7,31,242,33,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F104cc443d8b8dfc69213b920a74481d9.jpg",[],33,{"id":13824,"slug":13825,"title":971,"dynasty":78,"author":961,"museum":561,"description":13826,"tags":13827,"thumbUrl":13828,"material":217,"size":660,"collection":70,"collections":13829,"showCount":13822,"zanCount":11,"manualWeight":46,"mainColor":149},290830,"shan-shui-zhou-wu-zhen-290830","吴镇（1280年—1354年），字仲圭，号梅花道人，浙江嘉兴人。元代画家、书法家、诗人。\n吴镇擅画山水、梅花、竹石，与黄公望、倪瓒、王蒙合称“元四家”。\n由于吴镇以董巨起家，其画中山、石、树、水、房屋、小桥都显得格外宁静、平和，但吴镇有时也着意打破这种气氛，使宁静中增几分动荡，那就是近景大树和山石的表现，特别是三两棵树的表现尤其明显。如果说吴画山、石、水、小桥、屋舍、群树的表现乃至整体气息是以董巨面目出现的话，那么其局部的大树则主要是以马夏的面目出现的。结构布局上立于近景，形象表现上夸张变形，树种的选择上以松柏寓人格。这种形象的树出现在平和、宁静的境界里显得格外突出。它们或直立挺拔、俯势向上；或倚斜偃蹇、欲倒还立；或技条倒挂、曲折盘桓。而且吴镇对大树的形象也是情有独钟的，几乎每幅山水画均有此类形象。这一个个形象频繁出现于其笔下，有何深刻含义？如果联系一下元代的民族岐视政策，联系一下同样比邻而居，盛氏求画者门限为穿，自家之门阒然的事实，或许透露出个中消息。在大树的塑造上，如果把吴镇放在“元四家”其他三家中做一比较，吴镇的独特个性尤能充分展现。黄公望、王蒙为了表现高士的居住环境，用平和、冷静的笔触画群山诸峰，力量均匀，气势平缓，树木郁郁葱葱，均为山的点缀，很少突出某一大树。倪瓒、吴镇在景物取舍上有极强的一致性，均喜画几棵树。倪瓒的树是纤细、弱小的，树干上长出几条树枝，枝上顶着几片叶子，立在空旷的荒野里显得孤独而又凄凉。而且倪瓒的树往往是叫不出名字的，并无具体所指；吴镇在树的种类上往往是有选择的，他最喜欢选取被赋予隐逸人格象征的古松来充实画面。在近景中吴镇很少画杂树而是喜爱强调几棵大树，个个粗壮而枝叶茂密，富有顽强的生命力。",[24,200,25,95,27,36,29,34,60,30,31,7,1506,37,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facd82f292a0555682f810ce48433f32c.jpg",[],{"id":13831,"slug":13832,"title":13833,"dynasty":296,"author":13834,"museum":561,"description":13835,"tags":13836,"thumbUrl":13838,"material":217,"size":660,"collection":70,"collections":13839,"showCount":13822,"zanCount":46,"manualWeight":46,"mainColor":47},290593,"yu-yuan-mu-chun-shi-zhou-zhang-ruo-ai-290593","御园暮春诗轴","张若霭","张若霭[清]（1713—1746）字晴岚（读画辑略作字景采，号晴岚），室名藕香书屋，安徽桐城人。张若霭有家学，祖父张英，父亲张廷玉为雍正、乾隆朝大学士。 雍正十一年（1733）癸丑科殿试金榜中二甲一名进士，未散馆特授编修，后帝亲授内阁学士、礼部侍郎，入直南书房，官至礼部尚书，袭伯爵。",[24,25,951,28,36,29,35,427,415,30,7,2278,38,82,13837],"暮春","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba828b43d4a0f1aabbf6021ad4427947.jpg",[],{"id":13841,"slug":13842,"title":13843,"dynasty":124,"author":5512,"museum":53,"description":10194,"tags":13844,"thumbUrl":13845,"material":601,"size":7597,"collection":70,"collections":13846,"showCount":13822,"zanCount":46,"manualWeight":46,"mainColor":149},290333,"jing-ting-song-feng-tu-zhou-ma-lin-290333","静听松风图轴",[200,24,25,95,29,58,427,7,31,27,36,5065],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c0deb7cf38921a741612cf702fb534c.jpg",[],{"id":13848,"slug":13849,"title":13850,"dynasty":793,"author":436,"museum":53,"description":13851,"tags":13852,"thumbUrl":13855,"material":217,"size":660,"collection":70,"collections":13856,"showCount":13822,"zanCount":46,"manualWeight":46,"mainColor":149},290022,"tang-ren-chun-jiao-you-qi-tu-yi-ming-290022","唐人春郊游骑图","画幅中间一人上身呈正面，穿著与其他六人不同，应是画中的主人。前二人引导，后四人有的拿弓，有的拿毬棍，有的挟著琴，有的背酒，前顾后盼，各有神态。树叶双钩填彩，岩石、流水和激湍都是仿古的钩勒法，有装饰的意味。背景树石的构图和院藏另一件传为韩干《猿马图》相似，不过笔墨稍逊，可能出自同一幅稿本。",[24,200,28,58,215,13853,13854,213,7,29],"春郊","郊游","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fdd4af9015b51a1635e29ed3f1d75b9.jpg",[],{"id":13858,"slug":13859,"title":13860,"dynasty":18,"author":1100,"museum":561,"description":3495,"tags":13861,"thumbUrl":13862,"material":217,"size":660,"collection":70,"collections":13863,"showCount":13822,"zanCount":46,"manualWeight":46,"mainColor":149},283756,"yao-cen-po-mo-tu-zhou-dong-qi-chang-283756","遥岑泼墨图轴",[200,24,25,95,27,29,34,7,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50409061721d8c2cbf948c0a5a0e7f86.jpg",[],{"id":13865,"slug":13866,"title":13867,"dynasty":296,"author":7604,"museum":561,"description":13868,"tags":13869,"thumbUrl":13870,"material":217,"size":660,"collection":70,"collections":13871,"showCount":13822,"zanCount":46,"manualWeight":46,"mainColor":149},239486,"hua-guan-yu-xiang-zhou-gao-qi-pei-239486","画关羽像轴","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。\n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。",[24,95,28,27,58,2974,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9aa853648962019cc681189db7b842e6.jpg",[],{"id":13873,"slug":13874,"title":13875,"dynasty":296,"author":13876,"museum":561,"description":13877,"tags":13878,"thumbUrl":13879,"material":70,"size":70,"collection":42,"collections":13880,"showCount":13822,"zanCount":46,"manualWeight":46,"mainColor":149},238665,"xue-jing-shan-shui-ren-wu-tu-zhou-yuan-ying-238665","雪景山水人物图轴","袁瑛","童时侍其叔习山水，既长从徐北山（尚）学花卉，写意之笔，颇有骨力。乾隆三十年（一七六五）膺李因培（鹤峯）之荐，供奉内廷。山水晚年益加精密，出入宋、元，用笔沈厚，宗黄鼎法而变以己意。尝作乔木高居图最妙，张问陶有诗题赠。前后居京师四十年，后官粤东开平县沙冈司（瓯钵罗室书画过目考作开平知县）乾隆五十年（一七八五）归隐葑溪，筑赐诗堂以居。",[24,25,95,28,36,56,612,29,58,34,35,30,31,7,2961],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37a4bc46b2695a7ea58f51f97d7cf6ce.jpg",[42,264],{"id":13882,"slug":13883,"title":13884,"dynasty":18,"author":13885,"museum":561,"description":13886,"tags":13887,"thumbUrl":13888,"material":70,"size":70,"collection":42,"collections":13889,"showCount":13822,"zanCount":46,"manualWeight":46,"mainColor":149},236896,"shan-shui-hua-hui-ce-shao-mi-236896","山水花卉册","邵弥","此作用笔秀逸松灵，取景简括却意韵悠长。虬曲古松扎根危崖，苍枝舒展间满含劲挺生机。白衣策杖之人缓步山道，形神安闲，恍若幽居之士暂寄林泉。山涧清泉漱石潺潺，流云轻笼天际，衬出空山清寂之境。整体意境萧疏散淡，带着静穆淡远的文人意趣，将幽人栖隐丘壑的雅怀尽数铺展，尽显超然出尘的林下之风。",[24,25,200,111,28,36,29,427,7,133,58,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90685468beeb5f9c37cf6bf844517d26.jpg",[42,306,264],{"id":13891,"slug":13892,"title":106,"dynasty":296,"author":3909,"museum":561,"description":13893,"tags":13894,"thumbUrl":13895,"material":70,"size":70,"collection":42,"collections":13896,"showCount":13822,"zanCount":46,"manualWeight":46,"mainColor":47},236588,"shan-shui-ce-cha-shi-biao-236588","查士标（1615年—1698年），字二瞻，号梅壑散人、懒老，新安（今安徽歙县、休宁）人，流寓江苏扬州，明末秀才，清初著名画家、书法家和诗人。家富收藏，故精鉴别，擅画山水。与孙逸、汪之瑞、弘仁等书画家一起被称为“新安四家”。",[24,27,36,111,29,30,31,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9491df3cb3d8b92bf94c07c82473a2d9.jpg",[42,146],{"id":13898,"slug":13899,"title":13900,"dynasty":18,"author":1941,"museum":360,"description":13901,"tags":13902,"thumbUrl":13903,"material":246,"size":13904,"collection":70,"collections":13905,"showCount":13822,"zanCount":11,"manualWeight":46,"mainColor":47},234253,"shu-dao-nan-tu-juan-zhang-hong-234253","蜀道难图卷","《蜀道难图》是明代画家张宏与书法家韩道亨的书画唱和之作。画中绝壑幽谷，飞流急湍，栈道高架，崖壁千丈，极尽蜀道之险，将李白诗作的波诡云谲与韩道亨书法的笔走龙蛇融为一体，相得益彰。画家不追求面面俱到，仅截取蜀道之一角，便再现出蜀道之崔嵬峥嵘与突兀森郁。其构思之用心，可谓别具一格。",[23,24,25,26,27,28,29,4253,214,38,82,36,133,140,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb61da97da6c5a119c5ac62467270d9a0.jpg","纵32.4厘米 横100.5厘米",[],{"id":13907,"slug":13908,"title":13909,"dynasty":18,"author":9525,"museum":53,"description":13910,"tags":13911,"thumbUrl":13912,"material":885,"size":13913,"collection":70,"collections":13914,"showCount":13822,"zanCount":11,"manualWeight":46,"mainColor":149},232691,"lu-shan-gao-tu-zhuang-biao-ding-yun-peng-232691","庐山高图（装裱）","此作构图紧凑密实，以细笔牛毛皴描写山石；有似王蒙的笔法，古朴厚实，浑然天成。在山体架构的布局上，又与沈周《庐山高》有些相似，甚至篆书题写《庐山高》三字的手法也和沈周作品基本雷同。所绘山头的岩石为卷云皴，造就这种看似有动态的效果，此类笔法在丁云鹏的作品中很少见。",[24,25,95,29,56,36,28,31,7,34,133,132,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7c9ae8dad645098bbcb66538a53dd21.jpg","193.8xx98.1厘米",[],{"id":13916,"slug":13917,"title":13918,"dynasty":18,"author":3342,"museum":561,"description":13919,"tags":13920,"thumbUrl":13921,"material":217,"size":660,"collection":70,"collections":13922,"showCount":13822,"zanCount":46,"manualWeight":46,"mainColor":47},228393,"shi-liu-luo-han-tu-juan-wu-bin-228393","十六罗汉图卷","画卷为佛教人物题材，描绘释迦牟尼的得道弟子十六罗汉，卷首为明代书画家米万钟题引首：應真變現，卷末有汤宾尹书般若波罗蜜多心经。",[23,24,26,28,56,37,82,58,9395,34,7,784],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff53a6c1c40c19bbcdc893c795d160448.jpg",[],{"id":13924,"slug":13925,"title":13926,"dynasty":78,"author":13927,"museum":561,"description":13928,"tags":13929,"thumbUrl":13931,"material":70,"size":70,"collection":70,"collections":13932,"showCount":13822,"zanCount":46,"manualWeight":46,"mainColor":149},228166,"qing-quan-qiao-mu-tu-li-zhou-li-shi-xing-228166","清泉乔木图立轴","李士行","此作笔意苍浑老辣，绘就冬日山林清寂之境。古松主干虬曲斑驳，疤结累累尽显沧桑，枯槎劲枝凝着寒雪，垂挂的薜萝如缕，幽幽晕开森寂古意。旁侧次干同样瘦硬嶙峋，无叶枝桠斜曳，尽展岁寒不屈之姿。\n\n下方寒泉漱石，水波清浅澹澹，淡墨晕染出空濛水岸，山石以简括皴擦带过，野趣自生。留白铺陈开空寂冷逸，将简淡疏朗融于笔墨间，寄寓着超脱尘俗的林下雅怀，清寒中见出沉静高旷的风骨。",[23,24,25,200,95,27,36,29,13930,5755,7,31,242],"乔木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb6e577b57078bcf149c3b060edbb579.jpg",[],{"id":13934,"slug":13935,"title":13936,"dynasty":124,"author":436,"museum":561,"description":13937,"tags":13938,"thumbUrl":13939,"material":70,"size":70,"collection":70,"collections":13940,"showCount":13822,"zanCount":46,"manualWeight":46,"mainColor":47},227936,"feng-yu-gui-zhou-tu-ye-yi-ming-227936","风雨归舟图页","这幅扇面以淡墨晕染出烟笼远岫，山影在濛濛水雾里晕开，似有风雨欲来的湿冷之意漫过江天。近岸老树虬曲偃仰，枝桠带风，坡石苍润间杂生的丛草随势披拂，暗合风动之姿。\n\n江面波痕隐现，孤舟破波疾行，舟中人敛缩身形，将急欲归乡的羁旅心绪藏在烟霭里。整幅以留白与晕染营造空濛层次，咫尺扇面铺展出江天浩渺的悠远意境，把江南骤雨将临的萧疏冷寂烘托尽致。淡墨轻岚间，将归思怅惘融在烟水迷茫之中，尽显含蓄雅致，以小见大，在尺幅之间晕开悠悠诗意。",[23,24,25,1900,27,28,29,36,32,724,7,34,31,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff166f0b2b34f8ed7374b455745c84edb.jpg",[],{"id":13942,"slug":13943,"title":13944,"dynasty":124,"author":449,"museum":561,"description":13945,"tags":13946,"thumbUrl":13947,"material":70,"size":70,"collection":70,"collections":13948,"showCount":13822,"zanCount":46,"manualWeight":46,"mainColor":149},227823,"shi-bi-kan-yun-tu-ma-yuan-227823","石壁看云图","这幅小品以边角取景，尽显简淡空灵之美。烟雨如纱晕染朦胧江天，对岸石壁在烟霭中半隐半现，恍若蜃境。左侧老木斜出，苍枝带着疏朗新叶，探向空茫水面，与右下策杖伫立的白衣士人遥遥相望。\n\n士人昂首望云，似在静赏流云舒卷，将世俗心绪尽数融在烟水间。全作用笔苍秀简劲，以水墨晕染铺就空濛氛围感，以少胜多，把文人观云忘机、寄情山水的雅逸襟怀藏在留白之中，尽显含蓄悠远的世外意趣。",[23,24,25,1900,29,36,28,58,9770,883,112,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4363302bd8bcc307d085b159df2b994.jpg",[],{"id":13950,"slug":13951,"title":13952,"dynasty":124,"author":473,"museum":561,"description":12841,"tags":13953,"thumbUrl":13954,"material":70,"size":70,"collection":70,"collections":13955,"showCount":13822,"zanCount":46,"manualWeight":46,"mainColor":149},227766,"ting-pu-tu-ye-li-tang-227766","听瀑图页",[23,24,27,28,36,1465,29,130,7,34,33,316,114,512,2490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F300f3d307bc7e7517c87dc0b837e932e.jpg",[],{"id":13957,"slug":13958,"title":13959,"dynasty":296,"author":359,"museum":360,"description":13960,"tags":13961,"thumbUrl":13962,"material":760,"size":13963,"collection":146,"collections":13964,"showCount":13822,"zanCount":46,"manualWeight":46,"mainColor":149},224537,"jiang-shan-wo-you-tu-cheng-zheng-kui-224537","江山卧游图","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。",[23,24,25,26,27,29,36,7,34,316,30,35,114,3766,130,1932,158,658],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bf39153e0532479eb770c1f64faf0a9.jpg","纵26厘米，横205厘米",[146],{"id":13966,"slug":13967,"title":13968,"dynasty":296,"author":13969,"museum":53,"description":13970,"tags":13971,"thumbUrl":13972,"material":13973,"size":13974,"collection":42,"collections":13975,"showCount":13822,"zanCount":46,"manualWeight":46,"mainColor":47},222843,"hua-wan-he-xiang-yun-zhou-hong-wu-222843","画万壑祥云轴","弘旿","弘旿（1743-1811），为康熙帝玄烨孙，字恕斋，又字醉迂，号一如居士、瑶华道人，官封固山贝子。兼工诗、书、画，有三绝之誉。画初学董邦达（1699-1769），又上追宋、元，笔墨秀润，山水特为蓊郁华滋。本幅为全景式布局，画松壑重重高起，山中并见烟云缭绕，景境幽深。居中的主峰，峰顶矾头错落，并用短笔点簇密林，饶有浑厚峻拔的气势。右下方自题「恭仿范宽笔意」，惟皴山多用长笔披麻，已去范宽（约950-1031间）风格甚远。",[23,24,95,29,27,28,36,837,883,427,30,31,35,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb6dc0050c390fb85ef72eff1bad4a7b.jpg","立轴，纸本，设色","112.2×53cm",[42,264],{"id":13977,"slug":13978,"title":5126,"dynasty":18,"author":238,"museum":7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横51CM",[],{"id":13984,"slug":13985,"title":13986,"dynasty":18,"author":1941,"museum":53,"description":13987,"tags":13988,"thumbUrl":13989,"material":40,"size":13990,"collection":42,"collections":13991,"showCount":13822,"zanCount":11,"manualWeight":46,"mainColor":47},222408,"qi-xia-shan-tu-zhou-zhang-hong-222408","栖霞山图轴","此画以浓密如屏的树丛遮掩了其下山腰的轮廓，在这里，观画者必须先穿过树丛方能找到通往寺庙之路。张宏所要呈现的并非等览庙宇的经验，而是从雨中远眺的感受。他在题款中写道：“甲戌初冬，明止挈游栖霞，冒雨登眺，情况颇饶，归而图此。”由画幅下半部的细节，我们更可见出张宏的手法。张宏只画了庙门，这扇门也只画了局部，并且明显地按照远近比例法缩小。对岩壁间石刻壁龛的描写生动简洁，与石壁和树荫融合为一个视觉整体。画家秉承了传统的笔法，忠实地再现视觉经验。一张摄于1930年的千佛岩照片，肯定了张宏画中形象的忠实性：佛龛位于岩壁间，有一部分为树木所掩盖，从我们这个距离看去，仅能依稀辨认。张宏将此景压缩为因应挂轴裱式的垂直画面，布局也较乍看之时来得更具巧思；虽则如此，十一英尺有余的画幅本身，亦强化了如大银幕电影或电视超大画面般的临场感，宰制了我们大部分的视野。画面的主体千佛岩，在林木的掩映下显得古朴典雅。一望无际的森林覆盖着栖霞山，似有微风吹过，树影婆娑中透出清凉之气，引观者共鸣，一同去体会那清爽的栖霞山风光。",[23,24,25,95,28,36,29,33,427,7,34,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81fe3ad4eebcd3b96e914c3432a49117.jpg","341.9x101.8",[42,264],{"id":13993,"slug":13994,"title":13995,"dynasty":18,"author":387,"museum":893,"description":13996,"tags":13997,"thumbUrl":13998,"material":229,"size":9890,"collection":70,"collections":13999,"showCount":13822,"zanCount":46,"manualWeight":46,"mainColor":149},222337,"qi-feng-gao-yin-tu-zhou-tang-yin-222337","奇峰高隐图轴","唐寅（1470年－1524年）明代著名画家、文学家。字伯虎，又字子畏，以字行，号六如居士、桃花庵主、逃禅仙吏等，南直隶苏州吴县人。吴中四才子之一。在画史上又与沈周、文征明、仇英合称“明四家”或“吴门四家”。\n据称唐寅作画时间甚早，而且无师自通。吴一鹏在《贞寿图卷》上提款：“岁丙午，子畏年止十七，而山石树枝如篆籀，人物衣褶如铁丝。少诣如是，岂非天授！”早年唐寅可能也跟文征明一样，向沈周学画。如王稚登在《吴郡丹青志》中的《沈周先生传》里写：“一时名士，如唐寅文壁（征明）之流，咸出龙门，往往致于风云之表。”但如今所看到唐寅的 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 亦好，早年的书风比较靠近颜真卿，后来比较接近李邕、赵孟睢\n自明末以来，在讨论唐寅作品，均把他分到吴派，并与沈周、文征明、仇英等画家并称“吴门四家”，或称“明四大家”。但唐寅的画风与沈周、文征明并不相同，而严格来说，也不能将唐寅的风格迳归为吴派。因为相较于一般吴派多追随元四大家的画风，唐寅作品里元四家的影响相当的少，反而有比较多南宋院画家的影子。但多数的人，都称唐寅是揉合“南”、“北”的重要画家。",[23,24,25,95,28,36,29,4129,130,30,31,34,7,60,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83dc2042fc9030013065e4ae628ede20.jpg",[],{"id":14001,"slug":14002,"title":14003,"dynasty":78,"author":8175,"museum":283,"description":14004,"tags":14005,"thumbUrl":14006,"material":142,"size":14007,"collection":42,"collections":14008,"showCount":13822,"zanCount":11,"manualWeight":46,"mainColor":47},221916,"luo-fu-shan-qiao-tu-juan-chen-ru-yan-221916","罗浮山樵图绢","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。",[23,24,25,27,36,95,837,130,132,159,34,31,7,158,258],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F736082c81e3db2b9eeab62f1bc5401da.jpg","70x53.5",[42,146],{"id":14010,"slug":14011,"title":14012,"dynasty":124,"author":197,"museum":360,"description":14013,"tags":14014,"thumbUrl":14016,"material":3031,"size":14017,"collection":70,"collections":14018,"showCount":13822,"zanCount":46,"manualWeight":46,"mainColor":149},221571,"wu-zhu-xi-tang-tu-ye-xia-gui-221571","梧竹溪堂图页","《梧竹溪堂图》为一山水小品。此图画山间一茅舍，旁有梧桐、修竹环绕，远处则是青山隐隐。画面景物平常、简约，却蕴含着清旷、幽深、静谧的意趣。\n此画设色画修竹、梧桐、茅屋、远山。这是一幅近似正方构图的小品山水画面。画中主要突出近景，近景描绘细致而写真，远景则粗淡而画虚，又是一幅虚实结合的山水风景画。近景是高大而扭曲的夹叶梧桐树，及挺立而柔姿的翠竹，在微风中摆动，互相交映，茅屋及草堂在树荫下显露。在这幽静的环境里，一位隐士在草堂中，面对高山溪水观景赋诗，敞开胸怀，歌颂大自然的美景。在茅屋与草堂前有护栏同着的院庭，主人在庭院里闲散时，可以听到溪水潺潺声，树叶的沙沙声，以及远处山风的呼啸声，同时可以怀诗朗颂；远景朦胧中有山峰映显，是山溪水的升腾，使山峰尤如在云雾中飘移。这水声、风声及诗人在山水问的朗渎声，可以组成人间大自然美好交响乐章，这就是夏圭山水中的具笔墨淋漓、云烟变态，饶有士大夫风骨的画面。\n此画设色画梧桐、修竹、茅屋、远山。构图上采用“一角”画法。画竹、树疏朗简洁，布局巧妙。全画笔法苍老劲健，下笔疾速果断。画中茅屋随手勾出，显得严谨而活泼。整幅画面层次鲜明，用浓墨写近景，再用淡墨画栏杆，远山则用花青略加渲染，使画面产生了强烈的空间感。\n构图上采用所谓“一角”、“半边”之法，主要景色都集中在画面下部，左侧取其大自然中真实一角，与右旁渺无人烟的画面，只有山影在茫茫的雾气中浮动，构成了意境深远的山水画。所画竹、树疏朗简洁，布局巧妙，作者以粗笔浓墨勾出梧桐树干及叶丛，用中锋画竹竿，以楷书写竹叶，堂宇、栏杆画得破有成规，近处山石棱焦清晰，并有青苔点簇，树林中蕴现的秀石以浅墨勾出，又以淡水墨染之，与装饰性的梧竹，形成色差的对比。画中茅屋，不用界尺，随手勾出，显得严谨而活泼。远远的山形与天色几乎相混，只见有一笔勾之，远山用花青略加渲染，造成的深远景色，只能让观者在意境中识别，这是夏画中的意取胜的展现。在此幅画中，见到了作者较富装饰性的山水画。以自识“夏圭”款二字于左方树干上。\n《梧竹溪堂图》画面简明地分成虚实两块，正是典型的“夏半边”构图。画中树木干枝曲折多弯，亦与马远树法相同。惟其用笔苍润含蓄，不似马远瘦硬刚劲，这大概与夏圭好用秃笔有关。建筑物也是用毛笔信手勾勒出来的，透视、比例都很合理，虽不及马远的界画法工细，却也别有韵味。若再细看，不难看到房柱、栏杆之类建筑构件是以较严谨、沉稳的线条组成，画屋顶茅草的线条则显得疏松、随意，这一细节透露出画家信手勾勒时仍很有分寸。由于画小景物不多，夏圭善用墨色的特点在《梧竹溪堂图》中表现得不是非常充分，然其墨色浓淡相济，足以将画面空间交待得层次分明，使景物密集处也有了几分空灵感。",[23,200,24,25,1465,5986,27,36,29,61,14015,1140,227,7,31,2861,34,187,525],"梧树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ebac27779930c3568caeff06fba9120.jpg","纵23厘米，横26厘米",[],{"id":14020,"slug":14021,"title":14022,"dynasty":296,"author":2948,"museum":360,"description":13138,"tags":14023,"thumbUrl":14024,"material":229,"size":13141,"collection":70,"collections":14025,"showCount":13822,"zanCount":46,"manualWeight":46,"mainColor":47},220320,"huang-shan-tu-ce-9-hong-ren-220320","黄山图册-9",[23,24,27,29,111,36,31,7,34,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c3f24836a98c1dbd40e046df6418e26.jpg",[],{"id":14027,"slug":14028,"title":14029,"dynasty":18,"author":5311,"museum":53,"description":14030,"tags":14031,"thumbUrl":14032,"material":84,"size":14033,"collection":42,"collections":14034,"showCount":13822,"zanCount":46,"manualWeight":46,"mainColor":149},220102,"qiu-shan-hong-shu-tu-zhao-zuo-220102","秋山红树图","赵左（约西元十六世纪）字文度，江苏松江人。善画山水，是苏松画派的首创人。　画中赵左自题「仿唐人杨升画」。按杨升（升）画山水得到张僧繇没骨法的妙处，有雪霁图、峒关蒲雪图传于世。这幅画多用青绿设色，山石不用皴纹，而用没骨法渍染，树叶也多用双钩，颇有唐画山水的遗风。但赵左受吴派绘画影响极深，故不像唐画华丽富贵，而饶有温润文雅的趣味。",[24,95,28,29,7,34,861,33,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05043e0f78a9ef545d2fe53f138f9a40.jpg","本幅 150x53.7公分、全幅 56公分",[42],{"id":14036,"slug":14037,"title":14038,"dynasty":296,"author":14039,"museum":597,"description":14040,"tags":14041,"thumbUrl":14043,"material":40,"size":14044,"collection":42,"collections":14045,"showCount":13822,"zanCount":46,"manualWeight":46,"mainColor":47},219915,"xia-shan-lin-guan-tu-wang-yu-219915","夏山林馆图","王昱","王昱（1714——1748），清代文人画家，字日初，号东庄老人，又号云槎山人、丹林，江苏太仓人。与清代画家王玖、王宸、王愫合称“小四王”。东庄老人师承娄东“四王”一脉，喜山水，其画淡而不薄，疏而有致，笔意在倪瓒、方从义之间。",[200,24,25,95,27,29,36,7,34,31,14042,12541,12106],"馆舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0c382ccf195e33d1e5689e31fa5aaf5.jpg","105.1x49.8",[42],{"id":14047,"slug":14048,"title":14049,"dynasty":296,"author":1706,"museum":53,"description":14050,"tags":14051,"thumbUrl":14052,"material":116,"size":14053,"collection":42,"collections":14054,"showCount":13822,"zanCount":46,"manualWeight":46,"mainColor":47},219482,"xi-qiao-lin-ying-tu-zhou-huang-ding-219482","溪桥林影图轴","这幅画描绘了一座横跨小溪的险桥，杂树相互依偎，远处山峰突出。 在笔墨的浩瀚中，呈现出一种宁静。 黄鼎虽然向二王学习，但也能找到自己的路。 所到之处，山水之形",[24,95,27,29,30,7,132,34,242,36,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc11da83fc8e3ec6b101ff501d2461042.jpg","118.5x38.9",[42],{"id":14056,"slug":14057,"title":14058,"dynasty":78,"author":8453,"museum":53,"description":14059,"tags":14060,"thumbUrl":14061,"material":601,"size":14062,"collection":264,"collections":14063,"showCount":13822,"zanCount":46,"manualWeight":46,"mainColor":149},219469,"yuan-tu-yan-hui-219469","猿图","此作用水墨晕染出幽寂山林意趣，老干虬曲苍劲，浓墨写出枯涩肌理。两只猿猱灵动鲜活，一猿倒悬枝桠，长臂舒展身姿轻捷，正探头与右侧同伴呼应；后者半匿树后，目光灵动，满是野趣生机。\n叶片以写意笔法点染，墨色层次分明，淡墨晕出山影朦胧，烘托深林静谧。作者以简劲笔线勾勒猿猴毛发，兼用墨色晕染表现皮毛蓬松质感，形神兼备，将猿猴的机灵敏捷描摹入微，尽显山野生灵自在之态，水墨写意间不失精微写实，藏着深林野逸的悠然意韵。",[24,200,95,27,7467,5869,8338,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9986c8e9ed6d16a5ef373b3b3482a048.jpg","纵131.8厘米横67厘米",[264],{"id":14065,"slug":14066,"title":14067,"dynasty":18,"author":436,"museum":2286,"description":14068,"tags":14069,"thumbUrl":14070,"material":84,"size":70,"collection":306,"collections":14071,"showCount":13822,"zanCount":11,"manualWeight":46,"mainColor":149},219119,"bai-niu-tu-yi-ming-219119","百牛图","百牛散于郊野，姿态万千：或缓步啮草，或扬蹄奔跃，或抵角相戏，或卧地休憩。稚童身影错落其间，或骑牛背悠然吹笛，或牵绳引犊徐行，或蹲踞石畔观牛群嬉戏。林木疏朗，溪流缓绕，草地茵茵，一派生机盎然的田园牧歌景象。整幅画作笔墨细腻，牛的憨态与童的天真相映成趣，尽显自然之趣与生活之美，令人仿佛置身于宁静悠远的郊野之中，心随牛群漫步，意伴稚童欢嬉，沉醉于这份恬淡自在的烟火气里。",[23,24,26,28,56,1103,58,112,2697,316,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F930c8aa569d3e32ea734c96bb3a9529f.jpg",[306,42],{"id":14073,"slug":14074,"title":14075,"dynasty":124,"author":436,"museum":53,"description":14076,"tags":14077,"thumbUrl":14078,"material":84,"size":14079,"collection":42,"collections":14080,"showCount":13822,"zanCount":46,"manualWeight":46,"mainColor":149},218990,"he-ting-xiao-xia-tu-yi-ming-218990","荷亭销夏图","画面描绘了岩石岬角上的一组树木，两棵松树站在树根上，其技术叶子在树荫下。在阴凉处，靠悬崖建了一个亭子，并通过走廊与水亭相连。亭子外面，波光粼粼，水面被荷叶包围。在湖中央的长堤上，孩子们的仆人带着他们的扇子和乐器走动。在岩石坡上摇曳的箭与湖光山色形成鲜明对比，使这幅画充满了迷人的夏日气氛 这是《名画珍品》画册的第五幅，没有作者的标记。笔法是李唐派的，近景的石坡、山石、树木，中景的山峰，都有李郭派的影子。这位艺术家可能是歌曲中间的一位画家。",[23,24,25,29,28,57,36,33,34,60,7,113,364],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9d1d0e4dbebe940bae02aa72bb50e4c.jpg","24.5x25.4",[42],{"id":14082,"slug":14083,"title":653,"dynasty":124,"author":436,"museum":53,"description":14084,"tags":14085,"thumbUrl":14086,"material":84,"size":14087,"collection":42,"collections":14088,"showCount":13822,"zanCount":46,"manualWeight":46,"mainColor":149},218813,"guan-shan-xing-lv-tu-yi-ming-218813","画的是关山高远的山峰和秋天的悲凉森林，一个骑着毛驴的学子正在过一座小桥。这幅画没有标记，有两个虞姬的符号，考虑到其解体时使用的笔法，可能是元代的作品。",[23,24,25,27,28,29,36,214,58,34,7,31,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b596fb7fe0dbb2cec842c835d50fd6a.jpg","26.7x27.8",[42],{"id":14090,"slug":14091,"title":14092,"dynasty":78,"author":6395,"museum":53,"description":14093,"tags":14094,"thumbUrl":14095,"material":142,"size":70,"collection":42,"collections":14096,"showCount":13822,"zanCount":46,"manualWeight":46,"mainColor":47},218767,"xue-shan-ce-jian-tu-tang-di-218767","雪山策蹇图","寒林雪景徐徐铺展，积雪如凝玉覆于峰峦石矶，枯树虬枝盘曲，骨力尽显。山石以斧劈皴与披麻皴交错，淡墨晕染间，雪的厚重与石的坚劲相融。策蹇人衣袂轻扬，缓行于冰冽天地，渺小身影衬出旷远意境。笔墨细腻处藏文人雅致，简淡中见苍劲力道，寒寂氛围里暗蕴生机。整幅画将雪的清寂、树的孤挺、人的从容凝成一瞬，尽显元人山水空灵意韵。观者仿佛闻风雪低语，触冬日清寒，感旅人独行的淡远心境，于静谧中品得那份超脱尘嚣的悠然。",[23,200,24,25,27,28,36,29,860,242,7,58,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6cb3342fada7f0c20d0e996bc177960.jpg",[42],{"id":14098,"slug":14099,"title":14100,"dynasty":18,"author":436,"museum":346,"description":10733,"tags":14101,"thumbUrl":14102,"material":40,"size":70,"collection":70,"collections":14103,"showCount":13822,"zanCount":46,"manualWeight":46,"mainColor":47},217949,"ming-ren-shan-shui-hua-ce-liu-yi-ming-217949","明人山水画册(六)",[23,24,27,36,111,29,112,7,31,114,1104,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2020fb7e4bf77496f47c6fab3f8b8ac7.jpg",[],{"id":14105,"slug":14106,"title":14107,"dynasty":124,"author":436,"museum":53,"description":14108,"tags":14109,"thumbUrl":14110,"material":84,"size":14111,"collection":289,"collections":14112,"showCount":13822,"zanCount":46,"manualWeight":46,"mainColor":149},216992,"shi-ba-luo-han-tu-di-shi-er-na-zha-la-ha-ba-la-zhui-za-zun-zhe-yi-ming-216992","十八罗汉图-第十二那楂拉哈拔喇錣襍尊者","十八罗汉图是宋朝佚名所作的一幅绘画，其中包含了十八个佛教罗汉的形象。其中之一就是第十二那楂拉哈拔喇錣襍尊者。\n\n第十二那楂拉哈拔喇錣襍尊者，是佛教中的一位辅助佛的菩萨。他有着平和的容颜和慈悲的心态，被认为是帮助人们解决烦恼的菩萨。在十八罗汉图中，他的形象通常是被描绘成端庄的姿态，身着红色的衣服，头戴金色的冠冕。",[24,25,95,784,58,28,56,112,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab69505d8bf8f8029094fac0e5776be4.jpg","128.5x74.8",[289],{"id":14114,"slug":14115,"title":14116,"dynasty":78,"author":720,"museum":561,"description":14117,"tags":14118,"thumbUrl":14119,"material":217,"size":660,"collection":70,"collections":14120,"showCount":14121,"zanCount":11,"manualWeight":46,"mainColor":47},290839,"wan-he-qiu-ting-zhou-ni-zan-290839","万壑秋亭轴","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》。",[200,24,25,95,27,36,29,33,2242,7,132,37,82,3692],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8c7a50eb639fedf1d8803cb1242ca91.jpg",[],32,{"id":14123,"slug":14124,"title":14125,"dynasty":78,"author":107,"museum":561,"description":1755,"tags":14126,"thumbUrl":14127,"material":217,"size":660,"collection":70,"collections":14128,"showCount":14121,"zanCount":46,"manualWeight":46,"mainColor":149},290443,"qiu-shan-xiao-si-tu-ke-luo-ban-wang-meng-290443","秋山萧寺图（珂罗版）",[23,24,200,95,27,29,36,13547,34,7,12106,58,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad6306fac2462b33c54d40c1d51cfe94.jpg",[],{"id":14130,"slug":14131,"title":14132,"dynasty":296,"author":1987,"museum":561,"description":14133,"tags":14134,"thumbUrl":14136,"material":217,"size":660,"collection":70,"collections":14137,"showCount":14121,"zanCount":11,"manualWeight":46,"mainColor":47},289902,"xu-ri-dong-sheng-tu-zhou-wu-chang-shuo-289902","旭日东升图轴","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[23,200,24,95,27,28,29,14135,7,34,31,30,37,82],"旭日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe65e6d2f8218f3eddaa72aa0e1894bdb.jpg",[],{"id":14139,"slug":14140,"title":14141,"dynasty":124,"author":449,"museum":561,"description":2958,"tags":14142,"thumbUrl":14143,"material":217,"size":660,"collection":70,"collections":14144,"showCount":14121,"zanCount":46,"manualWeight":46,"mainColor":149},289365,"yao-yue-jiu-mei-tu-ma-yuan-289365","邀月就梅图",[1900,24,200,390,1385,29,58,7,27,36,4617],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F042efd55f24860f7a9c20cfd921d1aff.jpg",[],{"id":14146,"slug":14147,"title":14148,"dynasty":124,"author":449,"museum":561,"description":4659,"tags":14149,"thumbUrl":14150,"material":217,"size":660,"collection":70,"collections":14151,"showCount":14121,"zanCount":46,"manualWeight":46,"mainColor":149},288431,"gao-shi-guan-pu-tu-ma-yuan-288431","高士观瀑图",[24,25,28,58,29,427,130,7,1838,5065,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd14d033ddc1a880a6b71d2fb206a1cf.jpg",[],{"id":14153,"slug":14154,"title":14155,"dynasty":296,"author":870,"museum":561,"description":1342,"tags":14156,"thumbUrl":14157,"material":217,"size":660,"collection":70,"collections":14158,"showCount":14121,"zanCount":46,"manualWeight":46,"mainColor":47},288176,"luo-han-tu-zhou-si-tiao-ping-shi-tao-288176","罗汉图轴四条屏",[23,24,95,27,712,58,784,9395,242,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66c84d5e6a7fd73e848716f9d8934ef5.jpg",[],{"id":14160,"slug":14161,"title":14162,"dynasty":296,"author":297,"museum":561,"description":12104,"tags":14163,"thumbUrl":14164,"material":217,"size":660,"collection":70,"collections":14165,"showCount":14121,"zanCount":46,"manualWeight":46,"mainColor":47},288172,"fang-guo-shu-shan-shui-tu-zhou-zhu-da-288172","仿郭恕山水图轴",[23,24,25,95,27,36,186,29,7,34,33,82,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe50eb3a950ce4abfb78da77a089adc40.jpg",[],{"id":14167,"slug":14168,"title":14169,"dynasty":296,"author":14170,"museum":561,"description":14171,"tags":14172,"thumbUrl":14173,"material":217,"size":660,"collection":70,"collections":14174,"showCount":14121,"zanCount":46,"manualWeight":46,"mainColor":47},288140,"guan-yin-li-zhou-hu-zhang-288140","观音立轴","胡璋","胡璋(1848－1899)，字铁梅，号雨舲、尧城子，斋号古香室。安徽桐城人。工山水、人物、花卉名。与王冶梅并以画梅得名，铁梅能腴，冶梅能瘦，并为巢林遗派。卒年五十二。",[23,24,95,27,58,784,9558,391,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabc8535bb4152fd465a197b310955b36.jpg",[],{"id":14176,"slug":14177,"title":14178,"dynasty":296,"author":3038,"museum":561,"description":6123,"tags":14179,"thumbUrl":14180,"material":70,"size":70,"collection":42,"collections":14181,"showCount":14121,"zanCount":46,"manualWeight":46,"mainColor":47},237885,"xia-shan-ji-yu-zhou-wang-hui-237885","夏山积雨轴",[24,27,36,95,29,7,34,31,30,35,130,25,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce2045788a394058a03f535c7e71d29f.jpg",[42],{"id":14183,"slug":14184,"title":14185,"dynasty":18,"author":3736,"museum":360,"description":14186,"tags":14187,"thumbUrl":14189,"material":229,"size":14190,"collection":42,"collections":14191,"showCount":14121,"zanCount":46,"manualWeight":46,"mainColor":149},237436,"bi-shu-qing-bo-zhou-wen-jia-237436","碧树晴波轴","文嘉（1501年～1583），字休承，號文水，南直隸蘇州府長洲（今江蘇蘇州）人。大書畫家文徵明次子。\n吳門派代表畫家。初為烏程訓導，後為和州學正。\n能詩，工書，小楷清勁，亦善行書。精於鑑別古書畫，工石刻，為明一代之冠。畫得徵明一體，善畫山水，筆法清脆，頗近倪瓚，着色山水具幽澹之致，間仿王蒙皴染，亦頗秀潤，兼作花卉。明人王世貞評：“其書不能如兄，而畫得待詔（文徵明）一體。”詹景鳳亦云：“嘉小楷輕清勁爽，宛如瘦鶴，稍大便疏散不結束，徑寸行書亦然，皆不逮父。”",[24,25,95,27,36,723,29,34,33,10575,7,242,114,1104,14188,427,132],"平台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9d9fc885c6617d281bea024eab1ab57.jpg","长88cm 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cm",[42],{"id":14193,"slug":14194,"title":14195,"dynasty":296,"author":14196,"museum":561,"description":14197,"tags":14198,"thumbUrl":14199,"material":70,"size":70,"collection":42,"collections":14200,"showCount":14121,"zanCount":46,"manualWeight":46,"mainColor":47},237161,"tang-ren-shi-yi-shan-shui-ce-xiang-mu-zhi-237161","唐人诗意山水册","项穆之","项穆之［清·乾隆］，生卒年不详，字莘甫，南京人。适庵孙。善画山水，能继祖业。高宗南巡，诸大府延入画局，一切名胜图绘，皆其主裁。",[24,25,111,257,28,29,34,130,7,133,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4603652ccdb32e3cecd134127efbb3b3.jpg",[42,264],{"id":14202,"slug":14203,"title":14204,"dynasty":296,"author":498,"museum":561,"description":14205,"tags":14206,"thumbUrl":14207,"material":70,"size":70,"collection":42,"collections":14208,"showCount":14121,"zanCount":46,"manualWeight":46,"mainColor":47},236389,"fang-dong-qi-chang-shan-shui-zhou-wang-yuan-qi-236389","仿董其昌山水轴","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」\n见《清史稿》、秦祖永《桐荫论画》。",[24,25,95,27,36,186,82,29,7,34,35,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28132a1aa86a2afd0d9dbcc643e59524.jpg",[42,146],{"id":14210,"slug":14211,"title":14212,"dynasty":296,"author":436,"museum":360,"description":14213,"tags":14214,"thumbUrl":14215,"material":454,"size":14216,"collection":42,"collections":14217,"showCount":14121,"zanCount":46,"manualWeight":46,"mainColor":47},236177,"hong-li-she-tu-tu-zhou-yi-ming-236177","弘历射兔图轴","乾隆作为以畜牧、游猎为主 的满族人后裔，严格遵守满清骑 射尚武典制。他通过带游乐性质 的狩猎活动，将满人弯弓射箭的 传统习俗发扬光大。为了弘扬这 种尚武精神，乾隆谕令宫廷西洋 画师郎世宁以及中国宫廷画家 创作了数十幅专门表现他行围 狩猎的画作，真实记录了乾隆在 不同历史时期的狩猎情景。此图 便是表现他射兔的作品。",[24,56,28,29,58,215,7,34,130,36,439],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa64335c000347f96a1ea2e26f054d053.jpg","纵 258 厘米，横 172 厘",[42,264],{"id":14219,"slug":14220,"title":14221,"dynasty":18,"author":436,"museum":561,"description":14222,"tags":14223,"thumbUrl":14224,"material":70,"size":70,"collection":70,"collections":14225,"showCount":14121,"zanCount":46,"manualWeight":46,"mainColor":47},235874,"tang-yin-guan-shan-xing-lv-zhou-yi-ming-235874","唐寅关山行旅轴","此作画境荒寒清寂，以淡墨晕染远山，烟岚朦胧间隐出路踪。虬曲古木撑起重峦一隅，枯枝苍劲老辣，皴擦间尽显风霜雕琢之态。石拱桥下寒水浅流，策杖旅人独行桥边，衣袂似随山风微动，静穆中暗含羁旅孤愁。\n整幅以水墨写意，淡远空疏的笔墨烘托出关山行旅的苍茫意境，将天涯行客的寂寥心绪融于冷寂山水间，尽显借景抒怀的雅致意趣，笔墨简淡却意蕴悠长。",[24,95,27,29,36,96,7,58,60,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1c7f861c1e723f95dfa0c68d42794f8.jpg",[],{"id":14227,"slug":14228,"title":14229,"dynasty":296,"author":8362,"museum":561,"description":14230,"tags":14231,"thumbUrl":14232,"material":70,"size":70,"collection":70,"collections":14233,"showCount":14121,"zanCount":11,"manualWeight":46,"mainColor":149},235561,"wan-shan-cang-cui-tu-zhou-gao-cen-235561","万山苍翠图轴","《万山苍翠图》是中国清代画家高岑的国画作品，又称《清高岑万山苍翠图》，是一幅描绘山水景色的水墨画，作品收藏于 。\n《万山苍翠图》是皇家手绘精品，万山苍翠逼寒空，细路迂回古木中，澹澹夕阳堪倚杖，霜枫几点上衣红。\n此款产品是一幅手绘山水图。\n山体层层叠叠，伸向远方，悬崖上的苍松巍然屹立，代表了高洁的志向和昂扬的斗志。\n寓意：意境高远，勇攀高峰。\n《万山苍翠图》笔墨严谨劲秀，披麻皴画山石，淡墨渲染。\n老树挺拔，树木繁多，密而不乱，树叶以夹叶、点叶并用。\n树石罩以淡花青赭石色。\n山川林木茂密，万山苍翠。\n古寺、楼阁、村舍、山泉、船艇，设景似是江南秀丽富饶之乡。\n老者策杖过桥，农者田间劳动，富有生活气息。\n笔墨秀峭，气势雄伟。\n自题：“万山苍翠逼寒空，细路纡回古木中，澹澹夕阳堪倚杖，霜枫几点上衣红。\n画并题呈学迂先生教正。\n石城高岑。\n” ，生卒年不详，清初画家。\n字善长，又字蔚生，浙江 人，居 （今江苏南京）。\n阜（宇康生）弟。\n好学中、晚唐诗，并学画。\n初师僧七处，后自出机杼。\n山水迹近蓝瑛，用笔精到，无粗犷气；写意花卉，清秀入神。\n与龚贤、樊圻、邹桔、吴宏、叶欣、胡糙、谢荪为金陵八家。\n传世作品有《秋山万木图》、《林荫评古图》、《凤台秋月图》、《 》。",[200,24,25,95,28,36,29,837,539,112,272,35,32,242,133,658,7,1066,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a51013b654eb01b06e59743d39cf6f0.jpg",[],{"id":14235,"slug":14236,"title":14237,"dynasty":296,"author":2382,"museum":360,"description":14238,"tags":14239,"thumbUrl":14240,"material":885,"size":70,"collection":70,"collections":14241,"showCount":14121,"zanCount":46,"manualWeight":46,"mainColor":47},233726,"jiu-ri-deng-gao-tu-ping-ren-yi-233726","九日登高图屏","任颐（1840-1896），初名润，字小楼，后字伯年，浙江山阴（今绍兴）人。父亲任声鹤是民间画像师，大伯任熊，二伯任熏，均是名声显赫的画家。任伯年的绘画发轫于民间艺术，他重视继承传统，融汇诸家之长，吸收了西画的速写、设色诸法，形成自己丰姿多采、新颖生动的独特画风。任伯年精于写像，是一位杰出的肖像画家。人物画早年师法萧云从、陈洪绶、费晓楼、任熊等人。工细的仕女画近费晓楼，夸张奇伟的人物画法陈洪绶，装饰性强的街头描则学自任董，后练习铅笔速写，变得较为奔逸，晚年吸收华岩笔意，更加简逸灵活。",[24,95,28,58,7,56,36,1056,2517],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea0e76bf5e8ac1625574fca1e12385ab.jpg",[],{"id":14243,"slug":14244,"title":14245,"dynasty":18,"author":3504,"museum":360,"description":14246,"tags":14247,"thumbUrl":14248,"material":6274,"size":14249,"collection":42,"collections":14250,"showCount":14121,"zanCount":46,"manualWeight":46,"mainColor":47},233133,"ming-ren-xi-shan-sheng-jing-he-bi-ce-wen-zheng-ming-shi-hu-tu-ye-wen-zheng-ming-233133","明人西山胜景合壁册-文徵明石湖图页","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。",[24,25,111,27,29,7,34,32,6165,38,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7401370fa8da2f24b34abe414e0b35f.jpg","纵22.8cm，横33.2cm",[42,264],{"id":14252,"slug":14253,"title":14254,"dynasty":78,"author":14255,"museum":561,"description":14256,"tags":14257,"thumbUrl":14259,"material":142,"size":14260,"collection":70,"collections":14261,"showCount":14121,"zanCount":46,"manualWeight":46,"mainColor":149},232636,"jin-ji-tu-li-zhou-chen-lin-232636","锦鸡图立轴","陈琳","陈琳，（生卒年不详），字仲美，钱塘（今浙江杭州）人。南宋画院待诏珏子，琳世其叶。善画花鸟、山水、人物\n陈琳得赵孟頫指授，多所资益，故其画不俗，尤善临摹古迹。\n陈琳存世花鸟画仅有一件，即《溪凫图》（台北故宫博物院），作于大德五年(1301)，是在赵孟頫松雪斋中画成的。画中有赵孟頫的润饰和题字，称这幅画为陈琳的游戏笔墨，推重备至。作品特色鲜明，工笔略带写意，粗细兼用，笔墨潇洒流畅，浓淡墨色富于变化，形象生动，风格古朴，具有文人水墨写意画的韵致。这幅画既反映了陈琳的绘画特色，也代表了元代花鸟画嬗变的时代特征。陈琳还有山水画传世，如《秋山行旅图》、《苍崖古树图》等，都属于水墨写意画法。",[23,24,95,28,56,62,427,7692,5868,34,489,7,14258,988],"元代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70a7d3753eac78e2098c6e0fef1789f7.jpg","117x70厘米",[],{"id":14263,"slug":14264,"title":14265,"dynasty":18,"author":7838,"museum":561,"description":14266,"tags":14267,"thumbUrl":14268,"material":70,"size":14269,"collection":70,"collections":14270,"showCount":14121,"zanCount":11,"manualWeight":46,"mainColor":149},231948,"tao-yuan-tu-shi-rui-231948","桃源图","石锐（？－15世纪），字以明，钱塘（今浙江省杭州市）人，明代宫廷画家。宣德年间（1426年－1435年）进入宫廷，在仁智殿担任待诏，1469年仍活跃于画院。其画得盛懋之法，备极华整。金碧山水、界画楼台及人物，皆傅色鲜明温润，尤擅长画青绿与金碧山水，名著于时。",[23,24,951,28,36,7,34,187,31,2278,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5f18009ef0602e849b71eadcf06a50f.jpg","24.7x22.15 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。",[200,24,25,26,27,28,36,38,37,82,58,29,427,96,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03e987fb42398f70635b32fd13cd9023.jpg",[],{"id":14280,"slug":14281,"title":14282,"dynasty":296,"author":1795,"museum":561,"description":14283,"tags":14284,"thumbUrl":14285,"material":70,"size":70,"collection":70,"collections":14286,"showCount":14121,"zanCount":46,"manualWeight":46,"mainColor":149},230157,"jiu-cheng-gong-tu-yuan-yao-230157","九成宫图","画作取高远、平远兼融的构图，上部巨岩拔地凌天，淡墨晕染出缭绕云气，晕开虚渺空濛的高远之境。山腰层楼叠宇依岩临渊，界画笔法工细匀整，飞檐翘角尽显宫阙的雄丽精巧。\n\n近景苍松虬曲蓊郁，临水方亭伴岸而立，板桥卧波轻连汀渚，淡墨铺陈出水岸的悠远空寂。山石兼工带写，斧劈皴间晕染烟岚，墨色干湿浓淡铺陈出山水层次虚实，将人工匠造融于天地山水间，尽显楼阁山水的明秀壮逸，把宫苑恢宏与山水灵秀相融，意境清逸悠长。",[23,24,95,57,28,29,60,33,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe29d96974242735cfd79368fbee845cd.jpg",[],{"id":14288,"slug":14289,"title":14290,"dynasty":18,"author":19,"museum":561,"description":14291,"tags":14292,"thumbUrl":14293,"material":70,"size":70,"collection":70,"collections":14294,"showCount":14121,"zanCount":764,"manualWeight":46,"mainColor":149},228829,"han-que-wu-sheng-tu-shen-zhou-228829","寒雀无声图","画面取全景雪景山水，主峰巍峨覆雪，山石以短笔皴擦，苍浑厚重。近岸枯木萧疏，枝桠挺劲，汀渚间茅舍错落，平湖空蒙澄澈，以留白晕染出雪意，遍体清寒。\n\n整幅画以淡墨铺陈寒意，笔意松秀苍润，将冬日山野的阒寂空阔铺展开来。题画诗与雪景浑然相融，把山居冬日的幽谧淡然藏进尺幅之间，尽显文人幽居寄兴的雅逸意趣，萧寒之中自有沉静安然的意境。",[23,24,25,95,27,29,242,30,35,7,36,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56085afc730ef0c13e69977803e43ffc.jpg",[],{"id":14296,"slug":14297,"title":14298,"dynasty":18,"author":4458,"museum":561,"description":14299,"tags":14300,"thumbUrl":14301,"material":70,"size":70,"collection":70,"collections":14302,"showCount":14121,"zanCount":46,"manualWeight":46,"mainColor":250},228260,"xi-shan-tu-xu-ben-228260","溪山图","此作画风承接元人山水余韵，以全景式构图铺展溪山胜境。层叠山峦以披麻皴写就，笔墨苍秀清润，尽显山石纹理质感与巍峨气势。山岩裂隙间飞泉垂落，添得山林灵动生机。山脚林木蓊郁，村居错落掩映于树荫之下，茅舍俨然，勾勒出幽寂恬然的山居意趣。\n\n画面上方题跋错落排布，书画相映成趣，晕染出文雅沉静的氛围。整作墨色层次丰富，勾勒点染间尽显静穆淡远的隐逸之美，将江南溪山的温润灵秀，与文人栖居的闲雅意致相融无间，格调萧散淡远，尽显文人山水的清雅风神。",[23,24,25,95,27,36,29,7,34,132,33,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c87a9d67988fc66837c4291b05d87c3.jpg",[],{"id":14304,"slug":14305,"title":14306,"dynasty":78,"author":8175,"museum":561,"description":14307,"tags":14308,"thumbUrl":14309,"material":70,"size":70,"collection":70,"collections":14310,"showCount":14121,"zanCount":46,"manualWeight":46,"mainColor":149},228245,"xian-shan-lou-ge-tu-quan-juan-chang-juan-chen-ru-yan-228245","仙山楼阁图全卷（长卷）","此作用色古雅沉静，以青绿晕染层叠山峦，石质坚凝、林壑深秀，苍松错落植于岩岫之间，古意盎然。楼阁屋舍隐于林泉幽处，烟霞缈缈间，勾勒出超脱尘俗的世外仙乡意境。\n\n笔致精细秀润，既承唐宋青绿山水的明艳厚重，又融入元人写意的简逸格调，将洞天福地的灵逸之气晕染于绢素之上。拖尾题跋与画作相映成趣，文墨合璧，更添古雅意蕴，尽显画中幽居绝尘的雅逸之美。",[23,24,25,26,257,28,29,60,30,31,427,7,133,57,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5759faa7d805c7b52e01d396e95034f3.jpg",[],{"id":14312,"slug":14313,"title":14314,"dynasty":78,"author":5475,"museum":53,"description":14315,"tags":14316,"thumbUrl":14317,"material":68,"size":14318,"collection":70,"collections":14319,"showCount":14121,"zanCount":46,"manualWeight":46,"mainColor":149},228071,"yue-yang-lou-tu-xia-yong-228071","岳阳楼图","对开清代李佐贤题跋：“岳阳楼图，界画精巧，飞阁层檐，一丝不乱，楼中人物，纤悉具备，殆类鬼工。上题岳阳楼记，楷书如蝇头蚊脚，足使离娄失明，不知作者如何着笔。此等书画，乃宋人绝技，元明以后，已成《广陵散》矣。古今人不相及，即艺事可见。李佐贤识。”钤：“竹朋”印。\n岳阳楼位于今湖南省境内，相传最早为三国时东吴名将鲁肃训练水师的阅兵台，更因北宋著名文学家范仲淹脍炙人口的《岳阳楼记》而著称于世，其与滕王阁、黄鹤楼并称为我国古代“三大名楼”。\n此幅与故宫藏另一件《岳阳楼图》之构图、技法如出一辙，只是一为纨扇，一为册页。其精整工细的线描正可谓“细若蚊睫，侔于鬼工”。这种纯以墨笔白描界画建筑的手法到元代以后已成绝响，以至于清人李佐贤误以为此图是宋人所为。",[24,200,25,57,712,60,29,58,7,34,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9a48c01606623521039e6e1df769255.jpg","纵24.4厘米，横26.2厘米",[],{"id":14321,"slug":14322,"title":14323,"dynasty":78,"author":1290,"museum":561,"description":14324,"tags":14325,"thumbUrl":14326,"material":70,"size":70,"collection":70,"collections":14327,"showCount":14121,"zanCount":11,"manualWeight":46,"mainColor":149},228043,"fan-zhou-tu-ye-sheng-mao-228043","泛舟图页","层岩峻拔耸峙，细密皴笔勾勒出山石嶙峋肌理，峰巅林木点染，翻涌云气半掩山峦，晕开缥缈出尘的幽远意境。下方碧波湍流，古松虬曲苍劲，旁生花树缀满淡蓝繁花，为幽寂晕开一抹清润生机。\n\n扁舟之上，隐者凭舷闲坐，纵览烟霞林泉。全作设色清雅古拙，构图疏密得宜，将山海林泉的静穆幽远，与幽人悠游林下的自在相融，以景托志，尽显尚意抒情的特质，绘出超脱世俗的林下风流。",[23,24,25,28,27,29,32,31,58,427,7,56,1932,13101,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F279077b856a63fb919bda2ad8a79d75b.jpg",[],{"id":14329,"slug":14330,"title":14331,"dynasty":124,"author":436,"museum":561,"description":14332,"tags":14333,"thumbUrl":14334,"material":70,"size":70,"collection":70,"collections":14335,"showCount":14121,"zanCount":46,"manualWeight":46,"mainColor":250},227934,"qing-shan-bai-yun-tu-yi-ming-227934","青山白云图","近岸苍松虬曲古雅，枝桠探向水面，滩石错落，静水无波晕染出空濛雾气。远山隐现于烟岚之中，以淡墨轻擦出朦胧山形，留白托出云气舒卷的清旷。\n\n画侧题诗与山水呼应，行书隽秀飘逸，以诗点题，将青山朝暮、白云青松的幽寂山居铺陈在尺幅团扇间。墨色温雅清润，寥寥数笔便勾勒出世外林泉的闲逸意趣，尽显以小见大、诗画合璧的雅致审美，把文人心中的栖居理想藏在淡墨烟霞里。",[23,24,25,1900,29,27,36,6670,1067,427,34,7,133,1385,201,1262],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c120fff0efbccec8c077e1732729a70.jpg",[],{"id":14337,"slug":14338,"title":14339,"dynasty":296,"author":14340,"museum":561,"description":14341,"tags":14342,"thumbUrl":14343,"material":454,"size":14344,"collection":264,"collections":14345,"showCount":14121,"zanCount":46,"manualWeight":46,"mainColor":149},224539,"xie-qin-you-shan-tu-zhang-gu-224539","携琴游山图","章谷","绘山峰险峻，山中松柏高大遒劲，山涧中一道清流顺山而下，数座房屋隐现于山中，山脚溪流奔腾不息，山路上一童子手抱古琴紧随一老者前行。章谷，清代善画山水和人物肖像，书法工篆、隶书",[23,24,25,200,95,29,36,27,7,427,130,35,33,34,30,58,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddea37d7d189707368095454cc36c726.jpg","纵211.7CM 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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。",[23,24,25,26,27,36,38,82,723,391,7,34,35,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b023fa09cc7e63d573812ca97d8e8bb.jpg","24.5 x 98cm",[42],{"id":14421,"slug":14422,"title":14423,"dynasty":18,"author":11520,"museum":53,"description":14424,"tags":14425,"thumbUrl":14426,"material":84,"size":14427,"collection":264,"collections":14428,"showCount":14121,"zanCount":46,"manualWeight":46,"mainColor":149},219973,"xi-qiao-fang-you-tu-wang-e-219973","溪桥访友图","明代画家。字廷直，奉化（今浙江奉化）人，世居奉化城内西锦里。 初以绘事供事仁智殿。尝师里人萧凤，尽其术，乃肆力於唐、宋名家。凡奇山怪石，古木惊湍之类，尽摹其妙。以画名东南，其画树石多著烟霭之态，势如泼墨，而无四面枝干丛生疏密之意。宋惧、卢镇 皆师谔。 惧所作山水、人物与谔无二。镇字砚溪，能画美人 。 镇子沛，字小溪，亦工画。一生主要学习马远的画法，就其画法当属浙派。长于人物，画格 出吴伟 之上。 王谔则以山水画被孝宗朱瞻基 称为“当代马远”。 弘治正德中官锦衣千户。工山水，师南宋马远。他的画较之马远笔触更细，稍有放笔，体现了明代中期院体的时代风格。",[23,24,29,28,36,95,30,31,33,112,7,215,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60261b5b6f84e0898253e1dd71ffe7c9.jpg","纵 172.1厘米 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木桥过河，两人缓步走来，一个打着伞，一个戴着帽子，戴着兜帽。",[24,25,95,28,56,29,612,60,30,31,58,2788,427,7,35,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F938f0ddeacfed55963e5531bd7262d12.jpg","109.8x56.1厘米",[42],{"id":14446,"slug":14447,"title":14448,"dynasty":296,"author":14449,"museum":53,"description":14450,"tags":14451,"thumbUrl":14452,"material":116,"size":14453,"collection":289,"collections":14454,"showCount":14121,"zanCount":764,"manualWeight":46,"mainColor":47},219442,"ling-xian-zhu-shou-tu-zhou-qian-zai-219442","灵仙祝寿图轴","钱载","虬松盘空，松针攒簇如墨星缀枝，枝干皴擦见苍劲老骨；旁逸修竹数竿，叶影疏斜带清韵。坡间灵菌隐现，伴以细草繁花，笔墨细劲却含生机，淡墨晕染衬出野趣。全图以水墨写就，浓淡干湿相生，于清雅笔墨间藏祝寿吉意。既有文人画的疏朗气韵，又含对福寿康宁的温婉期许，帧中留白更显意境悠远。观之如沐林下清风，心随画境渐宁，仿佛能闻松涛竹语，见灵秀之气漫溢纸间，笔墨里的雅致与吉庆悄然相融，尽显传统文人画的韵致与温度。\u003C\u002Fthink_never_used_51bce0c785ca2f68081bfa7d91973934>",[24,25,200,95,27,56,427,1140,2915,489,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e85c969be4769322ad7f0290fce1fef.jpg","185.3x79.3",[289],{"id":14456,"slug":14457,"title":14458,"dynasty":18,"author":3058,"museum":20,"description":14459,"tags":14460,"thumbUrl":14461,"material":116,"size":14462,"collection":289,"collections":14463,"showCount":14121,"zanCount":46,"manualWeight":46,"mainColor":47},219409,"bai-miao-fo-xiang-tu-juan-cui-zi-zhong-219409","白描佛像图卷","崔子忠（约1574-1644年），初名丹，字开予，改名子忠，字道母，号青蚓。山东莱阳人，寓居顺天府（今北京）。善画人物、肖像，传世作品较少。此幅白描佛画，似说法或授经图，取法李公麟，人物高古，衣纹流美，作于崇祯四年（1631)，作者时年约五十八岁，款署“辛未九月九日长安门下士崔子忠识。”另纸有明田大受崇祯四年（1631）手书《金刚经》，款曰“崇祯辛未重阳日瀛州奉佛弟子田大受沐手敬书。”",[18,24,25,26,784,712,58,7,34,82,37,12682],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb93c57ab1883defa55547102439778a.jpg","纵30厘米，横56厘米",[289],{"id":14465,"slug":14466,"title":14467,"dynasty":296,"author":14468,"museum":2286,"description":14469,"tags":14470,"thumbUrl":14471,"material":40,"size":14472,"collection":42,"collections":14473,"showCount":14121,"zanCount":46,"manualWeight":46,"mainColor":47},218102,"xin-an-yi-yun-ce-han-zhu-shan-shui-han-zhu-218102","新安逸韵册(韩铸山水)","韩铸","郑旼的 《新安逸韵图册》 是他的代表作之一，也是他的最后一部作品。这本书由三卷组成，收录了郑旼创作的大量诗歌、书法作品和图画。《新安逸韵图册》的内容丰富，涵盖了许多不同的题材，如自然风光、人物生活、历史故事等。\n\n郑旼在 《新安逸韵图册》 中结合了文字、图画和韵律，创造出了一种独特的艺术形式。他的诗歌融合了中国传统的五言绝句和七言律诗的形式，并加入了自己的创新和个人风格。郑旼的书法作品也颇具特色，他善于运用自然的笔法，使字体看起来更加流畅和优美。\n\n郑旼的 《新安逸韵图册》 被认为是一部杰出的艺术作品，对中国的文学、艺术和文化发展都产生了重要的影响。它不仅是郑旼的代表作，也是中国文学史上的一座里程",[24,25,111,28,36,29,7,34,2901,363],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b8e42768e6ff7fa17a5e7182b49522e.jpg","30.6x20.7cm",[42],{"id":14475,"slug":14476,"title":14477,"dynasty":18,"author":5436,"museum":1137,"description":14478,"tags":14479,"thumbUrl":14480,"material":142,"size":14481,"collection":70,"collections":14482,"showCount":14121,"zanCount":46,"manualWeight":46,"mainColor":47},216249,"chi-bi-sheng-you-tu-xie-shi-chen-216249","赤壁胜游图","这幅画描绘了诗人游赤壁之景，宽阔的河面，水天一色，小船随河水起伏，船上的人驶向赤壁赏景，构图深远，笔法接近沈周。画中的岩石和树木线条松散而稳健，人物的线条简单，而石头的堆砌紧凑而富有变化，色彩的搭配富于深浅变化，使物体的层次清晰地凸显出来，显示出文人在场景前的闲适和优雅。",[23,24,25,26,27,28,36,38,37,82,29,32,34,7,316],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fede19bc0fd7f7a0caf0e5f4ff140f866.jpg","23 x 75.5",[],{"id":14484,"slug":14485,"title":435,"dynasty":124,"author":436,"museum":561,"description":3313,"tags":14486,"thumbUrl":14487,"material":217,"size":660,"collection":70,"collections":14488,"showCount":14489,"zanCount":46,"manualWeight":46,"mainColor":149},290288,"ke-si-hua-niao-zhou-yi-ming-290288",[24,25,95,440,28,62,201,390,1621,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd9eaed6bd4fb75bfc64e743a948bfe8.jpg",[],31,{"id":14491,"slug":14492,"title":14493,"dynasty":124,"author":3793,"museum":561,"description":14494,"tags":14495,"thumbUrl":14496,"material":217,"size":660,"collection":70,"collections":14497,"showCount":14489,"zanCount":46,"manualWeight":46,"mainColor":663},289756,"mo-fan-kuan-lu-shan-tu-jiang-can-289756","摹范宽庐山图","江参,（公元12世纪）〔南宋〕字贯道，南徐（今江苏省镇江市辖丹徒）人，江大方之子。居霅川（今浙江湖州市南），形貌清癯，平生特嗜香茶，和当时叶梦得(1077-1148)等众多文人学者关系甚密。终身飘泊，",[23,200,24,25,95,27,29,60,31,214,215,7,34,36,186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6238a367ca5faaa932225d420ea9a296.jpg",[],{"id":14499,"slug":14500,"title":6695,"dynasty":124,"author":125,"museum":561,"description":6696,"tags":14501,"thumbUrl":14502,"material":217,"size":660,"collection":70,"collections":14503,"showCount":14489,"zanCount":11,"manualWeight":46,"mainColor":663},289335,"xue-shan-lou-ge-tu-fan-kuan-289335",[23,200,24,29,95,27,36,860,60,31,7,1066,612],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F704b93ef24a7e30310fee13f95f51e5b.jpg",[],{"id":14505,"slug":14506,"title":14507,"dynasty":78,"author":961,"museum":561,"description":14508,"tags":14509,"thumbUrl":14511,"material":217,"size":660,"collection":70,"collections":14512,"showCount":14489,"zanCount":46,"manualWeight":46,"mainColor":149},287596,"xi-shan-yu-yi-tu-wu-zhen-287596","溪山雨意图","该画卷描绘的是黄公望笔下常见的江南景象，图中景象烟雨空濛，笔法多样，代表了文人画高度成熟时期的审美需要，是宋元之后文人绘画的主流风格。 整个画卷空无一人，山水则似真非真有恬淡、简远、空灵寂静之意境，表达了画家寄情山水，抒胸中逸趣之理想审美境界。",[200,24,25,95,27,29,36,30,31,33,60,34,7,14510,37,82],"雨景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8bba6c7101630ccfecf55d8000d2bed.jpg",[],{"id":14514,"slug":14515,"title":13620,"dynasty":296,"author":14516,"museum":561,"description":14517,"tags":14518,"thumbUrl":14520,"material":70,"size":70,"collection":42,"collections":14521,"showCount":14489,"zanCount":46,"manualWeight":46,"mainColor":47},239415,"fang-gu-shan-shui-ping-qin-zu-yong-239415","秦祖永","此作为浅绛山水，取高远、深远构图，层峦叠嶂渐次推展。山石以干笔皴擦，兼施淡赭花青晕染，松苍枫艳，满溢秋意。林麓间山居隐现，山道上行旅往来，山口茅亭有人闲坐，处处缀出悠然的山居烟火气。\n画作师法前贤，笔致松秀温润，设色清雅柔和，题诗呼应画意，将宋元山水的苍浑气象，揉入文人画的秀逸雅致中，尽显静穆淡远的林下雅趣，是晚清仿古山水中极具意韵的佳构。",[24,28,29,36,2843,837,112,33,58,578,7,427,1587,82,30,214,35,3855,3692,14519,257,27,95],"笔墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa922d4fea8744735b2bda1b5ca2a1160.jpg",[42,264],{"id":14523,"slug":14524,"title":14525,"dynasty":296,"author":14526,"museum":360,"description":14527,"tags":14528,"thumbUrl":14529,"material":70,"size":70,"collection":42,"collections":14530,"showCount":14489,"zanCount":46,"manualWeight":46,"mainColor":47},239229,"guan-shan-xing-lv-zhou-zhou-hao-239229","关山行旅轴","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；湖北美术学院教师。\n工书画，尤精竹刻。行书师法苏轼，跌宕奇伟，自成风格。山水画早年学王翚，笔墨秀润。又善临摹，仿王蒙最工，人物画也很精妙。擅长画竹，兴酣落笔，风枝或雨叶栩栩如生。尤其以画法施之刻竹，合南北宗为一体。技艺闻名乡里，所刻山水、人物、丛竹，用刀如用笔，不必假借他人稿本。除了擅长以阴刻搭配浅浮雕技法来雕刻纹饰，尤擅长采用阴刻技法雕得相当深陷，再在深陷部位依据纹饰的需要浅雕局部纹饰，名为“陷地深刻”。这种深刻技艺，始于朱松邻，至周颢集大成。传世作品以笔筒和臂搁为主。其竹刻以阴刻技法展现绘画中的“南宗山水”最具特色，与“三朱”的刻竹面目大不相同。金元钰称誉周颢在竹人中，好像杜甫在盛唐诗人中的地位一样，首屈一指。",[24,25,95,27,36,29,7,34,58,187,134,131,2242,1081,4253,578],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe459ba58587eb0fbdcff3afdad0c85b6.jpg",[42,146],{"id":14532,"slug":14533,"title":13386,"dynasty":296,"author":297,"museum":561,"description":12104,"tags":14534,"thumbUrl":14535,"material":217,"size":660,"collection":70,"collections":14536,"showCount":14489,"zanCount":46,"manualWeight":46,"mainColor":47},237937,"za-hua-ce-zhu-da-237937",[24,25,111,27,38,10127,7,34,300,36,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb86108c56dd64ee2459aadeca6d13748.jpg",[],{"id":14538,"slug":14539,"title":14540,"dynasty":18,"author":14541,"museum":561,"description":14542,"tags":14543,"thumbUrl":14544,"material":70,"size":70,"collection":42,"collections":14545,"showCount":14489,"zanCount":46,"manualWeight":46,"mainColor":149},237905,"shan-shui-ren-wu-zhou-peng-shun-qing-237905","山水人物轴","彭舜卿","乾隆庚戌年间画家",[200,24,25,95,27,28,29,58,32,427,7,113,36,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b7e18d3fc7112b55080a3774d15b883.jpg",[42],{"id":14547,"slug":14548,"title":14549,"dynasty":18,"author":14550,"museum":561,"description":14551,"tags":14552,"thumbUrl":14553,"material":70,"size":70,"collection":42,"collections":14554,"showCount":14489,"zanCount":11,"manualWeight":46,"mainColor":47},237783,"zhu-jia-shan-shui-ce-shan-shui-ce-ye-wang-yun-ling-237783","诸家山水册-山水册页","王允龄","字延卿，江宁（今南京）人。善花卉，笔致秀雅，摹仿各家，皆有生气。字延卿，江宁（今南京）人。善花卉，笔致秀雅，摹仿各家，皆有生气。",[24,27,36,111,29,96,242,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17385c48ba87b031b3a6ce97cde0021f.jpg",[42],{"id":14556,"slug":14557,"title":971,"dynasty":296,"author":1177,"museum":360,"description":10328,"tags":14558,"thumbUrl":14559,"material":760,"size":10331,"collection":42,"collections":14560,"showCount":14489,"zanCount":46,"manualWeight":46,"mainColor":47},237610,"shan-shui-zhou-wang-jian-237610",[24,27,36,95,29,7,34,30,31,35,2901],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc811fcb2decec93770fba981f9fb35b6.jpg",[42,146],{"id":14562,"slug":14563,"title":6122,"dynasty":296,"author":3038,"museum":561,"description":6123,"tags":14564,"thumbUrl":14565,"material":70,"size":70,"collection":42,"collections":14566,"showCount":14489,"zanCount":46,"manualWeight":46,"mainColor":47},237602,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237602",[24,25,111,27,36,186,38,82,29,7,130,34,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F901d55e3abf423efff694b4d83b35d25.jpg",[42,648],{"id":14568,"slug":14569,"title":14570,"dynasty":296,"author":14571,"museum":360,"description":14572,"tags":14573,"thumbUrl":14574,"material":454,"size":14575,"collection":264,"collections":14576,"showCount":14489,"zanCount":46,"manualWeight":46,"mainColor":149},237494,"ti-shan-tu-zhou-yu-zhi-ding-237494","题扇图轴","禹之鼎","本幅右上自题“题扇图”，“都门客窗摹刘松年笔意。恭颂定翁老先生荣寿千春，广陵禹之鼎。”钤“慎斋禹之鼎”白文印，“广陵涛上渔人”朱文印，左下钤朱方印“必逢佳士亦写真”。\n据题款“都门客窗”知此图为画家寓居京城时期所作，从画风判断应为其早年摹诸家技法时的作品。图中所绘为“羲之题扇赠老姥”的故事。书圣王羲之见乡间老妇苦于生计，便为其所卖之扇题字，嘱老妇言“是王右军书，以求百钱”。老妇哪知其中奥妙，面露迟疑，不想人们竞相购买，一时传为佳话。\n此图青绿设色。画面上石崖高耸突兀，两棵古松挺拔苍劲，喻“益寿延年”。图中羲之坐于石桌旁落笔题字，老妇目露期盼，僮仆于溪畔洗砚，主题鲜明，生动自然。山水、人物用笔精细，设色艳丽明快，追求南宋院体画工整严谨的风格。",[24,25,95,28,56,58,427,7,2697,2034,1011,10025,1746,525],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7da342761f02fee861163ccd509fa22e.jpg","纵132厘米，横55.8厘米",[264],{"id":14578,"slug":14579,"title":14580,"dynasty":296,"author":3038,"museum":53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工诗书，善绘事。四王以后的山水画大家，被誉为四王后劲，与清代画家汤贻汾齐名。山水早年师法王翚，进而摹拟宋元诸大家，对于王蒙、吴镇两家笔意更有所得。晚年观摩巨然真迹，在用墨方面有深切的领会。道光时宫廷书画多出于其手。又能画花鸟、人物，以及梅竹石，笔墨皆隽妙。秦祖永的评论是:临古之作形神兼备，微嫌落墨稍板，无灵警浑脱之致，盖限于资也。所写竹石小品停匀妥帖，尚为蹊径所缚，未能另立门庭也。戴熙另著有《习苦斋画絮》，于画理多有论述。题画偶录行世。\n他的子侄受其影响都能绘画:长子有恒(1826-1891)(字大年，号保卿)所作山水笔意疏秀，有倪瓒风韵。以恒(字用伯)、之恒(字仲江，号菊孙)、其恒(字秀渠，又字问水)、尔恒(字子谦)，皆继承家学，善作山水，而各有成就。\n以恒更有声誉，所作山水笔意淹润，墨气淋漓，而屋宇几席亦复精工，著有《醉苏斋画诀》。《清画家诗史》则称之恒画技为戴氏群从之冠。有恒子兆登、兆春亦均能画。",[24,25,26,27,36,29,7,34,33,31,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d99c23e5f3cf97e36ff8021d4c17f77.jpg",[],{"id":14600,"slug":14601,"title":2185,"dynasty":78,"author":107,"museum":53,"description":14602,"tags":14603,"thumbUrl":14604,"material":142,"size":14605,"collection":70,"collections":14606,"showCount":14489,"zanCount":46,"manualWeight":46,"mainColor":149},232265,"xi-shan-gao-yi-tu-wang-meng-232265","远处高山耸立，冲出画面，山头层层叠叠，树木苍茫，左侧高山间，一线飞瀑直落而下，水珠四溅，山石中部又一飞泉，从岩间淙淙涌出，溪间奔湍，沿山脚蜿蜒曲折地流注而下。中景山腰处，松木成行。近景为坡岸，山石长有几株松树，有的枝干挺拔直上，有的枝干长满结节，有的松树枝叶盘曲有姿，十分茂密，相互交错，错落有致。在山间林中，有数间屋宇草堂，门窗敞开，堂中有一高士端坐其间，身穿宽服长袍，正在阅渎书卷，旁有书童侍立在旁。屋堂外的宽阔平地上有一只双翅展开的仙鹤。画幅左下角又一长者，身穿大袍，头戴官帽伫立在平地上，正在凝神地观赏四周优美的江南山山水水，十分悠闲自得。树下和山石旁留下一片水面，十分平静。款署：“叔明王蒙为菊窗琴友制图。”\n王蒙出身书画世家，外公就是元代书画家赵孟頫，所以他的画早期受赵孟頫的影响较深。后又综合唐宋名家，广采博览，故其画纵逸多姿，又独创渴笔解索皴法，终于跳出赵孟頫规矩之外，自开门户。画山水师法巨然，风格独特，“层巅奉律摩苍穹，咫尺可论千万重”。在元代山水画家中，是唯一以作品繁、密取胜者，构图回环重叠，结构复杂，笔墨熟练，重用笔而胜于用墨，强凋书法情趣，他的画构图繁复周密，以各种手法表现江南林木的苍郁茂盛和湿润感，是元代具有创造性的山水画大师，明清及近代画家几乎都学过他的画。此《溪山高逸图》，是他画构图繁复的山水画中代表作之一。\n此画构图繁密，密而不塞，密中求疏。全画用笔苍郁沉厚，颇见功力。山石皴笔用细如牛毛、略带波颤、层次繁密的“解索皴”，再加上用破笔点成的苔痕，苍苍茫茫，“望之而郁然深秀”。此画最大特点，作者善于表现江南深山溪谷草木华滋的蒙茸湿润之感。中近景树木用双勾法，树干曲折，一笔二过，树叶形状不一，填彩各异，但没有掩隐墨色的效果。纵观此图，画面崇山松木与溪流飞瀑相得益彰，有声有色，自然和谐，构图深远，结构密而不塞，与元代简洁之风大相径庭，充分体现了作者独特的风格。\n明代画家董孝初：“叔明此图，昔人评为第一，非浪语也。笔法之妙，布置之奇，如韩淮将兵，多多益办。……苍古秀润，沉雄浑厚，殆兼之矣。”\n当代画家张德宁：此图用湿笔在绢上反复勾皴渲染，其颇具个性的“牛毛皴”、“解索皴”，灵动而又凝重，笔墨清晰，有迹可循，深得历代画家的赞赏。",[24,25,95,27,28,36,29,34,33,31,7,35,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb30c886a58613a314ad3485c1fad4393.jpg","纵113.7厘米，横65.3厘米",[],{"id":14608,"slug":14609,"title":14610,"dynasty":18,"author":9293,"museum":1043,"description":14611,"tags":14612,"thumbUrl":14613,"material":885,"size":14614,"collection":70,"collections":14615,"showCount":14489,"zanCount":46,"manualWeight":46,"mainColor":250},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。",[23,24,25,26,27,29,36,158,133,34,7,37,82,186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F013a2fc6a37091ae937949aa02030f9c.jpg","纵27.9厘米，横320厘米",[],{"id":14617,"slug":14618,"title":14619,"dynasty":18,"author":1100,"museum":53,"description":14620,"tags":14621,"thumbUrl":14622,"material":229,"size":70,"collection":70,"collections":14623,"showCount":14489,"zanCount":11,"manualWeight":46,"mainColor":47},231420,"fang-gu-shan-shui-ce-di-er-kai-fang-yan-wen-gui-bi-yi-dong-qi-chang-231420","《仿古山水册》第二开：仿燕文贵笔意","天启二年（1622），董其昌看了北宋燕文贵（967-1044）画卷而倣作此图，但改采立轴表现。画中几株秀树聚于带有倾侧之势的山石上；中景处大胆移置一段远山；画幅上部的远景却出现了视觉比例上更接近观者的中景山石坡林。全作笔墨秀润，构思状似平淡却大胆奇特，为其传世佳作。",[24,25,111,186,36,28,29,242,427,7,31,82,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9af16821e2b753ddcf5d5ee76ac26bc.jpg",[],{"id":14625,"slug":14626,"title":14627,"dynasty":124,"author":125,"museum":561,"description":14628,"tags":14629,"thumbUrl":14630,"material":70,"size":70,"collection":70,"collections":14631,"showCount":14489,"zanCount":46,"manualWeight":46,"mainColor":149},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。",[23,24,200,25,95,27,28,29,36,158,7,34,30,31,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55ccf22bfab8ac355246314d05dace25.jpg",[],{"id":14633,"slug":14634,"title":14635,"dynasty":296,"author":1406,"museum":561,"description":14636,"tags":14637,"thumbUrl":14638,"material":70,"size":70,"collection":70,"collections":14639,"showCount":14489,"zanCount":46,"manualWeight":46,"mainColor":47},230176,"fang-gu-ce-ye-wang-shi-min-230176","仿古册页","此作以青绿设色追摹古意，山峦层叠起伏，皴法苍润松秀，勾勒间尽显山石肌理。飞瀑穿林越谷，循着山涧蜿蜒汇入澄澈清溪，屋舍错落隐于葱茏林木间，山脚水畔嘉木繁荫，淡赭与石青石绿晕染出温润雅致的色调。\n\n笔墨间既承袭山水的萧散淡远，又自有安和静谧的意趣，将山居丘壑的幽寂清远铺陈开来。摹古之际亦融入己心，把文人林泉高致的隐逸情怀藏入每一处丘泉林木中，尽显古雅沉静的山水意境。",[24,28,29,36,111,7,34,130,35,565,31,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2e0e500db2b9360583507b90d46b9f3.jpg",[],{"id":14641,"slug":14642,"title":14643,"dynasty":124,"author":449,"museum":561,"description":14644,"tags":14645,"thumbUrl":14646,"material":70,"size":70,"collection":70,"collections":14647,"showCount":14489,"zanCount":46,"manualWeight":46,"mainColor":149},227826,"she-se-shan-shui-tu-ma-yuan-227826","设色山水图","《黄宾虹浑厚华滋的山水画》内容简介：黄宾虹是一位学者型的画家，也是我国杰出的山水画大师。\n他既师古人，更师造化。\n其山水画色调浓黑，浑厚华滋。\n他的山水画黑、密、厚、重，淋漓尽致、大气磅礴，而具有浑厚华滋、意境深邃的特色。\n黄宾虹山水画特别强调线条质量，他以金石篆书的线条来强化画的风骨，使之苍劲老辣、浑厚古拙。\n《黄宾虹浑厚华滋的山水画》由 出版。\n黄宾虹作为中国近现代绘画史上高标独立的画家，其一生经历丰富，学养深厚。\n在文史研究及中国画实践中造诣非凡。\n本图书以图文并茂的形式，充分诠释黄宾虹将古典山水绘画向近现代山水绘画转变的伟大界标作用。\n在古典与现代关捩处 黄宾虹早期山水作品 拟龚贤山水图册 拟古人山水图册之一 拟古人山水图册之二 拟古人山水图册之三 拟古人山水图册之四 拟古人山水图册之五 拟古人山水图册之六 仿宋人画意图轴 临倪瓒山水图轴 林亭孤坐图轴 溪山亭树图轴 丹崖翠壁图轴 江上雨霁图轴 古木幽岸图轴 曲径云峰图轴 轻舟夜色图轴 歙县渔梁图册 设色山水屏之一 设色山水屏之二 设色山水屏之三 设色山水屏之四 山疏水浅图轴 拟宋人画意图轴 松阴听泉图轴 登高望远图轴 黄宾虹中期山水作品 临王维画稿 临赵令穰、关仝画稿 临赵孟烦画稿 临巨然、高克恭画稿 临董源画稿 临范宽画稿 临王维、荆浩画稿 临黄公望画稿 临黄公望、马远画稿 临李唐画稿 临郭熙画稿 临米芾画稿之一 临米芾画稿之二 临范宽画稿 临李成画稿 临倪瓒画稿 临马远画稿之一 临马远画稿之二 黄山写生画稿之一 黄山写生画稿之二 黄山写生画稿之三 黄山写生画稿之四 黄山写生画稿之一 黄山松写生画稿之一 黄山松写生画稿之二 黄山松写生画稿之三 黄山松写生画稿之四 鼋峰写生画稿 江郎山写生画稿 武夷写生画稿之一 武夷写生画稿之二 武夷写生画稿之三 武夷写生画稿之四 武夷写生画稿之五 武夷写生画稿之六 武夷写生画稿之七 武夷写生画稿之八 武夷写生画稿之九 武夷写生画稿之十 武夷写生画稿之十一 武夷写生画稿之十二 武夷写生画稿之十三 武夷写生画稿之十四 桂林写生画稿 香港九龙写生画稿之一 香港九龙写生画稿之二 香港九龙写生画稿之三 香港九龙写生画稿之四 临安写生画稿之一 临安写生画稿之二 临安写生画稿之三 南海写生画稿之一 南海写生画稿之二 四川写生画稿之一 四川写生画稿之二 设色山水图册 奔泉图轴 设色山水图册之一 设色山水图册之二 设色山水图册之三 设色山水图册之四 设色山水图册之五 设色山水图册之六 丛林折瀑图轴 深山烟岚图轴 松山静坐图轴 古寺松云图轴 设色山水图轴 湘水秋山图轴 浙东纪游图轴 设色山水图轴 金华万罗山居图轴 设色山水图册 山居车水图轴 设色山水图轴 峨山风景图轴 雁荡三折瀑图轴 拟宋人江山无尽图轴 设色山水图册 设色山水图册之一 设色山水册图之二 设色山水图册之三 设色山水图册之四 设色山水图轴 黄宾虹晚期山水作品 栖霞晓望图轴 深山古寺图轴 设色山水图轴 水墨山水图轴 烟霭空漾图轴 设色山水图轴 设色山水图轴 设色山水图轴 设色山水图轴（背面画） 设色山水图横幅 设色山水图册 设色山水图册 设色山水图册之一 设色山水图册之二 设色山水图轴 设色山水图轴 设色山水图轴 设色山水图横幅 设色山水图轴 玉泉纪游图轴 用范宽法山水图轴 设色山水图轴 水墨山水图轴 水墨山水图轴 设色山水图轴 焦墨山水图轴 设色山水图轴 水墨山水图横幅 蜀中山水图轴 雨景山水图轴 拟巨然山水图轴 湖山初霁图轴 溪桥烟雨图轴 溪桥烟霭图轴 水墨山水图横幅 水墨山水图横幅 设色山水图轴 水墨山水图轴 雁荡诸峰图轴 桃花溪图轴 拟元人简笔山水图轴 拟程邃山水图轴 夜山图轴 设色山水图轴 设色山水图轴 设色山水图册之一 设色山水图册之二 设色山水图册之三 设色山水图册之四 设色山水图册之五 设色山水图册之六 设色山水图册之七 设色山水图册之八 设色山水图册之九 设色山水图册之十 设色山水图册之十一 设色山水图册之十二 设色山水图册之十三 设色山水图册之十四 设色山水图册之十五 设色山水图册之十六 行松盘岭图轴",[23,24,25,1900,28,29,60,427,32,7,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd31156cf1201e56c7733b85aa29d871a.jpg",[],{"id":14649,"slug":14650,"title":14651,"dynasty":296,"author":3038,"museum":561,"description":14652,"tags":14653,"thumbUrl":14654,"material":70,"size":70,"collection":70,"collections":14655,"showCount":14489,"zanCount":46,"manualWeight":46,"mainColor":47},224443,"fang-li-song-gu-mu-he-qun-wang-hui-224443","仿李嵩古木鹤群","此作画境清寂古雅，半边绘苍虬古木，枝干蟠曲交错，松针层叠如织，丹鹤或栖于枝梢理羽，或振翼掠林，姿态闲逸舒展。另一半以浅绛晕染出山峦坡陀，淡绿点染草木苔痕，空灵淡远。\n\n工写兼施法追摹古意，将院体精工与文人画淡逸相融，设色柔润清和。苍木古拙硬挺，衬出丹鹤秀雅灵动，山林幽寂与天际空阔相生，将林下闲逸的幽情藏于尺幅之间，引人坠入清远出尘的林泉之境。",[24,25,56,28,36,186,82,96,201,7,427],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd25c7958a10ee40cc2e1e5c90df00a4.jpg",[],{"id":14657,"slug":14658,"title":14659,"dynasty":296,"author":1406,"museum":53,"description":14660,"tags":14661,"thumbUrl":14662,"material":203,"size":14663,"collection":70,"collections":14664,"showCount":14489,"zanCount":46,"manualWeight":46,"mainColor":47},224434,"luo-mu-han-quan-tu-zhou-wang-shi-min-224434","落木寒泉图轴","该图写太湖秋高气爽之景色。设景简略，绘平坡疏树，山麓茅亭。在画法上宗法倪瓒，山石树木勾勒用渴笔正锋侧出，转折处露锋芒而笔墨浑然，但点叶与小树画法仍近黄公望笔意，其苍厚蕴藉的风致反映的是画家晚年的典型面貌。",[23,24,25,95,27,36,29,34,2242,7,31,33,114,3766,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2adb5680f897abc61971068a52abe5f.jpg","纵83cm,横41.2cm",[],{"id":14666,"slug":14667,"title":14668,"dynasty":296,"author":14669,"museum":561,"description":14670,"tags":14671,"thumbUrl":14673,"material":217,"size":660,"collection":70,"collections":14674,"showCount":14489,"zanCount":46,"manualWeight":46,"mainColor":47},224150,"wan-nian-zhi-shang-ri-chu-chang-shi-yi-zhou-yu-shi-224150","万年枝上日初长诗意轴","于氏","孔宪培之妻,孔宪培(1756-1793)：原名允宪，字养元，号笃斋，清朝曲阜(今属山东省)人。乾隆年间，袭封衍圣公；夫人于氏，被册封为一品夫人。",[23,24,25,95,28,56,257,57,29,60,33,34,7,31,1140,14672,1374,61,8316],"云纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f460da26208a42a6f0f8d44c32e407a.jpg",[],{"id":14676,"slug":14677,"title":14678,"dynasty":78,"author":436,"museum":360,"description":14679,"tags":14680,"thumbUrl":14681,"material":142,"size":14682,"collection":144,"collections":14683,"showCount":14489,"zanCount":46,"manualWeight":46,"mainColor":149},223666,"xue-shan-xing-lv-tu-zhou-yi-ming-223666","雪山行旅图轴","山势苍莽，白雪皑皑，映衬秋霜红叶丛树，分外妖娆。林中房舍隐现，桥横岸渚，山重水回，一舟泊于岸边。行旅者踏雪而行。全画用笔工细，人物面貌高古，神态刻画入微。房舍以界画笔法，工整严谨。作者巧妙地将山水和人物有机地融为一体。",[23,24,95,27,36,28,29,860,242,130,7,132,35,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f9cb5a6c82975a7225dafdffa1c6e7e.jpg","106x51.5",[144],{"id":14685,"slug":14686,"title":14687,"dynasty":18,"author":1149,"museum":53,"description":14688,"tags":14689,"thumbUrl":14691,"material":116,"size":14692,"collection":306,"collections":14693,"showCount":14489,"zanCount":46,"manualWeight":46,"mainColor":47},222396,"han-xue-shan-ji-tu-zhou-lv-ji-222396","寒雪山鸡图轴","画家以运笔迅速的墨线、墨块为主，以干、湿笔交互运作，用飞白的线条，疾速完成枯树枝桠、山石流泉，造成黑白对比",[23,24,95,62,56,27,28,14690,612,242,1140,7,82,524],"山鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F096ba06be874b0a719bffcf11369d20a.jpg","纵135.3厘米，横47.2厘米",[306,264],{"id":14695,"slug":14696,"title":14697,"dynasty":18,"author":269,"museum":53,"description":14698,"tags":14699,"thumbUrl":14700,"material":601,"size":14701,"collection":42,"collections":14702,"showCount":14489,"zanCount":46,"manualWeight":46,"mainColor":149},222030,"xi-qiao-ce-jian-tu-zhou-dai-jin-222030","溪桥策蹇图轴","此幅画半壁悬崖，草木郁郁，乱流奔湍；行人赶路，形色惶急。右半边江面辽阔宁静，远山帆影，渔人神态甚为悠闲。对角线的构图方式，源自南宋院体，近景坡石用斧劈皴法，辅以墨染，营造出石之质感与立体感。",[23,24,95,29,36,28,30,31,32,7,34,58,215,96,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2db05b40e690af672c8b38a93cb5face.jpg","137.5x63.1公分、全幅 90.2公分",[42,146],{"id":14704,"slug":14705,"title":14706,"dynasty":78,"author":5885,"museum":53,"description":14707,"tags":14708,"thumbUrl":14709,"material":14710,"size":14711,"collection":42,"collections":14712,"showCount":14489,"zanCount":11,"manualWeight":46,"mainColor":149},221691,"qing-shan-bai-yun-zhou-gao-ke-gong-221691","青山白云轴","在中国绘画史上，名垂青史的少数民族国画家少之又少，宋末元初的新疆人高克恭即为其一。时人以诗称赞曰：「近代丹青谁自豪，南有赵魏北有高」，他与赵孟南北相对，为一代画坛领袖。时与赵孟、商琦、李衎并称「元四家」。\n高克恭（1248-1310年)，字彦敬，号房山，先祖西域（新疆）人。依元制划民四等，高克恭属色目人，但他的祖父辈即与汉人通婚，占籍山西大同。高克恭自幼学习汉族文化，27岁开始当官，官至刑部尚书。画以山水、墨竹著称，兼及兰惠梅菊。高克恭的绘画，特别是他的山水画，在元代具有一定的影响，初学二米，后学董源、李成笔法，时人赞之「世之图青山白云者，率尚高房山」。明清两代如王原祁、董其昌等，都十分崇拜他。",[23,200,24,25,95,27,36,29,6670,1067,34,30,31,114,1104,133,7,3527,132,1397,10641,2060],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff694344bfc27738a0a8d0c9d7b8d746c.jpg","轴绢本浅设色","188.3x110.5厘米",[42,146],{"id":14714,"slug":14715,"title":14716,"dynasty":3825,"author":5427,"museum":4767,"description":14717,"tags":14718,"thumbUrl":14719,"material":70,"size":70,"collection":70,"collections":14720,"showCount":14489,"zanCount":46,"manualWeight":46,"mainColor":47},220528,"shan-lin-yuan-tiao-xu-bei-hong-220528","山林远眺","画作以浓淡干湿的笔墨写就古松，嶙峋躯干虬曲苍劲，焦墨点染的松针苍郁勃发，将古树扎根危岩的峥嵘气势尽显。浅赭晕染山石，粗笔皴擦刻画出岩壁的坚硬质感。\n\n画面下方的孩童为沉静山林添入灵动生气，一静一动相映成趣。创作者以写实笔墨融合传统写意，打破陈规，让苍劲古林与稚拙孩童相融，雄浑山水间晕开淡淡烟火温情，勾勒出山林悠远安然的意韵。",[24,27,28,95,36,29,96,7,58,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3db224914df14f458316d0f58224d92.jpg",[],{"id":14722,"slug":14723,"title":14724,"dynasty":296,"author":6220,"museum":53,"description":14725,"tags":14726,"thumbUrl":14727,"material":40,"size":14728,"collection":289,"collections":14729,"showCount":14489,"zanCount":46,"manualWeight":46,"mainColor":47},220252,"pin-quan-tu-zhou-jin-ting-biao-220252","品泉图轴","图绘月下林泉，一文士坐於靠溪的垂曲树干上啜茗，状至悠闲，一童蹲踞溪石汲水，一童竹炉燃炭，三人的汲水、备茶、啜茗动作，恰恰自然的构成了一幅汲水品茶的连环图画。画面上明月高挂，清风月影，品茗赏景，十分自在。本幅山水人物浅设色，笔墨精鍊，人物清秀，圆短脸形的文人造型极富特色，衣袖襟襬皱摺转折猷劲，皆与记载中的「折芦描」相近。",[23,24,200,28,56,58,31,34,1385,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b3431179624016bbae30476a9512741.jpg","纵58厘米，横73.8厘米",[289],{"id":14731,"slug":14732,"title":14733,"dynasty":18,"author":19,"museum":108,"description":14734,"tags":14735,"thumbUrl":14736,"material":116,"size":14737,"collection":42,"collections":14738,"showCount":14489,"zanCount":46,"manualWeight":46,"mainColor":47},220088,"qiu-shan-ce-zhang-tu-shen-zhou-220088","秋山策杖图","沈周，吴门画派之开启者，“明四家”之首，以其艺事之高，硕德之重，为明早中期江南人望。擅山水，出宋入元，雄健渊穆，自成大家。亦擅花卉，妍雅朴厚，对后世写意画家影响至深。此卷为其最晚年作，笔意简朴，墨法清润，已入铅华洗净、不求好而自好之境。款亦由熟返生，稚拙之趣可掬，老境可尚如此。\n卷后有一代鉴界巨擘张葱玉、谢稚柳长题。皆断其为石田晚年的笔，亦为此卷增色。石田翁名倾朝野，人又宽厚，其在世时已赝作泛滥，故此卷弥足珍贵。",[23,24,27,29,36,38,37,82,58,34,7,364],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53ac56827735c8101dc33f1513a4a0d7.jpg","26 × 134 cm",[42],{"id":14740,"slug":14741,"title":14742,"dynasty":18,"author":436,"museum":4579,"description":14743,"tags":14744,"thumbUrl":14745,"material":116,"size":14746,"collection":289,"collections":14747,"showCount":14489,"zanCount":46,"manualWeight":46,"mainColor":149},219931,"hu-bian-gao-shi-tu-yi-ming-219931","湖边高士图","此作全景铺陈湖山胜景，巨岩巍峨雄峙，皴笔苍劲凝练，勾勒出山石浑厚嶙峋的质感，高远山势带着沉郁古拙的厚重意韵。近岸古木扶苏，浓荫如盖，林下高士雅聚，或立语或闲坐，意态萧散恬然。\n江畔烟波澹澹，水榭隐于远岸烟树间，晕染出空濛悠远的平远之境。以水墨晕染绢本，古雅色调衬出静穆清和的氛围，将山水之幽与林下雅集的闲逸融为一体，尽显文人寄情林泉、追慕幽隐萧散的林下高致，笔墨苍秀清润，铺展出古代文人心底的理想幽居之境。",[23,24,28,36,95,29,58,34,7,1262],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e4840ae03845157842e83799867a3ab.jpg","122x57.6厘米",[289],{"id":14749,"slug":14750,"title":6430,"dynasty":296,"author":10638,"museum":346,"description":14751,"tags":14752,"thumbUrl":14753,"material":40,"size":14754,"collection":42,"collections":14755,"showCount":14489,"zanCount":46,"manualWeight":46,"mainColor":47},219855,"qiu-shan-tu-xiao-yun-cong-219855","萧云从(1596年-1673年) ，字尺木，号于湖老人、无闷道人、默思。安徽芜湖人，明末清初著名画家，姑孰画派创始人。父亲肖慎余，为明乡饮大宾，懂绘画。云从幼而好学，“笃志绘事，寒暑不废”。\n明崇祯十一年（1638年）加入复社，与阉党保守势力集团进行了积极的斗争。入清后隐居不仕。其人物画主要继承了宋代李公麟的白描法，亦吸收明代陈洪绶之长，造型准确，形象生动。其山水画自成一家，笔墨清疏苍秀，饶有逸致。他的画在家乡芜湖地区影响甚大，形成了“姑熟画派”，传其衣钵者有其弟云倩，子一旸，侄一荐、一箕，犹子一芸，以及黄戢、施长春、施道光等人。萧云从的挚友、清初四画僧之一弘仁的早期山水亦受其影响。",[23,24,25,26,28,29,36,37,38,82,58,60,34,7,31,33,427,242,671,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac94aed01aba754dc8c5c87a314abc26.jpg","27.5x224cm",[42],{"id":14757,"slug":14758,"title":14759,"dynasty":18,"author":3448,"museum":346,"description":14760,"tags":14761,"thumbUrl":14762,"material":116,"size":14763,"collection":42,"collections":14764,"showCount":14489,"zanCount":46,"manualWeight":46,"mainColor":47},219741,"fang-ni-yun-lin-shan-shui-tu-lu-zhi-219741","仿倪云林山水图","陆治（1496年－1576年），字叔平，明代画家。吴县（今江苏苏州）人，因居包山，自号包山。倜傥嗜义，以孝友称。",[23,24,27,36,186,95,29,2901,7,34,33,31,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cbdb0c6553b0cd9204aeeef9b88a4a8.jpg","纵136.7横32.1厘米",[42],{"id":14766,"slug":14767,"title":14768,"dynasty":18,"author":5117,"museum":346,"description":14769,"tags":14770,"thumbUrl":14771,"material":601,"size":14772,"collection":289,"collections":14773,"showCount":14489,"zanCount":46,"manualWeight":46,"mainColor":149},219503,"qiao-fu-tu-wu-wei-219503","樵夫图","此作以粗劲写意之笔，绘就山野樵归之景。左上枯木虬枝盘错，水墨酣畅淋漓，苍莽老辣的笔墨勾勒出林间荒寂之态。负薪樵夫居于画面正中，衣纹以顿挫折芦描写就，寥寥数笔便将樵夫行于山径间的疲惫憨朴尽数烘托，肩头薪柴写实生动，尽显劳作的质朴厚重。淡墨晕染远景空茫，虚实相映间衬出郊野空旷萧疏，整体笔墨健拔爽利，将山野市井的日常意趣融于山水，把俗世生活的鲜活烟火气晕染在荒寂山野之中，简括传神又意韵悠长。",[23,24,200,95,27,300,58,34,7,452,96,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f737201526754b27266ed5a65515adf.jpg","纵164.8横95.0厘米",[289],{"id":14775,"slug":14776,"title":14777,"dynasty":18,"author":9265,"museum":53,"description":14778,"tags":14779,"thumbUrl":14780,"material":84,"size":14781,"collection":264,"collections":14782,"showCount":14489,"zanCount":46,"manualWeight":46,"mainColor":149},219356,"xun-mei-tu-zhou-zhu-duan-219356","寻梅图轴","朱端，字克正，海盐人，出身渔樵，弘治末入宫，正德时期（1506－1521）直仁智殿，官「锦衣指挥」，曾获赐「钦赐一樵图书」，遂更号「一樵」。朱端的山水画取法郭熙（约1020-约1100）、马远。全幅采取半边的构图型式，以左方占据画面约二分之一高的双松为骨干，框出策杖撑伞的老翁和两位童子，他们正准备渡江至对岸的赏梅。冬天踏雪寻梅，一直被视为文人雅趣，从弘治时期（1488－1505）开始，这一类诗意图像逐渐增加，题材的转变似乎也反映了宫廷皇帝品味的变化。",[24,25,95,951,28,36,29,390,58,96,7,34,30,3843],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8adaba5994f15c5c5b21bc71be0d1b10.jpg","208.3x124.5",[264],{"id":14784,"slug":14785,"title":14786,"dynasty":296,"author":10790,"museum":401,"description":14787,"tags":14788,"thumbUrl":14789,"material":28,"size":70,"collection":42,"collections":14790,"showCount":14489,"zanCount":46,"manualWeight":46,"mainColor":47},219058,"shan-shui-tu-shan-yue-ming-qiu-si-shang-rui-219058","山水图扇-月明秋思","扇面之上，月色如纱轻覆山林。疏林间几树浅黄晕开秋意，墨色浓淡交织出枝叶层叠的生趣，或深或浅的笔触里藏着自然的韵律。小径上三五身影闲步，衣袂飘飘似在共赏明月、低语秋思。右侧茅舍隐于树后，檐角与草木相映，静谧中透着烟火气。\n\n笔墨清润灵动，水墨晕染出空濛月色，秋意与清辉交融成悠然雅致的氛围。仿佛能触到秋夜微凉，望见月光流转的温柔，文人的闲情与秋日的清寂，凝于这一方扇面，满纸皆是诗意的秋思。",[23,24,1900,28,29,1385,112,33,58,883,7,3692,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11813952ce248c3a101af6a0ec5aea6f.jpg",[42],{"id":14792,"slug":14793,"title":14794,"dynasty":124,"author":436,"museum":108,"description":14795,"tags":14796,"thumbUrl":14797,"material":601,"size":70,"collection":42,"collections":14798,"showCount":14489,"zanCount":11,"manualWeight":46,"mainColor":149},218601,"qing-hua-tu-yi-ming-218601","清话图","沉墨绘就的林麓间，古树虬枝盘结于岩畔，繁叶如盖，墨色浓淡交织出层次。远处峰峦隐在淡霭里，留白处烟岚轻绕，拓出悠远天地。山石勾勒简练，皴擦见骨，尽显宋画山水的写实韵致。虽无人物，却似有清雅气息漫溢：松风穿叶的簌簌声，石畔流水的泠泠音，隐者清谈的低语仿佛在林间流转。笔墨苍劲中藏细腻，构图疏密得宜，将自然静谧与文人雅趣揉合，尽展宋代山水的空灵意境与人文深味。",[24,951,27,36,29,34,7,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe51ba424b20e90531e1d091751b278de.jpg",[42],{"id":14800,"slug":14801,"title":14802,"dynasty":78,"author":107,"museum":53,"description":10975,"tags":14803,"thumbUrl":14804,"material":116,"size":10978,"collection":70,"collections":14805,"showCount":14489,"zanCount":46,"manualWeight":46,"mainColor":149},218120,"hua-xi-yu-yin-tu-er-wang-meng-218120","花溪渔隐图(二)",[23,24,200,25,95,27,29,36,32,31,7,34,187,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7477d3604d6b77be3506773dcad374b3.jpg",[],{"id":14807,"slug":14808,"title":4567,"dynasty":296,"author":14809,"museum":108,"description":14810,"tags":14811,"thumbUrl":14812,"material":84,"size":14813,"collection":42,"collections":14814,"showCount":14489,"zanCount":11,"manualWeight":46,"mainColor":149},217881,"xue-jing-shan-shui-tu-li-yin-217881","李寅","李寅是清朝时期的一位著名画家，他以其精美的山水画而闻名于世。其中，李寅的雪景山水图尤为出名。\n\n李寅的雪景山水图通常描绘了冬季的山水景观，其中包括了苍翠的山峦、白雪皑皑的林地以及湖泊冰封的景象。他的作品中通常还会出现一些小景物，如枝叶凋零的树木、出没于雪地中的动物或是隐藏在雪后的小村庄。\n\n李寅的雪景山水图的特点是对细节的精确描绘，他能够捕捉到雪地上的每一片花纹，树枝上的每一朵雪花。同时，他还能够准确地再现出冬日天空中的云彩和阳光，使得作品充满了生机和活力。\n\n总的来说，李寅的雪景山水图是一种传统的中国画风，但其精细的描绘和生动的再现使其成为了一道亮丽的风景画卷，为我们带来了冬日的温馨和恬静。",[24,28,95,29,612,242,316,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe46c723cdf9a5cd63c6d3ab518013086.jpg","155.8x71.2cm",[42],{"id":14816,"slug":14817,"title":3235,"dynasty":296,"author":297,"museum":108,"description":14818,"tags":14819,"thumbUrl":14820,"material":11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。\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。",[23,24,29,27,28,36,242,7,4415,32,1081,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b87c8d1b12e8229eb174baba1ea0893.jpg",[],{"id":14860,"slug":14861,"title":2487,"dynasty":18,"author":387,"museum":53,"description":5063,"tags":14862,"thumbUrl":14864,"material":116,"size":10393,"collection":42,"collections":14865,"showCount":14832,"zanCount":46,"manualWeight":46,"mainColor":250},283644,"guan-pu-tu-tang-yin-283644",[24,27,95,951,10074,7,213,31,133,14863,4019,5065,36,37,82],"崖岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc73a99f08040b3c5a6341b58459d3069.jpg",[42],{"id":14867,"slug":14868,"title":11411,"dynasty":296,"author":436,"museum":53,"description":14869,"tags":14870,"thumbUrl":14873,"material":70,"size":70,"collection":264,"collections":14874,"showCount":14832,"zanCount":46,"manualWeight":46,"mainColor":149},238933,"qing-ren-qun-xian-zhu-shou-tie-luo-yi-ming-238933","云端仙袂翩跹，分群御风而来，祥龙隐于霭雾，漫溢祥瑞清贵之气。下方山道水畔，凡世之人或骑行牵犊，或执乐赶路，各携贺礼奔赴寿典，满是人间欢悦之态。\n\n此作以缂丝技艺织就，设色古雅柔和，线条细腻灵动。仙凡同贺的祝寿盛景虚实相映，将福寿绵长的美好祈愿，藏在每一处衣褶与云纹里，让悠远的祥瑞意趣缓缓流淌而出。",[24,56,28,58,907,29,14871,215,10893,112,883,7,1397,6620,14872],"骆驼","祝寿场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ce35673770dccb61bbc8a5bd24e3c42.jpg",[264],{"id":14876,"slug":14877,"title":6686,"dynasty":18,"author":14878,"museum":561,"description":14879,"tags":14880,"thumbUrl":14881,"material":70,"size":70,"collection":42,"collections":14882,"showCount":14832,"zanCount":11,"manualWeight":46,"mainColor":149},238275,"yu-le-tu-zhou-zhang-ling-238275","张灵","张灵，生卒年不详。生于成化，约卒于正德初，年四十左右。字梦晋，吴郡（今江苏苏州）人，家贫，与唐寅为邻，两人志趣相投，茂才相埒。同为府学生员，故交谊最深。画作受唐寅影响极大。工诗文，祝允明弟子。\n少与祝允明、唐寅、文徵明齐名，并称“吴中四子”，性落拓嗜酒，好交游，醉即使酒作狂。所画人物冠服玄古，形色清真，无卑庸之气。间作山水，笔生墨劲，斩然绝尘。并善竹石、花鸟，清新可喜，书法亦佳。",[24,25,95,27,36,58,32,31,415,7,243,29,34,1944,2994],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd92163a7d1c8e15870bdf0cbe3eb3953.jpg",[42,146],{"id":14884,"slug":14885,"title":14886,"dynasty":296,"author":14887,"museum":561,"description":14888,"tags":14889,"thumbUrl":14890,"material":70,"size":70,"collection":42,"collections":14891,"showCount":14832,"zanCount":46,"manualWeight":46,"mainColor":47},237734,"wu-sheng-shi-yi-tu-ce-huang-yi-237734","无声诗意图册","黄易","黄易（1744 年11月22日—1802年3月26日），字大易，号小松、秋盦，又号秋影庵主、散花滩人。浙江钱塘人，钱塘黄氏八世。兼擅篆刻，与丁敬并称丁黄，为“西泠八家”之一。",[24,25,111,27,28,36,35,34,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83da3788d7a2cc1ffec29df6911883a8.jpg",[42,264],{"id":14893,"slug":14894,"title":14895,"dynasty":18,"author":14896,"museum":360,"description":14897,"tags":14898,"thumbUrl":14899,"material":760,"size":14900,"collection":42,"collections":14901,"showCount":14832,"zanCount":46,"manualWeight":46,"mainColor":47},237696,"yu-man-shan-zhai-tu-zhou-xiang-sheng-mo-237696","雨满山斋图轴","项圣谟","图绘高山深壑，飞瀑清流，寺庙掩映在繁密的林木和耸峻的峰峦间，高士执杖步桥寻幽。山石取法元代黄公望，勾皴用笔浑厚质朴。树木的画法结合宋人笔意，枝干及叶片、苔点皆中锋运笔，苍秀沉着。画面意境深邃出尘。作者通过描写自己在暮秋的山林优游吟赏的活动体现了明末文人士大夫厌倦仕途隐居避世的心境。",[24,25,95,27,36,29,837,112,96,130,31,30,7,33,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff50a5814b2e1a349f1fca44e2d702518.jpg","纵121.4厘米，横32.4厘米",[42],{"id":14903,"slug":14904,"title":14905,"dynasty":296,"author":12494,"museum":360,"description":14906,"tags":14907,"thumbUrl":14908,"material":70,"size":70,"collection":42,"collections":14909,"showCount":14832,"zanCount":46,"manualWeight":46,"mainColor":47},236883,"shan-shui-ce-zhuang-zhou-zou-zhe-236883","山水册装轴","邹喆，生卒年不详，清代画家。字方鲁，江苏吴县人。自幼随父亲客游金陵。他的画宗其父，山水工稳而有古气，富简淡清逸的情趣。兼长水墨花卉，勾勒敷彩渲染有元人王渊的体格。“金陵八家”之一",[24,25,111,27,36,29,427,7,133,60,364],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9508b3d511d77b3b1bf9fcd09d4a6ac.jpg",[42,146],{"id":14911,"slug":14912,"title":14913,"dynasty":18,"author":5311,"museum":561,"description":14914,"tags":14915,"thumbUrl":14917,"material":70,"size":70,"collection":70,"collections":14918,"showCount":14832,"zanCount":46,"manualWeight":46,"mainColor":47},235275,"shan-shui-tu-zhou-wang-shan-chui-diao-zhao-zuo-235275","山水图轴（望山垂钓）","《山水图》轴（望山垂钓），明，赵左绘，纸本，设色，纵12.cm，横8cm。\n作者： 赵左 类别： 中国画 材料： 绢本，设色 收藏： 故宫博物院 时期的绘画风格多从前人画法中变化而出，大多带有较为明显的前人艺术遗迹，这也是晚明时期复古艺术思潮在绘画作品中的反映，从而构成了明代后期艺术所具有的鲜明的时代特色。\n赵左身处于这一时代大环境中，其作品，甚至其所代表的苏松派绘画都具有这一特点，从这幅《山水图》中也不难看出这一特色。\n此图表现晚明文人生活，大致分为三个段落：下部绘临水土坡，林木掩映中隐现出草堂，屋中一士凭窗读书；中部湖水荡漾，芦苇丛中一人正持杆垂钓，扭头遥望远山的动作，表明其本意非在垂钓；上部山峰一座，所占位置有限，留有很大的空白，画家在此处用工整的小楷书题写了两句诗：“垂钓有深意，望山多远情”，点明了主题。\n根据诗句，后人也曾将此图定名为《望山垂钓图》。\n诗后署款“己未夏日赵左”，下钤“赵左之印”、“文度氏”两方印章。\n按“己未”为明万历四十七年（1619年），赵氏最晚的作品为1629年的《落叶无声图》，此图亦应属其晚年作品。\n全图主要以水墨画成，墨色清润，浓淡干湿、焦渴枯润均控制得恰到好处；设色淡雅清丽，只用淡赭和花青等略加点染，使画面具古雅恬淡之趣而无俗艳之态；笔法洒脱秀劲，写意处墨气淋漓，工整处细笔如丝，笔力劲健遒逸。\n人物造型简单，不求形似，寥寥数笔便神态俨然，显示出作者深厚的艺术功底。\n此图为赵左晚年创作的山水画中的精品。\n作品画法继承元代画家黄公望和倪瓒传统，远山的表现手法又显然受元代赵孟頫影响，山石用披麻皴法，并解索式的形态自山顶纷披而下，复施以淡色，极具古拙雅淡之趣。\n景致采用平远与深远相结合的构图，使原很狭窄的竖长画面显得开阔，加之三段式的布局法，更添增了幽远之感。\n画面下部的实景处理，中部水面的描绘以及远山、天空的表现，构成了强烈的虚实对比；而图中人物恬淡宁静的神态与树木芦苇因风而起舞的动势也形成了鲜明的动与静之对比。\n通过鲜明的对比，作者营造出了一个文人逸士生活的良好氛围。",[24,95,951,28,27,985,56,300,32,1588,1910,34,4360,7,4854,114,4019,3673,13783,14916],"古雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb82fec355e24c88b9d8dd6dac98f00b.jpg",[],{"id":14920,"slug":14921,"title":14922,"dynasty":18,"author":5436,"museum":561,"description":14923,"tags":14924,"thumbUrl":14925,"material":70,"size":70,"collection":70,"collections":14926,"showCount":14832,"zanCount":46,"manualWeight":46,"mainColor":149},234679,"shan-shui-ce-ye-xie-shi-chen-234679","山水册页","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。",[200,24,25,111,27,36,29,33,30,31,96,7,34,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa04fd809b857e78cc59b98c607574cb4.jpg",[],{"id":14928,"slug":14929,"title":14930,"dynasty":296,"author":7566,"museum":561,"description":14931,"tags":14932,"thumbUrl":14933,"material":246,"size":14934,"collection":289,"collections":14935,"showCount":14832,"zanCount":46,"manualWeight":46,"mainColor":47},234297,"hua-ji-chan-yin-tu-ce-xiao-chen-234297","滑稽禅隐图册","此作笔墨秀隽，意境清寂澹远。画面之中，长衫文士仰面抬首，凝睇枝桠初花，神色悠然沉谧，似在静赏春信、体悟幽怀。身旁小童捧壶恭谨侍立，主仆情态一动一静，衬出文人林下幽栖的淡然意趣。\n\n作者以淡墨轻皴岩壁，枯树枝干苍劲虬曲，点染花枝轻俏雅致，设色浅净柔和，留白铺陈出萧疏空寂的林下氛围，将文人耽于林泉、静悟禅意的雅趣融于简淡笔墨之中，尽显清润雅致的书卷气息，是兼具雅致意趣与文人情怀的小品佳作。",[24,25,111,28,58,112,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb108253a57ede07e91c1de652b22bfe6.jpg","19×24.2cm",[289,264],{"id":14937,"slug":14938,"title":14939,"dynasty":296,"author":13222,"museum":360,"description":14940,"tags":14941,"thumbUrl":14942,"material":246,"size":70,"collection":42,"collections":14943,"showCount":14832,"zanCount":46,"manualWeight":46,"mainColor":47},234290,"xue-jing-gu-shi-ce-sun-hu-234290","雪景故事册","孙祜生卒年不详，江苏人。工人物、山水，宗法王原祁。乾隆（1736-1795）时供奉内廷，为宫廷画家。",[24,25,111,28,56,38,82,29,612,7,242,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29476d87f834ed55ad1ade830e240ad6.jpg",[42,264],{"id":14945,"slug":14946,"title":14947,"dynasty":18,"author":12146,"museum":360,"description":14948,"tags":14949,"thumbUrl":14950,"material":246,"size":70,"collection":70,"collections":14951,"showCount":14832,"zanCount":46,"manualWeight":46,"mainColor":47},234138,"qiu-lin-gui-yin-tu-juan-li-liu-fang-234138","秋林归隐图卷","李流芳（1575～1629）明代诗人、书画家。字长蘅，一字茂宰，号檀园、香海、古怀堂、沧庵，晚号慎娱居士、六浮道人。歙县（今属安徽）人，侨居嘉定（今属上海市）。三十二岁中举人，后绝意仕途。诗文多写景酬赠之作，风格清新自然。与唐时升、娄坚、程嘉燧合称“嘉定四先生”。擅画山水，学吴镇、黄公望，峻爽流畅，为“画中九友”之一。工山水，兼善花卉。其画主要师承五代董源、巨然以及元代四大家黄公望、王蒙、吴镇和倪云林。李流芳《秋林亭子图》轴，上自题七绝一首：“山作矾头水少纹，巨然烘染董源皴。一间山水闲亭子，脱手平分与故人。”这无异于声明自己的笔墨是从董、巨中学来的。事实上，李流芳在传统学习上并非局限于一、两家。三百年来风行海内外，盛传不衰的《芥子园画谱》（上水部分）就是以他临仿古人各家风格的课徒画稿为蓝本整理、增编而成。\n李流芳在绘画上既崇尚宋元各家，又能注重师法自然，强调写生，于画中自创新意。《吴中十景图》册是他写生作品中的代表作。他以艺术家的视角摄取吴中十处风景名胜入画，摹写真实生动，主景次景剪裁得宜，他的传神之笔塑造的艺术形象展示了吴中胜景特有的风采，令人神往。他五十岁时画的一副雪景轴也来源于生活经验，画上自题：“甲子腊月十三日，归自吴门，大雪弥日，舟过城南，见留光树色，冒雪含烟，颇不乏致，辄画此纸。”他每次游西湖，都要带回很多写生稿，总之他的写实功夫是比较突出的。他常以自然山水为画本，随手写景，所以笔端不落俗套，富有生气，形成一种清新、秀逸的独特风格。董其昌赞道：“长蘅以山水擅长，余所服赝乃其写生，又有别趣。”\n曾经许小仙道艺室、王德溥宝日轩、李廷鈺秋柯草堂、蛟川包氏听涛轩收藏。1.许小仙，民国收藏家，一作肖仙，约活动于民国初年。室名“道艺室”“有墨廔”，和张大千交往深厚。1928年，大千游杭为小仙刻“小仙考藏名迹之章”长方朱文印，及“许氏有墨廔墨宝”正方朱文印。同年，黄葆戉为刻“归于小仙”白文方印。1940年，冯康侯为刻“道艺室珍藏记”长方朱文印。2.王德溥，字容大，一字澹和，钱塘人。贡生。有《宝日轩诗集》。3.王绍廷，清末上海人，工画栈道。4.李廷钰（1792-1861），字润堂。福建同安人。善诗文，工书画，又善鉴别古法帖。藏书甚富，室名“秋柯草堂”。鸦片战争期间为虎门威远炮台总兵。道光二十二年（1842）年任浙江提督，咸丰三年至六年（1853-1856）任福建提督。著有《海疆要略必究》、《泉州乡土地理粁》。5.“质亲王宝”或为清宗室乾隆第六子永瑢印；郑亲王则为爱新觉罗·济尔哈朗家族。按语：李流芳画法倪云林、吴仲圭，而有雄直劲硬之气，一纠吴门末流之软媚柔靡。此图写平林浅屿，湖天空阔之景，貌似云林而气悍力沉，故风规自具，然清远冷寂悠然出世之韵度则颇与云林合也。后有钱梅溪、李廷钰题识，称其“如行云、如流水，却不于形似间求之，”“尤为得意之作。”自是知者言。",[23,24,25,26,27,28,29,36,38,37,952,7,34,31,30,33,201,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf95887d31d990e7913cdfd778173c3c.jpg",[],{"id":14953,"slug":14954,"title":3396,"dynasty":78,"author":13927,"museum":360,"description":14955,"tags":14956,"thumbUrl":14957,"material":749,"size":14958,"collection":70,"collections":14959,"showCount":14832,"zanCount":11,"manualWeight":46,"mainColor":149},233844,"hua-shan-shui-zhou-li-shi-xing-233844","李士行山水图取境开阔，中间以一高峰为主体，四周群山相扶。雾气弥漫的、深远的山涧有一清流涌出，并化为平静的河水缓缓向前流淌。整个画面布局平稳，境界平淡天然。此画用笔温和秀润，多用披麻皴，墨色变化丰富，水色淋漓。其浓淡相间，以淡墨皴染，浓墨画近树和点苔，层次分明。",[24,25,9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横28cm.",[],{"id":14969,"slug":14970,"title":14971,"dynasty":78,"author":14972,"museum":3174,"description":14973,"tags":14974,"thumbUrl":14975,"material":229,"size":14976,"collection":70,"collections":14977,"showCount":14832,"zanCount":46,"manualWeight":46,"mainColor":149},231491,"xue-zhong-lu-tu-zhou-yuan-231491","雪中鹿图","周渊","虬曲老梅横亘画幅上端，朱红花朵破开沉褐底色，积雪凝缀枝梢，晕开冬日清寒。白鹿身形劲健修长，莹润雪色皮毛以淡墨晕染而出，犄角舒展，垂首静立在覆雪坡石间，安然沉静，与周遭萧寒景致浑然相融。枯涩墨线勾勒梅枝苍劲筋骨，淡墨轻晕出积雪的蓬松虚灵，冷色调底纸烘托出冬夜荒寂空濛，冷冽氛围里，白鹿的温驯清逸更显动人，将冬日的萧寒与生命静雅相融，晕开一卷幽淡空寂的林泽冬景。",[24,25,200,95,28,1396,4949,537,112,923,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d6ce42914c8804d95d64ffa52147924.jpg","179.7x92.4厘米",[],{"id":14979,"slug":14980,"title":14981,"dynasty":3017,"author":14982,"museum":561,"description":14983,"tags":14984,"thumbUrl":14985,"material":217,"size":660,"collection":70,"collections":14986,"showCount":14832,"zanCount":46,"manualWeight":46,"mainColor":149},230589,"jiang-hu-shi-dai-lou-ge-shan-shui-tu-ping-feng-12-kai-chi-da-ya-230589","江户时代楼阁山水图屏风12开","池大雅","池大雅，（1721年－1776年），日本江户时代的艺术家，文人风格书法家。",[24,25,65,28,57,29,60,58,30,34,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20545c3e86b58644149fb020c8ccf4e8.jpg",[],{"id":14988,"slug":14989,"title":14990,"dynasty":296,"author":14991,"museum":561,"description":14992,"tags":14993,"thumbUrl":14994,"material":70,"size":70,"collection":70,"collections":14995,"showCount":14832,"zanCount":46,"manualWeight":46,"mainColor":149},230359,"qiu-shan-ting-pu-tu-fan-qi-230359","秋山听瀑图","樊圻","《秋山听瀑图》是清代画家 创作的绢本水墨淡设色画，现藏于旅顺博物馆。\n此图风格清雅，山骨峻增，群峰昂然高立，老树柔枝。\n全幅以水墨、花青染成，间施赭色。\n皴法细劲而严密，近似小斧劈又有所变化。\n此画远景山峦重叠，顶端突兀的巨石分向两边，右侧巨峰矗立，冲入云霄，气势雄伟险峻，山间瀑布直泻而下。\n中景为高山脚下，溪水潺潺，山石奇特，有几棵枯枝落叶古树，幽邃的山林周围空山寂寞，悄无人声，充满沁人肺腑的清新气息。\n在山坳平坡处，有一位樵夫正边走边倾听瀑泉的响声。\n泉水的流动，不但没有冲淡周围环境的安谧，反而增添了山林的僻静之感。\n近景为枯木坡石，与中景的山石紧相连接。\n左上自题“戊申春王画呈黄翁老祖台正樊圻”，钤“樊圻之印”、“会公”二印。\n左下钤收藏印二方“胶西法坤原珍藏”、“胶西宋皑珍藏书画印”。\n该图创作于康熙七年（1668年），作者时年5岁。\n此画构图顶天立地，上不留天，下不留地，左上角仅有的空白处，以作者自题款而填补，使整个画面更为充实完整。\n远景山峦重叠，中间炯锁山腰，层次分明，满而不塞。\n该图山石皴笔方硬而疏松，远山隐现于云雾之中。\n只在关键部位如山石的阴侧面用重墨，皴法细碎而干净利落，似从小斧劈演化而来。\n用色清淡，惜墨如金。\n总体来看，此画既合于写实的原则，也传达出幽远的意境。\n此图略近李成清旷画派，但皴法细劲而严密，近似小斧劈皴而较为文静，一点没有粗犷霸悍的习气。\n树木、屋宇、舟桥、流水、人物的刻画皆精诣不苟。\n通幅以水墨、花青染成，间施赭色，淡薄而透明，双钩的红叶，更点醒了秋山的主题樊圻对于传统的师承面比较广泛，就外表形态而论，似乎并未形成个人的固定程式，但就内在笔性而论，不管是披麻皴还是斧劈皴，也不管是水墨还是青绿，都以精诣不苟见工，精诣中又有透出虚灵的士气。\n该图在《中国美术全集·清代绘画》、《 》著录。\n1955年金县中心小学拨藏，现藏于旅顺博物馆。\n樊圻（1616—？），清代画家。\n字会公、洽公。\n江苏金陵（今南京）人。\n精山水、花卉、人物等。\n仕女画有幽闲静逸之致。\n与龚贤、高岑、吴宏，叶欣、胡糙、谢荪、邹喆为金陵八家。\n传世作品有《江浦风帆图》、《柳村渔乐图》、《雪景山水图》、《春山策仗图》轴、《山径骑驴图》等。",[23,24,25,200,95,28,29,130,30,31,242,7292,7,578,58,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F538bc792d5069bdc6b875e27cd5b5f04.jpg",[],{"id":14997,"slug":14998,"title":14999,"dynasty":296,"author":8516,"museum":401,"description":8517,"tags":15000,"thumbUrl":15002,"material":142,"size":8522,"collection":70,"collections":15003,"showCount":14832,"zanCount":46,"manualWeight":46,"mainColor":47},230104,"hong-lou-meng-185-sun-wen-230104","红楼梦185",[24,56,28,58,60,302,7,489,34,61,1635,15001],"窗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff27b4ef23ad965b1028c930df54eac1c.jpg",[],{"id":15005,"slug":15006,"title":15007,"dynasty":296,"author":15008,"museum":561,"description":15009,"tags":15010,"thumbUrl":15011,"material":70,"size":70,"collection":70,"collections":15012,"showCount":14832,"zanCount":46,"manualWeight":46,"mainColor":47},229012,"shi-jun-ma-tu-wang-zhi-cheng-229012","十骏马图","王致诚","《千姿百态画骏马》是一本书籍，上海书店出版社; 第1版 (26年月1日)出版，开本16。\n丛书名: 国画训练新编系列2 平装: 页 正文语种: 简体中文 条形码: 786784845, 978786784846 尺寸: 28.5 21.2 . cm 重量: 181 g 《千姿百态画骏马》内容简介：在中同美术史上，几乎每个朝代的艺术作品都有以马为题材的杰作。\n如先秦时代青铜器盠驹尊，秦始皇陵出土的大批陶马俑、四汉霍去病墓前的《马踏匈奴》石雕、东汉青铜器《马踏飞燕》、唐代画马高手韩斡笔下的《神骏图》、韦偃画了两千余匹千姿百态骏马的《牧放图》、宋代李公麟的名作《五马图》、元代赵孟頫的《浴马图》，明代仇英的《秋园猎骑图》、清代王致诚的《十骏马图》，直至近代徐悲鸿的大量奔马立马图……由此可见，马是中国历代艺术家最热衷的题材之一。",[24,25,56,28,215,7,34,489,37,82,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F266c74560a21981e18d0b59b83e4fb52.jpg",[],{"id":15014,"slug":15015,"title":15016,"dynasty":18,"author":3243,"museum":561,"description":15017,"tags":15018,"thumbUrl":15019,"material":70,"size":70,"collection":70,"collections":15020,"showCount":14832,"zanCount":46,"manualWeight":46,"mainColor":149},228288,"lin-xia-gao-shi-chen-hong-shou-228288","林下高士","画作以枯荣相衬的林木构起幽境，两位高士席地对坐，姿态安闲，似在晤言清谈。流泉隐于林石间，远处茅亭藏于麓林深处，尺幅之中铺展出清寂雅致的林下天地。\n\n设色调和古雅，青绿叶色与枯木寒枝形成鲜明对照，山石勾勒奇崛苍劲，带着朴拙古意。鲜妍设色未露半分媚俗，反倒衬出林境沉静出尘的气质，将文人遁迹丘山、寄情林泉的雅怀藏入画面。构图疏密相宜，笔端静穆雅致，把林下雅集的散逸清旷尽数铺展，尽显古雅出尘的隐逸意趣。",[23,24,25,28,56,29,58,33,96,7,34,31,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0debeaf5261a36d5a12e371c8f048cd3.jpg",[],{"id":15022,"slug":15023,"title":15024,"dynasty":124,"author":197,"museum":561,"description":4307,"tags":15025,"thumbUrl":15026,"material":70,"size":70,"collection":70,"collections":15027,"showCount":14832,"zanCount":46,"manualWeight":46,"mainColor":663},227725,"shan-gu-ji-liu-tu-xia-gui-227725","山谷激流图",[24,200,25,29,27,36,95,7,34,4253,31,1476],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e099048944fdf9181b06d03954f9172.jpg",[],{"id":15029,"slug":15030,"title":15031,"dynasty":296,"author":15032,"museum":561,"description":15033,"tags":15034,"thumbUrl":15036,"material":70,"size":70,"collection":70,"collections":15037,"showCount":14832,"zanCount":11,"manualWeight":46,"mainColor":47},224602,"xiao-pin-1-peng-qiao-224602","小品1","蓬樵","此作用平远之法绘就水岸林泉，近渚古木清森，枝桠舒展含姿，林梢掩映间透出村居一角，野意自生。留白作水，虚处见烟波澹荡之意。远山以干笔淡墨皴写，石棱隐现、苔点错落，丘壑简而有味。\n\n画风师法倪瓒，笔墨松秀苍润，简逸空灵。整幅以淡墨铺陈，萧散简远，将江南水岸清寂淡远的幽谧意境尽显。题印朱白相映，衬出画面的古雅淡远，尽显文人画疏旷清逸的意趣，暗合幽栖林泉的雅逸襟怀。",[23,24,25,15035,27,36,29,34,7,82],"小品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd02bc93dccf30a6d0e7dc6cfbefdf48d.jpg",[],{"id":15039,"slug":15040,"title":15041,"dynasty":296,"author":1406,"museum":561,"description":15042,"tags":15043,"thumbUrl":15044,"material":70,"size":70,"collection":70,"collections":15045,"showCount":14832,"zanCount":46,"manualWeight":46,"mainColor":149},224407,"cong-lin-qu-diao-tu-wang-shi-min-224407","丛林曲调图","此作用高远之景铺陈山峦层叠，以干笔淡墨勾勒皴擦山石，披麻皴晕染出苍朴肌理，笔意苍松秀润。山谷间山居错落排布，溪泉隐于乱石之间，枯荣林木交映成趣，萧淡之中暗蕴温润生机。\n追摹元人笔法意趣，墨色清润雅致，虚实相生，将秋山清寂淡远的意境烘托尽致。简淡笔墨间藏着浑朴苍厚的气韵，把林泉幽居的野趣诉诸笔端，观之恍如踏入静谧空幽的世外山居，尽显文人画平淡天真的雅致意韵。",[23,24,25,95,27,36,29,30,31,96,7,33,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd808ae66ac4c7a08a26404215a3f3a0.jpg",[],{"id":15047,"slug":15048,"title":15049,"dynasty":296,"author":10408,"museum":561,"description":15050,"tags":15051,"thumbUrl":15052,"material":70,"size":70,"collection":70,"collections":15053,"showCount":14832,"zanCount":46,"manualWeight":46,"mainColor":47},224356,"zhang-lin-xiao-yao-tu-jian-jiang-224356","长林逍遥图","此作用渴笔淡墨写尽丘壑幽寂，危崖层叠如削，奇崛冷峻，崖间飞瀑隐于褶皱，暗传空谷清音。近岸枯木疏朗清瘦，枝桠劲挺如铁，寒潭平湖以留白铺陈，汀渚渔隐敛于浅处，愈显天地空茫。\n\n笔墨师古而出新，线条方折硬挺，皴擦极简，淡墨晕染山石，清润秀雅全无冗赘。画面融黄山奇峭与江南灵秀于一体，清冷萧疏间藏着遗世襟怀，将枯淡山水里的逍遥意趣，藏在每一处留白与笔锋之中，尽显孤高淡远的出尘风骨。",[23,24,25,95,27,36,29,130,31,96,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F501da569d2b40fd1f218f16cf826ca93.jpg",[],{"id":15055,"slug":15056,"title":15057,"dynasty":18,"author":9778,"museum":360,"description":15058,"tags":15059,"thumbUrl":15060,"material":1809,"size":15061,"collection":42,"collections":15062,"showCount":14832,"zanCount":11,"manualWeight":46,"mainColor":47},222055,"qing-xue-zhang-song-tu-zhou-zhang-rui-tu-222055","晴雪长松图轴","张瑞图书法、绘画兼精。书法得张旭、怀素神韵，与董其昌等并称“明末四大书家”，但其书法风格则迥异他人，风貌奇倔狂逸，后世称“瑞图书法奇逸，钟、王之外，另辟蹊径。”绘画则学黄公望，风格苍劲，点染清逸。他的画作大多是偶然兴至所作，故而传世作品甚少，其大幅画作特点是笔墨粗放，构景空疏。此图墨笔绘清泉细石，苍松之上落满积雪，全图面貌苍润，用笔皴染结合、勾点交错，笔力浑厚，足见张氏笔墨功力精到。\n本幅自题：“冻泉依细石，晴雪落长松。庚午春仲果亭图写”，钤“瑞图”朱文方印，“张长公”朱文方印。题字结体狂怪，笔画劲健纵逸，气韵外露，颇富“奇异”之态。据此，可知此图作于崇祯三年（1630），张瑞图时年60岁，正是他罢官遣归之年。图中题句出自杜甫诗《谒真谛寺禅师》。",[23,24,25,95,27,29,272,7,36,537],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F240a83fcfac08777dd0d323f10bb0e0e.jpg","纵136.3厘米，横43.3厘米",[42,146],{"id":15064,"slug":15065,"title":15066,"dynasty":78,"author":2047,"museum":509,"description":15067,"tags":15068,"thumbUrl":15069,"material":15070,"size":15071,"collection":289,"collections":15072,"showCount":14832,"zanCount":46,"manualWeight":46,"mainColor":47},220872,"hong-yi-xi-yu-seng-tu-juan-zhao-meng-fu-220872","红衣西域僧图卷","《红衣罗汉图》重彩画一红衣僧人，头上有光环，坐于大树下，满头深褐色短发，络腮胡须浓密，鼻子隆起，耳佩金环，目光深邃，皮肤黝黑，寿眉朱唇，座下铺朱红毛毡，身傍置一双红色僧鞋，面带微笑，表情静穆而慈祥，左手伸出，手心向上。\n《红衣罗汉图》是借悼念去逝的萨迦派帝师胆巴之名， 隐喻正在萨迦大寺做总持的故宋恭帝（瀛国公），以寄托画家内心的哀婉情思\n《红衣罗汉图》，全画无论人物、衣饰、树石，均用勾勒法，其风格并非写实，而系仿古手法。\n《红衣罗汉图》绘一红色袈裟的僧人，盘膝端坐在嘉树下的坡石上。此僧浓眉深眼，大鼻隆突，胡须络腮，肤色黝黑，一看就不像是汉人。其目光深邃，面容慈祥，左手向前平伸，掌心向上，右手抱入红衣之内，身后藤蔓缠绕着菩提树。似在说法布道，而头后有光环，则显示此僧已经得道修成，是一个了脱生死的罗汉了。这不是一个普通的僧人，而是一个来自印度的罗汉。\n赵孟頫在元初画坛中，无论在画艺上或理想上，都居于领导地位。他提倡古意之说。主要是以为南宋晚年，画风过于浮薄，于是提倡古意，从古画中吸取古人写真实人物牛马山水精神，而再创出新的作风。人物画到了宋代，其重要地位已为山水画代替。但到了元初，赵孟頫，钱选等仍希望从魏晋以来的古画中，吸取其传统的精神，而开创新的道路。《红衣罗汉图》就代表了赵孟頫及元初复古过程中的一个重要阶段。\n赵孟頫长时期提学江南，南宋的故国山河实在太容易使他这样的宗室后裔触景生情，浮想连翩，远在西南做萨迦寺总持的灜国公，也使他同样难以忘怀。转辗传来的萨迦方面的消息，不管是直接的或间接的与少帝有关，都会在赵孟頫的心头激起波澜，当他闻知曾与瀛国公有来往的胆巴喇嘛过世时，就情不自禁地挥动起画笔，以唐人的古意为准范，借西域僧的形象，一吐心中的情愫。\n红衣袈裟是萨迦派喇嘛的象征，背景中小青绿的树石，将此鲜红的记号衬托得更为夺目。尤其是赵孟頫对喇嘛手印的处理，似乎亦有寓意。左手掌平直伸出，大拇指贴掌微翘，罗汉的手印，此“吉尼印”，取外道邪法之意，修其法者得自在之通力。赵孟頫的方外好友释大诉好象通晓此义，故以“岩石宁须着幼奥，陵烟不必求诸将”的典故隐喻之。这是一种对大唐盛世的追慕来补偿眼前赵宋皇帝无可奈何的境遇，对赵孟頫和释大诉来说，瀛国公无疑是《红衣罗汉图》名实关系中最终亮相的主角了。\n《红衣罗汉图》中，僧盘腿而坐，全身披红衣，仅胸部稍露，胸毛甚多。此外其左手伸出，掌向上。以印度之手势而言，当为施恩之意。僧头部之背后，有光环，表示此僧已成罗汉。僧座石上，眥后亦有大石数堆，并有一大树，枝开两旁，一部分树叶垂下；全画中，罗汉之衣及坐下之兽皮与脚下之皮履，均为红色；地下及石块，均用青绿，树干则用褐色。全画无论人物衣饰、树石，均用勾勒法，其风格井非写实，全系仿古。\n《红衣罗汉图》与前代的一些作品相比，也具有明显变化：人物采用工笔画法，衣纹用遒劲圆畅的中锋作铁线勾描，洋红底上晕染朱砂，色彩效果鲜艳而厚重。背景采用小青绿山水的画法，地面和石头以较细而灵活的线条勾出轮廓，每以干笔侧锋作粗略的麻点皴，在浅草绿底色上薄薄地晕染一层石绿，地面凹陷处，轻扫几笔淡赭色，而在僧人背后，则画了一棵根深叶茂、古藤缠绕的大树。树和藤的画法染色，又与坡石不同，更显得古拙而苍秀。树根、石缝以及石头与地面相接处，均以墨绿色剔画小草十数丛，穿插其间，笔笔见力，起到一种统一协调的作用。僧人前边，又画小花两株，亦用双勾法，花着洋红，茎叶染石绿，看上去画法似不甚经意。\n《红衣罗汉图》把人物画与山水画的技法结合起来，在色彩运用和线条的变化等方面进行大胆的尝试，充分发挥出了自己的特长，为研究者研究元代的重彩人物画，提供了宝贵的资料。",[23,24,25,26,28,56,784,58,112,7,82,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F933dfda15f02d818beff78391ced69d4.jpg","纸本，手卷，设色","（画心）纵25.7厘米、横51.3厘米；（全卷）纵31厘米、横168.2厘米。",[289,264],{"id":15074,"slug":15075,"title":15076,"dynasty":296,"author":2948,"museum":360,"description":13138,"tags":15077,"thumbUrl":15078,"material":229,"size":13141,"collection":70,"collections":15079,"showCount":14832,"zanCount":46,"manualWeight":46,"mainColor":47},220327,"huang-shan-tu-ce-4-hong-ren-220327","黄山图册-4",[23,24,128,111,36,29,7,30,31,34,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ceb6ea4ddc9fb9c6fcb7d328c018253.jpg",[],{"id":15081,"slug":15082,"title":15083,"dynasty":78,"author":8175,"museum":53,"description":15084,"tags":15085,"thumbUrl":15086,"material":40,"size":15087,"collection":42,"collections":15088,"showCount":14832,"zanCount":11,"manualWeight":46,"mainColor":149},219926,"qiao-mu-shan-zhuang-tu-chen-ru-yan-219926","乔木山庄图","陈汝言（1331-1371年），元末明初画家、诗人。字惟允，号秋水，先世系本蜀阆州（今四川阆中市）人，后居江西南康，父陈征流寓吴中，遂为吴县人。 能诗，擅山水，兼工人物。与兄陈汝秩（字惟寅）齐名，时人呼为大髯小髯。\n陈汝言画山水远师董源、巨然，近宗赵孟頫、王蒙，行笔清润，构图严谨，意境幽深。与王蒙契厚，传说王蒙在泰安时，曾面泰山作画，随兴所至，不时加笔，一幅图画了三年。陈汝言正巧来访，时遇大雪，他便用小弓挟粉笔弹在画上，将图改作雪景。王蒙叫绝，以为神奇，遂改题为《岱宗密雪图》。",[24,25,26,27,36,29,837,133,34,35,82,258,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7c27c974c825234b28d9272c4efdeff.jpg","本幅 24.3×65.4",[42],{"id":15090,"slug":15091,"title":7481,"dynasty":78,"author":436,"museum":53,"description":15092,"tags":15093,"thumbUrl":15094,"material":142,"size":15095,"collection":42,"collections":15096,"showCount":14832,"zanCount":46,"manualWeight":46,"mainColor":149},219492,"qiu-shan-tu-zhou-yi-ming-219492","危崖层叠高耸，以干笔皴擦勾绘山石肌理，浓墨点苔醒出苍劲质感，留白铺陈云雾，将上下景境轻隔，铺就空濛辽远的秋山底色。山涧飞泉垂落，撞碎岑寂。近岸处苍松交柯、红叶点染，秋意漫溢林泉。水畔茅亭临波，白衣二人策杖晤谈，林下闲逸尽落画卷。\n笔墨糅合干皴湿染，既刻画出丘壑静穆之态，又晕开秋日山岚的氤氲柔韵，将山川灵秀与文人寄情林泉的雅怀相融，尽显简淡萧散的林下意趣。",[24,25,95,27,36,29,34,130,133,33,58,7,427,3692],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37dad853c0db062ff1df66acbf38cd7f.jpg","115.3x36.9公分，全幅58公分",[42],{"id":15098,"slug":15099,"title":15100,"dynasty":124,"author":436,"museum":20,"description":15101,"tags":15102,"thumbUrl":15105,"material":84,"size":15106,"collection":289,"collections":15107,"showCount":14832,"zanCount":11,"manualWeight":46,"mainColor":149},219449,"ying-luan-tu-yi-ming-219449","迎銮图","南宋佚名作家所作的《迎銮图》是一幅以描绘历史事件为选材的作品。这幅现藏于上海博物馆的作品，表现了南宋抗金战争中的一件重要历史事件——韦后南归。",[200,24,25,26,56,28,58,215,34,7,15103,11777,11776,15104,1056],"伞盖","队列","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45c505d6dabe982edce0ab1aacf74d41.jpg","横142.2厘米，纵26.7厘米",[289],{"id":15109,"slug":15110,"title":15111,"dynasty":124,"author":436,"museum":3206,"description":15112,"tags":15113,"thumbUrl":15114,"material":84,"size":15115,"collection":42,"collections":15116,"showCount":14832,"zanCount":46,"manualWeight":46,"mainColor":47},218634,"zhang-song-lou-tai-tu-yi-ming-218634","长松楼台图","长松倚崖而立，虬干如铁，松针密簇，苍劲中藏秀逸之态。山间楼阁隐于林麓，飞檐翘角，廊柱分明，尽显匠作之精。远山层叠，云雾轻萦，墨色由近及远渐淡，留白处意蕴悠长。近景山石皴法细腻，纹理毕现；远景写意晕染，天地清旷。笔墨刚柔相济：树石之劲健与云雾之轻柔相映，楼台之工整与山水之雄浑相衬。画面静谧悠远，似有松涛穿林，山风拂檐，将宋时文人对自然的眷恋凝于尺幅。虽为小品却含大气象，尽显“天人合一”的审美意趣，笔墨间藏着宋画独有的清旷与雅致，观之如临幽境，忘尘俗之扰。",[23,24,25,1900,28,57,29,427,60,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24d5aa0817149a9d7ed920480d9f97cf.jpg","24.8x23.5",[42],{"id":15118,"slug":15119,"title":15120,"dynasty":124,"author":436,"museum":108,"description":15121,"tags":15122,"thumbUrl":15123,"material":84,"size":70,"collection":42,"collections":15124,"showCount":14832,"zanCount":11,"manualWeight":46,"mainColor":149},218595,"ye-zhou-heng-du-tu-yi-ming-218595","野舟横渡图","河道上长满了树木和茅草屋，河中停泊着两艘中型单桅帆船，下层是客舱，上层是货物，这是从南宋到元朝初期江南地区普遍使用的。",[200,24,25,1900,28,36,29,32,31,96,7,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ec54b00cf7d69cffe6cbb08e458f926.jpg",[42],{"id":15126,"slug":15127,"title":15128,"dynasty":18,"author":15129,"museum":346,"description":15130,"tags":15131,"thumbUrl":15132,"material":84,"size":15133,"collection":42,"collections":15134,"showCount":14832,"zanCount":46,"manualWeight":46,"mainColor":149},218505,"shan-shui-tu-zhan-dao-heng-lv-wang-duan-218505","山水图（栈道行旅）","王端","这幅画描绘了危桥险路，商人行色匆匆，山高水险，蜀道难，难于上青天。树干上刻有 王端造字样，其笔法以郭熙的笔法为基础，并参考了王蒙的方法。",[23,24,25,95,27,36,29,140,131,7,34,242,130,30,31,565,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F809626f0514a46b69b38d7c1727dc236.jpg","178.4x48cm",[42],{"id":15136,"slug":15137,"title":15138,"dynasty":18,"author":436,"museum":346,"description":10733,"tags":15139,"thumbUrl":15140,"material":40,"size":70,"collection":70,"collections":15141,"showCount":14832,"zanCount":46,"manualWeight":46,"mainColor":47},217950,"ming-ren-shan-shui-hua-ce-wu-yi-ming-217950","明人山水画册(五)",[23,24,27,36,111,29,242,31,7,58,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7014b1cc71d2ca5aa50dfaec6b52598f.jpg",[],{"id":15143,"slug":15144,"title":462,"dynasty":296,"author":15145,"museum":346,"description":15146,"tags":15147,"thumbUrl":15148,"material":84,"size":15149,"collection":42,"collections":15150,"showCount":14832,"zanCount":46,"manualWeight":46,"mainColor":149},217263,"shan-shui-tu-dai-zi-lai-217263","戴子来","戴子来是中国清朝时期著名的画家、诗人，他的山水图在中国绘画史上具有重要地位。\n\n戴子来的山水图与其他画家的作品有很大的不同，他的作品常常给人以深刻的感受和富有韵味的艺术氛围。他的山水图常常描绘出细腻的山水景观，并结合自然与人文景观。他运用了浓重的色彩和抽象的线条，使作品充满了动感和生机。\n\n戴子来的山水图代表了他对自然界的深刻理解和敬畏之心。他的作品常常描绘出大自然的壮丽景观，如山峰、河流、湖泊等，表现出自然界的种种美好。此外，他还善于运用抽象的笔触勾勒出自然界的神秘感，使作品充满了趣味性。\n\n总的来说，戴子来的山水图在中国绘画史上具有重要地位，他的作品常常给人以深刻的感受和富有韵味的艺术氛围，值得我们去欣赏和品味。",[23,24,28,36,95,29,60,30,34,7,130,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ae51318f27e987f219edd71114d8c63.jpg","121.9x53.5cm",[42],{"id":15152,"slug":15153,"title":15154,"dynasty":18,"author":52,"museum":561,"description":10537,"tags":15155,"thumbUrl":15156,"material":84,"size":70,"collection":70,"collections":15157,"showCount":14832,"zanCount":11,"manualWeight":46,"mainColor":149},216284,"er-shi-si-xiao-tu-9-chou-ying-216284","二十四孝图-9",[200,24,25,111,56,28,58,215,7,2974,1056],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32894195a642c7cf199c48858abc7ce7.jpg",[],{"id":15159,"slug":15160,"title":15161,"dynasty":296,"author":436,"museum":53,"description":4273,"tags":15162,"thumbUrl":15165,"material":84,"size":4276,"collection":70,"collections":15166,"showCount":14832,"zanCount":46,"manualWeight":46,"mainColor":47},214663,"qian-long-ke-si-shan-shui-gua-ping-si-zhou-2-yi-ming-214663","乾隆缂丝山水挂屏四轴-2",[440,28,24,29,427,2901,201,883,60,15163,7,15164],"瓶","水浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9418f3bf0b0fc968da053932573886c.jpg",[],{"id":15168,"slug":15169,"title":15170,"dynasty":12318,"author":15171,"museum":20,"description":15172,"tags":15173,"thumbUrl":15174,"material":70,"size":70,"collection":42,"collections":15175,"showCount":14832,"zanCount":46,"manualWeight":46,"mainColor":15176},202821,"she-se-shan-shui-tu-zhou-pu-jin-202821","设色山水图轴","溥伒","画面以淡墨设色晕染山水，皴擦结合勾勒嶙峋山石肌理，苍劲松枝斜倚崖边，添几分清逸。山间隐现亭台藏幽居之趣，山下流水潺潺，一叶孤舟泛江，舟中人物闲适尽显渔乐之境。远景云雾轻笼，山峦层叠渐淡，营造悠远空濛意境。笔墨兼具传统文人画雅致与自然生机，淡彩晕染柔和，山石厚重与流水灵动形成对比，整体格调清旷淡远，引人入胜。",[24,28,29,32,36,243,33,427,31,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7e6cdc3de82c80ac891e36313045737.jpg",[42],"c1bfb3",{"id":15178,"slug":15179,"title":15180,"dynasty":18,"author":1100,"museum":53,"description":3495,"tags":15181,"thumbUrl":15182,"material":116,"size":15183,"collection":70,"collections":15184,"showCount":15185,"zanCount":11,"manualWeight":46,"mainColor":47},290887,"qiu-lin-shu-wu-tu-zhou-dong-qi-chang-290887","秋林书屋图轴",[24,27,951,3692,1658,242,427,7,30,31,158,37,82,36,7239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9db59da3812da6dde86cc332da23c731.jpg","54.4x58.1",[],29,{"id":15187,"slug":15188,"title":15189,"dynasty":124,"author":9275,"museum":561,"description":15190,"tags":15191,"thumbUrl":15193,"material":217,"size":660,"collection":70,"collections":15194,"showCount":15185,"zanCount":46,"manualWeight":46,"mainColor":149},288837,"song-shan-xing-lv-tu-li-shan-288837","松杉行旅图","李山(约1121一约1202),金代画家,平阳(今山西临汾)人,擅山水,史载,他每于屋壁喜作大树、奇石,且用笔精良,用墨淡雅。章宗泰和(1201--1208)间入直秘书监,年近八秩而精力不衰。",[23,24,200,27,951,36,272,15192,30,31,32,7,131],"杉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdfd14a467465a32a96ff4d32c96eb96.jpg",[],{"id":15196,"slug":15197,"title":15198,"dynasty":124,"author":5962,"museum":53,"description":5963,"tags":15199,"thumbUrl":15201,"material":217,"size":660,"collection":70,"collections":15202,"showCount":15185,"zanCount":46,"manualWeight":46,"mainColor":149},288420,"shan-cun-gui-qi-tu-yan-ci-yu-288420","山村归骑图",[200,24,29,27,36,7,34,133,15200,215,82,4701],"山村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4996dfe72e1b851417cc3efdcb3e355c.jpg",[],{"id":15204,"slug":15205,"title":15206,"dynasty":296,"author":870,"museum":561,"description":1342,"tags":15207,"thumbUrl":15208,"material":217,"size":660,"collection":70,"collections":15209,"showCount":15185,"zanCount":46,"manualWeight":46,"mainColor":149},288212,"gu-mu-chui-yin-shen-se-shi-tao-288212","古木垂荫（深色）",[23,200,24,25,95,27,28,29,1555,7,31,33,30,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc8a7850faaf974bb88b01aee62393cc.jpg",[],{"id":15211,"slug":15212,"title":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得沈周笔意而稍变。多作长卷巨幛，峰峦雄伟。尤善画水，江河湖海，种种皆妙。笔墨纵横自如，富有气势，介乎戴进和沈周之间。唯刻画不 够精微，殊少秀韵。",[23,200,24,25,95,27,36,29,60,30,31,33,7,34,58,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9527df7914879b235439099ab530acc9.jpg",[],{"id":15218,"slug":15219,"title":15220,"dynasty":78,"author":2047,"museum":561,"description":5072,"tags":15221,"thumbUrl":15223,"material":217,"size":660,"collection":70,"collections":15224,"showCount":15185,"zanCount":46,"manualWeight":46,"mainColor":149},287594,"da-mo-xiang-zhao-meng-fu-287594","达摩像",[24,200,25,95,28,58,784,3951,15222,3156,452,7],"达摩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F842000dac36974746103e8165992823e.jpg",[],{"id":15226,"slug":15227,"title":15228,"dynasty":78,"author":2047,"museum":561,"description":5072,"tags":15229,"thumbUrl":15230,"material":217,"size":660,"collection":70,"collections":15231,"showCount":15185,"zanCount":46,"manualWeight":46,"mainColor":149},287529,"guan-quan-tu-zhao-meng-fu-287529","观泉图",[24,200,95,28,29,58,427,7,31,82,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe18ccffe8a3c3cabe7d0bb04da6a7a08.jpg",[],{"id":15233,"slug":15234,"title":15235,"dynasty":296,"author":15236,"museum":360,"description":15237,"tags":15238,"thumbUrl":15239,"material":70,"size":70,"collection":42,"collections":15240,"showCount":15185,"zanCount":46,"manualWeight":46,"mainColor":47},239054,"tang-ying-shan-shui-zhou-tang-ying-239054","唐英山水轴","唐英","此作用淡墨晕染出江南山居的悠然意趣，全景构图层层铺展，意境清寂淡远。远景山峦轻笼烟霭，平湖开阔澄澈，三两渔舟泛于波上，漾开闲静况味。中景坡岸虬松葱郁，村居错落相依，板桥横溪接引往来，揉入日常烟火暖意。近景庭院深隐林间，田亩溪涧环合相拥，将林下栖居的隐逸之趣藏入笔墨中。\n\n全画笔墨松秀柔和，以淡皴轻擦区分丘壑层次，弃绝浓丽设色，凭墨色干湿浓淡铺陈层次，尽显文人山水特有的简淡萧散，把江南乡野的静雅诗意晕染开来，藏着冲淡平和的文人心绪。",[24,27,95,29,30,31,33,201,34,7,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d73145b572ef6ffbad105060f81b9cb.jpg",[42],{"id":15242,"slug":15243,"title":10652,"dynasty":296,"author":11589,"museum":360,"description":15244,"tags":15245,"thumbUrl":15246,"material":246,"size":15247,"collection":42,"collections":15248,"showCount":15185,"zanCount":46,"manualWeight":46,"mainColor":47},238133,"qiu-shan-xing-lv-tu-zhou-fang-cong-238133","此图是方琮的代表作品之一。图中峰峦叠幛，林木入秋，溪流小桥，行旅者行进其间。整幅画面布局巧妙，结构严谨，房舍及行旅商贾无不似从元人笔下而来，属雅俗共赏之作。",[24,25,200,95,28,36,29,1837,7,34,31,130,35,30,671],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d7f98f4a5433087a38e8a85bd4c7fcf.jpg","纵186.6厘米，横153.3厘米",[42,264],{"id":15250,"slug":15251,"title":971,"dynasty":296,"author":9331,"museum":561,"description":15252,"tags":15253,"thumbUrl":15254,"material":70,"size":70,"collection":42,"collections":15255,"showCount":15185,"zanCount":46,"manualWeight":46,"mainColor":47},237466,"shan-shui-zhou-jiang-yun-237466","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 房屋、渔舟、云气正是表现了人的伟大和大自然的永恒",[24,95,29,27,36,33,130,7,34,3855,25,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F379f525512d15f8340c282baf34191bd.jpg",[42,146],{"id":15257,"slug":15258,"title":15259,"dynasty":296,"author":3038,"museum":360,"description":10681,"tags":15260,"thumbUrl":15261,"material":229,"size":70,"collection":42,"collections":15262,"showCount":15185,"zanCount":46,"manualWeight":46,"mainColor":149},236985,"wang-hui-kong-shan-fang-wu-zhou-wang-hui-236985","王翚空山方屋轴",[24,25,95,27,36,29,227,242,201,7,4029,114,1104,364],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ff3172206d083c2c3a1a837744abfa4.jpg",[42,146],{"id":15264,"slug":15265,"title":15266,"dynasty":18,"author":15267,"museum":360,"description":15268,"tags":15269,"thumbUrl":15270,"material":454,"size":15271,"collection":42,"collections":15272,"showCount":15185,"zanCount":11,"manualWeight":46,"mainColor":149},236837,"xiang-shan-jiu-lao-tu-zhou-peng-shun-xiang-236837","香山九老图轴","彭舜乡","唐中期，古都洛阳闻名九州的“香山九老会”，被人称颂至今百世永流芳。“香山九老”指的是：洛中遗老李元爽136岁；禅僧如满95岁；胡臬89岁；吉皎88岁；刘真87岁；郑据85岁；卢真83岁；张浑77岁；白居易74岁。九位老人在洛阳龙门的香山结成“九老会”。周臣《香山九老图》就是以绘画述此盛事。",[24,25,95,28,27,29,58,427,130,7,96,3581],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dc18d69c3d3633e4ee928dc95b38525.jpg","纵一九八厘米 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创作的一幅纸本设色画，现藏于北京故宫博物院。\n图画水村山郭，松屋柳溪，村中人家，长者访友宴饮，儿童燃放鞭炮，敲锣打鼓，辞旧迎新，欢庆佳节。\n所画山水、松柏笔墨苍劲滋润；所画人物用笔圆熟，无论老少，身姿各异，神态生动，每个人物形象皆具动感，全无刻板之姿。\n画面充满岁朝繁忙、喜庆的升平景象。\n画法严谨，笔法流畅娴熟。\n此画是一幅风俗画。\n此画以山水为背景，画面绘有山石、树木、屋宇房舍，溪水板桥，坡石堤岸、鸡鸭杂豚。\n诸多人物布置其间：有的在屋内端坐，向外眺望；有的在屋内相面而坐，正在交谈；有的在林中穿梭，游览水村山乡；有的正在滑梯；有的正捕鸡斩鸭；有的长者或士人正在观赏画卷；诸多的童子正在捉迷，表现了一派热闹非凡的山乡景象。\n画上落款：“戊午腊月写于石湖，李士达。\n”下钤“李士达”白文、“通甫”白文、“石湖渔隐”白文 。\n在画幅右上角仅有的空白处，以作者自书款识和乾隆御题诗作补阙。\n乾隆御题诗为：“东郭远西墅，山家接水村，春阴庆老幼，丰岁足鸡豚。\n三代遗风在，一时深意存。\n治民无别术，饥饱俾寒温。\n丙申岁朝明窗御题。\n”钤“会心不远”“德充符印”，另钤“乾隆鉴赏”“嘉庆鉴赏”“嘉庆御览之宝”“乾隆御览之宝”“古希天子”“石渠宝笈”“乐寿堂鉴藏宝”“八征耄念之宝”“三希堂精鉴”“宜子孙”“宝笈三编”“宣统御览之宝”等鉴藏印数方。\n职业文人画家创作的年画的多以“岁朝图”为名，表现元旦即景，直接描绘风俗活动，因此很能体现地方风土民情。\n李士达的《岁朝村庆图》就是其中的典型。\n此图作于万历四十六年（1618年），画中详细描绘了吴中地区热闹的新春景象，放爆竹、出门拜年、悬挂钟馗像、燃烧巨大煤块称“欢喜团”等，与清代顾禄所著的《清嘉录》一书有关吴中年俗的记载一一相符。\n画幅中所画的人物虽小，却是此画中的主题。\n所画的人物，造形多趋圆浑，线条柔韧，用笔精细，无论老少，身姿各异，神形兼具，神态生动，每个人物形象虽不一，但却具动感，使画面充满岁末繁忙，喜气洋洋的景象。\n所画的松柏、山石、屋宇、板桥、坡石等，笔墨苍劲滋润，表现方法不一法，无论是线、点，还是渲染，都那么踏实、浑厚、果断。\n此画呈长方形构图，上不留天，下不留空。\n北京故宫博物院研究员余辉：画家描绘了苏州乡村百姓正月初一简朴的居家生活：孩子们在燃放爆竹、敲锣打鼓，雅士们在欣赏书画，老者在饮茶话旧、拜年访友，一派除旧迎新的喜气景象，意在期盼天下太平、生活安定。\n由该图鉴藏印可知，该图历经乾隆、嘉庆、宣统内府收藏，《石渠宝笈》著录，现藏于北京故宫博物院。\n李士达（生卒年不详，约活动于16世纪中期至17世纪初），号仰怀，吴县（今江苏苏州）人。\n善画山水、人物。\n常借作品表达对现实的不满，或描绘文人、士大夫逍遥自在的生活，也作佛道鬼神画，并有一定数量的风俗画。",[24,25,95,28,56,36,58,2147,30,31,242,35,61,3855,1250,7,34,316,187,15562],"民俗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd146e163637aca3ee1e49a693feef20b.jpg",[],{"id":15566,"slug":15567,"title":14922,"dynasty":296,"author":15568,"museum":561,"description":15569,"tags":15570,"thumbUrl":15571,"material":70,"size":70,"collection":70,"collections":15572,"showCount":177,"zanCount":46,"manualWeight":46,"mainColor":47},235052,"shan-shui-ce-ye-xu-mei-235052","徐玫","此作用小青绿淡设色写山居幽境，幽瀑自远山轻落，清溪蜿蜒穿林过渚。古松虬曲苍劲，枝叶舒展有灵动之姿，山石以浅绿淡赭晕染，远山化作淡墨烟岚，虚实相生间晕出空濛温润的江南意韵。右侧崖畔茅亭隐于林木间，无人自幽，衬出山林的静穆悠然。\n\n笔法秀雅清润，舍去繁复勾勒，以轻晕淡染营造疏朗萧散的氛围，将文人隐逸的林下之趣融在淡逸色彩中，似可听松风溪声，沉湎于这幽寂恬然的山居景致里，尽显雅致淡远的文人山水意趣。",[24,25,111,28,36,29,31,33,96,130,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F436ebfa2e6cbfa736824d8dbe5ce29e6.jpg",[],{"id":15574,"slug":15575,"title":15576,"dynasty":18,"author":3736,"museum":360,"description":15577,"tags":15578,"thumbUrl":15579,"material":8144,"size":15580,"collection":70,"collections":15581,"showCount":177,"zanCount":11,"manualWeight":46,"mainColor":47},234973,"fang-dong-yuan-shan-shui-zhou-wen-jia-234973","仿董源山水轴","文嘉（1501—1583年），字休承，号文水，长洲（今江苏苏州）人，文徵明次子。官和州学政。工诗文书画，继承家学，又以多见古人名迹，故其画作能脱去习俗。著《和州诗》。",[24,25,200,95,27,36,186,29,30,31,96,58,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F592b8b1885883d2c6208989fa18e10f2.jpg","纵155cm，横71.3cm",[],{"id":15583,"slug":15584,"title":951,"dynasty":296,"author":15585,"museum":360,"description":15586,"tags":15587,"thumbUrl":15588,"material":229,"size":70,"collection":70,"collections":15589,"showCount":177,"zanCount":46,"manualWeight":46,"mainColor":47},234115,"shan-shui-hua-wang-san-xi-234115","王三锡","王三锡（1716～1793后），字邦怀，号竹岭，江苏太仓人。昱侄，或谓翚裔孙。山水得昱法，邱壑位置，不作寻常蹊径。运笔亦别具雅韵。巨幅松石，时称独绝。又喜作花卉及写意人物。其小册清丽可爱。长洲屠璇，穹窿道士李体德皆从之游。",[24,25,26,28,36,27,29,133,7,34,4182,32,60,114,3766,658,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80d6fac3944d659e14864ca6319992f5.jpg",[],{"id":15591,"slug":15592,"title":106,"dynasty":18,"author":1100,"museum":360,"description":3543,"tags":15593,"thumbUrl":15594,"material":1107,"size":3546,"collection":70,"collections":15595,"showCount":177,"zanCount":46,"manualWeight":46,"mainColor":47},234058,"shan-shui-ce-dong-qi-chang-234058",[24,25,111,27,36,29,7,34,31,244,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F517a18510e3f687f4476b0072cc57a56.jpg",[],{"id":15597,"slug":15598,"title":15599,"dynasty":296,"author":2784,"museum":360,"description":15600,"tags":15601,"thumbUrl":15602,"material":246,"size":15603,"collection":306,"collections":15604,"showCount":177,"zanCount":46,"manualWeight":46,"mainColor":47},233942,"hua-yan-zi-hua-xiang-tu-zhou-hua-yan-233942","华嵒自画像图轴","华嵒是一位来自民间的画家，曾流寓杭州，结识了浙东学者历鄂、吴石仑等人，这些友人多是不慕荣利、安贫乐道的文人，在他们的影响下，华嵒潜心诗文书画，获得了“诗书画三绝”的美誉。为了谋生，他曾经历仕途，但目睹官场的种种不平，终于放弃仕宦，往来于杭州与扬州之间，以卖画为生，并结识了“扬州八怪”等画家。75岁病逝。华嵒一生贫苦，他在画中以“笔端刷却世间尘”，全心表现对大自然的美好感受。他游历甚多，眼界开阔，为许多画家所不及。此图为一件即兴之作，描绘了暑夏之时，华嵒身着夏衫，半敞衣襟，优游林泉的欣悦之情。他倚石盘膝，临泉而坐，左手拈须，右手抚石，意态闲暇。身后山石高耸，深青色的古藤缠绕着峰峦，远处瀑布羸垂岩而下，汇流成河。读其诗，更使人感受到作者热爱自然、超然离垢的情怀。图中的人物肖像写实而又带有写意的意味，造型略有夸张，与作者其他的人物画有相似之处，如《天山积雪图》(北京故宫博物院藏)等。此图线条简练，随意潇洒，笔调疏简，追求一种文人意趣，具有雅俗共赏的独特风格。",[200,24,25,95,27,28,36,300,29,58,244,31,7,1397,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaa167316f143627c91b7a6fa3bf4f48.jpg","纵130.5厘米，横50.7厘米",[306,15605],"明清缂绣画",{"id":15607,"slug":15608,"title":15609,"dynasty":296,"author":3185,"museum":360,"description":15610,"tags":15611,"thumbUrl":15612,"material":229,"size":15613,"collection":70,"collections":15614,"showCount":177,"zanCount":46,"manualWeight":46,"mainColor":47},233792,"chan-ji-hua-qu-zhou-kun-can-233792","禅机画趣轴","作者以一个僧人的目光把所赏阅的江南山川荟萃于尺幅之中。\n此画幅虽不大，呈一长条幅，但气势恢宏，只见远处群山叠嶂，诸峰矗立，云雾缠绕。\n山坡的平地坐落着寺院和房舍，在山坡和丛树间或隐或现：近景，山脚下水榭、房阁数间，坡岸乱石相连，在乱石坡岸上树木丛生，近处溪边水草茂盛，下端左侧一条长长的板桥，且有齐整的扶栅。\n右侧有一板桥将两溪岸相连，有一位身着长袍头戴风帽手持拐杖的长者，正在缓行过桥。\n中景，有山有水，有树木、房舍等，水随山转。\n有数只扁舟，渔人独坐轻舟浮荡，显得十分幽静清雅。\n画幅上端作者长题：“米南宫尝以玩好书画载之方舟，坐卧其中，适情乐性，任其所之，咸指之一：‘此米家书画船也。\n’石秃曰：‘此固前人食痴公癣，咄咄青溪亦后有此耶，虽然青溪好古博雅，胸中负古文奇字，此犹不过成都子昂之弄故琴耳。\n玄道隐于小成言：隐于荣华，若以天地为虚舟，万物为图籍，予坐卧其中，不知天地外更有此舟，不知舟之中更有子昂否耶？而为之偈曰：大地为舟，万物图画，坐卧其中，嗒焉洒洒，渺翩翩而独征兮，有谁知音机弦而歌兮，清风古今人山往返之劳兮，已为这个不了，若是了得兮。\n此画构图高旷清远，用笔苍劲老辣，颇具黄公望笔意。\n细察此画为中年笔墨，荒率枯淡，稍染淡赭，乃有苍厚之韵。\n构图上，近景的坡岸乱石及树木与远景苍山院寺房舍相对比；前景的溪水回转与远景的云雾轻绕遥相呼应。\n整幅构图繁复、饱满、充实，下不留地，上不留天，仅有上部空白处，经自长题而填补。虽画面的景物繁多，但仍能做到疏密有致。总体来说，整幅画浑然一体，气脉畅达。",[24,25,95,27,36,82,38,29,30,31,32,33,201,96,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9d9169d444881f8ff792bc46e2b0aa1.jpg","125.7x31.4厘米",[],{"id":15616,"slug":15617,"title":15618,"dynasty":18,"author":6627,"museum":239,"description":15619,"tags":15620,"thumbUrl":15621,"material":368,"size":15622,"collection":70,"collections":15623,"showCount":177,"zanCount":46,"manualWeight":46,"mainColor":47},233768,"qi-ao-tu-juan-xia-chang-233768","淇澳图卷","此图画江南丘陵中的幽谷溪涧，山石溪流、翠竹苇草连绵不断，一泉清溪沿着山间峭壁飞流而下，缘溪两岸崖壁陡峭，垒石交加，苇草杂生；山石坡渚，起伏跌宕，坡渚上，碎石间翠竹丛生，傲然挺拔，清风雅韵，好似“竹下香泉洒瑶席”（唐·刘禹锡《送僧仲东游兼寄呈灵沏上人》）；坡渚尽头是一片辽阔水面，山风拂动，溅起阵阵涟漪，薄雾清纱，浩渺无垠，清气回荡，有道是：“野竹攒石生，含烟映江岛。”（唐·李白《慈老竹》）",[200,24,25,26,27,391,7,300,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc973e161bd63f1f009769473377cba2e.jpg","纵122.3厘米，横471厘米",[],{"id":15625,"slug":15626,"title":1875,"dynasty":296,"author":870,"museum":360,"description":5246,"tags":15627,"thumbUrl":15628,"material":13353,"size":13354,"collection":70,"collections":15629,"showCount":177,"zanCount":46,"manualWeight":46,"mainColor":47},233425,"yuan-ji-shan-shui-ce-shi-tao-233425",[24,25,111,27,28,36,29,1081,34,7,4515,7586],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7570e2d7e819c7dbd70ebd7ddbb567db.jpg",[],{"id":15631,"slug":15632,"title":10591,"dynasty":296,"author":10408,"museum":561,"description":15633,"tags":15634,"thumbUrl":15635,"material":70,"size":70,"collection":70,"collections":15636,"showCount":177,"zanCount":46,"manualWeight":46,"mainColor":5803},230116,"shan-shui-ce-12-kai-jian-jiang-230116","此作以大片留白晕染出空濛烟水，淡墨轻勾远山，嶙峋清癯的峰峦错落排布，简淡皴笔勾勒山石肌理，尽显冷峭疏朗之态。左下角老柳垂丝，依依拂岸，茅舍隐于柳下，愈衬江天寥廓。\n\n江上孤舟缓行，渔翁泛棹，寥寥数笔便点活了空寂水色，于极简中藏着幽远禅意。整幅画笔墨枯淡清逸，舍去繁复描摹，以简驭繁，将水畔的静穆冷逸尽数铺展，萧散淡远，观之如沐清寂江风，引人沉入这份疏旷安闲的烟水诗意中。",[24,25,111,27,36,29,32,242,7,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66b9046f9518a01dd6d6ff08f98e4f8d.jpg",[],{"id":15638,"slug":15639,"title":15640,"dynasty":296,"author":7994,"museum":561,"description":15360,"tags":15641,"thumbUrl":15642,"material":70,"size":70,"collection":70,"collections":15643,"showCount":177,"zanCount":46,"manualWeight":46,"mainColor":47},226630,"si-shi-shan-shui-03-pu-ru-226630","四时山水03",[23,24,25,27,36,111,29,58,7,34,82,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a54730262b673b5e2e522748b6b7275.jpg",[],{"id":15645,"slug":15646,"title":15647,"dynasty":296,"author":1406,"museum":561,"description":15648,"tags":15649,"thumbUrl":15650,"material":70,"size":70,"collection":70,"collections":15651,"showCount":177,"zanCount":46,"manualWeight":46,"mainColor":149},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。",[23,24,25,26,3468,28,36,38,82,29,30,31,33,96,7,34,132,158,366,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05f203733ec712aa2cbbb7186aada126.jpg",[],{"id":15653,"slug":15654,"title":15655,"dynasty":78,"author":436,"museum":360,"description":15656,"tags":15657,"thumbUrl":15658,"material":142,"size":15659,"collection":42,"collections":15660,"showCount":177,"zanCount":11,"manualWeight":46,"mainColor":663},223399,"shang-shan-si-hao-tu-zhou-yi-ming-223399","商山四皓图轴","此图画汉初“商山四皓”故事中使臣迎请四皓一节。画面左下角有一队人马，为首者正与童子对话。山间小路崎岖，云雾缭绕，溪水潺潺。画幅偏右画有数人：二老者对弈，一老者拄杖观棋，二童子左右陪侍，上方一老者正拄杖下行，身后一童子捧果盘相随。山势高耸，乔松挺秀，烘托出一派幽静清逸之气，将四皓闲适的生活恰如其分地表现出来。\n本幅无作者名款，画面上方有挖补之痕，其真正的作者已难考究。旧题为南宋刘松年的作品，然其画法风格实近元代盛懋一派。本幅钤有残印一角，印文不辨。",[23,24,25,95,28,257,56,29,58,427,7,133,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e3dddb7ee87e220228e39d7b36a9eee.jpg","纵155.3厘米，横77.2厘米",[42,264],{"id":15662,"slug":15663,"title":15664,"dynasty":296,"author":8516,"museum":401,"description":8517,"tags":15665,"thumbUrl":15666,"material":142,"size":8522,"collection":70,"collections":15667,"showCount":177,"zanCount":46,"manualWeight":46,"mainColor":149},223041,"hong-lou-meng-166-sun-wen-223041","红楼梦166",[23,24,56,28,58,29,33,30,31,60,34,7,2278,64,4543,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F116421e645027677c97a37c528b5f370.jpg",[],{"id":15669,"slug":15670,"title":15671,"dynasty":18,"author":52,"museum":53,"description":15672,"tags":15673,"thumbUrl":15682,"material":40,"size":15683,"collection":42,"collections":15684,"showCount":177,"zanCount":46,"manualWeight":46,"mainColor":47},222205,"jiao-yin-jie-xia-zhou-chou-ying-222205","蕉阴结夏轴","图中山石林立，蕉丰硕。秀竹劲，丛草稀。两位高士对坐相。一抚琴，一聆听。作品追宋法，人物造型准确。神情刻画栩栩如生，加之情景交融，画面文人同生活气息流。村庄突现萧疏简返之气，亦现作者师元人画风而别开生面之趣",[23,24,25,95,56,28,58,302,1140,7,1012,61,15674,15675,2962,15676,15677,12537,13773,15678,15679,15680,15681],"夏日场景","弹拨乐器","山石皴法","植物写生","工笔人物","传统山水元素","草木景观","器物陈设","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62b091a6fd7758ede327c5d564e95b22.jpg","纵279.1厘米，横99厘米",[42,264],{"id":15686,"slug":156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林椿为南宋时期画家，孝宗淳熙年间曾为画院待诏。生卒年不详，浙江钱塘（今浙江杭州）人，南宋时期画家。孝宗淳熙年间曾为画院待诏。绘画师法赵昌，工画花鸟、草虫、果品，设色轻淡，笔法精工，设色妍美，善于体现自然的形态，所绘小品为多，当时赞为“极写生之妙，莺飞欲起，宛然欲活”。传世作品有：《梅竹寒禽图》册页，藏于上海博物馆。《果熟来禽图》《葡萄草虫》《枇杷山鸟图》，藏于北京故宫博物院。",[23,24,200,25,95,62,56,28,201,427,7,489,15809],"报喜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feceae8d01d0cfba39399adf662cee49c.jpg","173.2x97.6",[],{"id":15814,"slug":15815,"title":15816,"dynasty":124,"author":449,"museum":561,"description":2958,"tags":15817,"thumbUrl":15818,"material":217,"size":660,"collection":70,"collections":15819,"showCount":15771,"zanCount":46,"manualWeight":46,"mainColor":149},288357,"song-yin-wan-yue-tu-ma-yuan-288357","松荫玩月图",[24,200,951,27,36,427,7,31,114,1385,58,5065],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22b9dc13d47c8a3cbf2cc568c8a58485.jpg",[],{"id":15821,"slug":15822,"title":15823,"dynasty":78,"author":8843,"museum":53,"description":14837,"tags":15824,"thumbUrl":15825,"material":84,"size":15826,"collection":70,"collections":15827,"showCount":15771,"zanCount":46,"manualWeight":46,"mainColor":149},287597,"xue-xi-gui-zhao-zhou-zhu-de-run-287597","雪溪归棹轴",[24,29,95,612,32,30,31,242,7,97,36,4701],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90726182919826caa58237122e329861.jpg","144.9x85.2",[],{"id":15829,"slug":15830,"title":2363,"dynasty":78,"author":79,"museum":561,"description":2364,"tags":15831,"thumbUrl":15832,"material":217,"size":660,"collection":70,"collections":15833,"showCount":15771,"zanCount":46,"manualWeight":46,"mainColor":47},284289,"dan-ya-yu-shu-tu-zhou-huang-gong-wang-284289",[24,25,29,27,36,158,34,7,60,37,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c34216928f15c33184db431beebcfad.jpg",[],{"id":15835,"slug":15836,"title":7281,"dynasty":296,"author":3038,"museum":561,"description":15837,"tags":15838,"thumbUrl":15839,"material":70,"size":70,"collection":42,"collections":15840,"showCount":15771,"zanCount":46,"manualWeight":46,"mainColor":250},239461,"shan-shui-tu-zhou-wang-hui-239461","杨晋（1644-1728）字子和，一字子鹤，号西亭，又号谷林樵客、野鹤、鹤道人、水村、志学老人、雪阁移梅人、虞山野老、虞山樵子，江苏常熟人。清代画家。山水为王翚入室弟子，尝与绘《圣祖南巡图》颇精。晚年每多率笔，然农村景物则颇工，尤长画牛，多写意，夕阳芳草，郊牧之风宛然在目，兼及人物写真，花鸟草虫。",[24,25,95,27,28,36,29,860,612,242,32,58,316,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c6230cfa27d9d301082f367ba228509.jpg",[42],{"id":15842,"slug":15843,"title":15844,"dynasty":18,"author":15845,"museum":561,"description":15846,"tags":15847,"thumbUrl":15850,"material":70,"size":70,"collection":42,"collections":15851,"showCount":15771,"zanCount":46,"manualWeight":46,"mainColor":149},239459,"qian-gu-jiu-long-shan-tu-zhou-qian-gu-239459","钱穀九龙山图轴","钱毂","此作以全景式铺陈山川灵秀，主峰巍峨雄峙，层岩峻壑以细密披麻皴写就，笔致苍润松灵，尽现山石肌理的沉厚质感。近景松林蓊郁，古木虬枝俯仰生姿，掩映间梵宇茅舍错落，行旅缓行其间，为清寂山林晕染烟火意趣。\n\n远景烟波空蒙，屿渚如螺点染水天，留白铺就悠远虚灵的诗性意境。笔墨兼取元人山水的空灵雅致与北宋山水的苍浑丘壑，将林泉幽致与隐逸禅思融于一卷，既绘就九龙山的磅礴生机，又暗合文人寄情烟霞的林下襟怀，是气韵悠长的山水佳构。",[24,25,95,27,28,36,29,837,112,272,33,201,31,7,15848,15849],"林间建筑","山间小径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f77f7d990ba45fa42fb050c3a5d5b05.jpg",[42],{"id":15853,"slug":15854,"title":15855,"dynasty":18,"author":15398,"museum":561,"description":15856,"tags":15857,"thumbUrl":15858,"material":70,"size":70,"collection":42,"collections":15859,"showCount":15771,"zanCount":46,"manualWeight":46,"mainColor":149},239419,"gui-nong-zhou-zhang-lu-239419","归农轴","张路（1464—1538 ，一作1464—1537）明代画家。字天驰，号平山，汴梁（今河南省开封）人，明代画家。绘人物，师法吴伟，山水学戴进“狂态”，用笔豪放纵逸，水墨酣畅淋漓，与朱端、蒋嵩、汪肇等同为“浙派”名家 。亦工鸟兽、花卉。\n早年画学戴进，临摹能肖其神，画法工细。至南京后，又宗法吴伟，变为粗笔写意。他善画人物，多绘神仙、士子、渔夫，形象质朴，神态清朗，具高昂向上的气质。景致简略，笔墨遒劲，风格豪放，然少秀逸和蕴藉之致；为浙派健将，亦开后来学者粗率之风。他具有典型风貌的水墨写意作品较多，人物多用顿折的重墨线条勾勒，山石以粗犷的笔触作大斧劈皴，运笔迅捷，水墨淋漓，具有豪放动荡的气势。亦能画写意花鸟。\n此图为张路水墨山水画代表作之一，写山雨欲来前狂风大作，乌云满天的情景。此图在笔墨形成上亦有独到之处，充分运用绢不易晕化的特性，多用湿笔和浓墨，恰到好处。山石画法近似马、夏及戴进的带水斧劈法，但又有所不同。画树则多以短笔横向画出，自然生动。全幅笔墨健拔淋漓，气势壮阔。",[24,200,95,27,36,58,29,96,7,13812],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fa15f5abc30d1fdeadcb813b27c6ca6.jpg",[42],{"id":15861,"slug":15862,"title":15863,"dynasty":296,"author":4083,"museum":561,"description":14375,"tags":15864,"thumbUrl":15866,"material":70,"size":70,"collection":42,"collections":15867,"showCount":15771,"zanCount":46,"manualWeight":46,"mainColor":250},238935,"qi-xia-shan-quan-tu-juan-qian-wei-cheng-238935","棲霞山全图卷",[24,26,27,29,36,32,82,34,7,133,316,60,15865,427],"村庄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e39f32ceb97c4b748313f235bf3e3ee.jpg",[42,146],{"id":15869,"slug":15870,"title":15871,"dynasty":18,"author":3736,"museum":561,"description":15872,"tags":15873,"thumbUrl":15874,"material":229,"size":70,"collection":648,"collections":15875,"showCount":15771,"zanCount":46,"manualWeight":46,"mainColor":47},237410,"shi-hu-xiao-jing-zhou-wen-jia-237410","石湖小景轴","文嘉（151年～158），字休承，号文水，南直隶苏州府长洲（今江苏苏州）人。\n大书画家 次子。\n吴门派代表画家。\n初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。\n精于鉴别古书画，工石刻，为明一代之冠。\n画得徵明一体，善画山水，笔法清脆，颇近 ，着色山水具幽澹之致，间仿 皴染，亦颇秀润，兼作花卉。\n明人 评：“其书不能如兄，而画得待诏（ ）一体。\n”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。\n” 吴门派代表画家文徵明的次子，兄 。\n是明清篆刻的一代宗师。\n文家后来还出了位名气极大的人： 。\n长洲（今江苏苏州）人。\n文嘉精于鉴古，临古之功也深，画风传乃父衣钵，惟所闻古人名迹至多，故下笔能脱去习俗，颇不易得。\n文嘉初为 ，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。\n精于鉴别古书画，工石刻，为明一代之冠。\n继承家学，小楷轻清劲爽，宛如瘦鹤，稍大，便疏散不结束，迳寸行书亦然，皆不逮父兄，画得征明一体，善画山水，笔法清脆，颇近 ，着色山水具幽澹之致，间仿 皴染，亦颇秀润，兼作花卉。\n明人 评：“其书不能如兄，而画得待诏（ ）一体。\n”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。\n”然，文嘉一生一直在追求，王世懋在《跋文嘉书古诗十九首》后称：“休承晚年书奇进，几不减京兆。\n”传世作品有嘉靖十九年（154）作《 》十开，现藏 ，二十年（1541）作《垂虹亭图》卷藏苏州市博物馆；万历元年（157）作《寒林钟馗图》轴藏南京博物院；《江南春色图》卷藏 ；《水亭觅句图》轴、《设色山水图》轴藏 ；《秋塘红藕图》藏 ；《石湖小景图》轴、《夏山高隐图》轴、《 》轴、二年（1574）作《 》轴藏故宫博物院；《沧江渔笛图》、《曲水园图》卷藏 。\n著有《钤山堂书画记》、《和州诗》。\n享年八十三岁。\n他还对藏书亦不遗余力，藏书楼有“归来堂”，藏书印有“五峰山人”、“元珠室”、“五峰樵客”、“肇锡余以嘉名”等。\n精于书画和鉴别古籍，著名藏书家项元汴每遇到宋椠元刻时，则聘文彭、文嘉兄弟，为其鉴定版本，故项墨林藏书皆精妙绝伦。\n文氏藏书散佚约在明万历末年至崇祯间，清代藏书家如张均衡、张金吾等曾收藏有文氏旧藏，多是宋刻善本。\n著有《和州诗》、《严氏书画记》等。\n孙文从鼎，字定之，继承藏书，并另有藏书处为“心远阁”、“园贤堂”、“惜阴斋”等。\n孙文从简（1574～1648），字彦可，号枕霞老人，亦能藏书，有“开云楼”。\n关系 姓名 简介 祖父 文林（1445—1499），字宗儒，世称交木先生。\n长洲人。\n成化壬辰进士，授为永嘉知县，改博平，后升任南京太仆寺丞，迁知温州府。\n为政斐然。\n有《文温州集》、《琅琊漫钞》等。\n父亲 文徵明（147.11.28—1559..28），原名壁（或作璧），字徵明，明代杰出画家、书法家、文学家。\n四十二岁起，以字行，更字徵仲。\n因先世衡山人，故号“衡山居士”，世称“文衡山”，汉族，长州（今江苏苏州）人。\n文徵明的 造诣极为全面，诗、文、书、画无一不精，人称是“四绝”的全才，诗宗 、 ，文受业于 ，学书于 ，学画于沈周。\n其与沈周共创“吴派”。\n在画史上与 、 、 合称“ ”（“吴门四家”）。\n在诗文上，与 、 、 并称“ ”。\n伯父 文徵静（1469—156）读书善笔札，生平气义自胜，不为贵势拙折，喜好交诗友书画。\n兄长 文彭（1498—157）字寿承，号三桥，别号渔阳子、三桥居士、国子先生， （今江苏苏州）。\n长子。\n以 第一，授秀水训导。\n官国子监博士。\n工书画，尤精篆刻，能诗，有《博士诗集》。\n堂弟 文伯仁（152—1575）明代画家，字德承，号五峰、摄山长、葆生、摄山老农、 人、五峰樵客，汉族，湖广 人， （今江苏苏州）。\n侄子 儿子 （1554—1589）明代画家。\n字子长，号虎丘，明湖广衡山人，系籍长州（今江苏苏州）。\n孙， 之子。\n幼承家学，书画逼真其父。\n坦率好施。\n文元善擅画龙，也绘作山水木石，殊多逸致。\n传世作品有《墨龙图》等。\n惜早逝，未竟其能。\n卒年三十六。\n妇翁王穉登，铭其墓曰：“画品第一，诗品第二。\n” 孙子 （1574—1648），明末画家。\n字彦可，号枕烟老人，明代湖广衡山人，系籍 （今 ）。\n曾孙， 孙， 之子。\n崇祯十三年（164年）拔贡，入清后退居林下，以书画自娱。\n传世画作有《长林徙倚图》、《 风物图》、《潇湘八景图》、《望云图》、《松江高土图》、《江山平远图》、《幡溪通兴图》、《介石书院图》、《寒山寺图》等。\n曾孙女 (1595—164)明代著名女画家。\n长洲（今江苏苏州）人。\n明代画家 女， 孙女，文徵明玄孙女，嫁赵灵均，与丈夫一同隐居。\n精于花草虫蝶画的创作，长于写生，多画幽花异卉、小虫怪蝶，能曲肖物情，颇得生趣。\n作品笔墨细秀，风格娟丽，深得时人赏识。\n有《花卉》册、《萱石图》等传世。\n第一代 第二代 第三代 第四代 第五代 第六代 第七代 第八代 第九代 文定聪 文惠（入赘苏州人张声远家，遂迁居长洲） 文洪（成化1465举人，涞水县学教谕，配陈氏、顾氏、吕氏） 文林（成化1472进士，温州知府，配祁守端） 文征静 文伯仁（画家） 文征明（娶昆山吴愈第三女） 文彭（国子监博士） 文元发（卫辉府同知，娶彭氏，继娶周氏） 文震孟（状元，东阁大学士，娶陆氏） 文秉、文乘 文震亨（画家，武英殿给事） 文嘉（画家） 文元善（画家） 文从简 文俶（女画家，嫁赵灵均） 文台 文室 文森（成化1487进士，右佥都御史） 文彬（赐同进士出身） 文微臣（庠生） 十九年（154年）作 《山水花卉图册》 嘉靖二十年（1541年）作 《垂虹亭图》，现藏 万历元年（157年）作 《寒林钟馗图》，现藏 《江南春色图》，现藏 《水亭觅句图》轴、《设色山水图》轴，现藏 《秋塘红藕图》，现藏天津市艺术博物馆 《石湖小景图》轴、《夏山高隐图》轴、《琵琶行图》轴、 万历二年（1574年）作 《溪山行旅图》轴，现藏故宫博物院 《沧江渔笛图》《曲水园图》卷，现藏 万历八年（158年）作 《村径稻香图》轴 《钤山堂书画记》 《和州诗》 太湖石畔种芭蕉，色映轩窗碧雾摇。\n瘦骨主人清似水，煮茶香透竹间桥。\n山斋雨坐漫焚香，几净窗明竹树凉。\n午睡起来无一事，自翻残墨写潇湘。\n不到天平三十载，每于图画忆登临。\n何时倚杖苍松侧，来看峰头万笏林。\n己卯秋日茂苑文嘉。\n钤“休承”、“文水道人”印。\n收藏印钤“颐椿庐通理藏”。\n“己卯”为明万历七年（1579年），文嘉时年79岁。\n《七绝诗》为文嘉自撰七绝诗首。\n书法清丽秀气，简净劲爽。\n通篇笔画圆曲、细长，运笔正斜、曲直、连断、轻重、虚实表现自然得当。\n体势疏密相间，多取斜势。\n文嘉书受其父 风格的影响，又有所变化。\n《昨日歌》 昨日兮昨日，昨日何其好！昨日过去了，今日徒烦恼。\n世人但知悔昨日，不觉今日又过了。\n水去汩汩流，花落日日少。\n万事立业在今日，莫待明朝悔今朝！ 《今日歌》 今日复今日，今日何其少！今日又不为，此事何时了？人生百年几今日，今日不为真可惜！若言姑待明朝至，明朝又有明朝事。\n为君聊赋《今日诗》，努力请从今日始！ 《明日歌》 明日复明日，明日何其多！日日待明日，万事成蹉跎。\n世人皆被明日累,明日无穷老将至。\n晨昏滚滚水东流,今古悠悠日西坠。\n百年明日能几何？请君听我《 》。\n关于《 》的作者，有两种版本。\n一为明代的文嘉，一为同为明朝的 。\n钱鹤滩生于公元1461年，卒于公元154年。\n如两种版本确实有联系，则原本《 》的著作权应归钱鹤滩，文嘉版本系修改而成。\n该砚石品集石眼、焦叶白、青花、鱼脑、火捺、虫蛀皮于一身，极为难得。\n砚首部随形镌刻金鲤戏水深浮雕，虚实相间，形神俱佳。\n砚背面的刻款更是诗、书、印、刻，水乳交融，精彩完美。\n刻款内容是一首咏笔的绝句：“紫竹纤毫线扎成，如龙似虎伴书生。\n渴来玉砚池中饮，饱向花笺纸上行。\n”书法劲挺秀美，正是文嘉最为擅长的小楷行书；诗句也工正流畅，其对书画艺术的热爱之情跃然而出。\n刻工刀随笔势，具铁划银勾之力而又细致入微，非深谙书法点画之美者莫为。\n落款“文水道人”下刻有“文嘉”阳文印，与《倪瓒真书江南春词图卷》（152年）和《文嘉两洞记游图册》（1544年）上的“文嘉”用印如出一辙，毫无二致。\n可以想见，笔、墨、纸、砚文房四宝在文嘉的生活中扮演了多么重要的角色。\n他动用了诗歌、书法、绘画、雕刻的各种手法，将对文房四宝的深厚感情和文学艺术的深厚造诣熔铸在这方端溪佳石上，使得该砚具备了丰富的审美内涵，而文嘉多方面的艺术才华也由此得到了极生动难得的彰显。",[24,25,95,27,29,36,37,82,38,112,7,32,31,114,11299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47b9b6f08b360d0a0c34b2a0a751e093.jpg",[648],{"id":15877,"slug":15878,"title":106,"dynasty":296,"author":4110,"museum":360,"description":4111,"tags":15879,"thumbUrl":15880,"material":246,"size":70,"collection":70,"collections":15881,"showCount":15771,"zanCount":46,"manualWeight":46,"mainColor":47},237199,"shan-shui-ce-sun-yi-237199",[24,200,25,111,28,257,36,29,31,34,7,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F534e78f6ec35caef7a3efdced7daa730.jpg",[],{"id":15883,"slug":15884,"title":15885,"dynasty":296,"author":15886,"museum":360,"description":15887,"tags":15888,"thumbUrl":15890,"material":246,"size":15891,"collection":42,"collections":15892,"showCount":15771,"zanCount":46,"manualWeight":46,"mainColor":47},236126,"song-xi-shui-ge-tu-zhou-lu-zun-shu-236126","松溪水阁图轴","陆遵书","陆授诗、陆遵书兄弟是清朝宫廷内的兄弟画家，下面介绍一下。陆授诗、陆遵书这两位宫廷兄弟画家的姓名，都见于胡敬所著的《国朝院画录》。\n陆氏兄弟的作品流布并不很广，《石渠宝笈》一书中陆授诗的作品只有一件册页被收入，陆遵书的作品也只有三件册页收录在其中，二人都属于作品进入《石渠宝笈》数量很少很少的宫廷画家，尤其是哥哥陆授诗。",[24,25,95,27,36,29,272,15889,112,7,35,316],"溪水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c11ac229528d618fc9599ceaa6d6a55.jpg","纵173.2厘米 横51厘米",[42,146],{"id":15894,"slug":15895,"title":15896,"dynasty":18,"author":436,"museum":561,"description":15897,"tags":15898,"thumbUrl":15899,"material":70,"size":70,"collection":70,"collections":15900,"showCount":15771,"zanCount":11,"manualWeight":46,"mainColor":47},235633,"song-xu-wan-shan-qiu-se-tu-zhou-yi-ming-235633","宋旭万山秋色图轴","此作用高远章法铺展秋山全景，层峦叠嶂间沟壑纵深，飞泉漱石、山溪蜿蜒贯穿始终。以淡赭晕染山骨铺就秋意底色，朱砂醒点丹枫，勾勒皴擦兼用，将嶙峋山石、虬曲古木的苍劲之态尽皆写就。幽谷深处隐现山居屋舍，林泉间尽显隐逸清寂之趣。整幅画面笔墨清灵雅致，把深秋万山层林尽染的高旷冷寂意境铺陈开来，尽显文人山水崇尚的幽淡空灵林下之风，是极具韵致的秋山绘作。",[24,25,95,200,28,36,29,2901,31,34,427,7,60,364,671,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdffc1c6bbcb02615aab2d7bb1eb1a7e.jpg",[],{"id":15902,"slug":15903,"title":3378,"dynasty":296,"author":870,"museum":360,"description":15904,"tags":15905,"thumbUrl":15906,"material":6274,"size":1879,"collection":70,"collections":15907,"showCount":15771,"zanCount":46,"manualWeight":46,"mainColor":47},234998,"yuan-ji-shan-shui-tu-ce-shi-tao-234998","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。",[200,24,25,111,27,28,29,31,7,34,130,58,35,36,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37a9d770c7c8d6328bae3a2edfaafc2d.jpg",[],{"id":15909,"slug":15910,"title":15911,"dynasty":296,"author":1331,"museum":360,"description":15912,"tags":15913,"thumbUrl":15916,"material":5219,"size":15917,"collection":70,"collections":15918,"showCount":15771,"zanCount":46,"manualWeight":46,"mainColor":47},233790,"gao-yan-jian-pu-tu-zhou-yun-shou-ping-233790","高岩溅瀑图轴","本幅近景所绘树木不多，但富于形态变化，古木虬枝，青藤临风垂挂，二者穿插盘绕中显现出条理性。中景泉水潺潺，芦苇简约，将远、中景自然隔开，从而增强了全幅的纵深感及空间感。远山以淡墨干笔作长披麻皴，笔触开阔疏朗，显示出清逸深幽的韵致。此图不刻意求工、求似，唯求自然天趣，显示出恽寿平一向所追求的平淡超逸的审美意趣，为恽寿平精品之一。",[24,25,95,27,36,29,15914,15915,452,96,7,31,34,1140,159,130],"高岩","溅瀑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96806cdc12bdc9e67c5c0a37ca3b8e61.jpg","纵104.9厘米，横43厘米",[],{"id":15920,"slug":15921,"title":15922,"dynasty":296,"author":436,"museum":360,"description":15923,"tags":15924,"thumbUrl":15925,"material":229,"size":15926,"collection":70,"collections":15927,"showCount":15771,"zanCount":46,"manualWeight":46,"mainColor":47},233051,"ping-ding-an-nan-zhan-tu-ce-yi-ming-233051","平定安南战图册","《平定安南得胜图》描绘了清乾隆五十三年至五十四年（1788—1789年）间清政府出兵平定安南的战争场景。六幅图依次为：嘉观诃滬之战、三异柱右之战、寿昌江之战、市球江之战、富良江之战、阮惠遣侄阮光显入觐赐宴。\n在东南亚各国中，安南大越与中国疆域毗邻，关系密切。清统一全国后，安南内部仍然陷于南北纷争之中，广南（今越南南部）阮氏控制南方，北方郑氏擅权，国王黎氏徒拥虚位。安南久列藩封，黎氏传国最久，臣服中国最为恭顺。清高宗应黎氏之请用兵安南，为安南平定内乱。\n此套图在风格上受到郎世宁“西法中国画”的影响，在画面局部采用焦点透视和一定的明暗对比来表现纵深效果和立体感，在构图、造型上又带有中国画和木版画风格，反映了中国画家在试图融合中西绘画优长方面所作的努力。",[24,25,200,56,28,36,58,29,7,34,6105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fddf725ebf57af05b7ed69deb289f01.jpg","纵55.3cm，横90.3cm",[],{"id":15929,"slug":15930,"title":15931,"dynasty":296,"author":2564,"museum":360,"description":15932,"tags":15933,"thumbUrl":15936,"material":454,"size":15937,"collection":70,"collections":15938,"showCount":15771,"zanCount":764,"manualWeight":46,"mainColor":47},232973,"hua-niao-ce-lang-shi-ning-232973","花鸟册","此图册分别描绘了牡丹、兰花、罂粟、萱草、荷花、梅花等艳丽多姿的花卉和体态生动的蝶、鸟。构图上取法中国传统花鸟画的格局，以虚托实，注重对所绘物象的突出。在表现技法上，则充分发挥了欧洲绘画注重明暗及透视的特点，以工致细腻的笔触，刻画出花瓣、叶片以及鸟雀的羽毛质感和体积感，呈现出与传统的中国花鸟画迥然不同的艺术风貌。这种“中西合璧”的画风成为清代宫廷绘画艺术的一大特色，受到了清皇室的青睐。",[200,24,25,111,56,28,3885,15934,62,489,15935,7,1397],"中西融合","鸢尾花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F275741959223d2a9d4cd225fb7d71574.jpg","纵32.6厘米，横28.6厘米",[],{"id":15940,"slug":15941,"title":15942,"dynasty":18,"author":3504,"museum":360,"description":15943,"tags":15944,"thumbUrl":15945,"material":229,"size":15946,"collection":70,"collections":15947,"showCount":15771,"zanCount":46,"manualWeight":46,"mainColor":47},232956,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232956","文徵明山水册","根据图册末页张风翼等人的跋得知，此图册是文徴明为教授徒弟朱朗而绘制的山水画作，其中有他摹学五代董源、巨然的笔法，亦有他师法元四家黄公望、王蒙、倪瓒等人的笔墨。",[24,25,111,27,38,82,36,29,31,34,7,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01ed62dc5cfe09f6bce91b30b580bae4.jpg","28.5×15.8厘米",[],{"id":15949,"slug":15950,"title":4633,"dynasty":18,"author":6896,"museum":561,"description":15951,"tags":15952,"thumbUrl":15953,"material":70,"size":70,"collection":70,"collections":15954,"showCount":15771,"zanCount":46,"manualWeight":46,"mainColor":47},231013,"xi-shan-xian-guan-tu-wen-bo-ren-231013","此作用笔秀雅苍润，以淡墨皴擦山峦，晕染出烟岚轻笼的朦胧质感，峰峦层叠错落，将高远、深远之境相融。山坳间的仙馆屋舍隐在丹黄点染的林木之中，流泉叠瀑穿谷而下，为静谧山林添注灵动生机。\n整体兼具元人山水的淡逸简远，又带着吴门画派的清丽雅致，把文人心中的林泉幽隐之思铺陈在尺幅之间，恍若将清虚灵秀的桃源仙境收卷其中，观之如踏入世外仙居，静穆里藏着鲜活意趣，尽显江南山水温婉灵秀的气韵，诠释出寻仙问道的缥缈意境。",[24,25,95,27,36,29,60,34,130,7,82,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f29fa640b26633fd9da557e8a86eaf6.jpg",[],{"id":15956,"slug":15957,"title":15958,"dynasty":296,"author":3437,"museum":561,"description":13621,"tags":15959,"thumbUrl":15960,"material":217,"size":660,"collection":70,"collections":15961,"showCount":15771,"zanCount":46,"manualWeight":46,"mainColor":149},230137,"qiu-song-qiao-bi-tu-wu-li-230137","虬松峭壁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humbUrl":16032,"material":16033,"size":16034,"collection":42,"collections":16035,"showCount":15771,"zanCount":46,"manualWeight":46,"mainColor":149},220980,"qing-chuan-lan-sheng-tu-yun-shou-ping-220980","晴川揽胜图","此图中所绘楼阁、山峦、丛林、江舟，乃武汉江岸黄鹤楼一带的胜景。\n画面构成右边以直线为主，林木直干密植，山峰耸立突兀，形成密不透风的格局，左边以横线描绘沙渚平波，空阔无际，左右对比大疏大密，别具新格。\n其运笔灵活洒脱，用墨浓淡相宜，层次分明。\n此图远处崇山之巅陡峰高耸入云，险峻奇峭；山腰间巉岩如屏，叠叠重重，山腰的平坡处隐现耸立的楼阁，丛树杂木掩映半边。\n近景山脚下为坡石冈埠，间植杂树林木，形成一片绿荫，画面左侧中景为水上民居，座落着村落和数间屋宁、曲折的河岸处，停泊为数众多的渔船，船上桅杆林立，也有几艘小舟横卧河心，不见人影，说明狂风暴雨接将来临，渔民暂避家憩息。",[23,24,25,95,28,36,57,29,60,34,242,7,31,114,1944],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56b2663bec907781942b77938278c47c.jpg","绫本设色","纵112厘米，横39.1厘米",[42,264],{"id":16037,"slug":16038,"title":16039,"dynasty":296,"author":3038,"museum":561,"description":3294,"tags":16040,"thumbUrl":16041,"material":40,"size":3298,"collection":70,"collections":16042,"showCount":15771,"zanCount":46,"manualWeight":46,"mainColor":47},220131,"mo-gu-shan-shui-hua-4-wang-hui-220131","摹古山水画4",[23,24,25,11329,28,27,36,29,30,31,32,34,7,97,316,6540],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f39feb4bfd7c05be91065cc43167d1a.jpg",[],{"id":16044,"slug":16045,"title":16046,"dynasty":296,"author":3038,"museum":561,"description":3294,"tags":16047,"thumbUrl":16048,"material":40,"size":3298,"collection":70,"collections":16049,"showCount":15771,"zanCount":46,"manualWeight":46,"mainColor":47},220130,"mo-gu-shan-shui-hua-5-wang-hui-220130","摹古山水画5",[23,24,11329,28,29,36,30,31,215,242,96,7,58,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F007cf6e6237657652062701099155b76.jpg",[],{"id":16051,"slug":16052,"title":16053,"dynasty":296,"author":3038,"museum":597,"description":12006,"tags":16054,"thumbUrl":16056,"material":116,"size":16057,"collection":42,"collections":16058,"showCount":15771,"zanCount":46,"manualWeight":46,"mainColor":47},219913,"su-yu-xiao-yan-tu-wang-hui-219913","宿雨晓烟图",[24,25,27,29,36,112,133,7,9719,16055,6814,5008,158,1066,136],"传统山水画技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff62056f5499481d2ef5d82d187387f38.jpg","48.8x33.5cm",[42],{"id":16060,"slug":16061,"title":16062,"dynasty":78,"author":1427,"museum":53,"description":16063,"tags":16064,"thumbUrl":16065,"material":84,"size":70,"collection":42,"collections":16066,"showCount":15771,"zanCount":46,"manualWeight":46,"mainColor":47},218781,"tao-sheng-song-yun-tu-qian-xuan-218781","涛声松韵图","松枝盘曲如篆，墨色苍润间见清劲；流泉漱石，涛声似可闻于纸上。山石以细劲线条勾廓，皴染相济显丘壑层次；松针挺劲如钉，笔笔含力，透出苍然生机。浅赭设色温润，衬得山林幽寂。天际孤鸟轻掠，为静景添丝灵动，更衬天地空阔。整幅画不重繁复布景，却以简淡之笔营造“天人合一”的清旷意境，藏着文人对自然的深情与尘外之境的向往。笔墨间漾着宋元之际文人的散淡襟怀，不追形似而重神韵，观之如置身林泉，心随松涛泉响，渐入澄明之境。",[23,24,1900,28,36,29,427,31,201,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2f58b1ae6d25b570dc4eefb629ed142.jpg",[42],{"id":16068,"slug":16069,"title":16070,"dynasty":296,"author":436,"museum":108,"description":16071,"tags":16072,"thumbUrl":16073,"material":601,"size":16074,"collection":42,"collections":16075,"showCount":15771,"zanCount":46,"manualWeight":46,"mainColor":149},217868,"wan-ya-gui-chao-tu-yi-ming-217868","万鸦归巢图","万鸦归巢图被认为是一件杰出的艺术品，它的画面表现力极强，能够很好地展现出乌鸦的自然姿态和生动的情感。画中的乌鸦们振翅高飞，翅膀展开，看起来十分活泼，而背景中的巢穴更是精致入微，画家用极为细腻的笔法勾勒出了巢穴的细节，使得画面更加逼真。\n\n此外，画家还运用了鲜艳的颜色，使得整幅画面更加生动。画中的乌鸦们以黑色为主色调，但是画家运用了不同的色彩，让乌鸦看起来更加丰富。而背景中的巢穴则用了深蓝色来表现，与乌鸦的黑色形成鲜明的对比。\n\n总的来说，万鸦归巢图是一幅充满生机和艺术气息的画作，画家通过精湛的绘画技巧和运用色彩的巧妙，将乌鸦的自然姿态和生动的情感展现得淋漓尽致。",[24,28,95,56,201,96,7,31,3843,29,62,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae1b19db856e2814e964798fc097cea7.jpg","156.7x67.3cm",[42],{"id":16077,"slug":16078,"title":16079,"dynasty":296,"author":6220,"museum":53,"description":16080,"tags":16081,"thumbUrl":16082,"material":40,"size":16083,"collection":289,"collections":16084,"showCount":15771,"zanCount":46,"manualWeight":46,"mainColor":47},216976,"hao-liang-tu-jin-ting-biao-216976","濠梁图","庄子和惠施在濠梁上游泳时，看到一只白麋鹿的小鬼在平静地游泳，就讨论是否知道鱼的乐趣。",[24,28,56,36,58,29,31,112,7,364,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F191f0402066ce0f5d7d6c21fe12d46c9.jpg","165.4x95.4",[289],{"id":16086,"slug":16087,"title":16088,"dynasty":18,"author":52,"museum":561,"description":10537,"tags":16089,"thumbUrl":16090,"material":84,"size":70,"collection":70,"collections":16091,"showCount":15771,"zanCount":46,"manualWeight":46,"mainColor":149},216275,"er-shi-si-xiao-tu-16-chou-ying-216275","二十四孝图-16",[24,25,28,56,58,2241,1396,29,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F927b2853b94fe72995de2827e9add8b4.jpg",[],{"id":16093,"slug":16094,"title":16095,"dynasty":78,"author":79,"museum":561,"description":16096,"tags":16097,"thumbUrl":16098,"material":217,"size":660,"collection":70,"collections":16099,"showCount":16100,"zanCount":46,"manualWeight":46,"mainColor":149},290828,"yan-he-you-ju-tu-zhou-huang-gong-wang-290828","岩壑幽居图轴","此作构图与《层岩曲涧》雷同，然更显狭长，并简省许多细节。其画风受正统派影响似不强烈，反有以类沈周风格重组原作之感，推测亦为明末清初时的临仿之作。",[24,95,951,27,36,7,1066,349,1476],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ad0c66dcfa047dafcfc3525eaeea6bf.jpg",[],26,{"id":1610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山谷中松林茂密，清溪流淌，隐露楼观，境界清幽，鲜明地表现了世外仙境。画幅右上楷书“洞天山堂” 四宇， 点明了全画主题。诗堂有王铎跋语：“神理气韵，古秀灵通，入于口微，董源此图，当属玄化，丙戌端阳后二日题于琅华馆。”故此遂被定为董源手笔。然此图笔墨苍劲，景色茂密，云朵以白粉染绘，与董源之淡墨轻岚颇不相类，更近于1 2世纪后之山水画风貌，按金代很多山水画承袭董、巨而有所变化，故拟此画为金代之作似更为恰当。",[200,24,25,95,27,36,29,60,30,427,133,7,33,31,82,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7328b7152d7bab59353adc48e47affbb.jpg","183.2x121.2",[],{"id":16117,"slug":16118,"title":16119,"dynasty":124,"author":197,"museum":561,"description":10072,"tags":16120,"thumbUrl":16121,"material":217,"size":660,"collection":70,"collections":16122,"showCount":16100,"zanCount":46,"manualWeight":46,"mainColor":663},288427,"ji-liu-tu-xia-gui-288427","激流图",[200,24,27,951,36,7,427,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51dcb4372ba2ed4ad1e0add3806dd667.jpg",[],{"id":16124,"slug":16125,"title":16126,"dynasty":18,"author":52,"museum":561,"description":10203,"tags":16127,"thumbUrl":16129,"material":217,"size":660,"collection":70,"collections":16130,"showCount":16100,"zanCount":11,"manualWeight":46,"mainColor":47},287637,"lin-guan-xiu-bai-miao-luo-han-tu-juan-nian-ban-chou-ying-287637","临贯休白描罗汉图卷(年版)",[23,24,26,712,27,784,9395,16128,186,2241,7,37,82],"佛教人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96f0756cfbb86969cca76cc0ca73962d.jpg",[],{"id":16132,"slug":16133,"title":16134,"dynasty":296,"author":8879,"museum":561,"description":16135,"tags":16136,"thumbUrl":16138,"material":70,"size":70,"collection":70,"collections":16139,"showCount":16100,"zanCount":46,"manualWeight":46,"mainColor":47},239213,"you-you-lu-ming-tu-zhou-lu-hui-239213","呦呦鹿鸣图轴","此作以工写兼济之法绘就，卧鹿为画面主体，鹿角挺拔，皮毛晕染细腻，斑点疏密自然，姿态娴静悠然，尽显鹿的温驯灵秀。配景中虬曲古藤悬垂淡紫花串，笔意苍劲写意；奇石皴法朴拙厚重，下方溪涧涓涓，衬出山野静幽氛围。设色清雅柔和，淡彩晕染间诗意盎然，呼应主题悠然意境，尽显海派兼容并蓄的创作特色，将山野生机与雅致意趣相融，古韵悠然。",[200,24,95,28,56,36,4949,1396,7,34,1746,31,16137,2697],"紫藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43fd5674ee1a1fb40a59d9cab601e009.jpg",[],{"id":16141,"slug":16142,"title":16143,"dynasty":296,"author":16144,"museum":360,"description":16145,"tags":16146,"thumbUrl":16147,"material":70,"size":70,"collection":42,"collections":16148,"showCount":16100,"zanCount":46,"manualWeight":46,"mainColor":250},238132,"xi-qiao-ce-zhang-tu-zhou-wang-bing-238132","溪桥策杖图轴","王炳","王炳 (1880—1950) 字谢陈，山东滨州市沾化区王见南村人。1902年（光绪二十八年）考入山东大学堂，以后加入同盟会。1906年（光绪三十二年）冬，创立棣州公学，首任公学监督（后改称校长）。",[24,25,95,28,29,36,30,31,34,7,58,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb780e944bf063bdc83fbd0b5d1c21d83.jpg",[42,264],{"id":16150,"slug":16151,"title":16152,"dynasty":296,"author":3437,"museum":561,"description":13621,"tags":16153,"thumbUrl":16154,"material":217,"size":660,"collection":70,"collections":16155,"showCount":16100,"zanCount":11,"manualWeight":46,"mainColor":47},237648,"fang-zhao-da-nian-shan-shui-zhou-wu-li-237648","仿赵大年山水轴",[24,25,95,28,29,186,32,96,35,34,9970,7,2490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dec9a200d263bb4b383e2b08b8dd157.jpg",[],{"id":16157,"slug":16158,"title":16159,"dynasty":296,"author":3038,"museum":509,"description":16160,"tags":16161,"thumbUrl":16162,"material":1467,"size":16163,"collection":42,"collections":16164,"showCount":16100,"zanCount":46,"manualWeight":46,"mainColor":47},237388,"fang-gao-ke-gong-yun-shan-zhou-wang-hui-237388","仿高克恭云山轴","此图学元代高克恭画风，画幅左上角作者署款：「庚辰清和广陵舟次，仿高房山笔。麓台祁。」款前印：「古期斋」（朱长方），款后印：「原祁茂京」（白朱方）。另有收藏印章六方。",[24,27,36,186,95,82,29,3420,7,34,30,31,32,33,133,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F356e1b3850289f759a8da25a23f6e2cc.jpg","99×47.2cm",[42],{"id":16166,"slug":16167,"title":16168,"dynasty":296,"author":16169,"museum":360,"description":12380,"tags":16170,"thumbUrl":16171,"material":246,"size":12383,"collection":42,"collections":16172,"showCount":16100,"zanCount":46,"manualWeight":46,"mainColor":250},237239,"yun-shan-qing-zhi-tu-zhou-wang-gai-237239","云山清峙图轴","王概",[24,25,95,27,28,29,427,242,33,31,7,133,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4163719da424fc23033d449dcac4cfde.jpg",[42],{"id":16174,"slug":16175,"title":5215,"dynasty":18,"author":9525,"museum":360,"description":16176,"tags":16177,"thumbUrl":16178,"material":70,"size":70,"collection":42,"collections":16179,"showCount":16100,"zanCount":46,"manualWeight":46,"mainColor":149},236913,"guan-mei-tu-zhou-ding-yun-peng-236913","丁云鹏是中国明代画家，于1547年出生，字南羽，号圣华居士，安徽休宁人。",[24,25,95,27,56,36,29,390,58,96,452,7,34,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef431a10e57a656e762c4ca85d7e8da6.jpg",[42,146],{"id":16181,"slug":16182,"title":16183,"dynasty":296,"author":16184,"museum":360,"description":16185,"tags":16186,"thumbUrl":16188,"material":454,"size":16189,"collection":70,"collections":16190,"showCount":16100,"zanCount":11,"manualWeight":46,"mainColor":250},236138,"li-chao-xian-hou-gu-shi-tu-jiao-bing-zhen-236138","历朝贤后故事图","焦秉贞","历史故事是清代宫廷绘画中的重要题材之一。此套图册题材取自历代有良好德行的皇后、太后的故事，人物包括西周文王之母太任、西周武王之母太姒、东汉明帝明德马皇后、东汉和帝和熹邓皇后、北宋仁宗慈圣曹皇后、北宋英宗宣仁高皇后、明仁宗诚孝张皇后。她们在身为皇后或太后期间，有的勤俭仁厚、贤淑孝顺，有的不问政事、不佞外戚。画家绘此画册就是借她们的懿德来宣传封建的伦理纲常，给宫廷里的妃嫔们树立行为楷模。在12开的册页中，所绘仕女形象柔弱，设色浓艳，富有装饰性。图上建筑物的绘制采用欧洲焦点透视的方法，有别于中国的传统界画。每开对题是由梁诗正书写的弘历在皇子时期所作的诗句，记录了这些皇后、太后的事迹和对她们的评价。",[24,56,28,57,58,272,391,7,187,1129,16187],"柱子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2281cc1533ed68f4f0470adea60d8e21.jpg","纵30.8厘米，横37.4厘米",[],{"id":16192,"slug":16193,"title":16194,"dynasty":296,"author":3038,"museum":561,"description":16195,"tags":16196,"thumbUrl":16197,"material":70,"size":70,"collection":70,"collections":16198,"showCount":16100,"zanCount":46,"manualWeight":46,"mainColor":47},235856,"shan-yuan-jia-qu-zhou-wang-hui-235856","山园佳趣轴","《王翚山园佳趣》是清代诗人弘历创作的一首七言绝句。\n仙馆洞房绿荫稠，隔溪书屋更清幽。\n高人挈杖闲来往，流水行云意不留。\n弘历， 即爱新觉罗·弘历。\n清朝皇帝。\n世宗第四子。\n雍正十一年封和硕宝亲王。\n十三年八月嗣位，次年改元乾隆。\n即位后驱逐在内廷行走之僧道；释放被幽禁之允(胤)禵等，恢复允(胤)禵等宗室身份；又将宗室诸王所属旗人，均改为“公中佐领”，即归皇帝掌握。\n对汉族知识分子，采用笼络与惩罚并行手段，既于乾隆元年开博学鸿词科，三十八年开《四库全书》馆；又大兴文字狱，前后大案不下数十起，并借修书之便，销毁或窜改大量书籍。\n对西北方面，平定准噶尔部，消灭大小和卓木势力，解决康、雍以来遗留问题。\n在位时六次南巡，多次进行镇压土司叛乱、农民起事战争，耗费大量钱财。\n晚年任用和珅，吏治腐败；陶醉于“十全武功”，自称十全老人，对敢于指斥时弊之官吏，常严加斥责。\n同时，对各省亏空严重、督抚多不洁身自爱之状，知之甚详。\n五十八年，接见英国特使马嘎尔尼，拒绝英国所提出之侵略性要求，然并未引起任何警惕之心。\n六十年，宣布明年禅位皇十五子颙琰。\n次年正月，举行授受大典，自称太上皇帝，仍掌实权。\n在位六十年。\n谥纯皇帝。",[24,25,95,27,29,36,33,391,112,30,82,578,7,132,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c84613f5fdccf3f412dbdbbae14912d.jpg",[],{"id":16200,"slug":16201,"title":16202,"dynasty":18,"author":436,"museum":20,"description":16203,"tags":16204,"thumbUrl":16205,"material":70,"size":70,"collection":70,"collections":16206,"showCount":16100,"zanCount":46,"manualWeight":46,"mainColor":149},234930,"xie-shi-chen-xia-shan-fei-pu-tu-zhou-yi-ming-234930","谢时臣夏山飞瀑图轴","谢时臣（1487-1567），明代画家。字思忠，号樗仙。吴（今江苏苏州）人。工书法，长于隶书。擅山水，师法吴镇、沈周，稍作变化，作品多构为长卷巨幛，以善画水著称，江河湖海，无不精好。又作山峦重叠，高耸险峻，笔墨或细密苍劲，或劲健沉郁，或纵横纷披，富有变化。有《杜陵诗意图》、《溪山揽胜图》、《策杖寻幽图》、《武当霁雪图》、《谪仙玩月图》等传世。\n谢时臣(公元1488-1567年尚在)，字思忠，号樗仙，吴人，专长画山水，画史称他师法梅道人，学沈石田稍变其意。多作屏障大幅，构图雄伟严密，气势纵横，从作品看，画风近于戴进与吴派的沈周之间。传世作品有《虎阜春晴图》(辽宁省博物馆藏)、《江山胜览图》卷、《夏山飞瀑图》(上海博物馆藏)、《杜陵诗意图册》(现藏故宫博物院)、《武当霁雪图》大轴(现藏山东省博物馆)等。上海博物馆藏有谢氏水墨花卉册，作于嘉靖廿三年(1544)，颇有风致，惟传世不多。",[24,27,36,95,29,130,7,34,133,58,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5022b1e88d93f3e65c907903f6e5ddfc.jpg",[],{"id":16208,"slug":16209,"title":16210,"dynasty":296,"author":870,"museum":360,"description":16211,"tags":16212,"thumbUrl":16213,"material":16214,"size":16215,"collection":70,"collections":16216,"showCount":16100,"zanCount":46,"manualWeight":46,"mainColor":47},234053,"yuan-ji-shan-shui-shan-shi-tao-234053","原济山水扇","石涛（1642年－1708年），清初画家。本姓朱，名若极，小字阿长，削发为僧后，更名元济、超济、原济，自称苦瓜和尚。游南京时，得长竿一枝，因号枝下叟，别署阿长，钝根，山乘客、济山僧、石道人、一枝阁。他的别号很多，还有大涤子、清湘遗人、清湘陈人、靖江后人、清湘老人、晚号瞎尊者、零丁老人等。与弘仁、髡残、朱耷合称“清初四僧”。\n其擅花果兰竹，兼工人物，尤善山水，常体察自然景物，主张“笔墨当随时代”，画山水者应“脱胎于山川”，“搜尽奇峰打草稿”，进而“法自我立”。所画的山水、兰竹、花果、人物，讲求新格，构图善于变化，笔墨恣肆，意境苍莽新奇，一反当时仿古之风。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、折扇扇面；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。",[24,1900,27,36,29,7,34,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2219facf2cfab380a36a40003b932061.jpg","金笺 ，设色","纵17.6cm，横50.7cm",[],{"id":16218,"slug":16219,"title":16220,"dynasty":18,"author":16221,"museum":360,"description":16222,"tags":16223,"thumbUrl":16224,"material":3086,"size":16225,"collection":70,"collections":16226,"showCount":16100,"zanCount":46,"manualWeight":46,"mainColor":149},233743,"xue-ye-fang-pu-tu-zhou-liu-jun-233743","雪夜访普图轴","刘俊","此图描写宋太祖赵匡胤雪夜访赵普的历史故事。据《宋史·赵普本传》记载：“太祖数微行过功臣家，普每退朝，不敢便衣冠。一日，大雪问夜，普意帝不出。久之，闻叩门声，普亟出，帝立风雪中，普惶惧迎拜，帝曰：‘已约晋王矣。'已而太宗至，设重裀地坐堂中，炽炭烧肉，普妻行酒，帝以嫂呼之。因与普计下太原。”画面描绘的正是这一历史情景。在门庭宽敞、屋宇数重的枢密副史府内，前厅正中二人围炉而坐。上首坐的是宋太祖赵匡胤，他头扎巾帽，身穿盘领窄袖袍服，腰束锦带，身材魁伟，气度不凡，其庄严的表情，侧首聆听的姿态，恰当地表现了深夜访贤、商议国家大事的仪态和心境。身着便服的枢密副史赵普在下首侧坐，恭谦地侃侃而谈，细致地刻画出了他诚恳献策的谋臣风度。画家在着意刻画主体人物的同时，对景象做了细致的描写。近岩远山，老树昏鸦，均被夜色笼罩着，竹叶、树枝、屋脊上覆盖着皑皑白雪，天气显然很寒冷。为突出赵匡胤的天子身份，在大门外象征性地画有四个侍卫，他们似乎守候已久。这些细微的描绘，深化了雪夜访贤的主题。\n此画构图主次分明，主题突出，人物刻画精细生动，屋宇、什物结构精确，线条工整。山石树木的勾斫皴擦，既保持了宋人画的劲健之笔，又呈疏简之势，反映了明代院体画所呈现的变化。",[18,56,28,57,58,60,242,537,61,7,29,7851],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81f47baeede3a2d6d5c1ecf52f831c21.jpg","纵143.2厘米，横75厘米",[],{"id":16228,"slug":16229,"title":16230,"dynasty":296,"author":2948,"museum":360,"description":16231,"tags":16232,"thumbUrl":16234,"material":8144,"size":16235,"collection":70,"collections":16236,"showCount":16100,"zanCount":11,"manualWeight":46,"mainColor":47},233703,"gu-cha-duan-di-tu-zhou-hong-ren-233703","古槎短荻图轴","此图纸本，墨笔。绘香士陈应颀居所，具有写实意味，简陋的书舍与陈设衬托出主人品性的孤高，书屋内寂静无人，内设几案龛灯，屋前两株古树相对而立，叶落待尽、寒枝舒展，所以给人以萧条纯净之感。拾级而下一弯小溪蜿蜒流淌汇集成塘，周围环绕着高低错落的岩石，溪水宁静无澜犹如主人不逐名利的平淡心境。右边短荻丛生，清润可爱，为幽居的高士生活增添了几许生气。前景潭环石抱，潭边的岩石用方折的线条空勾，几无皴染，为弘仁典型的几何形体画法，潭水用大片的留白来表达，不擦一笔。整幅画墨色枯淡，用笔简疏，意境淡远，虚静、空灵之境油然而生。",[24,27,712,36,95,29,242,16233,35,7,1140],"短荻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8f27cfcac2aa374ca7abeb7343608a1.jpg","纵61.9cm，横35.3cm",[],{"id":16238,"slug":16239,"title":16240,"dynasty":78,"author":107,"museum":561,"description":16241,"tags":16242,"thumbUrl":16243,"material":70,"size":70,"collection":70,"collections":16244,"showCount":16100,"zanCount":46,"manualWeight":46,"mainColor":47},232634,"shan-shui-tu-xin-yu-liang-quan-wang-meng-232634","山水图(新雨凉泉)","王蒙能诗文，工书法。尤擅画山水，得外祖赵孟頫法，以董源、巨然为宗而自成面目。写景稠密，布局多重山复水，善用解索皴和渴墨苔点，表现林峦郁茂苍茫的气氛。山水之外，兼能人物。所作对明、清山水画影响甚大，仅次于黄公望，后人将其与黄公望、吴镇、倪瓒合称为“元四家”。对明清及近代山水画影响甚大。\n王蒙创造的“水晕墨章”，丰富了民族绘画的表现技法。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”。传世的代表作《青卞隐居图》、《春山读书图》，上海博物馆藏；《葛稚川移居图》《夏日山居图》，北京故宫博物院藏；《秋山草堂图》，台北故宫博物院藏。代表作品还有《湘江烟雨图》《深林叠嶂图》等。诗文、史学亦精。今存诗集《草堂雅集》。",[24,25,95,27,36,29,7,34,31,159,258,97,242,364],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85e0e1523a4b570966cee5ed7f642fa5.jpg",[],{"id":16246,"slug":16247,"title":12653,"dynasty":124,"author":125,"museum":53,"description":16248,"tags":16249,"thumbUrl":16250,"material":142,"size":16251,"collection":70,"collections":16252,"showCount":16100,"zanCount":46,"manualWeight":46,"mainColor":149},231421,"qiu-lin-fei-pu-tu-fan-kuan-231421","《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。",[23,24,25,29,95,36,28,952,3630,7,34,130,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b24fd762e626521ef15ffbc5f9044be.jpg","纵：181厘米，横：99.5厘米",[],{"id":16254,"slug":16255,"title":399,"dynasty":296,"author":400,"museum":561,"description":16256,"tags":16257,"thumbUrl":16258,"material":70,"size":70,"collection":70,"collections":16259,"showCount":16100,"zanCount":11,"manualWeight":46,"mainColor":149},230995,"xiu-yuan-tu-wang-yun-230995","此作以工秀笔触绘就江南私园雅景，亭台临波而起，游廊蜿蜒衔连。水面凫鸭悠游，玲珑湖石与扶苏花木错落排布，晕染出雅致悠然的园居氛围。\n\n堂上主人凭案安坐，侍童侧立随侍，月台、游廊之上仕女游赏低语，将文人日常的闲雅意趣铺陈开来。设色清隽淡雅，界画工整流利，树石皴染兼具质感与文趣，把私园的幽致与园居的松弛心境相融，尽显古典园林绘卷的诗意闲情。",[24,25,28,56,57,58,60,8519,34,2011,30,736,2861,61,7,187,3323],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46c4696b9a08d524f77b20f5a6383d28.jpg",[],{"id":16261,"slug":16262,"title":16263,"dynasty":296,"author":297,"museum":561,"description":16264,"tags":16265,"thumbUrl":16266,"material":70,"size":70,"collection":70,"collections":16267,"showCount":16100,"zanCount":46,"manualWeight":46,"mainColor":47},230269,"lin-gu-shan-shui-ye-zhu-da-230269","临古山水页","此作笔意简淡老辣，枯笔淡墨皴擦奇崛山石，嶙峋崖壁孤傲出尘，虬曲枯木萧疏错落，满纸萧寒荒寂之气。留白肆意铺陈，以少胜多勾勒出幽僻空蒙的山水秘境。\n\n错落题字与山水相映，书画浑然相融。极简笔墨间藏着沉郁清冷的心境，将身世沧桑寄寓荒寒山林，冷逸空灵的意境直抵观者心底，于简淡中尽显极强笔墨张力，尽显疏淡孤傲的独特意趣。",[23,24,27,186,36,82,37,38,111,29,242,7],"https:\u002F\u002Foss.chuangqi.store\u0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， (1592-168)，明末清初画家。\n字逊之，号烟客、西庐老人等。\n江苏太仓人。\n王锡爵孙。\n出身明代官宦之家，崇桢初年曾任太常寺卿，所以也被称为“王奉常”。\n寄情诗文书画，家藏历代法书名画甚多，反复观摩，并曾得到董其昌等人的指点。\n擅山水，专师黄公望，笔墨含蓄，苍润松秀，浑厚清逸，然构图较少变化。\n其画在清代影响极大，王翚、吴历及其孙王原祁均得其亲授。\n与王鉴、王翚、王原祁并称四王，外加恽寿平、吴历合称“清六家”。\n开创了山水画的“娄东派”，居清初画家“四王”之首。",[23,24,25,95,27,36,29,60,34,7,130,35,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2852667eb07d849f77f2b9ab7916caaf.jpg",[],{"id":16357,"slug":16358,"title":15031,"dynasty":296,"author":16359,"museum":561,"description":16360,"tags":16361,"thumbUrl":16362,"material":70,"size":70,"collection":70,"collections":16363,"showCount":16100,"zanCount":11,"manualWeight":46,"mainColor":149},224344,"xiao-pin-1-qiao-gu-224344","樵谷","此作为绢本设色仙山图景，画面分上下两段铺陈。上方松下仙岛，长髯高士安坐，侍童持如意随侍，丹顶鹤啄衔芝草，意态闲和疏朗。下方仙鹿曳车，车载灵卉仙酿，海雾裹挟红鲤翻涌而出，恍若灵气蒸腾。\n\n笔墨细劲清逸，设色古雅沉静，人物刻画悠然恬淡，瑞兽仙禽生动传神。布景疏密相宜，晕染出道家虚缈出尘的仙境氛围，藏纳福寿绵长的吉祥意趣，尽显传统仙道题材的雅致意韵。",[23,24,25,95,28,56,58,215,488,4495,427,7,883,3796],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff7ab3700c076272c9bf608fb083bfbf.jpg",[],{"id":16365,"slug":16366,"title":3396,"dynasty":296,"author":7129,"museum":53,"description":16367,"tags":16368,"thumbUrl":16369,"material":229,"size":16370,"collection":42,"collections":16371,"showCount":16100,"zanCount":46,"manualWeight":46,"mainColor":47},224265,"hua-shan-shui-zhou-zhang-zong-cang-224265","《石渠宝笈》所录画作数量，张宗苍名列第一，其上多有乾隆皇帝题诗。此作原本贴于品茗茶舍「试泉悦性山房」壁上。乾隆皇帝认为其画风清峻，可与元代倪瓒和黄公望的作品相匹敌，幅上多则乾隆皇帝御题，其中更提到过去观看张宗苍作画的回忆，并在拳石留白处书一「神」字，显示对此作的高度评价。",[24,25,95,27,36,37,82,29,7,34,132,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0364f6d1ae9eda5d1b76368b4cb7d3ba.jpg","138.1x64.3",[42],{"id":16373,"slug":16374,"title":16375,"dynasty":124,"author":436,"museum":53,"description":16376,"tags":16377,"thumbUrl":16378,"material":68,"size":16379,"collection":42,"collections":16380,"showCount":16100,"zanCount":46,"manualWeight":46,"mainColor":149},223446,"han-lin-lou-guan-yi-ming-223446","寒林楼观","表现冬日雪后树木萧瑟的景致，整幅作品设色淡雅，意境深幽，颇传宋人神韵。",[23,24,57,28,56,29,60,96,452,7,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce11376d9ed52e44ecd59d7ed80b572b.jpg","纵145cm，横88cm",[42,146],{"id":16382,"slug":16383,"title":16384,"dynasty":296,"author":2706,"museum":53,"description":10417,"tags":16385,"thumbUrl":16386,"material":10646,"size":16387,"collection":42,"collections":16388,"showCount":16100,"zanCount":46,"manualWeight":46,"mainColor":47},223122,"shuang-lin-xiao-si-tu-zhou-dong-bang-da-223122","霜林萧寺图轴",[23,24,95,28,36,29,7,34,3229,30,31,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02e95f112757ec9a532d663ea2c1066f.jpg","79.1x36.8",[42,146],{"id":16390,"slug":16391,"title":16392,"dynasty":296,"author":8516,"museum":401,"description":8517,"tags":16393,"thumbUrl":16395,"material":142,"size":8522,"collection":70,"collections":16396,"showCount":16100,"zanCount":46,"manualWeight":46,"mainColor":149},223047,"hong-lou-meng-172-sun-wen-223047","红楼梦172",[23,24,56,28,58,59,60,391,302,7,61,4938,34,16394,8317],"黄叶树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaeed6a2f207bfa4c0ff0e2a88140b8b.jpg",[],{"id":16398,"slug":16399,"title":16400,"dynasty":296,"author":8516,"museum":401,"description":8517,"tags":16401,"thumbUrl":16402,"material":142,"size":8522,"collection":70,"collections":16403,"showCount":16100,"zanCount":46,"manualWeight":46,"mainColor":47},222956,"hong-lou-meng-81-sun-wen-222956","红楼梦81",[23,200,24,25,56,28,565,60,58,539,2011,4502,6165,34,64,114,187,61,16021,415,7,4936,14188,8050],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feac0e81cb3119ae54f2e3390d79b514f.jpg",[],{"id":16405,"slug":16406,"title":16407,"dynasty":18,"author":238,"museum":239,"description":11687,"tags":16408,"thumbUrl":16409,"material":673,"size":16410,"collection":70,"collections":16411,"showCount":16100,"zanCount":11,"manualWeight":46,"mainColor":149},222594,"jiang-gao-fei-xue-tu-li-zhou-lan-ying-222594","江皋飞雪图立轴",[23,24,25,95,29,28,36,427,242,7,1081,58,612,114,538],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e6635bdf6b12960c4fed02b92366856.jpg","148cmx46cm",[],{"id":16413,"slug":16414,"title":16415,"dynasty":124,"author":5576,"museum":1043,"description":16416,"tags":16417,"thumbUrl":16418,"material":142,"size":16419,"collection":144,"collections":16420,"showCount":16100,"zanCount":11,"manualWeight":46,"mainColor":47},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。",[23,200,24,25,26,27,28,36,29,1837,3229,34,7,133,158,452,96,364,31,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb3bb3f7fd9c75615971c67aad3349df.jpg","32.5x321",[144,42,146],{"id":16422,"slug":16423,"title":16424,"dynasty":18,"author":6896,"museum":2286,"description":16425,"tags":16426,"thumbUrl":16428,"material":3297,"size":16429,"collection":70,"collections":16430,"showCount":16100,"zanCount":46,"manualWeight":46,"mainColor":70},220736,"yan-jiang-die-zhang-tu-hua-xin-you-wen-bo-ren-220736","烟江叠嶂图画心右","此作用笔清隽秀雅，以平远之境铺展烟江盛景。左侧峰峦层叠，苍木氤氲在烟岚之中，山石皴擦简淡却见苍劲；右侧江岸怪石嶙峋，棕榈摇曳生姿，野意盎然。\n\n浩渺江面之上，帆影错落穿梭，岛屿隐现于烟波之间，云雾晕染柔化了山水边界，虚实相生间尽显江南烟水的朦胧柔婉。笔墨晕染柔和清润，将水雾空濛的氛围感尽数铺陈，把观者带入静穆又灵动的烟水天地，尽显吴门画派的写意风神，藏着文人画清雅淡远的诗意。",[23,24,25,26,27,29,36,2901,4415,7357,32,201,34,7,16427],"沙洲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F775d4d497ec1f44b4dd939d7664eb627.jpg","25.6 × 360.8厘米",[],{"id":16432,"slug":16433,"title":16434,"dynasty":18,"author":436,"museum":1137,"description":16435,"tags":16436,"thumbUrl":16437,"material":84,"size":16438,"collection":264,"collections":16439,"showCount":16100,"zanCount":46,"manualWeight":46,"mainColor":149},220352,"shan-lin-hui-you-tu-yi-ming-220352","山林会友图","这幅小品以虚实相生铺陈意境，左侧重峦叠石以石青、石绿晕染，苍松虬劲古雅，山居掩映于林麓间，笔墨苍秀雅致。右侧烟波浩渺，远山如黛隐于霭色中，汀洲屋舍朦胧悠远，以留白衬出山水空阔辽远。近景松下雅士围坐清谈，悠然会友，将山林雅集的闲适意趣娓娓道来。\n\n整体设色沉稳古雅，咫尺尺幅间兼具山水之旷远与文人雅聚的悠然，尽显雅致含蓄的山水意趣，把林下清谈的雅逸氛围融于青绿山水间，淡墨轻岚里藏着中式文人的精神栖居之所。",[24,25,1900,28,257,29,58,60,34,7,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd57379418541d43f527b09165c063b4.jpg","20.2x21.2",[264],{"id":16441,"slug":16442,"title":16443,"dynasty":78,"author":436,"museum":1137,"description":16444,"tags":16445,"thumbUrl":16446,"material":84,"size":16447,"collection":42,"collections":16448,"showCount":16100,"zanCount":46,"manualWeight":46,"mainColor":149},220049,"xue-shan-yun-lv-tu-yi-ming-220049","雪山运驴图","此作用淡墨晕染出冰封寒江与覆雪山峦，满目萧寒清寂。虬曲枯木扎根石隙，枝桠尽是冬日的荒疏萧索。空阔雪野间，一行驴队徐行缓进，为沉寂山野添上些许烟火暖意，动静相映，更衬出冬日林峦的清旷孤寒。\n\n画作以细劲线条勾勒山石林木轮廓，淡墨皴擦铺陈积雪，留白晕染巧构雪色，将北国冬雪的荒寒空灵尽数铺展，于极简取景间尽显淡远意趣，把冬日行旅的孤清况味藏入尺幅之间，引人身临其境，浸沉在这片凛凛寒意与静谧萧疏之中。",[23,200,24,25,951,28,36,860,3389,242,7,58,612],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a3496e60237064d400653f83c3b0f63.jpg","25.1 x 25.9 cm",[42],{"id":16450,"slug":16451,"title":16452,"dynasty":3017,"author":436,"museum":53,"description":16453,"tags":16454,"thumbUrl":16455,"material":142,"size":16456,"collection":42,"collections":16457,"showCount":16100,"zanCount":46,"manualWeight":46,"mainColor":149},219368,"wu-kuan-xi-shan-shu-wu-zhou-yi-ming-219368","无款溪山书屋轴","绢色沉古，墨痕淡远。近岸老木扶疏，枝干如铁，叶影婆娑间漏下天光；溪石横卧，水纹隐现，似有泠泠声在耳。中麓书屋半掩，窗内人影悄坐，或展卷，或凝思，与林泉为邻，得山水之趣。远岫层叠，云气轻飘，将天地拉得悠远。笔致工细却含野逸，皴擦点染皆见匠心，无一处不藏着对自然的敬畏与对闲居的向往。置身画前，仿佛能踏过溪石，走近书屋，与画中人共沐山风，静听溪语，忘了尘嚣。",[24,25,200,95,29,27,36,112,7,31,97,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36f9e3df3cb8b48d6cea0818948aa5a4.jpg","148.6x74.5",[42],{"id":16459,"slug":16460,"title":2487,"dynasty":124,"author":436,"museum":183,"description":16461,"tags":16462,"thumbUrl":16463,"material":84,"size":16464,"collection":42,"collections":16465,"showCount":16100,"zanCount":46,"manualWeight":46,"mainColor":47},219030,"guan-pu-tu-yi-ming-219030","一条瀑布从山涧中流下，远处的山峰在云雾中清晰可见；在岩石高原的左侧，一个有学问的人拿着杖，仰望着眼前的雄伟山峰。他听着瀑布撞击岩石的声音，看到水蔓延上升，后面跟着一个抱着琵琶的孩子。这幅画是马夏的风格，用大斧头砍的石头，笔力强劲，笔触宽阔，盖子坚硬，使石头的质地很牢固。",[24,25,1900,27,28,29,36,130,58,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2c9cc6d2677a6abf31cfae2e0748f4c.jpg","23.2x23.4",[42],{"id":16467,"slug":16468,"title":16469,"dynasty":296,"author":16470,"museum":2747,"description":16471,"tags":16472,"thumbUrl":16474,"material":601,"size":16475,"collection":42,"collections":16476,"showCount":16100,"zanCount":46,"manualWeight":46,"mainColor":149},218268,"shan-ting-dui-zuo-tu-jin-kan-218268","山亭对坐图","金侃","寒雪裹峰峦，雾霭轻缠远岫，如淡墨晕开的笺纸。岩畔山亭内，二人对坐，或谈诗或品茗？桥下冰溪暗淌，枯树老枝覆银，疏密间藏着冬日的疏朗。近坡屋舍隐于林麓，似在静待归人。笔墨清润，皴擦间见山石肌理，留白处显天地空寂。整幅画浸着清冷，却又透着文人的雅趣——于皑皑雪景里，觅得一份心之恬淡，让观者也随这山水，沉进那份寂静的安然中。",[23,24,951,27,36,837,33,30,31,34,35,58,7,439,16473,95],"传统","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f4a4c77db794fd25064cded2ea813b8.jpg","189.9x85.7cm",[42],{"id":16478,"slug":16479,"title":16480,"dynasty":124,"author":436,"museum":20,"description":16481,"tags":16482,"thumbUrl":16483,"material":84,"size":16484,"collection":42,"collections":16485,"showCount":16100,"zanCount":764,"manualWeight":46,"mainColor":149},218231,"wan-jing-tu-yi-ming-218231","晚景图","《晚景图》画夜色朦胧中的远山近丘，近景丘岭连绵，大石横卧；溪水环抱，山石以浓墨勾骨，密布山头的树叶分别以焦墨和浓墨密匝点簇。远景山头用淡墨短笔勾勒，背景全用淡墨烘染，以突出晚景主题。从此图的构图布局和笔法用墨看，是一幅综合北南宋山水画体制的佳构。",[24,25,95,27,36,29,7,34,2229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48f851ecfa2c8d3ceaa533f612b7e3b1.jpg","纵69.5厘米,横37.6厘米",[42],{"id":16487,"slug":16488,"title":16489,"dynasty":18,"author":1100,"museum":108,"description":12981,"tags":16490,"thumbUrl":16491,"material":40,"size":70,"collection":70,"collections":16492,"showCount":16100,"zanCount":11,"manualWeight":46,"mainColor":47},217016,"fang-gu-shan-shui-ce-liu-kai-5-dong-qi-chang-217016","仿古山水册六开-5",[23,24,25,111,27,29,38,82,242,7,35,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31baaa2bc3dec82af32f7ba9ddd10f36.jpg",[],{"id":16494,"slug":16495,"title":16496,"dynasty":296,"author":7604,"museum":20,"description":16497,"tags":16498,"thumbUrl":16499,"material":70,"size":70,"collection":306,"collections":16500,"showCount":16100,"zanCount":46,"manualWeight":46,"mainColor":16501},201860,"zhi-hua-mao-die-tu-zhou-gao-qi-pei-201860","指画猫蝶图轴","指墨写意间，三只猫态趣横生——两白似雪绒团簇，一黑如墨云坠地，皆昂首凝眸，追向空中翩跹的蝶影。山石以简括墨块勾皴，背景淡远空灵，衬出猫的专注神情。指画技法率意传神，猫毛以指尖扫墨，蓬松质感毕现；蝴蝶轻点，引动画面生机。整体笔墨疏朗，意境清逸，于简淡中藏妙趣，尽显写意之灵动。",[27,300,2381,62,7,1396,36,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4a260f6aba6da56d384dde77349b29d.jpg",[306],"ae9b87",{"id":16503,"slug":16504,"title":16505,"dynasty":78,"author":699,"museum":53,"description":16506,"tags":16507,"thumbUrl":16508,"material":116,"size":16509,"collection":70,"collections":16510,"showCount":16511,"zanCount":46,"manualWeight":46,"mainColor":47},290954,"zhen-song-bai-xue-xuan-tu-cao-zhi-bai-290954","贞松白雪轩图","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。",[200,24,25,95,27,29,427,242,97,30,31,7,201,37,82,612],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cc9328cd8f464761861cb541b87a36e.jpg","125.9x49.7",[],25,{"id":16513,"slug":16514,"title":16515,"dynasty":78,"author":961,"museum":561,"description":13826,"tags":16516,"thumbUrl":16517,"material":217,"size":660,"collection":70,"collections":16518,"showCount":16511,"zanCount":46,"manualWeight":46,"mainColor":47},290822,"yuan-shu-lin-yuan-shan-wu-zhen-290822","元疎林远山",[24,200,25,27,29,1777,96,7,97,36,82,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbeb34e136ba53cca7ce0b9820edabe6.jpg",[],{"id":16520,"slug":16521,"title":13359,"dynasty":18,"author":6367,"museum":561,"description":16522,"tags":16523,"thumbUrl":16527,"material":217,"size":660,"collection":70,"collections":16528,"showCount":16511,"zanCount":46,"manualWeight":46,"mainColor":149},290783,"chun-quan-xiao-yin-tu-juan-zhou-chen-290783","画面起首以裴君的草堂为中心展开，草堂轩敞明亮，陈设简洁，堂外古松盘曲。主人正伏案假寐，堂外一童子持帚清扫。其后，板桥连岸，春水潺湲，远处青山逶迤，平湖无涯。 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[清]一作颐(？-1744年)，字澹士，号南谷，别号碧岩箫史，一作碧箫外史，姓赫舍里氏，满州正黄旗人。清朝大臣、文人。内弘文院大学士希福之孙，工部尚书帅颜保之子，辅政大臣公索尼堂侄。\n侍卫入仕，后任总管内务府大臣。康熙五十二年十二月己卯，接替满笃，担任工部尚书。\n性澹泊，琴书之外专事于画。初学黄鼎，继为王原祁弟子。山水宗法元人，而独开生面，迥异时流。时有南王北赫之称。康熙五十五年（一七一六）作辋川诗意图。参见《国[清]朝画徵录、桐阴论画、读画辑略、宋元明清书画家年表》 等书。\n赫奕著有诗集《青霭山房诗集》。\n赫奕出身名门望族，是赫舍里氏家族的第六代子孙，亲族中的不乏名臣，赫奕作为内弘文院大学士希福之孙，礼部尚书帅颜保之子，在康熙年间任内务府主管，并兼任工部尚书，核定全国屯田、水利、工程、交通事项，以刚正闻名朝野。\n赫奕的绘画作为南宗正脉，在清代画坛地位崇高。但翻看有关这幅画作的“履历”足以发现它的命运多舛。在收录清朝内府藏画的《石渠宝笈》初篇中，《烟树山亭》被记录在案，画上钤盖着乾隆、嘉庆、宣统三位皇帝的“御览之宝”印章，足以说明它被几位皇帝珍视。赫奕所画的这幅《烟树山亭》以2530万元的天价拿下匡时秋拍古画专场的第一名，这含金量与康熙帝的御题字不无关系。赫奕所作《烟树山亭》上手书：“士人作画，当以草隶奇字之法为之。树如屈铁，山如画沙，脱去甜俗蹊径，乃为士气。不尔，纵俨然入格，已落画师魔界，不复可救药矣。若能解脱绳束，便是透网鳞也。”这是康熙帝亲笔御题的《临董其昌论画》。康熙帝将这段话题在赫奕的画上，正是他对这幅画的肯定与褒奖，康熙非常崇尚明代书画大家董其昌的画风，在赏过这幅《烟树山亭》，便题字称赞赫奕的这幅画颇有董其昌画作遗风。更为难得的是，和乾隆帝比，康熙从不轻易在别人的画作上留下痕迹，也就是说，能得到康熙墨宝的“他人画作”简直是凤毛麟角。据记载，虽然康熙御题字的画作不多，但赫奕一人独得数件。",[24,25,111,186,29,36,27,112,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38fc6046312eb9e183e0137504ff4f40.jpg",[42,146],{"id":16638,"slug":16639,"title":16640,"dynasty":296,"author":15886,"museum":360,"description":15887,"tags":16641,"thumbUrl":16642,"material":246,"size":15891,"collection":42,"collections":16643,"showCount":16511,"zanCount":46,"manualWeight":46,"mainColor":47},236127,"song-xi-shu-wu-tu-zhou-lu-zun-shu-236127","松溪书屋图轴",[24,25,95,27,29,36,272,31,1658,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa366e0c0db1f68c15306c566b60c3904.jpg",[42,146],{"id":16645,"slug":16646,"title":106,"dynasty":296,"author":16647,"museum":561,"description":16648,"tags":16649,"thumbUrl":16650,"material":70,"size":70,"collection":306,"collections":16651,"showCount":16511,"zanCount":46,"manualWeight":46,"mainColor":47},235323,"shan-shui-ce-wen-dian-235323","文点","此作用笔清劲简淡，近景双松虬枝舒展，扎根嶙峋石畔，旁生细草杂木，野趣悠然。白衣高士静踞溪岸，凭虚远眺，将幽居林泉的澹泊心境寄于山水间。\n画面以留白代秋水，远山以浅墨轻晕，烟岚弥漫，虚实相生间，萧疏淡远的氛围油然而生。题识小诗与景致相融，愈发衬出画面简净空灵的意趣，尽显文人画澄怀观道的雅逸格调，将观者带入这无尘烟嚣的静穆天地，共赴林泉高致之约。",[24,25,111,27,36,29,112,7,58,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b31c251154b62abd3e860a5dabf4c58.jpg",[306,42],{"id":16653,"slug":16654,"title":7977,"dynasty":296,"author":436,"museum":561,"description":16655,"tags":16656,"thumbUrl":16657,"material":70,"size":70,"collection":70,"collections":16658,"showCount":16511,"zanCount":46,"manualWeight":46,"mainColor":47},235161,"hong-ren-shan-shui-ce-yi-ming-235161","此作以极简笔墨铺陈清寂意境，枯硬淡墨勾勒石壁，冷峻苍朴，壁上古梅虬枝斜出，寥寥数笔便将孤寒疏朗之态写尽。坡前修竹亭亭玉立，清润秀雅，与古梅萧疏柔刚互衬。\n\n搭配行书题诗，笔意清逸，文心与画意相融。整体空灵冷峭，尽显新安画派简淡孤高的特质，遗世独立的禅意浸透纸面，于尺幅间勾勒出淡远宁静的天地，暗藏孤高沉郁的心境，将文人画清雅出尘的格调诠释尽致。",[24,25,111,27,29,242,1140,7,38,82,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5030c2cb2f07a2905e8001cd39c8c377.jpg",[],{"id":16660,"slug":16661,"title":16662,"dynasty":18,"author":9076,"museum":561,"description":16663,"tags":16664,"thumbUrl":16665,"material":70,"size":70,"collection":70,"collections":16666,"showCount":16511,"zanCount":46,"manualWeight":46,"mainColor":47},235088,"ren-wu-tu-zhou-you-qiu-235088","人物图轴","此作用白描绘就林泉雅集，古木流云之下，蕉石映带，流淙婉转。居中高士端坐抚琴，眉宇端凝，指尖落处似有清籁漫溢；左右二人或支颐沉听、或侧身倾神，尽皆沉醉在泠泠弦歌之中。下方童子躬身临流，正掬取清涧活水，一派安然恬和。\n线条挺秀匀净，衣袂宛转灵动，将人物情态刻画入微，草木泉石晕染清浅淡远，尽得吴门雅韵，把文人林下忘机的风流襟怀铺陈开来，笔墨简淡却意蕴悠长，尽显雅致出尘的林下意趣。",[24,95,27,712,56,58,302,7,31,34,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a50788ae659eef5e08be9d901d33ca7.jpg",[],{"id":16668,"slug":16669,"title":1875,"dynasty":296,"author":870,"museum":360,"description":1876,"tags":16670,"thumbUrl":16671,"material":229,"size":1879,"collection":70,"collections":16672,"showCount":16511,"zanCount":46,"manualWeight":46,"mainColor":47},233130,"yuan-ji-shan-shui-ce-shi-tao-233130",[24,25,111,27,28,36,29,7,34,35,364,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c90f5b10c8750c2a37695ac1a3187d5.jpg",[],{"id":16674,"slug":16675,"title":16676,"dynasty":18,"author":436,"museum":561,"description":16677,"tags":16678,"thumbUrl":16681,"material":70,"size":16682,"collection":70,"collections":16683,"showCount":16511,"zanCount":46,"manualWeight":46,"mainColor":149},232908,"fang-hui-zong-cha-hua-ge-niao-tu-yi-ming-232908","仿徽宗茶花鸽鸟图","中国茶花画历千年而不衰，名家辈出，流派风格纷纭，成为中华民族传统艺术瑰宝之一，屹立于世界美术之林。古往今来的画家以茶花为题作画，表现它的千姿百态，笔情墨韵。众多茶花画向我们展示了风云迭起的美的历程，给人以酣畅淋漓的美的享受和奋发向上的民族精神的感召。\n唐代茶花画的形成和发展具有深刻的社会历史背景。\n其一，从茶花栽培史看，三国时代至隋代，茶花已经从野生状态发展到人工栽培，成为观赏花卉；及至唐代，中国主要茶花产区的人工栽培已经普及，并出现了茶花品种的名称和重瓣茶花。这些茶花的物质财富必然要反映到文学艺术中来。\n其二，从社会文化看，唐代是中国长期封建社会的辉煌时代，经济繁荣，物力殷阜，宫苑私园遍于各地。茶花被视作最珍贵的花木，它与牡丹花一样，成为宫廷显贵的荣耀。在寺院里，这种具有深刻宗教色彩的曼陀罗花，受到成千上万信徒的顶礼膜拜。茶花成为盛唐文化的一个亮点。\n其三，从中国花鸟画的生存衍化来看，花鸟画历经南北朝的萌芽状态，到唐代逐渐发展成为一门独立的画科，出现一批专门的花鸟画家，其技艺亦达到精湛的水平。在这三大因素的作用和催化下，茶花题材的绘画作品应运而生。特别值得提出的是唐南诏名画《南诏画传》。在这幅唐光化二年（公元899年）由南诏画师绘就的画卷里，有两株高大的植于南诏奇王庭院圆形花坛中的山茶，画面生动精美，系典型的唐人笔法，为中国古代绘画珍品（该画卷原藏北京故宫，现在日本）。《南诏画传》中这两株高过屋檐开着大朵红色鲜花的古茶花树，是中国绘画中最早出现的山茶形象。\n此外，在唐代的花鸟画家中，晚唐的滕昌是一位具有代表性的画家。滕昌擅作花鸟草虫、蔬果，亦工书法，号称“滕书”。滕昌在居室旁栽植竹石花木，以供写生。《宣和画谱》记有滕昌茶花作品《山茶家鹩图》一幅。可以想见，画家在居室旁栽植的花木中，定然有茶花。《山茶家鹩图》当为写生之作。此传世作品后被宋徽宗藏于宫廷。滕昌的画，“笔迹轻利，傅彩鲜泽，宛有生意”。他的《山茶家鹩图》当为早期花鸟画中的茶花画代表作品。\n五代茶花画在唐人基础上迅速发展并走向成熟，至两宋，茶花画达到了兴盛时期。其主要标志有三：\n一是画院的成立和发展。这是茶花画兴盛的物质基础之一。五代西蜀、南唐正式成立画院，称“翰林图画院”，一时名画家皆归附，绘事盛极一时。至两宋，画院繁荣，尤其是在宋徽宗的倡导下，扩充画院、兴画学，画院及绘画得到空前的发展。\n二是宋代造园植树之风大盛，茶花的引种栽培发展到一个鼎盛时期。其茶花新品种之多，园艺技术水平之高，盆栽与插花艺术拓展之快，都是前所未有的。这是宋代茶花画兴盛的物质条件。\n三是茶花画领域出现以黄筌为代表的在绘画史上具有重要地位和成就的画家。五代和宋前期的花鸟画家，首推黄筌。黄筌（约903～965年）为五代西蜀画家，是五代院体画家主要代表人物。曾入西蜀画院为翰林待诏。黄筌承前启后，创黄筌画派。黄筌的“富丽画风”，适合统治者和宫庭的需要及审美趣味。所谓“黄氏富贵”，即以严谨的用笔，惟妙惟肖的形象刻画，富丽堂皇的色彩为基本特点。黄筌的茶花作品有四幅。《宣和画谱》记有三幅：《山茶鹑雀图》一幅和《山茶雪雀图》二幅，均无画迹可考。只有近代画家于非闇临黄筌《彩鸠山茶图》一幅尚存。摹本上有临宋徽宗题款：“彩鸠山茶，黄筌妙笔。”\n两宋时期的茶花画家，院体画家（即宫廷画家）主要有北宋画家崔悫、吴元瑜，南宋画家林椿、李嵩（1166～1243年）、苏汉臣、董祥（1068～？）等，其身份均为画院待诏。林椿工画花鸟翎，重布局经营，是一位卓有成就的花鸟画家，代表作有《山茶霁雪图》和《茶花鸽子图》。崔悫有《山茶图》。吴元瑜有《山茶鹩子图》。李嵩茶花代表作为《花篮图》（藏台北故宫博物院）。苏汉臣为人物画家，作品《冬日婴戏图》（现藏台北故宫博物院）是一幅以山茶为背景的人物画作。董祥茶花作品有《岁朝图》（现藏台北故宫博物院）。\n院外画家（非宫廷画家）主要有北宋画家赵昌（？～1016年）、易元吉、丘庆余等。赵昌的茶花作品有折枝茶花、二色茶花，其画作“不特取其形似，直与花传神者也”，称“写生赵昌”，名重一时。《宣和画谱》录有其茶花作品《山茶图》、《山茶竹兔图》等十幅之多，另有《四季花卉卷· 山茶》。宋代大文豪苏轼也曾为赵昌山茶图作题跋二首。易元吉的茶花作品，《宣和画谱》录有《山茶孔雀图》、《山茶戏猿图》等八幅。丘庆余的茶花作品也见诸于《宣和画谱》，有《山茶花兔图》、《湖石山茶图》等五幅。\n勾勒填彩的细密画风成为两宋茶花画的主要艺术倾向。两宋的茶花作品以精工的描绘，鲜妍的敷色著称。画家十分注意物象、物理的研究，对物写生成为一时风尚，章法严谨，笔墨精丽，技法成熟，达到炉火纯青的地步，形成这一时期茶花画的主要艺术特色。北宋的茶花画已佚，流传至今的只有南宋画家李嵩的《花篮图》（设色绢本）、宋代佚名的《山茶蝴蝶图》、《白茶花图》，从中足以窥见当时盛行画风的特色。剖析这一时期的绘画作品，可以清晰地看到，以院体画为主的细密画风始终占主导地位。此外，赵昌、易元吉的作品以写生为重。崔悫、吴元瑜的作品在继承黄筌的基础上别创一清淡疏秀之格。林椿虽为宋后期院体画家，却在继承北宋院体画细密的传统中，显示出敷色轻淡，灵活生动的特色。宋无款的《百花图卷· 茶花》画风接近于“文人画”。宋后期的董祥、赵彦敷的茶花作品已具早期文人水墨画的特征。这些作品在主体画风之外各有特色，但是茶花作品的整体艺术倾向始终是鲜明而统一的。\n五代两宋为茶花画数量最多的一个时期。五代两宋时期画茶花的有院体画家、院外画家、士大夫阶层为官者，绘茶花者甚众，呈现欣欣向荣之气势。迄今发现两宋茶花画达41幅，居各个时期茶花作品数量之首。",[23,24,200,25,26,56,28,186,62,16679,16680,201,5869,7,1373],"茶花","鸽子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F031db809757be93633780fb6452f3df0.jpg","30.1 x 206.5厘米",[],{"id":16685,"slug":16686,"title":16687,"dynasty":78,"author":7818,"museum":53,"description":16688,"tags":16689,"thumbUrl":16690,"material":142,"size":16691,"collection":70,"collections":16692,"showCount":16511,"zanCount":46,"manualWeight":46,"mainColor":149},232255,"zhu-lin-xian-zi-tu-liu-guan-dao-232255","竹林仙子图","这一张古画比较奇怪，奇怪的是故事的内容比较特殊，而且是供欣赏者来一起讨论的。作品是元代刘贯道的 《竹林仙子》，作品并不大，但如今被收藏在台北博物馆之中。\n为什么说这一张作品比较奇怪，因为画中仅仅只出现了一个古代仕女，但专家却称这一个仕女有区别当时的画中人物，准确的讲作者想要画的是自己想象中的仙女。\n700年前的一个仙女掉落竹林，古画中的她想飞却又被困住了！\n既然是仙女，为何画中的人物会被困在画里的竹林之中无法飞出去呢？这背后究竟是为什么？我们带着疑问先来看看作品的细节，一起来欣赏一下距今700多年的作品背后究竟作者想要表达什么！\n刘贯道是元代一个著名的绘画大师，而且他的绘画作品尤其是擅长于画佛道人物，所以为什么画中人物被称为仙女，这与作者的用意有直接的关系。\n当然他也能画山水、花竹、鸟兽等等。他的作品之中绘画的手法与宋朝文人雅士一样，但其画功非又比一般的画家复杂得多，而且他的存世作品非常少。\n仔细看这一张作品，其实大家可以感受到绘画作者非常的细致，每一处的景色显得非常的精妙，尤其是他笔下有着一种传统的绘画技法，透露着一种浓浓的古典风味。\n整个作品十分的雅，而且清秀的笔锋与颜料的使用都是非常特别。仔细看那一个仙女的衣服，飘逸的感觉真的很到位，就如天宫之中的仙女一模一样。但为什么这一个仙女会落到凡间的竹之中呢？\n首先有网友给出一种解释，那就是不是这一个仙女落到了凡间，而是她亲自下凡后却被凡间的某一些东西给吸引住了。作者在绘画的时候让仙女的眼神落在了地上的鲜花上面，可能是凡间的花朵吸引住了她，也可能这一些鲜花在天宫之中就没有，美女爱花这一个观点就融入到作品之中。\n仙女被仙花吸引住了，所以她独自下凡就是为了多看几眼鲜花。仙女的姿势是有向后飞的意思，衣服的飘带也是呈现一种动起来的姿态，而仙凡看着花果，估计也就是被鲜花给吸引住了。\n不得不说古人绘画的作品真的够细致，山间有竹林，而竹林之中又有少许的鲜花。一个仙女落入在凡间的树林之中，在鲜花的山间还有一些流水，这样一种诗情画意的画面真妙。\n难怪仙女不愿意离开，估计换成别人落入到如此美景之中也不会想着离开吧",[24,25,200,56,28,58,59,391,7,1373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b43f6849455cf8800987ffcf55ba5cf.jpg","70×31.4cm",[],{"id":16694,"slug":16695,"title":16696,"dynasty":296,"author":8324,"museum":561,"description":16697,"tags":16698,"thumbUrl":16699,"material":70,"size":70,"collection":70,"collections":16700,"showCount":16511,"zanCount":46,"manualWeight":46,"mainColor":47},231015,"long-tan-ting-pu-tu-mei-qing-231015","龙潭听瀑图","此作用高远式构图，以龙潭飞瀑为绝对视觉中心。危崖峭壁以灵动写意的笔墨写就，干湿皴擦并用，苍劲松活。古木虬枝斜出、繁叶层叠，朴拙的点叶技法晕染出山林深秀。\n右下角茅庐内幽人对坐，静聆瀑声喧豗，以幽居之静衬飞泉之动，动静相生尽显林泉雅意。左上题诗与画境呼应，将山川灵秀与文人隐逸襟怀相融，尽显新安画派以画为诗的清雅逸韵，把皖南山水的奇绝藏进笔墨丘壑里。",[23,24,25,95,27,36,29,130,7,34,33,31,82,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5be7c7ad00a8eb1f86f60fec81e552e6.jpg",[],{"id":16702,"slug":16703,"title":16704,"dynasty":18,"author":1100,"museum":561,"description":16705,"tags":16706,"thumbUrl":16708,"material":70,"size":70,"collection":70,"collections":16709,"showCount":16511,"zanCount":46,"manualWeight":46,"mainColor":47},230936,"yan-shu-mao-tang-tu-dong-qi-chang-230936","烟树茅堂图","此作用高远、平远之法铺展，主峰巍然耸峙，以干淡笔墨皴擦山石，尽显浑厚苍朴质感。近景坡岸间杂树错落，或虬曲苍劲，或清疏秀雅，干湿墨色互用，晕染出空濛烟岚，将山林间的氤氲之气娓娓铺陈。\n\n山谷茅堂隐现于林泉间，幽寂清宁，与题诗相映，尽显幽居不踏尘嚣的隐逸意趣。全画笔法松秀灵逸，意境萧散淡远，将文人寄情林泉的雅怀融于笔墨间，尽显南宗山水的静穆雅致。",[24,25,27,36,95,38,82,37,29,5677,16707,7,34],"茅堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59c40f19d70eb1e0f772b02e18b758c7.jpg",[],{"id":16711,"slug":16712,"title":16713,"dynasty":78,"author":436,"museum":561,"description":16714,"tags":16715,"thumbUrl":16716,"material":70,"size":70,"collection":70,"collections":16717,"showCount":16511,"zanCount":46,"manualWeight":46,"mainColor":149},230901,"gao-shi-guan-mei-tu-yi-ming-230901","高士观梅图","画面以高远之境铺展，近岸怪石层叠，古松虬曲苍劲，老梅疏枝横斜，暗孕花苞。林下高士凭石闲坐，静静凝望寒梅，意态萧散出尘。\n\n中景薄雾轻笼水村山榭，淡墨晕化开空濛水汽，虚虚实实间晕染出幽寂氛围。远景危峰削立，隐没在烟岚之中，墨色清浅简淡。\n\n全作用笔老辣简练，枯湿浓淡相映，以简淡笔墨勾勒出林泉冬景，尽显尚意之风，将文人幽赏的雅趣与出世忘俗的襟怀融于淡墨轻岚间。",[24,95,27,36,29,390,272,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb1d405c0d739c732ba9240f8397c91b.jpg",[],{"id":16719,"slug":16720,"title":16721,"dynasty":296,"author":16722,"museum":561,"description":16723,"tags":16724,"thumbUrl":16725,"material":70,"size":70,"collection":70,"collections":16726,"showCount":16511,"zanCount":46,"manualWeight":46,"mainColor":47},229003,"ni-gu-shan-shui-ce-huang-shan-shou-229003","拟古山水册","黄山寿","此作以留白晕染冬雪覆山，浅绛设色清润柔和，笔墨简淡秀逸。近处崖畔文士凭窗观览，沙岸渔舟静泊，梢公待客将发；中景木桥跨溪，连接两岸林峦，枯木疏枝衬出萧寒之气。远山素净空蒙，整体意境清寂淡远，将文人幽居林泉、寄情山水的闲雅意趣融于雪景之中，萧疏恬静的冬日山居图景跃然纸上，尽显温婉雅致的仿古意韵，澹泊出尘。",[24,28,29,30,31,32,7,34,186,36,58,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4fb4f6b62265c8b3a4b2dff321a9b14.jpg",[],{"id":16728,"slug":16729,"title":16730,"dynasty":18,"author":3504,"museum":561,"description":16731,"tags":16732,"thumbUrl":16733,"material":70,"size":70,"collection":70,"collections":16734,"showCount":16511,"zanCount":46,"manualWeight":46,"mainColor":47},228873,"gu-mu-han-quan-wen-zheng-ming-228873","古木寒泉","此作用笔清瘦秀雅，枯荣相生的古木虬曲苍劲，或秃枝嶙峋尽显风霜，或残叶攒簇尚存生机。寒泉在乱石间蜿蜒穿绕，浅滩洄波皆以细笔勾勒，淡墨晕染开空寂萧疏的秋意。\n画面兼工带写，以劲挺线条刻画枝干石纹，墨点攒簇为叶，将幽寂林泉化作澹泊丘壑，题诗与画境呼应，把沉静心绪寄寓其中，尽显文人画以景抒怀的清雅意趣。",[23,24,27,95,36,37,82,29,96,31,7,1555],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fbd293a709812c7a0bf8b31c0bea29a.jpg",[],{"id":16736,"slug":16737,"title":16738,"dynasty":124,"author":197,"museum":561,"description":16739,"tags":16740,"thumbUrl":16743,"material":70,"size":70,"collection":70,"collections":16744,"showCount":16511,"zanCount":46,"manualWeight":46,"mainColor":149},227983,"ze-pan-ji-feng-tu-xia-gui-227983","泽畔疾风图","取景偏于一隅，以少胜多尽显空灵意蕴。坡岸古松欹斜偃蹇，枝叶被劲风催动翻卷，将无形疾风化作可见的动势。滩头渔人躬身急收渔具，在仓促忙乱间把江上风急的冷寂氛围具象化。对岸远山以淡墨晕染，崖顶隐于朦胧间，不着一笔却见江天辽远。留白化作淼淼烟波与空阔长天，以虚代实，寥寥数笔便将骤风起于泽畔的瞬态凝固，把江野的清寂苍劲藏在简淡水墨中，尽显山水小景的写意妙趣。",[200,24,25,1900,27,28,29,96,32,243,36,7,34,16741,16742],"渔夫","疾风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee58dbb89ce2c636b498ecbaa6feb6ca.jpg",[],{"id":16746,"slug":16747,"title":16748,"dynasty":124,"author":182,"museum":561,"description":16749,"tags":16750,"thumbUrl":16751,"material":70,"size":70,"collection":289,"collections":16752,"showCount":16511,"zanCount":46,"manualWeight":46,"mainColor":149},227605,"long-mian-shan-zhuang-tu-er-ju-bu-li-gong-lin-227605","龙眠山庄图二（局部）","《龙眠山庄图》亦称《山庄图》，是宋代杰出画家李公麟的白描山水画。画面表现的是由建德馆至垂云片的龙眠山庄图景。自西而东凡数里，岩谔隐见，泉源相属，山行者路穷于此。《宣和画谱》称《山庄图》，可以配王维《辋川图》；《佩文斋书画谱》亦说《山庄图》用王维《辋川图》的画法：“而行笔细润，乃有超越之意”。苏轼为之记，苏辙为之赋诗，凡二十首。《山庄图》既出，便为世人所珍爱。《山庄图》不仅是一幅远离尘嚣的山村风俗画卷，更体现了山庄主人思想倾向和生活情致。苏轼在《题李伯时〈山庄图〉后》说，李公麟在龙眠山，并非留意一草一木，然而《山庄图》“其神与万物交，其智与百工通。”所以他称李公麟为“有道有艺”的画家。",[23,200,24,25,712,29,58,7,34,1081,1283,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae494a47b809a3618a60d989e4610588.jpg",[289],{"id":16754,"slug":16755,"title":16756,"dynasty":296,"author":7994,"museum":561,"description":15360,"tags":16757,"thumbUrl":16758,"material":70,"size":70,"collection":70,"collections":16759,"showCount":16511,"zanCount":46,"manualWeight":46,"mainColor":47},226632,"si-shi-shan-shui-05-pu-ru-226632","四时山水05",[23,24,27,36,29,427,7,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66d1a4e3f15c64dc930ae6a157ad9e18.jpg",[],{"id":16761,"slug":16762,"title":16763,"dynasty":296,"author":1406,"museum":561,"description":16764,"tags":16765,"thumbUrl":16766,"material":70,"size":70,"collection":70,"collections":16767,"showCount":16511,"zanCount":46,"manualWeight":46,"mainColor":149},224427,"nan-shan-ji-cui-tu-wang-shi-min-224427","南山积翠图","《南山积翠图》是清代画家 晚年创作的一副绢本设色画，现收藏于 。\n画面布置有序，层次井然，笔墨清隽秀润，沉静淡雅，毫无躁气，具有温厚而博大之美。\n《南山积翠图》，该作品按远、中、近三景均采用大量的笔墨描绘。\n画作尺幅虽大，用笔却毫不松懈。\n尤其是中景，刻画得更为精谨。\n草木繁茂、山势蜿蜒，却丝毫没有迫塞感。\n山体曲折、盘桓，观者置身画中，沿山间小路仿佛可以直达无人之境。\n此作题“壬子长夏写南山积翠图，奉祝蓉翁太老亲台七襄大寿并祈粲正。\n弟王时敏时年八十有一”。\n由此题款可知，这是画家为人贺寿之作。\n画作近景刻画了松树，松枝翠绿，枝干姿态各异，暗含“贺寿”这一主题。\n画家刻意将松叶所用的墨色加以区分，墨色浓淡不同、虚实相生，使松树充满生机。\n而对近景山石的处理，他主要师法黄公望———用笔苍劲，多矾头，随意的长披麻皴疏松、秀雅。\n不过，他并不满足于师法一家。\n从对画中山石的点苔来看，他亦受王蒙画法的影响———用浓墨表现。\n可见，他在吸收古人之法时并不是一味地照搬，而是融会贯通，有自己的特点。\n与近景相比，中景的山体更险要，重峦叠嶂。\n为烘托山石奇险之势，画家有意将瀑布、雾霭穿插于山间。\n瀑布顺流而下，隐于山林之间；雾霭从远处飘来，势若蛟龙。\n作品虽未画人物，但中景的房屋却暗示了人物的存在。\n整幅画面虽气势磅礴、山势险峻，却并不冷清。\n山中的楼阁似山林主人居住之所，又似游人休息之处；似画家凭栏独赏之所，又似文人品茗、畅谈之阁，具有浓郁的文人画意味。\n远景中间，山峰如柱，是整个画面的气魄所在。\n山脉随景之推深而愈加陡峭，以浓墨绘就的苍松亦愈加繁茂。\n由此，我们可以感受到画家对生命的敬畏和对受画者大寿的美好祝愿。\n作品构图繁复、行笔缜密、墨色沉静，毫无躁气，给人一种清新、温润的感觉。\n王时敏的《南山积翠图》虽在一定程度上沿袭了前人“三段式”的构图，但细看，不难发现其创新之处。\n画面虽分为远、中、近三景，但呈现出一层坡、二层树、三层山的格局。\n而且，画家还有意识地在构图中加入了起伏、开合之势，为后来王原祁“积石为山”的“龙脉”构图理论打下了基础。\n218年8月15日，该画在辽宁博物馆中国古代绘画展中展出。\n王时敏（1592—168），字逊之，号烟客，江苏太仓人。\n祖父王锡爵在明朝万历时期曾任礼部尚书兼 ，父王衡任翰林院编修，他以荫官任太常寺玺卿，升太常寺少卿，后辞官回乡。\n入清后不仕，以书画自娱。\n自少年起绘画即受到董其昌的指授，又认真观摩和研习家藏及董其昌所藏的诸多前代名画。\n他将古代名家丘壑布景、笔墨技法、意境气韵等元素进行梳理，加以规范化和格式化。\n他尤其尊仰黄公望，深得黄氏笔墨浑厚苍茫的真髓，最终形成布景平稳中寓变化，笔墨圆厚、虚和、雄浑、蕴藉的艺术风格，引领着清初摹古的艺术潮流。",[23,24,25,95,951,36,27,28,29,427,130,133,7,35,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ac2ddc38beea10fbc512f633554005c.jpg",[],{"id":16769,"slug":16770,"title":16771,"dynasty":296,"author":9462,"museum":561,"description":16772,"tags":16773,"thumbUrl":16774,"material":70,"size":70,"collection":70,"collections":16775,"showCount":16511,"zanCount":46,"manualWeight":46,"mainColor":47},224168,"zhu-ju-tu-zhou-xi-gang-224168","竹菊图轴","画面以山水衬花木，竹枝挺秀于右上角，涧水蜿蜒穿石而过，丛菊沿溪盛放，白花墨叶相互映衬。山石以淡墨皴擦留白作泉流，笔致松秀灵动，菊花以细笔勾勒花瓣，淡墨晕染花叶，清妍雅致。\n\n行书长题与画作相映，寄寓爱菊慕寿的文人雅趣。整体意境清寂高旷，将花木清隽与山水静逸融为一体，淡墨浅彩间尽显幽淡冲和的林下之风，是文人花鸟画中诗画合璧的逸品。",[23,24,25,95,28,36,391,1743,31,7,303,525],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefc656bde3d4ac43914a891d3b7e6eef.jpg",[],{"id":16777,"slug":16778,"title":16779,"dynasty":124,"author":436,"museum":53,"description":16780,"tags":16781,"thumbUrl":16783,"material":203,"size":16784,"collection":70,"collections":16785,"showCount":16511,"zanCount":46,"manualWeight":46,"mainColor":149},223426,"song-ren-song-yan-xian-guan-zhou-yi-ming-223426","宋人松岩仙馆轴","静处江山，层楼逶迤。长松之下，人物容与于其间。全幅画山，尽用焦墨钩勒，近轮廓处，稍稍以淡墨横加皴纹，隐约几不可辨。画树极细致而详尽，夹叶点中并及筋络。人物亦细笔，劲挺而须眉毕具。无间远近，同此一法。与世传唐画有脉息相通处，或是宋人所摹旧本。",[23,24,25,95,27,36,29,272,16782,60,112,7,114,133],"岩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb29c46de45092ebaff5ce785caa37a19.jpg","171x115.7公分",[],{"id":16787,"slug":16788,"title":16789,"dynasty":18,"author":436,"museum":3174,"description":16790,"tags":16791,"thumbUrl":16792,"material":454,"size":16793,"collection":70,"collections":16794,"showCount":16511,"zanCount":46,"manualWeight":46,"mainColor":149},223356,"fang-fan-kuan-jin-bi-feng-tu-juan-yi-ming-223356","仿范宽金碧峰图卷","长卷绘山峦连绵，山头绿色点缀，山间云雾缭绕，山脚河水绕山而行，河面或宽阔或窄细，岸上绿树成荫，房舍、良田隐于山中。此画设色厚重，笔力鼎健，山河皆雄伟气魄，房舍、小桥、人物等细节上又精细柔和。",[23,24,26,28,36,186,29,34,7,30,31,33,578],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0279aacb6bccc03741b537e171d940bc.jpg","32.9×520.5CM",[],{"id":16796,"slug":16797,"title":16798,"dynasty":296,"author":8669,"museum":360,"description":16799,"tags":16800,"thumbUrl":16801,"material":454,"size":16802,"collection":306,"collections":16803,"showCount":16511,"zanCount":46,"manualWeight":46,"mainColor":149},223146,"yao-xie-shi-yi-tu-ce-di-yi-kai-fu-jian-long-yuan-shen-hua-tian-zhong-shan-shu-ren-xiong-223146","姚燮诗意图册-第一开：俯见龙渊深，花田种珊树","此套共十册，每册十二开，每开除录有姚燮诗句外，还分别钤“熊”朱文印或“渭长”白文印。册页最后另有四开，分别有任熊、熊松之、吴云、沈钰、曹峋、李鸿裔等人题跋。据任熊自跋，作品完成于咸丰元年（1851年），时年29岁。\n这套共计一百二十张的册页是任熊在友人姚燮家里居住时为主人所画。姚燮，字梅伯，号复庄，浙江镇海人。道光年间举人，以诗见称于世。此册以姚燮的诗句命题，题材丰富多样，人物鬼神、花鸟鱼虫、仙山楼阁、亭榭风月皆聚于尺幅之间。全册别具匠心，常有神来之笔；设色则于鲜丽中见古雅之气，堪称任氏巅峰时期的铭心佳构。",[23,24,28,111,56,29,31,7,1373,242,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9a59808ca4c73d2f3f45837adf2e796.jpg","纵27.3厘米，横32.5厘米",[306],{"id":16805,"slug":16806,"title":16807,"dynasty":296,"author":8516,"museum":401,"description":8517,"tags":16808,"thumbUrl":16809,"material":142,"size":8522,"collection":70,"collections":16810,"showCount":16511,"zanCount":46,"manualWeight":46,"mainColor":47},223051,"hong-lou-meng-176-sun-wen-223051","红楼梦176",[23,24,56,28,58,30,31,33,34,7,64,26,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d705c643b27e6b9a0f65b0153c33b05.jpg",[],{"id":16812,"slug":16813,"title":16814,"dynasty":296,"author":8516,"museum":401,"description":8517,"tags":16815,"thumbUrl":16816,"material":142,"size":8522,"collection":70,"collections":16817,"showCount":16511,"zanCount":46,"manualWeight":46,"mainColor":149},222944,"hong-lou-meng-69-sun-wen-222944","红楼梦69",[23,24,25,56,28,58,33,30,31,415,7,60,59,2278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd7e8b93ac1840b7ff844acf13c31046.jpg",[],{"id":16819,"slug":16820,"title":16821,"dynasty":296,"author":1320,"museum":360,"description":16822,"tags":16823,"thumbUrl":16824,"material":454,"size":16825,"collection":70,"collections":16826,"showCount":16511,"zanCount":46,"manualWeight":46,"mainColor":149},222871,"shi-gong-ci-tu-ce-10-leng-mei-222871","十宫词图册10","此套图册共10开，描绘历代贤德后妃或贵族女子的故事，和《养正图》册具有同样鲜明的教育意义。对题有梁诗正书写的弘历承继帝位前于雍正十三年（1735年）所作的诗句，与图画互为辉映。\n由于图册以历代宫廷生活为题，故每幅画面均有对宫廷建筑的描绘，但因为作者只是宫廷画工，并不具备对前代建筑的了解与认知，同时历史人物画“成教化，助人伦”的政治功用也淡化了这些作为人物故事背景的历代宫廷建筑，使其更多地带有装饰性与程式化色彩，并没有呈现出不同时代的建筑风貌。值得注意的是，册中建筑的描绘均采用“海西画法”，冷枚作品中体现的这种画风特性，是在中国传统界画的基础上运用透视法增强画面的空间深度感并以明暗关系区分阴阳向背，说明曾为康熙皇帝所赏识的“海西法”在雍正、乾隆朝的宫廷建筑绘画中已被日渐欣赏和接受。",[23,24,25,111,28,56,57,58,60,33,489,7,37,82,59,61,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bd2236aae6940996a247db8ce2dd9c7.jpg","纵33.1厘米，横29.3厘米",[],{"id":16828,"slug":16829,"title":16830,"dynasty":18,"author":14896,"museum":53,"description":16831,"tags":16832,"thumbUrl":16833,"material":368,"size":16834,"collection":42,"collections":16835,"showCount":16511,"zanCount":46,"manualWeight":46,"mainColor":47},222675,"lin-quan-gao-yi-tu-xiang-sheng-mo-222675","林泉高逸图","水墨绘山水一隅，山石围水而立，山坡平缓起伏，水面宽阔平静，一派安详静谧之气氛。项圣谟，初字逸，号易庵，明末清初画家，善画山水、人物、花卉，擅绘松树，有“项松之名满东南”之誉",[23,24,27,26,29,7,34,10547,114,36,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90f17316dac0c91e0c3ee608508eb723.jpg","33x126cm",[42,146],{"id":16837,"slug":16838,"title":971,"dynasty":18,"author":16839,"museum":1043,"description":16840,"tags":16841,"thumbUrl":16842,"material":203,"size":16843,"collection":42,"collections":16844,"showCount":16511,"zanCount":46,"manualWeight":46,"mainColor":47},222533,"shan-shui-zhou-wang-duo-222533","王铎","王铎认为“创奇景先行”，又回到北宋的山水题材，表达对董其昌（1555-1636）信条的不满：“考虑笔墨之妙，风景无法与绘画竞争。” 这幅画在王去世前一年完成，雄辩地表明了他对绘画内容的喜爱。与绘画相比，他的书法更出名，王将 10 世纪和 11 世纪风景的丰富细节简化为简单的图形惯例。轮廓分明的树木，许多没有叶子，粗短的树枝；山峰顶上的示意图；轮廓鲜明的岩层，无不让人想起十世纪的范宽大师。突出人物、建筑、",[23,24,25,95,27,29,96,35,7,34,316,300,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4efcbdf874c85333870a65dcf74128b.jpg","117.2 x 54.9 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，字二瞻，号梅壑、懒老、梅壑散人，安徽休宁人。安徽休宁人。\n查士标（1615-1698）与弘仁、孙逸、汪之瑞称“新安四大家”。在新安四家中，是位高产书画家，就技法而言，以他为最高，作品也最多。后流寓扬州、镇江、南京。善书画、工诗文、精鉴赏。工书画，精鉴别。用笔不多，惜墨如金。与弘仁、孙逸、汪之瑞称“新安四大家”。\n山水师法黄公望、吴镇、倪瓒、董其昌，笔墨疏简，格调秀远，书法受董其昌影响。在新安四家中，是位高产书画家，他学倪黄，但能广泛吸收前人各家各派画法。就技法而言，以他为最高，作品也最多。\n其作品高达百万，甚至数百万。\n最早提出“新安画派”名称的是清朝康熙所间的艺术理论家张庚，张庚之后，人多沿用，“新安画派”遂成定称。新安画派成员众多，力量雄厚。画艺可观者近80人，其中卓然自成一家者约有20人，分为四个层面：先驱程嘉燧、李永昌、李流芳；画派领袖僧渐江；鼎盛期主要成员方式玉、王瘭素、吴山涛、程邃、汪家珍、戴本孝、吴龙、顺田生、程正揆、郑旼、汪之瑞、孙逸、查士标、汪洪度、雪庄；现代后继者黄宾虹。",[24,25,111,27,29,96,7,58,37,12647],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2b35e573c86fcfea5df386d13312a7e.jpg",[],{"id":16977,"slug":16978,"title":16979,"dynasty":78,"author":16980,"museum":53,"description":16981,"tags":16982,"thumbUrl":16983,"material":116,"size":16984,"collection":70,"collections":16985,"showCount":16944,"zanCount":11,"manualWeight":46,"mainColor":47},287664,"kuang-lu-tu-dai-chun-287664","匡庐图","戴淳","《匡庐图》是元代戴淳创作的一幅立轴纸本水墨山水画，纵117.1厘米，横50.9厘米，此画老树挺拔，山石险峻，高崖一层一层相叠著。峰顶筑有古寺楼阁，建筑物的描绘，方劲稳重，山石的形状，也近乎方形。石纹多用枯笔皴擦，颇有苍老而稳健的感觉。明末清初的龚贤，在画风上与这幅画有极相近之处",[24,25,27,29,95,36,60,33,3156,7,37,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e308b4e2b73206906d8d274eb15436e.jpg","117.1x50.9",[],{"id":16987,"slug":16988,"title":16989,"dynasty":78,"author":16990,"museum":561,"description":16991,"tags":16992,"thumbUrl":16997,"material":217,"size":660,"collection":70,"collections":16998,"showCount":16944,"zanCount":46,"manualWeight":46,"mainColor":149},287548,"xue-xi-xing-lv-tu-zhu-qian-287548","雪溪行旅图","朱迁","鲁端王，朱观，朱健杙、嫡一子，在位时间：1528年—1549年嘉靖七年袭封。二十八年薨。",[24,27,951,612,242,7,16993,16994,132,16995,16996,36],"木桥","行旅车","萧瑟","清冷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7df3005f4a3bf0d11afbba4c6813039.jpg",[],{"id":17000,"slug":17001,"title":17002,"dynasty":296,"author":436,"museum":561,"description":17003,"tags":17004,"thumbUrl":17011,"material":217,"size":660,"collection":70,"collections":17012,"showCount":16944,"zanCount":46,"manualWeight":46,"mainColor":149},241961,"kong-que-shi-qian-zhu-bao-peng-lai-xian-jing-pen-jing-yi-ming-241961","孔雀石嵌珠宝蓬莱仙境盆景","以孔雀石叠作仙山基座，皴染出海上洞天的嵯峨灵秀。金为枝干，缀满红蓝宝石、粉碧玺作仙苑珍果，朱红珊瑚立成丹林玉树，攒珍珠为琼花缀枝，玛瑙雕琢成芝草瑶葩。鎏金仙人造像衣袂飘然，灵鹤瑞禽驻足其间，把缥缈的仙家胜境凝缩在方寸之中。诸般珍宝巧嵌互衬，将极致工巧与道家寻仙的浪漫遐想融为一体，尽显清宫御作的奢华雅致，是陈设珍玩里的精工佳构。",[439,17005,17006,17007,17008,259,29,34,58,2915,10237,6579,7,17009,17010],"嵌珠宝","雕刻","玉石","珠宝","嵌饰工艺","盆景艺术","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc8ff59c8d887945606129714c16be4d.jpg",[],{"id":17014,"slug":17015,"title":17016,"dynasty":18,"author":436,"museum":561,"description":17017,"tags":17018,"thumbUrl":17019,"material":70,"size":70,"collection":70,"collections":17020,"showCount":16944,"zanCount":46,"manualWeight":46,"mainColor":47},238998,"wen-jia-xia-shan-gao-yin-tu-zhou-yi-ming-238998","文嘉夏山高隐图轴","此作以层叠山峦铺展高远之境，崖间飞瀑悬垂而下，撞破岩壑沉静，为幽寂山林添就灵动生机。水畔草堂临流而建，屋中主人偃卧观山，阶下童子侍立，尽显山居高隐的闲雅意趣。\n\n画作笔墨温婉秀润，山石以披麻皴写就，淡墨晕染出清润质感，林木点染疏密得宜，浅淡设色衬出古雅格调，将寄情林泉、慕求幽居闲适的心境，融在烟林清旷的山水小景之中，意境萧散淡远，尽显文人山水画的雅逸之致。",[24,95,28,36,29,158,130,132,34,9585,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6d3a9341797746526cddd68189ee910.jpg",[],{"id":17022,"slug":17023,"title":17024,"dynasty":296,"author":17025,"museum":561,"description":17026,"tags":17027,"thumbUrl":17028,"material":70,"size":70,"collection":306,"collections":17029,"showCount":16944,"zanCount":46,"manualWeight":46,"mainColor":47},237960,"mo-song-si-ye-hu-yu-kun-237960","墨松寺页","胡玉昆","山水有家法，用笔虚无缥缈，咫尺千里。兼长花卉、兰竹。为胡氏一门之杰，称逸品。康熙八年（一六六九）与会周亮工宴于南京，九年（一六七o）作碧梧依山图，十二年（一六七三）作金陵古迹册。有栗园集。《明画录、读画录、桐阴论画、墨香居画识、香祖笔记、赖古堂集、青溪遗稿、赖古堂书画跋、画传编韵、清画家诗史》",[24,27,28,29,427,7,114,364,82,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03a7c2f35cdcb613b2a1c9bba86f824d.jpg",[306,264],{"id":17031,"slug":17032,"title":17033,"dynasty":18,"author":1941,"museum":561,"description":17034,"tags":17035,"thumbUrl":17036,"material":70,"size":70,"collection":306,"collections":17037,"showCount":16944,"zanCount":46,"manualWeight":46,"mainColor":149},237920,"shan-song-se-zhou-zhang-hong-237920","山松色轴","字君度，号鹤涧，明代绘画大师，南直隶苏州府吴县（今江苏省苏州)人。善画山水，重视写生，笔力峭拔、墨色湿润、层峦叠嶂、秋壑深邃、有元人古意；他画石面皴染结合作为其特色。所作写意人物，形神俱佳，散聚得宜，是明末吴门画坛中的中坚人物，吴中学者尊崇之。",[200,24,95,27,36,29,427,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf66bb758d89c6cdfc0908d408a0d49c.jpg",[306,146],{"id":17039,"slug":17040,"title":6122,"dynasty":296,"author":3038,"museum":561,"description":6123,"tags":17041,"thumbUrl":17042,"material":70,"size":70,"collection":306,"collections":17043,"showCount":16944,"zanCount":46,"manualWeight":46,"mainColor":47},237594,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237594",[24,25,111,27,36,186,29,427,130,7,34,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae0c88738c7130fc52a28d7ea721399c.jpg",[306,264],{"id":17045,"slug":17046,"title":17047,"dynasty":296,"author":17048,"museum":53,"description":17049,"tags":17050,"thumbUrl":17051,"material":229,"size":17052,"collection":42,"collections":17053,"showCount":16944,"zanCount":46,"manualWeight":46,"mainColor":149},237237,"bai-lu-qua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画风中年秀润，晚年苍浑。与王时敏、王鉴、王翬合称“清初四王”。王原祁做为“四王”中最年轻的一位画家，秉承家学，追摹古法，在不懈创作的同时，以同样方法再授弟子，对山水画的发展及“娄东派”的形成起到重要作用。其对绘画的影响一直延续到清中、后期“小四王”（王昱、王愫、王宸、王玫）、“后四王”（王三锡、王廷之、王廷国、王鸣韶）。“四王”的绘画创作继承明末董其昌的绘画理论和实践，力图集古人之大成，被确立为正统画派。追随王原祁的画家众多，形成“娄东派”，几乎独占了当时的画坛。著有《雨窗漫笔》、《扫花庵题跋》等。",[24,25,95,27,36,186,29,7,34,35,31,133,612],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13acb79db4605b2491661e613a2d3b51.jpg","纵47cm，横30cm",[42,264,648],{"id":17064,"slug":17065,"title":17066,"dynasty":18,"author":15267,"museum":561,"description":17067,"tags":17068,"thumbUrl":17069,"material":70,"size":70,"collection":289,"collections":17070,"showCount":16944,"zanCount":11,"manualWeight":46,"mainColor":149},236411,"er-xian-zhou-peng-shun-xiang-236411","二仙轴","画面以淡赭铺底，枯木虬枝缀着寒蕊，晕开清寂幽远的林下氛围。\n\n长仙峨冠长髯，宽袍曳地，持拂尘垂眸含笑，神色悠然和煦，似在静听童子言语。赤足短褐的童子仰首抬望，憨态里满是敬慕，灵动身形衬出稚拙意趣。\n\n画作以顿挫写意的墨线勾勒衣纹，笔力苍劲洒脱，将布料垂坠褶皱尽显，人物神态刻画入微。仙风道骨与童真稚趣相映成趣，以简驭繁的水墨写意间，氤氲出飘然出尘的世外仙气，把高人隐士的闲适清雅铺陈开来，尽显传统人物画的写意神韵。",[24,25,95,27,28,58,6285,13770,34,7,712],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb06d168bc0594d94200701bd45eefb2.jpg",[289,146],{"id":17072,"slug":17073,"title":17074,"dynasty":296,"author":3038,"museum":360,"description":17075,"tags":17076,"thumbUrl":17078,"material":1809,"size":17079,"collection":42,"collections":17080,"showCount":16944,"zanCount":46,"manualWeight":46,"mainColor":47},236391,"zhong-lin-die-zhang-zhou-wang-hui-236391","重林叠嶂轴","“虞山画派”大家王翚(1632－1717)一生的画腊极长，创作精力旺盛，各阶段绘画风格的变化亦较为明显。对此，近代鉴藏大家吴湖帆(1894－1968)题本展王石谷《仿巨然夏山烟雨图卷》中，曾有极为精辟的剖析：“王石谷子(王翚)年四十左右，在娄东王奉常(王时敏)家临摹宋元名迹，艺乃大成，间为太常代笔，亲受指点，益臻神化，故石谷画当以四十至五十为极诣，五十至六十自具面目，六十至七十渐落俗套、每失韵致，七十至八十有衰颓气，八十以外又复变化入神，用笔如万岁枯藤，苍辣兼具，有空前绝后之妙。后人之诋諆石谷者，盖多见其六十以后八十以前作也。”梅景书屋主人之评，的为灼见，其对石谷画风的如数家珍，实得益于其本人鉴藏之丰厚。\n众所周知，近现代的江南地区，无疑是“四王”书画流散与聚集的重镇。不仅吴氏如此，他如庞莱臣、顾文彬、钱镜塘等近现代大藏家亦然，购藏“四王”精品之机会甚多。而他们的旧藏，之后成为了上海博物馆馆藏“四王”的主要来源。以王翚为例，不仅数量逾百，且自成体系，如自王氏四十岁至八十六岁的四十七年中，除四十三、五十六、五十七、五十八、六十及七十六岁这六年无藏品外，其余则可按系年排列。而传世本就不多的王翚四十岁前早期作品，上海博物馆亦拥有重要画作若干。其二，上海博物馆所藏王翚各时期作品，皆有诸多精品与代表作，如四十岁前《早年山水图轴》、《十里溪塘图轴》，四十至五十岁间的《仿曹知白西林禅室图卷》、《元人高韵图轴》、《小中现大图册》、《黄鹤传灯图卷》、《仿关仝溪山晴霭图卷》、《仿黄公望富春山居图卷》，五十至六十岁间的《溪阁晤对图轴》、《重江叠嶂图卷》，六十至七十岁的《泰岳松风图轴》、《西斋图卷》、《寒林雅趣图卷》，七十至八十岁的《六境图卷》、《嵩山草堂图轴》，八十以后如《唐人诗意图轴》、《仿大痴山水图轴》等。其系统性与代表性，对全面把握与理解王翚一生的绘画风格演变，提供了良好的实物基础，这也是本展得以举办的主要缘由。\n另一方面，察考上博王翚作品中所涉及的相关人物，可以发现，这些或受赠者，或鉴题者，在王氏的艺术生涯以及人生轨迹的转变中扮演了重要的角色。同时，亦可注意到，伴随着王翚交游圈的不断拓展，其从艺心态随之产生了微妙的变化。而这种转变，与上述吴湖帆所析其各阶段画风特点，亦有某种程度上的关联，也折射出王翚与同时代如王原祁、八大山人、恽寿平等艺术家在个性、气质方面的些许差异。",[24,25,95,27,36,29,7,34,33,17077,2266],"重林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53a0a8445ee5579556a829c666e132ec.jpg","纵129.7cm，横44.1cm",[42,146],{"id":17082,"slug":17083,"title":17084,"dynasty":296,"author":17085,"museum":561,"description":17086,"tags":17087,"thumbUrl":17088,"material":217,"size":660,"collection":70,"collections":17089,"showCount":16944,"zanCount":46,"manualWeight":46,"mainColor":47},235278,"ren-wu-gu-shi-ce-fan-xue-yi-235278","人物故事册","范雪仪","女，本姓淑，嫁范氏为妻，江苏苏州人，生卒年不详。",[24,25,111,56,28,58,60,33,59,1250,7,302,64,1129,10249],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa76b242492325dde8fcec18b836c2f25.jpg",[],{"id":17091,"slug":17092,"title":106,"dynasty":296,"author":297,"museum":360,"description":17093,"tags":17094,"thumbUrl":17095,"material":368,"size":17096,"collection":70,"collections":17097,"showCount":16944,"zanCount":46,"manualWeight":46,"mainColor":47},234302,"shan-shui-ce-zhu-da-234302","朱耷，明太祖朱元璋第十七子朱权九世孙，本名朱统托，字雪箇，号八大山人、箇山 、人屋、道朗等，江西南昌人。其他别号，尚有箇山驴、驴屋、驴汉、人屋、刃庵、拾得、何园、洛园、黄竹园、书年、书疾、八还等，不一而足。其祖父朱多炡、父朱谋觐、叔父朱谋垔均能诗善画。\n朱耷八岁即能诗，十一岁能画山水，悬腕写米家小楷。明亡朱耷为僧为道，所作写意花鸟，形象夸张，笔墨凝練，风格雄奇；山水笔致简洁，静穆疏旷。 花甲始用八大山人署名，常四字连缀，仿佛哭之笑之，为清初四僧之一。",[24,27,36,111,82,29,32,34,7,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F407a0f23048f46ee0041bf52f26c96e4.jpg","纵二六厘米，横四一厘米",[],{"id":17099,"slug":17100,"title":17101,"dynasty":296,"author":11987,"museum":360,"description":17102,"tags":17103,"thumbUrl":17104,"material":246,"size":17105,"collection":70,"collections":17106,"showCount":16944,"zanCount":46,"manualWeight":46,"mainColor":47},233794,"zi-lang-xian-guan-tu-zhou-qian-du-233794","紫琅仙馆图轴","《紫琅仙馆图》原为赵孟頫所作，钱杜曾于京城见过真迹，后为友人月樵先生背临而成。根据该图所题款识可知此图作于清嘉庆二十四年（1819年），作者时年56岁。20余年后（道光二十二年，1842年），此图为梅盦主人所得，又延请钱杜在画上重题一则。\n《紫琅仙馆图》画面意境清幽萧疏，气氛安逸，表现了文人理想化的幽居生活。作者通过对文人高雅清幽的生活环境的描写，来反映他们的生活理想和人品情操。此图虽源于赵氏原作，但用笔细密工整，人物、楼宇刻划精微，古拙之中见灵秀之气，此则是钱氏自家的特点。其构图形式与着色则带有吴门画派的特点，尤其有文徵明“细笔”画法的影响。",[24,95,28,29,60,30,58,34,36,56,82,37,7,187,612],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F756d04cdbae0e571becc2aae1f06cd9f.jpg","纵132厘米，横27.1厘米",[],{"id":17108,"slug":17109,"title":1875,"dynasty":296,"author":870,"museum":360,"description":5246,"tags":17110,"thumbUrl":17111,"material":13353,"size":13354,"collection":70,"collections":17112,"showCount":16944,"zanCount":46,"manualWeight":46,"mainColor":47},233420,"yuan-ji-shan-shui-ce-shi-tao-233420",[24,27,36,29,96,1081,7,113,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13c86746ad2136d441ce39e6d598d2b7.jpg",[],{"id":17114,"slug":17115,"title":17116,"dynasty":296,"author":10859,"museum":360,"description":17117,"tags":17118,"thumbUrl":17120,"material":229,"size":17121,"collection":70,"collections":17122,"showCount":16944,"zanCount":46,"manualWeight":46,"mainColor":47},233146,"guan-chao-tu-zhou-xu-gu-233146","观潮图轴","《清虚谷观潮图》的画面上茫茫的海面，水天一色，浪花飞舞，惊涛骇浪。海边上岩石古树楼阁屹立，阁内有二闲者正准备去观海，引导人们将视线转向画面的中心。山石用重墨勾勒，水以淡墨烘染，有虚有实，有浓有淡，并巧妙地留出空白作云气，使画面境界显得十分深远辽阔。自题：“观潮图写为静岩五兄先生雅属虚谷”。",[24,95,28,56,36,29,60,34,7,17119],"潮水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9588a908a46223d62aa1695784aa326.jpg","纵40.5厘米，横39.4厘米",[],{"id":17124,"slug":17125,"title":17126,"dynasty":296,"author":3909,"museum":509,"description":17127,"tags":17128,"thumbUrl":17129,"material":229,"size":17130,"collection":70,"collections":17131,"showCount":16944,"zanCount":46,"manualWeight":46,"mainColor":47},232607,"shan-shui-ren-wu-ce-cha-shi-biao-232607","山水人物册","《仿各家山水册》，纸本，共十开，仿十大家画法，每幅纵22厘米，横]7厘米。笔法纯熟，墨法精妙，其画风、画法的渊源，都是从宋元明人家的山水画汲取养料，追求他们的韵味和笔墨情趣，为自己所创造的艺术境界服务。\n第一开，仿王蒙，设色，图作群山、松林寺塔，云雾缭绕，老者曳杖，童子随后，书“黄鹤山樵”四字。王蒙，元代画家，字叔明，号黄鹤山樵等，浙江吴兴(今浙江湖州市)人。善诗文、书法，工人物，尤精山水。写景多稠密，径路迂回，烟霭微茫，曲尽山林幽致，用解索皴和渴墨点苔，表现林峦郁茂苍茫的气氛，尤为独到。\n第二开，仿倪瓒，以水墨写平远山水景色，笔墨精妙，韵味隽秀，书“倪离士笔意”。倪瓒，元代书画家、诗人，字元镇，号云林，人称“倪高士”，江苏无锡人。擅画水墨山水、竹石，用笔方折遒劲，刨“折带皴”写山石法。疏林坡岸，浅水远山，墨色简淡，意境清远萧疏。\n第三开，仿张僧繇，以没色没骨法作山树人物，色彩绚丽，书“张僧繇没骨法”。张僧繇，南朝梁画家，江苏苏州人。工写真、释道人物，尤精画龙。用红绿重色画山水，先图峰峦泉石，后染匠壑暖岩。不用墨线勾勒，直接用墨色或彩色描绘物象，开创了“没骨法”山水的画法。\n第四开，仿黄公望，以水墨作高山、林木、村舍、流泉，意境深远，书“一峰道人”四字。黄公望，元代画家，字子久，号一峰道人、大痴道人等，江苏常熟人。构图繁复丰满，皴笔不多，格调温润柔和，气势雄健，有“峰峦浑厚，草木华滋”之评。\n第五开，仿王绂，浅设色，绘群山连绵，溪水平静，林木亭屋，富于节奏韵律，书“九龙山入画意”。王绂，明代画家，字孟端，自号九龙山人，江苏无锡人。擅画巨幅山水，也作平远小景，风格苍郁清润，尤精墨竹，有“出姿媚于遒劲之中，见洒落于纵横之外”之评。其墨竹，在明代很有影响。\n第六开，仿米芾，以水墨作云山，云雾迷蒙，书“拟米襄阳”叫字。米芾，北宋书画家、鉴定家，字元章，号襄阳漫士，祖籍山西太原，迁居湖北襄阳，世称“米襄阳”。画山水天真发露，不求工细，多用水墨点染，即横点积叠画法，突破勾廓添皴之传统，开创了“米家云山”新风貌。自谓“信笔作之，多以烟云掩映树石，意似便巳”。\n第七开，仿方从义，近坡显寺，远山云塔，流泉如带，淡设色，书“方上清意”四字。方从义。，元代画家，字无隅，号方壶，江西贵溪人，擅画山水，“写得湖山事事嘉”。高山从林，笔致跌宕，意境幽藏。能诗文，并工古篆、隶书、章草。\n第八开。仿徐幼文，以水墨作幽舍桥亭，平湖远山，书“元人徐幼文法”。徐幼文，名徐贲，宁幼文，号北郭生，江苏苏州人。擅画山水，嘉树野泉，笔墨清润。层次井然，工诗文，也擅长墨竹，浓淡配合，尤为和谐优美。\n第九开，仿赵盂頫，平坡绿树，湖画广阔，建立小桥，彼岸流泉，浅设色，书“赵承旨” 三字。赵盂頫，，元代书画家、文学家，字子昂，号松雪道人，浙江吴兴(今浙江湖州)人。擅画山水、人物，工墨竹、花鸟，以飞白法画石，以书法用笔写竹，皆以笔墨圆润苍秀见长。\n第十开，仿郭熙，以水墨作雪景，曲堤长桥，枯草秃树，全景堆银砌玉，清静致远，题：“郭河阳法，拟古十册奉正于升先生，时丙午长至又二日，士标呵冻纪事”。郭熙，北宋画家，字淳夫，河南温县人。工画山水，画山石多“卷云”或“鬼脸”皴法；画树枝如蟹爪下垂，笔力劲健，水墨爽洁。对四季山水有“春山如笑，夏山如滴，秋山如妆，冬山如睡”之况。",[24,27,36,111,29,58,30,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d81252af5e22b8cb3c78773254a0281.jpg","纵22厘米，横]7厘米",[],{"id":17133,"slug":17134,"title":17135,"dynasty":18,"author":436,"museum":3174,"description":17136,"tags":17137,"thumbUrl":17138,"material":70,"size":70,"collection":70,"collections":17139,"showCount":16944,"zanCount":46,"manualWeight":46,"mainColor":149},231510,"yue-ye-gui-zhuang-tu-yi-ming-231510","月夜归庄图","这一张明代不知名画家的作品，一张月夜归庄图，如今这一张作品被珍藏在了美国弗利尔美术馆之中，普通人想要见它一眼还真的不容易。\n这一张作品被研究古画的专家给出价格超过1500万，甚至更高。而给出高价的原因也比较有意思，那就是这一张画太有意境感了，画的是古人月夜下主人骑马晚归的场景，如李白诗句里面的场景一样。\n且不说一模一样吧，但看到这一种距今已经超过600多年的山水与人物写意作品，肯定是给一个高价没有错，另外看这一张作品是谁画的？时代背景如何，如果真的是出自名家之手，那就是真正的精品好作品了。\n仔细看这一张作品，其实它应该算是当时的一个赝品，为什么这么说呢？首先从作品的笔法与绘画的水墨风格来讲，这是属于当时浙派的全面模仿风格。因为在当时那一个时代范围内，这一类的绘画作品出现太多，而且是同一时间出现的。\n所以专家说这一张作品并不是真迹，但它对于现代人来讲，却是距今600多年的真迹，不管管是谁画的，作品是好作品，而且是到代的作品，很不错。\n这一幅画的原题取名是：唐卢浩然月夜归庄图真迹。但研究者表示这是古人的信口之说，应该是明代画家所画，但不是出自当时的名家之手，仅仅只是属于当时一个没有名气的画家之手。\n但尽管是没有多少名气，可仔细看作品，主人骑在一匹马的身上，然后由一个童子牵着这一匹马，马儿比较累的样子，但很壮实。另外前面的空地上还放着一个古代的担子，一个穷苦的农人正在开门。\n既然是夜归，马儿的累，主人的归意，都写在了作品之中，真不愧是一张好作品。",[23,24,27,28,29,36,1385,427,7,58,215,227,31,133,34,364],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66ac5f742455c4c915baf05cc2a8e766.jpg",[],{"id":17141,"slug":17142,"title":10398,"dynasty":78,"author":961,"museum":53,"description":17143,"tags":17144,"thumbUrl":17146,"material":142,"size":17147,"collection":70,"collections":17148,"showCount":16944,"zanCount":46,"manualWeight":46,"mainColor":149},231382,"shuang-song-tu-wu-zhen-231382","全作的笔力雄劲，墨气沈厚，有一种平淡天真的韵致。\n两松平地直立，上顶天，下立地，几乎占据了整个画面。两树均挺拔茂盛、枝叶桠槎、形势奇古。左松树身中下部曲成弧形，卧于地，中部挺直、劲健，顶部突然探向右方；右松直立挺拔，上部一个近于直角的弯曲，伸向右，于左松一树枝的上方又一个近于直角的弯曲，然后冲向高空。这样两松空中交插，成为X形，一种挺拔、孤傲、相依相扶的形象展示于画面。两松枝叶间点缀以清溪茅舍、远山丛树，更显出双松的高大、雄伟。\n画中双树擎天而立，树后有一条蜿蜒的溪流渐渐地向后推延，几户房舍坐落在岸边，空间深邃。虽然这件画轴的画题是「双松图」，可是从画上两棵树的枝干看来，吴镇画的应该是桧树才对。画中桧树的枝纠结，仍然保存了李成、郭熙画树的风貌。树皮以长披麻皴来表现，笔法又和董源、巨然相似。坡岸多作矾头，也是董巨山水画的重要特色。",[24,25,27,36,95,29,427,7,114,34,5820,17145],"石块","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaf0fcc10dffdd8cca23f577240f388d.jpg","纵180厘米横111.4厘米",[],{"id":17150,"slug":17151,"title":17152,"dynasty":124,"author":436,"museum":53,"description":17153,"tags":17154,"thumbUrl":17159,"material":229,"size":17160,"collection":70,"collections":17161,"showCount":16944,"zanCount":46,"manualWeight":46,"mainColor":149},231344,"shan-shui-tu-shen-shan-si-he-tu-yi-ming-231344","山水图（深山饲鹤图）","此幅绘山岭复叠，村落参差，茅亭敞榭，作荷塘泛舟，竹院饲鹤诸景。本图深得高远之势，又用郭熙笔法画山石，老树。细观之又与传荆浩的庐山图有一定的图式联系，当是南宋人的山水作品。",[200,24,25,29,95,27,36,17155,658,17156,2010,17157,17158,488,7,96,30,31,33],"山岭","茅亭","泛舟","竹院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc88982fae3a7fc957b3ec9227a4bfe95.jpg","172.7x81.4",[],{"id":17163,"slug":17164,"title":17165,"dynasty":296,"author":3038,"museum":561,"description":17166,"tags":17167,"thumbUrl":17168,"material":70,"size":70,"collection":70,"collections":17169,"showCount":16944,"zanCount":46,"manualWeight":46,"mainColor":47},230960,"guan-mei-tu-wang-hui-230960","观梅图","观梅图卷，清代，王翠作画。\n纸本，画心纵28.8，横7.厘米。\n浅设色，写峰峦幽深，飞瀑流泉，半山高台处筑一草亭，亭内盘坐一人，倾身仰望溪流边芬芳吐艳的红梅。\n用笔虽简，但人物的神态竟被捕捉无遗。\n草亭四周翠竹环绕与远处的密林构成一种清幽的环境。\n山石多用干笔皴擦，配以浓墨苔点，古朴苍劲，款署“耕烟散人王翚画于天潭邃谷”，钤“耕烟散人时年七十有四”。\n此图当为康熙四十五年(176)所作。\n鉴赏章有“乾隆御览之宝”、“宣统鉴赏”等章。\n原为清内府所藏，现藏旅顺博物馆。",[24,25,27,36,29,390,33,130,31,7,34,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c8a2eb106bca04ce73a4b61fc1f9cf4.jpg",[],{"id":17171,"slug":17172,"title":17173,"dynasty":296,"author":3909,"museum":561,"description":17174,"tags":17175,"thumbUrl":17176,"material":70,"size":70,"collection":70,"collections":17177,"showCount":16944,"zanCount":46,"manualWeight":46,"mainColor":47},230299,"shan-shui-shi-kai-cha-shi-biao-230299","山水十开","此作用笔松秀空灵，以极简构景铺就幽寂冬境。几株寒木瘦劲出枝，淡笔勾勒嶙峋躯干，细笔写残叶萧疏，尽显清癯孤傲之态。留白为寒水浅滩，隐见板桥卧波，远山以枯淡泼墨轻扫，虚实间晕染出淡远空濛。\n\n整幅以少胜多，脱尽尘俗烟火气，将江南冬日清旷荒寒之景诉诸笔端，淡墨轻岚里晕开空寂诗意。观之如临荒寒水畔，浸得一身清宁，尽显静穆淡远的文人雅韵。",[24,25,27,29,96,30,7,36,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dfc33c830462f885ce8379dce9b76aa.jpg",[],{"id":17179,"slug":17180,"title":17181,"dynasty":78,"author":6395,"museum":53,"description":17182,"tags":17183,"thumbUrl":17185,"material":68,"size":17186,"collection":70,"collections":17187,"showCount":16944,"zanCount":11,"manualWeight":46,"mainColor":149},228080,"yan-bo-yu-le-tu-tang-di-228080","烟波渔乐图","本幅画溪山平远，云雾弥漫，在一片宽阔的河口上，渔夫捕鱼的情景。有两艘渔舟行驶於江心，渔夫手持鱼网，在河中撒开，扩张成优美的圆弧形，另外两艘渔舟停驻岸边，一妇女正在进行炊煮。",[23,24,25,200,29,28,36,243,32,724,1931,58,34,7,17184,113],"烟波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d088d56e193089f1d069008aa3898d9.jpg","纵160.1 横106.2 公分",[],{"id":17189,"slug":17190,"title":17191,"dynasty":124,"author":3793,"museum":561,"description":17192,"tags":17193,"thumbUrl":17194,"material":70,"size":70,"collection":70,"collections":17195,"showCount":16944,"zanCount":46,"manualWeight":46,"mainColor":149},227984,"lin-luan-ji-cui-tu-juan-jiang-can-227984","林峦积翠图卷","《中国历代绘画鉴赏》收录了从战国一直到民国初年的著名传世绘画多幅。\n每幅画作附有简明的阐释文字，包括创作年代、质地、尺寸、图版名称、作者简介以及2字左右的赏析文字。\n赏析文字从审美和史学的视角比较全面地展示了每一幅画作的艺术特色和史学价值。\n《中国历代绘画鉴赏》由 出版。\n赵启斌，1968年出生于山东省滕州市，1997年毕业于 ，2年进入南京博物院古代艺术研究所，从事书画艺术研究工作。\n先后参与完成《江苏历代书画精选》、《南京博物院珍藏系列一明清肖像画》、《河山在目一傅抱石百年纪念画集》、《中国美术分类全集·其他地区画像砖》、《南京博物院藏—陈之佛家族捐·陈之佛绘画作品集》、《南京博物院藏·傅抱石家族捐·傅抱石绘画作品集》、《雨花石志》等书的编撰工作，或执笔完成理论部分。\n先后在专业期刊上发表研究论文8余篇，同时致力于古体诗词、现代诗词和书画创作。\n序 人物龙凤图\u002F佚名 人物御龙图\u002F佚名 一号汉墓帛画\u002F佚名 洛神赋图\u002F顾恺之 女史箴图\u002F顾皑之 列女图\u002F顾恺之 职贡图\u002F萧绎 北齐校书图\u002F杨子华创稿阎立本再稿 游春图\u002F展子虔 步辇图\u002F阎立本 历代帝王图\u002F阎立本 江帆楼阁图\u002F李思训 明皇幸蜀图\u002F李昭道（传） 五星二十八神形图\u002F梁令瓒（传） 捣练图\u002F张萱 送子天王图\u002F吴道子 长江积雪图\u002F王维 辋川图\u002F王维（传） 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……",[23,24,200,25,26,27,36,29,34,30,31,32,7,33,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97db37cffb87548402a787e2be5270f2.jpg",[],{"id":17197,"slug":17198,"title":17199,"dynasty":296,"author":870,"museum":561,"description":17200,"tags":17201,"thumbUrl":17202,"material":70,"size":70,"collection":70,"collections":17203,"showCount":16944,"zanCount":46,"manualWeight":46,"mainColor":47},224512,"shan-shui-tu-ce-8-kai-2-zhang-da-qian-jiu-cang-shi-tao-224512","山水图册8开-2-张大千旧藏","这幅山水以留白铺就江天空寂，右侧危崖飞瀑直落，笔墨苍莽朴拙，尽显山石嶙峋质感。左侧崖巅孤松斜曳，茅舍孑立，归雁成阵掠过长空，远江帆影悠悠往来。\n\n简淡设色晕染山石松枝，寥寥数笔便勾勒出山野清寂之境。题款朱印错落于崖侧，与水墨相映成趣，以写意之笔铺陈出天人相融的幽远意趣，尽显简淡疏朗的林下之风，将江乡山居的空阔自在藏于尺幅之中。",[23,200,24,25,1465,27,36,300,29,32,427,7292,130,201,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcffdcba7a6958b40f93316c1d03b2b96.jpg",[],{"id":17205,"slug":17206,"title":17207,"dynasty":296,"author":3038,"museum":561,"description":17208,"tags":17209,"thumbUrl":17211,"material":70,"size":70,"collection":70,"collections":17212,"showCount":16944,"zanCount":46,"manualWeight":46,"mainColor":149},224448,"tang-ren-shi-yi-tu-juan-wang-hui-224448","唐人诗意图卷","此作以长卷铺展江南胜景，开篇浩渺江天，远帆孤悬于烟霭之间，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。",[23,24,26,951,36,28,29,158,114,34,35,201,5676,132,7,17210],"田野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9deecc02f68f4e5c292be2c407e77717.jpg",[],{"id":17214,"slug":17215,"title":17216,"dynasty":296,"author":11794,"museum":561,"description":17217,"tags":17218,"thumbUrl":17219,"material":70,"size":70,"collection":70,"collections":17220,"showCount":16944,"zanCount":46,"manualWeight":46,"mainColor":47},224197,"bai-he-ling-tu-ye-xin-224197","白鹤岭图","这幅画作以淡墨勾勒皴擦，绘就层叠陡峻的岭岳，山道逶迤盘桓，楼阁凭崖而立，将雄奇山势与雅致人文景致相融。远山以简笔淡染，衬出江天浩渺的空寂意境，整体笔致清疏秀雅，尽显静穆萧散的文人画气质。\n画面右上角题字与山水呼应，文气悠然晕开。以简淡笔墨写尽丘壑之幽，既有山峦的苍浑厚重，又不失江南山水的秀逸空灵，将登高览胜的开阔心境藏于层叠山石间，意韵悠长内敛，是小品山水画里的清逸佳构。",[23,24,25,29,27,28,36,37,82,7,60,214,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9eec84ce1e5fd0e1223a28f0051174f.jpg",[],{"id":17222,"slug":17223,"title":17224,"dynasty":296,"author":8252,"museum":509,"description":17225,"tags":17226,"thumbUrl":17227,"material":229,"size":17228,"collection":42,"collections":17229,"showCount":16944,"zanCount":11,"manualWeight":46,"mainColor":149},224164,"shan-shui-lou-ge-tu-liu-du-224164","山水楼阁图","该作品写冈峦叠起、山石林立、峭崖绝壁、云雾蒸腾。画作正中，主峰高耸、陡峭的崖壁处有瀑布飞流直下，在迷雾笼罩的山腰间汇成湍湍溪水。溪水沿着凹凸不平的石道蜿蜒而下，泻入碧水涟漪、明净清澈的湖中。画中主峰峥嵘突兀，烟霭弥漫，山间楼宇若隐若现，画面虚实相生、宁静空灵。山石轮廓线刻画曲折有力，皴法用笔细密工致，极为精严。山下水榭、楼阁依水而建，亭内和湖中舟上点缀以人物。近处古树高耸，黄叶灿然。看此幽山、绿崖、白云、古树，如同进入清新怡人的脱俗之境。\n《山水楼阁图》画法工细，色调明快，具有较强的装饰美。山间的白云不是用勾的方法表现，而是运用了晕染和留白的方法，墨色浓淡变化丰富，颇有韵味。古树苍茂，树叶或填以黄色、或点以绿色、或红绿相杂，树干双勾后均用淡墨兼赭色填涂。掩映于山间的楼阁亭台与水边的回廊水榭安排得错落有致，勾描工细而不僵滞。它们在山水的环抱中显得格外幽雅、别致。画中人物造型准确，临水亭台中的坐观者神态怡然，舟中收网的渔人也忙而不乱、轻松自在。此画无半点甜俗之气，让人有一种远离尘嚣的脱俗感。\n能在如此小的册页上绘出这般大的气象，可见刘度绘画水平的高超。",[23,24,200,25,28,57,36,29,60,31,32,7,130,34,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafa71146b215b69f0608d84fc286be05.jpg","纵28.8厘米，横15.2厘米",[42],{"id":17231,"slug":17232,"title":17233,"dynasty":296,"author":17234,"museum":485,"description":17235,"tags":17236,"thumbUrl":17237,"material":229,"size":17238,"collection":70,"collections":17239,"showCount":16944,"zanCount":46,"manualWeight":46,"mainColor":47},223132,"shen-zhu-you-ju-tu-cheng-sui-223132","深竹幽居图","程邃","图一描绘山峰连绵，林木苍茫，一望无际； 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画中有案面两头翘起，两足为竖条组成的板式足，足下安托子，保留隋唐以来直栅足跗的遗意。坐榻体大厚重，足下有托泥，形成箱形榻体亦以壶门装饰。榻之三面以画屏装饰，屏风上绘墨竹。屋旁置有三层圆腿书籍架格。",[24,25,95,56,28,29,58,60,34,7,17392,37,82],"书房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8286af7d0b0d9bd266ca815cb5e318ec.jpg",[],{"id":17396,"slug":17397,"title":14148,"dynasty":124,"author":449,"museum":561,"description":2958,"tags":17398,"thumbUrl":17399,"material":217,"size":660,"collection":70,"collections":17400,"showCount":17385,"zanCount":46,"manualWeight":46,"mainColor":47},289127,"gao-shi-guan-pu-tu-ma-yuan-289127",[24,200,951,3884,56,36,28,427,130,7,1838,5065],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22af0766a92228005907352af710c863.jpg",[],{"id":17402,"slug":17403,"title":17404,"dynasty":124,"author":12998,"museum":561,"description":12999,"tags":17405,"thumbUrl":17406,"material":217,"size":660,"collection":70,"collections":17407,"showCount":17385,"zanCount":46,"manualWeight":46,"mainColor":149},288734,"xiao-xiang-ba-jing-tu-juan-liu-wang-hong-288734","潇湘八景图卷六",[200,24,26,27,951,29,32,96,2422,31,30,58,1931,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbd2db077996acb7d84eeb715093b04f.jpg",[],{"id":17409,"slug":17410,"title":17411,"dynasty":124,"author":11904,"museum":53,"description":17412,"tags":17413,"thumbUrl":17415,"material":142,"size":17416,"collection":70,"collections":17417,"showCount":17385,"zanCount":46,"manualWeight":46,"mainColor":149},288488,"san-gu-tu-li-di-288488","三顾图","李迪，生卒年不详。南宋画家，河阳（今河南省孟州市）人，北宋宣和时为画院成忠郎，南宋绍兴时复职为画院副使，历事宋孝宗、宋光宗、宋宁宗三朝（1162年—1224年），活跃于宫廷画院几十年，画多艺精，颇负盛名。工花鸟竹石、鹰鹘犬猫、耕牛山鸡，长于写生，间作山水小景。构思精妙，功力深湛，雄伟处动人心魄。所作《枫鹰雉鸡图》温柔娇嫩可爱，《鸡雏图》形象生动超拔，刻画细致入微，各具神态。山水师李唐法，亦多佳作。论者谓其画鸠“作寒冷状，精俊如生”；画鹡鸰“翘翘欲起”。",[23,24,25,951,3884,28,96,452,7016,7,17414,37,82,36,58],"三顾茅庐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57784c84fc84774a15e3779c68ad0b6e.jpg","82.5x175.7厘米",[],{"id":17419,"slug":17420,"title":17421,"dynasty":18,"author":1100,"museum":561,"description":3495,"tags":17422,"thumbUrl":17423,"material":217,"size":660,"collection":70,"collections":17424,"showCount":17385,"zanCount":46,"manualWeight":46,"mainColor":47},283698,"shan-ju-tu-shan-ye-dong-qi-chang-283698","山居图扇页",[1900,24,200,27,29,96,1506,33,7,37,38,82,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f9638a03be3887c4a4369454edfa5e3.jpg",[],{"id":17426,"slug":17427,"title":17428,"dynasty":296,"author":17429,"museum":561,"description":17430,"tags":17431,"thumbUrl":17432,"material":229,"size":70,"collection":42,"collections":17433,"showCount":17385,"zanCount":46,"manualWeight":46,"mainColor":47},240887,"tang-ren-qi-lv-shi-ye-qi-zhi-jia-240887","唐人七律诗页","祁豸佳","字止祥，号雪瓢，山阴（今浙江绍兴）人。彪佳（1602至1645）弟。天启 明亡后，当局礼聘，却之，与董瑒、王雨谦、陈洪绶、罗坤等结“云门十子”社，日与老衲蒲团相对，谈世外烟霞。甲申（1644）后，隐梅市卖画代耕。字学 山水 间作花卉，亦多逸致，康熙八年（1669）作山水图。",[24,25,27,36,29,837,539,112,35,7,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3b7a30ec1fa285757ae00f8f0aa4f15.jpg",[42],{"id":17435,"slug":17436,"title":17437,"dynasty":18,"author":436,"museum":561,"description":17438,"tags":17439,"thumbUrl":17440,"material":70,"size":70,"collection":70,"collections":17441,"showCount":17385,"zanCount":46,"manualWeight":46,"mainColor":149},239484,"ming-ren-song-hou-tu-zhou-yi-ming-239484","明人松猴图轴","古松虬曲苍劲，枝干盘错如游龙，松针晕染出苍莽古雅的山林底色。五只灵猴各得幽趣：枝头两猴或俯身探看，或垂首理毛，嬉闹间尽显灵动；涧边三猴或静坐沉思，或临水望影，将猿猴的通性灵态描摹尽致。\n此作用水墨晕染，淡墨铺陈空濛虚境，浓墨提点松干皴纹与猴身绒毛，虚实相生留白悠远。笔意兼顾工细与写意，灵猴造型写实鲜活，古松勾勒纵逸老辣，以松猴林下之姿，晕染出悠然出世的林泉雅韵，尽显幽寂澹远的文人意趣。",[24,25,95,200,27,36,56,272,7467,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c4b47cdaf4cc40984d772c5d1dfb952.jpg",[],{"id":17443,"slug":17444,"title":17445,"dynasty":296,"author":17446,"museum":561,"description":17447,"tags":17448,"thumbUrl":17449,"material":217,"size":660,"collection":289,"collections":17450,"showCount":17385,"zanCount":46,"manualWeight":46,"mainColor":47},238544,"chen-shu-hua-li-dai-di-wang-dao-tong-tu-qian-chen-qun-shu-zan-he-ce-chen-shu-238544","陈书画历代帝王道统图钱陈群书赞合册","陈书","陈书（1660～1736）字南楼，号上元弟子，晚号南楼老人，秀水（今浙江嘉兴）人，适海监钱纶光，善画花鸟虫草，家贫，卖画自给，教子甚严。以长子钱陈群诰封太淑人。\n陈书擅长人物、山水、花卉，书法也秀丽遒劲，诗文颇为精通。她成年后嫁于钱纶光为妻，钱氏为嘉兴望族，惜乎她的丈夫很早就离开了人间。她只能勤俭持家，夜来纺纱织布，苦度岁月，对于子女的教育从不放松，教子读经吟诗至深夜。其子钱陈群在她的精心培育下，在清康熙六十年中了进士，进入朝廷担任侍读学士等官职。陈书教子成名，自己画了一幅“夜纺授经图”，此图描绘夜深人静一边纺纱，一边教子读经，神态毕俱。这幅面得皇帝的赞赏，并题诗二首在画上，当时乾隆皇帝带头题诗称道这幅画，那些高官名人也纷纷题诗歌颂之。这幅令人瞩目的“夜纺授经图”，后来刻在石上，嵌在嘉兴中山路钱氏故居壁间，笔者曾见其拓本，原作是否存在，已不得而知。但其刻石仍保存在钱氏后裔手中。因在扩展中山路时有人看到其石刻完好地嵌在墙间，现钱氏故居已拆除，其旧址即现在中国银行嘉兴支行这块地基上。\n陈书在书画方面的造诣很高，笔墨娴雅，结构严谨。当时书画家评论她画的人物称得上逸品，画的山水、花卉称为神品，可见对她的评价相当高。陈书的子孙受她的影响也能书画，在笔墨技法上很像她，可以说一门数代继承家风。她的作品曾为清代皇室珍藏，流传民间也不少。嘉兴博物馆藏有她的花卉真迹，笔者在杭州、苏州、扬州等地也看到过她的作品。她的诗为人们所重视，《复庵吟稿》收集了她诗作的精华，流传至今。",[24,25,111,28,56,58,38,37,82,34,7,1129,566,1118,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b1bf6b2c65b651b60c09fe8353699f2.jpg",[289,264],{"id":17452,"slug":17453,"title":17454,"dynasty":296,"author":4606,"museum":561,"description":17455,"tags":17456,"thumbUrl":17457,"material":217,"size":660,"collection":306,"collections":17458,"showCount":17385,"zanCount":46,"manualWeight":46,"mainColor":47},238541,"hua-shou-pu-ce-yu-sheng-238541","画兽谱册","余省（1692年—1767年） ，字曾三，号鲁亭，江苏常熟人，余珣之子，清代著名画家。曾受业于蒋廷锡。乾隆（1736—1795）时与唐岱、周鲲同祗候内廷，善花鸟、虫鱼、翎毛，间亦参用西法，赋色妍丽，尤善画蝶，工兰竹水仙，所作叠邀高宗睿题，藏于石渠宝笈。",[24,25,111,28,1396,29,7,34,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9544dfd446f8c2df9428c8857d17029f.jpg",[306,264],{"id":17460,"slug":17461,"title":17462,"dynasty":296,"author":17463,"museum":561,"description":17464,"tags":17465,"thumbUrl":17466,"material":70,"size":70,"collection":42,"collections":17467,"showCount":17385,"zanCount":46,"manualWeight":46,"mainColor":47},238243,"sai-shan-er-shi-si-jing-ce-zhang-ruo-cheng-238243","塞山二十四景册","张若澄","以淡墨勾勒皴擦，写尽峰峦层叠之态，危岩高耸，林木依石而生，留白处似云气萦回山谷，将幽寂的山巅清景铺展开来。笔致苍秀细腻，山石纹理尽显嶙峋质感，枯松错落萧疏，带着塞地萧寒之气，仿佛可闻山风穿林而过。\n\n右侧大片留白与左侧繁密山景形成强烈虚实对照，朱红鉴藏印点缀素纸，墨色丹印相映成趣，既有荒寒山境的冷逸清寂，又添古雅金石意趣，将塞上山川的静穆荒寒凝于尺幅，悠悠古意扑面而来。",[24,25,27,56,36,111,29,837,427,7,363,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3004413fb4a3a4c945a56f3045298730.jpg",[42],{"id":17469,"slug":17470,"title":17471,"dynasty":296,"author":17472,"museum":561,"description":17473,"tags":17474,"thumbUrl":17475,"material":70,"size":70,"collection":42,"collections":17476,"showCount":17385,"zanCount":46,"manualWeight":46,"mainColor":47},237564,"hua-fen-yong-xiao-shi-shi-ce-wang-fu-237564","画分咏小石诗册","王凫","此作以开合之景铺展山居雅趣，高岭卧石隐于浅草疏林，溪谷蜿蜒穿林而过，将画面裁为丘山与雅居两处景致。坡岸林间，士人围坐清谈，草亭之内宾主对坐酬唱，右侧层叠楼阁依岩而建，有人凭栏远眺。设色淡雅清和，赭石晕染山峦，花青点染林木，笔致秀润细腻，将文人士子幽居雅集的闲逸尽数铺陈。整体氛围安恬静穆，林下风流与山居幽趣相融，将江南山居的清旷雅致凝于尺幅之间，藏着文人栖居林泉的浮生雅事，尽显丘林雅韵。",[24,25,111,28,57,56,29,33,60,30,31,58,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3599c8cb93fc6d7c7fb6bd6e4a8dcf3c.jpg",[42,264,648],{"id":17478,"slug":17479,"title":17480,"dynasty":18,"author":17481,"museum":561,"description":17482,"tags":17483,"thumbUrl":17484,"material":217,"size":660,"collection":70,"collections":17485,"showCount":17385,"zanCount":46,"manualWeight":46,"mainColor":47},236801,"chi-bi-tu-shan-mian-liu-yuan-qi-236801","赤壁图扇面","刘原起","初名祚，以字行，更字子正。工诗，画山水，师钱谷，颇肖其神",[24,25,1900,27,29,36,32,7,34,58,316,363,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd85014b4daa5b192d99d625c5a10d25b.jpg",[],{"id":17487,"slug":17488,"title":17489,"dynasty":296,"author":14991,"museum":561,"description":17490,"tags":17491,"thumbUrl":17492,"material":217,"size":660,"collection":70,"collections":17493,"showCount":17385,"zanCount":46,"manualWeight":46,"mainColor":47},235808,"shan-shui-ren-wu-shan-fan-qi-235808","山水人物扇","樊圻（1616年—1694年之后），生于明万历四十四年，卒于清康熙三十三年之后，清画家。字会公，江宁（今江苏省南京）人。擅画山水、花卉、人物。为“金陵八家”之一。",[24,1900,29,58,28,27,36,427,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F018c25de95b8ba299cd7eb0feb4ec252.jpg",[],{"id":17495,"slug":17496,"title":17497,"dynasty":296,"author":3038,"museum":561,"description":7062,"tags":17498,"thumbUrl":17499,"material":217,"size":660,"collection":70,"collections":17500,"showCount":17385,"zanCount":46,"manualWeight":46,"mainColor":47},235369,"fang-ni-zan-shan-shui-zhou-wang-hui-235369","仿倪瓒山水轴",[24,25,95,27,29,186,36,242,7,34,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e1642df578d1930c54ea3752bace297.jpg",[],{"id":17502,"slug":17503,"title":17504,"dynasty":18,"author":436,"museum":561,"description":17505,"tags":17506,"thumbUrl":17507,"material":70,"size":70,"collection":70,"collections":17508,"showCount":17385,"zanCount":46,"manualWeight":46,"mainColor":149},234495,"song-yuan-ming-hua-ce-ming-ren-shan-shui-lou-ge-ye-yi-ming-234495","宋元明画册-明人山水楼阁页","画面青山白云，翠竹苍松，水阁临流，阁中二人对坐观望山景。构图左右对称，趋于平衡，突破边角之景；用线细劲而含蓄秀润，少刻露之痕；皴法中夹以类似折带、乱柴皴的短斫，显得随意灵动；墨色轻淡融和、色调明快。",[24,28,57,29,60,34,7,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46c7c138c7ec5fbae641dc96dc938520.jpg",[],{"id":17510,"slug":17511,"title":13594,"dynasty":18,"author":17512,"museum":360,"description":17513,"tags":17514,"thumbUrl":17515,"material":246,"size":70,"collection":70,"collections":17516,"showCount":17385,"zanCount":11,"manualWeight":46,"mainColor":47},234244,"shan-shui-juan-zhang-fu-234244","张復","张复（1403-1490）：道士。字复阳，以字行，号南山，浙江平湖人。自幼学书专法古人，能运帚作大字。径寸字极有风骨，小行楷秀整不凡。工画，山水仿吴镇，苍郁淋漓，几欲乱真。草树人物，各臻其妙。",[23,24,26,25,27,28,36,29,32,30,31,60,34,7,986,37,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29d3a363c537e6fd65da59b61258ccaf.jpg",[],{"id":17518,"slug":17519,"title":17520,"dynasty":296,"author":12113,"museum":360,"description":17521,"tags":17522,"thumbUrl":17524,"material":17525,"size":17526,"collection":70,"collections":17527,"showCount":17385,"zanCount":46,"manualWeight":46,"mainColor":47},233955,"jiang-shen-cao-ge-tu-zhou-fu-shan-233955","江深草阁图轴","此幅写杜甫《严公仲夏枉驾草堂，兼携酒馔，得寒字》“百年地辟柴门迥，五月江深草阁寒”诗意，绘隐于山坳茂树之间的临江草阁，幽深旷远，空无一人。江水深澈，危崖峭立，板桥蜿蜒，构图疏中有密，平中寓奇，深得阴寒之意。\n傅山以书法闻名，绘画作品不多，此幅笔墨纵而能敛，率意而不失厚重，疏散中独蕴朴拙，正是其“宁拙毋巧，宁丑毋媚，宁支离毋轻滑，宁真率毋安排”艺术主张的代表作品。",[24,95,27,29,36,60,30,31,34,7,17523,4253],"草阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63a54259cde5bc9861d2994f888586a6.jpg","绫本墨笔","纵176.7厘米，横49.5厘米",[],{"id":17529,"slug":17530,"title":17531,"dynasty":296,"author":1177,"museum":360,"description":17532,"tags":17533,"thumbUrl":17535,"material":246,"size":17536,"collection":70,"collections":17537,"showCount":17385,"zanCount":11,"manualWeight":46,"mainColor":47},233826,"fang-shu-ming-zhang-song-xian-guan-tu-zhou-wang-jian-233826","仿叔明长松仙馆图轴","画面下方近水的岩石与长松交错，松涛阵阵似可听闻，幽径蜿蜒于松林之中通向山中馆舍，山馆四周碧树环绕，其后丘壑万千，青峰壁立，苍郁秀润，另有茅屋布于山腰处。整幅图画描绘出郁郁葱葱的青山峻岭，清幽静谧的山居茅舍，传达了绝意仕途的士大夫情系山水之间悠然自得的意趣，此图实为作者托物言志之作。\n王鉴的作品有三种面目，即水墨、青绿设色、浅绛设色。浅绛山水创自五代董源，成于黄公望，元末王蒙又略加变化，在水墨的基础上以赭石勾填于局部，风神独具。王鉴此作正是师法王蒙，在树干、屋宇、山石、坡脚等处微染赭石，使画面的层次丰富，也增添了灵秀的韵味。题款中言“仿叔明”，画幅上不只在设色方面模仿王蒙，从构图、山石皴法中亦能看到王蒙的影响。如图中采用王氏惯用的重山复岭的构图形式，气势浑厚雄奇。再如山石多施王氏擅长的解索皴，把山石的质感刻划得细致入微。同时，画面也表现了王鉴的个人风貌，他那恬淡平缓的风格，雅致松秀的气韵，使观者静意自生。\n此图是王鉴晚年浅绛山水画的一幅精妙作品。",[24,95,27,36,29,427,7,34,31,17534],"馆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4f7b2e3736315f79037ba03c6678939.jpg","纵138.2厘米，横54.5厘米",[],{"id":17539,"slug":17540,"title":1875,"dynasty":296,"author":870,"museum":360,"description":5246,"tags":17541,"thumbUrl":17542,"material":13353,"size":13354,"collection":70,"collections":17543,"showCount":17385,"zanCount":11,"manualWeight":46,"mainColor":47},233424,"yuan-ji-shan-shui-ce-shi-tao-233424",[200,24,25,111,27,36,82,29,837,133,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8b281a289ed6ab616f64e10b152cd89.jpg",[],{"id":17545,"slug":17546,"title":17547,"dynasty":296,"author":2382,"museum":360,"description":17548,"tags":17549,"thumbUrl":17550,"material":10646,"size":17551,"collection":70,"collections":17552,"showCount":17385,"zanCount":46,"manualWeight":46,"mainColor":47},233410,"ren-song-yun-xiang-zhou-ren-yi-233410","任淞云像轴","任伯年乃是处于中国古代社会与近现代交界线上的一位人物，而他的绘画在清末画坛犹如奇峰崛起，代表着传统艺术的一个新的高度。\n他的人物画既具有总结性，又富有前瞻性。上接陈洪绶、八大山人、华嵒、闵贞、费丹旭、任渭长、任阜长之衣钵，下启徐悲鸿及蒋兆和之新一代画风。他不仅是“海派”中的佼佼者，而且也是中国绘画史上的一位大师。",[24,25,95,28,27,58,242,7,671,427,31,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb450c7a206e3c836cbe9cd017f905d9d.jpg","173.1cm×47.3cm",[],{"id":17554,"slug":17555,"title":17556,"dynasty":124,"author":182,"museum":3174,"description":17557,"tags":17558,"thumbUrl":17559,"material":229,"size":17560,"collection":70,"collections":17561,"showCount":17385,"zanCount":46,"manualWeight":46,"mainColor":47},232629,"qun-xian-gao-hui-tu-juan-li-gong-lin-232629","群仙高会图卷","长卷绘群山连绵，云雾缭绕，群仙或立于云端、山中、河岸边、凉亭里，画卷中绘一高大天门，长松守护左右，众仙聚集热闹非凡。",[24,25,26,712,27,29,58,7,242,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02a48d01ac0c21f75efd5eeab0c875d1.jpg","41.5x948.7",[],{"id":17563,"slug":17564,"title":17565,"dynasty":18,"author":3504,"museum":561,"description":10464,"tags":17566,"thumbUrl":17567,"material":217,"size":660,"collection":70,"collections":17568,"showCount":17385,"zanCount":46,"manualWeight":46,"mainColor":47},228879,"duan-he-ming-qin-tu-wen-zheng-ming-228879","断壑鸣琴图",[23,24,25,95,28,29,36,56,130,7,34,132,12541],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4602ec7c95628152453ccd92f14e664.jpg",[],{"id":17570,"slug":17571,"title":17572,"dynasty":18,"author":19,"museum":561,"description":17573,"tags":17574,"thumbUrl":17575,"material":70,"size":70,"collection":70,"collections":17576,"showCount":17385,"zanCount":46,"manualWeight":46,"mainColor":47},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。",[24,25,111,28,29,57,60,34,7,187,61,133,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9e80b34b0e5224393097d95fc097fe6.jpg",[],{"id":17578,"slug":17579,"title":17580,"dynasty":18,"author":5436,"museum":561,"description":17581,"tags":17582,"thumbUrl":17583,"material":70,"size":70,"collection":70,"collections":17584,"showCount":17385,"zanCount":46,"manualWeight":46,"mainColor":149},228748,"e-mei-xue-tu-xie-shi-chen-228748","峨嵋雪图","此作笔墨兼具工致与写意，以留白淡晕铺就雪色，尽显峨眉雪岭的荒寒厚重。层叠峰峦覆着蓬松积雪，墨笔勾勒出山岩棱线，衬出雪景清寂辽远。山寺错落隐于雪岭寒林，古木虬枝仍带冬意生机。下方溪桥之上，驮队徐行，为冷绝天地晕开一抹人间暖意。\n\n整幅画将蜀地冬山的磅礴大气与羁旅意境相融，既有山川壮伟之态，又藏细腻生活意趣，绘就雪后峨眉空蒙萧寒的独特意境，是明代雪景山水的精妙之作。",[23,24,25,95,29,28,36,860,427,60,30,31,214,58,215,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33a28ce0b8585d7df837cf6392eac40f.jpg",[],{"id":17586,"slug":17587,"title":17588,"dynasty":124,"author":154,"museum":561,"description":17589,"tags":17590,"thumbUrl":17591,"material":70,"size":70,"collection":70,"collections":17592,"showCount":17385,"zanCount":46,"manualWeight":46,"mainColor":149},227544,"xue-ji-xiao-xing-tu-ye-guo-xi-227544","雪霁晓行图页","雪景，是宋代绘画的重要内容和题材之一。据不完全统计，现存宋代涉及雪景的传世画作至少有50余幅，既包括北宋时期李成的《群峰雪霁图》、巨然的《雪图》、郭忠恕的《雪霁江行图》、范宽的《雪景寒林图》《雪山萧寺图》、高克明的《溪山雪意图》、燕文贵的《江干积雪图》《雪山图》、许道宁的《关山密雪图》、郭熙的《关山春雪图》《雪景山水轴》、梁师闵的《芦汀密雪图》、王诜的《渔村小雪图》、翟院深的《雪山归猎图》、赵佶的《雪江归棹图》，也包括南宋时期李迪的《雪中归牧图》《雪树寒禽图》、刘松年的《雪山行旅图》《雪溪举网图》和《四景山水图·冬景》、马远的《晓雪山行图》《雪景图卷》和《雪滩双鹭图》、马麟的《暮雪寒禽图》和《雪梅图》、夏圭的《雪堂客话图》、扬无咎的《雪梅图》、朱锐的《雪笠图》、梁楷的《雪景山水页》《雪栈行骑图》、李东的《雪江卖鱼图》、林椿的《山茶霁雪图》等",[23,24,25,111,36,28,29,215,58,214,242,7,537],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41a5300b265ca4b47a737545184c866f.jpg",[],{"id":17594,"slug":17595,"title":17596,"dynasty":3017,"author":12440,"museum":561,"description":17597,"tags":17598,"thumbUrl":17599,"material":70,"size":70,"collection":70,"collections":17600,"showCount":17385,"zanCount":46,"manualWeight":46,"mainColor":149},226651,"qiu-dong-shan-shui-tu-yi-dong-jing-xue-zhou-226651","秋冬山水图一（冬景）","这两幅雪舟所作的《秋景山水图》与《冬景山水图》，原来被视为「夏冬山水」而收藏于京都曼殊院。\n也有学者认为，这原是四幅一组的四季山水图其中之两件。\n《秋景山水图》中，画家自画面左下角画出沿着水流向画面中心弯曲延伸的小径，在路中并安置了正在交谈的两名人物作为点睛之用，接着画了楼阁与远山，表现出着实而明确的空间深度。\n将所有景物集中于画面下方，而上方则是一片广阔的空间。\n这种构图手法，恰与《冬景山水图》形成对称。\n《冬景山水图》中，被白雪覆盖的断崖矗立于画面中央，画中人物在下了小舟后朝楼阁方向走去。\n彷佛倒挂悬垂的断崖强而有力的轮廓线，以及冬天枯干的树木等描写，使人生起一种严寒之感。\n自画面左下角，将岩石、山块等以反时钟之方向配置成螺旋状的构图，让人强烈感觉到一种人为性安排。\n画家有意地利用这种空间架构手法与强烈的笔墨表现相互搭配，营造出画面空间深度。",[23,200,24,128,95,29,612,60,242,7,364,114,36,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61584f354c65070a66b76131d9a88d55.jpg",[],{"id":17602,"slug":17603,"title":17604,"dynasty":296,"author":7994,"museum":561,"description":15360,"tags":17605,"thumbUrl":17606,"material":70,"size":70,"collection":70,"collections":17607,"showCount":17385,"zanCount":46,"manualWeight":46,"mainColor":47},226634,"si-shi-shan-shui-07-pu-ru-226634","四时山水07",[23,24,25,27,28,36,29,33,427,7,35,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb559be15cbf0d7b675d5eeea0f7e508f.jpg",[],{"id":17609,"slug":17610,"title":17611,"dynasty":296,"author":3437,"museum":53,"description":17612,"tags":17613,"thumbUrl":17614,"material":84,"size":17615,"collection":70,"collections":17616,"showCount":17385,"zanCount":46,"manualWeight":46,"mainColor":149},224494,"mei-hua-shan-guan-zhou-wu-li-224494","梅花山馆轴","青绿山峦雄踞左幅，古松虬曲苍劲，枝桠舒展撑出一片清寂天地。山涧春水初涨，暖雾轻笼远峰，将黛色晕作朦胧烟影，柔化了山棱的冷硬。\n右侧水榭山馆凌波而起，几株梅树临水横斜，素花缀枝，暗香仿佛随春水悠悠漫开。白衣策杖的隐者驻足松下，凝睇烟景，将尘俗心绪尽皆抛却。\n整作设色古雅沉静，构图疏密相济，把早春山乡的清润生机，和幽居雅逸的林下襟怀相融，笔底漫溢着悠然淡远的隐逸诗意，藏着文人寄情林泉的悠悠雅兴。",[24,25,95,28,36,29,390,60,30,96,7,33,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1b205a90514253e5b2536e69943f40e.jpg","104.3x52.1",[],{"id":17618,"slug":17619,"title":17620,"dynasty":296,"author":3038,"museum":561,"description":17621,"tags":17622,"thumbUrl":17623,"material":70,"size":70,"collection":70,"collections":17624,"showCount":17385,"zanCount":11,"manualWeight":46,"mainColor":149},224447,"fang-huang-he-shan-ren-shan-shui-wang-hui-224447","仿黄鹤山人山水","此作用全景铺展秋山胜境，取法黄鹤山人苍浑繁密之致。峰崖高拔，以解索皴写山石肌理，苔点错落，尽显岩壑古拙苍劲。山间云气轻笼，虚实相生，拉开层叠景深。\n下半幅转绘幽居水乡，屋舍错落滨水，渔人泛棹、庭内闲寂，将林泉隐逸的悠然意趣融于山水间。\n笔墨干湿互济，浓淡相宜，既恪守元人笔墨的苍茫厚重，又暗合江南山水温润灵秀之态，师古而不泥古，尽显秋山静穆雅致的林泉高致。",[23,24,25,951,95,36,27,28,29,427,7,130,35,364,34,7292,132,4253],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8123656d7dfc46d899cd09ac6309fce.jpg",[],{"id":17626,"slug":17627,"title":17628,"dynasty":296,"author":14571,"museum":561,"description":17629,"tags":17630,"thumbUrl":17635,"material":70,"size":70,"collection":70,"collections":17636,"showCount":17385,"zanCount":46,"manualWeight":46,"mainColor":250},224357,"xiu-zhu-you-ju-tu-yu-zhi-ding-224357","修竹幽居图","《修竹幽居图》是清代禹之鼎创作的设色纸本画。\n本幅右上题“高宗修竹幽居图”，左上款署：“己卯长夏敬绘，十二家恭颂师保相国王老大人千秋，后学禹之鼎。\n”钤“禹之鼎”、“慎斋”印二方。\n己卯为清康熙三十八年（1699年），禹之鼎时年5岁。\n画面上水天空旷，岸边修竹成林，桃花掩映，奇石兀立。\n围栏中建一亭轩，主人慵懒地斜倚在亭内竹椅之上，桌面置一茶壶，身后小童侍立。\n此图房屋、栏杆用笔工细；山石、树木先以墨勾勒轮廓，再用石青、石绿染出；以红色点叶，赭黄色染屋顶；竹子用竖笔绘干，细笔写叶。\n画面布局疏密有致，用笔以写意为主，兼用工笔，轻灵洒脱而又严整，设色清雅鲜丽，意境悠远闲淡，意趣横生。\n禹之鼎（1647——？），字上吉，一字尚基，一作尚稽，号慎斋，江苏江都（今扬州）人。\n其擅长写真，特别是其白描手法，秀媚古雅，当时推为第一，一时名人小像多出其手。",[23,24,200,7880,56,300,28,257,27,29,391,2278,8815,33,64,7,34,58,17631,17632,17633,17634],"茶壶","闲淡悠远","清雅鲜丽","疏密有致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7477ce1642bae1fe2529bec82050053.jpg",[],{"id":17638,"slug":17639,"title":17640,"dynasty":124,"author":436,"museum":561,"description":17641,"tags":17642,"thumbUrl":17643,"material":217,"size":660,"collection":70,"collections":17644,"showCount":17385,"zanCount":46,"manualWeight":46,"mainColor":149},223553,"shen-shan-hui-qi-tu-yi-ming-223553","深山会棋图","该画青绿设色，主要表现一士人策杖而行，身后跟随二童仆，一仆携琴，另一仆则肩扛巨大的葫芦，暗示道教的“壶中天”；主仆三人正走向山洞洞门，门后高山耸立，山后却别有天地，象征道教中的“洞天”；“洞天”内则琼楼玉宇，二仙人正在弈棋。\n此类画作，无款无印，是专于墓葬的使用而创作，喻示死者能够仙化，从而进入人所仰慕的神仙世界。此画是中国古代“洞天”和“仙弈”等思想观念的体现。",[23,24,25,29,27,36,28,7,427,60,58,31,6489],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30288ef13f2034087c552c24805539d6.jpg",[],{"id":17646,"slug":17647,"title":17648,"dynasty":124,"author":436,"museum":360,"description":17649,"tags":17650,"thumbUrl":17651,"material":142,"size":17652,"collection":144,"collections":17653,"showCount":17385,"zanCount":46,"manualWeight":46,"mainColor":149},223470,"zheng-ren-xiao-fa-tu-yi-ming-223470","征人晓发图","此为南宋民间风俗画。 茂密的山林中，树木葱郁，远处的树荫下有三间小屋。 农夫在他身后嬉戏，一头驴子站在角落里，扭头看主人忙碌。 远郊一家三口客栈的生活即将浮出水面，形象刻画。",[23,24,200,56,28,57,58,215,35,112,7,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf409b97531dc0d89d051eddaf8a0f4d.jpg","51x68",[144],{"id":17655,"slug":17656,"title":3396,"dynasty":296,"author":11927,"museum":53,"description":11928,"tags":17657,"thumbUrl":17658,"material":70,"size":17659,"collection":42,"collections":17660,"showCount":17385,"zanCount":46,"manualWeight":46,"mainColor":47},222850,"hua-shan-shui-zhou-ai-xin-jue-luo-yong-rong-222850",[23,24,25,95,27,28,36,29,31,34,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8920c3dc2166da7d6d9ab54681a80f5.jpg","12.2x13.9 公分",[42,264],{"id":17662,"slug":17663,"title":17664,"dynasty":296,"author":3417,"museum":561,"description":17665,"tags":17666,"thumbUrl":17667,"material":760,"size":17668,"collection":42,"collections":17669,"showCount":17385,"zanCount":46,"manualWeight":46,"mainColor":47},222621,"shan-shui-tu-juan-2-gong-xian-222621","山水图卷-2","全图为长卷形式，重山复岫横向展开，绵延起伏，用平远构图。山石短笔皴擦，树木以横竖排点画出，整卷结构缜密，气韵苍莽，幻景与实境交融，可观、可游、可居，“引人着胜地”。后纸行书长题，论及学道、读书、性情、嗜好，表达了画家对待艺术和生活的态度，兹录如下：\n“画于众技中最末。及读杜老诗，有云：刘侯天机精，好画入骨髓。世固有好画而入骨髓者矣！余能画，似不好画，非不好画也，无可好之画也。曾见唐、宋、元、明初诸家真迹，亦何尝不坐卧其下，寝食其中乎？问之好画者，曰：士生天地间，学道为上，养气读书次之，即游名山川、出交贤豪长者皆不可少，余力则工词赋、书画、棋琴。夫天生万物，惟人独秀，人之所以异于草木瓦砾者，以有性情，有性情便有嗜好，一无嗜好，惟恣饮啖，何异马牛而襟裾也。不能追禽而之踪，便当居一小楼，如宗少文张图绘于四壁，抚弦动操则众山皆响。前贤之好画往往如是，乌能悉数！余此卷借从心中肇造，云雾、丘壑、屋宇、舟船、梯凳、溪径，要不背理，使后之玩者可登可涉、可止可安，虽曰幻境，然自道眼观之，同一实境也。引人著胜地，岂独酒哉！戊辰秋杪半亩龚贤画并题。”\n下钤“龚贤”朱文印、“钟山野老”白文印。鉴藏印有“虚斋秘玩”等七方。戊辰为康熙二十七年（1688年），龚贤71岁。",[23,200,24,25,26,8539,36,27,29,34,7,133,37,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d02b1120bb03db2426b4f600768a89d.jpg","纵28.8厘米，横404.1厘米",[42,146,648],{"id":17671,"slug":17672,"title":17673,"dynasty":18,"author":19,"museum":509,"description":17674,"tags":17675,"thumbUrl":17676,"material":246,"size":17677,"collection":70,"collections":17678,"showCount":17385,"zanCount":46,"manualWeight":46,"mainColor":47},222120,"pen-ju-you-shang-tu-quan-juan-shen-zhou-222120","盆菊幽赏图全卷","图中平坦幽静之处立一小亭，亭四周树木蓊郁；亭两侧摆放数盆菊花，盆中菊花绽放，红白花朵，煞是好看；亭内三人对饮，一僮持壶侍立，一派秋高气爽的意境。",[23,200,24,25,26,27,28,38,37,82,36,723,33,112,30,31,58,1990,7,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dae7349998c775da2fdf56e74c90c5f.jpg","23.4×86cm",[],{"id":17680,"slug":17681,"title":17682,"dynasty":78,"author":1290,"museum":1043,"description":17683,"tags":17684,"thumbUrl":17685,"material":3086,"size":17686,"collection":70,"collections":17687,"showCount":17385,"zanCount":46,"manualWeight":46,"mainColor":149},221758,"qiu-lin-yu-yin-tu-sheng-mao-221758","秋林渔隐图","《传世名画题诗品赏》是26年 出版的图书。\n本书以“一图一文”的组合形式构成，为每幅名画配上一篇品赏文字，内容包括画幅收藏处，画家、诗人生平简介，画幅技巧、布局、意境的评述，诗篇词语典故的诠释，技巧、诗境的阐发等。\n开本: 2开 ISBN: 72224564 条形码: 978722245644 尺寸: 21 14.2 4.2 cm 重量: 721 g 绘画艺术品受战乱兵燹等社会因素和风化水蚀等自然因素的损毁和破坏，大量散佚，很难传留。\n因此，传世名画更显名贵，成为我国文化遗产宝库中的重要部分，值得珍视。\n画上题诗，是诗画艺术结合的产物，“诗书画”三绝，构成一件艺术珍品，使图像、线条、色彩、笔情、墨趣、诗境、画意，和谐地融合在一起，形成东方民族美学的独特艺术形态，集中反映和体现华夏民族的审美观念和文化精神，足以屹立于世界艺术之林。\n为帮助爱好诗画艺术的朋友们欣赏传世名画上的题画诗，笔者特意从海内外各大博物馆（院）以及私家收藏的传世名画中，遴选出若干幅作品，品赏评析画上题诗，编撰成这本《传世名画题诗品赏》，并就题画诗的艺术特质和艺术功能，题画诗的发展轨迹，以及本书的编写体例等问题，详作阐述，以说明笔者的编撰意图。\n上篇 两宋 第一图 赵佶《蜡梅山禽图》 第二图 徐禹功《雪中梅竹图》 第三图 马远《踏歌图轴》 第四图 梁楷《泼墨仙人图》 第五图 马麟《层叠冰绡图》 第六图 马麟《漳冷梅康馨图页》 第七图 赵孟坚《墨兰图》 第八图 龚开《骏骨图》 元代 第九图 玉涧《庐山瀑布图》 第十图 陆文圭《扁舟傲睨图》 第一一图 钱选《归去来辞图》 第一二图 钱选《 》 第一三图 钱选《山居图卷》 第一四图 钱选 《牡丹图》 第一五图 高克恭《黑竹坡石图》 第一六图 赵孟頫《人骑图卷》 第一七图 赵孟頫《秀石疏林图》 第一八图 黄公望《天池石壁图》 第一九图 曹知白《疏松幽岫图轴》 第二十图 吴镇《松石图》 第二一图 吴镇《芦花寒雁图轴》 第二二图 吴镇《草亭诗意图》 第二三图 吴镇《多福图轴》 第二四图 吴镇《松泉图》 第二五图 吴镇《芦滩的艇图》 第二六图 吴镇《渔父图》 第二七图 张渥《竹西草堂图》 第二八图 王渊《牡丹图卷》 第二九图 盛懋《秋江待渡图》 第三十图 盛懋《秋林渔隐图》 第三一图 王冕《墨梅图》 第三二图 王冕《墨梅图卷》 第三三图 王冕《寒梅图》 第三四图 王冕《南枝春早图》 第三五图 倪瓒《古木幽篁图》 第三六图 倪瓒《江岸望山图》 第三七图 倪瓒《虞山林壑图》 第三八图 倪瓒《梧竹秀石图》 第三九图 倪瓒《琪树秋风图》 第四十图 倪瓒《六君子图》 第四一图 倪瓒《幽涧寒松图》 第四二图 倪瓒《秋林新兴图》 第四三图 倪瓒《水竹居图》 第四四图 倪瓒《秋亭嘉树图》 第四五图 倪瓒《雨后空林图》 第四六图 倪瓒《渔庄秋霁图》 …… 明代 下篇 清代 下册",[23,24,1900,27,36,29,952,32,201,243,112,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F264a3578244bd0799ebe3b6cf74625e3.jpg","26.7×33.7cm",[],{"id":17689,"slug":17690,"title":17691,"dynasty":124,"author":5752,"museum":53,"description":17692,"tags":17693,"thumbUrl":17694,"material":28,"size":17695,"collection":70,"collections":17696,"showCount":17385,"zanCount":11,"manualWeight":46,"mainColor":663},221629,"xian-mang-tu-zhou-ma-he-zhi-221629","闲忙图轴","马和之：南宋画家，钱塘（今浙江省杭州市）人。擅长画人物、佛像、山水。他的人物画受吴道子、李公麟影响而又有所变化，能独创一格。中国传统人物 画衣纹十八描中的马蝗描就是他把吴道子的兰叶描变化发展而创造出来的。其画用笔起伏顿挫，线条粗细变化较明显，又飘逸流利，显得活泼 潇洒，富于韵律感。他画人物多以水墨为主，即使着色，也比较轻淡，当时人称之为“小吴生”（吴生即吴道子）。",[23,24,25,95,28,58,96,7,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7399dfe9d03dab145ab54a0cfb5655e7.jpg","124.5x67.2",[],{"id":17698,"slug":17699,"title":17700,"dynasty":124,"author":5752,"museum":509,"description":17701,"tags":17702,"thumbUrl":17703,"material":142,"size":17704,"collection":70,"collections":17705,"showCount":17385,"zanCount":11,"manualWeight":46,"mainColor":149},221624,"tang-feng-tu-juan-quan-juan-ma-he-zhi-221624","唐风图卷全卷","全卷笔墨精炼，线条流畅多变，设色淡雅；楷法工整劲健。传世《唐风图》共三卷，与其他相比，此卷最佳。史载宋高宗赵构曾书写《诗经》，马和之为之各画一图，但现传世真迹罕见，此卷与诸卷《毛诗图》相比亦为上乘。\n马和之，钱塘（今浙江杭州）人，绍兴中进士，官至工部侍郎，擅人物、山水，人物上追吴道子，有“小吴生”之誉。本卷卷后有乾隆行书跋，明张丑《清河书画舫》、清《石渠宝笈•续编》等书著录。曾经南宋曾覿、明韩世能、项元汴、清耿昭忠、索额图、清内府收藏。",[23,24,200,26,712,27,25,82,29,58,33,34,7,60,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4ac88ae55d3994f4336d0c4ddb17ef2.jpg","纵28.5厘米，横803.8厘米",[],{"id":17707,"slug":17708,"title":17709,"dynasty":296,"author":2948,"museum":360,"description":13138,"tags":17710,"thumbUrl":17711,"material":229,"size":13141,"collection":70,"collections":17712,"showCount":17385,"zanCount":46,"manualWeight":46,"mainColor":47},220325,"huang-shan-tu-ce-5-hong-ren-220325","黄山图册-5",[23,24,25,111,27,36,29,244,427,58,363,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc48c1a6440b9359b890d503ad1a69aae.jpg",[],{"id":17714,"slug":17715,"title":17716,"dynasty":296,"author":2948,"museum":360,"description":13138,"tags":17717,"thumbUrl":17719,"material":229,"size":13141,"collection":70,"collections":17720,"showCount":17385,"zanCount":46,"manualWeight":46,"mainColor":47},220301,"huang-shan-tu-ce-25-hong-ren-220301","黄山图册-25",[23,200,24,25,111,27,29,17718,7,36],"孤松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F537b52c55ec90132c7d498af46f17294.jpg",[],{"id":17722,"slug":17723,"title":17724,"dynasty":296,"author":2948,"museum":360,"description":13138,"tags":17725,"thumbUrl":17726,"material":229,"size":13141,"collection":70,"collections":17727,"showCount":17385,"zanCount":46,"manualWeight":46,"mainColor":47},220300,"huang-shan-tu-ce-26-hong-ren-220300","黄山图册-26",[23,24,25,111,27,29,7,34,31,130,1506,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33296ed6c8f1aa652e3297eebc981cad.jpg",[],{"id":17729,"slug":17730,"title":17731,"dynasty":18,"author":2217,"museum":597,"description":17732,"tags":17733,"thumbUrl":17734,"material":229,"size":70,"collection":42,"collections":17735,"showCount":17385,"zanCount":46,"manualWeight":46,"mainColor":47},220149,"qiu-shan-qing-xing-tu-chen-huan-220149","秋山清兴图","陈焕是明代吴门画派画家，他是苏州人，生活在明代中后期。陈焕的传世作品不多，画史中关于他的记载仅有三两句，其中最关键的一句说他私淑侯懋功。私淑是文化人的说法，指不能拜入师门但心存向往，一心临习。侯懋功是文徵明一脉的后辈弟子，画风雅致，在江南一带名气很大。从私淑二字就可以看出来，陈焕的学画之路并不顺畅，不过再多的坎坷也阻挡不住他对艺术的向往。",[23,24,27,95,29,7,34,427,30,33,36,3692],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45500562d0218a2947f633f2ac87f1e3.jpg",[42],{"id":17737,"slug":17738,"title":17739,"dynasty":296,"author":436,"museum":53,"description":17740,"tags":17741,"thumbUrl":17742,"material":229,"size":70,"collection":42,"collections":17743,"showCount":17385,"zanCount":46,"manualWeight":46,"mainColor":47},219366,"gao-zong-yu-ti-shan-si-chao-lan-tu-zhou-yi-ming-219366","高宗御题山寺朝岚图轴","层岩叠嶂拔地而起，皴笔勾勒出山峦苍劲肌理，峰顶与烟岚相融，似隐似现间透着空濛。山腰古木森然，松针攒簇如盖，林间云雾流转，切割出深浅层次，平添幽远之趣。山坳梵宇错落，飞檐翘角隐于林麓，似有晨钟梵音裹挟岚气漫溢。近景蹊径蜿蜒，二叟策杖徐行，衣袂飘飘，与静谧山林相映成趣，尽显文人寄情山水的闲适。淡墨晕染烟岚，浓墨点染树石，虚实相生间，朝曦初露、岚气未散的胜境呼之欲出。清幽藏生机，静谧含悠远，引人步入那尘外之境，沉醉于自然与人文交织的雅韵中。",[24,25,95,29,36,27,28,7,34,133,60,364,58,3229,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcec09cda273d9e86e7d09e154e60eccb.jpg",[42],{"id":17745,"slug":17746,"title":17747,"dynasty":124,"author":548,"museum":53,"description":17748,"tags":17749,"thumbUrl":17750,"material":601,"size":17751,"collection":306,"collections":17752,"showCount":17385,"zanCount":46,"manualWeight":46,"mainColor":47},218698,"han-lin-ji-xue-tu-li-cheng-218698","寒林积雪图","这幅《雪山萧寺图》只取了李成画寒林雪的名字，但风格更接近于蓝瑛和刘度的风格。",[23,24,200,25,26,29,538,5047,242,7,28,36,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68e6c410e1468f140d6db63b045c2caf.jpg","29.7x21cm",[306],{"id":17754,"slug":17755,"title":17756,"dynasty":18,"author":436,"museum":346,"description":10733,"tags":17757,"thumbUrl":17758,"material":40,"size":70,"collection":70,"collections":17759,"showCount":17385,"zanCount":46,"manualWeight":46,"mainColor":47},217948,"ming-ren-shan-shui-hua-ce-qi-yi-ming-217948","明人山水画册(七)",[23,24,25,111,27,36,29,837,112,96,7,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F265893252de5c9f63ff7626980bdf4ce.jpg",[],{"id":17761,"slug":17762,"title":17763,"dynasty":18,"author":436,"museum":346,"description":10733,"tags":17764,"thumbUrl":17765,"material":40,"size":70,"collection":70,"collections":17766,"showCount":17385,"zanCount":46,"manualWeight":46,"mainColor":47},217930,"ming-ren-shan-shui-hua-ce-zhi-shi-san-yi-ming-217930","明人山水画册之(十三)",[24,25,111,27,36,29,7,34,35,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F780be1127cd53a2e7ddde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大军征讨洮岷，以军队过境，犒劳失时，下狱。洪武十三年（1380），以“犒师不周”处死。",[24,27,29,95,82,36,60,30,31,32,34,7,33,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fc1786958bb41a964d7d69070c1211b.jpg",[],{"id":17841,"slug":17842,"title":17843,"dynasty":78,"author":107,"museum":53,"description":1755,"tags":17844,"thumbUrl":17845,"material":116,"size":10978,"collection":70,"collections":17846,"showCount":17822,"zanCount":46,"manualWeight":46,"mainColor":149},290417,"hua-xi-yu-yin-zhou-wang-meng-290417","花溪渔隐轴",[200,24,95,27,29,36,31,32,34,7,35,243,82,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76a0acb529b0bc5c0c94798e81326b50.jpg",[],{"id":17848,"slug":17849,"title":17850,"dynasty":124,"author":154,"museum":561,"description":4568,"tags":17851,"thumbUrl":17852,"material":217,"size":660,"collection":70,"collections":17853,"showCount":17822,"zanCount":46,"manualWeight":46,"mainColor":149},290304,"yun-yan-lan-sheng-zhou-guo-xi-290304","云烟揽胜轴",[24,95,951,27,36,29,133,242,7,31,32,3156,349],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a8371c836a4c84acf0ffa9310d91859.jpg",[],{"id":17855,"slug":17856,"title":5465,"dynasty":124,"author":2305,"museum":561,"description":17857,"tags":17858,"thumbUrl":17861,"material":217,"size":660,"collection":70,"collections":17862,"showCount":17822,"zanCount":11,"manualWeight":46,"mainColor":149},290269,"luo-han-tu-li-song-290269","李嵩（1166—1243），中国南宋画家，钱塘（今浙江杭州）人。少年时曾为木工，后成为画院画家李从训的养子，绘画上得其亲授，擅长人物、道释，尤精于界画，为光宗、宁宗、理宗（1190一1264）时期画院待诏。\n李嵩画过许多表现下层社会生活的风俗画，及表现农民劳动生活的《春溪渡牛图》、《春社图》和组画《服田图》等。传日的《货郎图》是李嵩传世的重要作品。他以货郎为题材，创作过多幅货郎图。除故宫博物院藏的一幅横卷外，余皆为小幅，分别藏于台北故宫博物院、美国堪萨斯州阿肯博物馆的尼尔逊美术馆及美国纽约大都会美术馆。\n李嵩具有多方面才能，尤其善于通过绘画，表达自己对生活的感受和态度，他的《夜湖图》《水殿招凉图》《观潮图》《西湖图》《仙山瑶涛图》《骷髅幻戏图》《观灯图》《柳塘聚禽图》《花篮图》等，都显示出他卓越的绘画技巧。其中《骷髅幻戏图》则以其不易被人理解的深刻的寓意，为美术史留下了一个画谜。",[24,200,95,784,58,28,9395,17859,213,7,17860],"沙弥","佛具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4174ab2954aab1bfbc0e7ca2c411926f.jpg",[],{"id":17864,"slug":17865,"title":17866,"dynasty":124,"author":17867,"museum":561,"description":17868,"tags":17869,"thumbUrl":17870,"material":217,"size":660,"collection":70,"collections":17871,"showCount":17822,"zanCount":46,"manualWeight":46,"mainColor":149},289731,"mei-xi-pu-bu-tu-cui-que-289731","梅溪瀑布图","崔慤","。崔悫与及他的兄长崔白，都是北宋著名的花鸟画家。他们的画风朴素、重视自然野趣，对於当时的画院有很深的影响。这件作品除了取材自山林野趣之外，画中直接用墨色点染，不用笔描（即所谓的「没骨画法」），是宋代花鸟画中少见的表现手法，但却能将鹌鹑与蝼蛄的形态表现得准确而生动，令人赞佩。",[24,200,29,58,390,201,31,7,130,28,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ca51841a1807ebc44e9f4ff79541c6c.jpg",[],{"id":17873,"slug":17874,"title":5036,"dynasty":124,"author":154,"museum":561,"description":5037,"tags":17875,"thumbUrl":17877,"material":217,"size":660,"collection":70,"collections":17878,"showCount":17822,"zanCount":46,"manualWeight":46,"mainColor":663},288506,"qiu-shan-xing-lv-tu-guo-xi-288506",[23,24,200,951,27,36,17876,7,1066,31,32,1506,131],"秋意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F288e7ca9f20e1578206e7ed6d99bcb96.jpg",[],{"id":17880,"slug":17881,"title":17882,"dynasty":296,"author":4083,"museum":561,"description":14375,"tags":17883,"thumbUrl":17884,"material":217,"size":660,"collection":70,"collections":17885,"showCount":17822,"zanCount":46,"manualWeight":46,"mainColor":47},288281,"yu-sheng-bai-yun-si-tu-qian-wei-cheng-288281","豫省白云寺图",[24,200,25,95,784,951,36,28,7,34,60,3229,82,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe106705075e5729ca78f6e63548247e6.jpg",[],{"id":17887,"slug":17888,"title":14439,"dynasty":124,"author":154,"museum":53,"description":4568,"tags":17889,"thumbUrl":17890,"material":217,"size":660,"collection":70,"collections":17891,"showCount":17822,"zanCount":46,"manualWeight":46,"mainColor":663},288271,"feng-nian-rui-xue-tu-guo-xi-288271",[24,95,29,27,36,612,7,34,33,30,32,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ed85e399afa0ec95a0db923ec9ae547.jpg",[],{"id":17893,"slug":17894,"title":17895,"dynasty":18,"author":14896,"museum":561,"description":17896,"tags":17897,"thumbUrl":17898,"material":217,"size":660,"collection":146,"collections":17899,"showCount":17822,"zanCount":46,"manualWeight":46,"mainColor":47},287794,"min-zhong-shan-shui-tu-juan-xiang-sheng-mo-287794","闽中山水图卷","项圣谟，初字逸，后字孔彰，号易庵，别号有胥山樵、存存居士、醉风人、大酉山人、莲塘居士、烟波钓徒、松涛散仙、逸叟、狂吟客、鸳湖钓叟、不夜楼中士等等，浙江嘉兴人。",[23,24,26,951,28,36,7,316,32,97,60,30,1066,1931,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff07fc17451bf883c857c7b540878e84e.jpg",[146],{"id":17901,"slug":17902,"title":5126,"dynasty":18,"author":3243,"museum":561,"description":17903,"tags":17904,"thumbUrl":17905,"material":217,"size":660,"collection":70,"collections":17906,"showCount":17822,"zanCount":11,"manualWeight":46,"mainColor":149},287779,"shan-shui-ren-wu-tu-chen-hong-shou-287779","插图》《水浒叶子》《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[23,24,200,25,95,28,58,29,272,390,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e46687b0740b7c2ccb5b7e47413c318.jpg",[],{"id":17908,"slug":17909,"title":17910,"dynasty":124,"author":13072,"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意之作皆用铜章。以博学能诗称。顺治十一年（一六五四）仿各家山水册时年七十四。《国[清]朝画徵录、读画录、图绘宝鉴续纂、桐阴论画》",[24,25,111,28,29,2843,34,35,114,58,364,861,17981,7],"绿树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63ebc5ce7d4cd925819659780280bf13.jpg",[42,264],{"id":17985,"slug":17986,"title":106,"dynasty":18,"author":6270,"museum":360,"description":6271,"tags":17987,"thumbUrl":17988,"material":6274,"size":6275,"collection":70,"collections":17989,"showCount":17822,"zanCount":46,"manualWeight":46,"mainColor":149},236326,"shan-shui-ce-song-xu-236326",[24,200,27,36,111,29,7,31,96,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5568e8162b6b1452a973fb60a41c812.jpg",[],{"id":17991,"slug":17992,"title":17993,"dynasty":296,"author":9806,"museum":561,"description":17994,"tags":17995,"thumbUrl":17996,"material":70,"size":70,"collection":70,"collections":17997,"showCount":17822,"zanCount":11,"manualWeight":46,"mainColor":149},235832,"qiu-shan-cao-tang-tu-zhou-wu-hong-235832","秋山草堂图轴","此作用淡墨皴擦写层叠秋山，崖峦渐远晕出空濛秋韵。近畔枯木虬曲苍劲，苍松卓然挺立于茅舍之侧，篱径萦回板桥通幽，溪岸渔舟横斜，静穆山居秋景宛然眼前。枯笔短皴勾勒山石质感，淡赭轻敷晕染秋意，简淡笔墨见出苍浑朴拙。右上角题诗衬景，诗画相融，将秋日山野萧疏安闲的意趣尽显，暗合文人幽居丘壑、寄情林泉的雅逸襟怀。",[24,25,95,27,28,36,29,34,242,427,30,31,7,187,1910,578],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7717b800d6cee60d4bf59a3f525be6ec.jpg",[],{"id":17999,"slug":18000,"title":18001,"dynasty":18,"author":10638,"museum":561,"description":18002,"tags":18003,"thumbUrl":18004,"material":217,"size":660,"collection":70,"collections":18005,"showCount":17822,"zanCount":46,"manualWeight":46,"mainColor":149},235740,"xue-yue-du-shu-tu-zhou-xiao-yun-cong-235740","雪岳读书图轴","萧云从(1596～1673) ，字尺木，号于湖老人、无闷道人、默思。安徽芜湖人，明末清初著名画家，姑孰画派创始人。父亲肖慎余，为明乡饮大宾，懂绘画。云从幼而好学，“笃志绘事，寒暑不废”。\n明崇祯十一年（1638年）加入复社，与阉党保守势力集团进行了积极的斗争。入清后隐居不仕。其人物画主要继承了宋代李公麟的白描法，亦吸收明代陈洪绶之长，造型准确，形象生动。其山水画自成一家，笔墨清疏苍秀，饶有逸致。他的画在家乡芜湖地区影响甚大，形成了“姑熟画派”，传其衣钵者有其弟云倩，子一旸，侄一荐、一箕，犹子一芸，以及黄戢、施长春、施道光等人。萧云从的挚友、清初四画僧之一弘仁的早期山水亦受其影响。",[24,25,95,27,36,29,537,34,60,7,4019,3673,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3aadc14ab00840c1f1800f468d3cccf0.jpg",[],{"id":18007,"slug":18008,"title":18009,"dynasty":18,"author":436,"museum":561,"description":18010,"tags":18011,"thumbUrl":18012,"material":70,"size":70,"collection":70,"collections":18013,"showCount":17822,"zanCount":11,"manualWeight":46,"mainColor":149},235681,"tao-cheng-chan-gong-yu-tu-tu-zhou-yi-ming-235681","陶成蟾宫玉兔图轴","此作图绘仙乡秘境，一轮素月悬于空濛天际，清辉铺洒四野。玉兔静伏于青竹之侧，茸毛细密柔润，红眸澄澈灵动，憨态可掬，为清冷画面晕开一抹柔温。\n\n青绿山石晕染雅致，水流蜿蜒有声，远山瀑布垂挂如练，浅绛淡青交织出幽谧空寂的氛围感。数竿修竹挺秀清疏，枯木虬枝添了几分古意，与题诗相映成趣，诗画相融，晕染出出尘的仙家意韵。\n\n笔墨兼工带写，设色古雅沉静，将缥缈蟾宫的清寂与鲜活生机揉和一处，尽显古典雅致的仙境意趣。",[24,95,28,56,29,391,3006,1385,31,7,130,1396],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F199c4e3ce8b760deb87b3e87847a32a2.jpg",[],{"id":18015,"slug":18016,"title":106,"dynasty":296,"author":18017,"museum":561,"description":18018,"tags":18019,"thumbUrl":18020,"material":217,"size":660,"collection":42,"collections":18021,"showCount":17822,"zanCount":46,"manualWeight":46,"mainColor":47},235546,"shan-shui-ce-zhu-chang-235546","祝昌","祝昌[清]字山嘲，安徽广德人（一作安徽舒城人），居新安（今安徽歙县），又客汉上。顺治六年（一六四九）进士（清朝书画家笔录误入道光朝）。山水学渐江，后学元季诸家，画多逸致。性孤介，遇不以礼，虽饼金不售。《国[清]朝画徵录、图绘宝鉴续纂》",[24,25,111,27,36,29,30,31,32,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2ad5b2fa16ff516a5cdea7f7f52a564.jpg",[42],{"id":18023,"slug":18024,"title":17084,"dynasty":296,"author":17085,"museum":561,"description":17086,"tags":18025,"thumbUrl":18026,"material":217,"size":660,"collection":70,"collections":18027,"showCount":17822,"zanCount":46,"manualWeight":46,"mainColor":47},235281,"ren-wu-gu-shi-ce-fan-xue-yi-235281",[24,28,56,111,58,30,31,215,112,35,7,7016,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22f7d600f871e885662e72ac3a248c81.jpg",[],{"id":18029,"slug":18030,"title":18031,"dynasty":18,"author":3448,"museum":561,"description":18032,"tags":18033,"thumbUrl":18034,"material":70,"size":70,"collection":70,"collections":18035,"showCount":17822,"zanCount":11,"manualWeight":46,"mainColor":47},235164,"san-feng-chun-se-zhou-lu-zhi-235164","三峰春色轴","此作以淡绛浅绘铺展春日丘壑，取高远构图，层峦奇崛苍劲，勾勒皴擦尽显山石嶙峋骨相。空阔春水横陈其间，汀渚错落，寒林带浅红新芽，村居隐于林麓溪畔，淡远清寂里暗蕴初春风光。\n笔墨秀挺劲爽，设色清简克制，只以淡赭轻染峰林枝梢，衬出春寒未褪的润雅生机，将江南早春的疏朗清远晕染纸上，意境萧散淡和，尽显文人山水雅淡出尘之致。",[24,95,27,36,29,2901,34,113,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb50e2117ede6573ff78446f0cb4dcf51.jpg",[],{"id":18037,"slug":18038,"title":3378,"dynasty":296,"author":870,"museum":360,"description":15904,"tags":18039,"thumbUrl":18040,"material":6274,"size":1879,"collection":70,"collections":18041,"showCount":17822,"zanCount":46,"manualWeight":46,"mainColor":47},235000,"yuan-ji-shan-shui-tu-ce-shi-tao-235000",[24,27,111,36,29,244,201,33,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F827300976b1c7e0d41a3cb96f2232948.jpg",[],{"id":18043,"slug":18044,"title":18045,"dynasty":296,"author":3909,"museum":561,"description":18046,"tags":18047,"thumbUrl":18048,"material":70,"size":70,"collection":70,"collections":18049,"showCount":17822,"zanCount":46,"manualWeight":46,"mainColor":47},234692,"ri-zhang-shan-jing-tu-zhou-cha-shi-biao-234692","日长山静图轴","《查士标日长山静图轴》是清代的图轴。\n自题：“日长山静净无尘，风下松花满葛巾。\n自是人间清回处，辋川盘谷总天真。\n丙辰九月画。\n请象老道年翁教正。\n弟查士标。\n”钤“士标私印”白文印、“查二瞻”朱文印。\n款识中的“丙辰”为清康熙十五年（1676年），查士标时年62岁。\n图绘远景山峦高耸如壁。\n近水岸边，长松杂树。\n一高士携童子踱桥而至。\n布局以高远法取势，笔法轻快疏秀，墨气华润蕴藉，意境荒寒清旷，是作者在仿倪瓒的基础上的变体画，堪称其艺术成熟期的代表作。",[24,25,95,27,29,36,7,34,427,58,30,31,363,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23b3052f2ac3b856b3b70c157b198284.jpg",[],{"id":18051,"slug":18052,"title":106,"dynasty":18,"author":1100,"museum":360,"description":3543,"tags":18053,"thumbUrl":18054,"material":1107,"size":3546,"collection":70,"collections":18055,"showCount":17822,"zanCount":46,"manualWeight":46,"mainColor":47},234059,"shan-shui-ce-dong-qi-chang-234059",[200,24,25,111,28,27,36,29,30,31,33,96,452,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17fe54937e35a0b7f230e28239b75157.jpg",[],{"id":18057,"slug":18058,"title":18059,"dynasty":18,"author":3058,"museum":360,"description":18060,"tags":18061,"thumbUrl":18062,"material":12760,"size":18063,"collection":70,"collections":18064,"showCount":17822,"zanCount":46,"manualWeight":46,"mainColor":47},234046,"wen-dao-tu-shan-ye-cui-zi-zhong-234046","问道图扇页","图绘一年轻男子正向老者作揖行礼，老者则举手指点作回答状的场景，因此，本幅又名《说法图》。崔子忠的人物画在师法顾恺之、陆探微、阎立本、吴道子等传统笔墨的基础上而有创新。他注重人物表情的刻画，在故宫博物院所藏其《洗象图》、《藏云图》及《渔家图》中，都能准确地画出不同身份的人物的特征。在此图中，他将年轻人问询时谦卑的表情和老者自信淡定的神态均表现得生动传神。衣纹用笔圆润细劲，线条颤掣，虬折多变，突出了衣服质料的柔软质感和随风飘的动势。树木的枝叶以双线勾边填色，用笔工细，富装饰性。",[24,25,1900,28,56,58,96,7,114,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe607e403e39498919d386dbca761bcc9.jpg","纵20.8厘米，横60.2厘米",[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第十五尊者名阿氏多）","阿秘特尊者，出生于印度王舍城一富有的婆罗门家庭， 生来十分漂亮，因此得名，意为「无比的」， 释迦牟尼称赞他是弟子中慈悲心最大的。阿秘特尊者双手持菩提佛塔， 据说是尊者到须弥山北面的罗刹居地去时，为说明他禳除罗刹魔力， 由释迦牟尼赠与他的。山石供桌上摆有经书、香炉和宝瓶等供物， 前面有西藏的祥瑞动物嬉戏追逐，身后为湍急的河水自天边而落。上界有金刚手菩萨化现山间，大乘法王居于古松枝间。",[24,95,28,56,784,58,391,7,1118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F015b6c7cffbe180bc77b5eb7ae62d8fb.jpg",[],{"id":18093,"slug":18094,"title":18095,"dynasty":296,"author":498,"museum":561,"description":14205,"tags":18096,"thumbUrl":18097,"material":70,"size":18098,"collection":70,"collections":18099,"showCount":17822,"zanCount":46,"manualWeight":46,"mainColor":47},231514,"fang-ni-zan-she-se-qiu-shan-tu-wang-yuan-qi-231514","仿倪瓒设色秋山图",[23,24,28,29,186,36,82,1837,34,7,30,187,113,671,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffcdb306f6f1c438ff6380f1ec5787a6.jpg","95.9×50.6 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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。",[23,24,25,26,257,28,56,29,58,215,60,34,7,316,158],"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":18149,"slug":18150,"title":4281,"dynasty":78,"author":1290,"museum":561,"description":18151,"tags":18152,"thumbUrl":18153,"material":70,"size":70,"collection":70,"collections":18154,"showCount":17822,"zanCount":46,"manualWeight":46,"mainColor":47},228039,"shan-shui-tu-ye-sheng-mao-228039","取半边崖岸入画，嶙峋石矶间苍松虬劲，层叠点叶凝萃出深林郁茂。淡墨晕开的远山横亘天际，汀渚隐于烟水间，虚实相生，将江南水岸的清寂铺陈开来。\n笔墨苍秀细密，皴笔勾勒出岩崖肌理，朴拙古雅的点染尽显草木生机，设色浅淡沉静，晕染出空濛的烟水之气。\n尺幅之间藏尽林泉幽致，萧散冷寂的氛围中暗藏澹泊意趣，如一卷袖珍的林泉雅集，邀人步入这方幽寂山水，静赏这份简淡悠远的林下清欢。",[23,24,25,111,27,36,28,29,34,32,30,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75acf187f7bc3f7c3c96d8b250e8c0ac.jpg",[],{"id":18156,"slug":18157,"title":18158,"dynasty":78,"author":18159,"museum":561,"description":18160,"tags":18161,"thumbUrl":18162,"material":70,"size":70,"collection":70,"collections":18163,"showCount":17822,"zanCount":11,"manualWeight":46,"mainColor":149},227991,"wan-song-tu-juan-gu-chao-227991","万松图卷","顾超","此作用笔松灵秀润，以披麻皴晕染山峦，淡墨铺就出氤氲山林清气。近景苍松虬曲苍劲，坡岸错落间村居掩映，野趣横生。中景湖水萦回柔婉，轻描水纹分割出虚实层次，让画面灵动不滞。远景层峦间万松层叠，与山色相融，烘托出萧散空寂的林下氛围。整体简淡中见苍润，脱却匠气，以文人意趣勾勒林泉高致，将隐逸之思藏在笔墨留白间，引观者步入静穆幽远的山林之境，尽显寄情丘壑的林下风流。",[23,24,25,200,26,27,36,29,427,7,31,30,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1128d13ce286d88d7dc81f940e410197.jpg",[],{"id":18165,"slug":18166,"title":18167,"dynasty":124,"author":473,"museum":561,"description":18168,"tags":18169,"thumbUrl":18170,"material":70,"size":70,"collection":70,"collections":18171,"showCount":17822,"zanCount":46,"manualWeight":46,"mainColor":47},227772,"mo-fan-kuan-xi-shan-du-diao-tu-juan-li-tang-227772","摹范宽溪山独钓图卷","李唐的山水画师法荆浩和范宽，但是学而有变，属于青出于蓝、能举一反三的那类人物，他笔下的山川气势雄峻，笔墨峭劲。李唐晚年时对山水画用笔进行了一系列创新，造型上去繁就简，创造了国画中著名的二十三皴法之一——“大斧劈皴法”，又将水的画法改进，由原来僵化的鱼鳞纹水波变成有动式的旋涡状，使山水更显生动。",[23,200,24,25,26,186,36,27,28,37,82,29,32,724,31,7,34,244,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5adbe6f970d845a646ce629a70464885.jpg",[],{"id":18173,"slug":18174,"title":18175,"dynasty":124,"author":9275,"museum":561,"description":18176,"tags":18177,"thumbUrl":18180,"material":70,"size":70,"collection":70,"collections":18181,"showCount":17822,"zanCount":46,"manualWeight":46,"mainColor":47},227418,"feng-xue-song-shan-tu-quan-juan-li-shan-227418","风雪松杉图全卷","《风雪松杉图》卷，金， 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x 84厘米",[],{"id":18307,"slug":18308,"title":18309,"dynasty":124,"author":998,"museum":53,"description":18310,"tags":18311,"thumbUrl":18314,"material":142,"size":18315,"collection":70,"collections":18316,"showCount":17822,"zanCount":46,"manualWeight":46,"mainColor":149},221553,"luo-han-tu-5-liu-song-nian-221553","罗汉图5","刘松年 （约1131-1218），号清波，南宋画家，历孝宗、光宗、宁宗三朝，浙江省金华市汤溪镇宅口人。刘松年与刘龟年兄弟随父亲宦居钱塘清波门，以住地自号刘清波，因清波门又称南“暗门”，故外号宋“暗门刘”。",[23,200,24,25,784,56,28,58,112,7467,4949,7,1140,1396,1622,18312,18313,9395],"虬树","小和尚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81f3e58b37ca2ec5227fa60b958ee26e.jpg","纵117公分，横55.8公分",[],{"id":18318,"slug":18319,"title":18320,"dynasty":124,"author":998,"museum":509,"description":18321,"tags":18322,"thumbUrl":18327,"material":673,"size":18328,"collection":70,"collections":18329,"showCount":17822,"zanCount":46,"manualWeight":46,"mainColor":149},221548,"qiu-chuang-du-yi-tu-liu-song-nian-221548","秋窗读易图","这件作品笔墨工致严谨，气格宁静雅逸，具有一种宫廷的富贵气息，是刘松年细腻、典雅画风的杰出代表。也有专家认为，他的山水画是把李唐开创的风格“向后拉”(所谓“向后拉”，就是把李唐刚猛的画风进行减缓和柔化)，而马远、夏圭则是把李唐的画风“向前拉”，此说颇为形象。画面表现的是读书的场景。水畔树石掩映之下，书斋门窗敞开，主人在窗前展卷沉思，一书童在门外侍立。景色清幽，主人儒雅，童子恭敬，各尽其态。房屋、院落、树木、篱笆墙，都是精工细写，一丝不苟，将秋天的氛围渲染得恰到好处。一片湖光水色之外，更有远景的山石隐现。山石的画法明显是学自李唐，先用健朗的线勾轮廓，然后施以斧劈皴，精巧、有力，青绿设色，杂树用夹叶法，这些都是典型的南宋画法。但细读之下，却也不尽然。《秋窗读易图》同时呈现出另一种风貌。我们拿这张作品和刘松年的《四景山水图》做比较，就会发现这个问题。《四景山水图》画山石用斧劈皴和淡墨渲染，具有刚硬的特点。树的弯曲，用笔偏于方折，远山仅画一角。虽然画面的总体感觉上是湿润的，但具体景物却是干裂的。再看《秋窗读易图》的山石画法，很明显地具有董源、巨然的风格——长披麻皴的运用和具有江南柔美的韵致。另外，从树木、苔点、远山、秀水的画法中，我们可以感觉得到一种萧散和淳厚，这又具有元人的绘画风韵。\n总体而言，《秋窗读易图》较之《四景山水图》，硬朗之风略逊，而优雅、闲适之气则胜之。从这个意义上讲，刘松年的作品突破了时代的风格，以典雅、秀丽的风貌预示了元代山水画的走向。虽然元代山水画的一个典型的特征是排斥南宋绘画传统，但刘松年绘制的这件作品，正好从另一个方面说明了元代山水画家或者说南宗山水画家将反对的对象集中在马远和夏圭上的主要原因。",[23,24,951,1900,56,2933,985,257,28,18323,18324,18325,7,34,1011,4019,18326,14829,5065,37,82],"夹叶法","书斋","湖光水色","读书场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc7f7a8a4570c2aef05e8549b15cb55c.jpg","25.7×26厘米",[],{"id":18331,"slug":18332,"title":18333,"dynasty":3825,"author":15713,"museum":8080,"description":18334,"tags":18335,"thumbUrl":18336,"material":70,"size":70,"collection":70,"collections":18337,"showCount":17822,"zanCount":46,"manualWeight":46,"mainColor":47},220514,"chuan-yue-jiang-shan-de-ju-li-pu-xin-she-220514","穿越江山的距离","以淡墨晕染烟江叠嶂，远山轻描淡扫，留白托出平湖空寂，幽远淡宕。近岸佳木扶苏，笔致清劲灵秀，苍枝翠叶错落生姿，坡石间高士垂眉静坐，与烟水林泉相融无间。\n题跋笔墨隽雅，诗画相映，将幽居闲赏的林下襟怀藏于尺幅间。极简的水墨层次铺展空疏淡远之境，把天地间的清寂逸趣凝缩在这一纸烟岚里，尽显东方文人画的静穆禅意。",[23,24,25,95,27,36,38,82,29,34,32,58,7,114,1104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a7f7ce3d1ef48dddd8b0d0f9283b6ce.jpg",[],{"id":18339,"slug":18340,"title":18341,"dynasty":296,"author":2948,"museum":360,"description":13138,"tags":18342,"thumbUrl":18344,"material":229,"size":13141,"collection":70,"collections":18345,"showCount":17822,"zanCount":46,"manualWeight":46,"mainColor":47},220321,"huang-shan-tu-ce-8-hong-ren-220321","黄山图册-8",[23,24,25,111,27,29,7,427,4253,158,36,18343,363],"干笔淡墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F164a5154287c4247eb45586ab3ab5bbe.jpg",[],{"id":18347,"slug":18348,"title":18349,"dynasty":18,"author":436,"museum":3206,"description":18350,"tags":18351,"thumbUrl":18352,"material":84,"size":70,"collection":42,"collections":18353,"showCount":17822,"zanCount":46,"manualWeight":46,"mainColor":149},219917,"xue-xi-gui-yu-tu-yi-ming-219917","雪溪归渔图","整幅画作浸在清寂冬意里，巨崖以淡墨皴擦，留白覆雪，棱线苍劲冷峻，带着寒山凝冻的硬挺质感，山间林梢缀着碎雪，萧疏冷冽。\n\n溪岸茅舍被厚雪压着檐角，屋中隐约可见围坐的暖融融烟火气，溪上渔舟系于岸边，归人正踏着板桥慢行，将荒寒雪景和俗世温情相融。淡晕的墨色晕染出空蒙的寒雾，虚实相生里，把冬日山野的清寂和渔居的安然揉为一体，于冷寂间藏着脉脉暖意，尽显冬日溪山的幽远意趣。",[24,29,28,56,36,537,7,34,35,58,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5b3d2dba826278128c9a9bbaa02d226.jpg",[42],{"id":18355,"slug":18356,"title":18357,"dynasty":124,"author":3003,"museum":360,"description":18358,"tags":18359,"thumbUrl":18360,"material":84,"size":18361,"collection":306,"collections":18362,"showCount":17822,"zanCount":46,"manualWeight":46,"mainColor":47},218749,"qun-yuan-shi-guo-tu-yi-yuan-ji-218749","群猿拾果图","《群猿拾果图》为北宋画家易元吉所作。本幅无作者款识，右侧题签：“易元吉群猿拾果”。对开乾隆题诗：“好静工引气，能吟更善缘。栖枝坠岸穗，拾果倒空悬。岂必问其数，亦惟顺厥天。尧牵宝星，可以悟难前。 ”\n图绘深谷险峻，老树枝条横斜，二猿猴坐于枝上，一猿猴展臂摘果。\n易元吉，生卒年不详。字庆之，湖南长沙人，北宋画家。初攻花鸟、草虫、果品，后专写獐猿。常深入荆湖深山之中，观察、体会、揣摩猿猴獐鹿的生活习性。所画獐猿生动逼真，呼之欲出，因此而名闻天下。",[23,200,24,25,111,56,28,27,10717,9068,5869,7,8338,4492],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7a549a2865c01cdf38952d04484d0bd.jpg","24.6x24.1cm",[306],{"id":18364,"slug":18365,"title":18366,"dynasty":124,"author":2606,"museum":1137,"description":2607,"tags":18367,"thumbUrl":18369,"material":84,"size":2610,"collection":70,"collections":18370,"showCount":17822,"zanCount":11,"manualWeight":46,"mainColor":47},216920,"xiang-shan-jiu-lao-tu-5-ma-xing-zu-216920","香山九老图-5",[23,24,200,26,28,58,30,7,34,391,18368,186,25],"对弈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00ade895c11993e636517b3ef76078d9.jpg",[],{"id":18372,"slug":18373,"title":18374,"dynasty":296,"author":297,"museum":108,"description":18375,"tags":18376,"thumbUrl":18377,"material":116,"size":70,"collection":70,"collections":18378,"showCount":17822,"zanCount":11,"manualWeight":46,"mainColor":47},216356,"hua-niao-ce-2-zhu-da-216356","花鸟册-2","朱耷 (Zhu Da) 是一位著名的清朝画家，他的花鸟册 (huā niǎo cè) 是他的代表作之一。花鸟册是一种中国传统的绘画类型，主要描绘花卉和鸟类，朱耷的花鸟册以其精美的绘画技巧和富有创意的艺术表现而闻名。\n\n朱耷生于 17th 世纪的清朝，他原本是一名佛教僧人，后来转而成为画家。他的花鸟册绘制了各种花卉和鸟类，包括玫瑰、莲花、蝴蝶、孔雀、鹦鹉等。他的画风独特，细腻而生动，给人以非常感性的视觉享受。\n\n朱耷的花鸟册也反映了当时清朝社会的文化氛围。他的作品中常常出现古典诗词的引用，表现出他对中国传统文化的热爱。此外，他的作品还反映了当时清朝社会的审美观念，展现了清朝人对美的追求和对自然的敬畏。\n\n总之，朱耷的花鸟册是一部具有深远影响的艺术作品，其中融合了中国传统文化和绘画技巧的精华，对中国绘画艺术有着重要的贡献。",[23,24,25,27,29,34,7,36,539],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffffd42f504ff7d40786c580ab5d99539.jpg",[],{"id":18380,"slug":18381,"title":18382,"dynasty":296,"author":870,"museum":108,"description":18383,"tags":18384,"thumbUrl":18385,"material":40,"size":18386,"collection":306,"collections":18387,"showCount":17822,"zanCount":46,"manualWeight":46,"mainColor":47},214562,"mo-zui-za-hua-tu-ce-5-shi-tao-214562","墨醉杂画图册-5","石涛此册花鸟山水，除两开山水外，都是各种农家花卉果蔬小品，包括芙蓉河石、黄瓜豇豆、水仙竹枝、杏果柿子、莲藕扁豆等，作画构图新奇，笔法松柔秀拙，笔情恣肆，淋漓洒脱，具有一种豪放郁勃的生动气息!",[23,24,27,111,29,30,31,33,112,7,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03764d89703a85a5c1c4ed5cbf14bef2.jpg","纵51.4厘米，横35.4厘米",[306],{"id":18389,"slug":18390,"title":18391,"dynasty":296,"author":3485,"museum":401,"description":3486,"tags":18392,"thumbUrl":18393,"material":40,"size":70,"collection":70,"collections":18394,"showCount":17822,"zanCount":46,"manualWeight":46,"mainColor":47},214483,"he-yi-shan-shui-tu-ce-4-he-yi-214483","赫奕山水图册-4",[23,24,25,111,28,27,36,29,30,31,32,34,7,35,671],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f0ed1d6ade19cb4365110ecfc3dc38c.jpg",[],{"id":18396,"slug":18397,"title":7281,"dynasty":12318,"author":4726,"museum":20,"description":18398,"tags":18399,"thumbUrl":18400,"material":70,"size":70,"collection":42,"collections":18401,"showCount":17822,"zanCount":46,"manualWeight":46,"mainColor":12323},202798,"shan-shui-tu-zhou-huang-bin-hong-202798","画面层峦叠嶂，云雾氤氲其间，山石以苍劲皴法勾勒，墨色浓淡交错，尽显嶙峋肌理。崖畔青松虬劲，枯木疏朗，旁侧小屋隐于林麓，小桥横跨溪涧，流水潺潺似可闻。笔墨老辣浑厚，积墨破墨互用，于虚实间营造深远意境，尽显自然野逸之趣，藏着传统山水的深邃韵味与生机。",[24,29,27,36,272,7,30,133,95,14519,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff70857e471c25b4c3def0032a35a4cfb.jpg",[42],{"id":18403,"slug":18404,"title":18405,"dynasty":296,"author":18406,"museum":20,"description":18407,"tags":18408,"thumbUrl":18409,"material":70,"size":70,"collection":42,"collections":18410,"showCount":17822,"zanCount":46,"manualWeight":46,"mainColor":18411},201947,"wu-hou-tu-zhou-zhang-yu-201947","五猴图轴","章于","画面层峦叠嶂，远山以皴法勾勒，纹理苍劲，尽显山石嶙峋之态。山间瀑布垂落，似闻潺潺水声，添动势于静谧。近景古木虬枝，浓墨点叶，根系盘错扎于岩间，生机盎然。几只灵猴或攀枝、或踞石，姿态灵动，为山水注入鲜活气息。设色淡雅，水墨为底，间杂浅绿，清幽雅致。整体构图疏密有致，意境悠远，既见传统山水之韵，又因灵猴点缀而别具生趣，是一幅兼具笔墨功底与意趣的佳作。",[24,29,7467,36,28,34,130,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c3c70ba51d72ed1e126532526ba5d14.jpg",[42],"bcafa2",{"id":18413,"slug":18414,"title":18415,"dynasty":78,"author":6657,"museum":561,"description":18416,"tags":18417,"thumbUrl":18419,"material":217,"size":660,"collection":70,"collections":18420,"showCount":88,"zanCount":46,"manualWeight":46,"mainColor":149},290398,"cong-lin-gao-ta-tu-fang-cong-yi-290398","丛林高塔图","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。",[200,24,27,29,138,18418,60,7,133,82,36],"高塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53c37e8375a12f9fbb738dd2e5fc004e.jpg",[],{"id":18422,"slug":18423,"title":18424,"dynasty":78,"author":4794,"museum":53,"description":18425,"tags":18426,"thumbUrl":18427,"material":116,"size":18428,"collection":42,"collections":18429,"showCount":88,"zanCount":46,"manualWeight":46,"mainColor":47},290342,"qiu-shan-xing-lv-zhou-ma-wan-290342","秋山行旅轴","崇山叠峦，行旅骑驴荷物而行。全图构景系密，用笔多属中锋，用墨简澹，设色淡雅。压顶一峰皴笔疏简，以平点层层作小树，特觉清逸秀出。该幅无作者款印，幅上有董其昌题，云：“马文璧秋山行旅图”。",[24,200,95,951,27,28,1837,131,30,31,7,34,60,214,1506,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9701795d9df53db4d67bf8d7090ab986.jpg","124.5x33.3",[42],{"id":18431,"slug":18432,"title":18433,"dynasty":18,"author":18434,"museum":53,"description":18435,"tags":18436,"thumbUrl":18438,"material":40,"size":18439,"collection":70,"collections":18440,"showCount":88,"zanCount":11,"manualWeight":46,"mainColor":47},290316,"sui-chao-tu-zhou-yuan-shang-tong-290316","岁朝图轴","袁尚统","岁朝，是指一岁之始，此时一元复始，万象更新，历代画家作岁朝图含有元旦开笔、预祝一年万事吉利之意。图绘山村一隅，诸多孩童在院中敲锣、打鼓、放鞭炮，尽情嬉戏玩乐，屋内三位长者同桌对饮，观看儿童嬉耍。树石勾勒填色后皴擦，远山以花青淡淡涂染，笔法稳健苍老，画风质朴古拙。丙申为清顺治十三年（1656年），袁尚统时年87岁。",[24,95,200,27,36,29,60,30,31,7,96,427,61,58,33,82,37,38,18437],"岁朝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0196a7d4a11e4bd118161ffb68611fa1.jpg","115.3x58.2",[],{"id":18442,"slug":18443,"title":18444,"dynasty":78,"author":436,"museum":561,"description":18445,"tags":18446,"thumbUrl":18447,"material":217,"size":660,"collection":70,"collections":18448,"showCount":88,"zanCount":46,"manualWeight":46,"mainColor":149},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",[23,24,95,29,27,36,242,7,158,186],"https:\u002F\u002Foss.chuangqi.store\u002Fthu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(《无声诗史》)。这样看来，如果说画面的前半部分是类文徵明的细劲、秀丽，那么远景山水的画法可不可以说是居节“尚气节”的“清高”和“骨气”的表现呢?我以为，也正是这种略显枯硬的画法，让他的山水画在吴派绘画基本风格的基础上又具有了宋人雄浑、劲健、简率的作风。\n从这幅作品中，我们看到了居节的文雅与气节两个方面的表现，可称为他的代表作。另外，从居节传世作品《潮满春江图》(镇江博物馆藏)、《万松小筑图》(上海博物馆藏)都可以看出居节在这两方面所做的努力。",[24,25,95,27,36,37,82,29,33,34,7,58,578],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae00f4c63d3c5de5bd06031dced56aac.jpg",[42,146,648],{"id":18559,"slug":18560,"title":18561,"dynasty":296,"author":18562,"museum":561,"description":18563,"tags":18564,"thumbUrl":18565,"material":70,"size":70,"collection":42,"collections":18566,"showCount":88,"zanCount":46,"manualWeight":46,"mainColor":47},238980,"shan-shui-ce-peng-xin-xie-wang-chen-238980","山水册－蓬心写","王宸","此作用笔苍秀松脱，以干笔皴擦追摹披麻古意，墨色干湿层叠，淡赭与花青轻施晕染，色调清和雅致。近景草堂依水，古松亭亭如盖，木桥架于浅溪，坡岸草木葱茏，山居意趣悠然尽显。中景峰峦环合，林木蓊郁掩映，水泽迂回流连，藏露得宜。远景平峦以淡墨虚写，空蒙渺远，铺展出悠远空间层次。\n\n整幅以简淡之笔绘就江南丘壑，将山川温润秀逸之态，与文人寄情林泉的幽寂襟怀相融，观之如身临幽居，俗虑尽消，尽显静穆淡远的文人山水意韵。",[24,25,111,27,28,29,36,30,31,112,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fdce2d56454e2dcb3893504b67bb526.jpg",[42,289,264],{"id":18568,"slug":18569,"title":13325,"dynasty":296,"author":2948,"museum":561,"description":13326,"tags":18570,"thumbUrl":18571,"material":70,"size":13329,"collection":70,"collections":18572,"showCount":88,"zanCount":46,"manualWeight":46,"mainColor":47},238028,"hong-ren-shan-shui-tu-ce-hong-ren-238028",[24,25,27,29,111,36,712,7,34,35,113,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12cd8e2a8b9ef7aa9b3c431dd9e276fe.jpg",[],{"id":18574,"slug":18575,"title":7993,"dynasty":18,"author":3342,"museum":561,"description":3343,"tags":18576,"thumbUrl":18577,"material":217,"size":660,"collection":70,"collections":18578,"showCount":88,"zanCount":46,"manualWeight":46,"mainColor":149},237943,"shan-shui-shan-mian-wu-bin-237943",[24,25,1900,27,36,29,7,34,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F102ba100191b06c111a401b4fc3e003d.jpg",[],{"id":18580,"slug":18581,"title":18582,"dynasty":18,"author":436,"museum":360,"description":18583,"tags":18584,"thumbUrl":18585,"material":70,"size":70,"collection":289,"collections":18586,"showCount":88,"zanCount":46,"manualWeight":46,"mainColor":149},237884,"ming-ren-cun-nv-cai-lan-tu-zhou-yi-ming-237884","明人村女采兰图轴","以淡墨轻勾人物轮廓，衣袂褶皱里似裹挟着郊野清风，鬓发间仿若沾着涧畔晨露。少女肩携小锄，挑着垂灯缓行在溪山小径，浅晕的坡岸野卉晕开清晨郊野的清寂。摒弃浓丽设色，以简淡笔墨勾勒出村女朴野清灵的情态，将采兰而归的恬然自适晕染绢素之上，把山野幽居的逸趣融在浅淡晕染间，尽显林下安然的乡野风致，笔墨清逸雅致，淡远幽静的郊野意趣扑面而来。",[24,25,95,712,28,58,1647,7,525],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35b35fa89f93f1b5a0e0fbff3bcceca1.jpg",[289],{"id":18588,"slug":18589,"title":18590,"dynasty":18,"author":18591,"museum":561,"description":18592,"tags":18593,"thumbUrl":18594,"material":217,"size":660,"collection":70,"collections":18595,"showCount":88,"zanCount":46,"manualWeight":46,"mainColor":47},237846,"long-tan-xiao-yu-shan-cheng-jia-sui-237846","龙潭晓雨扇","程嘉燧","程嘉燧（1565～1643）明代书画家、诗人。字孟阳，号松圆、偈庵，又号松圆老人、松圆道人、偈庵居士、偈庵老人、偈庵道人。晚年皈依佛教，释名海能。",[24,25,1900,27,29,391,7,34,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6625835e8171d6cba2ccce1bb4472c4e.jpg",[],{"id":18597,"slug":18598,"title":3378,"dynasty":296,"author":870,"museum":561,"description":1342,"tags":18599,"thumbUrl":18600,"material":70,"size":70,"collection":70,"collections":18601,"showCount":88,"zanCount":46,"manualWeight":46,"mainColor":47},237770,"yuan-ji-shan-shui-tu-ce-shi-tao-237770",[24,25,111,27,36,29,242,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0569d30c8c1e7e5d53b701ff531c8ac.jpg",[],{"id":18603,"slug":18604,"title":106,"dynasty":296,"author":16647,"museum":360,"description":18605,"tags":18606,"thumbUrl":18607,"material":70,"size":70,"collection":42,"collections":18608,"showCount":88,"zanCount":46,"manualWeight":46,"mainColor":47},237551,"shan-shui-ce-wen-dian-237551","文点（一六三三―一七o四），字与也，号南云山樵，长洲（今江苏苏州）人。 明代著名画家文徵明之子文彭的玄孙。清初著名书画家。\n文点\n工诗文，善书、画。山水能传徵明家法，用笔细秀，染晕迷离，盖以墨者胜也。兼善人物，尤长松竹小品，笔墨及其文雅，松身好点苔，时人戏曰：“文点松，文也文，点也点。”清介不求闻誉。之京师，人欲以国子博士荐之不就。父殁，依墓田以居，弃举子业，以书、画自娱给衣食。卒年七十二。著南云集。《吴县志、长洲县志、文氏族谱续集、国[清]朝画徵续录、曝书亭集、桐阴论画、画传编韵》",[24,25,111,27,36,29,427,7,30,58,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9ad5700825cb73019c96712ef15dc32.jpg",[42,146],{"id":18610,"slug":18611,"title":15057,"dynasty":18,"author":9778,"museum":360,"description":15058,"tags":18612,"thumbUrl":18613,"material":229,"size":70,"collection":42,"collections":18614,"showCount":88,"zanCount":46,"manualWeight":46,"mainColor":47},237452,"qing-xue-zhang-song-tu-zhou-zhang-rui-tu-237452",[24,25,95,27,29,427,7,612,36,34,1622,6817],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0c986419dee5327b255f01afe2fab23.jpg",[42,146],{"id":18616,"slug":18617,"title":18618,"dynasty":296,"author":18619,"museum":561,"description":18620,"tags":18621,"thumbUrl":18622,"material":217,"size":660,"collection":70,"collections":18623,"showCount":88,"zanCount":11,"manualWeight":46,"mainColor":47},237449,"wu-gu-xiang-qing-lu-heng-yun-shan-mian-wu-gu-xiang-237449","吴穀祥晴麓横云扇面","吴穀祥","吴谷祥（1848—1903）清代画家。原名祥，字秋农，初字蓉甫，别号瓶山画隐，晚号秋圃老农，浙江嘉兴人。山水远宗文、沈，近法戴熙，亦善花卉、仕女，用笔苍劲，设色清丽。俞曲园评其画为“神品”。清末在上海鬻画，时画风习尚纵横草率，而其独能不落时尚。因当时吴石仙正以西法融云烟山水盛名沪上，而秋农画艺为其所掩，胡公寿颇为不平，说：“其人抑何聩聩，有目而不识秋农丹青之佳胜也。”",[24,25,1900,28,27,29,7,34,883,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2a7f0dc5675aae5a446ce84cedfe87a.jpg",[],{"id":18625,"slug":18626,"title":7993,"dynasty":18,"author":18627,"museum":561,"description":18628,"tags":18629,"thumbUrl":18630,"material":217,"size":660,"collection":70,"collections":18631,"showCount":88,"zanCount":46,"manualWeight":46,"mainColor":47},237404,"shan-shui-shan-mian-xie-dao-ling-237404","谢道龄","字邢台，一作彬台，吴（今江苏苏州）人。移寓江宁（今南京）。与周亮工望衡而居。善花鸟，尤工折枝，兼善山水，类赵伯驹、赵孟頫。崇祯元年（一六二八）尝作山水扇",[1900,24,29,27,36,60,30,31,32,34,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64b71c94b91201216e2e0f580b8bddcc.jpg",[],{"id":18633,"slug":18634,"title":18635,"dynasty":296,"author":436,"museum":360,"description":18636,"tags":18637,"thumbUrl":18638,"material":18639,"size":18640,"collection":42,"collections":18641,"showCount":88,"zanCount":46,"manualWeight":46,"mainColor":47},237151,"zheng-min-qiu-lin-du-shu-tu-zhou-yi-ming-237151","郑旼秋林读书图轴","此作用笔萧散简淡，远山奇崛冷峻，枯松虬木姿态苍劲古拙，水畔文士持杖独立，似在凝眺幽林远岫，静享林泉清寂。左侧题诗与画作相融，以水墨淡皴晕染山石，浓墨点苔醒出苍润质感，枯荣林木错落相衬，满卷秋意萧寒空灵。借林下幽境，寄寓避俗忘机的文人襟怀，将山水之幽与隐逸之思交织，笔意藏着清疏雅逸的出世意趣，尽显传统文人画以画明心的雅致风骨。",[24,25,95,27,36,29,58,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11420027d975e42468ac799413d85192.jpg","纸本淡设色","纵135cm，横112.5cm",[42,146,648],{"id":18643,"slug":18644,"title":106,"dynasty":18,"author":18645,"museum":561,"description":18646,"tags":18647,"thumbUrl":18648,"material":229,"size":70,"collection":42,"collections":18649,"showCount":88,"zanCount":46,"manualWeight":46,"mainColor":47},237027,"shan-shui-ce-zhang-yan-237027","张彦","张彦（？－？），字伯美，号无诤道人，嘉定（今属上海市）人，一作江苏苏州人，明朝画家。\n与董其昌同时，善于画山水、人物、花卉，与苏州张宏齐名。",[24,25,111,27,36,29,7,34,363,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f632a06e9383dc4a5468b0b3c0a111b.jpg",[42,264],{"id":18651,"slug":18652,"title":18552,"dynasty":18,"author":18553,"museum":561,"description":18554,"tags":18653,"thumbUrl":18654,"material":70,"size":70,"collection":42,"collections":18655,"showCount":88,"zanCount":46,"manualWeight":46,"mainColor":47},236923,"ju-jie-shan-shui-zhou-ju-jie-236923",[24,25,95,27,36,29,112,130,7,132,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fe76918b84b330009e95a81e2db08f7.jpg",[42,146],{"id":18657,"slug":18658,"title":7993,"dynasty":18,"author":17481,"museum":561,"description":17482,"tags":18659,"thumbUrl":18660,"material":217,"size":660,"collection":70,"collections":18661,"showCount":88,"zanCount":46,"manualWeight":46,"mainColor":47},236811,"shan-shui-shan-mian-liu-yuan-qi-236811",[24,1900,29,27,28,36,7,34,130,1081,58,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ff6dd3b962fbdb6a810552885f1d4de.jpg",[],{"id":18663,"slug":18664,"title":18665,"dynasty":296,"author":2784,"museum":561,"description":18666,"tags":18667,"thumbUrl":18668,"material":70,"size":18669,"collection":289,"collections":18670,"showCount":88,"zanCount":46,"manualWeight":46,"mainColor":149},236308,"lie-zi-yu-feng-zhou-hua-yan-236308","列子御风轴","列子是与老子、庄子同时代的道家学术代表人物，著有《列子》学说一书。关于列子有一则非常有名的典故，便是“列子御风”，体现出“大道至简”的理念，而华喦将这则典故变成一幅飘逸洒脱的画作。",[24,25,95,27,29,58,34,883,201,36,96,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5baafd21ec43e88cc5e6ae79800d83c.jpg","长78、宽32.5厘米",[289,264],{"id":18672,"slug":18673,"title":18674,"dynasty":18,"author":1941,"museum":360,"description":18675,"tags":18676,"thumbUrl":18681,"material":6274,"size":18682,"collection":306,"collections":18683,"showCount":88,"zanCount":46,"manualWeight":46,"mainColor":47},236267,"sui-chao-zhou-zhang-hong-236267","岁朝轴","张宏（1577—？年），字君度，号鹤涧，江苏苏州人。善画山水，师法沈周而略有变化，画风苍秀，亦善人物。",[24,25,95,28,56,1273,390,272,391,7,18511,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馗》、《八仙》、《群仙祝寿》等作品，将艺术与现实巧妙地容贯于画面。其人物肖像画既有深厚的传统基础，又注重写生，每次外出，备有速写本，随时勾录。寓居上海后，以卖画为生，创作甚富。《钟馗》、《关河一望萧索》、《苏武牧羊》、《野塘雨后》和《三友图》等为其代表作。且其参用画意的书法亦奇惊不凡，光绪二十二年(1896)逝世。\n任伯年因是浙江山阴人，故画面署款多写山阴任颐。儿时随父学画，十四岁到上海，在扇庄当学徒，后以卖画为生。所画题材，极为广泛，人物、花鸟、山水、走兽无不精妙。他的画用笔用墨，丰富多变，构图新巧，创造了一种清新流畅的独特风格，在正统派外别树一帜。\n任颐是近代杰出画家。字伯年，号小楼，浙江山阴人，因此他的画署款多写山阴任颐。任伯年的绘画题材广泛，人物、肖像、山水、花卉、禽鸟无不擅长。用笔用墨，丰富多变，构图新巧，主题突出，疏中有密，虚实相间，浓淡相生，富有诗情画意，清新流畅是他的独特风格。任伯年的主要成就是在于人物画和花鸟画方面，往往寥寥数笔，便能把人物整个神态表现出来，着墨不多而意境深远。其线条简练沉着，有力潇洒。他常画钟馗，他笔下的钟馗心胸磊落、不怕鬼，不信邪。他的花鸟画，总是把花与鸟连在一起，禽鸟显得很突出，花卉有时只作背景，整个画面充满了诗的意境。",[24,28,62,441,301,7,1743,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff93e8ad5034c82f4d1e0320042644d27.jpg","149 x 61 cm",[],{"id":18694,"slug":18695,"title":18696,"dynasty":296,"author":2382,"museum":561,"description":18688,"tags":18697,"thumbUrl":18701,"material":454,"size":18691,"collection":70,"collections":18702,"showCount":88,"zanCount":46,"manualWeight":46,"mainColor":47},234989,"hua-hui-ling-mao-ping-7-ren-yi-234989","花卉翎毛屏7",[24,25,62,95,28,56,201,5869,7,18698,18699,3452,18700,489],"红花","粉花","蓝花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b6f696c4310601d6245936bdbdeacd5.jpg",[],{"id":18704,"slug":18705,"title":18706,"dynasty":296,"author":436,"museum":360,"description":18707,"tags":18708,"thumbUrl":18709,"material":673,"size":18710,"collection":42,"collections":18711,"showCount":88,"zanCount":46,"manualWeight":46,"mainColor":149},234898,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234898","唐岱小园闲咏图册","唐岱（1673—1752后），字毓东，号静岩，又号默庄，满洲正蓝旗人。康熙中以荫官参领。从王原祁学画，丘壑似王原祁，远宗宋人，“泼墨淋漓，气韵生动”。康熙后期常将其召入宫中作画，品题其画为当时第一手，赐称“画状元”。\n第一开：曲径通幽。对开题：“为隔尘氛远，应怜曲径长。迂回山势抱，逦迤竹垣藏。鹤歩苔痕合，春归花气香。板桥流水外，别有读书堂。”\n第二开：芳屿围棋。对开题：“乘兴步芳屿，逍遥任所之。已看苔作席，最爱柳成帷。漫煮蒙溪茗，闲抛赌墅棋。东山称盛事，吟望寄遐思。”\n第三开：桃溪步履。对开题：“山桃开也未，杖策试探寻。好景春来遍，芳溪曲处深。明霞千树叠，傍水一枝临。何必武陵路，随缘物外心。”\n第四开：竹坞春深。对开题：“闲过山坞里，粉脱见新篁。劲节当春绿，踈竿泛籁长。萧骚寒雨夜，彷佛辋川庄。不肯裁为管，无劳引凤凰。”\n第五开：芳港闻莺。对开题：“春色堂堂去，莺声恰恰来。缗蛮听处涩，风景暗中催。长日慵摊饭，新缸喜拨醅。笙簧随分有，何必舞三台。”\n第六开：春湖涵碧。对开题：“碧水漾平湖，空明一镜铺。须眉应可鉴，尘壤杳然无。点点浮青荇，双双下白鳬。春风浴沂水，视此意何殊。”\n第七开：石坂烹云。对开题：“敲火乌卿炽，烹云玉液清。龙团曾未点，鱼目已旋生。漫说肠堪润，应知眼倍眀。披襟成小啜，孤鹤一声鸣。”\n第八开：广厦冰壶。对开题：“天伏三庚永，堂开六月凉。深深屏隔暑，叠叠簟含霜。底事挥纨扇，无劳问蔗浆。冰壶供坐卧，乐意自相忘。”\n第九开：镜水荷香。对开题：“半夜芙蓉雨，三间水月楼。清香随处度，风景一时收。干密妨鱼跃，花深隐鹭游。诗情频入座，不必问渔舟。”\n第十开：月楼夕幌。对开题：“雨洗尘氛静，天空花鸟闲。月楼开一面，夕幌卷千山。牧笛耳边过，征鸿眼里还。桂香依旧发，付与阿谁攀。”\n第十一开：兰桡独钓。对开题：“秋湖鱼怯饵，把钓事如何。绿水一竿竹，清风几领簑。蒹葭尘外老，星月个中多。夜静独归去，清光挂女萝。”\n第十二开：竹篱鹤歩。对开题：“结社松为宅，看家鹤守门。偏知人客至，不负稻粱恩。宿月精神古，梳风毛羽繁。由来好僮仆，不必贵乘轩。”\n第十三开：芦岸秋晴。对开题：“秋色知多少，芦花尽白头。战风摇夕浦，饮露亚寒洲。生意知将谢，随时未肯休。苍茫烟水里，好去弄扁舟。”\n第十四开：板桥霜迹。对开题：“隔溪亭子迥，为架板桥通。秋老碧天白，寒流枫叶红。卷帘吟夜月，着屐歩霜风。爱此双双迹，扶笻过水东。”\n第十五开：雪径梅姿。画心左下款署“唐岱恭画”。对开题：“四时花木足，最喜是园梅。傲雪三冬里，因风几朵开。清香流玉骨，冷润滴氷腮。独有幽人赏，巡檐杖策来。右《小园闲咏》十五首，雍正乙卯夏五月，宝亲王长春居士著”。梁诗正谨书。",[24,25,111,28,38,37,82,29,60,7,34,201,1385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5d9b3ab8de6f6a73f21664055f4b51a.jpg","25.7×33厘米",[42,264],{"id":18713,"slug":18714,"title":18715,"dynasty":18,"author":3504,"museum":360,"description":18716,"tags":18717,"thumbUrl":18718,"material":760,"size":18719,"collection":70,"collections":18720,"showCount":88,"zanCount":46,"manualWeight":46,"mainColor":47},233820,"wen-zheng-ming-xi-qiao-ce-zhang-tu-zhou-wen-zheng-ming-233820","文徵明溪桥策杖图轴","本幅行书自题七绝诗一首：“短策轻衫烂漫游，暮春时节水西头。日长深树青帏合，雨过遥山碧玉浮。”后钤“文徵明印”、“玉磬山房”印。右下角有“玉兰堂印”鉴藏印，画心有“世美堂印”、“马寒中印”等鉴藏印。裱边及外签有当代书画家狄葆贤（平子）题诗并记，钤藏印“平等阁主人”等。题记详述了此作原为其父于清同治末年购得，而他本人则在甲子年（1924年）夏六月重新装裱的递藏过程。\n画中描绘古木森郁，山谷幽静，溪上水波不兴，一人伫立桥头，策杖观流。作品明显地带有取法“元四大家”中倪瓒、吴镇的痕迹，作者很好地将倪瓒细笔疏皴的山石和吴镇粗笔浓墨的树木结合在一起，用笔沉稳雄健，韵致醇厚，加上近景的细致刻画和远景的虚化表现，突出了文人优游山林、怡然自得的精神状态。",[24,25,95,27,29,36,58,30,31,96,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F552fc7d9d84394f4ffb4d99f2e9e7dd7.jpg","纵95.8厘米，横48.7厘米",[],{"id":18722,"slug":18723,"title":18724,"dynasty":18,"author":238,"museum":360,"description":18725,"tags":18726,"thumbUrl":18728,"material":454,"size":18729,"collection":70,"collections":18730,"showCount":88,"zanCount":46,"manualWeight":46,"mainColor":149},233697,"yun-he-cang-yu-tu-zhou-lan-ying-233697","云壑藏渔图轴","此图为蓝瑛73岁（1657年）时的力作。该图构图奇险，尤其是画幅的上半部，一段奇峭耸立的山峰嵯峨壮观，于危峙耸拔呼之欲倒的险迫中，又具“去天不盈尺”的崇高感，显示出作者较强的造景生势能力。蓝瑛在树木的表现上亦有较强的造型能力，他能准确而生动地把握各种树木的形态特征，伸枝布叶，饶有情致。树叶的表现技法极为丰富，有以线勾双边的夹叶法，以墨直接卧笔横点的点叶法，还有松针勾簇、罩以淡彩的勾染结合法。山石皴法，仿宋人李希古（李唐）笔意，以粗犷的墨笔勾勒石之轮廓，以侧锋横擦的小斧劈皴皴擦石面，成功地显现出山岩凝重的质感。该图既有职业画家的行业气，又有文人画家的书卷气，二者巧妙地融汇贯通，表明蓝瑛不愧是明末职业画家向文人绘画靠拢的代表人物。",[24,25,95,28,29,36,883,18727,32,427,2278,7,130,243],"壑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad4d2c8bdbaefa91e4ad1677373af496.jpg","纵369厘米，横98厘米",[],{"id":18732,"slug":18733,"title":18734,"dynasty":3017,"author":18735,"museum":561,"description":18736,"tags":18737,"thumbUrl":18738,"material":217,"size":660,"collection":70,"collections":18739,"showCount":88,"zanCount":11,"manualWeight":46,"mainColor":250},231749,"si-ji-shan-shui-tu-ping-feng-di-4-ping-zhou-wen-231749","四季山水图屏风第4屏","周文","圣国寺的僧人，后来成为室町幕府的画家。生卒年不详。雪舟和小栗在建立诗歌和日本水墨风格及其弟子方面发挥了重要作用。",[23,24,27,29,60,34,7,36,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd5a32141c2718bb6b808c418df78505.jpg",[],{"id":18741,"slug":18742,"title":18743,"dynasty":124,"author":621,"museum":3174,"description":18744,"tags":18745,"thumbUrl":18746,"material":229,"size":70,"collection":70,"collections":18747,"showCount":88,"zanCount":46,"manualWeight":46,"mainColor":149},231493,"fang-zhong-li-fang-dao-tu-jing-hao-231493","仿钟离访道图","董其昌 (1555–1636)《锺离访道图》，又有《卸甲图》。此荆浩笔也。董其昌题。",[23,24,25,951,27,28,36,56,37,38,82,58,29,7,34,214,33,124,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc5460da347cdee46dc9314bd20b3ce2.jpg",[],{"id":18749,"slug":18750,"title":18751,"dynasty":124,"author":436,"museum":53,"description":18752,"tags":18753,"thumbUrl":18755,"material":142,"size":18756,"collection":70,"collections":18757,"showCount":88,"zanCount":11,"manualWeight":46,"mainColor":149},231343,"shan-shui-tu-shui-cun-shan-si-tu-yi-ming-231343","山水图（水村山寺图）","浅设色画水村山寺。柳岸舟横。无款印。诗塘御制诗楷书",[24,951,28,36,7,34,316,32,18754,227,114,3766,1944,113],"山寺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9794dcebe0d39fa1476cf1a613caa639.jpg","纵114cm,横57cm",[],{"id":18759,"slug":18760,"title":18761,"dynasty":18,"author":5311,"museum":561,"description":18762,"tags":18763,"thumbUrl":18765,"material":70,"size":70,"collection":70,"collections":18766,"showCount":88,"zanCount":46,"manualWeight":46,"mainColor":47},230938,"han-ya-ji-xue-tu-zhao-zuo-230938","寒崖积雪图","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。",[24,25,95,27,36,29,18764,5047,242,427,7,35,58,158,133],"寒崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff69f419c727c300955afc9fed11ab0b8.jpg",[],{"id":18768,"slug":18769,"title":18770,"dynasty":296,"author":18771,"museum":561,"description":18772,"tags":18773,"thumbUrl":18774,"material":70,"size":70,"collection":70,"collections":18775,"showCount":88,"zanCount":46,"manualWeight":46,"mainColor":149},230218,"shi-er-jin-chai-tu-zhou-zhang-shan-ma-230218","十二金钗图轴","张善孖","此作以猛虎为魂，山林为幕，蛰伏于草木间的碧眼吊睛虎身姿蓄势待发。笔线勾勒皮毛纹理细腻入微，墨色晕染斑纹虚实相生，将百兽之王的沉凝悍劲与潜藏的威严精准铺陈。\n\n背景以泼墨写意挥洒阔叶草木，细劲藤蔓与挺秀竹丛疏密错落，淡赭晕染山石晕开深山幽寂氛围。虚实相生间将虎的机警觉察与山野静谧相融，工写兼备的笔意揉合虎的威仪与林泉野趣，藏灵动于沉雄，尽显造境塑物的深厚功底，是形神皆备的精妙之作。",[23,24,27,28,95,2241,1396,391,7,2177,300,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a8e10a2005f4a486a40b8c4ba6c9264.jpg",[],{"id":18777,"slug":18778,"title":18779,"dynasty":18,"author":17827,"museum":561,"description":18780,"tags":18781,"thumbUrl":18784,"material":70,"size":70,"collection":70,"collections":18785,"showCount":88,"zanCount":46,"manualWeight":46,"mainColor":149},228862,"tian-jia-chun-dou-tu-juan-zhang-chong-228862","田家春斗图卷","此作以兼工带写之笔铺展乡野春景，古木虬枝环抱着错落村舍，水畔田埂间，村民们角力摔跤，呼喝喝彩之声似随画卷扑面而来。妇孺围立笑观，稚童穿梭嬉闹，田家烟火意趣尽显。画家精于人物情态捕捉，衣褶灵动简约，村野景致皴染朴拙细腻，将江南春日乡野的鲜活生机与质朴活力，尽数凝于绢素，画风古雅淳厚，把民间春日嬉游的松弛野趣刻画得淋漓尽致，尽显风俗画描摹世俗民生的动人特质。",[23,24,25,200,26,56,28,38,58,18782,97,112,7,1208,2381,18783,36],"田","狗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F592ca4cfbdcded52aaada6264e96bf35.jpg",[],{"id":18787,"slug":18788,"title":18789,"dynasty":18,"author":269,"museum":561,"description":18790,"tags":18791,"thumbUrl":18792,"material":70,"size":70,"collection":70,"collections":18793,"showCount":88,"zanCount":46,"manualWeight":46,"mainColor":149},228845,"ji-shan-gao-yin-tu-zhou-dai-jin-228845","箕山高隐图轴","画面以雄奇山水铺陈意境，斧劈皴勾勒出山岩棱角刚硬，危峰迭起直入烟霭。古松虬曲苍劲，盘崖绕谷，枝干舒展如腾龙，松针攒簇尽显苍郁生机。\n\n松下高士坦襟趺坐，凭石观山，意态萧散悠然，将山野林泉间的隐逸闲趣尽显。整作以刚劲笔墨绘就山川风骨，又以简淡笔触描摹人物风神，将北宗山水的雄浑大气与文人高隐的清雅意趣相融，尽抒林泉高致，恍见太古幽情。",[23,24,25,95,27,36,29,58,427,7,130,4253],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bb2ac4e2251e083f824252fb1f3869f.jpg",[],{"id":18795,"slug":18796,"title":18797,"dynasty":18,"author":15398,"museum":561,"description":18798,"tags":18799,"thumbUrl":18800,"material":70,"size":70,"collection":70,"collections":18801,"showCount":88,"zanCount":46,"manualWeight":46,"mainColor":149},228758,"guan-hua-tu-zhang-lu-228758","观画图","这幅画作以巨松浓墨开篇，衬出山居小屋错落野趣。画面群像鲜活灵动：扶案老者凝目观画，村汉孩童攒头探看，窗内女子隔帘偷觑，各有神态，将乡野小民观画时的好奇热忱尽数铺展。\n\n笔意承袭浙派写意，线条粗粝劲健，衣纹顿挫利落，墨色浓淡铺陈拉开远近层次。以简括布景衬出盎然烟火，粗笔间藏着细腻情思，寥寥数笔便把俗世片刻的鲜活意趣定格，尽显明代人物画世俗化的鲜活风貌，将山野日常的闲适与观画时的热闹相融，质朴又传神。",[23,24,25,27,28,712,58,187,34,1140,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61ac9c01422f9d12f5cf20f72d77ee8d.jpg",[],{"id":18803,"slug":18804,"title":3551,"dynasty":18,"author":3736,"museum":561,"description":18805,"tags":18806,"thumbUrl":18807,"material":70,"size":70,"collection":70,"collections":18808,"showCount":88,"zanCount":46,"manualWeight":46,"mainColor":250},228755,"shan-shui-tu-juan-wen-jia-228755","此卷以细笔绘就平远山水，起首林麓幽深，梵宇隐于松云之间，谷中云气萦回，衬出山峦层叠之致。中段湖面空阔，汀渚错落，村居藏于茂林，渔舟泛于烟波，尽展江南水泽的清和之态。后段重峦复岭，嘉木葱茏，山居错落嵌于岩岫间。\n笔墨承吴门清雅之风，山石以披麻皴写就，松枝虬劲秀挺，设色浅淡清逸，整体气息静谧淡远，将文人悠游林泉的雅趣寄于山水之间，尽显江南山水温婉诗意，是文人画萧散意境的绝佳体现。",[23,24,25,26,27,36,29,34,7,133,33,31,3363],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59685d508ab0343fdec514458d694349.jpg",[],{"id":18810,"slug":18811,"title":18812,"dynasty":18,"author":1126,"museum":561,"description":18813,"tags":18814,"thumbUrl":18815,"material":70,"size":70,"collection":70,"collections":18816,"showCount":88,"zanCount":46,"manualWeight":46,"mainColor":47},228493,"pei-yue-xian-xing-tu-du-jin-228493","陪月闲行图","《陪月闲行图》是中国明代画家杜堇的国画作品。\n该画为纸本水墨，纵156.5厘米，横72.4厘米，现流落于（美）克里夫兰艺术博物馆。\n杜堇[明]十五—十六世纪初，原姓陆，字惧男、号柽居、古狂、青霞亭长，江苏丹徒人。\n丹徒（今江苏镇江）人，占籍燕京（今北京市）。\n宪宗成化（一四六五―一四八七）中试进士不第，绝意进取。\n工诗文，通六书，善绘事，界画楼台，最严整有法，山水树石不甚称。\n人物亦白描能手，花草鸟兽并佳，又能作飞白体，宜乎宗之者众。\n弘治二年（一四八九）为吴原博（宽）作赏菊宴集图。\n《画史会要》、《图绘宝鉴续纂》、《无声诗史》、《艺苑巵言》 。\n杜堇的传世作品有《竹林七贤图》卷，现藏辽宁省博物馆；《梅下横琴图》轴藏上海博物馆；《绿蕉当暑图》，藏扬州市博物馆；《林堂秋色图》轴藏广州美术馆；《祭月图》轴藏中国美术馆；《古贤诗意图》卷于弘治十三年（15）由金琮（1449-151）书古人诗十二首，后又由杜堇补图，现存九段，该图笔法峭劲，潇洒流利，用墨比宋人简淡。\n《东坡题竹图》轴人物形象细腻传神，自题七绝一首，另有《郡雍像》轴等，上述画均藏故宫博物院。\n从艺活动约在成化、弘治间。",[24,27,95,58,29,242,7,36,712],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33d45025facb50d10416b1c61101165b.jpg",[],{"id":18818,"slug":18819,"title":13926,"dynasty":78,"author":13927,"museum":561,"description":18820,"tags":18821,"thumbUrl":18822,"material":70,"size":70,"collection":70,"collections":18823,"showCount":88,"zanCount":46,"manualWeight":46,"mainColor":149},228165,"qing-quan-qiao-mu-tu-li-zhou-li-shi-xing-228165","此作用笔苍劲老辣，以顶天立地的古松为画面核心，虬曲扭结的躯干皴擦细密，尽显岁月镌刻下的沧桑质感。松间垂挂的绵长松萝，以劲细游丝写出柔婉垂坠之态，和古木的沉雄拙朴相映成趣。下方寒泉漱石，流泉隐于嶙峋怪石间，留白铺就的水面空寂淡远，静穆中暗流动势，烘托出幽僻萧寒的林下清境。\n整幅画作以枯淡笔墨写就荒寒之韵，将文人寄心林泉、远避尘嚣的隐逸意趣藏于清冷景致之中，尽显山水尚意求真的美学风骨。",[23,200,24,25,95,1304,27,28,36,96,242,7,31,1105,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17444290187efcec2fec2010c6951726.jpg",[],{"id":18825,"slug":18826,"title":18827,"dynasty":124,"author":436,"museum":561,"description":18828,"tags":18829,"thumbUrl":18830,"material":70,"size":70,"collection":70,"collections":18831,"showCount":88,"zanCount":46,"manualWeight":46,"mainColor":47},227891,"shen-tang-qin-qu-tu-yi-ming-227891","深堂琴趣图","《宋扇面画深堂琴趣图》是宋代画家佚名创作的一幅绢本设色画。\n此画现藏于北京故宫博物馆。\n【文物原属】故宫旧藏 【简介】 绢本，设色，纵：2.6cm，横：24.9cm。\n本幅无款印。\n钤收藏印 “仪周珍藏”一方。\n远山一带，巨壑空茫。\n建筑用笔粗浑，轻刻画，重意境，形象概括，细部脱略简化而不失准确真实。\n整幅画面清新明净的情境赋予作为绘画主体的建筑含蓄而富于想象的空间依托，使之具有了诗一般和谐浑融的意境。\n此图画巨石、绿树环抱雅斋，朱梁绿柱的厅堂中，一白衣秀士端坐操琴，童子侍立一旁，平台上双鹤闻乐起舞，山间回荡着袅袅琴声，画面充满了文雅幽清的气息。\n《深堂琴趣图》，仅仅不盈尺幅的小纨扇，却能妙写建筑和琴声，境界布局非凡。\n从画中偏于左半一角的构局，也可体味马远“马一角”构图的情趣。\n从中甚至可以精微体验宋画中的庭院风水之妙。\n宋代人非常善于营造庭院空间，妙解风水构局，将人与绘画、建筑、庭院、山水自然融为一体，臻于华美典雅的艺术境界。\n这在宋诗、宋词和宋画中留有许多经典的范例。\n如从 的《 》中可以领略庭院四季风水之妙，那是山间水涯，芳草长堤边令人流连忘返的时空流转；而《深堂琴趣图》则是从另一个角度，表现庭院建筑与音乐，与山水之间妙契的又一杰作。\n建筑与音乐，在中国诗词中有许多经典迷人的篇章，但在绘画中表现，很不容易。\n音乐，求其意境，要有共鸣、幽远方妙。\n《深堂琴趣图》，以华堂独坐一人弹古琴，琴音发越，与环境融为一体，画出来了。\n深堂内置大屏风，窗牖俱紧关，而正门却大开，琴音反逼更传于堂外。\n门外山石对立，树木高耸掩映，留出大半天空，正好一条石铺甬道小径，接门由直而转折向右，石径上又正好有双鹤，其一白鹤闻琴音而起舞，可感受音乐之魅力。\n庭石上又有青松一株，遥承琴声，而成风如松。\n环境与音乐布局协和生发，绝无滞碍。\n主人弹琴，恰好面东，而门对南，空间方位甚为有序。\n如换其他任一方位，均与环境建筑内部空间不调，从而破坏全幅的空间气势，顿失音乐之美。\n设若弹琴者（主人）的方位是对着门南向坐，则气正好对冲；如背门北向坐，则琴声成死寂，更无悠扬的意味可说；如侧身向西坐，则又太塞太背，与画中大半天空相背，气局又成僵局。\n所以，只有画中所示的侧坐向东最为佳妙，否则都会破坏画中的音乐美，有妨气局琴音的流走。\n这些看似细微之处，正可见宋人对画中空间风水的深刻认知。\n画中的空间，虚实掩映，向背分合，无一闲笔，皆为音乐而生而设，都为气韵琴音所宜。\n可见《深堂琴趣图》虽小幅纨页，位置经营却极为空灵，空间境界妙造天地，琴韵幽深，上遏行云，其中风水之意境，流美千古。\n—— 著《 》",[23,24,25,200,1900,28,29,60,34,7,30,58,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd1ea677f5f541183dafad361e3563ed.jpg",[],{"id":18833,"slug":18834,"title":18835,"dynasty":124,"author":4423,"museum":561,"description":18836,"tags":18837,"thumbUrl":18838,"material":70,"size":70,"collection":70,"collections":18839,"showCount":88,"zanCount":46,"manualWeight":46,"mainColor":47},227749,"bi-shan-gan-yu-tu-zhao-bo-su-227749","碧山绀宇图","南宋 赵伯骕 碧山绀宇图绢本25.5x25\n\n赵伯骕,（一一二四至一一八二）字希远。伯驹弟。和州防御使。少从高宗于康邸，以文艺侍左右。善山水、人物，尤长于花鸟，傅染轻盈，颇有生意。界画亦精，尝绘姑苏天庆观样进呈，考宗书其上令依原样建造，即今之玄妙观。\n兄弟博涉书史，皆妙于丹青，以萧散高迈之气，见于毫素。尝论画以为写人物、动、植，画家颇能具其相貌，但吾辈胸次，自应有一种风规，神气悠然，韵味清远，不为物态所拘，便有佳处。况吾所存，无媚於世，而能合於丛情者，要在悟此。故二人以一圆墨，舒卷万象，俱受圣知。凡所落墨，皆缥囊玉轴为上方珍玩。卒年五十九。",[23,24,25,29,257,28,60,7,34,130,38,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa140c79a62d2d325e3c86c73ee3a47e.jpg",[],{"id":18841,"slug":18842,"title":18843,"dynasty":296,"author":870,"museum":561,"description":18844,"tags":18845,"thumbUrl":18846,"material":70,"size":70,"collection":70,"collections":18847,"showCount":88,"zanCount":11,"manualWeight":46,"mainColor":47},224510,"shan-shui-tu-ce-8-kai-1-zhang-da-qian-jiu-cang-shi-tao-224510","山水图册8开-1-张大千旧藏","淡墨晕染远山，恍如烟霭轻笼，望之渺渺。近前丘峦以枯笔焦墨皴擦勾勒，苍劲朴拙，自带厚重古意。坡岸寒林萧疏，枝桠错落淡写，空寂清寒之境跃然纸上。右侧三两茅舍依偎岩岫，隐于林木间，尽出世幽居之趣。\n书画相融，题诗佐景，朱红金石印章错落点缀，更添雅致。笔意纵恣又不失内敛，将山雨初歇后的微茫空濛铺陈开来，淡而弥厚，简而愈远，尽显静穆萧散的文人逸趣，把江南山野的幽淡之美，晕作悠然忘尘的林下诗意。",[23,200,24,25,111,27,36,29,242,35,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93031ba8b540688941b476a31e5177ff.jpg",[],{"id":18849,"slug":18850,"title":18851,"dynasty":296,"author":870,"museum":561,"description":18852,"tags":18853,"thumbUrl":18854,"material":70,"size":70,"collection":70,"collections":18855,"showCount":88,"zanCount":46,"manualWeight":46,"mainColor":47},224500,"shan-shui-ce-kai-jiu-shi-tao-224500","山水冊开(九)","近景虬松斜出，板桥横卧浅溪，野意悠然。中景崖边村居错落，山径蜿蜒隐入青山，远江烟棹朦胧，翠微含黛，浅绛设色晕染出温润清和的春日山乡。\n\n枯笔皴擦勾勒山石，朴拙苍劲间带着灵动生气，林木简笔点染，形神兼备。题画诗与山水相融，将伤春怀远的幽寂心绪藏在清寂丘壑里，以山川写尽文人缱绻情思，简淡天真中见纵逸灵秀，笔底既有林泉野趣，又含寄情山水的文人心魂，尽显平淡悠远的画中真意。",[23,200,24,27,28,36,111,29,30,31,35,34,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F112ef3c7e0ff3fa7d53483405b5d3c67.jpg",[],{"id":18857,"slug":18858,"title":18257,"dynasty":296,"author":1177,"museum":561,"description":18859,"tags":18860,"thumbUrl":18861,"material":217,"size":660,"collection":70,"collections":18862,"showCount":88,"zanCount":46,"manualWeight":46,"mainColor":47},224482,"shan-shui-tu-shan-mian-wang-jian-224482","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。",[23,24,25,1900,29,28,36,7,34,114,33,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a4553a79a1bb08b744bb24b9bf960af.jpg",[],{"id":18864,"slug":18865,"title":18866,"dynasty":296,"author":3038,"museum":561,"description":18867,"tags":18868,"thumbUrl":18869,"material":70,"size":70,"collection":70,"collections":18870,"showCount":88,"zanCount":11,"manualWeight":46,"mainColor":47},224458,"hua-hui-shan-shui-he-ce-1-5-wang-hui-224458","花卉山水合册1-5","此作设色清妍明快，以石青石绿晕染山峦，柔缓晕开丘棱轮廓，晕出春日山景的温润鲜活。左上桃枝绽粉，点破春讯，飞泉沿幽谷蜿蜒而下，牵起山林灵动生机。一叶扁舟随波泛于烟水间，大片留白铺陈出空濛云水意境，尽现幽远之致。\n\n右侧题诗补全画中雅趣，笔致秀逸舒展，与山水景致相映成趣，将文人耽于林泉的悠然雅意融于尺幅之间。整幅淡冶雅致，既见青绿山水的明丽秀润，又有文人画的萧散意境，尽显春日山水的静穆清和。",[23,24,200,25,111,28,257,36,29,34,31,2278,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05457a1878b4c600149d327541c4eeee.jpg",[],{"id":18872,"slug":18873,"title":12365,"dynasty":124,"author":436,"museum":360,"description":18874,"tags":18875,"thumbUrl":18876,"material":18877,"size":18878,"collection":70,"collections":18879,"showCount":88,"zanCount":46,"manualWeight":46,"mainColor":47},223338,"jiu-ge-tu-juan-yi-ming-223338","画卷根据屈原《楚辞·九歌》中的神话故事绘制而成。“九歌”原为传说中的一种远古歌曲的名称，《九歌》是屈赋中最精、最美、最富魅力的诗篇，它代表了屈原艺术创作的最高成就。",[23,24,200,26,712,56,58,907,2241,1396,31,7,34,133,5724],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07bb572ae953b740fe54293fea95aea1.jpg","纸本，手卷，墨笔","纵37厘米、横845厘米",[],{"id":18881,"slug":18882,"title":18883,"dynasty":296,"author":8516,"museum":401,"description":8517,"tags":18884,"thumbUrl":18887,"material":142,"size":8522,"collection":70,"collections":18888,"showCount":88,"zanCount":46,"manualWeight":46,"mainColor":47},223045,"hong-lou-meng-170-sun-wen-223045","红楼梦170",[23,24,56,28,58,60,61,34,1140,18885,7,18886,65],"棕榈树","桌椅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc6f7be536530def4351328a526eb560.jpg",[],{"id":18890,"slug":18891,"title":18892,"dynasty":296,"author":8516,"museum":401,"description":8517,"tags":18893,"thumbUrl":18895,"material":142,"size":8522,"collection":70,"collections":18896,"showCount":88,"zanCount":46,"manualWeight":46,"mainColor":47},223040,"hong-lou-meng-165-sun-wen-223040","红楼梦165",[23,56,28,58,60,61,34,7,64,302,18894,59,1118],"棕榈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5089582778d923bea580b656188de8e5.jpg",[],{"id":18898,"slug":18899,"title":18900,"dynasty":296,"author":8516,"museum":401,"description":8517,"tags":18901,"thumbUrl":18904,"material":142,"size":8522,"collection":70,"collections":18905,"showCount":88,"zanCount":46,"manualWeight":46,"mainColor":47},223036,"hong-lou-meng-161-sun-wen-223036","红楼梦161",[23,24,56,28,25,58,59,2620,18902,33,7,31,302,3323,18903,61],"楼台亭阁","红楼梦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcab8469eabf055dc70312e1a4e6fabb3.jpg",[],{"id":18907,"slug":18908,"title":18909,"dynasty":296,"author":8516,"museum":401,"description":8517,"tags":18910,"thumbUrl":18911,"material":142,"size":8522,"collection":70,"collections":18912,"showCount":88,"zanCount":46,"manualWeight":46,"mainColor":47},222974,"hong-lou-meng-99-sun-wen-222974","红楼梦99",[23,24,56,28,58,60,30,31,34,7,61,3592,65,64,1373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf526e511493738b4498b9b120f78b04.jpg",[],{"id":18914,"slug":18915,"title":18916,"dynasty":296,"author":8516,"museum":401,"description":8517,"tags":18917,"thumbUrl":18918,"material":142,"size":8522,"collection":70,"collections":18919,"showCount":88,"zanCount":46,"manualWeight":46,"mainColor":149},222886,"hong-lou-meng-11-sun-wen-222886","红楼梦11",[23,24,56,28,257,29,58,60,31,34,7,8050,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa13d5c48011833b14f4605b458d73403.jpg",[],{"id":18921,"slug":18922,"title":18923,"dynasty":296,"author":4083,"museum":53,"description":18924,"tags":18925,"thumbUrl":18926,"material":885,"size":18927,"collection":42,"collections":18928,"showCount":88,"zanCount":46,"manualWeight":46,"mainColor":47},222695,"hua-jie-shan-zhai-tu-zhou-qian-wei-cheng-222695","画借山斋图轴","钱维城（1720 —1772）于第二次南巡时陪同南下，不但于苏州绘「借山斋」一景，稍早经过家乡常州时，亦为乾隆皇帝绘制当地名胜苏轼「舣舟亭」，颇似御用的随行写生画家。此作描绘苏州虎邱一带的景致，承续「四王」山水风格，并揉合地貌与建筑，呈现出清代宫廷正统派山水画的风貌。乾隆皇帝于虎邱所题诗句「林泉印证真亲切，秀丽从来说虎邱」，显示出他以艺术品「即景印证」的习惯，并不囿于古代名迹，当朝词臣的画作亦可添助游兴。",[23,24,25,95,29,36,28,837,539,34,35,132,114,82,7,11963],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8d4bfa5c29a8ba7cf79a8b52cded174.jpg","63.7x31.8",[42,264],{"id":18930,"slug":18931,"title":462,"dynasty":18,"author":5906,"museum":20,"description":18932,"tags":18933,"thumbUrl":18934,"material":885,"size":18935,"collection":70,"collections":18936,"showCount":88,"zanCount":46,"manualWeight":46,"mainColor":47},222377,"shan-shui-tu-bian-wen-yu-222377","卞文瑜（约1576年—1655年），明代江苏苏州人，字润甫，号浮白、萝庵。书画家。艺芳书画录云：“本姓徐，非姓卞，盖因有避而托者。”善山水、树石勾剔，甚有笔意。尝从董其昌讲求笔法，故笔墨亦相近，但落墨太松，失之弱耳。万历三十九年(1611)作荷亭销夏扇，康熙十年(1671)作湖庄清夏扇，均藏故宫博物院。主要作品有《图绘宝鉴续纂》《明画录》《桐阴论画》《江南通志》《艺芳书画录》《画史会要》。\n卞文瑜以擅画山水著称于世，其绘画风格大致可分为两个阶段：早年和中年的山水画受赵左影响较深，承袭吴门遗风；同时又从董其昌讲求笔法，将董以笔墨气势取胜的特点与吴门强调诗意的结构布局相结合，形成了其特有的绘画风格。因此后世多用“布局结构殊有思致，树石钩剔颇具笔意”评价他这一时期的作品特点，但过于强调笔墨风趣与形象脱略，故未免缺乏自然山川之真实感，因此对其画又有“落墨太松，失之弱耳”、“山水多滑，少苍老”的批评。\n卞文瑜晚年的山水画风格变化较大，开始摆脱赵左的影响，而上追宋元诸家。这一变革主要是受王时敏、王鉴的影响，据王鉴跋卞文瑜《仿古山水册》云：“先生（卞文瑜）学画凡五十载，惟知赵文度（赵左）一派。晚年始与余交，及遇娄东奉尝烟翁（王时敏），乃见画中董、巨及元季四家真迹。每至娄中观古人画，则伏卧其下，不忍释手。”由于结识王时敏、王鉴等人，使得卞文瑜在其晚年得以看到董源、巨然及黄公望、王蒙、吴镇、倪瓒等大家的真迹名品，并且潜心临习，因此王鉴评价他晚年的作品：“笔法遒美，元气灵通，与生平画迥不相类。”从卞文瑜传世的作品看，他晚年的画作多题临仿古人之名，且多是小景山水，如故宫博物院藏《仿古山水册》，上海博物馆藏《仿宋元山水图册》，天津艺术博物馆藏《山水扇面》等，笔墨苍润，意境深远，较其早年、中年学赵左的作品要成熟得多。正如吴梅村在《画中九友歌》中评价卞文瑜时说：“画龛巨幅千峰稠，小景点出林塘幽。晚年笔力真沧州，幅中鹤绿轻王侯。”这是对他晚年绘画风格和艺术特色的准确概括。",[23,24,1900,29,36,27,28,7,34,187,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfd45f49317fea0c08e05b689921eab9.jpg","纵23.7厘米横29.3厘米",[],{"id":18938,"slug":18939,"title":18940,"dynasty":78,"author":1290,"museum":360,"description":18941,"tags":18942,"thumbUrl":18943,"material":229,"size":18944,"collection":70,"collections":18945,"showCount":88,"zanCount":46,"manualWeight":46,"mainColor":149},221751,"san-xia-qu-tang-tu-ye-sheng-mao-221751","三峡瞿塘图页","瞿塘峡的名胜古迹，多而又集中，游览者称便。此画为元代画家盛懋所作，其早年并得画家陈琳指点，画山石多用披麻皴或解索皴，笔法精整，设色明丽。",[23,24,25,111,29,27,28,32,4253,34,7,133,114,316,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b234dc745f130418cd0edc13a5a06d2.jpg","78X69厘米",[],{"id":18947,"slug":18948,"title":7680,"dynasty":296,"author":18949,"museum":561,"description":18950,"tags":18951,"thumbUrl":18952,"material":229,"size":18953,"collection":42,"collections":18954,"showCount":88,"zanCount":46,"manualWeight":46,"mainColor":47},220251,"xi-shan-yan-yu-tu-hu-gong-shou-220251","胡公寿","胡公寿（1823年—1886年），初名远，号瘦鹤、小樵，别号横云山民，华亭（今上海松江）人，清末书画家。其书法出入于平原、北海间，独具体势。诗宗少陵，清健遵练。为海上画派代表画家之一。传世作品有《桂树图》、《香满蒲塘图》等",[23,24,27,95,29,130,34,7,6212,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ee7a7a41050c79328c18df5f5c33a46.jpg","49.54*180",[42],{"id":18956,"slug":18957,"title":18958,"dynasty":18,"author":9939,"museum":1137,"description":18959,"tags":18960,"thumbUrl":18962,"material":84,"size":70,"collection":42,"collections":18963,"showCount":88,"zanCount":46,"manualWeight":46,"mainColor":149},219924,"liu-ting-tu-zhang-guan-219924","柳艇图","生卒年不详，字可观，松江枫泾（今上海金山）人。元代迁居嘉兴（今属浙江），明洪武中寓长洲（今江苏苏州市）。生长于木匠家庭，从小爱游览山水，喜欢作山水画。师法马远、夏圭，亦参学李、郭熙，后与吴镇、盛懋、丁野夫相交，笔墨大进，所作雍容苍秀，格韵悉佳，古劲清润，秀雅胜俗。",[24,27,29,18961,32,58,7,539,243,95,36],"柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92728b3c452c53bcaa2010c0930b8fc4.jpg",[42],{"id":18965,"slug":18966,"title":18967,"dynasty":18,"author":436,"museum":3206,"description":18968,"tags":18969,"thumbUrl":18970,"material":601,"size":70,"collection":42,"collections":18971,"showCount":88,"zanCount":46,"manualWeight":46,"mainColor":149},219897,"jun-ling-tu-yi-ming-219897","峻岭图","危峰拔地直插烟岚，苔痕皴染崖壁，凭添苍古荒寒之意。山巅与幽谷间云气漫漶，虚实相生衬出峰峦巍峨雄浑。下方虬松横斜出枝，蟠曲如游龙，苍劲松针攒簇，尽现山野老松的疏狂之姿。\n\n山麓茅亭敞轩，高士偃卧假寐，篱舍隐于浅渚林泉间，枯木荒坡错落排布，淡墨晕染出空寂萧散的汀岸野趣。全作用笔兼具勾勒皴擦，水墨干湿浓淡层叠铺陈，将山水的宏阔与林下幽居的静穆相融，尽显林泉高致的隐逸意趣，于尺幅间铺展出文人心底旷远高逸的林下襟怀。",[24,25,95,27,29,427,7,34,187,58,33,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaeb6304a00605300597860cc5dd69c6.jpg",[42],{"id":18973,"slug":18974,"title":18975,"dynasty":296,"author":18976,"museum":183,"description":18977,"tags":18978,"thumbUrl":18979,"material":116,"size":18980,"collection":42,"collections":18981,"showCount":88,"zanCount":11,"manualWeight":46,"mainColor":149},219720,"yun-ling-shui-sheng-tu-wang-jian-zhang-219720","云岭水声图","王建章","《云岭水声图》画层峦叠嶂，瀑布挂落，溪流绕岸，小径蜿蜒，云雾弥漫，数间房舍掩映于葱郁的树林间，境界超逸。山石以披麻皴描绘，树木以湿润浓墨点染，画面苍郁沉厚。图右题唐诗：“横云岭外千里树，流水声中三五家。”诗情画意交融。",[23,24,200,27,36,95,29,883,130,31,34,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18c7c418b4dff5a1a53023aff36e0194.jpg","纵95厘米,横48．1厘米",[42],{"id":18983,"slug":18984,"title":18985,"dynasty":18,"author":13482,"museum":53,"description":18986,"tags":18987,"thumbUrl":18988,"material":229,"size":18989,"collection":42,"collections":18990,"showCount":88,"zanCount":46,"manualWeight":46,"mainColor":47},219466,"shan-cai-ding-li-tu-xiang-yuan-bian-219466","善才顶礼图","项元汴（西元一五二五－一五九0年）字子京，别字墨林居士，为江南的大收藏家，家藏既多，薰习之久，亦能自运。其山水学元黄公望、倪瓒，尤醉心于倪，得其胜趣。此幅画松石崖瀑，用笔秀劲流畅，构景命意皆静穆之甚。善才童子向空顶礼，取势生动，似见仇英风范。虽云画佛，仍是山水画格局。右下有其孙项圣谟之题识「天童弟子通变天籁阁孙男圣谟。壬辰（一六五二）中秋日拜题」。",[24,25,95,27,29,58,7,34,316,427,133,36,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fadde91c721a075251422a51b21041e.jpg","130x30.5",[42],{"id":18992,"slug":18993,"title":18994,"dynasty":296,"author":9312,"museum":53,"description":18995,"tags":18996,"thumbUrl":18997,"material":40,"size":18998,"collection":42,"collections":18999,"showCount":88,"zanCount":11,"manualWeight":46,"mainColor":149},219431,"fan-cheng-da-mai-chi-dai-ci-tu-cao-kui-yin-219431","范成大卖痴呆词图","这幅画是范成达农历十二月村田乐府诗中关于卖痴呆症的诗。 苏州风俗，孩子怕自己痴呆，所以想卖“痴呆”。 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画风近 黄公望。 自题“已丑(1 649)夏五月， 画似跨千老盟兄， 时余游豫，不觉笔下有离别之气，瑞识。” 汪之瑞，生卒年不详，清初画家。字无瑞，休宁(今属安徽)人。初从同邑李永昌学画。工书，擅山水。悬肘中锋，运用渴笔焦墨，多作披麻、荷叶皴，盖为其家乡黄山山石之皴斫也。爱作背面山，兴至落笔，如风雨骤至，顷刻数纸。与弘仁、孙逸、查士标，为新安派四大家(即海阳四家)。传世作品有《为跨千写山水图》、《虚亭诗意图》、《溪亭纳秋图》。",[24,29,27,36,95,30,7,96,34,1911,133,132,160,19236,82,19237,300],"书法题跋","枯笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a96e75f994f79e3ac05eab026f1d56b.jpg","纵：136厘米，横：56.7厘米",[42,146],{"id":19242,"slug":19243,"title":106,"dynasty":296,"author":19244,"museum":561,"description":19245,"tags":19246,"thumbUrl":19247,"material":70,"size":70,"collection":42,"collections":19248,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":47},236076,"shan-shui-ce-shen-zong-jing-236076","沈宗敬","此作用笔苍秀，以干笔皴擦勾勒近侧危崖，嶙峋石体质感尽显，崖顶古松挺劲，枝桠舒展带风霜之态。崖畔孤亭兀立石台，凭虚临空，暗合幽人隐逸之思。\n烟波浩渺的江面之上，扁舟随波缓行，远景山峦澹晕隐现，晕染出空濛悠远的水天色。整幅水墨写意，糅合北派山水的雄健质感与南宗山水的淡远意境，萧散简淡的笔意间铺展出林泉高致的幽旷之境，将山居江湖的清寂冷逸尽数彰显，把文人寄情山水的隐逸襟怀藏于尺幅之中。",[24,27,111,36,29,7,427,33,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba4bd7b1242ed0c8d84ab4be3bba94b9.jpg",[42],{"id":19250,"slug":19251,"title":19252,"dynasty":18,"author":436,"museum":561,"description":19253,"tags":19254,"thumbUrl":19256,"material":70,"size":70,"collection":70,"collections":19257,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":149},235814,"cui-zi-zhong-cang-yun-tu-zhou-yi-ming-235814","崔子忠藏云图轴","此作用全景式构图铺展意境，上段危峰怪石奇崛冷峻，淡墨晕染出空濛云雾，衬出山岫灵秀幽邃。中段留白托举云气，枯林萧疏愈显山野寂寥。下段辎车缓行于山径，长者安坐、侍童相随，人物意态简雅生动，车马细节入微。\n左上题诗与画意相融，水墨皴染结合，笔意清劲古雅，将藏云林泉的幽居雅兴，与静穆高古的山水意境合二为一，尽显文人避世寻幽的审美意趣。",[200,24,25,95,28,36,58,29,34,7,19255],"车辆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dc9720526c0678b1bafbcaf3a821ab4.jpg",[],{"id":19259,"slug":19260,"title":19261,"dynasty":296,"author":2948,"museum":561,"description":2949,"tags":19262,"thumbUrl":19263,"material":217,"size":660,"collection":70,"collections":19264,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":47},235788,"hong-ren-nan-gang-qing-yun-tu-shan-ye-hong-ren-235788","弘仁南冈清韵图扇页",[24,25,1900,27,29,7,34,35,36,82,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65c9cebec78b4c98d9b073af86409e76.jpg",[],{"id":19266,"slug":19267,"title":17084,"dynasty":296,"author":17085,"museum":561,"description":17086,"tags":19268,"thumbUrl":19269,"material":217,"size":660,"collection":70,"collections":19270,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":47},235280,"ren-wu-gu-shi-ce-fan-xue-yi-235280",[24,111,28,56,58,34,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64abd16bcdbbaa3e1cf05e34e64e44f6.jpg",[],{"id":19272,"slug":19273,"title":4201,"dynasty":18,"author":1100,"museum":561,"description":19274,"tags":19275,"thumbUrl":19276,"material":70,"size":70,"collection":70,"collections":19277,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":47},234977,"dong-qi-chang-shan-shui-ce-dong-qi-chang-234977","此册尺幅虽小，但笔墨极精。董其昌只书款而未钤印，是其当日自留收藏的得意之笔。册后有王时敏、笪重光二跋。从王时敏跋可知，此册为他的旧藏，后赠予王翚。佳作已在二跋文字中尽言，特录出跋文：\n“文敏于短笺小册作残山剩水，笔墨酣放，烟云灭没，俨然具万里势。真得简淡高人之致。余购藏之已二十余年。适石谷兄过小斋，见之叹赏不置，遂以诒之。非但高山流水得遇赏音，其气韵正相类也。戊申夏王时敏题。”\n“文敏每过京口，必馆于张氏园亭。所作小幅戏墨最多。余时从友人则之借观，爱其题跋，蝇头细书，未忍释手。即文敏当日亦殊自为珍重也。此册墨法天真幽淡，与张氏收藏极相类，烟客石谷两公之争赏，有以也夫。江上外史笪在辛漫识。”",[24,27,36,111,29,112,30,31,7,114,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3eaf428da4b947634930dd08ae3803a.jpg",[],{"id":19279,"slug":19280,"title":19281,"dynasty":18,"author":436,"museum":360,"description":19282,"tags":19283,"thumbUrl":19284,"material":760,"size":19285,"collection":70,"collections":19286,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":149},234850,"ming-ren-ta-xue-xun-mei-tu-zhou-yi-ming-234850","明人踏雪寻梅图轴","踏雪寻梅是历代文人士大夫的雅事，亦为画家常用的题材。此图表现一主一仆于雪天往深山寻梅的情景。王谔被明代皇帝称为“今之马远”，此图的画风即验证了这一说法。画中山石棱角方硬，树干虬曲苍劲，山体、坡石多用大斧劈皴，构图上也接近马远的“马一角”特征。",[24,95,28,29,58,537,390,7,242,32,36,33,578,34,187,7851,300],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F634973a6f6c09d6dcbadcd623b2d458b.jpg","纵83.5厘米，横47.2厘米",[],{"id":19288,"slug":19289,"title":19290,"dynasty":296,"author":19291,"museum":561,"description":19292,"tags":19293,"thumbUrl":19294,"material":70,"size":70,"collection":70,"collections":19295,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":47},234617,"gu-yun-fang-tang-yin-shan-shui-wan-shan-gu-yun-234617","顾沄仿唐寅山水纨扇","顾沄","顾沄（1835—1896年）字若波，号云壶、壶隐、壶翁、云壶外史、濬川、颂墨、病鹤，室名自在室、小游仙馆。吴县（今属江苏苏州）人。布衣。工画山水，清丽疏古，得“四王”、吴、恽诸家之长。\n顾沄少有丹青之志。片纸尺缣，遇画辄研写不已，时常州、娄东、虞山画风鼎盛，沄深谙山水经营布置之法，画名渐起，遂往上海鬻画。上海乃商贾云集之东南都会，乾嘉时已与维扬、姑苏、宁波等城市同为鬻画之胜地。五口通商，中外资本汇聚，富庶繁华更胜苏、扬。商人风雅，各有所好，便有了各路画家一展伸手之空间。时称“三熊四任”的任渭长、任阜长、任伯年、任立凡、张子祥、朱梦泉以及朱梦庐、胡公寿、虚谷、赵之谦、王秋言、蒲作英、钱慧安、吴昌硕、吴石仙、陆廉夫、倪墨耕、吴观岱等周边画家，先后前往上海发展，遂有海上画派之兴起。沄一生恪守有清以来之正统画风，功力深厚，倒也在新风阵阵之沪上知音多多，以“泽古功深，集四王吴恽诸家之长”独树一帜。光绪十四年（1888）尝北赴京畿，与诸士大夫游，又于同年东游扶桑。画名远播（光绪十四年(1888)游日本，遍览东京诸胜，所画一树一石皆备受赞赏。长期鬻画沪上。出版有《顾若波山水集册》。\n工山水，由“四王吴恽”入手，上探元、明诸家。墨法明润秀雅，笔意疏古清丽，吴侬软语，浅斟低唱，得柔美之致，乏遒劲之气。间有水墨直师王蒙、小青绿逼似文徵明者，功力之深厚，时罕其俦。",[200,24,25,1900,27,36,186,29,427,58,7,133,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19ec48b9c827ff6ad82c1e990c175f2d.jpg",[],{"id":19297,"slug":19298,"title":19299,"dynasty":18,"author"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258cm",[],{"id":19306,"slug":19307,"title":19308,"dynasty":18,"author":9525,"museum":360,"description":19309,"tags":19310,"thumbUrl":19311,"material":246,"size":19312,"collection":70,"collections":19313,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":149},234152,"feng-yuan-dang-xiong-tu-juan-ding-yun-peng-234152","冯媛挡熊图卷","此图以翠竹、梧桐、椿树、湖石为背景，表现了冯媛挡熊的故事场景。据《汉书•外戚传下•冯昭仪》记载，西汉建昭年间，元帝率左右随从，于后宫观斗兽。突然有熊逸出圈，攀栏欲上殿，冯婕妤冲上前挡熊而立，保护元帝免遭伤害。“冯媛当熊”应为爱君之典。《汉书》卷三十六称“《列女传》凡八篇，以戒天子”。",[23,24,25,26,56,28,58,1396,12595,34,7,1056,38,4405,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F830255b25762baaa67f04e22303126f0.jpg","纵32.6厘米，横148.8厘米",[],{"id":19315,"slug":19316,"title":7353,"dynasty":124,"author":197,"museum":360,"description":19317,"tags":19318,"thumbUrl":19321,"material":19322,"size":19323,"collection":70,"collections":19324,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":149},233212,"yan-xiu-lin-ju-tu-ye-xia-gui-233212","图中绘一老者走过板桥，沿小径而行，远处山林后隐现房舍一角，意境幽深。近景树石着重墨，中景以淡墨勾染，至远景则以极浅淡的水墨渲染出一片雾色，拉开空间层次。用笔轻松简洁，皴中带染，染中有皴，整体风格不失精致秀润。构图是夏圭惯用的半边式。\n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。\n陈文璟：《烟岫林居图》营造的正是一种烟云境界，近处以重墨勾勒树木、山石、人物，皴染却以淡墨扫出，显得浓重透出空间来，使节奏感明快而庄重，而远山渺渺，烟雾缭绕，使背景和前景的对比更加突出，则人物所居，自然是“只在此山中，云深不知处”。尤为人不可及的当然是线条的凝练畅快，显示出画者的心态安定而悠闲忘机，既不媚世求欢，也不率意而狂狷，彬彬然，霭霭然，内敛而外平，越品味越觉意味深远，不免有“珠玉在侧，觉我形秽”的感慨。\n陈振濂：《烟岫林居图》为小团扇——这是宫廷内多见的特殊形式。笔墨皆一遍施足，不重复皴染——这是步骤的简；树木繁纷，但却以粗笔为之，形成几个团块组合，外形并不过于曲折回环——这是造型的简。远山一二而已，空白处尽量加多，以见旷达之趣、约略之景——这是构图的简。最后，并无峰回路转、溪桥重叠、丘壑幽深的气韵：一切都是平淡的、直率的、简约的。这三种简复合起来，即构成一个简洁的减笔夏挂。",[24,200,25,29,27,36,1465,837,112,19319,19320,7357,7],"林","居处","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73197fa365d71fb00c132cb41deb0b52.jpg","绢本 ，墨笔","纵25cm，横26.1cm",[],{"id":19326,"slug":19327,"title":1875,"dynasty":296,"author":870,"museum":360,"description":1876,"tags":19328,"thumbUrl":19329,"material":229,"size":1879,"collection":70,"collections":19330,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":47},233125,"yuan-ji-shan-shui-ce-shi-tao-233125",[24,25,111,27,28,29,60,242,7,82,37,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93ecd5e9a88ca195d5a33c884ecf3e42.jpg",[],{"id":19332,"slug":19333,"title":19334,"dynasty":296,"author":19335,"museum":53,"description":19336,"tags":19337,"thumbUrl":19338,"material":885,"size":19339,"collection":70,"collections":19340,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":149},232815,"gao-zong-yu-ti-fan-cheng-da-ji-zao-ci-zhou-kun-232815","高宗御题范成大祭灶词","周鲲","周鲲 ，字天池，江苏常熟人。画承家学，工山水、人物，梅花亦佳。乾隆(一七三六至一七九五)时供奉如意馆。尝以闾阎疾苦情形托诸艺事，蒙御题，有:监门遗故事，咨尔溯其踪句。所作多藏石渠宝笈。《国[清]朝画徵续录、虞山画志、石渠宝笈、清画家诗史》\n宋代诗人范成大的《祭灶词》对当时民间祭灶作了极其生动的描写：古传腊月二十四，灶君朝天欲言事。云车风马小留连，家有杯盘丰典祀。猪头烂热双鱼鲜，豆沙甘松粉饵团。男儿酌献女儿避，酹酒烧钱灶君喜。婢子斗争君莫闻，猫犬角秽君莫嗔；送君醉饱登天门，杓长杓短勿复云，乞取利市归来分。\n周鲲所绘《范成大祭灶词》 立轴上有乾隆帝所书宋代诗人范成大的《祭灶词》：古传腊月二十四，灶君朝天欲言事。云车风马小留连，家有杯盘丰典祀。猪头烂热双鱼鲜，豆沙甘松粉饵团。男儿酌献女儿避，酹酒烧钱灶君喜。婢子斗争君莫闻，猫犬角秽君莫嗔；送君醉饱登天门，杓长杓短勿复云，乞取利市归来分。\n清高宗爱新觉罗·弘历即乾隆帝，在位六十年，禅位后又任三年零四个月太上皇，实际行使国家最高权力长达六十三年零四个月，是中国历史上实际执掌国家最高权力时间最长的皇帝，也是中国历史上最长寿的皇帝。\n乾隆的书法从学习赵孟入手。乾隆本人雅赏赵孟的书法，心慕手追，身体力行。游览名胜每到一处，作诗纪胜，御书刻石，其书圆润秀发，在宫中、御园、名胜古迹、寺庙等几乎到处可见其墨迹，至今海内乾隆御碑甚多，其擅书之名流传普遍。 从他的书法作品中可以发现，书学起步仍是康熙时流行的宫廷馆阁体书法，后在承学各家中选定赵孟丰圆肥润的书法。从存世的乾隆书迹看，他的字字体稍长，楷书中多有行书的笔意，行书中又往往夹杂着草书的韵味，点画圆润均匀，结体婉转流畅，缺少变化和韵味，并无明显的成就，评者称其“虽有承平之象，终少雄武之风”。",[23,24,25,95,27,28,56,36,29,58,34,242,427,35,316,7,82,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44de7adfd07f2e2945457b9bb674cfc2.jpg","113×28.6cm",[],{"id":19342,"slug":19343,"title":19344,"dynasty":124,"author":3003,"museum":561,"description":19345,"tags":19346,"thumbUrl":19348,"material":142,"size":19349,"collection":70,"collections":19350,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":149},232628,"qiu-jing-zhang-yuan-tu-juan-yi-yuan-ji-232628","秋景獐猿图卷","郭若虚《图画见闻志》成书于成熙七年(1074)，是最早记载易元吉生平的典籍。此后成书于宣和二年（1120）的《宣和画谱》、至正二十五年（1365）的《图绘宝鉴》之类画史著作所录的易元吉传，都来源于《图画见闻志》中的这段文字：\n易元吉，字庆之，长沙人。灵机深敏，画制优长。花鸟蜂蝉，动臻精奥。始以花果专门，及见赵昌之迹，乃叹服焉。后志欲以古人所未到者驰其名，遂写獐猿。尝游荆湖间，入万守山百余里，以觇猿狖獐鹿之属，逮诸林石景物，一一心传足记。得天性野逸之姿，寓宿山家，动经累月，其欣爱勤笃如此。又尝于长沙所居舍后疏凿池沼，间以乱石丛花、疏篁折苇，其间多蓄诸水禽，每穴窗伺其动静游息之态，以资画笔之妙。治平甲辰岁，景灵宫建孝严殿，乃召元吉画迎厘斋殿御扆。其中扇画太湖石，仍写都下有名鹁鸽及雒中名花，其两侧扇画孔雀。又于神游殿之小屏画牙獐，皆极其思。元吉始蒙其召也，欣然闻命，谓所亲曰：“吾平生至艺，于是有所显发矣。”未几，果敕令就开先殿之西庑张素画《百猨图》，命近要中贵人领其事，仍先给粉墨之资二百千。画猨才十余枚，感时疾而卒。元吉平日作画，格实不群，意有疏密。虽不全拘师法，而能伏义古人。是乃超忽时流，周旋善誉也。向使元吉卒就《百猨》，当有遇于人主；然而遽丧，其命矣夫。有獐猿、孔雀、四时花鸟、写生蔬果等传于世。建隆观翊教院殿东獐猿林石绝佳。(又尝于余杭后市都监厅屏风上画鹞子一只，旧有燕二巢，自此不复来止。)\n这段文字共四百一十八个字，在《图画见闻志》所有画家传记中字数最多。后世大名鼎鼎的画家很多，其传记也就几十字到三百多字不等，如董源七十二字，范宽九十四字，郭熙九十五字，黄筌二百二十八字，徐熙一百四十六字，崔白二百四十三字，武宗元三百二十三字，等等。传记文字的数量与传主的分量是成正比的，由此可见易元吉在郭若虚心目中的地位。\n秦汉以来，士人取名好引经据典，至宋尤盛。南宋俞成说：“尝观《进士同年录》：江南人习尚机巧，故其小名多是好字，足见自高之心；江北人大体任真，故其小名多非佳字，足见自贬之意。”唐代贞观元年（627），天下为十道，江南道范围包括今湖北南部、江西、湖南。这段文字用来形容长沙人易元吉的取名，也无不可。易姓在北宋时期的长沙是大姓。易元吉之名字，应当来源于《易经》的履卦“上九”象传：“元吉在上，大有庆也。”据此以“元吉”为名，“庆之”为字。姓“易”而以《易经》的文字来命名，比其他任何用《易经》文句取名的姓氏都要显得浑然天成，也可见易元吉的父辈当并非普通白丁。\n郭若虚的这篇传记没有具体记载易元吉的生卒年，只能大体推断出他的活动时间。易元吉于治平甲辰岁（1064）入宫绘制屏风，则此之前应当是名家。从“未几……感时疾而卒”来看，易元吉的去世时间当在入宫后不久，所以其主要活动时间是在宋仁宗（1022—1063年在位）时期。由于《图画见闻志》中关于易元吉入宫的时间只出现年份而不见月份，只能推测他大概于宋英宗治平二年（1064）末或者治平三年（1065）初去世。\n易元吉有多方面才能，而绘画方面特别突出。在整个宋代，被载入美术史的湖南画家只有易元吉一人，但一些资料显示，当时在长沙及周边一带的书画交易十分兴盛，从侧面反映出当时的长沙有一个规模较大的画家群体。例如，张南本的水陆画，“后来为人模写，窃换真迹，鬻与荆湖商贾。”米芾（1051—1107）《画史》载：“长沙富民收水鸟芦花六幅。”《图画见闻志》没有记载易元吉的直接师承，他“以花果专门”之后才见到赵昌的作品，而且毅然改换绘画题材，才有了后来以“猿獐”名世的易元吉。他的师父不会很有名，甚至有可能是自学成才。在长沙期间，易元吉于家舍附近种花养禽，随时写生。他在园圃中观察自然对象研习绘画的形象成为画史上的经典，直到清代的文人仍旧对此充满想象：“易元吉于圃中畜鸟兽，伺其饮啄动止，而随态图之。”",[23,200,24,26,28,257,56,29,112,671,19347,10717,7,130,82],"獐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f627a5c8207974fc409e1ac152f093c.jpg","36.7x321",[],{"id":19352,"slug":19353,"title":19354,"dynasty":3017,"author":6858,"museum":561,"description":19355,"tags":19356,"thumbUrl":19357,"material":217,"size":660,"collection":70,"collections":19358,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":47},231741,"an-tu-tao-shan-shi-dai-gui-tu-ping-feng-shou-ye-yong-de-231741","安土桃山时代 桧图屏风","狩野永德（1543年～1590年），日本画家。名州信，通称源四郎。1543年1月13日生于山越国（今京都），卒于1590年9月14日。他的传世作品还有《唐狮子屏风》、《桧图屏风》及《洛中洛外图屏风》等。",[23,200,24,25,951,28,29,112,31,7,883,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40c0049bfcdc4c1a73a70e15f916753b.jpg",[],{"id":19360,"slug":19361,"title":19362,"dynasty":78,"author":2047,"museum":561,"description":19363,"tags":19364,"thumbUrl":19366,"material":70,"size":70,"collection":70,"collections":19367,"showCount":102,"zanCount":11,"manualWeight":46,"mainColor":149},231479,"pu-tao-tu-zhao-meng-fu-231479","葡萄图","赵孟𫖯，字子昂，号松雪道人，别号鸥波、水精宫道人等。两浙西路乌程人。元代官员，书画家。其妻为元朝画家、诗人管道昇。元朝画家王蒙之外祖父。赵孟𫖯为宋室后代，后选择与元朝合作，并受到皇帝宠爱，“荣际五朝，名满四海”，官至翰林学士，是元代文人画、书法的领袖人物。",[24,25,95,27,38,19365,1746,7],"葡萄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe10dcc024257120bea82518be05de76f.jpg",[],{"id":19369,"slug":19370,"title":462,"dynasty":124,"author":154,"museum":53,"description":19371,"tags":19372,"thumbUrl":19373,"material":70,"size":70,"collection":70,"collections":19374,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":149},230967,"shan-shui-tu-guo-xi-230967","此作以寒林雪霁铺陈意境，枯木老枝虬曲如铁，雪覆苍崖尽染萧寒之气。江间扁舟泊于寒波之上，舟中旅人围坐，将天地荒寒与人间暖意轻轻揉合。\n笔意苍润兼具，山石以卷云皴勾勒皴擦，留白尽显积雪厚重。枝桠以蟹爪笔法写就，枯涩清奇尽展冬日况味。半边取景铺陈开江天空寂辽远，于极简尺幅中藏着深挚诗意，将江湖旅人身处荒寒的幽微心绪淡淡晕开，静穆里揉着暖融烟火气，尽显寄情山水的雅致意趣。",[23,24,25,29,36,27,28,111,32,96,7,316,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F685346f5eec9d79ffa2c528fdca60dc9.jpg",[],{"id":19376,"slug":19377,"title":19378,"dynasty":3017,"author":560,"museum":561,"description":19379,"tags":19380,"thumbUrl":19381,"material":70,"size":70,"collection":70,"collections":19382,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":149},230484,"chang-hen-ge-tu-juan-shi-qi-shi-ji-shang-juan-shou-ye-shan-xue-230484","长恨歌图卷十七世纪（上卷）","这卷长卷以工笔重彩铺展离乱行旅，移步换景间复刻出千乘万骑西南行的史诗场面。从宫阙启銮到盘山栈道，扈从仪仗连绵逶迤，宫眷臣僚的形貌衣冠分毫毕现，屋宇建制严整合度，山石皴染带着苍劲古意。\n\n设色雅致清淡，细腻笔触里藏着仓皇离京的沉郁悲戚，将长诗里的恸惋具象为视觉图景。既是对唐代仪制的精细纪实，也把文学哀婉揉入疏密构图，以铺陈群像勾勒出时代恸哭，尽显古典叙事画的隽永张力。",[23,24,26,28,56,57,58,60,29,34,6104,30,565,317,6105,564,1373,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa3f33a6b01bde2948c81fb1e32b14a2.jpg",[],{"id":19384,"slug":19385,"title":19386,"dynasty":296,"author":297,"museum":561,"description":19387,"tags":19388,"thumbUrl":19389,"material":70,"size":70,"collection":70,"collections":19390,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":47},230275,"shan-shui-ce-12-fu-zhu-da-230275","山水册12幅","此作用笔枯淡老辣，以焦墨勾勒皴擦山石轮廓，删繁就简，褪去繁杂修饰，只留山水神骨。萧疏古木枝桠奇崛扭曲，带着孤傲冷逸的姿态，山居错落隐于林麓之间，藏着幽僻野趣。\n\n画作留白开阔肆意，将天地空寂的氛围感拉满，寥寥数笔便铺展出荒寒山居的清冷意境，把遗世独立的心境融于淡墨疏林之中。笔意简远通透，以极简的水墨写意尽显空灵禅味，清冷幽寂的山水图景，尽显水墨写意的高妙格调，将孤寂澹泊的心绪藏于每一处淡笔枯墨之中。",[24,27,111,36,82,29,7,34,35,114,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd21323aa743aff19ec0971a23cc6574f.jpg",[],{"id":19392,"slug":19393,"title":19394,"dynasty":296,"author":2784,"museum":561,"description":19395,"tags":19396,"thumbUrl":19397,"material":70,"size":70,"collection":70,"collections":19398,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":47},230169,"shan-shui-shi-er-kai-hua-ce-hua-yan-230169","山水十二开画册","此作青绿设色清润雅致，山石以皴染晕开，糅合苍劲与秀润。古松虬枝横斜，蟠曲苍劲，松针攒簇尽显古拙生机。飞瀑层叠跌落，汇入山下溪涧，浅滩空舟系岸，不见钓者，愈衬出秋山清寂。\n\n右上角题诗与画境相契，以白鸥、钓舟点出幽居隐逸的闲趣。诗画交融，将秋日溪山的萧疏淡远，和寄情林泉的雅意融为一体，笔底兼具文人画的简淡诗意与灵动生气，无繁复堆砌，尽是悠然出世的林下之风，观之令人沉静忘俗。",[200,24,25,111,27,257,28,29,427,7,34,31,30,32,1373,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa515902d2b222c91f48162a7d0369c12.jpg",[],{"id":19400,"slug":19401,"title":14922,"dynasty":296,"author":9462,"museum":561,"description":19402,"tags":19403,"thumbUrl":19404,"material":70,"size":70,"collection":70,"collections":19405,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":47},230113,"shan-shui-ce-ye-xi-gang-230113","此作用淡墨晕染铺就底色，山峦以枯笔皴擦勾勒嶙峋肌理，留白衬出山涧飞瀑，似能闻声泠泠。坡岸杂木错落，虬曲与挺拔相映，淡墨点叶疏密有致，尽染清秋疏朗况味。\n\n左侧茅舍临水幽居，隔绝尘嚣；右侧板桥孤悬，更衬林泉静寂。右上角题字清雅，与山水意境相融，满溢文人书卷之气。\n\n整幅以简淡为骨，笔意松秀空灵，不事浓丽雕琢，将出世幽居之思寄于萧散山光水色，以笔墨写心，尽显静穆淡远的林下之风，藏着文人心底的丘壑。",[24,25,111,27,36,29,7,34,130,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ba38e7a5a03f2ceeed631fcab0deec5.jpg",[],{"id":19407,"slug":19408,"title":19409,"dynasty":296,"author":19410,"museum":561,"description":19411,"tags":19412,"thumbUrl":19413,"material":70,"size":70,"collection":70,"collections":19414,"showCount":102,"zanCount":11,"manualWeight":46,"mainColor":47},228971,"shan-shui-ce-ye-4-kai-ji-yun-228971","山水册页4开","纪昀","层岩如篆，方折奇崛，烟岚柔漫缠绕崖谷，虚实相生间划分出山林层次。半山幽轩凭岩而起，飞桥悬于流泉之上，山麓水榭凌波，扁舟静系矶头，屋舍藏于林泉深幽处，尽显幽居雅趣。\n\n笔墨刚柔相济，干笔硬挺勾勒方整岩块，皴写出山石苍劲质感，轻敷淡晕出空蒙烟岚。整幅取景清寂，将林下栖居的悠然意趣藏于山重水复之间，淡墨轻岚里晕染出简澹清远的文人意境，把林泉高致的隐逸情怀融于尺幅之中。",[23,24,25,111,27,36,29,60,33,32,7,34,133,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bfb35ed9c8dbdfc3887c3b0034f1efa.jpg",[],{"id":19416,"slug":19417,"title":19418,"dynasty":18,"author":3504,"museum":561,"description":10464,"tags":19419,"thumbUrl":19420,"material":217,"size":660,"collection":70,"collections":19421,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":47},228878,"shan-mian-16-kai-wen-zheng-ming-228878","扇面16开",[23,24,25,1900,28,27,29,427,35,58,4437,34,7,364,31,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68c9a8fe894a74a812bf08326153bd60.jpg",[],{"id":19423,"slug":19424,"title":19425,"dynasty":18,"author":3243,"museum":561,"description":19426,"tags":19427,"thumbUrl":19428,"material":70,"size":70,"collection":70,"collections":19429,"showCount":102,"zanCount":11,"manualWeight":46,"mainColor":149},228280,"wu-xie-shan-tu-zhou-chen-hong-shou-228280","五泄山图轴","《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",[23,24,25,95,27,36,29,7,34,158,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b4a8237865cb94c15e5ec9b1b99a949.jpg",[],{"id":19431,"slug":19432,"title":19433,"dynasty":78,"author":6917,"museum":561,"description":19434,"tags":19435,"thumbUrl":19436,"material":70,"size":70,"collection":70,"collections":19437,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":47},228053,"bai-miao-jie-bo-tu-juan-wang-zhen-peng-228053","白描揭钵图卷","此作用纯白描演绎佛教故事，铁线描劲挺匀细如游丝盘桓。画面中众天魔女施百般神通、力士悍然围护，围绕钵盂拉扯对抗，将救子的焦灼与护法的沉凝刻画尽致，人物神态各殊，动静对冲间戏剧张力拉满。布景简淡清逸，衬出道释故事的庄严氛围感。卷后长题跋笔意跌宕，书画合璧，尽显此作的极致造诣，将宗教叙事与笔墨意趣完美融合，是白描人物画的典范之作。",[23,200,24,25,26,712,56,784,58,1396,34,7,2974,6105,37,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ee76ff91c7c036c27dda83ba2b0fe54.jpg",[],{"id":19439,"slug":19440,"title":19441,"dynasty":124,"author":9823,"museum":561,"description":19442,"tags":19443,"thumbUrl":19444,"material":70,"size":70,"collection":70,"collections":19445,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":47},227754,"song-deng-jing-lu-tu-yan-ci-ping-227754","松磴精庐图","《宋阎次平松磴精庐图》是宋代阎次平所创的扇面图。\n\n石矶满布的江畔山岩，长松横斜，密竹丛生。一座典雅的精舍（或书院），紧密地镶嵌在这青山绿水之间。小径由岸边蜿蜒而上，岬角处两张圆石小凳闲置于松下，风景优美而宁静。",[23,24,25,1900,28,29,36,82,427,60,32,7,34,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fb29b476fe0467fa83caa5ca6d6b7ba.jpg",[],{"id":19447,"slug":19448,"title":14733,"dynasty":124,"author":154,"museum":561,"description":19449,"tags":19450,"thumbUrl":19451,"material":70,"size":70,"collection":70,"collections":19452,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":149},227542,"qiu-shan-ce-zhang-tu-guo-xi-227542","郭熙（约1000～约1090年），北宋杰出画家、绘画理论家。字淳夫，河阳府温县（今属河南）人。他出身平民，早年信奉道教，游于方外，以画闻名。熙宁元年召入画院，后任翰林待诏直长。山水师法李成，山石创为状如卷云的皴笔，后人称为“卷云皴”。 他画山水注重深入体察生活，能真实、细致、微妙地表现出不同地区、季节、气候的特点，得“远近浅深，四时朝暮，风雨明晦之不同”，创造出极其丰富优美动人的意境，另外他还长于影塑，在墙壁上用泥堆塑浮雕式的山水，别具情趣。\n\n郭熙有《早春图》《关山春雪图》《窠石平远图》《幽谷图》《古木遥山图》等传世。其中《早春图》成功地表现出冬去春来、大地复苏、万物甦醒的细致季节变化。在绘画理论上郭熙亦有很高建树，其理论集中反映在他的《林泉高致》一书中。",[23,24,1900,29,58,34,31,7,36,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F301e81485e068c4f080628a129182f75.jpg",[],{"id":19454,"slug":19455,"title":19456,"dynasty":3017,"author":12440,"museum":561,"description":19457,"tags":19458,"thumbUrl":19459,"material":70,"size":70,"collection":70,"collections":19460,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":149},226652,"qiu-dong-shan-shui-tu-er-qiu-jing-xue-zhou-226652","秋冬山水图二（秋景）","雪舟等杨是日本绘画史上“汉画派”的开创者和集大成者，他的绘画代表着日本汉画的最高成就，他所处的时代是汉画的全盛期。雪舟等杨，12岁入相国寺为僧，热衷于绘画，曾师从日本的山水画大师学习绘画，兼容并蓄临摹了大量的中国宋元的水墨画样式。为了探究中国画之真谛，1467年，他作为画僧随日本遣明使节来到中国，历览中国名山大川，创作了大量的山水画，并向各方绘画大师交流绘画技艺。他领悟到中国画的根源在于中国的自然风物，中国的自然风物是最好的老师。",[23,24,25,27,95,29,60,32,7,31,36,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62940e9c2c67e15be413e65dd353aee4.jpg",[],{"id":19462,"slug":19463,"title":19464,"dynasty":296,"author":3909,"museum":561,"description":19465,"tags":19466,"thumbUrl":19467,"material":70,"size":70,"collection":70,"collections":19468,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":47},224259,"qing-shan-bian-ju-zhou-cha-shi-biao-224259","青山卞居轴","此作用笔简淡松灵，枯笔皴擦绘就远山，留白晕染出烟水空濛。近岸茅亭孑然独立，疏柳杂木错落萧疏，淡墨轻写出浅滩陂陀，处处漫溢着清寂冷逸。\n\n整幅师法云林笔意，删去俗冗细节，以极简线条勾勒物象，铺陈出江南水村的静穆清旷。无浓墨重彩，只以干笔淡墨写尽荒寒淡远，隔绝尘嚣的幽居之景跃然纸上，寄寓着幽隐世外的襟怀，尽显简淡清逸的文人风神，将空寂淡远融于尺幅之间，观之如临无人之境，心绪随烟水一同沉静。",[23,24,95,27,36,712,29,33,242,1140,7,31,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F006ae7f50b438d9d6964e4b663017571.jpg",[],{"id":19470,"slug":19471,"title":19472,"dynasty":296,"author":436,"museum":561,"description":19473,"tags":19474,"thumbUrl":19475,"material":70,"size":70,"collection":70,"collections":19476,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":149},223661,"nao-long-zhou-yi-ming-223661","闹龙州","这幅工笔风俗画以春日江畔为底色，屋舍朱黛错落，楼阁上下人头攒动，凭栏共览盛景，市井烟火扑面而来。水面之上龙舟劈波竞渡，旌旗招展，健儿合力挥桨，浪涛随舟翻涌，喧腾的节庆氛围满溢卷间。\n\n远处山峦逶迤浅黛，汀渚桃杏初绽，柔化了喧闹的底色，晕开融融春意。整作设色雅致明丽，工笔细腻入微，将官民同观竞渡的鲜活民俗盛景定格，于细节处铺陈清代市井百态，尽显院体风俗画的写实功力，把春日水乡的温婉与节庆的喧腾完美相融。",[23,200,24,25,26,56,28,57,29,60,58,564,2278,33,8071,35,61,6105,64,7,316,566,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53fe0824f719b89c17c45135e87db139.jpg",[],{"id":19478,"slug":19479,"title":19480,"dynasty":124,"author":436,"museum":561,"description":19481,"tags":19482,"thumbUrl":19483,"material":673,"size":19484,"collection":70,"collections":19485,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":149},223376,"chu-ping-mu-yang-tu-yi-ming-223376","初平牧羊图","此图不知原载何册，也没有作者姓氏。但画法甚为高超，人物尤精。在描绘人物动态和神情方面，画家具有高超的技艺。",[23,24,25,1900,28,56,58,10893,112,7,113,5986],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8d3b9f87123433d8f4bab4bb4d8cd5e.jpg","23.5*24.6厘米",[],{"id":19487,"slug":19488,"title":19489,"dynasty":296,"author":8516,"museum":401,"description":8517,"tags":19490,"thumbUrl":19493,"material":142,"size":8522,"collection":70,"collections":19494,"showCount":102,"zanCount":11,"manualWeight":46,"mainColor":47},223052,"hong-lou-meng-177-sun-wen-223052","红楼梦177",[23,24,25,56,28,26,58,33,60,7,302,61,64,19491,19492],"床榻","细描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71049a41291c5a33dc9344bead0b1215.jpg",[],{"id":19496,"slug":19497,"title":19498,"dynasty":296,"author":8516,"museum":401,"description":8517,"tags":19499,"thumbUrl":19500,"material":142,"size":8522,"collection":70,"collections":19501,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":149},223042,"hong-lou-meng-167-sun-wen-223042","红楼梦167",[23,24,56,28,58,60,30,33,29,34,61,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3aabc155038cf6916dca7447d819276.jpg",[],{"id":19503,"slug":19504,"title":19505,"dynasty":296,"author":8516,"museum":401,"description":8517,"tags":19506,"thumbUrl":19508,"material":142,"size":8522,"collection":70,"collections":19509,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":149},223015,"hong-lou-meng-140-sun-wen-223015","红楼梦140",[23,56,28,57,58,60,61,34,7,15385,3592,19507,1970],"园林植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ac5f307a3ae0eebbd81017bc0a99f1e.jpg",[],{"id":19511,"slug":19512,"title":19513,"dynasty":296,"author":8516,"museum":401,"description":8517,"tags":19514,"thumbUrl":19517,"material":142,"size":8522,"collection":70,"collections":19518,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":47},223002,"hong-lou-meng-127-sun-wen-223002","红楼梦127",[23,200,24,25,56,28,58,60,1140,7,34,7292,61,19515,19516,15678],"古装","绿植","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65073529e1df02d44b96a2c97cf655a5.jpg",[],{"id":19520,"slug":19521,"title":19522,"dynasty":296,"author":8516,"museum":401,"description":8517,"tags":19523,"thumbUrl":19525,"material":142,"size":8522,"collection":70,"collections":19526,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor"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，山势向后转去留下空阔的水际，意境空远。该图以刘松年画法为主，山石舍小斧劈而用披麻皴，渴笔淡墨，极有毛涩意趣，又有润泽之韵，是唐寅的精心之作。卷后有吴宽的长跋，称此卷为野亭所作，而画中老者正是钱野亭。",[23,24,25,26,27,38,37,29,36,33,427,7,201,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6665c981e400036ca21d10e76ebfa9d.jpg","纵30厘米、横123.5厘米",[],{"id":19566,"slug":19567,"title":19568,"dynasty":18,"author":3058,"museum":53,"description":19569,"tags":19570,"thumbUrl":19571,"material":40,"size":19572,"collection":70,"collections":19573,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":149},222079,"hua-su-shi-liu-dai-tu-zhou-cui-zi-zhong-222079","画苏轼留带图轴","崔子忠（？-1644），字道母，是明末著名的“变形主义”画家，画中如梅枝树石等方折的造型，即为其特色。此作描绘的是苏轼与金山寺僧佛印说偈，输了腰上玉带的故事。画中苏东坡手上所持的蓝色带状物，或许就是崔子忠想象中的玉\n第三次南巡时，乾隆皇帝想起藏在御书房中的崔子忠《画苏轼留带图》，命人快递至江南欣赏留跋。从此之后，崔子忠此轴也成了南巡行李箱中的常备成员，每每于金山寺中与苏轼玉带一同欣赏展玩。",[23,24,25,95,28,56,58,96,7,82,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2038d1e050db9cc5392e7d0aa0a73114.jpg","79.4 x 50 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徒步：32×31厘米 含装裱：32.7×819.5厘米",[],{"id":19593,"slug":19594,"title":19595,"dynasty":296,"author":2948,"museum":360,"description":13138,"tags":19596,"thumbUrl":19597,"material":229,"size":13141,"collection":70,"collections":19598,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":47},220314,"huang-shan-tu-ce-14-hong-ren-220314","黄山图册-14",[23,200,24,25,111,27,29,36,4253,130,31,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F560239a850e6d6d635b622c1309165ab.jpg",[],{"id":19600,"slug":19601,"title":19602,"dynasty":78,"author":436,"museum":4579,"description":19603,"tags":19604,"thumbUrl":19605,"material":84,"size":70,"collection":42,"collections":19606,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":149},219938,"sheng-you-tu-yi-ming-219938","胜游图","此作用高远构景，层叠主峰如蟠踞巨兽，以利落斧劈皴勾勒山石肌理，浓墨晕染出苍莽厚重的质感。飞瀑自崖间垂落，破开山的沉郁静默。虬曲林木错落山间，苍松劲挺，点染出萧疏古雅的秋意。崖畔水滨各筑幽居，隐于林泉烟霭之间，暗合林泉高致的隐逸雅趣。通篇水墨简淡，空濛悠远的意境里，揉合了山川雄奇与林下闲逸，尽显文人避世寄情山水的幽怀。",[23,24,25,95,29,27,36,28,7,34,130,33,60,35,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35a97e286122166a0963868c260fb265.jpg",[42],{"id":19608,"slug":19609,"title":19610,"dynasty":124,"author":3003,"museum":19004,"description":19611,"tags":19612,"thumbUrl":19613,"material":601,"size":19614,"collection":306,"collections":19615,"showCount":102,"zanCount":11,"manualWeight":46,"mainColor":47},218930,"shan-yuan-ye-zhang-tu-yi-yuan-ji-218930","山猿野麞图","此图构图简洁而野趣盎然，卷末有二麞尤佳。树作点叶，石法略具北宋意趣。",[23,200,24,25,26,56,28,36,837,19319,5004,1396,34,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F919a264d0f1a26f0fbb04a3eac5b8bd0.jpg","25x73cm",[306],{"id":19617,"slug":19618,"title":19619,"dynasty":124,"author":436,"museum":53,"description":19620,"tags":19621,"thumbUrl":19622,"material":84,"size":19623,"collection":42,"collections":19624,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":47},218735,"yun-pu-song-tao-tu-yi-ming-218735","云瀑松涛图","这幅画的题款是 宋人云瀑松涛，仔细一看，笔法剪裁得很好，岩石的结构似乎是学自郭熙，但总体上与宋人无关。",[23,24,25,29,28,36,272,883,130,7,34,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40ecd3a26247fdb733f50aa5412a65f3.jpg","22.6x27.5",[42],{"id":19626,"slug":19627,"title":19628,"dynasty":296,"author":1320,"museum":346,"description":1321,"tags":19629,"thumbUrl":19630,"material":84,"size":1324,"collection":70,"collections":19631,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":47},218332,"shen-xian-gu-shi-tu-ce-6-leng-mei-218332","神仙故事图册-6",[23,24,25,111,56,28,58,215,427,7,1746,114,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d0b2fd99b40b1623bde441dacf1bef4.jpg",[],{"id":19633,"slug":19634,"title":19635,"dynasty":296,"author":3038,"museum":346,"description":3863,"tags":19636,"thumbUrl":19645,"material":40,"size":3866,"collection":70,"collections":19646,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":47},217214,"fang-gu-shan-shui-shi-er-kai-si-wang-hui-217214","仿古山水十二开(四)",[24,27,36,111,29,32,33,34,7,31,114,113,19637,19638,19639,19640,19641,19642,19643,19644],"林间小屋","层叠山峦","树木丛生","山石错落","水面孤舟","近景山石","中景树木小屋","远景山峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fb4730a38b7c25f23dbc3beb36ddadf.jpg",[],{"id":19648,"slug":19649,"title":19650,"dynasty":296,"author":3038,"museum":108,"description":19651,"tags":19652,"thumbUrl":19653,"material":40,"size":70,"collection":70,"collections":19654,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":47},214595,"fang-gu-shan-shui-ce-9-wang-hui-214595","仿古山水册-9","王翚（1768年－1849年）是清代著名的画家，他出生于江苏省南京市，是清代名门望族，他的祖父王恭是清代名将王莽的儿子。王翚早年曾在父亲的教导下学习书法和绘画，后来又师从著名画家黄庭坚学习。\n\n王翚擅长画山水，他的作品《仿古山水册》是他的代表作之一。这本册子包含了王翚的许多优秀作品，其中包括了他的山水画、人物画、花鸟画等，作品风格秀丽自然，富有感染力。《仿古山水册》被誉为王翚代表作之一，在当时颇受欢迎。\n\n王翚的画风受到了清代著名画家黄庭坚的影响，但他也在此基础上创造出了自己独特的画风。他善于运用墨色，擅长表现山水的秀美和雄伟，并融入了自己的个人特色。王翚的画作经常带有浓郁的文化气息，富有哲理性和艺术性。\n\n总的来说，王翚的《仿古山水册》是一部优秀的山水画集，值得一看。",[24,27,36,111,2843,29,31,7,427,58,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3efa7cdc48efdef063636c7dcce22728.jpg",[],{"id":19656,"slug":19657,"title":19658,"dynasty":296,"author":3485,"museum":401,"description":3486,"tags":19659,"thumbUrl":19660,"material":40,"size":3489,"collection":70,"collections":19661,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":47},214485,"he-yi-shan-shui-tu-ce-2-he-yi-214485","赫奕山水图册-2",[23,24,111,27,28,36,29,34,35,31,32,7,114,30,1104,3219],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c4892d0aedc2558783662d11734848d.jpg",[],{"id":19663,"slug":19664,"title":19665,"dynasty":18,"author":19,"museum":20,"description":19666,"tags":19667,"thumbUrl":19668,"material":70,"size":70,"collection":42,"collections":19669,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":19670},203437,"lin-dai-wen-jin-xie-an-dong-shan-tu-zhou-shen-zhou-203437","临戴文进谢安东山图轴","这幅临作兼取戴文进的劲健笔意与沈周的苍润格调，淡赭设色的山峦层叠起伏，皴法勾勒出岩石肌理，山间楼阁隐于松荫，老树虬枝舒展。山麓处人物仪态悠然，衣袂翩然间与清旷山水相融，笔墨间既有原作风神，又含自身逸韵，尽显文人山水的雅致意境。",[23,24,25,95,186,28,29,58,60,427,7,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F679ae857da7ab90b960c9d62ba01bc4e.jpg",[42],"574526",{"id":19672,"slug":19673,"title":7281,"dynasty":296,"author":19674,"museum":20,"description":19675,"tags":19676,"thumbUrl":19678,"material":70,"size":70,"collection":42,"collections":19679,"showCount":102,"zanCount":11,"manualWeight":46,"mainColor":19680},202147,"shan-shui-tu-zhou-tang-chen-202147","唐辰","此图以水墨为底，皴擦点染间绘就山水清境。近景怪石错落，苍松枝干盘曲，茅舍掩映于林木间，尽显幽居之雅；中景水面开阔，远山层叠晕染，淡墨勾勒出空濛深远之态。笔墨简淡却意韵丰饶，山石皴法细腻，树木疏密有致，整体氛围清寂悠远，似能感知林间风动、水岸波平，流露文人画独有的静谧超脱之趣。",[24,27,29,36,8549,19677,7,1262,23],"苍松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F125a94d9549688686158ba61d9f26b40.jpg",[42],"c4b3a1",{"id":19682,"slug":19683,"title":19684,"dynasty":18,"author":1149,"museum":561,"description":19685,"tags":19686,"thumbUrl":19687,"material":217,"size":660,"collection":70,"collections":19688,"showCount":207,"zanCount":46,"manualWeight":46,"mainColor":149},290981,"liu-tang-qin-ji-tu-zhou-lv-ji-290981","柳塘禽集图轴","吕纪，1477年生，鄞州（今浙江宁波）人。字廷振，号乐愚，弘治间（1488-1505）供事仁智殿，弘治间征入宫廷，为宫廷作画，供奉仁智殿，官锦衣卫指挥。擅画临古花鸟，初学边景昭，后研习唐宋诸家名作，继承两宋“院体”，以工笔重彩，又在水墨写意方面受林良影响。",[24,95,1152,951,56,28,2788,7,736,201,3841,524,1066,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefe936e3fc90e57a92a37ae1980b1caf.jpg",[],{"id":19690,"slug":19691,"title":19692,"dynasty":18,"author":19693,"museum":561,"description":19694,"tags":19695,"thumbUrl":19696,"material":217,"size":660,"collection":70,"collections":19697,"showCount":207,"zanCount":11,"manualWeight":46,"mainColor":149},290880,"wu-lu-tu-zhou-wang-zhao-290880","五鹿图轴","汪肇","画面中，五只鹿伫立在弥漫浓雾的山野之间，身体互相紧靠，有的回首张望，有的则是低头作嚼草状。一旁生长着松、竹的植物和色彩斑烂的花卉，周围则环绕岩石及河流。白鹿在古代被视为象征长寿的仙兽，当牠与长青的松、竹画在一起，通常有为人祝寿、贺吉祥的意涵。\n鹿身上的毛色，由浓淡、长短不一的墨线画成，加上细微的渲染，毛皮的质感看起来自然生动。对比之下，周围的树、石以及云霭，则是以粗放快速的笔法或是大片水墨渲染来表现，让画面充满了奇诡变化的气氛。这幅作品旧传为明代陈淳画，可是由这些笔墨的技巧来判断，应该出自浙派画家汪肇的手笔。他另外有一幅〈松鹿图〉（日本私人收藏）流传下来，与本幅的风格相当接近。汪肇擅长以淡墨烘染云海，制造自然瞬息万变的效果，这也是他自号为「海云」的由来。",[24,25,95,1396,4949,56,28,427,7,1397],"https:\u002F\u002Foss.chuangqi.store\u002F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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。",[200,24,29,612,57,95,36,7,2242,97,538,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa073fbe6026acf7b071e27be9e2b4dd.jpg",[],{"id":19733,"slug":19734,"title":10765,"dynasty":296,"author":8362,"museum":561,"description":14855,"tags":19735,"thumbUrl":19736,"material":217,"size":660,"collection":70,"collections":19737,"showCount":207,"zanCount":46,"manualWeight":46,"mainColor":149},288448,"fang-you-tu-gao-cen-288448",[23,24,200,951,36,28,427,158,7,1506,10767,1066,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c57893b576a57047bbcea7bcd2995a8.jpg",[],{"id":19739,"slug":19740,"title":19741,"dynasty":654,"author":19742,"museum":561,"description":19743,"tags":19744,"thumbUrl":19746,"material":217,"size":660,"collection":70,"collections":19747,"showCount":207,"zanCount":46,"manualWeight":46,"mainColor":149},287700,"yan-ai-qiu-she-tu-zhao-gan-287700","烟霭秋涉图","赵幹","山谷间流水潺潺，五名行旅提挽裤脚，相继涉水渡溪，背后的树木已呈枯黄，后岭复重重环抱，此境益为幽深绝尘。旧传此幅为赵干之作。",[23,200,24,95,29,28,201,242,7,3692,58,19745,9719,36],"浅滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facbc055bd98f69af8f1859b5cbed4321.jpg",[],{"id":19749,"slug":19750,"title":19751,"dynasty":18,"author":387,"museum":561,"description":5063,"tags":19752,"thumbUrl":19753,"material":217,"size":660,"collection":70,"collections":19754,"showCount":207,"zanCount":46,"manualWeight":46,"mainColor":47},287518,"hua-shan-tu-zhou-tang-yin-287518","华山图轴",[23,24,25,95,29,27,28,36,10188,31,130,60,7,34,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F319ea38f2626b03e03ba78a2222a254b.jpg",[],{"id":19756,"slug":19757,"title":19758,"dynasty":18,"author":3243,"museum":561,"description":17903,"tags":19759,"thumbUrl":19761,"material":217,"size":660,"collection":70,"collections":19762,"showCount":207,"zanCount":46,"manualWeight":46,"mainColor":47},287346,"xuan-wen-jun-shou-jing-tu-zhou-chen-hong-shou-287346","宣文君受经图轴",[23,24,95,28,58,29,56,213,7,19760],"授经","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f12a320ccaa2dba818f040040e0b0b0.jpg",[],{"id":19764,"slug":19765,"title":19766,"dynasty":296,"author":1617,"museum":561,"description":19767,"tags":19768,"thumbUrl":19769,"material":70,"size":70,"collection":42,"collections":19770,"showCount":207,"zanCount":46,"manualWeight":46,"mainColor":47},238768,"shan-shui-ren-wu-xiao-ce-dong-gao-238768","山水人物小册","此作取半边构图造境，左畔崖岸虬松错立，丹黄枝叶点染秋韵，苍林幽泉尽纳尺幅之间。右侧留白以细劲墨线勾出水波纡徐，浅赭轻描远渚，一叶扁舟悠然凌波，以简驭繁铺展出秋水长天的空茫逸趣。笔墨清隽秀雅，皴擦柔婉不失骨力，设色轻淡明净，以少胜多，将林泉幽寂与江湖远意相融，尽显留白造境的悠然意趣，淡远萧散的林下之风跃然纸上。",[24,111,28,36,29,58,32,34,7,31,27,25,6920],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F647239f68b0592221cd30bfb0b9043b3.jpg",[42,264],{"id":19772,"slug":19773,"title":19774,"dynasty":296,"author":19775,"museum":561,"description":19776,"tags":19777,"thumbUrl":19780,"material":217,"size":660,"collection":70,"collections":19781,"showCount":207,"zanCount":46,"manualWeight":46,"mainColor":47},238662,"ping-wu-fu-tu-zhou-shen-quan-238662","平五福图轴","沈全","沈全，江苏人。清末宫廷画家。以写仕女、花鸟著称。主要作品《韬养斋笔记、湖社月刊》。",[24,25,95,56,28,58,12747,19778,7,4495,19779,525],"梅树","花瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d7d691b311114c7246584b6556ef31a.jpg",[],{"id":19783,"slug":19784,"title":19785,"dynasty":18,"author":19786,"museum":561,"description":19787,"tags":19788,"thumbUrl":19789,"material":229,"size":70,"collection":42,"collections":19790,"showCount":207,"zanCount":46,"manualWeight":46,"mainColor":47},237649,"yue-dai-shan-shui-tu-zhou-yue-dai-237649","岳岱山水图轴","岳岱","［明］字东伯，自称秦余山人，又号漳余子，先世以军功隶苏州衞，至其父，始好读书，辟草堂于阳山。性狷介，好游，历尽宇内名山。能诗，善画。嘉靖二十四年（一五四五）作寒林峻岭图。《苏州府志、列朝诗集小传、明画录》",[24,27,29,95,36,37,82,7,31,34,114,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F793aa582a24781c0232ca1da41efa8e7.jpg",[42,146,648],{"id":19792,"slug":19793,"title":19794,"dynasty":18,"author":1100,"museum":561,"description":19795,"tags":19796,"thumbUrl":19797,"material":70,"size":70,"collection":648,"collections":19798,"showCount":207,"zanCount":46,"manualWeight":46,"mainColor":47},237492,"zhang-gan-she-li-ge-tu-zhou-dong-qi-chang-237492","长干舍利阁图轴","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。\n董其昌强调以古人为师，但反对单纯机械地模拟蹈袭。随着阅历的增加、思想的成熟，他在继承前人技法时不倚傍他人庑下“作重台”，而是有选择地取舍，融入自己的创意。他认为如果离开了自己的创意，古人的精神也难以表达，故应以自己独创的形式再现古人的“风神”。凭借自己对古人书画技法得失的深刻体会，他摄取众家之法，按己意运笔挥洒，融合变化，达到了自成家法的化境。\n董其昌的山水画大体有两种面貌，一种是水墨或兼用浅绛法，这种面貌的作品比较常见；另一种则是青绿设色，时有出以没骨，比较少见。他十分注重师法古人的传统技法，题材变化较少，但在笔和墨的运用上，有独特的造诣。他的绘画作品，经常是临仿宋元名家的画法，并在题识中加以标榜，虽然处处讲摹古，并不是泥古不化，而是能够脱窠臼，自成风格，其画法特点，在师承古代名家的基础上，以书法的笔墨修养，融会于绘画的皴、擦、点划之中，因而他所作山川树石、烟云流润，柔中有骨力，转折灵变，墨色层次分明，拙中带秀，清隽雅逸。\n他在天启二年，67岁时临摹北宋范宽的《溪山行旅图》采取青绿设色、水墨兼并浅绛的综合绘画技艺手法，充分表现出他的人物工笔精湛、山水风格独特画坛艺术自然传承的巨匠魅力。他的画风在当时声望显著，成为“华亭派”的首领。\n董其昌特别讲求用墨的技巧，水墨画兼擅泼墨、惜墨的手法，浓淡、干湿自然合拍，着墨不多，却意境深邃，韵味无穷；无须炫异矜奇，而真气横溢，充塞纸间。董其昌的设色山水，或用杨升没骨法，从彩笔代替墨笔，完成线条、轮廓、钩、勒、皴、擦，尽态极妍，不为刻画；或仿黄公望的浅绛法，参以赵大年、赵孟頫的青绿法，别树一格，层次分明，淡雅清新，生机盎然。\n董其昌作画强调写意，使绮丽多姿的山水显得有些捉襟见肘的色彩。但是他兼长书法、诗文，每每绘完山水，题以诗文，行楷簇簇如行蚕，闪闪如迅霆飞电，全图诗、书，画相映成趣，和谐一致，更富有抒情意境。董氏的创作，因而成为文人画追求意境的典范。\n如《遥峰泼翠图》，整个画面不过是干远景而已，笔墨也很简单，但神韵、骨力俱足。画面的前部作一隅坡脚，缀以数块荒石。坡脚上有三株老树，交错而立。中间一株是夹叶树，稍事勾勒，却枝叶备见；旁边两株的树叶，则充分发挥泼墨的作用，左以直抹示盘曲，右以横点示傲岸，浓淡相间，一派生机。画面上部以淡墨一抹而就，远山横贯，仅见轮廓隐人天际，山体却茫茫然，仿佛烟岚萦绕，雄浑无比。作者再用浓墨在一片淡远的景色中，染出几处高低错落的树叶，远近有致，层次丰富，烟云流动，充塞渚岸。左侧绘有小坡，坡上以横墨抹出数株直树。中间汪洋大水，不施笔墨，而万顷湖面浩瀚无涯之气势跃然纸上。此图长225厘米，宽75厘米，如此大幅立轴，只寥寥地布置些近树远山，就把握住整个画面峰遥、水阔、树翠的神情。这正是董其昌巧妙地运用“王洽泼墨，李成惜墨，两家合之，乃成画诀”的结果。\n全幅似疏似漏，但没有照应不到的地方，用笔爽利遒劲，又含蓄灵秀，纯以墨色气势的润泽、醒目而动人遐思。如不是熟练地掌握“空处有画”的本领，就不会有这样高明的布局。有人认为这是董其昌从“宽能走马、密不通风”的书体结构中触悟而得，这并不是没有道理的。整幅立轴不设色，但面貌清丽，有咫尺千里之势，给人以远深宁静的感觉。\n再如他暮年所作《关山雪霁图》，山峦林壑，绵延无际。右方重峦叠嶂，气势沉雄。中间幽壑重重，峭壁矗立，村落、丛林、流泉、山径，错落有致，杂而不乱；大江曲折跌宕其间，虽有干岩万壑，亦无窒碍不通的感觉。左方云烟弥漫，浸淫树石，路遥山重，隐人微茫，深远莫测，意味不尽。图中以渴笔钩勒峰峦山石，皴擦的运用极其准确、灵活，而线条流走轻快，疏密得宜。山冈陵石的凹凸明暗，则以横点巨苔，配上淡墨直皴的层层渲染来加以完成，技巧纯熟，无懈可击。意境朴厚深邃，很有“千山鸟飞绝，万径人踪灭”的诗意。\n全图用笔老辣生拙，骨力练达，墨气鲜润，绝去甜俗，以疏旷之笔，画出凝寒淡远的景致。卷尾数行行楷跋文，书体娟秀刚劲，更使此图富有书卷气，爽朗潇洒，自具风格。正如中国当代书画家南山乐山评论董其昌的艺术特点说：董香光（董其昌）满腹经纶，故能笔清墨润，山色如洗，宁静深邃，绝无尘垢。",[24,25,95,27,36,38,29,60,34,7,316],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e1cb89fb263ea27a05dc148575c163.jpg",[648],{"id":19800,"slug":19801,"title":10389,"dynasty":18,"author":3736,"museum":561,"description":19802,"tags":19803,"thumbUrl":19804,"material":70,"size":70,"collection":70,"collections":19805,"showCount":207,"zanCount":46,"manualWeight":46,"mainColor":47},237478,"guan-pu-tu-zhou-wen-jia-237478","此作用高远章法铺展景致，山峦以淡墨轻皴，留白晕出空濛云气，层叠峰峦间苍松虬劲挺秀。涧谷飞瀑蜿蜒穿林而下，松下幽人临流观瀑，野逸悠然。\n\n笔墨秀雅温润，以淡赭轻敷晕染山林，简淡笔触里尽显苍润质感，尽显清隽雅致的意趣。题诗与画境相融，将林泉高致的隐逸情怀藏于尺幅间，把文人寄情山水、静享丘壑的雅怀，化作可感的画面，是明代文人山水画中寓情于景的典型佳构。",[200,24,25,95,27,36,29,130,34,7,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f782bbeca3d1ae43c0ee0954efdb627.jpg",[],{"id":19807,"slug":19808,"title":19809,"dynasty":18,"author":12028,"museum":561,"description":12029,"tags":19810,"thumbUrl":19811,"material":217,"size":660,"collection":70,"collections":19812,"showCount":207,"zanCount":11,"manualWeight":46,"mainColor":250},237458,"fang-ju-ran-shan-shui-shan-ye-yun-xiang-237458","仿巨然山水扇页",[24,25,1900,27,36,186,29,7,34,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe33bb82ef2826a18b206fb0142da7222.jpg",[],{"id":19814,"slug":19815,"title":106,"dynasty":296,"author":4110,"museum":360,"description":4111,"tags":19816,"thumbUrl":19817,"material":246,"size":70,"collection":70,"collections":19818,"showCount":207,"zanCount":46,"manualWeight":46,"mainColor":47},237198,"shan-shui-ce-sun-yi-237198",[24,25,111,28,29,30,31,7,34,60,82,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F954605f0ec578727ceb27cb1524adb3d.jpg",[],{"id":19820,"slug":19821,"title":19822,"dynasty":18,"author":436,"museum":561,"description":19823,"tags":19824,"thumbUrl":19825,"material":217,"size":660,"collection":70,"collections":19826,"showCount":207,"zanCount":46,"manualWeight":46,"mainColor":47},236812,"wu-ling-hu-qiu-ye-yue-shan-mian-yi-ming-236812","吴令虎丘夜月扇面","此作用笔秀雅柔婉，金笺为底，以淡墨轻晕出月夜空蒙氛围。近岸坡石苍润，杂木扶疏，浅施淡赭点染秋意，林畔台榭中文士雅聚，凭栏观景，意态悠然。湖面空阔澄澈，扁舟浮于烟波间，对岸林峦隐约，山寺佛塔挺立于丘巅，古意盎然。\n构图虚实相映，以简淡笔墨铺陈出清寂悠远之境，将江南山水的秀润空灵与文人夜游的隽雅意趣相融，尽显温润静穆的文人幽怀。",[24,25,1900,28,36,29,60,34,7,31,1385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a3b1728139ee896dc3d11865e1eae57.jpg",[],{"id":19828,"slug":19829,"title":19830,"dynasty":18,"author":19831,"museum":360,"description":19832,"tags":19833,"thumbUrl":19834,"material":142,"size":19835,"collection":289,"collections":19836,"showCount":207,"zanCount":11,"manualWeight":46,"mainColor":149},236273,"li-jian-zhou-huang-ji-236273","励剑轴","黄济","图绘八仙之一铁拐李腰挂葫芦，衣衫褴褛，赤足立于水中，双手挽宝剑，在石上磨砺。在衣纹的描写上，用工整流畅的铁线描和兰叶描，造型准确，个性鲜明，属于继承唐宋以来工笔传统工细人物画。整幅作品，用笔秀润，设色古雅，老松苍劲，岩石朴茂，人物生动传神，体现了画家在人物画和山水画上过人的艺术功力。\n从此人物的形象和神情姿态来看，画中所绘的人物似为传说中的八仙之一铁拐李的形象，魁伟强健的躯体，身着褴楼的衣衫，腰间系有一红色的胡芦，两腮长满了胡须，双眉竖起，怒目瞪视，赤足立于水中，脚下溪水潺潺流淌，双手挽着宝剑，正在湖石上磨砺，而双日又凝视着画外，似欲以砺剑斩除妖魔之状。这就点明了此画的主题。此画为突出其主题，周围配置一些景物作陪村，如人物画左侧，竖立着山石，山石造型奇特，上端分为两楼，各向左、右倾斜，山石上大小下，又问两侧弯斜显得有些不甚稳固似的。画幅右侧有一颗古老的松树拔地而起，盘根虬曲，树根露裸在土外，树干粗壮，仪露出局部，树干上疤结较多，旁置一支拐杖，支倚在松树旁。\n画面上端被茂密松树枝叶所占有，这可谓是妙笔。这样使此画构图充实饱满，整幅画的结构呈竖长方形，上不留天，下不留地，虽所画的景物不多，但通过作者的巧思安排，使画面所配置的物象处于平衡状态。画家对人物的刻画虽采用夸张的表现手法，但仍倍觉人物刻画十分细腻生动。如粗壮有力的双臂、硕大的双手、坚实的胸膛、有力的双腿、浓黑的髭须、圆睁的双目，极富有个性，一副刚正之气跃然纸上，这与画中人物那种强悍之气相吻合。此画构图半稳，画中主人居于正中，凡所衬托的景物配搭得紧凑和谐。但画家通过人物的动态和线条的走向等诸多方面的别具匠心的处理，使整个画面富有动感，达到了动和静的结合。在用笔方面，人物的衣纹线条粗犷豪放，劲健有力，其须发却以细若游丝的线条来表现，衣袂飘洒飞动，极具动感。色彩以平涂为主。山石皴法严谨，松树针叶笔墨工细，这是典型的院体风格。",[24,95,28,58,56,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F981023a5b81977e8d69941cfeb0f0a57.jpg","纵170.7厘米，横111厘米",[289,264],{"id":19838,"slug":19839,"title":15931,"dynasty":18,"author":19840,"museum":561,"description":19841,"tags":19842,"thumbUrl":19844,"material":217,"size":660,"collection":70,"collections":19845,"showCount":207,"zanCount":46,"manualWeight":46,"mainColor":47},235738,"hua-niao-ce-tan-zhi-yi-235738","谈志伊","谈志伊，字公望，号学山，一字思重，无锡人，明代画家。",[24,25,111,2252,27,36,19843,427,7,244],"点苔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F875b42ba3ba9ddc7d3633242f5cf586c.jpg",[],{"id":19847,"slug":19848,"title":5292,"dynasty":296,"author":4299,"museum":561,"description":5293,"tags":19849,"thumbUrl":19850,"material":217,"size":660,"collection":70,"collections":19851,"showCount":207,"zanCount":46,"manualWeight":46,"mainColor":47},235666,"shan-shui-ping-yuan-jiang-235666",[24,25,200,95,57,28,29,60,30,31,34,7,133,187,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f04d355bfef7f860f03bc022aa5b472.jpg",[],{"id":19853,"slug":19854,"title":106,"dynasty":296,"author":11794,"museum":561,"description":19855,"tags":19856,"thumbUrl":19857,"material":70,"size":70,"collection":42,"collections":19858,"showCount":207,"zanCount":46,"manualWeight":46,"mainColor":250},235174,"shan-shui-ce-ye-xin-235174","此作用笔秀雅淡逸，以平远之法铺展景致。近岸老梅虬曲苍劲，枝桠缀着新芽，三两行人策蹇徐行，野意悠然自生。中洲淡渚萦回错落，林木参差间，茅舍隐于浅滩，尽显江乡闲寂之态。远景主山以干笔皴擦，墨色清润苍厚，云气吞吐于崖岫，虚灵空濛。\n全幅简淡萧疏，以水墨晕染出江南春日清和之态，未作繁复刻画，却将平林远岫的空阔淡荡铺陈尽致，将文人寄情丘壑的幽怀融于尺幅，淡而弥远，清而有味，尽显静穆淡远的山水逸趣。",[24,27,36,111,29,7,34,30,31,58,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6c5744de3032ee5211824bd4b4ccd05.jpg",[42],{"id":19860,"slug":19861,"title":7977,"dynasty":296,"author":436,"museum":561,"description":19862,"tags":19863,"thumbUrl":19865,"material":70,"size":70,"collection":70,"collections":19866,"showCount":207,"zanCount":46,"manualWeight":46,"mainColor":47},235158,"hong-ren-shan-shui-ce-yi-ming-235158","此作用笔清劲洗练，以淡墨勾勒山石轮廓，线条方硬爽利，尽显皖南丘壑冷峻之态。近岸孤树疏枝亭亭，树下茅舍幽隐，野意悠然。远景矶汀错落，浅渚留白铺展出空濛清寂的水色。\n\n搭配行书题诗，笔意疏朗洒脱，诗画相映，将荒寒山居的幽致和文人幽栖之志相融，整体简淡空灵，脱尽尘俗烟火气，把山水的清寂冷逸与林下雅怀合为一体，风骨萧散淡远，余韵悠长。",[24,25,111,27,36,29,19864,7,187,37,82],"孤树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa067945763735df25b05abe9da2fedc9.jpg",[],{"id":19868,"slug":19869,"title":3378,"dynasty":296,"author":870,"museum":360,"description":15904,"tags":19870,"thumbUrl":19872,"material":6274,"size":1879,"collection":70,"collections":19873,"showCount":207,"zanCount":46,"manualWeight":46,"mainColor":47},234997,"yuan-ji-shan-shui-tu-ce-shi-tao-234997",[24,25,111,27,36,29,32,31,7,34,201,35,19871],"水草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60998edd7aa06ac4ca0e9c4fd7984022.jpg",[],{"id":19875,"slug":19876,"title":6122,"dynasty":296,"author":3038,"museum":561,"description":7062,"tags":19877,"thumbUrl":19878,"material":217,"size":660,"collection":70,"collections":19879,"showCount":207,"zanCount":46,"manualWeight":46,"mainColor":47},234958,"wang-hui-fang-gu-shan-shui-ce-wang-hui-234958",[24,25,111,28,36,29,30,31,34,7,114,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8351d3095c2e469174b51b3d50246961.jpg",[],{"id":19881,"slug":19882,"title":19883,"dynasty":18,"author":3736,"museum":360,"description":10356,"tags":19884,"thumbUrl":19885,"material":246,"size":10359,"collection":70,"collections":19886,"showCount":207,"zanCount":46,"manualWeight":46,"mainColor":47},234816,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-wen-jia-lin-wu-dong-tu-ye-wen-jia-234816","吴门诸家寿袁方斋三绝册-文嘉林屋洞图页",[24,25,111,257,28,29,244,36,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F413dd335fc56898d26fe9c0f2cbedf25.jpg",[],{"id":19888,"slug":19889,"title":19890,"dynasty":296,"author":19891,"museum":561,"description":19892,"tags":19893,"thumbUrl":19894,"material":70,"size":70,"collection":42,"collections":19895,"showCount":207,"zanCount":46,"manualWeight":46,"mainColor":47},234684,"ba-jia-shan-shui-ce-duan-qiao-wo-liu-tu-ce-ye-jin-shu-ming-234684","八家山水册-断桥卧柳图册页","金庶明","图绘远山,小舟,一游人在江上垂钓",[24,25,111,28,257,36,29,30,31,32,415,7,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5e7d8e39abe98d0e19856b22fc56f18.jpg",[42,264],{"id":19897,"slug":19898,"title":19899,"dynasty":18,"author":19900,"museum":561,"description":19901,"tags":19902,"thumbUrl":19903,"material":70,"size":70,"collection":70,"collections":19904,"showCount":207,"zanCount":11,"manualWeight":46,"mainColor":47},234221,"an-mo-bi-lan-ting-tu-juan-wang-yun-234221","安墨笔兰亭图卷","王允","《王允安墨笔兰亭图卷》是明代画家王允安创作的一幅画。\n《墨笔兰亭图》卷，明，王允安绘，纵21.7cm，横44cm。",[23,24,26,27,712,29,58,34,7,30,31,33,2962],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85b51d88b8f0e32cb20a94bceb55ed39.jpg",[],{"id":19906,"slug":19907,"title":106,"dynasty":18,"author":1100,"museum":360,"description":3543,"tags":19908,"thumbUrl":19909,"material":1107,"size":3546,"collection"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一个花瓶，跟在后面。 老人和两个少年，一副活泼的姿态，热切地相互呼应。 整幅画淡漠，充满野趣。 作者用双勾填彩竹，用白粉点花，用浓墨去山石，用淡墨擦。\n此图描绘的是陶渊明和采菊的故事。",[24,25,200,111,56,28,58,303,112,244,7,1397],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa3829cc71d2b5bb96c58a1efbea7b43.jpg","24.1x25.2厘米",[],{"id":19921,"slug":19922,"title":7281,"dynasty":296,"author":359,"museum":360,"description":19923,"tags":19924,"thumbUrl":19925,"material":760,"size":19926,"collection":70,"collections":19927,"showCount":207,"zanCount":11,"manualWeight":46,"mainColor":47},233954,"shan-shui-tu-zhou-cheng-zheng-kui-233954","此图是程正揆晚年所作，绘前景清溪水榭，后景层峦石壁。前疏后密的景致构筑出淡雅浑朴的格调。此图是程正揆遭劾革职回南京后所作。他在隐居生活中受到前明遗老髡残、龚贤等人的审美观影响，绘画作品中带有较强的遗民意趣，常通过清幽的山水意境表达其隐逸的文人情思。",[24,25,95,27,36,28,29,34,130,7,35,132,159,33,82,2932],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe06aacd43996fdf247988d4f3198c814.jpg","纵104.8厘米，横40.6厘米",[],{"id":19929,"slug":19930,"title":5632,"dynasty":18,"author":1100,"museum":360,"description":5633,"tags":19931,"thumbUrl":19932,"material":760,"size":5639,"collection":70,"collections":19933,"showCount":207,"zanCount":46,"manualWeight":46,"mainColor":47},233713,"gao-yi-tu-zhou-dong-qi-chang-233713",[24,25,95,27,29,36,38,34,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f9d36af4fbafa00368ece3a1a18dc03.jpg",[],{"id":19935,"slug":19936,"title":19937,"dynasty":18,"author":238,"museum":401,"description":19938,"tags":19939,"thumbUrl":19940,"material":454,"size":19941,"collection":70,"collections":19942,"showCount":207,"zanCount":46,"manualWeight":46,"mainColor":47},232642,"shan-shui-gu-mu-tu-lan-ying-232642","山水古木图","高峰，杂林连绵，古木，矶石屋宇杨柳平坡，湖光山色边，春意盎然。有人湖 语，有人舟中弄笛，相映成趣。全图用笔苍劲，设色清丽，点染别致，树木景物，充满生机，巧得江南野趣。",[24,27,36,95,25,29,1555,96,427,7,114,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41a75b6d590433c88559de0a0f19d3d2.jpg","纵72.5厘米，横89.5厘米",[],{"id":19944,"slug":19945,"title":19946,"dynasty":18,"author":3058,"museum":53,"description":19947,"tags":19948,"thumbUrl":19949,"material":40,"size":19950,"collection":70,"collections":19951,"showCount":207,"zanCount":46,"manualWeight":46,"mainColor":149},231953,"su-shi-liu-dai-tu-cui-zi-zhong-231953","苏轼留带图","宋神宗年间(1078年前后)苏东坡与佛印法师是知心好友，称为“忘形交”。一天苏东坡突然来访，直入方丈室。佛印正欲为僧众说法，故意开玩笑不让苏东坡坐，说：“此间无坐处”。苏东坡随即用禅宗之语答道：“暂借佛印四大为座”。佛印见他居然班门弄斧，便想难难他，提出如果答出问题就请他坐，答不出就把玉带输掉。苏轼自以为难不倒他欣然答应。佛印问：“既然四大皆空，五蕴非有，居士向哪里坐?”(四大：“地、水、火、风”大，佛教认为是构成物质的四大元素。五蕴：“色、受、想、行、识”蕴，是构成人身的五种因素)。你想，既然四大皆空，五蕴非有，便是空空如也，一无所有。哪里还会有什么座位呢?苏东坡果然被难住了。只得解下玉带相赠。佛印也当即取出一幅自己的衲裙回赠。真得感谢这位聪明的和尚，为我们留下了这件珍贵的文物。苏东坡还写了三首诗记这件事，题目叫《玉带施元长老，元以衲裙相报次韵》，其中有“此带阅人如传舍，流传到我亦悠然。锦袍销落应相称，乞与佯狂老万回”等句，流露出政治上失意上图专为存放苏东坡玉带供人观瞻的“留玉阁”\n这幅《留带图》，画的正是苏轼与僧人参廖子的故事。崔子忠师承董其昌，在人物画上与陈洪绶齐名，并称南陈北崔。所画人物面目清奇而有古意。惜乎所寻的这幅《留带图》太小，咱竟不能见识其笔力。也罢，苏胡子是多面手，不但词文冠绝天下，连书法绘画都是超一流名家。宋四家“苏黄米蔡”，苏胡子书法排名大宋第一。崔画不清晰，录一幅苏胡子的字以弥补。《黄州寒食帖》，号称天下行书第三。\n“有情风万里卷潮来，无情送潮归”，“对潇潇暮雨洒江天，一番洗清秋”，“无边落木萧萧下，不尽长江滚滚来”，就是这样的联想，就是这样的博大开阔的境界。\n婉约为正宗的词在苏轼那里有了极大的开拓，但是可惜其他人没有追随上来。天才常常比一般人走得快一点吗？秦观，仍是词人之词，他为何不学苏轼做诗人之词？但秦观依然有其特色之处，一般人常把抽象的感情比作具象的景物，但秦观却能够把具体的形象比作抽象的感情。",[2252,24,25,56,28,27,58,34,7,187,11672,1118,37,82,242,4515],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62ad3b4fbcab6254827d3f2934fc1b38.jpg","81.4x50",[],{"id":19953,"slug":19954,"title":19955,"dynasty":3017,"author":436,"museum":561,"description":19956,"tags":19957,"thumbUrl":19958,"material":217,"size":660,"collection":70,"collections":19959,"showCount":207,"zanCount":46,"manualWeight":46,"mainColor":149},231709,"lian-cang-shi-dai-tian-gou-cao-zhi-hua-juan-dong-si-ti-hu-si-juan-yi-ming-231709","镰仓时代 天狗草纸画卷-东寺醍醐寺卷","这幅淡彩界画长卷以平远视角铺展古寺全景，工致勾勒出朱红深褐的殿宇院墙，与青绿浅赭的丘林水色相融，古雅清寂。苍松错落点缀寺畔林麓，桥宇台阁排布严整，尽显伽蓝规制的肃穆雅致。配题书法端稳沉静，与界画的工细营造呼应，将古寺的清幽禅意与山林水景织为一卷，还原出古寺隐于林泉的澹然风貌，晕染出沉静古朴的宗教绘卷质感。",[23,24,25,26,28,57,56,784,60,30,31,33,29,34,7,4936,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86233f6d563f2506979f6ec094ee2458.jpg",[],{"id":19961,"slug":19962,"title":6430,"dynasty":78,"author":436,"museum":53,"description":19963,"tags":19964,"thumbUrl":19965,"material":4310,"size":19966,"collection":70,"collections":19967,"showCount":207,"zanCount":46,"manualWeight":46,"mainColor":149},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。",[24,25,29,36,27,28,837,112,31,7,3692,159,1066,132,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95db5f648889bd0b3227e7193ab2e761.jpg","46.3x57.1厘米",[],{"id":19969,"slug":19970,"title":18257,"dynasty":18,"author":19971,"museum":561,"description":19972,"tags":19973,"thumbUrl":19974,"material":217,"size":660,"collection":70,"collections":19975,"showCount":207,"zanCount":46,"manualWeight":46,"mainColor":47},230927,"shan-shui-tu-shan-mian-wen-xi-230927","文喜","此作用笔枯淡清逸，以水墨写就林泉雅境。崖壁崔嵬，飞泉隐于山坳，皴笔简括写意，尽显山石苍朴质感。几株古松虬曲苍劲，枝桠舒展自带灵动之姿，衬出林间清寂。平岗之上二人伫立，身形简括却宛然可见凭眺幽赏之态，暗合文人寄情丘壑的雅怀。整幅扇面构图疏密得宜，留白暗含空远之境，淡墨轻皴间，萧散出尘的林下意趣扑面而来，尽显小品山水的雅致情致。",[1900,24,25,27,36,29,427,7,58,132,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a09efb7730295a8cdc7f2ba237beb1e.jpg",[],{"id":19977,"slug":19978,"title":19979,"dynasty":296,"author":3038,"museum":561,"description":19980,"tags":19981,"thumbUrl":19982,"material":70,"size":70,"collection":70,"collections":19983,"showCount":207,"zanCount":46,"manualWeight":46,"mainColor":47},229020,"song-qiao-tang-tu-juan-wang-hui-229020","松乔堂图卷","此作为全景山水长卷，以平远章法铺展丘园山居。山峦以披麻皴晕染，墨色温雅清润，层叠峰峦间林木蓊郁，村居茅舍错落隐于松石溪畔，漾出江南山居的幽寂雅致。\n\n画作糅合元人笔墨逸趣与宋人丘壑之美，笔致秀逸温婉，将林泉高致的隐逸意趣藏于尺幅。卷后长题与绘境相映，文墨与画韵相得益彰，尽显清雅出尘的文人画格调，是兼具写景抒情的山水佳构。",[23,24,25,26,28,29,36,427,7,35,114,34,33,31,82,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15c561e116abb11fa5628ec40e21a60a.jpg",[],{"id":19985,"slug":19986,"title":19987,"dynasty":296,"author":4083,"museum":561,"description":19988,"tags":19989,"thumbUrl":19990,"material":70,"size":70,"collection":70,"collections":19991,"showCount":207,"zanCount":46,"manualWeight":46,"mainColor":47},228938,"qian-long-nan-xun-zhu-bi-tu-qian-wei-cheng-228938","乾隆南巡驻跸图","此作用鸟瞰全景式构图，将山林梵宫驻跸地铺展于绢面。界画工细严整，殿宇层叠排布对称规整，朱红标识清晰点明殿内陈设，精准勾勒出建筑形制，尽显驻跸行馆的严整规制。\n\n周遭林木苍秀错落，淡墨轻赭晕染丘壑，将人工营造融于山野清境之中。整体设色古雅沉静，笔触精细柔和，既详实记录了驻跸之所的全貌，又以山水画意晕染出江南林泉的幽谧雅韵，是纪实性与文人画意趣相融的精品，尽显山林行宫的清雅格局。",[23,24,25,57,28,56,60,29,34,187,61,7,1397],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd542b499186cbae634efac97536fa24b.jpg",[],{"id":19993,"slug":19994,"title":19995,"dynasty":18,"author":269,"museum":561,"description":19996,"tags":19997,"thumbUrl":19998,"material":217,"size":660,"collection":70,"collections":19999,"showCount":207,"zanCount":46,"manualWeight":46,"mainColor":47},228846,"da-mo-zhi-hui-neng-liu-dai-zu-shi-tu-juan-dai-jin-228846","达摩至慧能六代祖师图卷","图中捕绘达摩端坐于深山洞中，面壁打坐，神态平和又虔诚。还有二祖神光（后更名慧可）、三祖僧璨、四祖信道、五祖弘忍、六祖慧能（唐高僧，佛教禅宗南宗的开创者），以及其他僧15个人。此画技法精熟，人物衣纹工整流畅，深得李唐、刘松年遗意。",[23,24,25,26,784,58,29,27,28,36,37,38,82,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75473e50ad591868084cb87012e07044.jpg",[],{"id":20001,"slug":20002,"title":20003,"dynasty":18,"author":20004,"museum":561,"description":20005,"tags":20006,"thumbUrl":20007,"material":217,"size":660,"collection":70,"collections":20008,"showCount":207,"zanCount":46,"manualWeight":46,"mainColor":149},228344,"song-yin-shu-wu-tu-wang-shi-chang-228344","松荫书屋图","王世昌","王世昌（生卒年不详），明代画家，字时雍（又作畴雍），号历山，山东人，李开先在《中麓画品》（1541年成书）中即对他有评论记载。他工画山水人物，画法出于院体浙派，山水笔墨苍劲雄浑，人物用笔劲捷，骨力凝重，造型生动。传世作品有《高士访隐图》、《高士吟秋图》、《高士春山图》、《山水图》、《松荫书屋图》等。见《图绘宝鉴续纂》、《无声诗史》。",[23,200,24,25,95,951,27,28,36,272,7,31,565,58,34,114,133,1658],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05b8e35ce302f74142791093945b3c13.jpg",[],{"id":20010,"slug":20011,"title":20012,"dynasty":78,"author":20013,"museum":561,"description":20014,"tags":20015,"thumbUrl":20016,"material":70,"size":70,"collection":70,"collections":20017,"showCount":207,"zanCount":46,"manualWeight":46,"mainColor":149},228247,"dou-niu-tu-dun-min-228247","斗牛图","敦敏","郊野荒寒，枯木虬劲苍古，枝桠疏朗斜伸，带着冬日萧索静气。前景双牛犄角相抵，四蹄攒劲，肌肉紧绷贲张，将斗牛憨猛相争的张力尽显，朴拙写实，鲜活灵动。\n以静衬动，萧寂的野景衬出斗牛的生猛勃发，右上角题诗呼应画中趣味，笔墨苍简淡远，将山野朴趣与文人画的清冷意韵相融，于简约留白间晕染出悠然生机，尽显笔墨疏淡雅致的侘寂之美。",[23,1304,200,24,25,95,56,28,1103,1396,242,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc37247abe557be32eff5ae6096d2856e.jpg",[],{"id":20019,"slug":20020,"title":20021,"dynasty":124,"author":13072,"museum":561,"description":20022,"tags":20023,"thumbUrl":20024,"material":70,"size":70,"collection":70,"collections":20025,"showCount":207,"zanCount":46,"manualWeight":46,"mainColor":47},227976,"zhong-xing-rui-ying-tu-juan-xiao-zhao-227976","中兴瑞应图卷","《临萧照中兴瑞应图卷》是明代画家 创作的一幅绢本设色画。\n此幅为仇英的摹古之作。\n仇英中年以后，曾先后在大收藏家周凤来和项元汴家客居近2年，得以广泛观摩宋、元名迹，摹古技艺精深。\n《中兴瑞应图》卷为南宋萧照所作，取宋高宗赵构即位前的种种瑞应传说为内容，根据曹勋辑“瑞应诸事”所写赞文描绘而成，是一幅歌颂赵构重建王朝的作品。\n此卷现存四段：一、占卜。\n徽、钦二帝被俘后，显仁皇后在行殿用棋占卜，兆告康王继位，众皆庆贺。\n二、渡河。\n一骑陷落冰际，惟赵构得免。\n三、授衣。\n萝黄袍加身。\n四、射兔。\n高宗戎装骑驰，箭中白兔。\n原作共12段，曾藏于项元汴家，仇英因此得到观摩机会。\n卷末署有“吴郡仇英实父谨摹”款，钤“实父”、“十洲”二印。\n引首有董其昌书“仇英临宋萧照《高宗瑞应图》其昌”。\n后幅有董其昌、秦松龄、尹绳孙、许之渐、黄家舒、吴伟业六家题记。\n经项元汴、梁清标、耿信公等鉴藏。\n全画用笔粗重，设色妍丽，构图平远，既有宋画古拙雄劲的特色，又有文人画的韵致，不愧为仇英摹古精作。\n此卷临本共4段，用笔粗健，设色精细，图中建筑的比例、形象、风格以及细部都极其忠实于原作，再现了萧照绘画的神髓，可谓“下真迹一等”。\n也有古建筑研究专家认为仇英的楼阁画只是在临摹宋画时才有出色的表现，而其自己的创作则逊色一筹。\n仇英（1494-1561），江苏太仓人，居苏州，出身低微，初为漆丁，后改学画，初从师周臣，结交文征明、祝允明、唐寅等文人画家，对其提高文艺修养和画艺起了很大的作用。\n他还曾在收藏家项元汴家作画，遍观项氏所藏历代法书名画，并加以临摹，潜心钻研，终成一代名家。\n仇英擅人物、山水、走兽、界画，亦精于临摹，均技艺精湛。\n其山水师法赵伯驹、赵伯辅，作青绿山水，山石勾勒，皴染细密，色彩浓丽明雅，境界宏大繁复。",[23,24,25,26,28,56,57,58,60,34,61,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a11517bb5e9b3c0c974e033db1daa83.jpg",[],{"id":20027,"slug":20028,"title":20029,"dynasty":124,"author":13072,"museum":561,"description":20030,"tags":20031,"thumbUrl":20032,"material":70,"size":70,"collection":70,"collections":20033,"showCount":207,"zanCount":46,"manualWeight":46,"mainColor":149},227703,"shan-yao-lou-guan-tu-xiao-zhao-227703","山腰楼观图","《山腰楼观图》是宋代画家萧照创作的一幅绢本水墨画，现收藏于台北故宫博物院。\n\n此图右侧，仅画江水、浅滩、远渚、烟树，山间一条小路迂回盘旋，经前峰山腰渡口直抵后峰山巅，临近山巅处有一片楼台亭阁，一登山行人已走近。右下临水山岩上两人指看远方美景；左侧最高峰画得半壁实半壁虚，虚处乃为江上水气所迷，上升成岚，后面还添上几座淡淡峭峰，启人高远不可测的“仰止”之叹。山际径路盘曲，有两人策杖而上，而楼观却深深埋藏在山坳幽谷中。该图近山浓重，远山清淡，又形成虚实对比。",[23,200,24,25,951,57,36,28,7,34,4182,32,130,363,60,114,512],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cbb108bac6d25aa9774d3238cd413a6.jpg",[],{"id":20035,"slug":20036,"title":20037,"dynasty":124,"author":436,"museum":561,"description":20038,"tags":20039,"thumbUrl":20040,"material":217,"size":660,"collection":70,"collections":20041,"showCount":207,"zanCount":46,"manualWeight":46,"mainColor":663},227367,"yu-lin-ku-003-ku-zhu-shi-xi-bi-yi-ming-227367","榆林窟003窟主室西壁","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。",[23,3051,784,29,60,7,34,27,28,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9750ce4f94c586b51d9307a835d50ecb.jpg",[],{"id":20043,"slug":20044,"title":20045,"dynasty":296,"author":7994,"museum":561,"description":15360,"tags":20046,"thumbUrl":20047,"material":70,"size":70,"collection":70,"collections":20048,"showCount":207,"zanCount":46,"manualWeight":46,"mainColor":47},226628,"si-shi-shan-shui-01-pu-ru-226628","四时山水01",[24,27,28,36,111,29,7,427,31,33,201,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb30c764ce4c7a82085c37e224fd507c9.jpg",[],{"id":20050,"slug":20051,"title":20052,"dynasty":296,"author":917,"museum":561,"description":20053,"tags":20054,"thumbUrl":20056,"material":70,"size":70,"collection":70,"collections":20057,"showCount":207,"zanCount":46,"manualWeight":46,"mainColor":47},224579,"hua-xing-hua-song-zhu-zhou-jiang-ting-xi-224579","画杏花松竹轴","水墨晕染，苍松躯干古拙嶙峋，疤结凝着岁月风霜，松针攒簇如戟，虬枝斜曳尽显清刚之姿。柔婉杏枝侧生，蓓蕾轻绽，冷艳雅致中和了古松的苍劲。坡石之间新竹疏朗挺秀，与松、杏相映成趣。浅滩细流隐现于草叶间，衬出幽寂清远的林下意境。\n\n笔致兼用工写，浓淡墨色铺陈层次，刚柔相济，将花木姿致与林泉野趣相融，淡痕轻晕里藏着文人清雅风骨，把岁寒同侪的逸韵收于卷中，晕染出悠长清寂的林下幽怀。",[23,24,95,27,272,391,20055,7,29,62,36,6341,300],"杏花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3ddfdd9f3d46ccff5e6af49dd78bebf.jpg",[],{"id":20059,"slug":20060,"title":3987,"dynasty":296,"author":17429,"museum":561,"description":20061,"tags":20062,"thumbUrl":20063,"material":70,"size":70,"collection":70,"collections":20064,"showCount":207,"zanCount":11,"manualWeight":46,"mainColor":47},224533,"fang-dong-yuan-shan-shui-tu-qi-zhi-jia-224533","此作用笔追摹前贤意趣，主峰奇崛高耸，淡墨晕染石身，浓墨点苔醒出山岩苍古肌理，山间林木疏密错落，枯荣相映。近岸虬松老干遒劲，枝桠舒张如盖，临水茅庐静立，二人凭栏晤谈，衬出林下幽寂雅趣。\n整幅以高远法布局，虚实相生，留白处晕出山岚氤氲，将山野幽居的静谧萧散尽数铺展。笔墨简淡清逸，淡墨皴擦间尽显山水温润空濛，又自具峭爽格调，尽显文人寄情林泉的雅致意趣。",[23,24,25,95,27,36,29,427,35,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a7804fca5f15a8af04239b286d359bd.jpg",[],{"id":20066,"slug":20067,"title":20068,"dynasty":296,"author":870,"museum":561,"description":20069,"tags":20070,"thumbUrl":20071,"material":70,"size":70,"collection":70,"collections":20072,"showCount":207,"zanCount":46,"manualWeight":46,"mainColor":47},224499,"shan-shui-ce-kai-san-shi-tao-224499","山水冊开(三)","石涛（1642—177）名原济，号大涤子、清湘老人、苦瓜和尚、济山僧、瞎尊者等。\n石涛原名朱若极，明代藩靖江王后裔，父朱享嘉于南明隆武时在广西自称“监国”，遭俘杀。\n石涛便隐匿起来，后出家为僧。\n石涛曾游历过许多名山大川，有“搜尽奇峰打草稿”、“笔墨当随时代”名言。\n石涛晚年寓居扬州，卖画为业。\n这里介绍的石涛山水，是藏于故宫博物院、以唐代王维、李白、张说等人诗意创作的八开册页中的一页。\n每开册页纵2.厘米，横16.5厘米，纸本，水墨淡设色。\n石涛擅山水、花卉，师宋、元诸家，参以造化，自创一格，笔墨清新多变、天真烂漫，对后世影响极大。\n石涛与石溪并称“二石”，再加朱耷、弘仁，便称“清初四画僧”。\n石涛存世作品尚多，著述则有《苦瓜和尚画语录》、《 》。\n这开画表现李白的千古名篇“静夜思”。\n月光在画面上并没有出现，只画一人倚于窗前做望月状，这就足够了。\n屋后的灌木以白粉掺色画出，再加上屋后的山以隐隐约约的笔触写出，迷迷朦朦，霜意表现的极佳。\n册页左上以隶书题写，古拙可爱。\n唯“床前明月光”之“前、明”写作“头、看”，这是因为版本不同的缘故。",[23,24,27,28,36,111,29,32,96,35,7,34,31,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fde1928ce926a554338cf76be73ab55.jpg",[],{"id":20074,"slug":20075,"title":7281,"dynasty":296,"author":1406,"museum":561,"description":20076,"tags":20077,"thumbUrl":20078,"material":70,"size":70,"collection":70,"collections":20079,"showCount":207,"zanCount":46,"manualWeight":46,"mainColor":47},224429,"shan-shui-tu-zhou-wang-shi-min-224429","此作用高远、平远兼济的构图铺展春日山乡景致。近处枯木虬枝舒展，与苍松错落相映，坡岸下春水澹澹，林麓间屋舍幽藏，安然静卧于烟岚轻笼之中。远景山峦以干笔淡墨勾勒皴擦，笔意松秀苍润，以浅淡墨色晕染出空濛氤氲的春日山气。\n\n全作用墨清隽温厚，脱胎元人山水意趣，以留白衬出春水空阔，将山野的清寂淡远融于笔底。未施浓丽敷色，仅以水墨干湿浓淡区分物象层次，尽显萧散简远的文人意韵，把春日林泉的幽闲之趣藏于每一重皴染之间，含蓄悠远，尽显古典山水的静雅之美。",[23,200,24,25,95,27,29,34,7,35,132,427,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8df2b57e9a7f5704ab95a2ab50a4edb.jpg",[],{"id":20081,"slug":20082,"title":20083,"dynasty":296,"author":20084,"museum":561,"description":20085,"tags":20086,"thumbUrl":20088,"material":70,"size":70,"collection":70,"collections":20089,"showCount":207,"zanCount":11,"manualWeight":46,"mainColor":47},224167,"ting-ruan-tu-liu-yan-chong-224167","听阮图","刘彦冲","《 》是清代画家刘彦冲创作的一幅设色画。\n图中文人身着高冕宽服，抱膝而坐，正听一位歌女弹奏阮琴。\n阮音清扬，四处芳草如茵，梧桐枝叶繁茂，又配以湖石、芭蕉、翠竹，清幽异常。\n《听阮图》图中款识可知此画是刘彦冲以其八兄为描绘对象绘出的。\n图中人物用线细劲圆润，颇有古意，设色妍 丽明快。\n草地以大面积花青渲染，以重色细笔根根绘出，间以浓淡的变化，形成雾动云涌之感。\n梧桐近乎淡墨白描，更有幽深清丽之意。\n整个背景有一种缥缈空灵的虚幻意味，衬托出人物笔墨的写实生动；画中人物的表情动态，又反衬阮音的悠扬动听。\n虚实相辅，以有写无，形成脱俗越尘的艺术效果。\n刘彦冲(187—1847)，初名荣，字咏之，四川铜梁人。\n擅山水、人物、花卉，工诗文。\n从师朱生昂学山水，常随师出游，尽得其法。\n兼采众家之长。\n泼墨作小米云山，亦蓊郁可观。\n人物花卉，笔法娴熟，活泼多变。\n传世作品有《柳燕图》、《松荫高士图》、《群峰秋翠图》等。",[23,56,28,58,1012,34,391,302,1729,4019,8244,1250,7,3602,20087,82,1118],"书箱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d001b9b4db0438891675b109cf69c51.jpg",[],{"id":20091,"slug":20092,"title":20093,"dynasty":296,"author":436,"museum":561,"description":20094,"tags":20095,"thumbUrl":20097,"material":70,"size":70,"collection":70,"collections":20098,"showCount":207,"zanCount":46,"manualWeight":46,"mainColor":47},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。",[23,24,25,27,28,29,36,1465,7,34,316,2490,35,158,133,258,132,658,20096,3630],"峰岩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21063d6aea51b6cc6ec3c154448b4ff1.jpg",[],{"id":20100,"slug":20101,"title":20102,"dynasty":296,"author":1795,"museum":360,"description":6467,"tags":20103,"thumbUrl":20104,"material":454,"size":6470,"collection":70,"collections":20105,"showCount":207,"zanCount":46,"manualWeight":46,"mainColor":149},223286,"shan-shui-si-tiao-ping-yang-zhou-si-jing-ping-gang-yan-xue-yuan-yao-223286","山水四条屏-扬州四景-平岗艳雪",[23,24,25,28,56,57,29,33,30,390,537,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F909e836a0258d68f302808fe9b398499.jpg",[],{"id":20107,"slug":20108,"title":20109,"dynasty":296,"author":8516,"museum":401,"description":8517,"tags":20110,"thumbUrl":20111,"material":142,"size":8522,"collection":70,"collections":20112,"showCount":207,"zanCount":46,"manualWeight":46,"mainColor":149},223043,"hong-lou-meng-168-sun-wen-223043","红楼梦168",[23,56,28,57,58,60,31,34,7,30,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41abc7f44aa86979aad1c46d2d31962f.jpg",[],{"id":20114,"slug":20115,"title":20116,"dynasty":296,"author":8516,"museum":401,"description":8517,"tags":20117,"thumbUrl":20119,"material":142,"size":8522,"collection":70,"collections":20120,"showCount":207,"zanCount":46,"manualWeight":46,"mainColor":47},223029,"hong-lou-meng-154-sun-wen-223029","红楼梦154",[23,24,25,26,56,28,58,60,61,7,34,35,20118,11505,8682,3323],"院墙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6612e905a7c34b43c0c559e333aaba5e.jpg",[],{"id":20122,"slug":20123,"title":20124,"dynasty":296,"author":8516,"museum":401,"description":8517,"tags":20125,"thumbUrl":20126,"material":142,"size":8522,"collection":70,"collections":20127,"showCount":207,"zanCount":46,"manualWeight":46,"mainColor":47},222982,"hong-lou-meng-107-sun-wen-222982","红楼梦107",[23,56,28,57,58,60,34,61,7,1118,1970,64,489],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb11e1d6d81cbf31d96a5ec7d1bbf6211.jpg",[],{"id":20129,"slug":20130,"title":20131,"dynasty":296,"author":8516,"museum":401,"description":8517,"tags":20132,"thumbUrl":20133,"material":142,"size":8522,"collection":70,"collections":20134,"showCount":207,"zanCount":46,"manualWeight":46,"mainColor":149},222965,"hong-lou-meng-90-sun-wen-222965","红楼梦90",[23,296,24,56,28,57,257,58,60,29,427,61,64,7,34,8348],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2625fcd8834888bd949f168e4dcd3ba.jpg",[],{"id":20136,"slug":20137,"title":20138,"dynasty":18,"author":6270,"museum":20139,"description":20140,"tags":20141,"thumbUrl":20142,"material":454,"size":20143,"collection":70,"collections":20144,"showCount":207,"zanCount":46,"manualWeight":46,"mainColor":149},222860,"song-he-you-wu-song-xu-222860","松壑幽屋","山东省博物馆","彩绘山峰、流水、小桥、绿树、桃花，一派春意盎然",[23,24,25,95,27,36,56,29,272,16320,30,31,7,34,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a048a58ed78444f5f47630c6a4faa40.jpg","141×63cm",[],{"id":20146,"slug":20147,"title":18001,"dynasty":18,"author":10638,"museum":360,"description":20148,"tags":20149,"thumbUrl":20150,"material":246,"size":20151,"collection":70,"collections":20152,"showCount":207,"zanCount":46,"manualWeight":46,"mainColor":149},222840,"xue-yue-du-shu-tu-zhou-xiao-yun-cong-222840","萧云从的山水画风格多样，但贯穿其中的基本风貌是笔墨多方折而枯瘦，且在方折的骨体中加入一些皴擦，略有渲染，显得笔墨丰富而灵活。当时，松江派绘画风靡画坛，其画多柔曲的线条、秀润的笔墨，萧氏则改用直折的线条、枯瘦爽利的墨色，可谓别具一格。《国朝画征录》评论萧云从的画称：“不专宗法，自成一家，笔亦清快可喜。”道出了萧云从绘画风格的关键所在。他的画并非具体地宗法某一家，但可看出是从宋元画法中演变而来，不宋不元，即宋即元，又明确地表现出萧氏自身的艺术特色。此图虽是描绘雪景，表现手法与平时稍异，但仍可看出萧氏画作的典型特征。\n画面采用高远法构图描绘层岩绝巘。布局丰满，但山间茂密树丛的蓬松枝杈使画面气脉贯通，虽满却不迫塞。山石形廓较为方硬，凹陷处的皴擦笔笔精到；树木刻画亦极工致，用笔细劲清快，描绘树干纹理、树叶形状一丝不苟。地子则巧妙地留白，用以表现大面积山石及树木枝干上的积雪。皑皑白雪在以淡墨晕染的阴郁天空的衬托下愈发显得清寂萧索。但近景的树脚、石隙间偶尔显露出数竿篠竹，树木枝干染以藤黄，树叶则分别施以朱红、汁绿，这一切都使观者在寒冬的肃杀气氛中隐隐感受到蕴藏着的盎然生机，在历代雪景作品中可谓别开生面。这一方面是由于作者有着对自然界的独特感受，同时也昭示着萧云从内心涌动的希望。\n其时，明宗室诸王流亡各地，除弘光、隆武、永历等主要政权外，臣民奉宗室起兵抗清者所在尚多，且颇具声势。萧氏作为明朝遗民，无时无刻不关注着这些复国大事。题识中的“时得三秦好音”似即指此类事件。\n萧云从曾精研杜诗，著有《杜律细》一卷。其诗亦继承杜诗传统，多即事忧时之作，如此画题诗便是一例。诗中“皇旅云腾度渭河”、“将军高唱大风歌”等句更是雄浑奔放，音韵铿锵，与画面相互映照，真切地表现出萧云从作为明代遗民的思想感情。",[23,24,95,27,56,36,29,537,58,33,60,112,7,3673],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f11d303d9b585f987c4fc189dc35570.jpg","纵125.3厘米，横47.7厘米",[],{"id":20154,"slug":20155,"title":20156,"dynasty":296,"author":3485,"museum":53,"description":20157,"tags":20158,"thumbUrl":20159,"material":261,"size":20160,"collection":42,"collections":20161,"showCount":207,"zanCount":46,"manualWeight":46,"mainColor":47},222805,"qiu-shan-ping-yuan-zhou-he-yi-222805","秋山平原轴","赫奕，赫舍里氏，字澹士，号南谷，别号碧岩箫史，一作碧箫外史，满洲正黄旗人，开国名臣希福之孙，工部尚书帅颜保之子。清朝政治人物、清朝工部尚书。\n以侍卫入仕，任内务府总管。康熙五十二年十二月己卯，接替满笃，担任清朝工部尚书，后革。由孙渣济接任。雍正十三年再任总管内务府大臣。乾隆八年，尚书衔总管内务府大臣赫奕病故。\n性澹泊，琴书之外专事于画。初学黄鼎，继为王原祁弟子。山水宗法元人，而独开生面，迥异时流。时有南王北赫之称。",[23,24,25,95,28,29,36,38,82,1837,5676,34,32,33,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d919660f9b59c4912c5a9f1ee3b3bc8.jpg","99.4x48.3cm",[42,264],{"id":20163,"slug":20164,"title":20165,"dynasty":18,"author":238,"mus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墨灵秀、设色雅致的风格。他与弟子沈士充、朱轩、叶有年、陈廉、李肇亨等构成的艺术群体，被人们称为'苏松派'。论画主张要得所画物象之势，应取势布景交错而不繁乱。因一生穷困，曾为董其昌代笔。以画山水最为擅长，主要师法'明四家'之一的沈周，风格雄劲古拙，为'松江派'之祖。赵左的山水画是以宋旭为基础，上溯源流，追摹董源、倪瓒笔意，兼采米氏云山与黄子久浅绛法，善用干笔焦墨，长于烘染，水墨湿润，极富神韵。他创作的山水画，亦力求体现这些思想。景物大多较为繁复，有时画烟岚云雾流动于层峦叠嶂、坡谷幽溪涧;并以斜径、溪桥、房屋、树木,掩映穿插。笔墨方面,或用浓、湿、浅、淡的墨色染出山峦向背，同时渍出浮动的白云;或作浅绛设色，与笔墨的运用相融。",[23,200,24,25,95,257,28,29,33,34,7,3692,20350,82],"草亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F962f475396b35bf70b0dbb4b90e5673e.jpg",[],{"id":20354,"slug":20355,"title":106,"dynasty":296,"author":2706,"museum":561,"description":20356,"tags":20357,"thumbUrl":20358,"material":217,"size":660,"collection":42,"collections":20359,"showCount":20310,"zanCount":46,"manualWeight":46,"mainColor":47},238669,"shan-shui-ce-dong-bang-da-238669","董邦达（1696－1769），清代官员、书画家。字孚存、争存，号东山、非闻，浙江富阳人。雍正十一年进士，乾隆二年授编修，官终礼部尚书，谥文恪。好书、画，篆、隶得古法，山水取法元人，善用枯笔。其风格在娄东、虞山派之间。与董源、董其昌并称“三董”。",[24,25,111,27,28,36,29,7,34,35,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc15d3c92b2ab8760893ac4ead1ee3663.jpg",[42],{"id":20361,"slug":20362,"title":20363,"dynasty":18,"author":436,"museum":561,"description":20364,"tags":20365,"thumbUrl":20366,"material":217,"size":660,"collection":70,"collections":20367,"showCount":20310,"zanCount":46,"manualWeight":46,"mainColor":149},238061,"zhang-hong-jiao-yin-wei-cha-shan-yi-ming-238061","张宏蕉荫味茶扇","此作以淡设色铺陈茶事雅集，右侧芭蕉阔叶扶苏，浓荫下摆开茶席，文士围坐清谈品茗，侍童捧器静立，将文人日常闲雅之态铺展眼前。细劲墨线勾勒人物衣纹，神态宛然灵动，芭蕉与坡石晕染秀润柔和，泥金扇底晕开古雅光泽。画面疏密相宜，左侧留白衬出清寂悠远的意境，将文人耽于茶趣、寄兴林泉的雅逸心境尽数藏于尺幅之间，笔墨隽秀平和，尽显小品画里茶事雅集的悠然意趣。",[1900,24,25,27,712,28,58,302,7,34,1272],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f866725105e3160e49352cadb13d358.jpg",[],{"id":20369,"slug":20370,"title":3378,"dynasty":296,"author":870,"museum":561,"description":1342,"tags":20371,"thumbUrl":20372,"material":70,"size":70,"collection":70,"collections":20373,"showCount":20310,"zanCount":46,"manualWeight":46,"mainColor":47},237765,"yuan-ji-shan-shui-tu-ce-shi-tao-237765",[24,27,36,111,29,7,130,34,31,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe09dc0c32ab98fa7cdb90b009cd5e906.jpg",[],{"id":20375,"slug":20376,"title":7977,"dynasty":296,"author":2948,"museum":561,"description":2949,"tags":20377,"thumbUrl":20378,"material":217,"size":660,"collection":70,"collections":20379,"showCount":20310,"zanCount":46,"manualWeight":46,"mainColor":47},237616,"hong-ren-shan-shui-ce-hong-ren-237616",[24,25,111,27,36,38,82,29,244,34,363,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c67fe135fe740c9acc2ed77ec079c59.jpg",[],{"id":20381,"slug":20382,"title":20383,"dynasty":296,"author":3038,"museum":53,"description":20384,"tags":20385,"thumbUrl":20386,"material":229,"size":70,"collection":70,"collections":20387,"showCount":20310,"zanCount":46,"manualWeight":46,"mainColor":47},237204,"shan-shui-zhu-shi-ce-wang-hui-237204","山水竹石册","王翚（1632-1717），子石谷，号耕烟散人，清晖主人等，江苏常熟人。幼即嗜画，年二十师事王鉴，复经王鉴引荐，师王时敏。王时敏尽出家藏，与之临摹，相与参究，他的摹古能力在清六家中首屈一指。除擅长山水之外，偶亦画花鸟竹石。王翚在艺术实践中能排除门户之见，综合南北之长，汲取诸家技法，冶为一炉，形成自家风格。他的作品章法变化多，墨笔和青绿皆精，山石树法清润秀雅，风格清逸秀丽。王翚60岁时奉康熙帝诏赴京师，任绘制《康熙南巡图》主笔。历经六年，完成了12卷总长达半华里的历史巨作。康熙帝赐“山水清晖”四字。遂自号“清晖主人”。从此“声名震海内”，追随者甚众，为“虞山派”之开山祖，有“画圣”之誉。",[24,25,111,27,36,29,7,34,32,31,391,5083],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f86f65ebff438d9c1b444271fc5d317.jpg",[],{"id":20389,"slug":20390,"title":106,"dynasty":296,"author":4110,"museum":360,"description":4111,"tags":20391,"thumbUrl":20392,"material":246,"size":70,"collection":70,"collections":20393,"showCount":20310,"zanCount":46,"manualWeight":46,"mainColor":47},237193,"shan-shui-ce-sun-yi-237193",[24,25,111,257,28,36,29,32,58,427,7,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61beef2d3bca364fe13fe9aad3fb728c.jpg",[],{"id":20395,"slug":20396,"title":20397,"dynasty":296,"author":20398,"museum":561,"description":20399,"tags":20400,"thumbUrl":20401,"material":217,"size":660,"collection":70,"collections":20402,"showCount":20310,"zanCount":46,"manualWeight":46,"mainColor":47},236723,"gai-qi-xi-xi-tan-mei-tu-shan-ye-gai-qi-236723","改琦西溪探梅图扇页","改琦","改琦（1773年－1828年），字伯蕴，号香伯，一号七芗，又号玉壶外史，江苏华亭（今上海市松江区）人，祖籍北京宛平，是清代中期的画家。\n先世为西域人，祖父改光宗曾任寿春镇总兵。改琦多才多艺，尤善绘画，其人物画被认为是嘉道后最工者，其画受李公麟、赵孟𫖯、唐寅、陈洪绶等影响，花草竹等画也擅长。曾绘《红楼梦图》。",[1900,24,28,56,390,32,58,7,34,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F631bf6ee9e5a21de7850f20fcb2ca7ba.jpg",[],{"id":20404,"slug":20405,"title":106,"dynasty":18,"author":20406,"museum":561,"description":20407,"tags":20408,"thumbUrl":20409,"material":70,"size":360,"collection":42,"collections":20410,"showCount":20310,"zanCount":46,"manualWeight":46,"mainColor":47},236600,"shan-shui-ce-ye-xiang-rong-236600","叶向荣","此作取景于幅面右侧，以奇崛山石为主体，细劲勾勒山石轮廓，淡墨皴擦晕染，尽显岩壁嶙峋质感。古松虬曲苍劲，枝干舒张如铁，松针层叠错落，饱经风霜之态跃然纸面。\n\n山谷间隐现村居茅舍，远景以淡墨轻施，留白晕染出朦胧空茫，将山野的幽寂悠远铺陈开来。笔墨简淡清逸，摒却繁复堆砌，以简驭繁，尽显清雅意趣，于方寸册页间，将林泉隐逸的恬淡山居诗意徐徐铺展，藏着寄情山水的幽远心境。",[24,25,111,27,36,29,427,7,30,31,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe8abcdf9bd8980b8e21497c06feca20.jpg",[42,146],{"id":20412,"slug":20413,"title":97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他是继董其昌之后较早创作“没骨山水”的画家并具有新意。",[1900,24,257,28,29,6670,861,30,31,7,34,60,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedbfe4f7e30d09a06ff49125af3fe8c4.jpg","纵17.3厘米，横49.5厘米",[],{"id":20514,"slug":20515,"title":20516,"dynasty":18,"author":20517,"museum":360,"description":20518,"tags":20519,"thumbUrl":20520,"material":454,"size":20521,"collection":70,"collections":20522,"showCount":20310,"zanCount":46,"manualWeight":46,"mainColor":149},233882,"pin-pang-tu-zhou-ni-duan-233882","聘庞图轴","倪端","画作取材于三国时期荆州刺史刘表聘请隐士庞德公的故事。庞德公是名士庞统的叔父，与徐庶、诸葛亮等贤达交谊笃厚。画中人物描摹精细，设色妍丽，山水气势雄伟浑厚，林木郁茂清朗。",[24,25,95,28,29,58,215,213,7,214,56,36,34,578],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F992ab76f04567d0262a4fd6a4882fe7a.jpg","纵163.8厘米，横92.4厘米",[],{"id":20524,"slug":20525,"title":20526,"dynasty":78,"author":4794,"museum":360,"description":20527,"tags":20528,"thumbUrl":20530,"material":749,"size":20531,"collection":70,"collections":20532,"showCount":20310,"zanCount":46,"manualWeight":46,"mainColor":663},233879,"xue-gang-du-guan-tu-zhou-ma-wan-233879","雪岗渡关图轴","此图为雪景山水，描绘崇山峻岭均为积雪覆盖，崖头隐约点缀着短小的丛树，山谷间有林木、水榭掩映，雪雾烟岚在崖隙间弥散，山脚下，长松依然清翠昂然，整个画面散发着荒寒萧索之气。这种雪景的画法完全师从黄公望《九峰雪霁图》，画家利用绢索洁白的质地，以淡墨洪染出天空、水面，以墨笔淡淡勾出景物轮廓，显现出雪景的晶莹透明。自识“雪冈度关，文壁为彦明作”。",[24,951,95,36,27,537,837,4253,34,427,7,20529,578,159,612],"关隘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bf330fe2e48ab4499d388e17cc77fd0.jpg","纵：125.4厘米，横：57.2厘米",[],{"id":20534,"slug":20535,"title":20536,"dynasty":296,"author":3909,"museum":360,"description":20537,"tags":20538,"thumbUrl":20540,"material":760,"size":20541,"collection":70,"collections":20542,"showCount":20310,"zanCount":46,"manualWeight":46,"mainColor":47},233869,"xi-shan-fang-mu-tu-zhou-cha-shi-biao-233869","溪山放牧图轴","此幅绘一河两岸的空旷景致。构图简洁，平远取势。多以侧锋行笔，线条于精细处见苍劲，富有变化和表现力度，是查氏学倪瓒画风的代表作之一。",[24,27,29,95,36,215,242,132,7,20539,34],"放牧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3acd635c29f606478003fbc4a3751dee.jpg","纵116.3厘米，横59.5厘米",[],{"id":20544,"slug":20545,"title":20546,"dynasty":78,"author":6657,"museum":360,"description":20547,"tags":20548,"thumbUrl":20549,"material":368,"size":20550,"collection":70,"collections":20551,"showCount":20310,"zanCount":46,"manualWeight":46,"mainColor":149},233753,"xi-qiao-you-xing-tu-fang-cong-yi-233753","溪桥幽兴图","此图是元代道士画家方从义所作，山水画。图绘山水一区，高山云锁，溪水自山间流淌，草桥横架，一人策杖前行，远山隐现，茅舍隐于林木之中，意境清谧静逸。笔墨酣畅，多用染法，用笔多横向。树木点染之笔疏率，以墨之浓淡分远近。图中景物都集中于画面下部，上部则非常空旷，使画面显得深邃幽远。",[24,25,200,27,29,30,31,34,7,36,38,82,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2a07ffc8543e2c18834f837374b8bda.jpg","纵63.3厘米，横35厘米",[],{"id":20553,"slug":20554,"title":1875,"dynasty":296,"author":870,"museum":360,"description":5246,"tags":20555,"thumbUrl":20556,"material":13353,"size":13354,"collection":70,"collections":20557,"showCount":20310,"zanCount":46,"manualWeight":46,"mainColor":47},233421,"yuan-ji-shan-shui-ce-shi-tao-233421",[200,24,25,111,27,36,29,7,96,34,1081,4938,5820],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09c55c1ae79c7d14fcee18a101340766.jpg",[],{"id":20559,"slug":20560,"title":20561,"dynasty":78,"author":5885,"museum":53,"description":20562,"tags":20563,"thumbUrl":20565,"material":601,"size":20566,"collection":70,"collections":20567,"showCount":20310,"zanCount":46,"manualWeight":46,"mainColor":149},232266,"qun-feng-qiu-se-tu-gao-ke-gong-232266","群峰秋色图","画中峰峦多用淡墨浅色皴染，主峰用墨最重，山顶并缀以横笔“米点”，有水墨淋漓之趣。石绿、石青之渍染润厚秀雅，显得峰峦更为浑厚稳重。",[24,25,95,27,28,36,951,2901,158,133,34,20564,7,1262,33,96],"秋色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd24f2fae530aea5dd8da8ae53c3bd081.jpg","该幅159.9x104.8公分；全幅105.8公分",[],{"id":20569,"slug":20570,"title":20571,"dynasty":18,"author":20572,"museum":108,"description":20573,"tags":20574,"thumbUrl":20575,"material":229,"size":20576,"collection":70,"collections":20577,"showCount":20310,"zanCount":46,"manualWeight":46,"mainColor":149},231945,"gu-mu-you-ju-tu-sheng-mao-ye-231945","古木幽居图","盛茂烨","盛茂烨的画作题材除了少量的人物及花鸟外，以山水为主，“大幅山水，浑厚而有气势，多得范宽之法，小幅作品，清新活泼，自成一种情趣。”盛氏活跃于仿古之风弥漫的时代，其对古人虽有用心之处，然而却极少仿古之作。\n根据种种的文献记载，盛氏在当时颇负盛名，虽古意不足，然饶有趣味，在笔墨造型和布局方面均有所开拓，形成了自身独特的画风。这种风格的形成，不仅在于他对浙派和吴派兼收并蓄，更在于他对古人的画法进行了选择性的采纳和吸收。\n他的作品中，有对大自然的真实描写，也有一些夸张变形的因素，这些均是宋代山水画传统在晚明画坛中复兴的征象。",[23,200,24,25,95,951,36,28,1555,7,158,133,1506,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb575d9feb5a80e4189ee444b2fb5180a.jpg","157.5×54cm",[],{"id":20579,"slug":20580,"title":20581,"dynasty":18,"author":1100,"museum":360,"description":20582,"tags":20583,"thumbUrl":20585,"material":116,"size":20586,"collection":70,"collections":20587,"showCount":20310,"zanCount":46,"manualWeight":46,"mainColor":47},231373,"xia-mu-chui-yin-tu-dong-qi-chang-231373","夏木垂阴图","此图截取山坡一角，其上有柳树、松柏，共三株。树木主干苍劲高耸，枝叶繁茂蓊郁。构图简洁饱满，用笔老辣迅疾，墨色浓淡得宜，生动地表现出林木枝叶纷披的景象。又以长披麻皴皴染山石，皴与染相结合，加上浓重的苔点，使得长满青苔的山石因而具有湿润的质感。在墨色的运用上，整幅画面主要以浓墨与留白相对比，黑、白、灰关系明确，营造出清爽明丽之氛围，使观者似乎感受到夏日树荫之中的凉爽清幽。",[24,951,27,95,25,36,34,7,31,133,33,427,837,258,20584],"夏天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0a4e197fbf86433996158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。灯下睇观，觉小雷、大雷、紫溪、白岳一段，忽移于尺幅间矣。”又云：“是古人笔，不是时派。时派即钟谭诗也。”小印模糊，误视会公为洽公，圻后即以洽公行，咸知己也。 他的仕女画幽闲静逸，神韵俱佳，特别是[清]顺治八年，即公元1651年与吴宏合作的《寇湄像》，堪称佳作。",[23,200,24,25,28,56,537,272,391,301,20594,7,62,82],"冰挂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4acd3e8fb8205ab2533358e709fef854.jpg",[],{"id":20598,"slug":20599,"title":20600,"dynasty":124,"author":436,"museum":53,"description":20601,"tags":20602,"thumbUrl":20603,"material":84,"size":70,"collection":70,"collections":20604,"showCount":20310,"zanCount":46,"manualWeight":46,"mainColor":149},231053,"zhe-kan-tu-yi-ming-231053","折槛图","《却坐图》是宋代佚名画家创作的绢本设色画，现藏于 。\n该图描绘西汉文帝妃慎夫人恃宠与帝后平起平坐，日游上林苑，中郎将袁盎向文帝犯颜直谏：“妃子僭坐后位有违纲常。\n”文帝不悦但理在袁盎，只得纳谏，慎夫人也只好悻悻而起。\n该画侧重表现矛盾化解过程中人物微妙的心理变化。\n此幅描绘的是西汉文帝时袁盎谏止宠妃慎夫人与帝、后并坐的故事。\n图中人物处于画面的中心，汉文帝等七人在画面的右侧，金瓜卫十在左侧，袁盎在文帝与金瓜卫士之间，离观者最近。\n在右侧七人中，文帝居中坐在宝座上，表情严肃，右手按膝，左手扶椅，胸前佩方心曲领，着通天冠服，长须垂胸；在皇帝左首圆墩上坐着慎夫人低头沉默，微露不悦，显得很不自在；四位宫女立于文帝身后，一位矮小的侍女，靠近慎夫人，她们都静立聆听，目睹现场；皇宫卫士，满腮长须，横眉怒目，两脚分叉，手执金瓜兵器，威风显赫，等待下旨，执行公务，袁盎弓背弯腰，两手举笏，作面奏君王状，神情坚定执着，但面向外，躬身上奏，坚毅庄重，神色坦然，看来已陈述完毕，任凭皇上处置。\n此事发生在上林苑中，院墙高筑，墙外茫茫一片田野和水面，院墙内一株大树靠右边拔地挺直而上，和中间的两棵参天大树，枝叶互相穿插，叶茂枝繁，形成了天然凉棚。\n太阳隔着云层雾气光线忽明忽暗，树叶在雾色中时隐时现、人群背后一排直立的假山石、棕榈树、仙鹤点缀着，画面的右下角还有丛竹、野草及深色太湖石。\n《却坐图》是历史故事画。\n说的是汉文帝时慎夫人僭坐故事：宠妃慎夫人坐在皇帝身边。\n她的举动违反了封建社会的礼仪，坐到了应属皇后的位置上。\n袁盎站出来当面进谏，谓帝既有后，不当容许其妃僭坐后位。\n文帝和慎夫人对他的直言进谏当时颇为恼怒，但还是接受了，并且给了袁盎一些赏赐以鼓励忠直。\n选择该故事作为题材，用意在于宣传封建纲常，赞扬敢于直言上谏、冒死维护君王统治利益的忠臣义士，是典型的院画题材。\n图中文帝坐于有奇花茂树、秀石珍禽的皇家苑囿中，袁盎上前俯身面谏，神情坚毅，文帝微露愠色，皇后坐于其侧低头不语，慎夫人站起身来面带不悦，一武士持的威严，同时也衬托出袁盎置生死于不顾，犯颜直谏的忠臣形象。\n从图中可以看到作者对现场中各类人物的外形，表情，到内心世界的刻画是非常成功的，而且对主要人物文帝、袁盎、金瓜卫士的内在联系及相互呼应交代得很清楚，如文帝的宽容大度，卫土的暴戾心理和袁盎忠直不惧的义胆，其以卫士的凶猛形貌象征皇帝手中的至高权力，相比之下，虽然袁盎处于软弱无力的地位，却显示了在这种特定场合中最有力量，而且作者将盎放在显要的位置，对他的形象刻画更富魅力，对袁盎敢于冒犯“圣上”的勇气极尽赞喻，图中要遣责的对象是慎夫人，安排在很不重要的位置上，侧面描绘成敢怒而不敢言的愧羞样子，连同她的诗人也是比其他宫女要矮小。\n该图不仅在人物位置经营上成功，而且布景也有其用意，文帝身后有高树一排，自立的假山石，仙鹤等景，而袁盎身旁的是就地长出的丛竹、小草与深色玲珑的太湖石等等。\n表示了作者章法布局有韵致，遵循院画的审美标准，而造诣颇高。\n中国美术研究院研究员王鲁豫：《却坐图》整个画风都接近于《 》，表现了南宋院体人物故事画的高度水平。\n218年1月4日，“国宝再现—书画菁华特展”在台北故宫博物院北部院区第一展览区21室开幕，《却坐图》在其中展出。",[23,200,24,25,95,56,28,57,58,60,427,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4b0cdfb2193e1f81f95c31e32cf2c7d.jpg",[],{"id":20606,"slug":20607,"title":6137,"dynasty":78,"author":699,"museum":561,"description":20608,"tags":20609,"thumbUrl":20610,"material":70,"size":70,"collection":70,"collections":20611,"showCount":20310,"zanCount":46,"manualWeight":46,"mainColor":149},228253,"ku-shu-tu-ye-cao-zhi-bai-228253","画面以古木为核心，老干虬曲扭结，皴擦简劲尽显树皮斑驳嶙峋，枯瘦枝桠如铁铸般舒展，倒挂的垂丝晕开幽寂清冷的氛围。侧旁杂木参差，枯荣相衬，更衬出主树孤高之姿。\n\n下方坡石以淡墨勾勒晕染，棱角浑朴古拙，托举着古木更见苍劲。构图疏朗空灵，以极简笔墨铺展出荒寒淡远的意境，尽显元代文人尚简重意的风骨。笔意苍劲松秀，枯中藏腴，淡而弥厚，将冬景萧瑟化作沉静的精神图景，淡墨轻岚间，寄寓着幽淡清寂的隐逸心绪，尽显疏旷出尘的文人意趣。",[23,24,25,1465,27,29,242,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4aa7ec689131e19f51954940a33d2460.jpg",[],{"id":20613,"slug":20614,"title":20615,"dynasty":296,"author":870,"museum":561,"description":20616,"tags":20617,"thumbUrl":20618,"material":70,"size":70,"collection":70,"collections":20619,"showCount":20310,"zanCount":46,"manualWeight":46,"mainColor":47},224501,"shan-shui-ce-kai-er-shi-tao-224501","山水冊开(二)","此作以水墨淡彩写就江南水乡之景，构图虚实相生，上部题诗留空疏朗开阔，下部绘景层次分明。近岸坡石上孤屋临水，旁植古松垂柳，枝条轻拂水面，野意悠然。中景水村错落，粉墙黛瓦隐于林木间，渔舟漾波，渔人往来作业，鲜活尽显水乡日常烟火。\n\n笔墨简率松灵，山石林木多以点染而成，不重精描细摹，以写意之趣托出萧散淡远的意境。题画诗与画面浑然相融，诗画映发，尽显文人画清雅逸致，将江南渔隐的闲淡安宁娓娓道来，暗含画者寄情丘壑的隐逸襟怀。",[23,24,25,111,27,28,36,29,32,31,35,34,243,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3c8d79112bf34afe23e5983c9cb11e3.jpg",[],{"id":20621,"slug":20622,"title":20623,"dynasty":296,"author":3437,"museum":561,"description":20624,"tags":20625,"thumbUrl":20626,"material":70,"size":70,"collection":70,"collections":20627,"showCount":20310,"zanCount":46,"manualWeight":46,"mainColor":47},224492,"ni-gu-tuo-gu-tu-zhou-wu-li-224492","拟古脱古图轴","《拟古脱古图》是清代吴历创作的纸本墨笔画。\n本幅右上吴历自题：“陶渊明‘采菊东篱下，悠然见南山’唐宋人和之者多，独韦应物‘采菊露未晞，举头见秋山’真为绝和。\n画之拟古亦如和陶，情景宛然更出新意，乃是脱胎能手。\n小重阳日墨井道人。\n”下钤“吴历之印”（白文）、“墨井”（朱文）。\n鉴藏印有“莱臣心赏”、“虚斋审定”2方。\n画家在自题中以唐宋人和（音hè）陶渊明“采菊东篱下”名句为例，说明了绘画创作中拟古与脱古即继承与发展关系，同时也为此幅画作的创作旨意作了诠释。\n此画仿元代王蒙山水，但在皴法上长条披麻皴的运用与王蒙的牛毛皴有所不同，构图也不似王蒙的绘画那么饱满，与王蒙的峰峦重叠相比，吴历的山水更接近真山实水，真实感较强。\n吴历将前人的绘画技法融会贯通，用笔严谨，厚朴沉着，笔意高淡，气韵深淳，体现出自己的风格特点，虽是仿古之作却有画家自己的面貌和新意。\n庞莱臣《虚斋名画录》著录。\n吴历（162—1718）清康熙间常熟人，字渔山，自号墨井道人，又号桃溪居士，学经于陈瑚，学诗于钱谦益，学画于王时敏、王鉴，学琴于陈岷，以山水画闻名于清初画坛。\n康熙十四年（1675）前后人天主教，教名西满沙勿略。\n二十一年（1682）在澳门入耶稣会，又取西姓雅古纳。\n二十七年（1688）任神父，其后在上海、嘉定等地传教。\n所撰《墨井诗抄》2卷《三巴集》1卷《画跋》1卷于卒后次年由弟子陆道淮刻印传世。",[23,24,25,95,27,36,29,30,31,34,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37fe265c9fc33d18c0b8c97edc2c07bd.jpg",[],{"id":20629,"slug":20630,"title":20631,"dynasty":296,"author":3038,"museum":561,"description":20632,"tags":20633,"thumbUrl":20634,"material":70,"size":70,"collection":70,"collections":20635,"showCount":20310,"zanCount":46,"manualWeight":46,"mainColor":47},224440,"xian-shan-lou-guan-tu-wang-hui-224440","仙山楼观图","此作画境苍浑雅致，重岩峻岫拔地而起，皴笔磊落厚重，将山石嶙峋肌理尽皆铺展。古松虬劲横斜，间错排布，掩映起层叠楼阁，朱檐黛瓦隐于林壑间，似藏洞天秘境。\n\n山脚溪湾萦回，村居错落临水而建，渔舟泊于浅滩，烟火意趣晕开仙家清寂，将尘寰烟火与云山灵境相融。整幅画笔致兼具工细与苍茫，干湿墨色交织，既见峰峦雄奇之态，亦得林泉幽居之恬，恍若踏入可居可游的世外清境。",[23,24,25,95,29,60,452,96,31,7,36,28,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb079ccf42f95315b2b3056257b58765c.jpg",[],{"id":20637,"slug":20638,"title":462,"dynasty":296,"author":20639,"museum":561,"description":20640,"tags":20641,"thumbUrl":20642,"material":20643,"size":70,"collection":264,"collections":20644,"showCount":20310,"zanCount":46,"manualWeight":46,"mainColor":47},224381,"shan-shui-tu-wang-guang-qi-224381","王光圻","此作用高远章法铺陈，以枯淡墨线勾出峭拔崖壁，焦墨点苔醒出山峦苍劲肌理，留白衬出险峰空寂高远的气势，壁立千仞的意境呼之欲出。\n\n近景林木错落，老松虬曲、杂木扶疏，以浓淡墨色区分枝叶层次，衬出林麓间茅舍的幽隐。清溪绕岸，浅墨晕染出水泽空濛之气。全幅笔法简率松灵，脱略繁缛细节，以意写形，尽显文人山水的萧散淡远之致，墨色干湿浓淡相济，于极简中勾勒出山林幽深清寂之境，笔底自带荒寒简古的林下风致，尽显文人写意山水的雅致风貌。",[23,24,27,95,29,34,33,7,35,1140,427,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f7c446c0bf8824d74b46dced3c2cfe1.jpg","水墨纸本",[264],{"id":20646,"slug":20647,"title":11661,"dynasty":78,"author":436,"museum":561,"description":20648,"tags":20649,"thumbUrl":20650,"material":885,"size":20651,"collection":70,"collections":20652,"showCount":20310,"zanCount":11,"manualWeight":46,"mainColor":149},223355,"fang-ju-ran-shan-shui-tu-yi-ming-223355","是图以高远法出之,山峦清旷,落英缤纷。近景陂陀杂树,渔舟归樵;中景夹谷深壑,流水湍湍,桥舍掩映;远景山峰耸峻,苍翠欲滴,烟岚奕奕。正是暮霞景明、秋意正浓之时,令人有如入武陵桃源忘返向路之感。在画法上,是图以长披麻皴为主,笔致清晰中见浑融,用笔枯而不涩,意境蓊秀萧疏。点苔疏密有致,很好地表现了草木华滋的气象。设色借鉴了黄公望浅绛法,明洁滋润,妍而不甜。此种画风,明显受到了其挚友王鉴的影响。然而,在萧疏简远的气息追求上,比之王鉴是有过之而无不及的。",[23,24,951,28,36,7,34,30,31,33,578,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bbd8eba0f37ff5d86d70dba3540da1a.jpg","170x85.26cm",[],{"id":20654,"slug":20655,"title":20656,"dynasty":296,"author":17463,"museum":561,"description":20657,"tags":20658,"thumbUrl":20660,"material":673,"size":20661,"collection":42,"collections":20662,"showCount":20310,"zanCount":11,"manualWeight":46,"mainColor":47},223254,"yan-shan-ba-jing-tu-qiong-dao-chun-yin-zhang-ruo-cheng-223254","燕山八景图-琼岛春荫","此册以北京城著名的“燕京八景”为题而画。燕京八景一说始自金《明昌遗事》，当时金章宗完颜璟将燕京的八处风光名胜选定为燕京八景，即“居庸叠翠”、“玉泉垂虹”、“太液秋风”、“琼岛春荫”、“蓟门飞雨”、“西山积雪”、“卢沟晓月”和“金台夕照”。“燕京八景”历金、元、明、清四代，又有称“燕台八景”、“燕山八景”、“京师八景”、“京畿八景”者，虽景点相同，八景的名称在不同时期则有所变化。乾隆十六年（1751年），乾隆曾御制《燕山八景诗》，将八景定名为“琼岛春荫”、“太液秋风”、“玉泉趵突”、“西山晴雪”、“蓟门烟树”、“卢沟晓月”、“金台夕照”、“居庸叠翠”，沿用至今。该画册中建筑的刻画不用界尺，但是对建筑的特征却描绘得生动准确，表现手法活泼而不失稳重，是画家对景写实的佳作。",[23,200,24,25,28,57,82,29,60,2404,30,31,34,7,10367,20659,11963,64],"园林建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99e64bf8b756daf54e558d61066d3f36.jpg","34.7cm，横40.3cm",[42,264],{"id":20664,"slug":20665,"title":20666,"dynasty":296,"author":8516,"museum":401,"description":8517,"tags":20667,"thumbUrl":20668,"material":142,"size":8522,"collection":70,"collections":20669,"showCount":20310,"zanCount":46,"manualWeight":46,"mainColor":149},223048,"hong-lou-meng-173-sun-wen-223048","红楼梦173",[23,56,28,57,58,60,61,34,64,7,11505,65,1118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa24ebf169298a599f6c858be834d3e46.jpg",[],{"id":20671,"slug":20672,"title":20673,"dynasty":296,"author":8516,"museum":401,"description":8517,"tags":20674,"thumbUrl":20675,"material":142,"size":8522,"collection":70,"collections":20676,"showCount":20310,"zanCount":46,"manualWeight":46,"mainColor":149},223006,"hong-lou-meng-131-sun-wen-223006","红楼梦131",[23,24,25,56,28,57,58,60,61,34,7,489,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a66779d2b4c3b4247ab7fa10a43a0b2.jpg",[],{"id":20678,"slug":20679,"title":20680,"dynasty":296,"author":8516,"museum":401,"description":8517,"tags":20681,"thumbUrl":20682,"material":142,"size":8522,"collection":70,"collections":20683,"showCount":20310,"zanCount":46,"manualWeight":46,"mainColor":47},222966,"hong-lou-meng-91-sun-wen-222966","红楼梦91",[23,24,25,26,28,56,57,58,8347,31,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cb39e4fc09e1e3bc62862b5c2e0b2c8.jpg",[],{"id":20685,"slug":20686,"title":20687,"dynasty":296,"author":8516,"museum":401,"description":8517,"tags":20688,"thumbUrl":20694,"material":142,"size":8522,"collection":70,"collections":20695,"showCount":20310,"zanCount":46,"manualWeight":46,"mainColor":47},222932,"hong-lou-meng-57-sun-wen-222932","红楼梦57",[23,56,28,57,58,20689,18886,19779,10237,7,489,65,20690,1056,1273,1970,20691,4150,4513,20692,7961,20693,18680],"古典家具","笔墨纸砚","织物","瓷器","文房四宝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd79bf9a8889fce822830210a88a8fab7.jpg",[],{"id":20697,"slug":20698,"title":20699,"dynasty":296,"author":8516,"museum":401,"description":8517,"tags":20700,"thumbUrl":20703,"material":142,"size":8522,"collection":70,"collections":20704,"showCount":20310,"zanCount":46,"manualWeight":46,"mainColor":149},222901,"hong-lou-meng-26-sun-wen-222901","红楼梦26",[23,24,56,28,58,60,96,59,7,489,61,57,11505,1118,20701,15678,20702],"庭院景观","设色庭院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F268b15a8847ec0e0ba84797886765ad0.jpg",[],{"id":20706,"slug":20707,"title":20708,"dynasty":296,"author":8516,"museum":401,"description":8517,"tags":20709,"thumbUrl":20710,"material":142,"size":8522,"collection":70,"collections":20711,"showCount":20310,"zanCount":46,"manualWeight":46,"mainColor":149},222891,"hong-lou-meng-16-sun-wen-222891","红楼梦16",[23,24,56,28,58,60,29,391,112,61,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62e0bcdc03ad6933ac92ed47d7a71e18.jpg",[],{"id":20713,"slug":20714,"title":20715,"dynasty":296,"author":13969,"museum":53,"description":20716,"tags":20717,"thumbUrl":20718,"material":70,"size":20719,"collection":42,"collections":20720,"showCount":20310,"zanCount":46,"manualWeight":46,"mainColor":47},222845,"wan-qing-qing-yin-hong-wu-222845","万顷清阴","弘旿（1743年－1811年），爱新觉罗氏，是清朝康熙帝二十四子允秘的次子，画家。字卓亭，号恕斋，一号醉迂，别号瑶华道人，又号一如居士。生母为允秘的侧福晋殷氏，殷大成之女。他在乾隆八年癸亥九月三十日寅时生，乾隆二十八年（公元1763年）封二等镇国将军，乾隆三十九年（公元1774年）晋贝子，乾隆四十三年（公元1778年）因事革退，乾隆五十九年（公元1794年）封奉恩将军，嘉庆四年（公元1799年）又革退，嘉庆十四年（公元1809年）复封奉恩将军。《石渠宝笈》著录弘旿画计有三十多件，内府收藏的估计还有不少。可见弘旿作画之勤，亦可见乾隆帝对他笔墨的赞许。其《自题山水画册》诗，有疏朗、清越之韵律。工于书画，书兼四体，其山水画作得董邦达之妙谛，花木具有古朴陈香；治石印有元、明篆刻的风格。有《听泉图》、《板桥僧舍图》、《江山拱翠图》、《仿唐寅山水图》、《素濑松吟》等。乾隆五十七年（1792）和阮元、铁保等人游万寿寺，写《七松图扇》等。家富于藏书，藏书楼名“静寄轩”，嘉庆十六年（公元1811年）薨，享年68岁，有子7人。由第五子永松袭封奉恩将军。",[23,24,28,36,111,29,33,31,34,7,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6e86d17ce180690e506b45cdbf2ef30.jpg","32x38",[42,264],{"id":20722,"slug":20723,"title":20724,"dynasty":296,"author":13969,"museum":53,"description":20716,"tags":20725,"thumbUrl":20727,"material":13973,"size":13974,"collection":42,"collections":20728,"showCount":20310,"zanCount":46,"manualWeight":46,"mainColor":47},222844,"hua-wan-bang-sui-lv-tu-juan-hong-wu-222844","画万邦绥屡图卷",[23,24,26,28,29,36,58,215,10893,2569,34,201,7,2697,9687,20726,883],"牧民","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf84832b44c645958e870473163f5207.jpg",[42,264],{"id":20730,"slug":20731,"title":20732,"dynasty":18,"author":1100,"museum":2286,"description":20733,"tags":20734,"thumbUrl":20735,"material":111,"size":2290,"collection":70,"collections":20736,"showCount":20310,"zanCount":46,"manualWeight":46,"mainColor":70},220750,"fang-ge-jia-shan-shui-6-dong-qi-cha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传，北京故宫博物院现藏《中兴四将图》，便是他的作品。这幅画人物生动，描绘精到，是宋代写实人物画的佳作。此外，他的《便桥会盟图》、《风雪运粮图》等人物故事画，也在中国绘画史上赫赫有名。此外，他的宗教画，罗汉等形象，则建立了中国佛画的一派典范。\n历史上流传下来的刘松年作品，大约有九十幅左右。这些作品真伪难辨。刘松年及其作品研究，是学术界以后仍然要力度加强的部分之一。",[23,200,24,25,26,27,29,36,860,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae02117c5bf69987bd9f56214a0e41ac.jpg","21.6×142.6厘米",[],{"id":21132,"slug":21133,"title":462,"dynasty":78,"author":2047,"museum":53,"description":21134,"tags":21135,"thumbUrl":21136,"material":229,"size":21137,"collection":70,"collections":21138,"showCount":166,"zanCount":46,"manualWeight":46,"mainColor":47},232256,"shan-shui-tu-zhao-meng-fu-232256","溪涧、泉松水榭桥文房用具文玩（琴棋书画）香炉．火盆瀑布高士（士人、隐士）侍从（侍女、童仆） 家具（屏风）",[24,25,95,200,28,36,27,29,34,58,7,31,187,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e350d4065062d4a7428a6d1c958bfbc.jpg","本幅 57x30.9公分、全幅 56公分",[],{"id":21140,"slug":21141,"title":21142,"dynasty":18,"author":19,"museum":20,"description":21143,"tags":21144,"thumbUrl":21145,"material":229,"size":21146,"collection":70,"collections":21147,"showCount":166,"zanCount":46,"manualWeight":46,"mainColor":47},231594,"song-xing-tu-shen-zhou-231594","送行图","在明代以前，作为一种表现送别主题的“江岸送别”图式在南宋时期就已经产生。学者石守谦认为，十二世纪晚期佚名画家的《送海东上人归国图》）是现存最早的江岸“送别图”。此幅作品采用南宋时期常用的半边式构图，画中景物都集中在右半边，右侧岸边上有两棵松树，松树下有一个小亭，旁边共有五人，站在亭子外面看着左边正要离去的船。其中有两人抱拳鞠躬在向船上的人临江告别。而在画面中央波涛汹涌的江面上，有一艘大船被巨浪包围着，船上的水手们或鼓帆拉弦，或奋力划船，气氛十分紧张，与岸上的依依送别之情形成鲜明的对比。纵观整幅作品，从浩瀚江面上扬帆起航的行舟，到送者与被送者隔岸拜别，再到岸边的饯别小亭，其所描绘的“送别”景象基本上构成了江岸送别图式的基本要素，标志着江岸送别图式的形成。这种图式中，岸边友人拱手送别、水中舟船待发等场景是必不可少的。",[23,24,25,26,27,28,36,38,4405,37,82,29,34,58,564,316,7,427,1140,33,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e41518bb5ef131e0f1424e3a5b315e2.jpg","纵30.0厘米，横125.5厘米",[],{"id":21149,"slug":21150,"title":21151,"dynasty":18,"author":3504,"museum":561,"description":21152,"tags":21153,"thumbUrl":21154,"material":1809,"size":21155,"collection":70,"collections":21156,"showCount":166,"zanCount":46,"manualWeight":46,"mainColor":47},231572,"kong-shan-ye-xue-shen-shi-yi-tu-wen-zheng-ming-231572","空山夜雪深诗意图","与“江南四大才子”的其他三位相较，文征明的人生可谓波折又漫长。尽管他是一位诗、文、书、画全才的文人，但在他90年的人生中远不止这些艺术成就。\n文征明出身书香门第，祖父文洪是举人，父亲文林和叔父文森都是进士，但儿时的文征明却并非天资聪颖，反而比同龄人更加迟钝、笨拙。史书记载，他7岁才能站立，11岁才会开口说话、读书、背诵诗文。\n而与自己同年出生的好友唐寅16岁就考中苏州府试第一名；祝允明5岁就能写大字、9岁能作诗；徐祯卿“十岁能诗”、“家中不蓄一书，却无一不通”。和这些“天才”好友相较，文征明真算是开窍最晚，但若从整个人生长河来看，文征明在世时间又最长，艺术成就也最大。\n26岁时，文征明与唐寅一起到南京参加乡试，唐寅高中解元，他却没考上。但文征明并不灰心，从那年到53岁又连续参加了9场考试，9次都名落孙山，考到自己白发苍苍、考到考官早已换了好几拨……\n自小家学深厚的文征明向当时的大家吴宽、沈周等人学习书、画，才学非浅，可为何屡战屡败？或许是他个性的“偏执、耿直”，又或许是喜好翻阅古今文集而非僵化的八股文，每次答卷与明代科考要求都不符，致使他参考多年却一次没中。54岁时才经过他人举荐当上翰林院待诏，最后还是因为不满官场而辞职回乡。",[23,24,27,36,95,29,860,242,427,132,7,33,364],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9966056549207747dda563a51f8d10d2.jpg","167×60cm",[],{"id":21158,"slug":21159,"title":21160,"dynasty":124,"author":436,"museum":53,"description":21161,"tags":21162,"thumbUrl":21163,"material":229,"size":21164,"collection":70,"collections":21165,"showCount":166,"zanCount":46,"manualWeight":46,"mainColor":47},231400,"jiang-fan-shan-shi-tu-yi-ming-231400","江帆山市图","宋人《江帆山市图》画两峰回抱，山寺、野店隐现其间，山坳间有一座庙宇，依山建筑，山谷间则有云雾袅绕，飞鸟阵阵，一派黄昏景象。全幅在画船、人物、建筑、树木、水纹或其它景物的用笔都非常细腻精致，线条细挺，如对于船只结构及船上设备的描绘都非常精细确实，山寺、野店之建筑，比例正确，形式精美，人物虽小，却将人物的神态和形貌画得栩栩如生。用色简澹清雅，画幅虽小，却将山城点染得极为活泼而有生意。\n此幅无名款，从画风及造型来看，是北宋范宽（十世纪）、燕文贵（活动于十世纪末）一系风格。画两峰回抱。也以近似雨点的皴法，层层描写山石的质感与量感，笔法细密，运笔着墨皆具清劲苍秀之感。在构景方面，景物集中于右半边，笔墨虽简，但严谨写实，从画风看来，是一幅接近燕文贵时代的作品。",[24,27,36,26,29,1080,60,35,7,34,316,114,133,1944],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf127e4d55b0438efbe3fb66c7bb2a33.jpg","28.6x44.1公分",[],{"id":21167,"slug":21168,"title":21169,"dynasty":296,"author":21170,"museum":561,"description":21171,"tags":21172,"thumbUrl":21173,"material":70,"size":21174,"collection":70,"collections":21175,"showCount":166,"zanCount":46,"manualWeight":46,"mainColor":149},231377,"yi-yuan-tu-ce-shen-cang-231377","怡园图册","沈苍","顾沄，字若波，号云壶、壶隐等。吴县（江苏苏州）人。工画山水，清丽疏古，得“清初六家”之长。怡园位于苏州，同治十三年（1874年）时任浙江宁绍道台的顾文彬购得此地，兴建怡园。由于顾文彬当时在外地任官，营造事宜由其子顾承主持，顾文彬特地嘱咐他多与画家商议。三年后园林建成，顾沄为绘怡园十六景，后又补绘四景。在苏州园林中，怡园是建造较晚的一座，顾文彬希望能荟萃诸园之长，从顾沄图中可以看到，《松籁阁》的画舫效法拙政园的香洲，《南雪亭》的石幢有似留园的经幢，《绛霞洞》的假山则模仿狮子林，其他如网师园的水池、沧浪亭的复廊等等都能在怡园找到痕迹。顾沄的《怡园图册》将观者带入园中，近距离地游赏各景。\n对研究怡园而言，最重要的是顾沄的十六景图和顾文彬的“词并序”。顾文彬的《怡园十六景词并序》共有十六段，前面有小序介绍园景，后面一阕小词阐发意蕴，与《十六景图》一一对应。这组景致按游览顺序展开，各景为先后关系，而非主次关系。怡园有幸留存至今，提供了将园图与实景对照的机会，从中可发现这套册页的写实程度之高。值得注意的是，传统山水画往往在明山秀水间点缀人物，提示观者应如何欣赏风景，但《怡园十六景图》则未画任何人物。这从侧面证明，顾沄和顾承的主要目的是再现景致。在《怡园图》中，园景成为重点，少了人物的干扰，观者反而可以更专注地投入其中，享受这一片天然的“无我之境”。",[23,24,57,28,56,29,60,33,34,7,31,1129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58131b67127eeb79a8a1cfa85c6f53b7.jpg","33.3×42.4×26",[],{"id":21177,"slug":21178,"title":21179,"dynasty":296,"author":8669,"museum":561,"description":21180,"tags":21181,"thumbUrl":21182,"material":70,"size":70,"collection":70,"collections":21183,"showCount":166,"zanCount":46,"manualWeight":46,"mainColor":149},230361,"shi-liu-ying-zhen-tu-ce-hua-ce-ren-xiong-230361","十六应真图册画册","青绿设色古雅沉静，山崖一隅苍松虬曲，苔点攒簇尽显苍劲古意。画中三人情态各异：袒胸束发的朗笑长者，布衣褶皱朴拙写意，满是山野散逸之气；身侧女子抬首远眺，眉目灵秀，衣袂轻盈柔和；幼童席地回望二人，憨态可掬。\n\n背景以淡赭晕染空蒙天色，石青铺陈崖壁，冷暖色调相映，拉开虚实层次。整幅用工笔兼写意，人物形神兼备，山水布景简而不空，将世外悠游的自在意趣融于尺幅间，把林下忘机的逍遥图景刻画得鲜活动人。",[24,25,111,56,28,58,34,7,784,296],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0090bfaa29ee878a050b82ecf118445.jpg",[],{"id":21185,"slug":21186,"title":21187,"dynasty":296,"author":21188,"museum":561,"description":21189,"tags":21190,"thumbUrl":21191,"material":70,"size":70,"collection":70,"collections":21192,"showCount":166,"zanCount":46,"manualWeight":46,"mainColor":47},230186,"shan-shui-li-zhou-zhang-yin-230186","山水立轴","张崟","淡墨晕染远山，烟岚轻笼，浑茫清寂。苍松虬劲横斜，松下茅舍内文士围坐，佐着满枝寒花暗香清谈。溪涧穿林而过，板桥通幽，行人缓步野径，漾出悠然野趣。\n\n此作用浅绛设色衬水墨皴擦，山石敷淡赭打底，墨苔点醒草木生机，温润雅致。疏密排布自然妥帖，将冬山清寒与文人心底雅趣相融，笔底晕开静穆闲逸，把幽居赏景、围炉晤谈的清冷快意藏在烟水林泉间，尽显寄情丘壑的悠然意韵。",[23,24,28,36,95,29,427,30,31,35,58,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb643fca24d4aa77796b788a14b21b290.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·Xareris），并学习西文。\n原计划去欧洲，因故未果，后回内地，在上海、嘉定、苏州一带传教，卒后葬于上海南门外耶稣会墓地。\n早年学画于王鉴、王时敏，后接触西方文化，这对其山水画风的形成有潜在影响。\n喜用干笔焦墨，笔墨细腻，注重画面的纵深感，并略微注意到透视法的运用。\n吴历以其独到的艺术风貌与“四王”、恽寿平并称“ ”。\n据《竹人续录》等史料载，吴氏兼擅刻竹，风格缜密，深受嘉定派影响。",[23,200,24,27,36,95,29,427,1140,242,227,2229,7,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77e569ba87e496e5333ec92596bbaa07.jpg",[],{"id":21248,"slug":21249,"title":21250,"dynasty":296,"author":3038,"museum":561,"description":21251,"tags":21252,"thumbUrl":21256,"material":70,"size":70,"collection":70,"collections":21257,"showCount":166,"zanCount":11,"manualWeight":46,"mainColor":47},224471,"liang-chang-shan-guan-tu-wang-hui-224471","良常山馆图","此画以高远构法铺展丘壑，主峰巍峨矗立，以细密披麻皴勾勒山石苍厚肌理，崖壁挺拔如削，尽显山川雄浑气魄。山间林木错落枯荣交织，深谷幽坳里茅庐隐现，清溪绕石穿林，携着潺潺野趣蜿蜒而出。\n笔墨兼工带写，秀润中透着苍劲，浅淡晕染柔和雅致，将山野沉郁的厚重与山居的清寂相融，把幽居丘园的隐逸雅兴，尽数藏进咫尺山水间，尽显静穆淡远的林下雅韵。",[23,200,24,951,95,985,6043,28,7,1066,21253,21254,1476,7239,3218,21255],"茅庐","清溪","静穆淡远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20794c152eb9e022b762b85b450fba70.jpg",[],{"id":21259,"slug":21260,"title":21261,"dynasty":296,"author":3909,"museum":561,"description":21262,"tags":21263,"thumbUrl":21264,"material":229,"size":70,"collection":42,"collections":21265,"showCount":166,"zanCount":46,"manualWeight":46,"mainColor":149},224258,"zhuo-se-shan-shui-tu-cha-shi-biao-224258","着色山水图","查士标(1615--1698)，字二瞻，号梅壑散人，懒老。新安(今安徽歙县、休宁)人，流寓江苏扬州。明末生员，家富收藏，故精鉴别，擅画山水，为海阳四家之一。清初著名画家，书法家和诗人。与孙逸、汪之瑞、僧弘仁等书画家一起被称为'新安四家'。专事书画，家多鼎彝，及宋元人真迹，遂精鉴别。画初学倪高士，后春梅华道人、董文敏笔法。用笔不多，惜墨如金，风神飘散，气韵荒寒，逸品也。与同里孙逸、汪之瑞、僧弘仁合称四大家。晚年画益超迈，直窥元人之奥。朱漫堂不轻许可人，独以得其狮子林画册为快。说者谓其晓起最迟，凡应酬，临池挥洒，必于深夜，不以为苦，八十余，尚童颜。商丘宋漫堂牵为之立传，并序行其诗。书法襄阳，极似董文敏。艺舟双揖评其行书为佳品上。",[23,24,25,28,29,36,837,112,33,30,31,578,7,132,565,34,6558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cfc9de1d2902bcb919c9edfaed550ab.jpg",[42],{"id":21267,"slug":21268,"title":21269,"dynasty":124,"author":436,"museum":360,"description":21270,"tags":21271,"thumbUrl":21272,"material":6235,"size":21273,"collection":70,"collections":21274,"showCount":166,"zanCount":46,"manualWeight":46,"mainColor":149},223454,"shan-po-lun-dao-tu-ye-yi-ming-223454","山坡论道图页","这幅画站在山中间，有几根竹枝。 左侧像桃花。 一个和尚和一个男人隐约出现； 一个和尚和一个男人在客厅里说话，画着一个拿着棍子听着的男孩，他身后是树。",[23,24,28,27,36,111,29,58,242,391,7,82,9568],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93e2d076740b9bf0b6ffda59a11b9da0.jpg","20X20",[],{"id":21276,"slug":21277,"title":21278,"dynasty":296,"author":21279,"museum":561,"description":21280,"tags":21281,"thumbUrl":21282,"material":70,"size":70,"collection":42,"collections":21283,"showCount":166,"zanCount":46,"manualWeight":46,"mainColor":47},223249,"shan-shui-2-pu-hua-223249","山水2","蒲华","蒲华（1832—1911）字作英，亦作竹英、竹云，浙江嘉兴人。号胥山野史、胥山外史、种竹道人，斋名九琴十砚斋、九琴十研楼、芙蓉庵，夫蓉盦、剑胆琴心室等。晚清著名书画家，与虚谷、吴昌硕、任伯年合称“海派四杰”。\n早年科举，仅得秀才，遂绝念仕途，潜心书画，携笔砚出游四方，后寓居上海，卖画为生。善花卉、山水，尤擅画竹，有“蒲竹”之誉。书法淳厚多姿；其画燥润兼施，苍劲妩媚，风韵清健。\n晚清民国时期著名画家，与任伯年、吴昌硕、虚谷合称“海派四杰”。\n与海上名家广有交往， 同吴昌硕尤为密切。蒲华长吴昌硕十二岁，昌硕幼时便闻蒲华画名，关系在师友之间，互取所长，风貌因之相近。\n善用湿笔，水墨淋漓，光彩照人。善花卉、山水，尤擅画竹，有“蒲竹”之誉。\n吴昌硕作十二友诗，记蒲华曰：“蒲作英善草书、画竹，自云学天台傅啸生，仓莽驰骤、脱尽畦畛。家贫，鬻画自给，时或升斗不继，陶然自得。余赠诗云：蒲老竹叶大于掌，画壁古寺苍涯琏。墨汁翻衣吟犹着，天涯作客才可怜。朔风鲁酒助野哭，拔剑斫地歌当筵。柴门日午叩不响，鸡犬一屋同高眠”。\n吴昌硕为蒲华所作《芙蓉庵燹馀草》作序言：“作英蒲君为余五十年前之老友也，晨夕过从，风趣可挹。尝于夏月间，衣粗葛，橐笔两三枝，诣缶庐，汗背如雨，喘息未定，即搦管写竹，墨沈淋漓。竹叶如掌，萧萧飒飒，如疾风振林，听之有声，思之成咏。其襟怀磊落，逾恒人也如斯。”\n谢稚柳论言：“蒲华的画竹与李复堂、李方膺是同声相应的，吴昌硕的墨竹，其体制正是从蒲华而来”。\n蒲华中年尤勤书学，寝馈旭、素，斗墨千纸，数日而尽。至于元明各家书帖，也常把玩临摹。以书入画，酣畅恣肆。\n蒲华晚年，笔老墨精。其书法，淳厚多姿；其绘画，燥润兼施，苍劲妩媚。尤喜画大幅巨幛，莽莽苍苍，蔚为大观。所作山水大轴或册页，虽多为山居、读书等传统题材，但布局新颖，风韵清隽。\n蒲吴两家粗豪奔放的画风，使因袭纤巧之时风大为逊色，一新画派崛起于沪上画坛。\n癖好古琴，遇即购藏，视为心爱之物，名其居屋为“九琴十砚楼”。",[23,24,25,95,27,28,36,29,272,33,7,31,227,1140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aa36173f62b89aaa10373bf91171f17.jpg",[42,146],{"id":21285,"slug":21286,"title":21287,"dynasty":296,"author":8516,"museum":401,"description":8517,"tags":21288,"thumbUrl":21289,"material":142,"size":8522,"collection":70,"collections":21290,"showCount":166,"zanCount":46,"manualWeight":46,"mainColor":47},223010,"hong-lou-meng-135-sun-wen-223010","红楼梦135",[23,24,56,28,58,61,242,7,187,1118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F422ad2a3ce4e9b4ec92b8bbbe900e30c.jpg",[],{"id":21292,"slug":21293,"title":21294,"dynasty":296,"author":8516,"museum":401,"description":8517,"tags":21295,"thumbUrl":21296,"material":142,"size":8522,"collection":70,"collections":21297,"showCount":166,"zanCount":46,"manualWeight":46,"mainColor":149},223008,"hong-lou-meng-133-sun-wen-223008","红楼梦133",[23,24,56,28,57,439,58,59,61,60,112,7,1117,19532],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf26e4e88f54c31f8e46f2b4f6017f7c.jpg",[],{"id":21299,"slug":21300,"title":21301,"dynasty":296,"author":8516,"museum":401,"description":8517,"tags":21302,"thumbUrl":21303,"material":142,"size":8522,"collection":70,"collections":21304,"showCount":166,"zanCount":46,"manualWeight":46,"mainColor":47},223004,"hong-lou-meng-129-sun-wen-223004","红楼梦129",[23,24,56,28,26,58,60,61,34,7,30,31,302,427,1262,565],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f8e8af6fbf9804e896431718aac1927.jpg",[],{"id":21306,"slug":21307,"title":21308,"dynasty":296,"author":8516,"museum":401,"description":8517,"tags":21309,"thumbUrl":21311,"material":142,"size":8522,"collection":70,"collections":21312,"showCount":166,"zanCount":46,"manualWeight":46,"mainColor":149},222997,"hong-lou-meng-122-sun-wen-222997","红楼梦122",[23,24,25,56,28,257,58,60,30,31,7,34,61,488,64,21310,33,489],"门","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaa92f071f885b8f9db68fa56e69a963.jpg",[],{"id":21314,"slug":21315,"title":21316,"dynasty":296,"author":8516,"museum":401,"description":8517,"tags":21317,"thumbUrl":21318,"material":142,"size":8522,"collection":70,"collections":21319,"showCount":166,"zanCount":46,"manualWeight":46,"mainColor":47},222971,"hong-lou-meng-96-sun-wen-222971","红楼梦96",[23,24,56,28,26,58,60,7,34,61,114,64,1118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee1906c1da41ad0f4c60f8f26426d895.jpg",[],{"id":21321,"slug":21322,"title":21323,"dynasty":296,"author":8516,"museum":401,"description":8517,"tags":21324,"thumbUrl":21325,"material":142,"size":8522,"collection":70,"collections":21326,"showCount":166,"zanCount":46,"manualWeight":46,"mainColor":47},222890,"hong-lou-meng-15-sun-wen-222890","红楼梦15",[23,56,28,57,33,30,31,29,58,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49b51568512f7d88d3f05bdc7a896282.jpg",[],{"id":21328,"slug":21329,"title":21330,"dynasty":296,"author":21331,"museum":1090,"description":21332,"tags":21333,"thumbUrl":21334,"material":454,"size":21335,"collection":70,"collections":21336,"showCount":166,"zanCount":11,"manualWeight":46,"mainColor":149},222804,"yang-tu-zhao-fu-222804","羊图","赵福","此画绘制了五只羊在野外寻吃玩耍的情景，岸上、河边水草丰富。一棵树静立河边，虬枝绿叶，生机勃勃。远处河面广阔，一片苍茫。",[23,24,25,28,56,1396,10893,112,7,2697],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34fcfa0a17edf603e84901a66ac413fa.jpg","24.8×25cm",[],{"id":21338,"slug":21339,"title":21340,"dynasty":296,"author":2564,"museum":53,"description":21341,"tags":21342,"thumbUrl":21343,"material":454,"size":21344,"collection":70,"collections":21345,"showCount":166,"zanCount":46,"manualWeight":46,"mainColor":149},222757,"ba-jun-tu-lang-shi-ning-222757","八骏图","清郎世宁八骏图，虽然是采用中国传统的颜料来作画，但在马匹、人物和柳树的表现上，却融入了西画著重光影的手法，显得立体感十足。右下角的签名，用极工整的仿宋体书写，据此推测，此画应是郎世宁来华初期，亦即雍正年间（1723-1735）的作品。",[23,24,25,56,28,3885,215,58,415,7,2697],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff18259a63d2ee470b9f3c7082a755b51.jpg","139.3公分，横：80.2公分",[],{"id":21347,"slug":21348,"title":21349,"dynasty":654,"author":21350,"museum":360,"description":21351,"tags":21352,"thumbUrl":21354,"material":21355,"size":21356,"collection":70,"collections":21357,"showCount":166,"zanCount":46,"manualWeight":46,"mainColor":149},221170,"shi-liu-luo-han-xiang-jia-li-jia-zun-zhe-tang-ka-bu-ben-guan-xiu-221170","十六罗汉像-迦哩迦尊者（唐卡布本）","贯休","贯休(832年-912年)，俗姓姜，字德隐，婺州兰溪(今浙江省兰溪市)人。唐末五代时期前蜀画僧、诗僧。七岁出家和安寺，日读经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年）卒，江苏梁溪(今无锡)人。字逸芬，又字撷芬，号桐阴、桐阴生、逸道人、楞烟、邻烟、邻烟外史等。",[24,25,111,27,38,82,36,29,30,31,33,34,7,130,35,364,3630,158,258,14519,300],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6be8cda5b92f8e3e57d5d8504a2c9485.jpg",[42,264],{"id":21570,"slug":21571,"title":21572,"dynasty":18,"author":21573,"museum":561,"description":21574,"tags":21575,"thumbUrl":21576,"material":217,"size":660,"collection":70,"collections":21577,"showCount":233,"zanCount":46,"manualWeight":46,"mainColor":149},237405,"fang-gao-ke-gong-shan-shui-shan-chen-xuan-zao-237405","仿高克恭山水扇","陈玄藻","陈玄藻（16世纪－17世纪），字尔鉴，福建兴化府莆田县人，明朝、南明政治人物。",[24,1900,27,36,186,29,34,35,30,114,1104,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1ddca81f206acc1b3ab61c8e4a5e6cf.jpg",[],{"id":21579,"slug":21580,"title":1259,"dynasty":296,"author":21581,"museum":561,"description":21582,"tags":21583,"thumbUrl":21584,"material":70,"size":70,"collection":42,"collections":21585,"showCount":233,"zanCount":46,"manualWeight":46,"mainColor":47},236341,"shan-shui-tu-ce-xiao-yi-yun-236341","萧一芸","萧一芸，清初安徽芜湖人，名画家萧云从之侄。山水参唐寅、沈周，用笔清逸。云从极宠爱之，故能得其真传。云从晚年画多其代笔，观者莫辨。此册八开，或作松屋听泉，或作孤村泛艇；或写山庄密雪，或写危岩夏寒……构境或平淡，或崇高，或险绝，或幽深。皆以枯笔细皴，渴墨密擦，清苍秀润，了无俗韵，是其极精之作。且保存如新，堪赏堪藏。\n萧云从(1596～1673) ，字尺木，号于湖老人、无闷道人、默思。安徽芜湖人，明末清初芜湖著名画家，姑熟画派创始人。幼而好学，笃志绘画、寒暑不废。明崇祯十一年(1638)与弟云倩加入复社，次年为副贡生。入清不仕，闭门读书赋诗作画，或遨游名山大川。善画山水格疏秀，兼工人物，与孙逸齐名。",[24,25,111,28,29,60,32,34,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5ddfa414b9c09b1f8ec44e4094725db.jpg",[42,264,648],{"id":21587,"slug":21588,"title":21589,"dynasty":296,"author":870,"museum":561,"description":21590,"tags":21591,"thumbUrl":21593,"material":70,"size":70,"collection":70,"collections":21594,"showCount":233,"zanCount":46,"manualWeight":46,"mainColor":149},235892,"yuan-ji-huang-shan-you-tu-ce-shi-tao-235892","原济黄山游图册","此作以奇崛危崖撑起画面骨架，焦墨勾勒崖壁嶙峋肌理，淡墨晕染出云气在峰谷间漫漶，明暗虚实铺就山谷的空寂幽深。谷内林麓掩映茅舍，三两旅人或策杖徐行，或围坐晤谈，将山水静穆与林下雅集的悠然意趣相融，动静相生。\n\n笔墨兼具苍润，湿笔晕染出山间空蒙水汽，枯笔皴擦刻画出岩石坚实质感，尽显黄山的清灵出尘。边角题诗与山水呼应，将探幽问道的雅趣藏于丘壑，尽显文人林泉栖隐之思。",[24,25,111,27,36,82,37,38,29,21592,58,215,7,34,1506],"孤峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff96f0d743602994e646e67e90a61dcf4.jpg",[],{"id":21596,"slug":21597,"title":7281,"dynasty":296,"author":2784,"museum":561,"description":21598,"tags":21599,"thumbUrl":21600,"material":70,"size":70,"collection":70,"collections":21601,"showCount":233,"zanCount":46,"manualWeight":46,"mainColor":47},235693,"shan-shui-tu-zhou-hua-yan-235693","此作为小青绿山水，以高远、深远法构景，主峰清隽挺秀，浅绛与青绿交融晕染，褪去浓艳尽显清和格调。留白铺陈云雾，将山谷晕染为空濛仙境，虚实相生间拉开山林纵深感。\n\n山脚林木繁秀，杂花点染枝头，流泉蜿蜒穿石而过，林麓间隐现山居人家，灵动雅致，暗合文人幽居雅趣。笔墨兼工带写，既有院体山水的精工细致，又具文人写意的秀逸灵韵，将丘壑幽寂、林泉清润的出尘意境娓娓铺展，尽显山水间的恬淡诗意。",[24,95,28,29,7,31,130,34,133,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff675f012ce8c073d8eabc9f62ada51e3.jpg",[],{"id":21603,"slug":21604,"title":5292,"dynasty":296,"author":4299,"museum":561,"description":5293,"tags":21605,"thumbUrl":21606,"material":217,"size":660,"collection":70,"collections":21607,"showCount":233,"zanCount":46,"manualWeight":46,"mainColor":149},235665,"shan-shui-ping-yuan-jiang-235665",[24,95,28,57,56,36,29,860,34,30,35,578,31,133,7,538],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefca7b2dcd8a712e35fd50b73241e017.jpg",[],{"id":21609,"slug":21610,"title":3378,"dynasty":296,"author":870,"museum":561,"description":21611,"tags":21612,"thumbUrl":21613,"material":70,"size":70,"collection":70,"collections":21614,"showCount":233,"zanCount":11,"manualWeight":46,"mainColor":149},235523,"yuan-ji-shan-shui-tu-ce-shi-tao-235523","此作用枯淡笔墨写就秋林逸景，坡岸错落在浅滩之侧，奇崛山石以披麻皴写就，苍劲松竹错落林间，茅庐隐于林麓深处。水畔留白见空茫，寥寥几笔便将秋水清寂铺陈开来。左侧题字笔意纵逸，与画境相生相融。\n全画简淡萧疏，枯润笔墨相映，留白处尽得山水悠远之致，将秋郊水畔冷寂澹然与幽居文人的散淡意趣相融，尽显文心画骨，把寄情林泉的幽怀藏在笔底。",[24,25,27,36,111,29,1140,7,31,82,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c0f27c31545873ecbd11eb7ab97c011.jpg",[],{"id":21616,"slug":21617,"title":106,"dynasty":296,"author":21618,"museum":561,"description":21619,"tags":21620,"thumbUrl":21621,"material":70,"size":70,"collection":42,"collections":21622,"showCount":233,"zanCount":46,"manualWeight":46,"mainColor":47},235374,"shan-shui-ce-mei-geng-235374","梅庚","此作为诗画合璧，上部行书题字笔墨清隽，文辞摹写山水幽境，与下方画作彼此呼应。画面以淡墨写就，虬劲枯松卓然挺立于崖岸，林下高士凭崖远眺飞瀑长川，远山以留白晕染出空濛幽深之意。整体笔墨简淡萧散，笔意松秀空灵，以极简的笔致勾勒出清远出尘的山水胜景，尽显文人画寄情林泉、澄怀观道的意趣，诗画相映间悠悠古意扑面而来，尽抒林下风流雅韵。",[24,25,111,27,29,36,58,7,130,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e6ec88fd071f9d84239a1723f17bcda.jpg",[42,648],{"id":21624,"slug":21625,"title":21626,"dynasty":18,"author":3243,"museum":561,"description":17903,"tags":21627,"thumbUrl":21628,"material":217,"size":660,"collection":70,"collections":21629,"showCount":233,"zanCount":46,"manualWeight":46,"mainColor":47},235203,"ren-wu-tu-shan-ye-chen-hong-shou-235203","人物图扇页",[24,25,1900,28,58,56,7,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5df89576066f1a08a513a6edf9e83f6f.jpg",[],{"id":21631,"slug":21632,"title":21633,"dynasty":18,"author":16839,"museum":561,"description":21634,"tags":21635,"thumbUrl":21636,"material":70,"size":70,"collection":70,"collections":21637,"showCount":233,"zanCount":46,"manualWeight":46,"mainColor":149},235118,"fang-dong-yuan-shan-shui-tu-zhou-wang-duo-235118","仿董源山水图轴","此作用笔师法江南山水意趣，又自出机杼。上部危崖崔嵬，以浓墨点苔晕出山峦肌理，一道飞泉蜿蜒垂落，破开山的沉浑静穆。中部茂林如盖，焦墨积染出层叠郁葱的林木，掩映幽微山径，尽显山野深邃。下部涧水湍流卷浪，拍击乱石，灵动水态与静穆山石形成鲜明动静对照。\n\n水墨干湿浓淡自然变幻，皴擦点染间既有古雅温润的苍厚质感，又带着纵逸雄放的笔意。题款书法与画面浑然相融，将幽江南山水的幽深灵秀与文人磊落襟怀相合，是师古能化的山水佳构。",[24,25,95,186,27,36,29,34,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cae3ee7788a99f246c152d52164de1f.jpg",[],{"id":21639,"slug":21640,"title":21641,"dynasty":296,"author":498,"museum":561,"description":21642,"tags":21643,"thumbUrl":21644,"material":70,"size":70,"collection":70,"collections":21645,"showCount":233,"zanCount":46,"manualWeight":46,"mainColor":47},235087,"fang-huang-gong-wang-shan-shui-tu-zhou-wang-yuan-qi-235087","仿黄公望山水图轴","《王翚仿黄公望山水图轴》是清代 创作的一幅画。\n图绘群山巍峨、叠嶂攀升、峡谷溪涧曲转迂回之景，山腰处的古刹及林谷间隐现的屋舍均表明此山此景是士人希冀向往的隐居之所。\n全幅为高远式构图，重点描绘了中远之景。\n其景致充盈，繁而不乱，令人有望之所见、遐所不见之思。\n图中的物象被施以各种技法加以表现，山石以短线条皴擦，山脊以落茄点横向点染，苔草以焦墨擢点，醒目灵动。\n树叶以墨晕、双圈设色逸笔绘出。\n全图以青、绿、赭石兼墨色皴擦渲染，使山林呈现郁郁明净之气，既得黄公望画格的精髓，又有超逸之趣。\n本图是作者步入中年时仿黄公望浅绛山水笔意精心绘制之作，用以祝王时敏之子王揆5岁寿辰，并祝贺王揆之子王原祁29岁登进士第之禧。\n本幅款署：“岁己酉，芝翁先生春秋五十，翬寄迹金陵，阙跻堂称祝之礼。\n今年春，令嗣茂京先生南宫高捷，余方倦游归，闻报雀跃，亟图此幅为先生寿，并以致茂京得隽之贺云。\n庚戌闰月既望，虞山石谷子王翚。\n”钤“王翚之印”朱文印。\n“庚戌”即清康熙九年（167年），作者时年9岁。\n鉴藏印有“金黼廷瘦仙氏收藏”、“固始张氏收藏金石文字”等诸方。",[24,25,95,27,36,29,7,34,35,31,244,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5185714d6608092df8218c1174e80ce5.jpg",[],{"id":21647,"slug":21648,"title":21649,"dynasty":296,"author":12494,"museum":561,"description":21650,"tags":21651,"thumbUrl":21652,"material":217,"size":660,"collection":70,"collections":21653,"showCount":233,"zanCount":46,"manualWeight":46,"mainColor":47},235008,"shan-shui-tu-shan-ye-zou-zhe-235008","山水图扇页","邹喆，生卒年不详，清代画家。字方鲁，江苏吴县人。自幼随父亲客游金陵。他的画宗其父，山水工稳而有古气，富简淡清逸的情趣。兼长水墨花卉，勾勒敷彩渲染有元人王渊的体格。“金陵八家”之一。",[24,25,1900,29,28,36,7,34,2404,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F912897ef9d1a3fe8291eca786da8f4b5.jpg",[],{"id":21655,"slug":21656,"title":3378,"dynasty":296,"author":870,"museum":360,"description":15904,"tags":21657,"thumbUrl":21658,"material":6274,"size":1879,"collection":70,"collections":21659,"showCount":233,"zanCount":46,"manualWeight":46,"mainColor":47},235002,"yuan-ji-shan-shui-tu-ce-shi-tao-235002",[24,27,111,36,29,96,35,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa88700a465848b4bfef96013a08e833f.jpg",[],{"id":21661,"slug":21662,"title":8141,"dynasty":296,"author":3185,"museum":360,"description":21663,"tags":21664,"thumbUrl":21665,"material":8144,"size":8145,"collection":70,"collections":21666,"showCount":233,"zanCount":46,"manualWeight":46,"mainColor":47},234967,"wu-wai-tian-yuan-tu-ce-kun-can-234967","引首二开清汪洪度行书“物外田园”四大字。画六开，各附长篇对题。末开款识：“余半年来弄此，樵者归：留此册，强余涂之。卧起点缀如此，云中鸡犬，僬者亦能亦点头否。石道人。”后钤“石谷”(白文)。余五开无款识，有钤印。\n据列题可知此册作于壬寅，即康熙元年(1662)，髡残时年五十一岁。其时他正隐居于南京牛首山。",[24,27,36,111,37,38,29,7,34,30,33,31,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26de27a970adfeee45dad7edbe20f4fb.jpg",[],{"id":21668,"slug":21669,"title":21670,"dynasty":18,"author":5311,"museum":561,"description":20348,"tags":21671,"thumbUrl":21672,"material":217,"size":660,"collection":70,"collections":21673,"showCount":233,"zanCount":46,"manualWeight":46,"mainColor":47},234842,"she-se-shan-shui-shan-ye-zhao-zuo-234842","设色山水扇页",[24,1900,28,29,36,96,7,58,114,5267,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40447eb24194def73a273649f11f6185.jpg",[],{"id":21675,"slug":21676,"title":7993,"dynasty":18,"author":21677,"museum":561,"description":21678,"tags":21679,"thumbUrl":21680,"material":217,"size":660,"collection":70,"collections":21681,"showCount":233,"zanCount":46,"manualWeight":46,"mainColor":149},234839,"shan-shui-shan-mian-wei-zhi-huang-234839","魏之璜","魏之璜。字叔考，上元（今南京）人。出身孤贫，天性孝友，养老亲，抚诸弟，胥取给於十指，不以干人。能书善画，以卖画为生。书师法《黄庭经》，结构严密，神采流丽。山水宗宋人，不袭粉本，岩壑树石多变化，别具风貌。生平画幅，绝无雷同。晚年用浓墨秃笔，苍老厚实，颇见功底。亦擅花卉及佛像，花卉淡墨写生，画佛施诸寺院。",[24,25,1900,27,29,34,35,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff739d6ab5a66ed9fd5bc38b5f836358.jpg",[],{"id":21683,"slug":21684,"title":21685,"dynasty":18,"author":436,"museum":561,"description":18186,"tags":21686,"thumbUrl":21687,"material":70,"size":70,"collection":70,"collections":21688,"showCount":233,"zanCount":46,"manualWeight":46,"mainColor":149},234691,"ming-ren-xue-jing-shan-shui-ce-ye-yi-ming-234691","明人雪景山水册页",[24,28,29,612,32,242,7,82,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0c5051c35d93cc31f1ab80646be71c8.jpg",[],{"id":21690,"slug":21691,"title":17489,"dynasty":18,"author":1247,"museum":561,"description":21692,"tags":21693,"thumbUrl":21694,"material":70,"size":70,"collection":70,"collections":21695,"showCount":233,"zanCount":46,"manualWeight":46,"mainColor":149},234567,"shan-shui-ren-wu-shan-qian-gong-234567","钱贡（公元16－17世纪初）明代著名画家，字禹方，号沧洲，吴县（今江苏苏州）人。\n山水不甚高雅，而位置可观。善人 物，间仿文、唐两家，却能逼真。万历十四年（一五八六）作山水图，四十年（一六一二）作渔翁乐图，继承南宋刘、李一派及唐寅画法，有仿唐寅人物大幅几能乱真。从艺活动在万历间。\n钱贡画山水“往往出入文征仲太史。”后人曾把他作为文征明门人之高弟。人物则“尤其所长”，“仿唐伯虎大幅，咄咄逼真”，继承了唐寅的人物大幅之风格，所画几可乱真。（《明画录》）\n其作品多旧藏于清宫内，其中录于《石渠宝笈》者甚多。绘画风格颇得清帝青睐，其作乾隆御题者众。\n《明画录》、《无声诗史》、《书史会要》、《中国版画研究重要书目》",[24,1900,28,29,58,32,34,7,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9cf9fc6383b90fab6279bc982778d65.jpg",[],{"id":21697,"slug":21698,"title":21699,"dynasty":18,"author":21700,"museum":561,"description":21701,"tags":21702,"thumbUrl":21703,"material":70,"size":70,"collection":70,"collections":21704,"showCount":233,"zanCount":46,"manualWeight":46,"mainColor":47},234491,"juan-dong-ting-ye-yue-shan-zhu-yin-234491","隽洞庭夜月扇","朱胤","明清时期，每逢中秋佳节，文人墨客们总会创作许多关于中秋赏月的扇面小品，相互赠予，以表思念团聚之情。",[24,25,1900,27,36,29,1385,34,7,113,114,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7189ad8459fc1b6f9a24ecaf33e0dcfd.jpg",[],{"id":21706,"slug":21707,"title":106,"dynasty":296,"author":21708,"museum":360,"description":21709,"tags":21710,"thumbUrl":21711,"material":368,"size":70,"collection":42,"collections":21712,"showCount":233,"zanCount":46,"manualWeight":46,"mainColor":47},234320,"shan-shui-ce-wang-jiu-234320","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。",[24,25,111,27,36,38,82,29,7,34,364,612],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36895b3e70d3dcf8d4166e70543c7c44.jpg",[42,264,648],{"id":21714,"slug":21715,"title":21716,"dynasty":18,"author":21717,"museum":360,"description":21718,"tags":21719,"thumbUrl":21720,"material":246,"size":70,"collection":70,"collections":21721,"showCount":233,"zanCount":46,"manualWeight":46,"mainColor":149},234182,"song-mao-jin-xi-shan-chun-xin-tu-juan-song-mao-234182","宋懋晋溪山春信图卷","宋懋","宋懋晋（？—1620年后）明代画家。字明之，松江（今属上海市）人。\n幼见牧童躯牛，从壁上图之辄神似。既长，不乐为经生言，去而学画。穷日夜临摹古迹，从宋旭受业，参以宋、元遗法，富有丘壑，与赵左抗衡。其气韵间与刘珏相埒。仙山楼阁，位置得当，为时所称，深受董其昌、邹迪光等推重，为“松江派”名家之一。兼善写松，题跋尤奕奕有风韵。万历十三年（1585）作山水扇，泰昌元年（1620）作山水图。其《金陵廿四景》图册，现藏南京博物院。作于万历四十四年（1616）的《汉宫春晓图》扇面（藏上海博物馆）等。",[23,200,24,25,26,28,29,36,7,427,60,30,31,35,3855,2961,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ba1a74833b25ec1416d17e54393026e.jpg",[],{"id":21723,"slug":21724,"title":21725,"dynasty":18,"author":3243,"museum":360,"description":21726,"tags":21727,"thumbUrl":21728,"material":12760,"size":21729,"collection":70,"collections":21730,"showCount":233,"zanCount":46,"manualWeight":46,"mainColor":47},234045,"qiu-xi-fan-ting-tu-shan-ye-chen-hong-shou-234045","秋溪泛艇图扇页","此图通过木叶丹黄的秋天景色和人物悠闲划艇的活动，展现出一种宁静清逸的意境，给人远离尘俗之感。清初期，陈洪绶面对明为清所灭、友人相继殉国的情境，深感亡国离乱之痛，产生了隐遁避世的情致。此图绘成后的第二年六月，他就在云门寺剃发为僧，改号“悔迟”、“悔僧”、“秃翁”，亦号“云门僧”、“迟和尚”等。图中山石、树木法自蓝瑛，多以中锋行笔，笔致粗犷，点染生动，于雄浑中见朴拙蕴藉，加强了画面的视觉效果。",[1900,24,25,27,36,29,32,242,7,31,58,82,37,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcca0bc4fcdb1b635c63e0a0c2219a288.jpg","纵16.3厘米，横51.8厘米",[],{"id":21732,"slug":21733,"title":21734,"dynasty":124,"author":436,"museum":360,"description":21735,"tags":21736,"thumbUrl":21737,"material":142,"size":21738,"collection":70,"collections":21739,"showCount":233,"zanCount":46,"manualWeight":46,"mainColor":47},234003,"feng-yu-gui-zhou-ye-yi-ming-234003","风雨归舟页","此图描绘风雨中江边的景象。 风和水在河面上升起，泛起涟漪和波浪。 一叶孤舟在风浪中前行，船舱里的一位乘客抬起头看向河岸。 近岸的芦苇、树枝、藤蔓在狂风暴雨中剧烈摇曳，与逆风行进的小船相呼应。 破石匆匆用笔，掀起狂风暴雨。 远处，天与水同色，云与山遥遥相望。 全天的浓烈和浓重都恰到好处，水墨是典型的南宋风格。",[24,25,111,27,28,36,29,32,34,7,31,724],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F090650b9f7490bc6479d959f1e649073.jpg","25.6×25.3cm",[],{"id":21741,"slug":21742,"title":4238,"dynasty":124,"author":998,"museum":561,"description":11629,"tags":21743,"thumbUrl":21744,"material":142,"size":21745,"collection":70,"collections":21746,"showCount":233,"zanCount":46,"manualWeight":46,"mainColor":149},232876,"ren-wu-gu-shi-tu-juan-liu-song-nian-232876",[23,200,24,25,26,56,28,57,37,38,82,58,60,61,34,7,2961,64,1129,1056],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc83c436c11f7cca4cd37dca18f9de04f.jpg","26.1x446.5厘米",[],{"id":21748,"slug":21749,"title":21750,"dynasty":18,"author":3504,"museum":283,"description":21751,"tags":21752,"thumbUrl":21753,"material":229,"size":21754,"collection":70,"collections":21755,"showCount":233,"zanCount":46,"manualWeight":46,"mainColor":47},232643,"you-he-ming-qin-wen-zheng-ming-232643","幽壑鸣琴","此画题诗：“万千层峦叠翠，千丈飞瀑洗尘心。愿我红弦的和声，是对松风古老的卑微回答。歌曲。” 这幅画存在不同的版本。学者们认为，这里看到的岩体的实体效果图和体积山体的构造更像是文征明的学生陆治（1496-1576）的特征。\n文徵明（1470年11月28日－1559年3月28日），原名壁（或作璧），字征明，四十二岁起，以字行，更字征仲。因先世为衡山人，故号衡山居士，世称“文衡山”。南直隶苏州府长洲县（今江苏苏州）人。明代画家、书法家、文学家、鉴藏家。",[200,24,25,95,28,36,29,7,130,34,132,31,1476],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb01cc776866ad354558b4fa54af76059.jpg","132 x 50.5 厘米",[],{"id":21757,"slug":21758,"title":21759,"dynasty":3017,"author":21760,"museum":561,"description":21761,"tags":21762,"thumbUrl":21763,"material":217,"size":660,"collection":70,"collections":21764,"showCount":233,"zanCount":11,"manualWeight":46,"mainColor":149},231738,"shi-ting-shi-dai-si-ji-shan-shui-tu-ping-feng-er-ping-yang-yue-231738","室町时代 四季山水图屏风-二屏","杨月","这幅山水以淡墨晕染空濛烟岚，远近山境层次尽显。近景烟波之上，渔翁撑舟而行，舱内隐者安坐，江湖野趣扑面而来。半山栈道上行人独行，山腰楼阁藏于松荫叠嶂之间，山居雅意自生。\n山石以简劲斧劈皴写就，林木点染苍秀，干湿墨色相互映衬，将幽寂山景晕染出朦胧空寂的禅意，把江湖隐逸之思与山居闲趣融为一体，萧散淡远间尽显东方山水留白余韵，悠悠勾勒出侘寂悠然的世外清境。",[23,24,25,27,28,29,60,32,31,7,34,30,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79061f8926eabe2c2bff2a6fa4b3debc.jpg",[],{"id":21766,"slug":21767,"title":21768,"dynasty":124,"author":436,"museum":53,"description":21769,"tags":21770,"thumbUrl":21772,"material":70,"size":21773,"collection":144,"collections":21774,"showCount":233,"zanCount":11,"manualWeight":46,"mainColor":47},231083,"qing-xi-wan-mu-tu-yi-ming-231083","清溪晚牧图","画面铺陈出悠然的乡野暮色，清溪浅流舒缓漫过滩涂。一头水牛浸在水中，半隐于苇草间，抬首斜睨，慵懒消暑；另一头负着戴斗笠的牧童，踏水登上岸坡，牧童持杆闲坐，不见丝毫匆忙。侧畔老树盘根虬曲，坡岸蒹葭随风轻摆，两只水鸟振翅掠过天际，为静谧图景添上灵动生机。\n\n笔墨清润秀雅，以淡墨晕染出水色空濛的氛围感，将晚牧时分的松弛乡趣娓娓道来，把日常放牧的寻常景致，晕染成了意韵悠长的诗意画卷，尽显乡野间的自在野趣。",[200,24,25,5986,28,56,27,1103,9687,201,31,34,4360,7,5524,21771,29,524],"牧歌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc81e794353e50d88ea22a19584279e31.jpg","75.6x44.3",[144],{"id":21776,"slug":21777,"title":21778,"dynasty":124,"author":436,"museum":561,"description":21779,"tags":21780,"thumbUrl":21781,"material":70,"size":70,"collection":70,"collections":21782,"showCount":233,"zanCount":46,"manualWeight":46,"mainColor":149},231055,"song-quan-pan-shi-tu-yi-ming-231055","松泉磐石图","画面以古松为骨，老干蟠曲遒劲，松针攒簇如凝墨团块，旁侧枯木枝桠如铁戟横斜，与长松相生，野意盎然。飞瀑自层岩间破壁而出，垂落撞碎成银浪，卷入涧中，湍流拍击磐石，似能耳闻泉声淙淙。层岩以浓淡墨色勾勒皴擦，块垒沉凝尽显山野荒寒。\n\n全作用水墨晕染皴擦，干湿浓淡交替，将幽寂清冷的林泉之境铺陈于绢素，静穆萧散的林下雅趣跃然眼前，尽显寄情林泉的隐逸襟怀。",[23,24,25,200,95,27,28,36,427,31,130,3807,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76784386c4b2ee1e768841b7f9de1bc8.jpg",[],{"id":21784,"slug":21785,"title":21786,"dynasty":296,"author":3437,"museum":561,"description":21787,"tags":21788,"thumbUrl":21790,"material":70,"size":70,"collection":70,"collections":21791,"showCount":233,"zanCount":46,"manualWeight":46,"mainColor":149},230948,"qing-yun-dong-he-tu-wu-li-230948","晴云洞壑图","此作以高远、平远交织的构图铺陈画面，层叠山石逐层递深，拉开幽邃山水空间。以苍劲厚重的皴法勾勒岩壑，尽显山石嶙峋质感，林木疏密错落，枝梢意态宛然，细节处见细腻功力。右下角独行旅人衬出山峦雄浑辽廓，以人之渺小衬出天地空阔，更显山居清寂。右上角题字与画面融为一体，晕染雅致文气，整体气韵沉静萧疏，将林壑间幽远静谧的山居意境尽显无遗，尽显古典山水的文人意趣。",[23,24,25,27,28,36,29,21789,883,34,7,364],"洞壑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd15f0936b3087b09b345f32de9721dc1.jpg",[],{"id":21793,"slug":21794,"title":2840,"dynasty":296,"author":1406,"museum":561,"description":21795,"tags":21796,"thumbUrl":21797,"material":70,"size":70,"collection":70,"collections":21798,"showCount":233,"zanCount":46,"manualWeight":46,"mainColor":47},230178,"fang-gu-shan-shui-ce-wang-shi-min-230178","水雾轻笼远岫，淡墨晕开江乡初夏的朦胧底色。柳丝垂曳拂过浅溪，田埂蜿蜒牵起篱舍人家，浓荫将村居温柔包裹。水渚间汀草错落，小巧板桥横卧溪上，连起幽僻乡路。\n\n浅绛设色调清润柔和，笔触松秀温婉，远山以虚笔淡墨晕染，留白铺就空濛水汽，将溽热化作悠悠闲意。近林点染疏密相宜，把江南村居的日常烟火，晕成了悠然冲淡的诗意，藏着文人归田园居的清梦，尽显江乡夏日的静穆安闲。",[24,25,2843,28,29,36,35,34,31,7,415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b30a7edaa0aac1a21f11cf6e484343d.jpg",[],{"id":21800,"slug":21801,"title":21802,"dynasty":296,"author":498,"museum":53,"description":21803,"tags":21804,"thumbUrl":21805,"material":203,"size":21806,"collection":70,"collections":21807,"showCount":233,"zanCount":46,"manualWeight":46,"mainColor":47},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。",[24,25,111,28,29,36,158,34,31,130,7,133,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b855412011780d4faf10c5428332274.jpg","约纵：29cm，横：29.5cm",[],{"id":21809,"slug":21810,"title":21811,"dynasty":18,"author":6896,"museum":561,"description":21812,"tags":21813,"thumbUrl":21814,"material":217,"size":660,"collection":70,"collections":21815,"showCount":233,"zanCount":46,"manualWeight":46,"mainColor":47},228854,"xun-yang-song-ke-tu-juan-wen-bo-ren-228854","浔阳送客图卷","文伯仁（1502---1575）明代画家，字德承，号五峰、摄山长、葆生、摄山老农、五峰山人、五峰樵客，汉族，湖广衡山人，系籍长州（今江苏苏州）。文徵明侄子。\n性暴躁，好使气骂座，少年时曾与叔文徵明相讼，一度系狱。工画山水，效王蒙，学“三赵”（令穰、伯驹、孟頫），笔力清劲，岩峦郁茂，布景奇兀，时以巧思发之，名在文徵明之下。横披大幅颇负出蓝之誉，唯构图时有塞实之感。\n善画人物，亦能诗。其山水画有简、繁两种面貌。简者效文徵明细笔山水，景色疏朗，笔墨细秀，多抒情意趣；繁者出自王蒙，山林层叠，构图饱满，皴点繁密，境界郁茂。",[23,24,25,26,27,28,29,32,201,34,7,36,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5504d48b2948047af35986cb9bd270c8.jpg",[],{"id":21817,"slug":21818,"title":21819,"dynasty":18,"author":14896,"museum":561,"description":21820,"tags":21821,"thumbUrl":21822,"material":70,"size":70,"collection":70,"collections":21823,"showCount":233,"zanCount":46,"manualWeight":46,"mainColor":47},228307,"jiang-shan-xue-ji-tu-shou-juan-xiang-sheng-mo-228307","江山雪霁图手卷","此作用淡墨晕染，留白拟积雪，绘就雪后江天。近岸寒林枯槎错落，崖巅孤亭孑立，可眺江色；山石以干笔皴擦，凝住冬日元气。远景江波澹澹，远山如墨痕晕散，孤鸟掠空衬出天地寥廓，满卷萧寒清旷之意。\n师法宋元笔墨，以极简之笔写尽雪霁荒寒，将文人幽居远眺的寄怀藏于山水间。后附题跋小楷娟秀，书画相映，在素淡笔墨里晕开空寂禅意，尽显古雅清逸的文人画风骨。",[23,24,25,26,27,36,29,612,7,34,33,201,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb55f709ab0f0994569af64b386bef267.jpg",[],{"id":21825,"slug":21826,"title":21827,"dynasty":78,"author":4794,"museum":561,"description":21828,"tags":21829,"thumbUrl":21830,"material":70,"size":70,"collection":70,"collections":21831,"showCount":233,"zanCount":46,"manualWeight":46,"mainColor":47},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。",[24,200,25,95,27,28,36,37,82,29,4415,32,34,7,58,158,258],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42e6fe60e76037c1ff051d0063db8088.jpg",[],{"id":21833,"slug":21834,"title":10572,"dynasty":124,"author":436,"museum":561,"description":21835,"tags":21836,"thumbUrl":21838,"material":70,"size":70,"collection":70,"collections":21839,"showCount":233,"zanCount":46,"manualWeight":46,"mainColor":47},227865,"chun-jiang-fan-bao-tu-ye-yi-ming-227865","近岸怪石崚嶒，古松盘虬错节，笔墨苍劲朴拙，尽显山野清旷之气。江面波平水远，风帆饱胀满张，逐浪悠游，远山晕染在烟霭之中，虚实相生铺展出平远无尽的江天胜景。\n\n诗画合璧，将春水放舟的闲逸融入尺幅之间，以小景承载阔远意境，简淡空灵里暗合寄情林泉的幽远意趣，尽显含蓄隽永的古典山水审美意韵。",[23,24,25,1465,27,28,36,29,4415,564,34,7,114,21837,38,82],"帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f17c75276403ef9deb01b11f04db765.jpg",[],{"id":21841,"slug":21842,"title":14148,"dynasty":124,"author":436,"museum":561,"description":21843,"tags":21844,"thumbUrl":21845,"material":70,"size":70,"collection":70,"collections":21846,"showCount":233,"zanCount":46,"manualWeight":46,"mainColor":149},227393,"gao-shi-guan-pu-tu-yi-ming-227393","此画为宋离、唐所画，无据可查，但整体画面陡峭优美。 在这幅画中，由远及近的山峦和竹林，都以恰如其分的虚实笔触描绘。 图中的瀑布悬垂至谷底，水雾缭绕。 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30.5",[],{"id":22006,"slug":22007,"title":22008,"dynasty":124,"author":22009,"museum":360,"description":22010,"tags":22011,"thumbUrl":22013,"material":673,"size":22014,"collection":70,"collections":22015,"showCount":233,"zanCount":46,"manualWeight":46,"mainColor":149},221588,"tian-jun-zui-gui-tu-liu-lv-zhong-221588","田畯醉归图","刘履中","这幅画描绘了一位老人和他的同乡田和他的亲戚们的场景。天镇乡在古代是管理区的所有者。这幅画共有三个场景。一是村民和亲戚的热情接待，天真周围都是敬酒。中间的场景是，老人喝醉了，骑在牛背上回来了。",[23,24,25,26,56,712,28,58,1103,34,7,22012],"饮酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa43ae57688cf51ca4d0b87f4bc13f8c3.jpg","纵21.7cm、横75.8cm",[],{"id":22017,"slug":22018,"title":22019,"dynasty":296,"author":2948,"museum":360,"description":13138,"tags":22020,"thumbUrl":22021,"material":229,"size":13141,"collection":70,"collections":22022,"showCount":233,"zanCount":46,"manualWeight":46,"mainColor":47},220305,"huang-shan-tu-ce-22-hong-ren-220305","黄山图册-22",[23,24,25,27,36,111,29,7,427,58,158,363],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d4f2c0db79efbfbcf1ca03a0c9769e3.jpg",[],{"id":22024,"slug":22025,"title":22026,"dynasty":296,"author":2948,"museum":360,"description":13138,"tags":22027,"thumbUrl":22028,"material":229,"size":13141,"collection":70,"collections":22029,"showCount":233,"zanCount":46,"manualWeight":46,"mainColor":47},220303,"huang-shan-tu-ce-23-hong-ren-220303","黄山图册-23",[23,24,25,111,27,36,29,7,427,883,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c8376654d6bab4cdd78b4855e83c3dc.jpg",[],{"id":22031,"slug":22032,"title":22033,"dynasty":18,"author":387,"museum":360,"description":13232,"tags":22034,"thumbUrl":13234,"material":601,"size":22035,"collection":289,"collections":22036,"showCount":233,"zanCount":46,"manualWeight":46,"mainColor":47},219626,"wang-gong-chu-shan-tu-tang-yin-219626","王公出山图",[23,200,24,25,26,27,56,36,38,37,82,29,58,7,34,33],"纵20厘米，横73.5厘米",[289],{"id":22038,"slug":22039,"title":22040,"dynasty":18,"author":6896,"museum":360,"description":22041,"tags":22042,"thumbUrl":22043,"material":84,"size":22044,"collection":42,"collections":22045,"showCount":233,"zanCount":46,"manualWeight":46,"mainColor":149},219218,"yun-yan-jia-sheng-tu-wen-bo-ren-219218","云岩佳胜图","该图描绘虎丘山云岩寺实景，从二山门、千人石、双吊桶、剑池、石桥直到山顶的佛阁和虎丘塔都一一收入画面。作品以写生为基础，捕捉住虎丘山的特征，表现出吴门画风。",[23,24,25,26,29,28,27,36,38,37,82,60,7,34,33,31,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5658b5730929f9dfde87aa2dd8229ce8.jpg","纵31.1cm，横63.6cm",[42],{"id":22047,"slug":22048,"title":22049,"dynasty":124,"author":436,"museum":53,"description":22050,"tags":22051,"thumbUrl":22052,"material":84,"size":22053,"collection":42,"collections":22054,"showCount":233,"zanCount":46,"manualWeight":46,"mainColor":47},218890,"shu-lin-ye-zhang-tu-yi-ming-218890","疏林曳杖图","这是对郭熙山水的模仿，只是笔法略显草率，可能是元代的作品。",[23,24,25,200,27,28,29,36,1777,7,58,114,364,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0484004fdf547cfb6952e361a78c340d.jpg","24.7x23.5",[42],{"id":22056,"slug":22057,"title":22058,"dynasty":124,"author":436,"museum":53,"description":22059,"tags":22060,"thumbUrl":22062,"material":84,"size":22063,"collection":42,"collections":22064,"showCount":233,"zanCount":46,"manualWeight":46,"mainColor":47},218816,"xi-qiao-gu-si-tu-yi-ming-218816","溪桥古寺图","这幅画描绘了一座隐藏在深山中的古寺，有一座连接山涧的危桥。原作没有标记，但仔细看画风就会发现它属于李唐和萧照的画派。",[23,24,25,1900,28,29,36,13547,22061,7,34,114,31],"溪桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9365706aca0f6b75e3edd136c54eef45.jpg","24.6x24.3",[42],{"id":22066,"slug":22067,"title":22068,"dynasty":124,"author":436,"museum":53,"description":22069,"tags":22070,"thumbUrl":22072,"material":84,"size":22073,"collection":289,"collections":22074,"showCount":233,"zanCount":46,"manualWeight":46,"mainColor":47},218803,"li-tie-guai-mo-jian-tu-yi-ming-218803","李铁拐磨剑图","画中的人物头发凌乱，满脸胡须，衣服破烂，赤脚，肌肉发达，在海滩上的一块凸起的石头上磨剑。滚动的海浪，加上松树和滚动的云朵，是画面的焦点。这幅画的原题是 周帝打醮，但从人物旁边的手杖来看，这幅画描绘的是道教传说中的八仙之一的李铁拐。传说他是一个魁梧的人，在成为不朽的人之后，被赋予了一个饥饿的人的身体，因此他的外表很丑陋。明朝的一位宫廷画师也制作了类似的图像，用来驱除邪灵。",[23,200,24,25,111,56,712,28,58,427,7,6620,22071],"剑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e1584d50aced77bd7bb3f19029177fc.jpg","23.9x21",[289],{"id":22076,"slug":22077,"title":22078,"dynasty":3825,"author":3826,"museum":561,"description":22079,"tags":22080,"thumbUrl":22081,"material":116,"size":70,"collection":70,"collections":22082,"showCount":233,"zanCount":46,"manualWeight":46,"mainColor":47},218171,"da-qian-kuang-tu-ce-7-zhang-da-qian-218171","大千狂涂册-7","张大千是中国著名的画家和书法家，他的作品被称为“大千狂涂册”。他出生于江苏省吴县，曾在上海、北京、香港和台湾等地工作和生活过。\n\n大千狂涂册是张大千的一组书法作品，其中包括了他的名字“大千”的书法，以及他的诗词和绘画作品。大千狂涂册的书法风格独特，带有浓厚的民国味道，反映了张大千对中国传统文化的热爱和尊重。\n\n张大千的书法作品不仅具有艺术价值，而且在学术界也有很高的价值。他的书法作品曾被收入多种学术出版物，并被世界各地的藏家和收藏家所收藏。\n\n此外，张大千还是一位著名的画家，他的画作曾被世界各地的美术馆和博物馆收藏。他的画作风格多样，涉及山水画、花鸟画、人物画等多个领域。他的画作不仅给人们带来视觉享受，而且还反映了他对中国传统文化的理解和探究。\n\n总的来说，张大千的书法作品和画作都是中国文化的瑰宝，值得人们去珍视和传承。",[24,25,27,36,29,60,32,30,34,7,133,37,1465],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c38b0ac6496c4186a00a1231e8058da.jpg",[],{"id":22084,"slug":22085,"title":22086,"dynasty":296,"author":3038,"museum":108,"description":19651,"tags":22087,"thumbUrl":22088,"material":40,"size":70,"collection":70,"collections":22089,"showCount":233,"zanCount":46,"manualWeight":46,"mainColor":149},214601,"fang-gu-shan-shui-ce-4-wang-hui-214601","仿古山水册-4",[24,111,29,27,28,186,36,30,31,7,130,34,35,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb92338e3965f50d1b87453e6a88b9d0.jpg",[],{"id":22091,"slug":22092,"title":22093,"dynasty":296,"author":3038,"museum":108,"description":19651,"tags":22094,"thumbUrl":22095,"material":40,"size":70,"collection":70,"collections":22096,"showCount":233,"zanCount":46,"manualWeight":46,"mainColor":149},214600,"fang-gu-shan-shui-ce-5-wang-hui-214600","仿古山水册-5",[24,25,111,27,2843,36,29,60,30,31,96,7,58,578,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d0f71d53f38e75d651baa858c567130.jpg",[],{"id":22098,"slug":22099,"title":22100,"dynasty":296,"author":3038,"museum":108,"description":19651,"tags":22101,"thumbUrl":22102,"material":40,"size":70,"collection":70,"collections":22103,"showCount":233,"zanCount":46,"manualWeight":46,"mainColor":47},214594,"fang-gu-shan-shui-ce-10-wang-hui-214594","仿古山水册-10",[24,25,111,27,29,36,201,31,34,7,114,883],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54d808e3472159700515c35f5d599a9b.jpg",[],{"id":22105,"slug":22106,"title":22107,"dynasty":18,"author":1100,"museum":20,"description":22108,"tags":22109,"thumbUrl":22110,"material":70,"size":70,"collection":42,"collections":22111,"showCount":233,"zanCount":46,"manualWeight":46,"mainColor":22112},203466,"xiao-jing-ba-fu-ce-dong-qi-chang-203466","小景八幅册","董其昌此册页小景，笔墨兼具南北宗之妙。左幅水墨疏朗，山石以披麻皴写就，线条清劲秀逸，平远构图中村落隐现，意境空灵悠远；右幅设色淡雅，红绿点染秋叶，树木姿态古拙，山石结构简括，自然生机与文人简淡相融。画面以书入画，笔墨韵律天成，小景中见大格局，尽显晚明文人画的空灵雅韵，是其“以画为乐”理念的生动体现。",[23,24,25,111,27,28,36,723,29,7,34,35,114,1104,31,4960,427,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14fe7ab7651450e8bb454fd86615685e.jpg",[42],"c1bcb3",{"id":22114,"slug":22115,"title":22116,"dynasty":18,"author":6367,"museum":20,"description":22117,"tags":22118,"thumbUrl":22119,"material":70,"size":70,"collection":42,"collections":22120,"showCount":233,"zanCount":46,"manualWeight":46,"mainColor":22121},203439,"chang-xia-shan-cun-tu-zhou-zhou-chen-203439","长夏山村图轴","峰峦巍峨入云，墨色皴擦间显山石苍劲肌理，云雾轻笼山腰，添缥缈之态。山麓楼阁临流而筑，飞檐层叠，结构精巧（界画之韵），周遭古木扶疏，枝叶婆娑，笔触灵动。溪水潺潺穿石而过，矶石错落，动静相谐。整幅以水墨为底，浓淡干湿交织，尽显夏日山居的清幽静谧，文人寄情山水的闲适意趣溢于笔端，浙派笔墨的雄浑与细腻在此交融，观之如临其境，心向往之。",[23,24,27,36,95,29,60,34,7,31,133,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a29c942bfcac35fba3e51442c04ede3.jpg",[42],"877d75",{"id":22123,"slug":22124,"title":22125,"dynasty":12318,"author":4726,"museum":20,"description":22126,"tags":22127,"thumbUrl":22128,"material":70,"size":70,"collection":42,"collections":22129,"showCount":233,"zanCount":46,"manualWeight":46,"mainColor":22130},202999,"jie-wu-qiu-yan-tu-zhou-huang-bin-hong-202999","结屋秋烟图轴","秋烟漫笼的层峦间，茅屋依岩而筑，溪涧绕石流淌。山石以苍劲皴笔勾勒，枯湿浓墨交织出浑厚质感；虬曲老树傍水而立，枝桠疏朗带秋意。小桥横跨溪上，孤舟静泊浅滩，处处透着幽居的清寂。笔墨兼用积墨、破墨之法，墨色晕染中见层次，丘壑间藏灵动，尽显山水的深邃与空濛之美。",[29,36,27,32,30,96,7,33,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F547a92107bcb6dac2dbecbe0d2ff0115.jpg",[42],"cbc4b7",{"id":22132,"slug":22133,"title":17389,"dynasty":12318,"author":4726,"museum":20,"description":22134,"tags":22135,"thumbUrl":22136,"material":70,"size":70,"collection":42,"collections":22137,"showCount":233,"zanCount":46,"manualWeight":46,"mainColor":22138},202869,"kan-shu-tu-zhou-huang-bin-hong-202869","这幅画以浑厚华滋的笔墨勾勒山水之韵，山峦层叠，皴擦与积墨交织，山石纹理苍劲古拙。山间云雾氤氲，似将峰峦轻笼，显深远之境。近景处松枝挺拔，亭台隐于林麓间，溪水绕石而过，静谧中藏生机。笔墨浓淡相宜，干湿互济，尽显自然灵秀与文人意趣，是画家晚年山水的典型风貌，于质朴中见深邃，于厚重中显清逸。",[24,29,27,36,8539,33,427,7,133,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd938673ed4b5cb9ebb8ccb397d562c68.jpg",[42],"b5af99",{"id":22140,"slug":22141,"title":22142,"dynasty":12318,"author":2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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。",[24,951,27,612,22155,1103,214,158,242,35,8316,7],"牛车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca962091e2a05f32ff6737bcf33face7.jpg","164.2x104.1",[144],{"id":22160,"slug":22161,"title":22162,"dynasty":18,"author":269,"museum":561,"description":22163,"tags":22164,"thumbUrl":22165,"material":217,"size":10969,"collection":70,"collections":22166,"showCount":148,"zanCount":46,"manualWeight":46,"mainColor":149},290974,"luo-han-zhou-dai-jin-290974","罗汉轴","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。",[200,24,25,95,784,27,58,9395,2241,213,391,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8803ccea802c306ac1ab099a6a43826.jpg",[],{"id":22168,"slug":22169,"title":10398,"dynasty":78,"author":22170,"museum":53,"description":22171,"tags":22172,"thumbUrl":22173,"material":601,"size":22174,"collection":70,"collections":22175,"showCount":148,"zanCount":46,"manualWeight":46,"mainColor":149},290951,"shuang-song-tu-li-kan-290951","李衎","此图画两株巨松拔地而起并肩矗立，遒劲的枝干直入天际，簇簇松针深郁苍劲。画家用浓墨圈点出老干的节疤，用浓淡不同的墨色钩出树下，树身愈近根部则用墨愈淡，最后山坡石溶为一体，显出苍松坚实的根基。苍松的荆棘及地面上的小竹，既衬托了松的高大，又给画面增添了生机。全画笔法苍劲工稳，显示出作者深厚的艺术功力。",[24,27,95,427,2242,7,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d2474b9db35f3929ba5a6223e626037.jpg","156.7x91.2",[],{"id":22177,"slug":22178,"title":22179,"dynasty":296,"author":359,"museum":561,"description":22180,"tags":22181,"thumbUrl":22182,"material":217,"size":660,"collection":70,"collections":22183,"showCount":148,"zanCount":46,"manualWeight":46,"mainColor":47},290386,"jiang-shan-wo-you-tu-di-yi-bai-wu-shi-juan-cheng-zheng-kui-290386","江山卧游图(第一百五十卷)","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。",[23,24,26,27,29,7,1066,30,31,3315,36,37,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefd991e50ebb9912ad98f0e5bd43f85a.jpg",[],{"id":22185,"slug":22186,"title":22187,"dynasty":78,"author":961,"museum":561,"description":13826,"tags":22188,"thumbUrl":22189,"material":217,"size":660,"collection":70,"collections":22190,"showCount":148,"zanCount":46,"manualWeight":46,"mainColor":149},290264,"shan-shui-tu-ke-luo-ban-wu-zhen-290264","山水图（珂罗版）",[23,200,24,25,95,27,29,36,30,31,34,7,1506],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F567aa9a65c7f4ddf17f2f831344484e3.jpg",[],{"id":22192,"slug":22193,"title":22194,"dynasty":296,"author":8516,"museum":561,"description":22195,"tags":22196,"thumbUrl":22199,"material":217,"size":660,"collection":70,"collections":22200,"showCount":148,"zanCount":46,"manualWeight":46,"mainColor":149},288374,"qing-geng-feng-seng-dao-tan-wan-shi-sun-wen-288374","青埂峰僧道谈顽石","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸。",[23,24,28,257,58,29,31,427,7,22197,22198,56],"僧道","顽石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F444c567ccb78cbe1acb63286caa254ff.jpg",[],{"id":22202,"slug":22203,"title":22204,"dynasty":654,"author":19742,"museum":561,"description":19743,"tags":22205,"thumbUrl":22207,"material":217,"size":660,"collection":70,"collections":22208,"showCount":148,"zanCount":46,"manualWeight":46,"mainColor":149},288267,"yan-ai-qiu-she-tu-zhou-zhao-gan-288267","烟霭秋涉图轴",[23,200,24,95,27,29,36,242,7,58,9719,22206],"涉水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f41603a217be642ab6b5d58c51d57e2.jpg",[],{"id":22210,"slug":22211,"title":22212,"dynasty":18,"author":436,"museum":561,"description":22213,"tags":22214,"thumbUrl":22215,"material":217,"size":660,"collection":70,"collections":22216,"showCount":148,"zanCount":46,"manualWeight":46,"mainColor":149},288157,"fang-song-ren-xue-shan-xing-lv-tu-li-zhou-yi-ming-288157","仿宋人雪山行旅图立轴","此作用笔苍劲老辣，以层层积墨晕染出冰封雪裹的寒山，嶙峋怪石棱角分明，积雪似凝脂覆于崖巅，留白与墨色相生，晕出山坳间的濛濛寒雾。古松虬曲苍劲，枝干擎着薄雪，于冷寂中透出倔强生机。\n\n山径间踽踽独行的旅人，为这片阒寂雪境添上一缕烟火气，反衬出天地空阔荒寒。整幅画将冬山的凛冽清旷铺陈开来，静穆中藏着深幽的山水意趣，尽显萧寒孤远的冬日山野之美。",[23,24,200,95,29,186,27,612,427,7,214,131,58,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2231d82e879c9de295b72e33f2816647.jpg",[],{"id":22218,"slug":22219,"title":22220,"dynasty":296,"author":16144,"museum":561,"description":16145,"tags":22221,"thumbUrl":22222,"material":217,"size":660,"collection":70,"collections":22223,"showCount":148,"zanCount":46,"manualWeight":46,"mainColor":47},288030,"tian-ping-shan-jing-tu-wang-bing-288030","天平山景图",[24,200,25,95,27,29,30,31,60,96,7,82,37,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feab36ff244ad3ea89c6dfff1f443d59e.jpg",[],{"id":22225,"slug":22226,"title":22227,"dynasty":18,"author":436,"museum":561,"description":22228,"tags":22229,"thumbUrl":22230,"material":217,"size":660,"collection":70,"collections":22231,"showCount":148,"zanCount":46,"manualWeight":46,"mainColor":149},287952,"fang-li-tang-hao-pu-tu-juan-yi-ming-287952","仿李唐濠濮图卷","此作用笔追摹北宗风骨，取景溪山幽隅。左岸危岩崚嶒，古木盘根错结于石罅，虬曲苍劲，枝叶攒簇如盖；右岸林樾荫蔽，二雅士临流趺坐，静听溪声、观览山光。\n山石以斧劈皴挥写，方硬利落，尽显岩壑沉厚质感；水纹细劲萦回，状摹出溪涧清浅潺湲之态。整幅以古雅底色衬出林泉幽寂，将文人寄情山水的闲淡襟怀，融于雄健笔墨之中，萧散出尘，兼具雄浑骨力与幽远意境。",[23,24,26,951,28,36,7,132,213,4019,4701],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f11da397377cad1cc1e22134625497e.jpg",[],{"id":22233,"slug":22234,"title":22235,"dynasty":18,"author":436,"museum":561,"description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[1] ，以弘旿孙绵勋袭贝子。子孙递降，以镇国公世袭。",[23,24,25,26,28,29,56,58,215,22282,34,7,133,35,132,82,200],"象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22b4396c56ffa5c6d5916409e929ea31.jpg",[264],{"id":22286,"slug":22287,"title":18552,"dynasty":18,"author":18553,"museum":561,"description":22288,"tags":22289,"thumbUrl":22290,"material":70,"size":70,"collection":42,"collections":22291,"showCount":148,"zanCount":46,"manualWeight":46,"mainColor":149},239225,"ju-jie-shan-shui-zhou-ju-jie-239225","居节(约1524-1585后)〔明〕字士贞，一作贞士，号商谷、西昌逸士，吴县(今江苏苏州)人。少时从文嘉学画，文徵明见其运笔，惊喜之余，遂授以法，为文徵明高足弟子。所作山水意象简远，有来人韵致，字与诗亦自师门来。尚气节，虽贫困只以丹青自娱，不屑仰事侯门。晚年因触犯织造太监孙隆，家破，在苏州虎丘南村僦屋数间，仍萧然自适。或绝粮，则旦起写《疏松远岫》一轴，令童子易米以炊，后竟以穷死。后人珍视其画，认为可与朱朗、侯懋功相颉颃。传世作品有隆庆二年(1568)作《品泉诗意图》，图录于《中国名画》；万历二年(1574)作《松荫观瀑图》轴、十一年(1583)作《云岚松色图》卷现藏故宫博物院；《万松小筑图》轴藏上海博物馆；嘉靖四十年(1561)作《潮满春江图》轴藏镇江市博物馆；万历九年(1581)作《松壑高闲图》轴藏香港虚白斋。能诗，著有《牧豕集》。《明画录》卷四谓其：“年六十，竞以穷死。”",[200,24,25,95,27,36,29,7,34,242,35,364,1396],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00f9bf572940e82f9e72b15c28a474de.jpg",[42],{"id":22293,"slug":22294,"title":22295,"dynasty":296,"author":12689,"museum":561,"description":22296,"tags":22297,"thumbUrl":22298,"material":70,"size":70,"collection":42,"collections":22299,"showCount":148,"zanCount":46,"manualWeight":46,"mainColor":47},239194,"san-da-ming-shan-shi-er-tu-ce-xu-fang-239194","三大名山十二图册","此帧以渴笔焦墨写就山林丘壑，奇崛峰峦以短皴勾勒，尽显山石嶙峋质感，溪岸林木错落生姿，幽谷间屋舍隐现，铺陈出荒寒清寂的山居雅境。左侧行书题跋笔意萧散灵动，书画合璧，以文释意。笔墨间寄寓着画家疏离尘俗、安贫守节的隐逸襟怀，将遗民文人静守林泉的淡泊心境融于尺幅之间，是文人山水画中以意驭笔、以画明志的佳作，尽显乱世之中文人的精神归处。",[24,25,111,27,29,34,7,427,187,36,37,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4d3c923c0a1173967369105dfabce1a.jpg",[42,264],{"id":22301,"slug":22302,"title":106,"dynasty":296,"author":22303,"museum":561,"description":22304,"tags":22305,"thumbUrl":22306,"material":70,"size":70,"collection":42,"collections":22307,"showCount":148,"zanCount":46,"manualWeight":46,"mainColor":149},239005,"shan-shui-ce-li-dong-239005","李栋","康熙四十一年（一七o二）中顺天乡榜，授内阁中书。工诗文，善篆隶，兼画山水，尤工小李将军法，名震江、淮间。著自怡堂稿、楚游杂记。《图绘宝鉴续纂》、《高邮州志》、《兴化县志》。",[24,25,111,28,27,36,29,30,31,33,34,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56aa001791b78be3d3dbb1d84c29775c.jpg",[42,264],{"id":22309,"slug":22310,"title":15352,"dynasty":296,"author":3038,"museum":561,"description":22311,"tags":22312,"thumbUrl":22313,"material":70,"size":70,"collection":42,"collections":22314,"showCount":148,"zanCount":46,"manualWeight":46,"mainColor":47},238947,"shan-shui-ye-wang-hui-238947","图绘万壑千岩、草木葱茏、瀑布高悬直泻的江南风光。王翚约16岁师从同邑张珂学画时，就以元黄公望（号井西道人）的笔墨为宗，刻苦摹学始终不怠。此图是他早年学黄氏画法的代表作。图中山石以赭色和绿色交替晕染，学黄氏用纵线的披麻皴皴擦石面，笔势潇洒而秀润。其石边缘上的苔点要比黄氏的更为繁密，排列整齐的苔点，给高崖峻壑增添了青绿之美，同时，它与以卧笔横点表现的树叶，形成点与点的呼应，全图在“点”的统一下，具有湿润华滋的艺术效果。",[24,25,27,28,36,111,29,34,30,31,201,7,8549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f8241595b412879fd3462585f1b6fb1.jpg",[42,264],{"id":22316,"slug":22317,"title":106,"dynasty":296,"author":22318,"museum":561,"description":22319,"tags":22320,"thumbUrl":22323,"material":70,"size":70,"collection":42,"collections":22324,"showCount":148,"zanCount":46,"manualWeight":46,"mainColor":149},237896,"shan-shui-ce-cheng-hui-hao-237896","程徽灏","此作以枯淡笔墨绘就秋山幽居，浅绛设色晕染出清秋山林萧疏之致。山峦以披麻皴写意铺展，笔意松脱苍劲，淡墨晕开云气，衬出山峦空濛悠远。溪岸林木错落，木叶疏朗，茅舍板桥隐逸其间，野趣悠然自生。\n\n题款与画面浑然相融，留白衬出山川空寂，将林泉高致的隐逸情怀寄于尺幅间。简笔勾勒却骨力暗藏，淡墨轻敷而意韵悠长，尽显文人山水小品的雅致风骨，于浅淡中尽显林下风流。",[24,27,36,111,29,33,96,7,34,242,22321,8940,6131,22322],"山体","皴染结合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83e88565ddc648d685889817fc186807.jpg",[42,146],{"id":22326,"slug":22327,"title":971,"dynasty":296,"author":4110,"museum":561,"description":22328,"tags":22329,"thumbUrl":22330,"material":673,"size":70,"collection":42,"collections":22331,"showCount":148,"zanCount":46,"manualWeight":46,"mainColor":47},237688,"shan-shui-zhou-sun-yi-237688","孙逸(1604—约1658) ，字无逸，号疎林，亦号石禅，明朝末清朝初海阳（今安徽休宁）人，与萧云从齐名，合称孙萧，与弘仁、汪之瑞、查士标为新安派四大家；字仲举。\n山水得黄公望法，人以为文徵明后身。淡而神旺，简而意足。尝画歙山二十四图。亦工花卉。传世作品有崇祯十二年（1639）与李永昌、汪度、弘仁、刘上延为李生白联作《冈陵图》合卷，每人画一段依次相接，孙逸所画第四段，墨色变化层次分明，质朴洁静，萧疏清逸，现藏上海博物馆；十六年（1643）作《茅屋长松图》轴藏故宫博物院；《仿云林山水图》扇页，自题：“云林不是人间笔，胸次无尘腕下仙，摹得东冈草堂法，两三株树小亭边。旋吉词兄属涂并题，正。孙逸。”藏安徽省博物馆；顺治十一年（1654）作《秋山图》轴、十四年作《仿黄公望山水图》扇页、康熙十九年（1680）作《山水》册页著录于《中国书画家印鉴款识》。从艺活动约于康熙前期。",[24,25,95,27,36,29,112,391,272,35,7,30,31,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08dd0626551da2c6ee84d50acbd958e6.jpg",[42],{"id":22333,"slug":22334,"title":22335,"dynasty":296,"author":22336,"museum":561,"description":22337,"tags":22338,"thumbUrl":22339,"material":217,"size":660,"collection":70,"collections":22340,"showCount":148,"zanCount":11,"manualWeight":46,"mainColor":47},237491,"fang-cha-shi-biao-shan-shui-shan-wu-da-cheng-237491","仿查士标山水扇","吴大澂","吴大澂[chéng]（1835年—1902年），初名大淳，字止敬，又字清卿，号恒轩，晚号愙斋，江苏吴县（今江苏苏州）人。清代官员、学者、金石学家、书画家，民族英雄。清同治七年（1868年）进士。善画山水、花卉，精于篆书。皆得力于金石鉴赏修养。\n在第二次鸦片战争之后的1886年，吴大澂与沙俄谈判。他据理力争，迫使沙俄重立土字碑、并对中国的出海权进行妥协：图们江口的出海权虽不能共享，但中国船只可以借道出海，俄国不得阻止。吴大澂又设法延长谈判，迫使沙俄归还了黑顶子山地区（今吉林珲春敬信镇）。其战略眼光与爱国精神令后人称颂。",[24,1900,27,29,186,112,7,35,114,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53e33f5203017dc01a2a7c4c8e095cef.jpg",[],{"id":22342,"slug":22343,"title":22344,"dynasty":18,"author":22345,"museum":360,"description":22346,"tags":22347,"thumbUrl":22348,"material":229,"size":70,"collection":42,"collections":22349,"showCount":148,"zanCount":46,"manualWeight":46,"mainColor":47},237013,"xi-zhu-ce-zhu-ying-237013","西筑册","朱瑛","朱瑛《西筑》册（北京故宫博物院藏，蒙加斯列莫夫兄见告），号为十咏，止见其八，题曰“引泉”、“种竹”、 “负薪”、 “有客”、“坐石”、“步月”、“枕流”、“径行”（高景逸有《和西筑咏》八首，七题与同，无“径行”，而别有“卧雪”一题），迥然森秀，眼为一洗。\n《引泉》，高诗曰：“次第竹根来，相将得到家。鸟啼春雨后，流出满山华。”\n《负薪》，高诗曰：“采薪松岩下，日暮负盈肩。还思天际鹤，或恐避荼烟。”\n《径行》，高诗无之，另《卧雪》曰：“山上雪连屋，山僧拥褐眠。下方来往绝，身在几禅天。”\n《步月》，高诗曰：“独坐松堂下，参差静影来。西湖歌吹歇，推却小窗开。”\n《种竹》，高诗曰：“自将山竹种，岂望便成林。一竿明月里，聊尔步清阴。”\n《有客》，高诗曰：“偶随白云出，不掩白云扉。有客坐来久，山僧归未归。”\n《坐石》，高诗曰：“裴回涧边石，小憩一悠然。不知山月吐，已满竹窗前。”\n《枕流》，高诗曰：“春涧鸣幽鸟，春华欲满山。不知人世事，一枕石泉闲。”\n瑛姓名见汪玉水《珊瑚网》，玉水开檇李崇祯画社，戊辰（1628）广征诸家作《摩诘句图》，得百余帧，存录者廿七人，其三“清夜何悠悠，扣舷明月中。”署款“啸海朱瑛”，啸海其号也（《西筑》册钤印“山公”，当亦别号）。",[24,25,111,27,28,36,34,187,7,578],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe81f0cd86aef5b2cadbeb5c25aee7d72.jpg",[42,264],{"id":22351,"slug":22352,"title":22353,"dynasty":18,"author":6367,"museum":561,"description":19143,"tags":22354,"thumbUrl":22355,"material":217,"size":660,"collection":70,"collections":22356,"showCount":148,"zanCount":46,"manualWeight":46,"mainColor":149},236696,"shan-shui-shan-zhou-chen-236696","山水扇",[24,200,25,1900,27,36,29,427,7,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bc88505f15354988ebf6373d58a9cb9.jpg",[],{"id":22358,"slug":22359,"title":22360,"dynasty":18,"author":15559,"museum":561,"description":22361,"tags":22362,"thumbUrl":22363,"material":217,"size":660,"collection":70,"collections":22364,"showCount":148,"zanCount":11,"manualWeight":46,"mainColor":149},236559,"hu-xi-san-xiao-shan-li-shi-da-236559","虎溪三笑扇","李士达的生活年代大约是十六世纪中叶到十七世纪初。在万历二年（公元1574年）考中进士，泰昌元年（公元1620年）还画过一幅《关山风雨图》，活了八十多岁。",[24,1900,27,36,58,427,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaff1c08f70ee9ae6d96b05eee03b10a.jpg",[],{"id":22366,"slug":22367,"title":16183,"dynasty":296,"author":16184,"museum":360,"description":16185,"tags":22368,"thumbUrl":22369,"material":454,"size":16189,"collection":70,"collections":22370,"showCount":148,"zanCount":46,"manualWeight":46,"mainColor":149},236137,"li-chao-xian-hou-gu-shi-tu-jiao-bing-zhen-236137",[24,28,56,58,34,8051,7,187,1273],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85497fe316f8c11e9550b2671035e9b8.jpg",[],{"id":22372,"slug":22373,"title":16183,"dynasty":296,"author":16184,"museum":360,"description":16185,"tags":22374,"thumbUrl":22376,"material":454,"size":16189,"collection":70,"collections":22377,"showCount":148,"zanCount":46,"manualWeight":46,"mainColor":250},236134,"li-chao-xian-hou-gu-shi-tu-jiao-bing-zhen-236134",[24,28,56,111,58,59,1396,427,8519,4543,1140,61,64,22375,578,34,6105,13770,20701,7,19516],"衣饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20536eaae71a5f285010637b4ffe3142.jpg",[],{"id":22379,"slug":22380,"title":971,"dynasty":18,"author":9195,"museum":561,"description":22381,"tags":22382,"thumbUrl":22383,"material":217,"size":660,"collection":70,"collections":22384,"showCount":148,"zanCount":46,"manualWeight":46,"mainColor":47},236017,"shan-shui-zhou-fang-yi-zhi-236017","方以智（1611年－1671年11月9日），字密之，号曼公，又号鹿起，别号龙眠愚者，出家后改名大智，字无可，别号弘智，人称药地和尚。南直隶安庆府桐城（今安徽桐城）人。",[24,25,95,27,36,29,7,427,30,31,33,114,1104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef511a540cd7c362a9bfeac870dc8c0a.jpg",[],{"id":22386,"slug":22387,"title":22388,"dynasty":18,"author":3243,"museum":561,"description":17903,"tags":22389,"thumbUrl":22390,"material":217,"size":660,"collection":70,"collections":22391,"showCount":148,"zanCount":46,"manualWeight":46,"mainColor":47},235834,"qiu-jiang-fan-ting-tu-shan-ye-chen-hong-shou-235834","秋江泛艇图扇页",[24,1900,28,29,34,31,32,7,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F594d35bd690e97efc840ff5ab3451139.jpg",[],{"id":22393,"slug":22394,"title":5292,"dynasty":296,"author":4299,"museum":561,"description":5293,"tags":22395,"thumbUrl":22396,"material":217,"size":660,"collection":70,"collections":22397,"showCount":148,"zanCount":46,"manualWeight":46,"mainColor":149},235663,"shan-shui-ping-yuan-jiang-235663",[24,25,57,56,28,257,29,60,427,2278,130,133,7,578],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa367e713deec5c0cba384b8928f36c57.jpg",[],{"id":22399,"slug":22400,"title":21641,"dynasty":296,"author":3038,"museum":561,"description":22401,"tags":22402,"thumbUrl":22403,"material":70,"size":70,"collection":70,"collections":22404,"showCount":148,"zanCount":11,"manualWeight":46,"mainColor":47},235606,"fang-huang-gong-wang-shan-shui-tu-zhou-wang-hui-235606","此作以高远兼深远之法写就，层峦叠嶂自右上逶迤铺展，山势雄秀兼具，留白晕染仿出初雪覆山的清润寒意。干笔皴擦间点缀湿墨晕染，勾勒出岩体质朴苍劲的纹理。\n\n林木疏密错落，枯荣交织，挺劲枝干带着摇曳之姿，涧水潺潺穿林绕石，掩映处的山居茅舍，衬出林泉幽寂的林下之致。右上角题诗补白，笔墨与文心相融，既得元人萧散简远的林下意境，又不失清丽秀润的自家风骨，师法前人却不泥古，将山川林壑的静穆生机晕染开来，尽显山水笔墨的隽永意趣。",[24,25,95,27,28,36,29,34,7,31,133,565,159,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12ebab63a5fd626204d87b2f599add4a.jpg",[],{"id":22406,"slug":22407,"title":22408,"dynasty":18,"author":3448,"museum":561,"description":19218,"tags":22409,"thumbUrl":22410,"material":217,"size":660,"collection":70,"collections":22411,"showCount":148,"zanCount":46,"manualWeight":46,"mainColor":47},235530,"luo-ri-ning-lu-tu-shan-ye-lu-zhi-235530","落日凝露图扇页",[24,1900,28,29,34,7,60,2229,82,36],"https:\u002F\u002Foss.c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墨笔","78.1cmx42.6cm",[],{"id":22476,"slug":22477,"title":22478,"dynasty":18,"author":238,"museum":561,"description":22479,"tags":22480,"thumbUrl":22481,"material":70,"size":70,"collection":70,"collections":22482,"showCount":148,"zanCount":46,"manualWeight":46,"mainColor":47},234628,"fang-fan-kuan-shan-shui-shan-ye-lan-ying-234628","仿范宽山水扇页","蓝瑛（1585-1664），一说（1585-约1666），明代画家。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。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 ，与文征明、沈周并重。",[1900,27,36,186,29,32,33,242,7,114,58,37,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8cc72bbb506c453f91f6e75f20782db.jpg",[],{"id":22484,"slug":22485,"title":22486,"dynasty":18,"author":238,"museum":360,"description":22479,"tags":22487,"thumbUrl":22488,"material":70,"size":70,"collection":70,"collections":22489,"showCount":148,"zanCount":46,"manualWeight":46,"mainColor":149},234477,"shan-shui-shan-ye-lan-ying-234477","山水扇页",[1900,24,29,27,28,36,7,34,31,32,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee5eef4e9e844dc82ec6dd66dffe0f98.jpg",[],{"id":22491,"slug":22492,"title":22493,"dynasty":18,"author":1665,"museum":561,"description":22494,"tags":22495,"thumbUrl":22496,"material":70,"size":70,"collection":70,"collections":22497,"showCount":148,"zanCount":46,"manualWeight":46,"mainColor":47},234209,"shu-hua-he-bi-juan-liu-jue-234209","书画合璧卷","刘珏（1410—1472）字廷美，号完庵，南直隶苏州府长洲（今江苏苏州）人。宣德中，苏州知府况钟举为吏，不就，得补生员，正统三年（1438）中举人，授刑部主事，迁山西按察司佥事，年五十弃官归。卒年六十三。\n老而嗜学不衰，为诗清丽可咏，景泰、天顺间，为吴中诗人之最，京师号为刘八句。书正、行出赵孟頫，山水出王蒙，行草学李邕，各极其妙。写山水林谷泉深，石乱木秀，云生绵密，幽媚风流，蔼然高者，攀鳞巨老，庶乎升堂，特未入室耳。天顺（1457—1464）间与杜琼、徐有贞、马愈、沈贞吉、恒吉并能，写山水，近世莫及。",[23,200,24,25,26,37,38,27,36,29,33,34,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2727e34c1088f093d9673232a8eced1b.jpg",[],{"id":22499,"slug":22500,"title":106,"dynasty":18,"author":1100,"museum":360,"description":3543,"tags":22501,"thumbUrl":22502,"material":1107,"size":3546,"collection":70,"collections":22503,"showCount":148,"zanCount":46,"manualWeight":46,"mainColor":47},234060,"shan-shui-ce-dong-qi-chang-234060",[24,25,111,27,36,29,427,7,31,114,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f30ce9ddfaf2159f725103c9460f248.jpg",[],{"id":22505,"slug":22506,"title":106,"dynasty":18,"author":238,"museum":360,"description":22507,"tags":22508,"thumbUrl":22509,"material":885,"size":11482,"collection":70,"collections":22510,"showCount":148,"zanCount":46,"manualWeight":46,"mainColor":47},233968,"shan-shui-ce-lan-ying-233968","蓝瑛（1585—约1666年），字田叔，号蜨叟、石头陀、西湖山民等，钱塘（今浙江杭州）人。擅画山水，早年以摹古为主，宗法唐宋元诸家，尤以习元黄公望、明沈周最有心得，笔致工整细润，墨色清淡妍静。中年于传统的绘画基础上形成自己的绘画面貌，笔墨苍劲雄浑，于疏简粗旷的线条组合中表现高峻突兀的江南葱郁之景。钱塘又称武林，后人将蓝瑛和从其学画的刘度、蓝孟、蓝深等合称“武林画派”。",[24,25,111,27,36,29,33,31,7,34,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7defdc594b8dc33e1658736fecc8c865.jpg",[],{"id":22512,"slug":22513,"title":5673,"dynasty":296,"author":870,"museum":360,"description":5674,"tags":22514,"thumbUrl":22515,"material":246,"size":5679,"collection":70,"collections":22516,"showCount":148,"zanCount":46,"manualWeight":46,"mainColor":47},233773,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233773",[24,25,111,27,28,29,34,1081,31,7,58,38,82,36,33,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facfe15b15dd27ffce25b8a5334ea64a4.jpg",[],{"id":22518,"slug":22519,"title":3680,"dynasty":296,"author":870,"museum":561,"description":3681,"tags":22520,"thumbUrl":22521,"material":229,"size":3684,"collection":70,"collections":22522,"showCount":148,"zanCount":46,"manualWeight":46,"mainColor":47},233383,"yuan-ji-jin-shan-long-you-si-shi-yi-ce-shi-tao-233383",[24,25,27,36,111,29,30,31,7,58,187,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6a2cb0bf3c261545bb9cb2f6d60a55a.jpg",[],{"id":22524,"slug":22525,"title":22526,"dynasty":296,"author":3038,"museum":360,"description":22527,"tags":22528,"thumbUrl":22529,"material":885,"size":22530,"collection":70,"collections":22531,"showCount":148,"zanCount":46,"manualWeight":46,"mainColor":47},233232,"qing-shan-bai-yun-shan-mian-wang-hui-233232","青山白云扇面","王翚自称「于青绿法，静悟三十年，始尽其妙」（王翚《清晖画跋》），可见其青绿山水不仅是他对色墨融合技法的探索，亦融入了其个人的人生体验。王翚画山水不为「南宗」所囿，有集「南北宗」画家之大成，《读画辑略》称「画分南北二宗至石谷合而为一」，恽寿平亦称「古今来笔墨之至龃龉不能相入者，石谷则罗而致之笔端，融洽而出，神哉技乎」。\n（张庚《国朝画徵录》卷中）集多家笔法之大成的特点在其青绿山水中有突出体现，如王翚三十八岁（一六六九年）所作《青山白云图》扇题识中说：「尝见高尚书《夏麓晴云》、赵承旨《潇湘水云》、方羽士《奇峰出云》，此写《青山白云图》，参用三家笔意，而设色兼施僧繇没骨法，不知得以古人神韵否？」此外，王翚在设色上强调「轻」、「清」，他在《清晖画跋》中言：「凡设青绿，体要严重，气要轻清，得力全在渲晕……皴擦不可多，厚在神气，不在多也，气愈清则愈厚。」强调着色本身要实，气韵要虚。",[24,25,1900,28,27,29,6670,1067,34,7,36,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d74d1c3b7e9d91f8a42a81093d1e944.jpg","纵：22.9，横：23.9厘米",[],{"id":22533,"slug":22534,"title":22535,"dynasty":18,"author":22536,"museum":53,"description":22537,"tags":22538,"thumbUrl":22539,"material":40,"size":22540,"collection":42,"collections":22541,"showCount":148,"zanCount":46,"manualWeight":46,"mainColor":47},232693,"qiu-du-shu-le-tu-ju-mao-shi-232693","秋读书乐图","居懋时","居懋时［明］吴县（今江苏苏州）人。\n节子。亦善画。《苏州志》",[23,24,25,95,27,29,36,7,130,34,35,31,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc44755deef3b0cac993c0c25db5625a1.jpg","147.7x37.2厘米",[42],{"id":22543,"slug":22544,"title":22545,"dynasty":18,"author":3243,"museum":283,"description":22546,"tags":22547,"thumbUrl":22548,"material":142,"size":22549,"collection":70,"collections":22550,"showCount":148,"zanCount":46,"manualWeight":46,"mainColor":47},232647,"wu-xie-shan-tu-chen-hong-shou-232647","五泄山图","五泄山在浙江诸暨，浙江金华、杭州和绍兴之间，因有五潭之水，泛溢悬流，宛转五级，故日五泄。是陈洪绶的故乡。此图构图缜密，画面丰满，仅留右上角为天空。树林繁茂，山势高峭，清晰的山体轮廓线，干净利落的岩石断层，树木岩石以不同皴法表现，山石方硬以淡墨染之，富有层次，给人一种非常相似的远古的感觉，体现了陈洪绶一贯高古的格调。\n陈洪绶少年即喜画，10岁时就去杭州追随武林派的代表——山水画家蓝瑛习画。陈洪绶早年和壮年的山水画作品以及晚年部分人物画背景都可看出多了蓝瑛的影响。但陈画比蓝画更为清雅秀润，简洁古淡。翁万戈藏《陈洪绶早年画册》（1619年，时22岁）中《奇石小鸟》和《双松图》两副册页所画树石显然是师法元人。他早年的山水虽不成熟，但可看出他广师宋元诸家，集众所善，而尚显个性。美国克利夫兰艺术博物馆藏《五泄山图轴》很可能是他20至30岁期间之作。陈洪绶自幼至交周亮工提及，曾于1624至1625年间数度与陈洪绶同游五泄山。此画密不透风的构图，迂回盘旋的山势，强而有力的光影对比，体现画家在自然山水中的真实感受——阳光和阴影、压迫感十足的乱石、潺潺的流水、浓郁的树林。这是他早期山水画的杰出之作，之后作品再无此类手法的运用。\n陈洪绶是时代的代表，他的艺术同样根植于他所处的时代。尽管陈洪绶不属于高寿画家，但是他的艺术越趋晚年，越突出地彰显了中国传统艺术的精髓和民族风格。\n陈洪绶 (1598-1652），字章侯，幼名莲子，一名胥岸，号老莲，别号小净名、晚号老迟、悔迟，又号悔僧、云门僧。浙江诸暨枫桥人。明末富有革新精神和独创风格的画家。祖上为官宦世家，至其父家道中落。陈洪绶幼年早慧，诗文书法俱佳，曾随蓝瑛学画花鸟。成年后到绍兴蕺山师从著名学者刘宗周，深受其人品学识影响。崇祯三年（1630）应会试未中。崇祯十二年（1639）到北京宦游，与周亮工过从甚密。后以捐赀入国子监，召为舍人，奉命临摹历代帝王像，因而得观内府所藏古今名画，技艺益精，名扬京华，与崔子忠齐名，世称“南陈北崔”。明朝覆没后，清兵人浙东，陈洪绶避难绍兴云门寺，削发为僧，一年后还俗。晚年学佛参禅，在绍兴、杭州等地鬻画为业。陈洪绶生性怪僻，愤世妒俗，身历忧患之时，所交师友多为正义之士。陈洪绶是一位擅长人物、精工花鸟、兼能山水的绘画大师。当代国际学者推为“代表十七世纪出现许多有彻底的个人独特风格艺术家之中的第一人”。著有《宝纶堂集》、《避乱草》等作品集。",[200,24,25,95,27,36,29,34,242,7,130,132,363,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe63046bcfa80469e93c5b952548b3d1.jpg","118.3×53.2cm",[],{"id":22552,"slug":22553,"title":22554,"dynasty":18,"author":14896,"museum":53,"description":22555,"tags":22556,"thumbUrl":22557,"material":229,"size":22558,"collection":70,"collections":22559,"showCount":148,"zanCount":46,"manualWeight":46,"mainColor":47},231887,"zhao-yin-tu-xiang-sheng-mo-231887","招隐图","《三招隐图》是项圣谟创作的一幅绢本绘画作品。\n项圣谟（1597-1658年），初字逸，后字孔彰，号易庵，别号胥山樵等浙江嘉兴人。收藏家和画家元汴之孙。善于画人物、花卉，尤其以山水见长，笔法秀逸，富于变化。特别喜欢画松树，有“项松之名满东南”之誉。代表作有《郞云堂集》。",[23,24,26,27,29,36,37,38,82,7,34,31,30,33,58,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F092d3a5e44efe229ec1b333761924ffd.jpg","该幅32.4x772.5公分",[],{"id":22561,"slug":22562,"title":22563,"dynasty":18,"author":3504,"museum":561,"description":10464,"tags":22564,"thumbUrl":22565,"material":70,"size":70,"collection":70,"collections":22566,"showCount":148,"zanCount":46,"manualWeight":46,"mainColor":47},231836,"xi-shan-ting-pu-tu-wen-zheng-ming-231836","溪山听瀑图",[23,24,25,26,27,36,38,82,29,130,34,7,33,32,31,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc9db7b6cabe2afe187e7acca740168f.jpg",[],{"id":22568,"slug":22569,"title":22570,"dynasty":3017,"author":22571,"museum":561,"description":22572,"tags":22573,"thumbUrl":22575,"material":217,"size":660,"collection":70,"collections":22576,"showCount":148,"zanCount":46,"manualWeight":46,"mainColor":47},231786,"ming-qing-ri-ben-gu-hua-fen-ben-niao-shou-xi-hua-juan-he-guo-xiao-zhai-231786","明清日本古画粉本-鸟兽戏画卷","河锅晓斋","河鍋曉齋是日本幕末至明治時期的浮世絵師。評論家認為他是「一個獨立的帶有個人主義的，可能是傳統日本畫的最後大師」。",[23,24,25,26,712,27,56,7467,3006,22574,12065,2381,301,112,7,923,525,1396,58,62],"蛙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1999d93bfc618f73b31dacf8332bcf76.jpg",[],{"id":22578,"slug":22579,"title":22580,"dynasty":18,"author":22581,"museum":283,"description":22582,"tags":22583,"thumbUrl":22584,"material":229,"size":22585,"collection":70,"collections":22586,"showCount":148,"zanCount":11,"manualWeight":46,"mainColor":149},231545,"xu-ting-fei-pu-tu-zhang-ning-231545","虚亭飞瀑图","张宁","在中国绘画史上，张宁的名字并没有像沈周、文徵明那样引人注目。甚至于当人们讨论明代绘画的时候，张宁也很少被提及。作为一朝大臣的张宁并不是一位职业画家，但也绝不是一个票友，他的诗文、书法和绘画在当时就名动一时。如果注意到他的吴人身份，把他和王绂、刘珏等吴门先驱放在一起，便不难发现他在绘画史上是应该有一席之地的。无奈目前能够找到的张宁作品和资料并不是很多，史籍上关于他的记载也大多是他的政绩而非艺术，故这里对张宁的讨论也只能是抛砖引玉。\n张宁（1426—1496），字靖之，号方洲，一作芳洲，海盐(今属浙江)人；一作嘉兴(今属浙江)人；又作吴(今苏州)人。明朝中期大臣。景泰五年进士，授礼科给事中。丰采甚着，与岳正齐名，英宗尝称为“我张宁”云。成化中出知汀州，先教后刑，境内利病悉罢行之。后为大臣所忌，弃官归，公卿交荐，不起。能诗画、善书法，才思敏捷，诗文书画皆有名。性喜绘事，工人物山水。抒写烟月，点染林丘，为艺苑所珍。曾奉旨出使朝鲜，化解了朝鲜王室内部纷争。画兰竹赠朝鲜王李扶。张宁才高志大，英宗意欲重用。但他久居谏坛，直言无忌，为朝中权贵所恶。给事中王徽因弹劾大学士李贤而获罪，张宁率六科论救，由是渐与内阁相忤。后出为汀州知府，抑郁不得志，遂以病免职。家居30年，屡次被荐，终不复召。在家乡筑方洲草堂（为海盐著名的园林，今不存），以琴书自娱。张宁为文遵古法，才思敏捷，兼善画，著有《读史录》、《删改史论》、《方洲集》等。\n张宁首先是明朝中期见诸史载的一位大臣，同时也是一位卓有成就的诗人和画家。清徐沁《明画录》：“张宁字静之，吴人，画山水有声。”明朱谋垔《画史会要》：“张宁，字靖之，号芳洲，海盐人。景泰进士，官汀州知府。书画皆有名。”可见作为朝中大臣的张宁在当时书法绘画就很有名。\n明中叶以后，以沈周、文徵明为代表的吴门派取代浙派而盛极一时。沈周、文徵明都是吴（苏州）人，因此被称为吴门派。在沈周、文徵明之前的赵源、王绂、徐贲、陈汝言、刘珏、张宁等同样是吴人的画家，对沈周、文徵明等后来的吴门画派都有重要的影响，画法也有近似之处。只是当时还没有“吴门派”的说法。\n张宁同时具有双重身份，既是官僚，又是书画家。从他的文章里不难发现，他与同时代的画家有着密切的交往。米芾以喜欢奇石而闻名，明代画家谢环也喜欢奇石，张宁在他的《方洲杂言》提到：“观音寺衙衕寺僧所收谢廷循一石，方广三四寸，中劈为二，内函鱼骨一具，首尾皆全。”由此可见他与谢环的交情非同一般，他还曾为友人徐溥（时用）所收藏的谢环（廷循）的画上题过诗。\n张宁在中国画发展史上处于吴门画派形成之前，他和王绂、徐贲、陈汝言、刘珏等吴门画派的先行者对沈周和文徵明的影响在绘画史研究中已经引起了学者的注意。或许是因为未被列入职业画家的行列，他的作品见诸著录及馆藏极少。尽管可能绘画对张宁的“余事”，但其艺术水平丝毫不逊色于职业画家。张宁的绘画技法有着很明显的元代传统特征，尤其是元四家之一王蒙的影响。但张宁似乎不太喜欢王蒙那种凝重，他的作品并没有元人那种浑厚苍茫，而更多地倾向于表现秀雅和清旷的意境。",[23,24,28,36,95,29,130,33,34,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff32ef3f130d45e39b134d17480d98bae.jpg","109.8 x 38.1cm",[],{"id":22588,"slug":22589,"title":22590,"dynasty":3017,"author":14982,"museum":561,"description":14983,"tags":22591,"thumbUrl":22592,"material":217,"size":660,"collection":70,"collections":22593,"showCount":148,"zanCount":46,"manualWeight":46,"mainColor":47},230588,"jiang-hu-shi-dai-xi-hu-chun-jing-tu-ping-feng-chi-da-ya-230588","江户时代 西湖春景图屏风",[24,25,95,27,36,29,33,34,7,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3125c5c3370cc69ab3b9f3786836eea.jpg",[],{"id":22595,"slug":22596,"title":22597,"dynasty":3017,"author":436,"museum":561,"description":22598,"tags":22599,"thumbUrl":22601,"material":70,"size":70,"collection":70,"collections":22602,"showCount":148,"zanCount":46,"manualWeight":46,"mainColor":47},230522,"fang-gu-shan-shui-dong-wu-fen-ben-shou-ye-jia-tu-juan-yi-ming-230522","仿古山水动物粉本(狩野家图卷)","此作以工写相融之笔绘就水畔闲景，一对鸳鸯依偎石间，雄鸟羽色妍秀，翎毛晕染精微，绒绒肌理宛然可见，雌鸟素朴温婉，二者亲昵缱绻，尽显静好之态。旁侧芍药轻绽，粉花柔叶勾勒秀雅，设色清润柔和。坡石以淡墨晕染虚化，留白衬出水泽空濛，将院体花鸟的精工细腻，与文人写意的淡逸糅合一处，把缱绻温情藏在幽寂小景里，静雅恬然，晕染出东方花鸟独有的诗意韵致。",[23,24,28,56,5868,441,7,62,525,22600],"动物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc9d5f83429ae56c7ef5eae540e6bcdd.jpg",[],{"id":22604,"slug":22605,"title":22606,"dynasty":296,"author":3038,"museum":561,"description":22607,"tags":22608,"thumbUrl":22609,"material":70,"size":70,"collection":70,"collections":22610,"showCount":148,"zanCount":46,"manualWeight":46,"mainColor":47},229021,"mei-xi-gao-yin-tu-zhou-wang-hui-229021","梅溪高隐图轴","此作分上下两境，上段以高远之法绘危崖层叠，飞瀑穿谷而出，淡墨晕开岚气，写尽空山岑寂萧寒之态。下段平溪绕舍，古松虬曲、疏柳映水，茅庐临水而建，尽显林泉幽居的恬然意趣。\n画作以诗入画，呼应高隐主题，笔墨糅合南北画派之所长，干笔皴擦勾勒山石苍劲肌理，湿墨晕染铺就空蒙烟霭，简淡秀雅的笔触间，将文人寄迹林泉、避世高隐的悠然襟怀尽藏其中，尽显清逸出尘的山水画意境。",[23,24,25,95,27,36,29,130,427,35,34,7,132,158,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ca3a61d052a38131a79f29061e44005.jpg",[],{"id":22612,"slug":22613,"title":462,"dynasty":18,"author":1665,"museum":561,"description":22614,"tags":22615,"thumbUrl":22616,"material":70,"size":70,"collection":70,"collections":22617,"showCount":148,"zanCount":46,"manualWeight":46,"mainColor":47},228383,"shan-shui-tu-liu-jue-228383","此作用披麻皴晕染江南丘壑，山峦平缓温润，苍松杂木错落于坡石之间，笔墨苍厚松灵，带着吴门画派特有的萧散意趣。淡墨轻烘出烟雨空蒙的氛围，溪谷蜿蜒隐现于林木山石间，尽显吴中山水的温润雅致。\n画作带着文人画的清幽品格，将林泉高致的隐逸心境藏于笔墨间，师法前贤又自出清澹之格，把江南山野的沉静雅致铺陈开来，是兼具笔墨意趣与人文情志的佳构。",[23,24,25,26,27,36,37,38,82,29,34,7,158,364],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffea50e787329b0ad288fa2056b6b465b.jpg",[],{"id":22619,"slug":22620,"title":22621,"dynasty":18,"author":14896,"museum":561,"description":22622,"tags":22623,"thumbUrl":22624,"material":70,"size":70,"collection":70,"collections":22625,"showCount":148,"zanCount":46,"manualWeight":46,"mainColor":149},228310,"min-you-tu-xiang-sheng-mo-228310","闽游图","此作以平远长卷铺展江天胜景，江波婉转，矶岩错落百态，或嶙峋如剑，或浑朴似卧牛，尽现山水奇崛灵动之姿。山间村舍错落，江上扁舟泛波，旅人、渔者隐于林泉，烟火意趣暗藏苍莽丘壑之中。用笔清劲秀逸，淡墨晕染出空濛悠远的氤氲气韵，将漫游所见的山水奇景与乡野闲趣融为一体，以文人视角定格千里江川的悠然意致，尽显清雅苍润的山水格调。",[23,24,25,26,27,28,36,29,7,34,60,30,31,32,33,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc56cb2f0f807be7ba59799de60f9c362.jpg",[],{"id":22627,"slug":22628,"title":5685,"dynasty":78,"author":436,"museum":561,"description":22629,"tags":22630,"thumbUrl":22631,"material":70,"size":70,"collection":70,"collections":22632,"showCount":148,"zanCount":46,"manualWeight":46,"mainColor":149},228198,"ting-qin-tu-ye-yi-ming-228198","这帧团扇小品以淡墨轻色晕染出水汀秋意，两位素衣仕女驻足岸侧，一人携琴，二人垂目望向幽寂寒潭。对岸林叶覆着轻烟，崖石静峙，水面空濛无波，将天地浸在清寂萧疏的氛围中。\n\n笔致秀雅空灵，略去繁饰，只以简淡线条勾勒衣袂柔姿，以晕染晕开林下水气，将等待听琴的娴静幽思融在水光天色里，把林下闲情化作幽远诗意，尽显雅致淡远的文人意趣，仿佛隔着绢本，都能听见风掠林梢的轻响，静候琴音破寂而来。",[23,24,25,13214,28,56,58,59,112,7,1012],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac32a0479a74d50cdf19281ce14bff0e.jpg",[],{"id":22634,"slug":22635,"title":22636,"dynasty":78,"author":3427,"museum":561,"description":22637,"tags":22638,"thumbUrl":22639,"material":70,"size":70,"collection":70,"collections":22640,"showCount":148,"zanCount":46,"manualWeight":46,"mainColor":47},228049,"liang-chang-cao-tang-he-juan-wang-yuan-228049","良常草堂合卷","此卷以清润淡墨绘就平远林泉，林木苍蔚，草堂幽隐烟峦水畔，尽显萧散简远的林下雅意，笔墨温润松秀，尽显元人山水尚意之风。\n卷后诸家题跋琳琅排布，行草篆隶各得其妙，笔意跌宕文辞清雅，与画作相映成辉。书画合璧间，藏尽彼时文人雅聚的清兴逸致，纸墨古雅韵致悠长，尽显元代诗书画一体的文人审美意趣。",[23,24,25,26,27,38,4405,37,36,82,29,32,33,34,7,133,31,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d7562e2b8bda6a783c5cd69409c12ec.jpg",[],{"id":22642,"slug":22643,"title":22644,"dynasty":78,"author":436,"museum":561,"description":22645,"tags":22646,"thumbUrl":22647,"material":70,"size":70,"collection":70,"collections":22648,"showCount":148,"zanCount":46,"manualWeight":46,"mainColor":149},227987,"yu-yuan-shi-chao-tu-yi-ming-227987","御苑市朝图","此作糅合山水、界画与风俗意趣。上部山峦以淡墨皴擦勾勒，烟岚氤氲间尽显雄浑苍莽，将北国山水的沉郁与朦胧空寂的意境相融。临水楼阁界画工致，飞檐层叠、台基规整，尽显苑囿的宏阔雅致，梁柱结构分毫毕现，见得精湛界画功力。\n\n下部闾巷屋舍错落排布，人物往来穿梭，市井烟火气扑面而来。整幅画作以全景构图，将林泉幽致、宫苑恢弘与市井鲜活交织，打破山水与界画的割裂，把清冷意境和暖融融的俗世情态相融，尽显兼容写实与写意的审美意趣。",[23,24,95,57,28,29,60,317,34,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7beaab8edbce5863fbd8ed6ded6b752f.jpg",[],{"id":22650,"slug":22651,"title":22652,"dynasty":124,"author":4263,"museum":561,"description":22653,"tags":22654,"thumbUrl":22655,"material":70,"size":70,"collection":70,"collections":22656,"showCount":148,"zanCount":46,"manualWeight":46,"mainColor":47},227979,"xing-lv-tu-ye-liang-kai-227979","行旅图页","此作取景极简，半边巨峰巍峨矗立，山石以斧劈皴利落勾勒棱线，淡墨晕染出积雪覆山的清寒意态。崖下枯木虬曲遒劲，枝桠交错间尽显冬日荒寒。山脚处旅人策蹇徐行，渺小身影衬得山岳愈发沉浑大气，留白铺就出辽远空寂的江天。\n整幅笔简意繁，以苍劲简逸的笔墨，将羁旅天涯的孤寂况味藏于尺幅之间，把冬日山行的荒寂清冷烘托尽致，意境幽远耐品，尽显水墨写意的精妙。",[23,24,25,200,29,111,36,7,242,34,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27fc4d514243e15127ce1f8cc64c78d1.jpg",[],{"id":22658,"slug":22659,"title":22660,"dynasty":793,"author":436,"museum":7557,"description":20038,"tags":22661,"thumbUrl":22663,"material":217,"size":660,"collection":70,"collections":22664,"showCount":148,"zanCount":46,"manualWeight":46,"mainColor":149},226440,"ku-zhu-shi-bei-bi-yi-ming-226440","窟主室北壁",[3051,784,28,58,60,29,6715,22662,7,34],"飞天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2501dd84d6637982669a227ee41d47cc.jpg",[],{"id":22666,"slug":22667,"title":22668,"dynasty":3017,"author":436,"museum":561,"description":22669,"tags":22670,"thumbUrl":22673,"material":217,"size":660,"collection":70,"collections":22674,"showCount":148,"zanCount":46,"manualWeight":46,"mainColor":663},225313,"fu-shi-hui-48-yi-ming-225313","浮世绘48","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。",[22671,22672,28,56,58,59,60,33,1140,34,7,187,1012],"浮世绘","漆器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac7ff525e9b9ad13515af96fc67cf3c4.jpg",[],{"id":22676,"slug":22677,"title":22678,"dynasty":296,"author":3038,"museum":561,"description":22679,"tags":22680,"thumbUrl":22681,"material":70,"size":70,"collection":70,"collections":22682,"showCount":148,"zanCount":11,"manualWeight":46,"mainColor":47},224467,"hua-meng-hao-ran-shi-yi-zhou-wang-hui-224467","画孟浩然诗意轴","此作以诗入画，全景铺展幽寂山居。层峦叠嶂以披麻皴写就，笔力苍秀，皴擦间尽显山石肌理的苍厚质感。云气在山谷间流荡开合，晕染出空濛湿润的烟雨氛围，将山峦切割成错落层次，虚实相生。\n\n水岸汀洲、古木虬枝错落排布，板桥行旅、崖畔山居点缀其间，为清冷山水添上灵动烟火气。高远与平远兼具的构图，上见巉崖陡立，下观浅溪通幽，将诗句里的隐逸恬淡具象化，笔墨兼具宋元山水的浑朴与清丽秀雅，尽显山居烟岚的悠然意趣。",[23,24,951,95,27,36,29,30,31,33,60,34,7,133,58,578],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25c7a0db74deff24cd7a29e728cdc7a4.jpg",[],{"id":22684,"slug":22685,"title":22686,"dynasty":18,"author":436,"museum":561,"description":22687,"tags":22688,"thumbUrl":22689,"material":70,"size":70,"collection":289,"collections":22690,"showCount":148,"zanCount":46,"manualWeight":46,"mainColor":47},223678,"gu-xiu-shi-liu-ying-zhen-ce-1-yi-ming-223678","顾绣十六应真册1","此作为白描佛画佳构，以清劲匀净的线条写就。罗汉安踞危崖，垂目敛神，仪容清寂和穆，尽出世安然之态。嶙峋山石勾勒出苍硬肌理，古木虬曲盘绕于崖壁，野趣自生。涧水波纹流畅宛转，潺潺动意跃然纸上，静穆坐禅的罗汉与幽鸣涧水形成动静相生之趣，烘托出绝尘空寂的林下禅意。未施浓彩，全以墨线营造意境，笔底苍古高逸，将禅者清修的沉静心境融绘于山水林崖间，尽显幽绝尘嚣的禅林雅韵。",[23,24,111,712,784,58,29,7,31,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1801312a3130644d3f79d2693f2d8c58.jpg",[289],{"id":22692,"slug":22693,"title":22694,"dynasty":296,"author":9708,"museum":360,"description":22695,"tags":22696,"thumbUrl":22701,"material":28,"size":22702,"collection":70,"collections":22703,"showCount":148,"zanCount":46,"manualWeight":46,"mainColor":47},223558,"yu-qiao-geng-du-tu-zhou-gu-xiu-223558","渔樵耕读图轴","此图轴具有文人画的情趣，表现文人对清雅闲适、自得其乐的理想生活的追求。绣家以绣绘结合的技法追摹原作风格，远山近坡均以笔墨描绘点染。人物、木桥、茅屋、树木等则以针代笔，以丝代墨，精细地绣制。针法除平针、套针、滚针、正抢针等常用针法外，草鞋、渔篓用网针，茅屋的窗棂、房顶用编针，芦苇、小草用斜缠针，而衣纹除用滚针勾勒外，还用笔墨渲染，使之富有立体感。此幅诗塘题跋“采樵过野逢田父，理钓临溪听读书”为青色丝绣，“青碧斋”、“露香园”、“静顾”三印为红色丝绣。",[23,24,28,95,7957,56,29,58,30,31,112,7,22697,22698,22699,22700],"渔","樵","耕","读","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F908abde2414ca0b61d48ac75cdcc295a.jpg","112＊45cm",[],{"id":22705,"slug":22706,"title":22707,"dynasty":296,"author":436,"museum":561,"description":20094,"tags":22708,"thumbUrl":22709,"material":70,"size":70,"collection":70,"collections":22710,"showCount":148,"zanCount":46,"manualWeight":46,"mainColor":47},223527,"wu-yi-shan-shi-ba-jing-tu-2-yi-ming-223527","武夷山十八景图2",[23,24,25,27,29,36,32,7,34,316,111,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a0a6154bc08a6564afd5a91ee205e4b.jpg",[],{"id":22712,"slug":22713,"title":22714,"dynasty":78,"author":436,"museum":1090,"description":22715,"tags":22716,"thumbUrl":22717,"material":368,"size":22718,"collection":70,"collections":22719,"showCount":148,"zanCount":46,"manualWeight":46,"mainColor":149},223401,"si-shui-tu-yi-ming-223401","四睡图","图绘丰干、寒山、拾得三位僧人与一虎酣睡之景。二人坐姿入睡，一人半躺酣睡，一虎卧于三人之中，安详寂静；远处祥云朵朵，松青柏翠，所绘树杆皆以祥云形状，显示出浓浓的禅意。",[23,24,25,95,27,56,36,37,82,58,5285,1396,34,7,96,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed90f15e151f2dd9dc88df95bfd31a45.jpg","77.8×34.3cm",[],{"id":22721,"slug":22722,"title":29,"dynasty":296,"author":2784,"museum":509,"description":22723,"tags":22724,"thumbUrl":22725,"material":70,"size":70,"collection":70,"collections":22726,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七子过关图》，均辑入《中国历代名画集》。",[23,24,25,26,28,56,186,82,58,784,907,2241,1396,215,22282,4949,34,7,1635,2653,23029,23030,22600],"车辇","法器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89a77006da2a741773d5c2053a0a1462.jpg",[],{"id":23034,"slug":23035,"title":23036,"dynasty":296,"author":1617,"museum":561,"description":10219,"tags":23037,"thumbUrl":23038,"material":70,"size":70,"collection":70,"collections":23039,"showCount":192,"zanCount":46,"manualWeight":46,"mainColor":47},238416,"dong-gao-peng-hu-hui-sheng-tu-ce-dong-gao-238416","董诰蓬壶荟胜图册",[24,28,111,36,82,29,60,30,31,130,7,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8cbb988ed758695caf9aed77e20869d.jpg",[],{"id":23041,"slug":23042,"title":106,"dynasty":296,"author":15886,"museum":561,"description":23043,"tags":23044,"thumbUrl":23045,"material":70,"size":70,"collection":42,"collections":23046,"showCount":192,"zanCount":46,"manualWeight":46,"mainColor":47},238009,"shan-shui-ce-lu-zun-shu-238009","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。",[24,27,36,111,29,60,7,34,31,114,1889,187,133,9970,3843],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F591c692a53110aba3d0f7ed31649a34e.jpg",[42,146],{"id":23048,"slug":23049,"title":22353,"dynasty":18,"author":5311,"museum":561,"description":20348,"tags":23050,"thumbUrl":23051,"material":217,"size":660,"collection":70,"collections":23052,"showCount":192,"zanCount":46,"manualWeight":46,"mainColor":47},237852,"shan-shui-shan-zhao-zuo-237852",[24,25,1900,27,36,29,7,34,35,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8ce62d998c4a1bca199934a0ec5116e.jpg",[],{"id":23054,"slug":23055,"title":23056,"dynasty":18,"author":5446,"museum":561,"description":23057,"tags":23058,"thumbUrl":23059,"material":217,"size":660,"collection":70,"collections":23060,"showCount":192,"zanCount":46,"manualWeight":46,"mainColor":47},237833,"xi-ting-wan-yue-shan-ye-chen-chun-237833","溪艇玩月扇页","陈淳（1483年—1544年），字道复，后以字行，更字复甫，号白阳，又号白阳山人，长洲（今江苏苏州）人，明代绘画大师。\n陈淳少年作画以元人为法，深受水墨写意的影响。他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。他能诗文，擅书法，尤精绘画。陈淳与徐渭并称白阳、青藤。陈氏少年作画工细，中年后笔法放纵，自立门户。陈淳从师文徵明，在其门下声誉最高。擅长写意花卉，其作品虽表现一花半叶，却淋漓疏爽，深受当时文人士大夫的赞赏；他是继沈周、唐寅之后对水墨写意花鸟画的发展作出了重要贡献的画家。",[24,1900,29,32,1385,34,7,27,36,300],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d8f22a2ec16cecf0600a59d52dc9678.jpg",[],{"id":23062,"slug":23063,"title":22486,"dynasty":18,"author":6896,"museum":561,"description":21812,"tags":23064,"thumbUrl":23065,"material":217,"size":660,"collection":70,"collections":23066,"showCount":192,"zanCount":46,"manualWeight":46,"mainColor":149},237789,"shan-shui-shan-ye-wen-bo-ren-237789",[24,25,1900,27,36,29,158,34,7,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd89607da89f83b489d1f2d1dadfd1514.jpg",[],{"id":23068,"slug":23069,"title":971,"dynasty":296,"author":23070,"museum":561,"description":23071,"tags":23072,"thumbUrl":23073,"material":70,"size":70,"collection":42,"collections":23074,"showCount":192,"zanCount":46,"manualWeight":46,"mainColor":47},237145,"shan-shui-zhou-wu-ding-237145","吴定","吴定[清]，字立人，一字维时，号稜翁，云南晋宁人，出生于1744年。\n康熙五十二年（一七一三）举人，雍正五年（一七二七）大挑一等，出宰广东博罗、清远二县。工书，行、草最妙。著稜翁诗钞。《云南通志稿》、《晋宁州志》、《李氏诗存》但犹专力经学，深求义理。定论文严于法，姚鼐有所作，必以示商。著有《黑石泉山房文集》十二卷，《诗集》六卷，及《周易集注》十卷，均《清史列传》并行于世。",[24,25,95,27,36,29,837,539,112,130,33,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89fa5b431c0a88e245a20daa5e84af6d.jpg",[42],{"id":23076,"slug":23077,"title":23078,"dynasty":18,"author":13184,"museum":561,"description":21718,"tags":23079,"thumbUrl":23080,"material":70,"size":70,"collection":70,"collections":23081,"showCount":192,"zanCount":46,"manualWeight":46,"mainColor":47},236644,"song-mao-jin-jiang-nan-ming-sheng-tu-ce-song-mao-jin-236644","宋懋晋江南名胜图册",[24,111,28,29,36,33,32,112,7,364],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef09a8d74024c459164b7ef1ecd5e922.jpg",[],{"id":23083,"slug":23084,"title":23085,"dynasty":296,"author":13834,"museum":360,"description":23086,"tags":23087,"thumbUrl":23090,"material":673,"size":23091,"collection":70,"collections":23092,"showCount":192,"zanCount":46,"manualWeight":46,"mainColor":47},236155,"leng-mei-yang-zheng-tu-shu-he-ce-zhang-ruo-ai-236155","冷枚养正图书合册","此套册页共十开，画面内容皆为历代贤明君主的故事。绘画部分由宫廷画家冷枚绘制，对题由张若蔼书写对应故事情节的文字。两者配合，图文并茂，能够起到以史为鉴、以图育人的教育目的。皇子们观摩此册，意在学习为君之道。\n之后，康熙皇帝带领皇太子（胤礽）、皇长子（胤禔）、皇三子（胤祉）、皇四子（胤禛）、皇五子（胤祺）、皇七子（胤祐）、皇八子（胤禩）一同来到无逸斋，命尹泰、德格勒传谕：「朕宫中从无不读书之子，今诸皇子虽非大有学问之人，所教然已俱能读书。朕非好名之主，故向来太子及诸皇子读书之处未尝有意使人知之，所以外廷容有未晓然者。今特诏诸皇子至前讲诵，汝等试观之。」\n康熙皇帝随即取下十余本经书授予汤斌，让他「信手拈出，令诸皇子诵读」。汤斌随揭经书，皇三子、皇四子、皇七子、皇八子依次进前，各读数篇，纯熟舒徐，声音朗朗。\n康熙皇帝又命皇长子讲「格物致知」一节，皇三子讲《论语》「乡党」首章，皆逐字疏解又能融贯大义。而一向在宫中被皇太后亲自抚养、不谙汉文的皇五子也不逊色，他虽不曾读汉书，但对满文却是精通，康熙皇帝命他当场诵读满文，读的「段落清楚，句句明亮」。\n当时，皇长子十六岁，皇太子十一岁，皇三子十一岁，皇四子十岁，皇五子九岁，皇七子八岁，皇八子七岁，诸皇子的表现无疑是很出色的。但康熙皇帝绝不夸赞，也不允许别人称赞，「诸皇子在宫中从无人敢赞好者，若有人赞好，朕即非之」。",[24,25,111,28,56,4450,37,58,31,34,7,187,23088,9970,23089],"草垛","劳作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F596a76848924f127315379a1b60f6cb6.jpg","纵三二·二厘米 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网上引用清史稿只言片语，说侯方域为做清朝官而献计于清军直隶山东河南三省总督张存仁，镇压榆园军起义。但并非如此，侯方域在清顺治七年春，因张存仁访其父，不得已上泛泛而谈的《上三省督府剿抚议》，且张存仁在顺治八年才水淹榆园军。在35岁时，回想起自己遭遇坎坷，除诗文一无所成，悔恨不已，又因违心参与顺治八年乡试，认为自己失节于明，便将其书房更名为“壮悔堂”，表示其壮年后悔之意。在这里，完成了他的两部文集《壮悔堂文集》10卷、《四忆堂诗集》6卷明志。\n清朝顺治十一年十二月十三日（1655年1月30日），37岁的侯方域因国破家亡，复明无望，壮志难酬，郁闷在怀和思念香君，染病身亡。\n侯方域与冒襄、陈贞慧、方以智，合称明末“四公子”，有代表作《李姬传》。清初作家孔尚任撰《桃花扇》剧本，描写的就是侯方域与秦淮名姬李香君的爱情故事，侧面反映了明亡清兴的历史背景。",[24,25,1900,29,27,36,242,7,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb2c3bb17af8e5f52cc5fb44cd14d8c9.jpg",[],{"id":23205,"slug":23206,"title":23207,"dynasty":296,"author":3909,"museum":561,"description":23208,"tags":23209,"thumbUrl":23210,"material":70,"size":70,"collection":70,"collections":23211,"showCount":192,"zanCount":46,"manualWeight":46,"mainColor":47},234547,"fang-ni-yuan-zhen-shi-yi-tu-zhou-cha-shi-biao-234547","仿倪元镇诗意图轴","查士标（1615年—1698年），字二瞻，号梅壑散人、懒老，新安（今安徽歙县、休宁）人，流寓江苏扬州，明末秀才，清初著名画家、书法家和诗人。家富收藏，故精鉴别，擅画山水。与孙逸、汪之瑞、弘仁等书画家一起被称为“新安四家”。\n查士标专事书画，家藏甚富，鼎彝及宋、元真迹皆有，遂精鉴赏。\n他的山水画，笔墨疏简，风神嫩散，气韵荒寒，晚年画风突变，直窥元人之奥。\n有《云山图》、《空山结屋图》、《秋林远岫图》、《云山烟树图》等传世。他的书法以行书、草书见长，书出米、董，上追颜真卿，颇得精要。时称米、董再生，名重天下。行笔俊逸豪放、神韵深邃。 著有《种书堂遗稿》等。",[24,25,95,27,36,29,112,1140,7,1262,114,1889,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02a9a3da242b3c3d9e8b2c2e4295b165.jpg",[],{"id":23213,"slug":23214,"title":106,"dynasty":296,"author":6220,"museum":360,"description":23215,"tags":23216,"thumbUrl":23217,"material":246,"size":70,"collection":70,"collections":23218,"showCount":192,"zanCount":46,"manualWeight":46,"mainColor":47},234292,"shan-shui-ce-jin-ting-biao-234292","金廷标，清代，字士揆，乌程(今浙江湖州)人，一作桐乡人，为当地望族。画家金鸿(字耕山)子，生卒年不详。继承父艺，工画人物、山水、写真、花卉，界画亦精致。尤擅白描，设色淡逸明洁，用线刚劲，转折处锋芒毕露，无不劲健。衣纹提按长描连绵不断，眉目传神。乾隆二十五年(1760)弘历南巡，其进呈白描罗汉》册称旨，得入内廷供奉。所画不以工致取胜，而以机趣为尚。入值数载，卒于京寓。其卒后，所作皆得高宗题咏，并命装裱收藏，此举可见这位内廷供奉画家受乾隆之器重程度。\n金廷标（ -1767）字士撰。乌程（今浙江吴兴）人，其父金鸿亦为小有名声的画家，廷标能绍父艺，擅画白描人物，亦善写真（肖像），兼能花卉、山水、乾隆二十二年（1757），乾隆帝第二次南巡时，金廷标进献《白描罗汉图》，得乾隆“称旨”，遂得以入宫供职，成为当时的一名宫廷画家。\n金廷标所作画，极得乾隆欣赏，御题诗句甚多，赞美之意溢于言表，如题其《放鹤图》云：“是谓善写照，传神在阿堵。”题其《江村图》云：”七情写毕皆得神，顾陆以后今几人。”又在他《临唐寅琵琶行图》后如此题道：“内府藏弆唐寅画琵琶行于江边扁舟直写一女抱琵琶，廷标此图不画琵琶女，而画居易等属耳之情，便觉高出其上。此与宋人画‘踏花归去马蹄香’以数蝶随骑意同。向未题句，兹偶见之，因拈其妙，然画院中能作如此解者实少也。”对金廷标能高出当时的宫廷画家，给予肯定。\n金廷标死后，乾隆在翻阅他的画作时又一再叹息，有诗这样写道：“去年命写寻常事，今日谁知珍惜加。”“足称世画无双画，可惜斯人作古人。”对金廷标的去世，表示无限的惋惜。一个自命“古稀天子”的帝王，能对一名宫廷画师如此的眷顾，极为难能，于此亦可见金廷标画艺的超群。\n清代未见有“书院”之称，（文献记载仅见“书院处”一词），更不像宋代书画院中设有具体的“待诏”、“艺学”等明确的官职。清代宫廷中供职的画家，一般情况均需有人举荐，有的还需要经过考核。文献记述金廷标只是自己进献作品以自荐，即得乾隆帝的“称旨”，可见他的画艺不凡。从本文介绍的这件作品来看，他也可以称得是当时画院中具有代表性的人物画家。\n传世作品有《拜石图》，图录于《故宫书画集》；《碧桃图》《孟母移居图》《枫林晚坐图》《萱花寿石图》册页图录于《中国历代名画集》；《高贤遇隐图》轴图录于《中国绘画史图录》下册；《春元瑞兆图》轴藏日本大阪市立美术馆；乾隆二十六年(1761)作《观音大士像》轴现藏沈阳故宫博物院；《婕妤挡熊图》轴、《瞎子说唱图》轴、《罗汉图》轴、《莲塘纳凉图》轴等藏故宫博物院。",[24,28,27,36,1465,82,29,427,4150,7,31,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8386cfaad20e26fd82e317e8e3a5b140.jpg",[],{"id":23220,"slug":23221,"title":18706,"dynasty":296,"author":10003,"museum":360,"description":23222,"tags":23223,"thumbUrl":23224,"material":673,"size":18710,"collection":70,"collections":23225,"showCount":192,"zanCount":46,"manualWeight":46,"mainColor":149},234286,"tang-dai-xiao-yuan-xian-yong-tu-ce-tang-dai-234286","唐岱小园闲咏图册，绢本设色，25.7×33厘米，共十五开，绘宝亲王弘历《御制小园闲咏》十五首诗意，故宫博物院藏。\n唐岱（1673—1752后），字毓东，号静岩，又号默庄，满洲正蓝旗人。康熙中以荫官参领。从王原祁学画，丘壑似王原祁，远宗宋人，“泼墨淋漓，气韵生动”。康熙后期常将其召入宫中作画，品题其画为当时第一手，赐称“画状元”。",[24,28,111,37,82,29,7,34,33,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc49860ee591171309ea73ae89226743e.jpg",[],{"id":23227,"slug":23228,"title":23229,"dynasty":296,"author":23230,"museum":561,"description":23231,"tags":23232,"thumbUrl":23233,"material":70,"size":70,"collection":70,"collections":23234,"showCount":192,"zanCount":46,"manualWeight":46,"mainColor":47},234150,"shan-shui-he-juan-liu-ru-shi-234150","山水合卷","柳如是","此卷以淡墨轻皴写江岸丘壑，林木萧疏、汀洲隐现，水墨晕染出江南烟水空蒙之态，简淡天真，尽得文人画简远逸趣。\n\n通篇题跋行书秀逸灵动，笔致清劲温婉，墨色浓淡参差，与画作的淡远意境相融，诗、书、画三者浑融无间。笔墨里交织江南山水的静雅与文人情致，长卷铺展出悠悠林下之风，将澹澹愁思与清雅襟怀藏入点染挥毫间，尽显灵秀才思与林下襟期。",[23,24,25,26,27,712,36,38,82,29,30,31,33,34,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca11af530f678f1b3f4c15b1e5ac59a6.jpg",[],{"id":23236,"slug":23237,"title":23238,"dynasty":18,"author":3504,"museum":360,"description":23239,"tags":23240,"thumbUrl":23241,"material":673,"size":23242,"collection":70,"collections":23243,"showCount":192,"zanCount":46,"manualWeight":46,"mainColor":47},234134,"wen-zheng-ming-cang-xi-tu-juan-wen-zheng-ming-234134","文徵明沧溪图卷","文徵明《沧溪图卷\u002F沧谿图卷》，75岁为宜兴吴俦作（嘉靖二十三年），绢本设色，尺寸31.7厘米×139.8厘米，故宫博物院藏。王文治书法题跋：文衡山沧谿图并记。\n《沧谿记》；嘉靖二十三年（1544年），岁在甲辰二月既望前，翰林待诏将仕佐郎兼修国史，长洲文徵明书。",[23,24,25,26,28,56,36,38,37,29,33,30,31,7,34,35,1397],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0dda54a1515fc400167e23cfd822052.jpg","31.7×139.8厘米",[],{"id":23245,"slug":23246,"title":23247,"dynasty":18,"author":15398,"museum":360,"description":23248,"tags":23249,"thumbUrl":23250,"material":21088,"size":23251,"collection":70,"collections":23252,"showCount":192,"zanCount":46,"manualWeight":46,"mainColor":47},234044,"guan-pu-tu-shan-ye-zhang-lu-234044","观瀑图扇页","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。",[24,25,1900,27,29,130,34,7,158,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdebad2d46b651dc12e1b3bbc2e6ded3.jpg","纵18厘米，横50.4厘米",[],{"id":23254,"slug":23255,"title":5673,"dynasty":296,"author":870,"museum":360,"description":5674,"tags":23256,"thumbUrl":23257,"material":246,"size":5679,"collection":70,"collections":23258,"showCount":192,"zanCount":46,"manualWeight":46,"mainColor":47},233780,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233780",[24,25,111,38,37,27,28,300,36,58,112,272,18961,7,364],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08b5ac46bfdfbb00f6719c0a94a89517.jpg",[],{"id":23260,"slug":23261,"title":23262,"dynasty":18,"author":52,"museum":360,"description":8048,"tags":23263,"thumbUrl":23264,"material":454,"size":23265,"collection":70,"collections":23266,"showCount":192,"zanCount":46,"manualWeight":46,"mainColor":47},233763,"ren-wu-gu-shi-ce-10-chou-ying-233763","人物故事册10",[200,24,25,1465,56,28,29,58,34,7,316,33,8050],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc532d574111f7457513fb93f908a5be.jpg","纵41.4厘米，横33.8厘米",[],{"id":23268,"slug":23269,"title":23270,"dynasty":18,"author":9293,"museum":360,"description":23271,"tags":23272,"thumbUrl":23273,"material":749,"size":23274,"collection":70,"collections":23275,"showCount":192,"zanCount":46,"manualWeight":46,"mainColor":149},233458,"shan-cun-tu-zhou-li-zai-233458","山村图轴","图绘山间村落，巨峰如障，溪流坡岸，人物舟船，房屋俨然。作品取全景式山水，构图饱满，气势宏阔，皴笔细密扎实，墨韵浑厚。山石的卷云皴法和树木的“蟹爪枝”画法来自北宋郭熙，而用笔较为粗放率意，兼具南宋马远、夏圭之意，这种融南北宋于一体的画法是李在的本色面貌。画面以雄壮的山川衬托村居生活之平和气息，颇具怡然闲适之意趣。",[24,95,29,36,27,7,242,96,60,35,114,364],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc5bbda67d2037904f15230fec65c4a8.jpg","纵135厘米，横76厘米",[],{"id":23277,"slug":2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厘米",[],{"id":23322,"slug":23323,"title":23324,"dynasty":18,"author":3504,"museum":561,"description":23325,"tags":23326,"thumbUrl":23327,"material":70,"size":70,"collection":70,"collections":23328,"showCount":192,"zanCount":46,"manualWeight":46,"mainColor":149},231565,"fei-quan-gu-shu-tu-wen-zheng-ming-231565","飞泉古树图","文征明（1470--1559），初名壁(或璧)，字徵明，一字征仲，号衡山。江苏长洲（苏州）人。明代中期著名的画家、书法家。他与沈周、唐寅、仇英并列，合称明四家(吴门四家或“吴门四杰”）。与唐伯虎、祝枝山、徐祯卿并称“江南四大才子”。书法上与祝允明、王宠并誉为“吴中三家”。晚年与老师沈周并驾齐驱，继沈周之后成为吴门派领袖。\n文征明的书画造诣极为全面，其诗、文、书、画无一不精，人称四绝全才。诗宗白居易、苏轼，文受业于吴宽，学书于李应祯，学画于沈周。\n文征明的绘画兼善山水、花鸟、人物，尤精山水。早年师事沈周，后致力于赵孟頫、王蒙、吴镇三家，自成一格。画风呈粗、细两种面貌。粗笔源自沈周、吴镇，兼取赵孟頫古木竹石法，笔墨苍劲淋漓，又带干笔皴擦和书法飞白，于粗简中见层次和韵味；细笔取法赵孟頫、王蒙，布景繁密，较少空间纵深，造型规整，时见棱角和变形，用笔细密，稍带生涩，于精熟中见稚拙。设色多青绿重彩，间施浅绛，于鲜丽中见清雅。细笔山水画属本色画，具装饰性、抒情味、稚拙感的特征，也奠定了“吴派”的基本特色。文徵明是继沈周之后的吴门画派的领袖，门人、弟子众多，形成当时吴门地区最大的绘画流派。\n文征明传世画作有《千岩竞秀》、《万壑争流》、《石湖草堂》、《石湖诗画》、《横塘诗意》、《虎丘图》、《天平纪游图》、《灵岩山图》、《洞庭西山图》、《拙政园图》等。",[23,24,25,29,28,36,213,4213,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1449fe9e3fac0372a5e26f2d03ddcc88.jpg",[],{"id":23330,"slug":23331,"title":23332,"dynasty":296,"author":3038,"museum":108,"description":23333,"tags":23334,"thumbUrl":23335,"material":229,"size":23336,"collection":70,"collections":23337,"showCount":192,"zanCount":46,"manualWeight":46,"mainColor":47},231490,"mei-xi-gao-yin-tu-wang-hui-231490","梅溪高隐图","王翚(1632-1717)，字石谷、象文，号耕烟散人、乌目山人、剑门樵客、天放闲人、雪笠道人、海虞山樵，晚号清晖主人、清晖老人等，常熟(今江苏)人。\n他出身于世代文人家庭，据记载，他的祖上四代皆善画，且皆有名气。明代著名画家沈周，就曾称道过他的四世祖王伯臣的画。其祖父王载仕、伯父王豢鳌、父亲王云客均擅绘画，有秀雅之称。\n王石谷秉承家学，自幼酷嗜绘画，据说他在六、七岁时便能以芦荻画壁，入学私塾，喜弄纸笔，随意点染，有生动之意。同县的张珂，擅长山水，学黄公望一体，王石谷曾一度向他学画。\n青年时的王石谷就崭露头角，表现出非凡的艺术才能。正当他需要扩大眼界和名师指导时，正巧太仓大画家王鉴游览常熟虞山，一日见壁间悬挂一山水小幅，大为惊叹，一问方知是王石谷所画，即派人将他找来。\n王石谷久闻王鉴画名，便呈上画扇，请王鉴过目。王鉴见画艺精湛，遂与王石谷交谈，谈话中，尤觉这位年方二十的年轻人聪颖而富有才华，不禁赞扬道：你的才学，已可与古人相比。当即收为弟子，并携其返回太仓，亲自指授。王石谷画艺遂大进。\n后来王鉴欲离家远行，便把这位高足弟子引荐给王时敏。王时敏询其所学，惊异地说：“此烟客师也，乃师烟客耶。”也就是说，王石谷简直可以当我王时敏的老师了，怎么还作我王时敏的弟子呢！于是取家藏宋元名迹供王石谷学习，并带着他游览长江南北，观摹诸位藏家所珍藏的历代秘本名迹。\n王石谷潜神一志，细心揣摩，“尽得其法，仿临宋元人，无微不肖”。王时敏曾感慨地说：“气韵位置，何生动天然如古人竟乃尔耶！吾年垂暮，何幸得见石谷，又恨石谷不及为董宗伯(其昌)见也”。\n当时著名书画鉴赏家、王石谷的挚友周亮工在《读画录》中也盛赞云：“予所见摹古者，赵雪江(清画家赵澄)与石谷两人耳，雪江太拘绳墨，无自得之趣：石谷天资高，年力富，下笔便可与古人齐驱，百年以来，第一人也”。\n据说当时人以王石谷临仿古人之作，加以装裱，冒充古画，即便是精于鉴赏的行家，也很难看出是近人手笔。",[23,24,27,36,29,272,34,7,130,31,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f8ce70988e77ff1074fb05c84cc2026.jpg","138x63",[],{"id":23339,"slug":23340,"title":23341,"dynasty":18,"author":15302,"museum":53,"description":23342,"tags":23343,"thumbUrl":23344,"material":229,"size":23345,"collection":42,"collections":23346,"showCount":192,"zanCount":11,"manualWeight":46,"mainColor":47},231414,"bai-yue-tu-leng-qian-231414","白岳图","此图近处是溪流、坡石、茅亭、古松；中间有丛树、竹林、板桥、人家；上部峰峦起伏，云霞映带。此图笔墨秀润，清丽萧疏，山石作披麻皴，皴擦并用，刚柔相济，不见奇峭之笔。画中景物的高低晕淡深浅，都很自然，树枝树叶，勾点结合，石上苔点恰到好处.\n此画可分为远景、中景、近景三段式。远景画面上层峦叠嶂，悬岩峭壁，古木衰草，幽深险绝；中景为崇山脚下，一片阔广平坦之地，左侧为林木丛生，密密麻麻的一片；右侧为翠竹林立，竹竿瘦劲挺拔，竹叶茂密，相互交错，互相映辉，在林木和翠竹荫下，坐落着几间屋宇茅舍，翠竹旁溪水潺潺流动，有一座高架的板桥接岸，近景为坡石堤岸，乱石横卧，山石奇特，山石间有几棵杂树，有的树干挺拔，有的盘根露土，有的枝干虬曲向左右弯斜。\n从此画题识看，该图是强余模写之作，作者对所熟悉的环境加以提炼、概括。 由自题可知，该图作元至正三年（1343年）。\n该图中，山头、山脊与怪石交织互抱，盘亘而上，变为一大平原，而从山腰到山顶，却有折搭、转换、穿插种种奇趣。凡此均非庸手所能。纯用于笔，浓墨淡墨兼施，轮廓与皴擦融为一体，尤其是善用空白，把山顶、山背、岩际、石尖，甚至山径，都表现出来。不加渲淡，不作苔点，更见笔墨凝重和骨力之美。在线条的组织与结构上，似乎十分紧密，然而石罅飞泉，山间停云，质实中还见虚灵。另一方面，作为全图的主峰却不嫌孤单，它的背后远岫罗列，它的腰际和云层里露出几个小山头，彼此之间如相揖让。这样的艺术想象、艺术构思与艺术手法，反映了大自然的节奏与生命，以及画家活泼泼的审美感情，而且和道家修养分不开。至于行笔坚硬朴实，则从传统中来。山石不以苔点修饰，乃唐人画法。明王铎题关仝《秋山晚翠》：“结撰深峭，骨苍力厚，婉转生发，又细又老，磅礴之气行于笔墨外，大家体度固如此。”冷谦此图庶几近之。而荆浩自许笔墨俱胜，米芾指出其山水特征在于“云中山顶，四面峻厚”，此图似乎兼而有之。",[24,25,95,27,29,36,7,34,30,31,187,82,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99888b1ef6398d1704122c6248807861.jpg","纵84.4厘米，横41.4厘米",[42],{"id":23348,"slug":23349,"title":23350,"dynasty":124,"author":998,"museum":53,"description":23351,"tags":23352,"thumbUrl":23353,"material":229,"size":23354,"collection":70,"collections":23355,"showCount":192,"zanCount":46,"manualWeight":46,"mainColor":47},231411,"ren-wu-tu-shuang-ye-liu-song-nian-231411","人物图双页","刘松年，南宋画家，钱塘（今浙江省杭州）人，居清波门，俗称“暗门”，因有“暗门刘”之称。淳熙年间为画院学生，其师张敦礼是李唐的学生，故画风与李唐一脉相承，而笔法俊秀，墨色亦显清淡，绍熙年间升至画院待诏，历经南宋孝宗、光宗、宁宗三朝，其画作有“院人中绝品”之名。工人物、山水、界画，是“南宋四家”中画风最为精致细微的一家。",[24,25,200,111,56,28,38,58,112,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde61b5e1de6fecb202d7da5f1239102b.jpg","纵117公分 横55.8公分",[],{"id":23357,"slug":23358,"title":23359,"dynasty":18,"author":3504,"museum":53,"description":23360,"tags":23361,"thumbUrl":23362,"material":229,"size":23363,"collection":70,"collections":23364,"showCount":192,"zanCount":46,"manualWeight":46,"mainColor":47},231374,"song-xia-guan-quan-tu-wen-zheng-ming-231374","松下观泉图","本幅画高士二人，隔溪闲话，一童携琴，自松间来。近景松林，笔墨细淡，结顶一山，却粗重如奔云，命意堪称奇绝。文征明个性谨饬，工画精细小幅，此帧属高头巨制，于文画中极为罕见。\n白云盤滞山腰，飞泉来自重巖深处。溪谷一人临流，坐听松风，眼观飞泉。款题「文壁」，旧传文氏四十岁前名「壁」，四十岁后改「徵明」。据此名款与其画风，约为四十岁左右之作。",[24,27,36,56,95,272,31,58,29,7,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c15d5fad3064f8f1718c21a27d80b1a.jpg","纵348.2cm，横104.6cm",[],{"id":23366,"slug":23367,"title":8202,"dynasty":296,"author":19335,"museum":561,"description":23368,"tags":23369,"thumbUrl":23370,"material":217,"size":660,"collection":70,"collections":23371,"showCount":192,"zanCount":11,"manualWeight":46,"mainColor":47},230353,"fang-gu-shan-shui-zhou-kun-230353","字天池，江苏常熟人。黄霆子。画承家学，工山水、人物，梅花亦佳。乾隆（一七三六至一七九五）时供奉如意馆。尝以闾阎疾苦情形托诸艺事，蒙御题，有：“监门遗故事，咨尔溯其踪”句。所作多藏石渠宝笈。《国[清]朝画徵续录、虞山画志、石渠宝笈、清画家诗史》",[24,25,200,29,2843,28,7,133,114,33,112,111,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb26cb02769aeda20dba4113895ea76f.jpg",[],{"id":23373,"slug":23374,"title":23375,"dynasty":296,"author":23376,"museum":561,"description":23377,"tags":23378,"thumbUrl":23379,"material":70,"size":70,"collection":70,"collections":23380,"showCount":192,"zanCount":46,"manualWeight":46,"mainColor":47},228935,"mo-gu-shan-shui-ce-lu-yuan-228935","摹古山水册","陆远","此作用淡墨干笔写就水岸幽居之景，近岸古木虬曲垂丝，与旁侧细竹相映，茅舍临水孑立，透着世外幽居的闲静。水面留白铺展出空阔淡远之意，远山以枯笔皴擦勾勒石体质感，苍朴的山石晕染出烟水朦胧之态。\n\n整体画风简淡萧疏，将水岸清旷冷逸之境藏于尺幅间，笔意简净却意蕴悠长，把林泉幽隐之思融在每一处点染之中，观之便如踏入无人烟水，浸享静穆淡远的文人雅趣。",[24,27,186,36,111,29,7,34,227,1262],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ecd5879745033f91d86956e7bd1aae2.jpg",[],{"id":23382,"slug":23383,"title":2898,"dynasty":18,"author":20572,"museum":561,"description":23384,"tags":23385,"thumbUrl":23386,"material":70,"size":70,"collection":70,"collections":23387,"showCount":192,"zanCount":46,"manualWeight":46,"mainColor":149},228461,"fang-huang-zi-jiu-shan-shui-tu-sheng-mao-ye-228461","此作用笔追摹黄公望苍厚朴茂的披麻皴，山峦层叠盘桓，以高远之势铺陈丘壑，兼具深远之致。林麓间山居屋舍错落，溪泉萦回，苍松挺立点缀幽壑，暗含元人山水萧散淡远的意趣。\n\n画家师法前贤却不囿于摹写，以温润秀雅的笔调，将富春山居的平淡天真复刻传神，把晚明文人寄情林泉的雅趣融在笔墨间，既恪守元画的空灵气韵，又自含清隽的个人意韵，尽显林泉高致的悠远意境。",[23,24,25,95,29,27,36,7,34,132,35,186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6db1427bc5215e0f3e4bb071162d0a8.jpg",[],{"id":23389,"slug":23390,"title":23391,"dynasty":18,"author":21677,"museum":561,"description":23392,"tags":23393,"thumbUrl":23394,"material":70,"size":70,"collection":70,"collections":23395,"showCount":192,"zanCount":11,"manualWeight":46,"mainColor":663},228436,"chun-shan-ben-quan-tu-wei-zhi-huang-228436","春山奔泉图","此作以高远取景，主峰奇崛通透，洞天别具一格。山石勾勒皴擦，尽显雄浑苍厚质感，奔泉辗转穿流于丘壑之间，暗涌的水势让纸面生机暗藏。\n\n松翠掩映间楼阁隐现，晕染出林泉幽居的雅意。左下角临流高士凭栏观涛，以人衬景，将山林隐逸之趣铺展开来。笔墨苍润朴拙，淡墨晕染出春日山岚的氤氲氛围，把自然丘壑的野趣与文人寄情山水的襟怀相融，尽显雅致沉静的山水意境。",[23,24,25,95,27,29,36,7,34,31,565,58,427,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c21c776318bf0149469bc3d6a7a4db2.jpg",[],{"id":23397,"slug":23398,"title":462,"dynasty":78,"author":23399,"museum":561,"description":23400,"tags":23401,"thumbUrl":23402,"material":70,"size":70,"collection":70,"collections":23403,"showCount":192,"zanCount":11,"manualWeight":46,"mainColor":149},228170,"shan-shui-tu-cao-xing-228170","曹兴","这幅山水小品以留白云雾切割山峦，将平远、高远之景相融，铺展出空濛幽深的山水意境。山石以短皴点苔，笔墨苍劲朴拙，林木简括灵动，尽显简淡萧疏的气质。山脚板桥连起村居野渡，行旅缓步其上，将山林清寂与烟火日常相融，消解了丘壑荒寒，晕染出悠然安闲的意趣。淡墨晕染烟岚，浅设色晕衬古雅基调，以留白凸显虚空之境，把文人寄情林泉的隐逸诗意与田园安和揉为一体，笔简意足，尽显小品山水的隽永意韵。",[23,24,25,1900,27,28,29,36,30,31,34,7,133,187,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F742d2d75db062a93d851a095a2564c3b.jpg",[],{"id":23405,"slug":23406,"title":23407,"dynasty":124,"author":23408,"museum":561,"description":23409,"tags":23410,"thumbUrl":23411,"material":70,"size":70,"collection":70,"collections":23412,"showCount":192,"zanCount":46,"manualWeight":46,"mainColor":149},227962,"xue-jiang-mai-yu-ye-li-dong-227962","雪江卖鱼页","李东","《南宋李东雪江买鱼图》是南宋画家李东的作品。\n该作用笔劲挺，构图玲珑别织，现藏于 。\n《南宋李东雪江买鱼图》绘白雪皑皑的严冬，一渔翁身着蓑衣，一手持桨，一手提鱼出售，真实在反映了渔民生活的艰难气分。\n此作用笔劲挺，构图玲珑别织，不愧是李东的传世佳作。\n《南宋李东雪江买鱼图》为绢本，设色，纵2.6厘米，横25.2厘米。\n该画曾经清内府收藏，《虚齐名画录》著录。\n《雪桥买鱼图》很可能是一幅晚于南宋的作品，但其基本的图像配置依然延续了李东《雪江卖鱼图》的特点。\n时间是在大雪纷飞的寒冬，地点是在远离城市的山野江村。\n人物分主角和配角，主角是买卖鲜鱼的文士和渔夫，配角是一位出现在画面边缘，肩挑两个大罐状物品的人。\n这个人和画中的渔人打扮有些相似，同样都身披蓑衣、头戴斗笠。\n他的身份不太容易确定，他可能是另一位渔人，挑着鱼篓上岸寻找买家，也可能是挑着酒瓮卖酒的人，还可能是挑着东西冒雪归家的村民。\n他的出现让雪江卖鱼的场景显得更有真实感，同时也更加强调了大雪严寒的郊外的静谧与冷清。\n李东，宋理宗赵昀（1225-1264）时期民间风俗画家，生卒年不详。\n《图绘宝鉴》卷四谓“理宗时常于御街鬻其所画《村田乐》《常酣图》之类，仅可娱俗眼耳”。\n所作受院体画影响，师法马远、夏圭，用笔简练遒劲，构图别致，富有浓厚生活气息。",[23,24,25,111,27,29,537,8169,242,1081,32,243,36,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8071c334500422163e21d52afeb7830e.jpg",[],{"id":23414,"slug":23415,"title":23416,"dynasty":124,"author":436,"museum":561,"description":23417,"tags":23418,"thumbUrl":23419,"material":217,"size":660,"collection":70,"collections":23420,"showCount":192,"zanCount":46,"manualWeight":46,"mainColor":47},227426,"xi-shan-wu-jin-tu-quan-juan-yi-ming-227426","溪山无尽图全卷","以水墨浅绛写江南四季景色，布局多取近景，突出崖岸，山石作大斧劈皴，方硬有棱角。山峰林立，峭壁悬崖间有流泉飞瀑，松柏蓊郁、云雾弥漫、长桥石栏、渔舟帆客、楼观村庄，清幽秀俊的江南景色成为一个整体，有着诗意般的意境。此卷画风当属南宋马远。构图布景与《溪山秋爽图》有异曲同工之妙。此卷绘于宋笺纸上，山石为马远典型的斧劈皴，乔松远树，皆用拖枝法，柳林含风，千笔万笔，笔笔不乱。画幅中间，数株红树，点缀溪山丛莽间，有画龙点睛之妙。而纸寿千年，其完好程度与绢本不可同日而语。此卷创作年代当稍晚于绢本，水法两卷亦有不同，此卷水的画法更接近马远《水图》。",[23,200,24,25,26,27,28,29,7,34,30,31,36,37,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2183e53c5ef5d0f52c06cae5adadc2d.jpg",[],{"id":23422,"slug":23423,"title":29,"dynasty":296,"author":23424,"museum":561,"description":23425,"tags":23426,"thumbUrl":23427,"material":70,"size":70,"collection":70,"collections":23428,"showCount":192,"zanCount":46,"manualWeight":46,"mainColor":47},224290,"shan-shui-fan-song-224290","范松","此作以全景铺展丘壑，层峦叠嶂间烟岚轻笼，将高远、平远之景相融。崖岫间红墙古寺半隐，晕染出点睛亮色，打破黛山翠林的沉静。\n\n林麓间村居错落，板桥跨溪通幽，浅滩漱石、流泉回环，把山居烟火与林泉野趣织为一体。笔墨苍秀老辣，以短皴写山石嶙峋肌理，林木枝桠攒簇尽显苍劲葱茏，淡赭轻敷衬出秋意清寂，整体气息静穆澹远，将文人心中栖隐林泉的意趣藏入层叠丘壑之中，观之如身临幽寂山境，揽尽林泉雅致。",[23,24,28,36,95,29,30,31,33,34,7,60,35,364,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F393c5de365c8e65858e3c9cf20b1c1d5.jpg",[],{"id":23430,"slug":23431,"title":23432,"dynasty":124,"author":436,"museum":561,"description":23433,"tags":23434,"thumbUrl":23436,"material":70,"size":70,"collection":70,"collections":23437,"showCount":192,"zanCount":46,"manualWeight":46,"mainColor":47},223618,"hong-mei-kong-que-tu-yi-ming-223618","红梅孔雀图","《宋人画红梅孔雀图》是宋代佚名画家创作的花鸟绘画。\n中国古代以 为题材的绘画不多见。\n此图绘溪边春色，以近远景搭配，表现出自然界的勃勃生机。\n正中一树梅花盛开，两侧辅以山茶、古柏、翠竹、迎春。\n孔雀一对，雄者栖于树干，回首梳翎；雌者倘佯岸边，低头觅食。\n其毛羽斑斓，与花树汇成一片绚烂春光。\n此图难能之处在于布局繁密但杂而不乱；设色富丽但艳而不俗。\n梅、柏枝干用焦墨勾皴，苍劲古朴，与周围花卉禽鸟的纤细娇美恰成互补。\n作者当是擅长状写升平景象的画院高手。\n本幅无款识。\n钤鉴藏印“真赏”、“都尉耿信公书画之章”、“公”、“信公珍赏”、“丹诚”、“宜尔子孙”、“珍秘”、“会侯珍藏”、“庞莱臣珍藏宋元真迹”。\n裱边钤鉴藏印“信公监定珍藏”。\n本幅右侧题“ ”细款，但细察周围有挖痕，应系从别处移来。\n对幅有耿昭忠题记：“此图花木禽鸟极其精工。\n《画髓》评云：‘远欲其子得誉，多于己画题作马麟。\n’夫岂其然？千山信公。\n”钤“虚斋珍赏”及耿氏藏印5方。\n存《名笔集胜》册中。\n《虚斋名画录》著录。",[23,24,200,56,28,23435,63,427,1140,201,7,113,1373],"红梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5efe163d7bf4a53fe85c48eba2f57af.jpg",[],{"id":23439,"slug":23440,"title":23441,"dynasty":296,"author":8669,"museum":360,"description":8670,"tags":23442,"thumbUrl":23443,"material":8673,"size":8674,"collection":70,"collections":23444,"showCount":192,"zanCount":46,"manualWeight":46,"mainColor":149},223145,"shi-wan-tu-ce-9-ren-xiong-223145","十万图册9",[23,24,28,257,56,36,111,29,7,34,130,2901],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16d728f0cbb935384c6ccb8053cd6f93.jpg",[],{"id":23446,"slug":23447,"title":23448,"dynasty":296,"author":8516,"museum":401,"description":8517,"tags":23449,"thumbUrl":23450,"material":142,"size":8522,"collection":70,"collections":23451,"showCount":192,"zanCount":46,"manualWeight":46,"mainColor":47},222947,"hong-lou-meng-72-sun-wen-222947","红楼梦72",[23,24,200,26,56,28,57,58,60,33,391,112,30,61,4543,7,64,11505,1129,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd807b15e590283a3a76a6a485663721.jpg",[],{"id":23453,"slug":23454,"title":23455,"dynasty":296,"author":8516,"museum":401,"description":8517,"tags":23456,"thumbUrl":23459,"material":142,"size":8522,"collection":70,"collections":23460,"showCount":192,"zanCount":46,"manualWeight":46,"mainColor":149},222908,"hong-lou-meng-33-sun-wen-222908","红楼梦33",[23,56,28,57,58,60,61,34,7,64,23457,8244,23458,2861,578,19516,187,1118],"匾额","公子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf0de6690162cf3adb8de884b97b8e03.jpg",[],{"id":23462,"slug":23463,"title":23464,"dynasty":18,"author":238,"museum":18258,"description":11687,"tags":23465,"thumbUrl":23466,"material":28,"size":70,"collection":70,"collections":23467,"showCount":192,"zanCount":46,"manualWeight":46,"mainColor":47},222588,"shan-shui-tu-shan-mian-2-lan-ying-222588","山水图扇面2",[23,1900,24,29,427,7,12106,4213,242,36,27,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8fd29104ad247fbd9575e0f584ac299.jpg",[],{"id":23469,"slug":23470,"title":23471,"dynasty":78,"author":23472,"museum":509,"description":23473,"tags":23474,"thumbUrl":23475,"material":23476,"size":23477,"collection":70,"collections":23478,"showCount":192,"zanCount":11,"manualWeight":46,"mainColor":47},221828,"zhu-lin-da-shi-chu-shan-tu-chen-jian-ru-221828","竹林大士出山图","陈鉴如","陈鉴如，元代画家，擅写照，被誉为肖像画第一家。据《安国志略》载,元代安南国王陈昑40岁时悟佛,舍位出家,入武林洞修行,号竹林大士。该图描绘的是竹林大士修成后,从武林洞出游邻国占城,国王得知后出来迎接的情景。",[23,200,24,25,26,784,712,58,366,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e3f2a27be135dae27a59546b267a193.jpg","纸本长卷","28x954.5厘米",[],{"id":23480,"slug":23481,"title":23482,"dynasty":124,"author":23483,"museum":4634,"description":23484,"tags":23485,"thumbUrl":23486,"material":84,"size":23487,"collection":70,"collections":23488,"showCount":192,"zanCount":11,"manualWeight":46,"mainColor":149},220114,"shi-liu-luo-han-tu-di-jiu-zun-zhe-jin-da-shou-220114","十六罗汉图-第九尊者","金大受","金大受是南宋时代浙江宁波具有代表性的佛画师。本图各幅有落款“大宋明州车桥西、金大受笔”，绘于庆元元年（1195）之前，当时的宁波被称为“明州”，作为现存浙江佛画中时代最早的作品而闻名。金大受所绘的罗汉笔锋收敛，形态把握准确，其赋彩也是巧用中间色，采用协调的自然表现手法，在宁波所绘制的罗汉图中也属于佳作。作为摄州多田院的镇院之宝而传来。曾为原邦造旧蔵。16幅作品中，现已确认有东京国立博物馆馆藏的10幅，以及群马县立近代美术馆馆藏的1幅，其他5幅估计流失海外，所在不明。\n金大受所画十六罗汉计十六幅，分藏三个处所，除了东京国立博物馆藏了十幅之外，其余分别由二个私人收藏家所收藏。十六幅中，每幅均有「大宋明州车桥西金大受笔」的落款，因此一直被误认为作者是西金居士。后来才被判定为南宋宁波车桥之西的画家金大受。\n十六幅中，现藏于群马县立近代美术馆的一幅，长一一七．四公分，宽五Ｏ．四公分。尊者着偏袒右肩式僧服，外罩水田衣，微侧脸注视手中的持花，其蹙眉掀鼻，张口露齿的表情，很是特出。画中除尊者之外，另有侍者一人，以及伏在矮几的小童一人，尊者头上的圆光，以青绿色为之，背后花树盛开，树枝上倒挂一朵莲花，色彩精致，笔触细腻，采用了较幽沉的色调，却烘托出尊者和圆光的明亮。",[23,24,25,95,784,28,56,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c3d1ef950c8e95f90779471aca94c0b.jpg","118.8×51.7cm",[],{"id":23490,"slug":23491,"title":23492,"dynasty":18,"author":23493,"museum":3737,"description":23494,"tags":23495,"thumbUrl":23496,"material":116,"size":23497,"collection":42,"collections":23498,"showCount":192,"zanCount":46,"manualWeight":46,"mainColor":47},219937,"xia-shan-qing-liu-tu-gao-yan-219937","夏山清流图","高俨","高俨（1616年-1687年），清代画家，字望公，广东新会人，博学多艺，工诗书画，被称为三绝，有名于岭南。 与当时岭南文坛画苑的陈子壮、王邦畿、陈恭尹、张穆等交朋友。明朝亡，不愿“ 颜事贼”，是一个具有民族气节的文人。",[200,24,25,95,27,29,130,31,34,242,33,58,7,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc764d0b30f2bda069eac4e527320714b.jpg","175x38",[42],{"id":23500,"slug":23501,"title":23502,"dynasty":124,"author":436,"museum":53,"description":23503,"tags":23504,"thumbUrl":23506,"material":84,"size":23507,"collection":306,"collections":23508,"showCount":192,"zanCount":46,"manualWeight":46,"mainColor":47},219316,"song-teng-yuan-xi-tu-yi-ming-219316","松藤猿戏图","松枝盘曲如铁，老藤垂绕似丝，猿猴或攀藤戏叶，或蹲枝远眺，于方寸团扇间灵动穿梭。毛发纤毫毕现，眼神憨态可掬，爪尖紧扣藤枝的力度藏于墨色浓淡，松针疏密有致的层次显于笔触轻重。宋人的写实功夫与诗意心境在此交融：苍劲的松藤衬出猿的活泼，留白处似有余韵，引人遐想山林深处的清幽野趣。无款却见匠心，每一笔皆为自然传神，尽显宋代院体画精致细腻的风骨与生机盎然的意趣，仿佛能听见枝叶轻摇、猿声轻啼，将观者带入一片静谧而鲜活的自然之境。",[23,200,24,25,1900,27,56,272,23505,7467,7],"藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05efa16aa825a6b0a07bdd664e3c73bf.jpg","22x21.8cm",[306],{"id":23510,"slug":23511,"title":23512,"dynasty":124,"author":23513,"museum":53,"description":23514,"tags":23515,"thumbUrl":23516,"material":142,"size":70,"collection":70,"collections":23517,"showCount":192,"zanCount":46,"manualWeight":46,"mainColor":47},218672,"xi-hu-shi-jing-tu-nan-ping-wan-zhong-ye-xiao-yan-218672","西湖十景图-南屏晚钟","叶肖岩","画面山峦层叠，淡墨晕染出朦胧烟霭，似将暮色轻笼南屏。近处松枝苍劲，针叶细劲如丝，间或矮松错落，添几分野趣。山腰楼阁隐现，飞檐翘角藏于林麓，若古寺禅院静候晚钟。左侧题字笔墨流畅，行楷雅致，诗韵与墨色山水相映，更添文人意趣。\n\n作品以简淡之笔勾勒景致，虚实间传递悠远禅意——仿佛能闻钟声穿林渡水，涤荡尘嚣。西湖暮色里的宁静与空灵，凝于尺幅，让观者于笔墨间触摸到那份跨越时空的悠然与澄澈。",[23,24,25,29,27,28,36,158,34,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f5b702e55d3128a1523bbd2c2120fdc.jpg",[],{"id":23519,"slug":23520,"title":23521,"dynasty":296,"author":23522,"museum":108,"description":23523,"tags":23524,"thumbUrl":23525,"material":116,"size":23526,"collection":42,"collections":23527,"showCount":192,"zanCount":46,"manualWeight":46,"mainColor":47},217014,"ruan-yuan-yi-shi-shi-jing-tu-ce-wang-yun-217014","阮元遗事十景图册","汪鋆","阮元遗事十景图册是清朝时期汪鋆的一部作品。汪鋆（1735-1815年）是一位著名的清代画家，他的作品主要描绘人物、山水、花鸟等题材。阮元遗事十景图册是一部十幅图册，每幅图画都是汪鋆根据阮元的遗事描绘的人物和景象。阮元是一位著名的文学家，他的作品富有感染力，深受读者喜爱。汪鋆的这部作品通过艺术手法，将阮元的遗事生动地呈现在读者面前。",[24,25,111,27,28,36,37,82,29,187,242,7,578],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd42d8d58ef2babc1245f84f09d811166.jpg","27.9x33cm",[42],{"id":23529,"slug":23530,"title":23531,"dynasty":18,"author":269,"museum":53,"description":23532,"tags":23533,"thumbUrl":23536,"material":40,"size":23537,"collection":70,"collections":23538,"showCount":192,"zanCount":46,"manualWeight":46,"mainColor":47},216094,"tai-ping-le-shi-tu-ce-2-dai-jin-216094","太平乐事图册-2","此册共十开，分别绘「婴戏」、「骑牛」、「娱乐」、「戏耍」、「捕鱼」、「试射」、「耕罢」、「观戏」、「木马」、「牧归」等题材。其中数开以宋元名画为本：如第二开妇人哺乳之形象，可见于南宋李嵩〈市担婴戏〉（国立故宫博物院）；第九开「木马」则取自元任仁发〈果老见明皇〉（北京故宫博物院）；第十开则摹自宋人〈春社醉归〉。其余几开，皆透过人物之「观看」，将观者目光聚焦于画中场景，而营造某种叙事情节。绘人物之线条采「钉头鼠尾」（起笔钝重、收笔细）之笔法，与画史对戴进人物风格之描述吻合。然整体笔墨略显软弱、平直，或为晚期浙派画家根据戴进真迹加以临仿之作。",[24,28,111,58,1103,112,7,23534,34,23535,5009,12537],"民俗活动","地面路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3763cc4bb201a1b8b86ddc7581cfe77c.jpg","22.8x22cm",[],{"id":23540,"slug":23541,"title":23542,"dynasty":296,"author":436,"museum":53,"description":23543,"tags":23544,"thumbUrl":23545,"material":84,"size":70,"collection":70,"collections":23546,"showCount":192,"zanCount":46,"manualWeight":46,"mainColor":47},215201,"sheng-ping-le-shi-tu-ce-2-yi-ming-215201","升平乐事图册-2","升平乐事图册是一部描绘升平乐事的图册，它是一部描述清朝时期升平乐事的图册。升平乐事是一种演出形式，通常在清朝皇帝登基或加冕时举行。这部图册记录了当时的升平乐事，包括演出的服装、舞蹈、音乐和道具等细节。",[200,24,25,111,28,56,58,1250,427,7,1118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2e957d6eec88487a5cb2b116e4cd30a.jpg",[],{"id":23548,"slug":23549,"title":23550,"dynasty":296,"author":870,"museum":1137,"description":1847,"tags":23551,"thumbUrl":23552,"material":40,"size":1850,"collection":70,"collections":23553,"showCount":192,"zanCount":46,"manualWeight":46,"mainColor":47},214525,"yi-jin-ling-ce-9-shi-tao-214525","忆金陵册-9",[24,25,111,27,36,29,34,35,364,7,37,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99d0768fdd95790b013468eae8620264.jpg",[],{"id":23555,"slug":23556,"title":23557,"dynasty":296,"author":23558,"museum":20,"description":23559,"tags":23560,"thumbUrl":23561,"material":70,"size":70,"collection":42,"collections":23562,"showCount":192,"zanCount":46,"manualWeight":46,"mainColor":23563},203425,"lin-song-yuan-shan-shui-ce-12-kai-wang-jian-203425","临宋元山水册12开","王鑑","画面峰峦层叠，皴笔细密有致，墨色浓淡相间，晕染出云雾缭绕的空濛之境。山间林木疏密错落，几株红叶点缀枝头，与苍劲松柏相映，添了几分秋意。溪流穿石蜿蜒，与嶙峋山石相映成趣，整体构图取宋元山水精髓，笔墨雅致醇厚，意境清幽淡远，尽显临古而化的笔墨功力，于传统范式中蕴藉文人雅致。",[24,29,111,36,28,7,34,133,132,186,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a9bf75d92699775c016e5a9ed334670.jpg",[42],"bcb6ab",{"id":23565,"slug":23566,"title":23567,"dynasty":296,"author":8324,"museum":20,"description":23568,"tags":23569,"thumbUrl":23570,"material":70,"size":70,"collection":42,"collections":23571,"showCount":192,"zanCount":46,"manualWeight":46,"mainColor":23572},203337,"huang-shan-shi-jiu-jing-tu-ce-mei-qing-203337","黄山十九景图册","此作以篆隶意趣的线条勾勒黄山峭壁，淡墨皴擦与浅蓝设色晕染云海，崖顶奇松虬劲，枝干如铁，与空濛山雾相映成趣。笔墨简括却气韵流转，将黄山的雄奇险峻与灵秀空濛融于册页之中，尽显山川的自然生机与文人画的清雅神韵。",[24,27,28,29,2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（1644－1728），字子和，一字子鹤，号西亭，自号谷林樵客、鹤道人，又署野鹤，江苏常熟人。山水为王翚入室弟子，尝与绘圣祖南巡图颇精。晚年每多率笔，未免苍而不润，神气便少。然农村景物则颇工，尤长画牛，多写意，夕阳芳草，郊牧之风宛然在目，兼及人物写真，花鸟草虫。每侍翚出游，翚作图凡有人物、舆轿、驼、马、牛、羊等皆命补之。又尝摹内府所藏名迹，作副本进御。卒年八十五。\n杨晋是清代宫廷画家，以画界画见长，他能恰到好处地发挥传统工笔界画的特长，把人工建筑的楼阁台榭及人物举止和天然山水景色紧密结合起来，在结构上作了极好的剪裁，满而不闷，画风细致明秀、娟丽清新，层次过渡非常自然。《石谷骑牛图》绘石谷悠然骑于牛背之上，神态安详平和，状写简逸传神。石谷即清代大画家王翚，也是杨晋的老师。",[24,25,27,36,2843,111,82,29,34,7,132,114,1104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fb48a113fab782bf8d9c30d4411519b.jpg",[],{"id":23817,"slug":23818,"title":3378,"dynasty":296,"author":870,"museum":561,"description":1342,"tags":23819,"thumbUrl":23820,"material":70,"size":70,"collection":70,"collections":23821,"showCount":119,"zanCount":46,"manualWeight":46,"mainColor":47},237767,"yuan-ji-shan-shui-tu-ce-shi-tao-237767",[24,27,28,36,111,29,33,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb720500e56108bb30df9fbe8edeaf13.jpg",[],{"id":23823,"slug":23824,"title":7977,"dynasty":296,"author":2948,"museum":561,"description":2949,"tags":23825,"thumbUrl":23826,"material":217,"size":660,"collection":70,"collections":23827,"showCount":119,"zanCount":46,"manualWeight":46,"mainColor":47},237618,"hong-ren-shan-shui-ce-hong-ren-237618",[24,25,111,27,36,38,37,82,29,30,244,96,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cd3963f9cc3e8bb7f5738ddd57592de.jpg",[],{"id":23829,"slug":23830,"title":23831,"dynasty":296,"author":3038,"museum":561,"description":6123,"tags":23832,"thumbUrl":23833,"material":70,"size":70,"collection":306,"collections":23834,"showCount":119,"zanCount":46,"manualWeight":46,"mainColor":47},237578,"shu-lin-yuan-xiu-tu-zhou-wang-hui-237578","疏林远岫图轴",[24,25,95,27,36,29,1777,114,7,34,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcf382cd81be335613edb73fdca9e2f4.jpg",[306],{"id":23836,"slug":23837,"title":23838,"dynasty":296,"author":21708,"museum":561,"description":23839,"tags":23840,"thumbUrl":23841,"material":70,"size":70,"collection":42,"collections":23842,"showCount":119,"zanCount":46,"manualWeight":46,"mainColor":47},237563,"jun-zi-ting-tu-zhou-wang-jiu-237563","君子亭图轴","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）。",[24,25,95,27,36,29,391,33,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f805e8367c8aed07d52484440dace8a.jpg",[42,648],{"id":23844,"slug":23845,"title":106,"dynasty":296,"author":4110,"museum":360,"description":4111,"tags":23846,"thumbUrl":23847,"material":246,"size":70,"collection":70,"collections":23848,"showCount":119,"zanCount":46,"manualWeight":46,"mainColor":47},237192,"shan-shui-ce-sun-yi-237192",[24,25,111,28,36,29,34,7,1081,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd982c07f251c1c753b85053dfc6e0561.jpg",[],{"id":23850,"slug":23851,"title":22353,"dynasty":18,"author":6270,"museum":561,"description":11880,"tags":23852,"thumbUrl":23853,"material":217,"size":660,"collection":70,"collections":23854,"showCount":119,"zanCount":46,"manualWeight":46,"mainColor":149},236675,"shan-shui-shan-song-xu-236675",[1900,24,25,200,27,36,29,33,112,7,31,32,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba22b3a71b4c6c07ffcf56d6d73b8ea7.jpg",[],{"id":23856,"slug":23857,"title":23858,"dynasty":18,"author":23859,"museum":561,"description":23860,"tags":23861,"thumbUrl":23862,"material":70,"size":70,"collection":70,"collections":23863,"showCount":119,"zanCount":46,"manualWeight":46,"mainColor":149},235695,"qiu-shu-shuang-ying-tu-zhou-yang-da-lin-235695","秋树双鹰图轴","杨大临","画面中虬曲苍劲的枯梅老干盘绕，枝头缀着细碎寒花，双鹰静卧崖木之上，翎毛刻画精微细腻，神态冷峻孤傲，尽显猛禽沉凝雄姿。下方崖壁间幽竹舒展、细草依附，飞瀑隐于山石间，一只小雀振翅穿掠，于静谧中添灵动生机。\n\n整体以水墨为骨，淡色轻染晕出萧索秋意，树石皴擦老辣苍劲，禽鸟写实兼具写意，将雄鹰的孤傲威猛与荒寒秋景相融，烘托出沉穆清旷的幽远意境，尽显花鸟画工写结合的别致意趣。",[24,25,95,27,28,56,6283,96,391,7,201,62,1396],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89756251ff5da4b2dd8e9ec09061b2f2.jpg",[],{"id":23865,"slug":23866,"title":23867,"dynasty":296,"author":23868,"museum":561,"description":23869,"tags":23870,"thumbUrl":23871,"material":70,"size":70,"collection":70,"collections":23872,"showCount":119,"zanCount":46,"manualWeight":46,"mainColor":47},235682,"fang-yuan-ren-xiao-jing-zhou-da-chong-guang-235682","仿元人小景轴","笪重光","此展品为清代的书画，描绘奇峰飞泉，寒林亭舍，一高士立于桥上悠然观瀑。\n整幅以渴笔淡墨皴擦，布局高远，雅致有元人笔意。\n现收藏于 。\n此图为167年王翚为笪重光所作。\n描绘奇峰飞泉，寒林亭舍，一高士立于桥上悠然观瀑。\n整幅以渴笔淡墨皴擦，布局高远，雅致有元人笔意。\n题跋：“石谷为予作此图，自云深得元人笔意，未可与不知者道。\n时心契其旨而藏之七载于兹矣。\n彦标爱画同余，慕王生有年。\n以□持赠，一如在□子阁中，非明珠之漫投也。\n庚申夏四月毘陵舟中题。\n种菽翁笪在辛” 钤印：朱文“重光”、“江上外史”印。\n王翚（162-1717年）字石谷，号耕烟散人、剑门樵客、乌目山人等。\n江苏常熟人。\n工山水，为清初四王之一。\n有清初画圣之称。\n其宗学者形成“虞山派”。",[24,25,95,27,38,82,29,112,30,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5b500ccd1e7724fc2219bd60bdb65f9.jpg",[],{"id":23874,"slug":23875,"title":23876,"dynasty":296,"author":1795,"museum":561,"description":23877,"tags":23878,"thumbUrl":23879,"material":70,"size":70,"collection":70,"collections":23880,"showCount":119,"zanCount":46,"manualWeight":46,"mainColor":149},235668,"shan-shui-ping-ping-wei-yan-xue-yuan-yao-235668","山水屏-平囗艳雪","此作画境清灵雅致，雪意未消的春山间，胭红梅花生于嶙峋崖石之上，冷艳交融。画面以高远构局，层崖叠嶂间坐落两座亭台，临渊而立，将山居雅趣藏于空濛云雾中。下方板桥横跨浅溪，三两行人缓行，为幽寂山景添入烟火暖意。\n设色轻和柔润，山石以淡青晕染出积雪清寒，红梅胭红点染，冷暖相映愈显雅致。亭台勾勒工整流丽，山石皴擦兼具苍劲质感，留白的云雾拓展出山水空阔意境，将残雪初融、春信悄临的清隽诗意尽显，仿若可闻山风轻拂梅枝，静享林泉幽居的恬淡意趣。",[200,24,25,28,57,29,33,30,58,390,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85bb8508f0aa0b2c49b34293c6b24f3e.jpg",[],{"id":23882,"slug":23883,"title":7977,"dynasty":296,"author":2948,"museum":561,"description":2949,"tags":23884,"thumbUrl":23885,"material":217,"size":660,"collection":70,"collections":23886,"showCount":119,"zanCount":46,"manualWeight":46,"mainColor":47},235612,"hong-ren-shan-shui-ce-hong-ren-235612",[24,25,27,36,29,38,37,2901,34,35,658,7,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48b314950d8ff3a520a30e7311eeaa3f.jpg",[],{"id":23888,"slug":23889,"title":3378,"dynasty":296,"author":870,"museum":561,"description":23890,"tags":23891,"thumbUrl":23892,"material":70,"size":70,"collection":70,"collections":23893,"showCount":119,"zanCount":46,"manualWeight":46,"mainColor":149},235520,"yuan-ji-shan-shui-tu-ce-shi-tao-235520","淡墨皴擦出层叠山峦，带着苍莽野逸之气，蜿蜒山道串起深谷山居，晕开雨后初霁的湿润空濛。前景林木错落，虬曲枝干间点叶疏密有致，将江南山野的幽寂鲜活铺展。\n\n右上角题诗与画面呼应，诗画交融，暗合山乡行路的澹然况味。笔意纵恣却不失秀润，干湿墨色互用，让山石肌理灵动自然，全无刻硬之感，尽显山水清灵雅致。将天地间静穆生机凝于尺幅，随性旷达的文人意趣藏在每一处笔墨里，是意韵悠长的山水佳构。",[24,25,27,36,111,300,29,837,112,214,7,2932,158,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d5c6622bc1fcd2c25c587e7049d8fce.jpg",[],{"id":23895,"slug":23896,"title":3378,"dynasty":296,"author":870,"museum":561,"description":1342,"tags":23897,"thumbUrl":23898,"material":217,"size":660,"collection":70,"collections":23899,"showCount":119,"zanCount":46,"manualWeight":46,"mainColor":47},235517,"yuan-ji-shan-shui-tu-ce-shi-tao-235517",[24,25,111,27,36,29,7,34,30,31,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F539be3c07015b163b46cd40a7d09dfe6.jpg",[],{"id":23901,"slug":23902,"title":106,"dynasty":296,"author":8444,"museum":561,"description":23903,"tags":23904,"thumbUrl":23905,"material":217,"size":660,"collection":42,"collections":23906,"showCount":119,"zanCount":46,"manualWeight":46,"mainColor":47},235493,"shan-shui-ce-liu-yu-235493","柳堉. 工诗、画，书法李邕，山水遒逸苍茫，最得董、巨遗法。惟水口流泉，不能自然，有霸悍之态。康熙二十八年（一六八九）曾为宋牧仲（荦）写唐诗山水十二页。",[24,25,111,27,38,36,29,7,34,114,1889,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa05b75d5f6faa72eac52e45f77c8da0a.jpg",[42],{"id":23908,"slug":23909,"title":106,"dynasty":296,"author":297,"museum":561,"description":23910,"tags":23911,"thumbUrl":23912,"material":70,"size":70,"collection":70,"collections":23913,"showCount":119,"zanCount":46,"manualWeight":46,"mainColor":47},235167,"shan-shui-ce-zhu-da-235167","这幅画以大片留白铺就江天寥廓，将寒烟秋水的空茫意蕴藏于素纸之上。右侧淡墨勾勒丘坡枯木，笔意清瘦简逸，虬曲枯枝孤傲孑立，枯笔皴擦山石，不着浓墨晕染，尽显萧疏冷寂。\n\n空荡纸面恰如无人的寒江荒野，把天地荒寒的澹远之境铺陈开来。朱红钤印错落点缀，冷素笔墨与古雅印色相映，为清寂画面添了沉静厚重的余味。\n\n寥寥数笔便将幽独襟怀融于山水之间，极简意象里藏着沉郁孤高的心境，于空寂之中见深远意趣，淡远里尽显清冷孤绝的品格。",[24,27,111,29,34,35,7,244,36,19237,13111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c165116dd7770d6cc8dde0fdfaf4df9.jpg",[],{"id":23915,"slug":23916,"title":4201,"dynasty":18,"author":436,"museum":561,"description":23917,"tags":23918,"thumbUrl":23919,"material":217,"size":660,"collection":70,"collections":23920,"showCount":119,"zanCount":46,"manualWeight":46,"mainColor":47},234927,"dong-qi-chang-shan-shui-ce-yi-ming-234927","此作用笔清润松灵，近景古木虬曲苍劲，枝桠舒展自带古拙意趣，坡岸留白晕开浅淡水汽，衬得林下村居愈发幽寂安闲。中远景山峦层叠，以淡墨轻勾慢皴，山石轮廓秀逸温润，将江南丘壑的清润质感藏于简淡笔墨之中。画面留白与钤印错落相映，晕开雅致沉静的书卷气，以尺幅之地铺陈出萧散淡远的林下闲居之境，尽显平淡天真的文人意趣，观之如临幽寂山林，静享山居清宁。",[200,24,25,111,27,36,29,837,112,35,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F409ff81a6d88494802fde213820a8874.jpg",[],{"id":23922,"slug":23923,"title":22461,"dynasty":18,"author":238,"museum":561,"description":21063,"tags":23924,"thumbUrl":23925,"material":217,"size":660,"collection":70,"collections":23926,"showCount":119,"zanCount":46,"manualWeight":46,"mainColor":47},234831,"fang-huang-gong-wang-shan-shui-shan-ye-lan-ying-234831",[24,25,1900,29,186,36,27,7,34,35,30,578,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8a581639319e81fff2d3745b315c142.jpg",[],{"id":23928,"slug":23929,"title":23930,"dynasty":18,"author":15845,"museum":561,"description":23931,"tags":23932,"thumbUrl":23933,"material":70,"size":70,"collection":70,"collections":23934,"showCount":119,"zanCount":46,"manualWeight":46,"mainColor":47},234804,"qian-gu-shan-shui-dan-ye-qian-gu-234804","钱穀山水单页","钱穀（1508—1578），字叔宝，号罄室、句吴逸民，自号罄室子，长洲（今江苏苏州）人，吴越国王族钱氏的后人。少孤贫，迨壮始知读书，游文太史徵明门下，研习画法。画名甚著，且书、诗、文俱精妙。\n现藏于苏州博物馆的钱穀《摹吴镇、倪云林山水》卷为纸本水墨，纵31.5厘米、横148.5厘米，题款“钱穀”，钤“叔宝”白文方印。此作为我们观察、研究钱穀的仿古绘画面貌提供了资料。\n钱穀所处时代的吴中，形成了一个以文徵明为核心的精英文化圈。而成为文徵明的弟子，即意味着他进入了这个核心圈，共享圈内的资源。与诸多文徵明的弟子一样，他长期为老师代笔。这表明，钱穀的画风在很长时间内与文徵明的画风相当接近。除了替师捉刀之外，他也十分注重自己的个人创作。清代徐沁在《明画录》中评价钱穀“作山水不名其师学，而自腾踔于梅花、一峰、石田间，爽朗可爱”。从中可以看出，钱穀已意识到创作不应拘泥于文氏风格。他后期的绘画转师沈周及“元四家”，即是一种应变的策略。《摹吴镇、倪云林山水》卷便是他求变的产物。\n摹写前人的作品，注重从前人的画法中吸取营养，是画家自我提升的一个重要法门。吴门绘画特别推崇元人的笔墨。因此，钱穀追摹吴镇、倪瓒作品的举动也是不难理解的事情。在吴中的文化圈中，“元四家”的作品备受青睐、流传颇多，钱穀想要观赏这些作品自然也不是难事。因此在临仿元人绘画时，可供他选择的画作应是比较丰富的。在《摹吴镇、倪云林山水》卷中，他采用的并不是常见的不与原作相似、带有强烈个人印记的“神会”模仿，而是较为忠实地学习元代画家的风格特征，隐去了自己的笔法痕迹。不过，他的摹写并不是对某一画作的如实临摹，而是将不同画作的绘画元素转摹组合到同一个画面之中。",[24,25,27,36,111,29,33,34,7,35,132,364],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a8fd14004e15d9a8836dc084f6eacaa.jpg",[],{"id":23936,"slug":23937,"title":2840,"dynasty":296,"author":3038,"museum":561,"description":15284,"tags":23938,"thumbUrl":23939,"material":368,"size":15287,"collection":70,"collections":23940,"showCount":119,"zanCount":46,"manualWeight":46,"mainColor":47},234717,"fang-gu-shan-shui-ce-wang-hui-234717",[24,25,111,27,36,186,29,96,33,391,114,3843,7,113,7586,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91ed578ee3d10a4c1ccad6c5f78d6b63.jpg",[],{"id":23942,"slug":23943,"title":23944,"dynasty":18,"author":238,"museum":561,"description":22479,"tags":23945,"thumbUrl":23946,"material":70,"size":70,"collection":70,"collections":23947,"showCount":119,"zanCount":11,"manualWeight":46,"mainColor":47},234634,"fang-zhao-song-xue-shan-shui-shan-ye-lan-ying-234634","仿赵松雪山水扇页",[24,1900,28,29,32,427,7,34,58,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39567596c4b94d544a1394f90e146675.jpg",[],{"id":23949,"slug":23950,"title":22353,"dynasty":18,"author":21677,"museum":561,"description":23951,"tags":23952,"thumbUrl":23953,"material":70,"size":70,"collection":70,"collections":23954,"showCount":119,"zanCount":46,"manualWeight":46,"mainColor":47},234486,"shan-shui-shan-wei-zhi-huang-234486","魏之璜（1568～1647），明代画家。字叔考，上元（今南京）人。能书善画，以卖画为生。书师法《黄庭经》，结构严密，神采流丽。山水宗宋人，不袭粉本，岩壑树石多变化，别具风格。亦擅花卉及佛像。",[1900,24,25,27,28,36,29,34,7,60,35,364,5820,159,258],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F689fbbc66d94f153ceabb94254d50706.jpg",[],{"id":23956,"slug":23957,"title":5673,"dynasty":296,"author":870,"museum":360,"description":5674,"tags":23958,"thumbUrl":23959,"material":246,"size":5679,"collection":70,"collections":23960,"showCount":119,"zanCount":46,"manualWeight":46,"mainColor":47},233779,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233779",[24,29,28,36,38,82,7,31,34,227,1105,30,415,427],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08499dfe7a18b26f6177db834ea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花下游乐图屏风-第二屏","狩野长信","狩野長信（KanōNaganobu）是狩野派的日本畫家。狩野長信是狩野派狩野狩野的最小的兄弟。長信為京都的朝廷（包括御所）完成了許多委託，並創辦了自己的狩野派。在德川幕府統一控制該國並在那裡建立政府時，他是首位從京都移居江戶的主要畫師。",[23,200,24,25,95,28,56,36,62,7,391,303,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31dcbd30fdf392e7be2c5ed69db9ae9a.jpg",[],{"id":24008,"slug":24009,"title":24010,"dynasty":124,"author":3003,"museum":561,"description":24011,"tags":24012,"thumbUrl":24014,"material":217,"size":660,"collection":70,"collections":24015,"showCount":119,"zanCount":46,"manualWeight":46,"mainColor":149},231042,"pi-pa-yuan-xi-tu-yi-yuan-ji-231042","枇杷猿戏图","该画描述了一株枇杷树，干身扭曲，从石後横斜出了画面，又一枝干自上方角落窜进画中，这样的干身，笔墨虽不相连，意却相牵，但觉画外有画，这是作者在构思这幅画作时，别出心裁之处。",[24,200,25,3980,56,28,95,10717,7467,34,7,24013],"枇杷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b53e0257dfb4e9133f98235b397650b.jpg",[],{"id":24017,"slug":24018,"title":24019,"dynasty":296,"author":2706,"museum":561,"description":24020,"tags":24021,"thumbUrl":24022,"material":70,"size":70,"collection":70,"collections":24023,"showCount":119,"zanCount":46,"manualWeight":46,"mainColor":149},230961,"xia-shan-yu-yu-tu-dong-bang-da-230961","夏山欲雨图","《董邦达夏山欲雨图》是淸 云痴不舍峰，雨到先鸣树。\n涧口归渔人，林端起群鹜。\n浑脱房山法，妙蕴丹阳句。\n伫待吟溟濛，遥天镇微露。\n即爱新觉罗·弘历。\n清朝皇帝。\n世宗第四子。\n雍正十一年封和硕宝亲王。\n十三年八月嗣位，次年改元乾隆。\n即位后驱逐在内廷行走之僧道；释放被幽禁之允(胤)禵等，恢复允(胤)禵等宗室身份；又将宗室诸王所属旗人，均改为“公中佐领”，即归皇帝掌握。\n对汉族知识分子，采用笼络与惩罚并行手段，既于乾隆元年开博学鸿词科，三十八年开《四库全书》馆；又大兴文字狱，前后大案不下数十起，并借修书之便，销毁或窜改大量书籍。\n对西北方面，平定准噶尔部，消灭大小和卓木势力，解决康、雍以来遗留问题。\n在位时六次南巡，多次进行镇压土司叛乱、农民起事战争，耗费大量钱财。\n晚年任用和珅，吏治腐败；陶醉于“十全武功”，自称十全老人，对敢于指斥时弊之官吏，常严加斥责。\n同时，对各省亏空严重、督抚多不洁身自爱之状，知之甚详。\n五十八年，接见英国特使马嘎尔尼，拒绝英国所提出之侵略性要求，然并未引起任何警惕之心。\n六十年，宣布明年禅位皇十五子颙琰。\n次年正月，举行授受大典，自称太上皇帝，仍掌实权。\n在位六十年。",[23,24,25,26,27,29,837,883,112,130,201,132,114,1104,7,133,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62cdb96f4e97e9b848732bd4506f3fe0.jpg",[],{"id":24025,"slug":24026,"title":768,"dynasty":296,"author":3038,"museum":561,"description":24027,"tags":24028,"thumbUrl":24029,"material":70,"size":70,"collection":70,"collections":24030,"showCount":119,"zanCount":46,"manualWeight":46,"mainColor":250},230959,"jiang-shan-qiu-se-tu-wang-hui-230959","此作开合有度，近景流泉穿林而过，丹枫缀枝暗染秋意，山居幽舍藏于崖畔林樾之中，野趣悠然。中层平湖如镜，远山澹澹含烟，铺展出清旷秋山的辽远意境。\n\n笔墨枯润相生，以干笔皴擦写山石肌理，湿笔晕染出山岚空濛，披麻皴裹挟解索皴带出苍浑质感，兼得宋元山水的古雅厚重，又透出灵动秀逸之气。将秋山萧疏清寂与幽居之冶融为一体，师古而不泥古，把秋江林泉的静穆与生机娓娓铺陈，尽显寄兴林泉的文人意韵。",[24,27,36,28,29,30,31,7,34,130,33,82,3468],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43cf446816c3e98846bde399ef42c87e.jpg",[],{"id":24032,"slug":24033,"title":24034,"dynasty":296,"author":6476,"museum":561,"description":24035,"tags":24036,"thumbUrl":24037,"material":70,"size":70,"collection":70,"collections":24038,"showCount":119,"zanCount":46,"manualWeight":46,"mainColor":47},230921,"wei-ying-nian-zuo-shan-shui-tu-gao-jian-230921","为迎年作山水图","层岩峻壑以枯笔皴擦勾勒，尽显山石嶙峋古拙之态，苍劲老辣的笔墨晕染出北派山水的雄浑厚重。近岸枯木虬曲疏朗，枝桠间透着清寂萧寒，侧畔草堂幽居隐于林麓，涧水蜿蜒浅流，野意悠然。远景峰峦以淡墨晕染，虚实相生晕化开朦胧秀逸的南派意趣。右上角题字墨韵雅致，与山水相得益彰。整幅画作苍润笔墨相生相融，将林泉高致的文人雅趣藏于清寂出尘的山居意境里，尽显冲淡幽远的林下之风。",[23,24,25,95,27,36,29,7,242,31,35,114,364,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3f7b769732c9efdb2ed772605377ecb.jpg",[],{"id":24040,"slug":24041,"title":24042,"dynasty":296,"author":24043,"museum":561,"description":24044,"tags":24045,"thumbUrl":24046,"material":70,"size":70,"collection":70,"collections":24047,"showCount":119,"zanCount":11,"manualWeight":46,"mainColor":149},230895,"qiu-lin-yi-ju-tu-lan-meng-230895","秋林逸居图","蓝孟","《秋林逸居图》是中国清代画家 的国画作品。\n该画为立轴绢本，纵217.米，横68.厘米现藏于旅顺博物馆。\n蓝孟，生卒年不详，清代画家。\n字次公、亦舆，又字鸾，钱塘(今浙江杭州)人。\n著名画家蓝瑛之子。\n善画山水，师法宋元诸家。\n笔法疏秀，能传家法。\n约活动于顺治至康熙年间。\n《秋林逸居图》以鸟瞰手法写山水，具有立体感和空间感。\n山石多作矶头，磊落灵秀，树法朴拙，高拔劲挺，与山势相协调，村舍有曲径板桥可通，益增纵深感，溪边碎石大小相间，颇多奇趣，可谓匠心独运。\n全图笔墨苍润，一气呵成，是一幅丰富多彩的小青绿山水佳作。",[23,24,25,95,27,28,56,36,29,952,35,34,7,30,31,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7bd02babbd73a0bb4302e9b8ccc3806.jpg",[],{"id":24049,"slug":24050,"title":24051,"dynasty":296,"author":3038,"museum":561,"description":24052,"tags":24053,"thumbUrl":24054,"material":70,"size":70,"collection":70,"collections":24055,"showCount":119,"zanCount":46,"manualWeight":46,"mainColor":47},230851,"lu-cun-gao-yi-tu-wang-hui-230851","麓村高逸图","画面以平远之法铺展幽居盛景，近处方林下，高士安坐，侍童静立旁侧，溪桥丹顶鹤独立顾盼。芭蕉修竹环合掩映，屋舍隐于烟林，远景以淡墨晕染，水雾空濛，将江南丘壑的温润清寂尽数铺陈。\n画作兼工带写，设色浅雅柔润，笔致秀逸灵和，把林下高逸散淡的襟怀融在咫尺山水间，环周题跋与画意呼应，书画合璧，尽显文人雅流出世的襟抱，悠悠林下风致扑面而来。",[23,24,28,29,58,1140,302,488,34,31,7,296,26,56,27,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfb7e72fa79915f2446b59af3c56c8c6.jpg",[],{"id":24057,"slug":24058,"title":24059,"dynasty":3017,"author":436,"museum":561,"description":24060,"tags":24061,"thumbUrl":24063,"material":217,"size":660,"collection":70,"collections":24064,"showCount":119,"zanCount":46,"manualWeight":46,"mainColor":149},230545,"shi-ting-shi-dai-bang-song-tu-ping-feng-di-er-ping-yi-ming-230545","室町时代 浜松图屏风-第二屏","苍劲古松盘虬扎根沙洲，枝干舒展如翠盖层叠，松下茅舍掩映，渔樵往来于烟波之间，晕染出悠然野逸的山居意趣。层叠浪涛带着灵动韵律，将画面割裂又串联，近岸石畔姹紫花卉葳蕤盛放，野禽栖于苔石，生机盎然。金箔底色晕开朦胧柔美的氛围感，将俗世渔樵烟火与林下幽情相融，把四时生机与闲静禅意揉为一处，尽显和风绘卷温润雅致的侘寂之美，藏着东方古典里独有的悠然意境。",[23,28,24062,56,29,62,427,96,3020,31,32,58,227,201,18698,18700,7,10401],"金碧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8426675663adcf6258597ace11c316e8.jpg",[],{"id":24066,"slug":24067,"title":24068,"dynasty":296,"author":8362,"museum":561,"description":24069,"tags":24070,"thumbUrl":24071,"material":70,"size":70,"collection":70,"collections":24072,"showCount":119,"zanCount":46,"manualWeight":46,"mainColor":149},228925,"gu-dai-jing-guan-ce-ye-shan-shui-ce-ye-gao-cen-228925","古代景观册页（山水册页）","此作用淡墨晕染烟岚，远山沉郁隐现于云气间，似浸着朝暮的湿润清寒。近岸苍松劲挺，修林攒簇，浓淡墨色梳开林木高低层次。坡上屋舍静立，柴门虚掩，似在等候晚归之人。板桥横卧浅溪，仿佛能听见流水带着清响缓缓淌过，将山野的幽寂轻轻漾开。\n\n画作兼取高远与平远构图，笔力苍秀相融，以朦胧墨色铺展江南山水的空濛灵秀。不着繁复皴擦，却将林泉隐逸的静穆之气藏在烟树水色里，观之如踏入无人山境，暂忘尘嚣纷扰。",[23,24,25,111,27,36,29,34,30,35,133,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcdad96f547d3a59a538c7965794404c.jpg",[],{"id":24074,"slug":24075,"title":24076,"dynasty":18,"author":436,"museum":561,"description":24077,"tags":24078,"thumbUrl":24079,"material":217,"size":660,"collection":70,"collections":24080,"showCount":119,"zanCount":11,"manualWeight":46,"mainColor":149},228805,"luo-han-xiang-long-tu-yi-ming-228805","罗汉降龙图","画面高远错落，祥云缭绕出清寂禅意。红袍虬髯的罗汉怒目圆睁，正施法定住惊涛中翻腾的蛟龙，鳞爪张舞的蛟龙满是桀骜，与罗汉的沉凝威势碰撞出强烈张力。上方禅坐的尊者宝相安然，将下方的奔波动势收束于静谧禅机之内。\n\n周遭僧众神态各异，或垂目静思，或注目凝神，层层烘托出伏魔场面的庄严肃穆。石青朱砂的古雅敷色，晕染出佛绘特有的厚重威仪，细腻笔触将人物神态、蛟龙肌理刻画入微，把禅门降伏神通的玄妙意境铺陈开来，尽显工笔佛画的精湛造诣。",[23,24,25,2252,784,56,28,58,907,7,31,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e7b08be8a42e4de886d90750e888424.jpg",[],{"id":24082,"slug":24083,"title":24084,"dynasty":18,"author":15845,"museum":561,"description":24085,"tags":24086,"thumbUrl":24087,"material":70,"size":70,"collection":70,"collections":24088,"showCount":119,"zanCount":46,"manualWeight":46,"mainColor":47},228330,"jing-shan-xiao-zhong-tu-ye-qian-gu-228330","荆山晓钟图页","远景山峦以青绿轻晕，烟岚浮动于峰岫之间，晕染出空濛迷蒙的晓色。中景古寺隐于霜林之中，振翅惊飞的鸦群，将无形的晓钟化为可见的灵动画面，暗合钟声穿林、山乡初醒的意境。近野板桥逶迤，行旅徐行，林木枯荣相间，皴笔细劲，淡彩轻敷。\n整幅画作以虚写实，将听觉意象融于视觉画面，清逸雅致的色调晕开拂晓的清冷静谧，把乡山清晨的幽寂灵动尽数铺展，尽显诗意淡远的文人山水意趣。",[23,24,25,111,28,27,29,36,158,133,31,30,60,34,201,33,7,364,58,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7d8940f47b0cc7d935c99acc7d337dc.jpg",[],{"id":24090,"slug":24091,"title":24092,"dynasty":18,"author":14896,"museum":561,"description":24093,"tags":24094,"thumbUrl":24095,"material":70,"size":70,"collection":70,"collections":24096,"showCount":119,"zanCount":46,"manualWeight":46,"mainColor":47},228306,"yan-qi-si-fang-tu-yong-shou-juan-xiang-sheng-mo-228306","岩栖思访图咏手卷","此卷以水墨铺展江林丘壑，兼具平远寥廓与高岩奇崛。开篇江天浩渺，远山如黛，汀渚间隐见梵刹，渐而危崖层叠，皴笔苍劲朴厚，石骨棱棱间林木枯荣相济，野趣盎然。\n\n左侧篱舍幽居伴山而筑，高士独行江渚，似在访寻幽栖旧友。淡墨晕染烟岚水色，空濛温润间裹挟清寂萧散之意。整卷笔墨清隽秀雅，将江南山水的静穆幽深，与林下思访的文人雅怀相融，把遁世幽栖的林下襟怀寄寓在一山一水间，尽显幽澹出尘的文人山水意趣。",[23,24,25,26,27,29,36,82,37,38,7,34,316,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cd5524c43a60e2a5714bd22dfe3beb1.jpg",[],{"id":24098,"slug":24099,"title":24100,"dynasty":124,"author":24101,"museum":561,"description":24102,"tags":24103,"thumbUrl":24104,"material":70,"size":70,"collection":70,"collections":24105,"showCount":119,"zanCount":46,"manualWeight":46,"mainColor":47},227960,"jiang-ting-lan-sheng-tu-zhu-wei-de-227960","江亭揽胜图","朱惟德","《晋唐宋元书画国宝特集》是22年 出版的图书，作者是上海博物馆编、故宫博物院、 。\n22年，为庆祝上海博物馆成立5周年，由上海博物馆、故宫博物院、 联合举办的《晋唐宋元书画国宝展》在上海博物馆来开帷幕。\n本书集三大博物馆珍藏的国宝级 名迹72件，艺术、文化和史料价值极高。\n晋唐宋元是中国书画艺术史上最辉煌最重要的时期，作为展览的图录， 感录这些赫赫巨迹。\n其中被庋藏于清宫“三希堂”的晋王珣的《行草书伯远帖卷》，有隋展子虔的《游春图卷》，有五代南 唐时期顾闳中的千古杰作《韩熙载夜宴图卷》，还有北宋张择端脍炙人口的《清明上河图》、而王羲之的《行书上虞帖卷》、王献之的《行书鸭头丸帖卷》、欧阳询的《行书仲尼梦奠帖卷》、周昉的《簪花仕女图卷》等等精品，凡72件，引人探赜索隐。\n综观同类出版物，该书有三大特色：首先是入录书画均以原迹摄片电分，采用调频网先进技术印制。\n精密度高，真貌毕现。\n其次是卷册轴页形制齐全，所有作品前题后跋，作首次全面展示。\n三是历代鉴藏印记大都原收录，部分并以X光片摄片图版显示，以供研究。\n晋唐 1、东晋佚名曹娥诔辞卷 2、东晋王珣伯远帖 、东晋 4、东晋王献之鸭头丸帖 5、 6、唐欧阳询仲尼梦奠帖 7、唐虞世南摹兰亭序帖 8、唐孙过庭千字文 9、唐阎立本步图 1、唐韩滉五牛图 11、唐周肪簪花仕女图 12、唐颜真卿湖州帖 1、唐孙位高逸图 14、唐怀表苦荀帖 15、唐杜牧张好好诗 16、唐高闲千字文 17、 五代 两宋 18、五代杨凝式夏热帖 19、 2、五代董源夏景山待渡图 21、 22、五代顾闳中（传）韩熙载夜宴图 2、五代徐熙雪竹图轴 24、 轴 25、北宋李成茂林远岫图 26、北宋欧阳修自书诗文稿 27、北宋司马光宁州帖 28、北宋王安石楞俨经旨要 29、北宋郭熙幽谷图轴 、北宋王诜渔村小雪图 1、北宋王诜烟江叠嶂图 2、北宋蔡襄持书帖 、北宋苏轼答谢民师论文帖 4、北宋黄庭坚小子相帖 5、北宋 6、北宋李公麟韦偃牧放图 7、北宋崔白寒雀图 8、 9、 卷 4、北宋张择端清明上河图 41、金杨微二骏图 42、南宋李唐采薇图 4、南宋赵构养生论卷 44、南宋赵构书马和之画唐风图卷 45、南宋李迪雪树寒食图 46、南宋徐禹功雪中梅竹图等合卷 47、南宋陆游自书诗卷 48、南宋梁楷八高僧图 49、南宋文天祥草书木奚诗序 5、南宋朱惟德江亭揽胜图 51、南宋赵大亨薇亭小憩图 52、南宋李嵩骷髅幻戏图页 5、南宋马麟郊原曳杖图页 54、 元代 55、元代钱选浮玉山居图 56、元代赵孟俯秋兴赋卷 57、元代赵孟俯小村图卷 58、元代鲜于枢韩愈送李愿归盘谷序 59、元代吴镇渔父图 6、元代高克恭春山欲雨图 61、元代赵孟俯洞庭东山图 62、元代黄公望天池石壁图 6、元代任仁发 秋水凫鷖图轴 64、元代李士行竹石图轴 65、元代王冕墨梅图轴 66、元代杨维桢草书七绝诗 67、元代唐棣松荫聚饮图 68、元代王渊竹石集禽图 69、元代倪瓒渔庄秋霁图 7、元代王蒙青卞隐居图 71、元代 72、元代佚名民物熙乐图轴",[23,24,25,1900,28,29,38,4415,114,427,7292,2490,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72f92e1824fd7136d2cdd1d263bc3b0b.jpg",[],{"id":24107,"slug":24108,"title":24109,"dynasty":3017,"author":436,"museum":561,"description":24110,"tags":24111,"thumbUrl":24112,"material":70,"size":70,"collection":70,"collections":24113,"showCount":119,"zanCount":46,"manualWeight":46,"mainColor":47},225306,"fu-shi-hui-34-yi-ming-225306","浮世绘34","澄澈海面轻漾柔波，两艘渔舟缓行其上，晕开悠悠渔隐意趣。苍崖叠翠而起，深浅绿意晕染出繁茂植被的层次，暖黄石径蜿蜒穿梭林间，崖顶山居凭险而建，将山居与山海融为一体。\n\n右下角朱红岸滩衬着古朴鸟居与屋舍，冷暖色调交织柔化了山海边界，把南国的静谧悠然铺陈开来。整体兼具装饰意趣与东方山水意境，以雅致抒情的笔调定格幽远山海之美，带着和风特有的恬淡诗意，引人身临其境踏入这处避世的南国栖居地。",[22671,28,29,32,2490,34,7,1262,4438,35,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c0bb9f4ca064dd87b79f48836bf455a.jpg",[],{"id":24115,"slug":24116,"title":24117,"dynasty":296,"author":1177,"museum":561,"description":24118,"tags":24119,"thumbUrl":24120,"material":217,"size":660,"collection":70,"collections":24121,"showCount":119,"zanCount":46,"manualWeight":46,"mainColor":149},224475,"jiu-feng-du-shu-tu-zhou-wang-jian-224475","九峰读书图轴","图绘崇山峻岭，苍松平溪，一高士在茅舍内读书。其展卷吟诵的细微举止点明了惬意“读书”的创作主题，寄托着画家的隐逸思想。本幅构图为高远法取势，山脚松木以工整的线条精心刻画，显现出作者以线造型的能力。山顶处以浓墨戳点，有浑点、破竹点、胡椒点、破墨点等，灵活多变的各种点法增强了江南山峦湿润华滋、沉郁深秀的气象。山石的脉络是以元人王叔明（即王蒙）典型的解索皴表现，其拖墨而下，屈曲密集的线条与山石的陡峭走向相一致，增强了山体的雄伟之势。此图堪称王鉴仿王叔明的佳作，全面地展示了其对王蒙画法得心应手的娴熟的运用程度。",[23,200,24,25,95,27,29,36,427,2901,7,1081,31,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee4c33a56f8a8f213d47350c092aa3c8.jpg",[],{"id":24123,"slug":24124,"title":24125,"dynasty":296,"author":1406,"museum":561,"description":24126,"tags":24127,"thumbUrl":24128,"material":24129,"size":24130,"collection":70,"collections":24131,"showCount":119,"zanCount":46,"manualWeight":46,"mainColor":149},224422,"shu-hua-shi-liu-kai-8-wang-shi-min-224422","书画十六开-8","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。",[23,24,27,28,36,111,29,7,31,33,35,34,30,364],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2243c54b555496c4344dfbf997010309.jpg","墨色绢本","48x32",[],{"id":24133,"slug":24134,"title":462,"dynasty":296,"author":9806,"museum":561,"description":24135,"tags":24136,"thumbUrl":24137,"material":217,"size":660,"collection":70,"collections":24138,"showCount":119,"zanCount":46,"manualWeight":46,"mainColor":47},224194,"shan-shui-tu-wu-hong-224194","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”。",[23,1900,24,27,36,29,96,7,35,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88d02ac75ef5b73d4c0984f4926cabcc.jpg",[],{"id":24140,"slug":24141,"title":24142,"dynasty":296,"author":2784,"museum":561,"description":24143,"tags":24144,"thumbUrl":24145,"material":70,"size":70,"collection":70,"collections":24146,"showCount":119,"zanCount":46,"manualWeight":46,"mainColor":149},224173,"xun-chun-tu-hua-yan-224173","寻春图","此作用高远章法铺展丘壑，石色苍浑松色沉郁，青绿设色带着古雅厚重的质感。近景老松虬曲盘绕，松下雅士晤言，溪石旁幽人闲坐，野趣盎然。中景村居错落隐于林麓，板桥之上一人策杖徐行，将山野居处的悠然缓缓铺陈。远景危崖如屏，林岚轻笼，山溪蜿蜒藏起春山秀色。右上角题诗呼应雅意，笔墨秀逸灵润，以山水清嘉承载文人雅怀，把春日山乡的清寂生机与林下逸致相融，尽显静穆悠远的山居春兴。",[23,24,25,95,28,56,36,29,58,30,31,33,35,427,7,4437,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22c8a1e8dc6a5f030b51069951c9769f.jpg",[],{"id":24148,"slug":24149,"title":24150,"dynasty":124,"author":436,"museum":360,"description":24151,"tags":24152,"thumbUrl":24153,"material":454,"size":24154,"collection":70,"collections":24155,"showCount":119,"zanCount":46,"manualWeight":46,"mainColor":149},223506,"song-yin-tan-dao-tu-ye-yi-ming-223506","松荫谈道图页","此图亦作《三教论道图》，图绘远处山峰连绵，近处一棵高大松树松杆遒劲，绿荫如盖；松荫下儒、释、道三位教徒或着长袍，或着叶装，端坐于松根、石块上谈经论道。此处环境清幽，阴凉静雅，似世外桃园般安逸。",[23,24,200,25,1900,56,28,58,427,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F833d44227db51604372db96ab56fde5d.jpg","25.3＊25.6cm",[],{"id":24157,"slug":24158,"title":24159,"dynasty":78,"author":436,"museum":1090,"description":24160,"tags":24161,"thumbUrl":24163,"material":368,"size":24164,"collection":70,"collections":24165,"showCount":119,"zanCount":46,"manualWeight":46,"mainColor":149},223445,"han-lin-gui-qiao-tu-zhou-yi-ming-223445","寒林归樵图轴","远处孤山耸立，近处寒林对峙，画面空旷深远，尽显寒意料峭。图画上端有刘长卿所作诗《寻盛禅师兰若》，净慈寺平山处林禅师所书诗：“秋草黄花覆古阡，隔林何处起人烟，山僧独在山中老，唯有寒松见少年”",[23,24,27,95,29,538,242,7,36,24162],"樵夫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ab559074d70afec98a2c35cecf05614.jpg","92.6＊48.9cm",[],{"id":24167,"slug":24168,"title":24169,"dynasty":124,"author":436,"museum":20,"description":24170,"tags":24171,"thumbUrl":24172,"material":142,"size":24173,"collection":70,"collections":24174,"showCount":119,"zanCount":46,"manualWeight":46,"mainColor":149},223378,"shi-liu-ying-zhen-du-hai-tu-juan-yi-ming-223378","十六应真渡海图卷","文中斯别开生面。形状奇怪夙所称，耳熟闻之目新见。苍鳞若龙若非龙，擎爪来闻法以现。第一。据树坐椸钵多罗，鸦鹊来餐香积饭。第二。飘然白鹤驾以降，屈眴七条披已惯。第三。数珠在手。第四。把明珠。第五。自摇箑其貌颟顸。第六。端立左铃而右杵。第七。扶童者迵顾彼崖。第八。是皆渡海履水物。水物狰狞名不辨。拍持具叶。第九。促舍汉。第十。白泽曳轮坐以晏。别有袖手乘骞槎。第十一。相参法喜作佳伴。据石入定若无人。第十二。牛哀跪伏如猫豢，傍见共谘二大士，其一默坐。第十三。一持扇。第十四。似步而迥更迥，第十五。臃肿披缁目光炫。第十六。跏趺相对谈二禅。云空。第十七。云色。第十八。色空幻，是为不二法之宗。绣居士说法编，向曾韵统考同文。位号次第订梵汉。莆田愚者不羁士。传神何碍后前舛。长歌笑我尚拘墟。山阴讶似镜中按。乾隆乙巳（1785）仲秋，御题。",[23,24,200,26,712,27,784,58,2241,1396,7,34,883],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fbfb5332900a9dfc823e81b021913cf.jpg","29X322",[],{"id":24176,"slug":24177,"title":24178,"dynasty":296,"author":8516,"museum":401,"description":8517,"tags":24179,"thumbUrl":24180,"material":142,"size":8522,"collection":70,"collections":24181,"showCount":119,"zanCount":46,"manualWeight":46,"mainColor":47},222967,"hong-lou-meng-92-sun-wen-222967","红楼梦92",[23,24,25,26,56,28,33,60,58,415,302,7,2278,3323,64,2861],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe37ac43c8394a731fbdbcf24bc56c51.jpg",[],{"id":24183,"slug":24184,"title":13091,"dynasty":296,"author":8516,"museum":401,"description":8517,"tags":24185,"thumbUrl":24186,"material":142,"size":8522,"collection":70,"collections":24187,"showCount":119,"zanCount":46,"manualWeight":46,"mainColor":250},222938,"hong-lou-meng-63-sun-wen-222938",[23,24,56,28,58,60,61,34,7,66,10249,18680,1118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f82b48ad4bbd75929ec78aef15756fa.jpg",[],{"id":24189,"slug":24190,"title":13673,"dynasty":296,"author":8516,"museum":401,"description":8517,"tags":24191,"thumbUrl":24192,"material":142,"size":8522,"collection":70,"collections":24193,"showCount":119,"zanCount":46,"manualWeight":46,"mainColor":47},222921,"hong-lou-meng-46-sun-wen-222921",[23,56,28,57,58,59,60,30,34,302,61,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f68ca4c6fa9ab7880091059a4ab8cc1.jpg",[],{"id":24195,"slug":24196,"title":24197,"dynasty":296,"author":8516,"museum":401,"description":8517,"tags":24198,"thumbUrl":24199,"material":142,"size":8522,"collection":70,"collections":24200,"showCount":119,"zanCount":46,"manualWeight":46,"mainColor":250},222916,"hong-lou-meng-41-sun-wen-222916","红楼梦41",[23,200,24,25,26,56,28,58,60,61,34,7,64,11505,1056],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71143b0e3881c22a1570161c623f281c.jpg",[],{"id":24202,"slug":24203,"title":24204,"dynasty":296,"author":8516,"museum":401,"description":8517,"tags":24205,"thumbUrl":24207,"material":142,"size":8522,"collection":70,"collections":24208,"showCount":119,"zanCount":46,"manualWeight":46,"mainColor":47},222907,"hong-lou-meng-32-sun-wen-222907","红楼梦32",[23,24,25,56,28,57,58,60,61,391,112,7,18680,59,35,10249,21949,24206],"室外场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365e9f1d82d6ef78a2bca3d92337f7fb.jpg",[],{"id":24210,"slug":24211,"title":24212,"dynasty":18,"author":3448,"museum":239,"description":15408,"tags":24213,"thumbUrl":24214,"material":229,"size":24215,"collection":70,"collections":24216,"showCount":119,"zanCount":46,"manualWeight":46,"mainColor":47},222181,"xue-hou-fang-mei-tu-zhou-lu-zhi-222181","雪后访梅图轴",[23,24,25,200,95,27,36,29,537,390,60,32,7,31,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7aaf80233eb812f5038cd4b1c54a09f2.jpg","76x40cm",[],{"id":24218,"slug":24219,"title":24220,"dynasty":18,"author":19,"museum":20,"description":24221,"tags":24222,"thumbUrl":24223,"material":673,"size":24224,"collection":70,"collections":24225,"showCount":119,"zanCount":46,"manualWeight":46,"mainColor":47},222096,"liang-jiang-ming-sheng-tu-ce-8-shen-zhou-222096","两江名胜图册8","此图册描绘长江、准河两岸的山水景致和名胜古迹，表现的是江南水乡那种湿润清丽，明媚幽雅的风光。该图墨色富有变化，集中体现了沈周山水画风格。\n构图:纵观画册，画面剪裁简明、选取富有鲜明特点的景物，可以这样概括为图写真景，赋诗纪游，这与他一生与山林为伍，即有着他自己的生活的基础，才能描写出这些耐人寻味的景致。同时，又必须指出，其中不少构图为使人产生更多的联想、增加一些画外的意境，以此作背景来更加鲜明地衬托出每一画幅中的主题，构成诗意盎然的境界。\n技法:笔法上，只要细察，不难发现，在这十幅作品中，有的工密，有的疏简，布置或繁密谨严，或平凡简洁。用笔力、韵兼胜、不刻露，显得厚重凝炼。山石的繁笔勾皴和屋宇台阁的简笔勾勒，形成疏密对比。人物比例虽小，但那安然自得神态，极为生动，与整个自然融为一体。至于各画的墨色深浅、浓淡、干湿、轻重富有变化，使画面产生强烈的装饰美感。",[23,24,25,111,28,29,37,32,427,60,114,113,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95d2195e006435fbb0a25480c8b44d74.jpg","42.2×23.8厘米",[],{"id":24227,"slug":24228,"title":24229,"dynasty":18,"author":19,"museum":20,"description":24221,"tags":24230,"thumbUrl":24231,"material":673,"size":24224,"collection":70,"collections":24232,"showCount":119,"zanCount":46,"manualWeight":46,"mainColor":47},222093,"liang-jiang-ming-sheng-tu-ce-5-shen-zhou-222093","两江名胜图册5",[23,24,25,111,28,29,36,60,34,7,578,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F529ed3b156ab6352fef75398d40a0743.jpg",[],{"id":24234,"slug":24235,"title":24236,"dynasty":78,"author":4957,"museum":561,"description":24237,"tags":24238,"thumbUrl":24239,"material":24240,"size":24241,"collection":70,"collections":24242,"showCount":119,"zanCount":46,"manualWeight":46,"mainColor":149},221867,"qiu-lin-yuan-xiu-tu-ye-zhao-yong-221867","秋林远岫图页","赵雍 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的山水画风和置景技巧。\n该卷堪称是现存最长的画马图，代表了明人画马的最高艺术成就。\n遗憾的是，许宝其人被画史疏漏，这卷杰作被深藏于皇宫大内，久不为世人所知。\n许宝（生卒年不详），明代画家。\n画史无载。\n存世画作有《百马图》，现存故宫博物院。",[23,24,26,28,56,36,215,1396,34,7,2697,132,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9cb3ca3a9a8b62711cebe01b4011b3a.jpg",[],{"id":24498,"slug":24499,"title":24500,"dynasty":296,"author":22886,"museum":561,"description":24501,"tags":24502,"thumbUrl":24503,"material":70,"size":70,"collection":306,"collections":24504,"showCount":354,"zanCount":46,"manualWeight":46,"mainColor":47},238995,"jiao-yang-shu-wu-zhou-xiang-kui-238995","蕉阳书屋轴","项奎（1623-1702）明末清初画家，〔清〕字天武、子聚，号东井、墙东子、墙东居士、水墨处士，秀水(今浙江嘉兴)人，元汴曾孙，德达孙，徽谟子，生卒年不详。幼承家学，善山水，兼长兰竹。山水喜用秃笔，秀雅枯淡，颇得元人枯淡之趣；所画兰竹亦逸秀可爱，年七十属友人撰生圹志，寿至八十",[24,25,95,27,712,36,38,29,227,302,34,7,82,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3286bfda2e0e761bb51ae22ce879f272.jpg",[306,146],{"id":24506,"slug":24507,"title":24508,"dynasty":296,"author":18562,"museum":360,"description":24509,"tags":24510,"thumbUrl":24511,"material":229,"size":24512,"collection":42,"collections":24513,"showCount":354,"zanCount":46,"manualWeight":46,"mainColor":47},238983,"shan-shui-ce-zhong-lin-gao-xia-wang-chen-238983","山水册－重林高下","在册的画幅都比较小，从作者题语也可知道，很大程度上不是为明确目标而作，只是闲暇时自己借之寓意寄兴，因此画面气氛淡雅怡然。",[24,25,111,27,28,36,29,34,7,60,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad6b50a0c85ac70858bbdf6267b4a59f.jpg","纵21厘米，横28.2厘米",[42],{"id":24515,"slug":24516,"title":24517,"dynasty":296,"author":24518,"museum":561,"description":24519,"tags":24520,"thumbUrl":24521,"material":217,"size":660,"collection":289,"collections":24522,"showCount":354,"zanCount":46,"manualWeight":46,"mainColor":47},238941,"qing-xiang-si-shi-le-tu-xiang-ce-hu-jun-sheng-238941","庆祥四时乐图像册","胡骏声","字芑香，江苏常熟人。为缓溪翁族孙。翁擅添毫之技，晚岁目力稍衰，思得弟子相佐。骏声方弱冠，从毕琛学画臻众美。翁于是挈之共游凡数载，艺益进，遂为吴中之冠。陈芝楣抚苏时延至幕中，后丧妻，奉母居郡城，颜其斋曰“望禺”，饶幽居之趣。道光十年（1830）曾作仕女图。",[24,25,111,28,56,58,215,427,7,214,29,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6535153c09255e7dff49f2e5ec0692ad.jpg",[289,264],{"id":24524,"slug":24525,"title":10218,"dynasty":296,"author":1617,"museum":561,"description":10219,"tags":24526,"thumbUrl":24527,"material":70,"size":70,"collection":70,"collections":24528,"showCount":354,"zanCount":46,"manualWeight":46,"mainColor":47},238829,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238829",[24,25,111,28,56,37,82,33,60,34,7,302,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd02502eb809bcd8237cc41a3879222c5.jpg",[],{"id":24530,"slug":24531,"title":10218,"dynasty":296,"author":1617,"museum":561,"description":10219,"tags":24532,"thumbUrl":24533,"material":70,"size":70,"collection":70,"collections":24534,"showCount":354,"zanCount":46,"manualWeight":46,"mainColor":47},238825,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238825",[24,25,111,28,257,27,29,7,34,242,33,31,82,38,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe20f4b4295b749a2cf96304df748a5cf.jpg",[],{"id":24536,"slug":24537,"title":12774,"dynasty":296,"author":436,"museum":561,"description":24538,"tags":24539,"thumbUrl":24541,"material":70,"size":70,"collection":289,"collections":24542,"showCount":354,"zanCount":46,"manualWeight":46,"mainColor":47},238638,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238638","全景式铺展西南崇山战事，左侧隘楼雄峙，苗民凭险据守，河谷中短兵相接，刀戈交错间硝烟翻涌，清军列阵衔枚疾突，将平乱鏖战的肃杀张力尽数铺陈。\n刀工笔触细致入微，山石褶皱、将士甲胄纹理皆清晰可辨，既还原了山地地貌的奇崛险峻，也将攻防拉锯的实景如实复刻。右上角御题诗文与战事图景相映，融纪实叙事与帝王题咏于一体，以铜版镂刻定格边疆平乱的宏大场面，兼具纪实史料价值与清代版画工艺之美。",[439,712,56,36,111,29,58,215,60,7,34,12777,2974,10919,24540],"战场","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82a5ad1038662987587c2d95a68d04a4.jpg",[289],{"id":24544,"slug":24545,"title":24546,"dynasty":18,"author":436,"museum":561,"description":24547,"tags":24548,"thumbUrl":24549,"material":217,"size":660,"collection":70,"collections":24550,"showCount":354,"zanCount":46,"manualWeight":46,"mainColor":47},238577,"ming-ren-sheng-ping-yi-zan-tu-bing-shu-zan-ce-yi-ming-238577","明人升平翊赞图并书赞册","这幅作品以山海分野铺陈画面，左畔怒涛卷雪，水怪与神兵于浪尖缠斗翻涌，波谲云诡间尽显征伐张力；右列仪卫整肃，旌旗猎猎，神将冠服严整端凝，满是安邦肃穆之气。\n\n设色华贵明丽，赤金与青绿撞色浓烈却谐和，线条铁画银钩，既绘出惊涛奔涌的动感，又将仪卫威仪刻画入微。以神魔靖海的图景暗喻绥疆平乱，把征伐的惊险与受降的庄穆并置，将庙堂祈愿的升平藏于奇幻工致的院体笔墨中，笔底皆是护国安澜的恢弘叙事。",[24,25,111,56,28,58,3020,7,34,907,883],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F902b103254387191a4e0bc0f152e6f24.jpg",[],{"id":24552,"slug":24553,"title":9137,"dynasty":296,"author":9138,"museum":561,"description":9139,"tags":24554,"thumbUrl":24555,"material":70,"size":70,"collection":70,"collections":24556,"showCount":354,"zanCount":46,"manualWeight":46,"mainColor":47},238232,"shan-jing-ri-zhang-tu-ce-zhang-yu-sen-238232",[200,24,25,111,28,36,29,837,539,8549,34,391,4502,133,140,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18dd9df66367d82542672b8b337dc484.jpg",[],{"id":24558,"slug":24559,"title":106,"dynasty":296,"author":24560,"museum":561,"description":24561,"tags":24562,"thumbUrl":24563,"material":217,"size":660,"collection":42,"collections":24564,"showCount":354,"zanCount":46,"manualWeight":46,"mainColor":47},238084,"shan-shui-ce-lu-yao-238084","陆耀","陆耀，字朗甫，一字朗夫，号青来，吴县人，工诗文，兼长书、画，精分隶书，水墨山水，落落有自家风。",[24,27,36,111,29,34,35,7,364,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e2985e28acb1580fa39b13e42e6be69.jpg",[42],{"id":24566,"slug":24567,"title":971,"dynasty":296,"author":24568,"museum":561,"description":24569,"tags":24570,"thumbUrl":24571,"material":24572,"size":70,"collection":42,"collections":24573,"showCount":354,"zanCount":46,"manualWeight":46,"mainColor":47},237970,"shan-shui-zhou-li-jian-237970","黎简","黎简（1747年6月30日～1799年12月3日），字简民，一字未裁。号二樵，又号石鼎道人、百花村夫子，广东顺德县弼教村人，清代乾嘉年间岭南著名诗人、书画家。乾隆五十四年拔贡。诗画书称三绝，诗学李贺、黄庭坚，刻求新颖，书得晋人意。性喜山水，与张如芝、谢兰生、罗天池并称为粤东四大家。有《五百四峰草堂诗文钞》《药烟阁词钞》等\n黎简号称诗、书、画、印四绝，对岭南诗歌的发展起过积极的作用，且影响至中原。他一生虽然足迹未出岭南，但中年时诗画名气已远播中原。其诗以境新、句奇、意深、情真而独树一帜。但是，这位出色的诗人在中国文学史上长期没有位置，直到改革开放后才引起权威文学研究者的注意，收入《中国文学史》中。 著有《五百四峰堂诗钞》《五百四峰堂续集》《药烟阁词钞》，戏曲《芙蓉亭》等。\n诗从学李贺、黄庭坚入手，刻意求新，极“峻拔清峭”（王昶《湖海诗传》）之致，能自树一格。张维屏《国朝诗人征略》称：“其诗由山谷（黄庭坚）入杜，而取炼于大谢（灵运），取劲于昌黎（韩愈），取幽于长吉（李贺），取艳于玉溪（李商隐），取瘦于东野（孟郊），取僻于阆仙（贾岛）。锤焉凿焉，雕焉琢焉，于是成为其二樵之诗”。他的记游、题赠之作较多。不少诗描绘了两广山水风光、名胜古迹，如《藤县》《白马角》《龙门滩》《邕州》《白鹤观登五龙潭上玉女峰》《冲虚观至朱明洞》《浴日亭》《江南岸蕉园歌》等。也有少数篇章，反映民间疾苦，如《田中歌》，反映少数民族的风习，如《歌节》《大排三十八韵》等。\n其书法，意志追晋人，中年兼学李北海，晚年写苏黄两家为多，隶书真追《礼器》《熹平石经》，传世书法作品甚丰，显示了他在书法上的不断追求。肇庆七星岩石室岩洞内有他的《南服陨石》刻石，隶书体，秀劲舒放，纵横跌宕，属黎书上品。\n黎简工山水，早年粗犷、率意的用笔，侧重写生的表现，则多属效法明末清初的广东先哲。中年临摹倪云林、石涛作品，几可达到与真迹无异的境地。由近及远地求索，融古汇今地创新，师自前人，不囿于前人，始终是黎简所遵循的山水画创作主线。在这种意识指导下，创作出来的作品，自然会有一种清新、活泼的感觉。而且，由于他是以绝无“甜赖”气的元人、“搜尽奇峰打草稿”的石涛的技法，作为其创法的基调，又兼具乾隆盛世艺术所惯有的平稳、温润，对曾被扬州八怪个性化花鸟画震撼过的人们来说，黎简这种挑战主流派的山水画，又是一次新的震撼。\n黎简的篆刻，虽然属他诗书画的“余事”，但他有深厚的传统文化基础，才思敏捷。他的篆刻，得汉人神髓，参以己意，作品淳厚苍雄，意格甚高，自成面目。自刻图章曰“小子狂简”，刀法峻傥。又能治铜印。1962年，麦华三等辑成《二樵山人篆刻佚存》1册。",[24,25,95,27,28,36,29,34,427,7,133,227,58,364,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F682aee1e09b037e88fe4860d9478e6a0.jpg","设色绢本",[42,264],{"id":24575,"slug":24576,"title":22486,"dynasty":18,"author":6896,"museum":561,"description":21812,"tags":24577,"thumbUrl":24578,"material":217,"size":660,"collection":70,"collections":24579,"showCount":354,"zanCount":46,"manualWeight":46,"mainColor":250},237964,"shan-shui-shan-ye-wen-bo-ren-237964",[1900,27,36,29,34,7,316,58,33,4858,5267],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0d74be524d3c7e5a4ee1128812e7204.jpg",[],{"id":24581,"slug":24582,"title":1259,"dynasty":296,"author":8444,"museum":561,"description":24583,"tags":24584,"thumbUrl":24585,"material":70,"size":70,"collection":42,"collections":24586,"showCount":354,"zanCount":46,"manualWeight":46,"mainColor":47},237946,"shan-shui-tu-ce-liu-yu-237946","此作用笔苍秀松灵，水墨晕染细腻柔和。近岸古木扶苏，枝桠虬曲，掩映草庐幽居，野意盎然。水面开阔澹澹，远山以淡墨轻勾慢染，云气留白氤氲萦绕，将山水融于空濛烟岚之中，尽显林泉高致。\n左侧题字笔意萧散俊朗，文辞雅致，书画相映，尽显文人画以境抒怀的意趣，藏着寄情丘壑、静享林泉的隐逸之思，整幅清和淡远，悠悠古韵漫溢其间。",[24,25,111,27,36,37,82,29,34,7,31,133,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce52f527ef696f31244a5464d7952c1f.jpg",[42,306],{"id":24588,"slug":24589,"title":14549,"dynasty":18,"author":24590,"museum":561,"description":24591,"tags":24592,"thumbUrl":24593,"material":70,"size":70,"collection":42,"collections":24594,"showCount":354,"zanCount":46,"manualWeight":46,"mainColor":47},237784,"zhu-jia-shan-shui-ce-shan-shui-ce-ye-wang-yun-jing-237784","王允京","字谦文，号秋岩，江宁（今南京）人。为和阳教谕。工写竹枝。《金陵琐事》",[24,25,111,27,36,29,30,58,244,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd16133cce0fa9f391194a7d8bb3d8e77.jpg",[42,264],{"id":24596,"slug":24597,"title":1259,"dynasty":296,"author":11794,"museum":561,"description":24598,"tags":24599,"thumbUrl":24600,"material":70,"size":70,"collection":42,"collections":24601,"showCount":354,"zanCount":46,"manualWeight":46,"mainColor":149},237773,"shan-shui-tu-ce-ye-xin-237773","此作以青绿晕染湖山，近岸花树沿陂陀错落，山坳幽居藏于林木间，空阔湖面一叶扁舟随波缓行，远岫含晕，漾起空濛淡荡之致。设色秀雅温润，笔致简净松灵，不事繁饰，将林泉幽居的闲散意绪尽数铺展。左侧题诗与画境相映成趣，诗画合璧，把文人耽恋泉石、寄迹烟水的雅怀融于尺幅间。观之如临江南水畔，可感湖风轻拂，坐忘于萧疏清寂的闲淡之中，尽显小品山水的隽雅意韵。",[24,25,111,28,29,32,33,34,7,31,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad576d6b1c3c42c220f6545a8771fde7.jpg",[42],{"id":24603,"slug":24604,"title":106,"dynasty":296,"author":4110,"museum":360,"description":4111,"tags":24605,"thumbUrl":24606,"material":246,"size":70,"collection":70,"collections":24607,"showCount":354,"zanCount":46,"manualWeight":46,"mainColor":47},237197,"shan-shui-ce-sun-yi-237197",[200,24,25,111,28,27,36,29,60,34,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87c9ae6b32d3066b4d617082b16f677c.jpg",[],{"id":24609,"slug":24610,"title":106,"dynasty":296,"author":4110,"museum":360,"description":4111,"tags":24611,"thumbUrl":24612,"material":246,"size":70,"collection":70,"collections":24613,"showCount":354,"zanCount":46,"manualWeight":46,"mainColor":47},237194,"shan-shui-ce-sun-yi-237194",[200,24,25,27,36,111,29,34,7,35,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc0fa1be76a14ec377d2bcc7648a0aaa.jpg",[],{"id":24615,"slug":24616,"title":106,"dynasty":296,"author":24617,"museum":561,"description":24618,"tags":24619,"thumbUrl":24620,"material":217,"size":660,"collection":42,"collections":24621,"showCount":354,"zanCount":46,"manualWeight":46,"mainColor":47},236989,"shan-shui-ce-zhang-xi-236989","张晞","画风豪放、磊落，所画山水景色构图大胆新颖，笔墨多变。",[24,25,111,28,27,36,37,38,82,29,30,31,32,201,34,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a52e9365afa6a8bd693900aeb0cf10b.jpg",[42],{"id":24623,"slug":24624,"title":106,"dynasty":296,"author":2784,"museum":3174,"description":24625,"tags":24626,"thumbUrl":24627,"material":70,"size":70,"collection":42,"collections":24628,"showCount":354,"zanCount":46,"manualWeight":46,"mainColor":47},236730,"shan-shui-ce-hua-yan-236730","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。",[24,27,28,36,111,37,82,29,7,4515,19745,158],"htt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妍曲致，穷巧极工。即当行作手观之，定以为写生妙品，不敢作刻画观。”此翎毛谱二十图，画上无名款，从印鉴来看，应全为凌云翰一人所作。凌云翰，字五云，万历、崇祯时人。《明画录》说他善画山水，其实上凌氏花鸟亦善，尤工画石，为胡正言所推许。\n六为梅谱。由玉山进士董继周作序。此册胡正言以“芳信先传”、“飘飘欲仙”、“冰壶掩映”、“暖谷回阳”、“君子之交”、“铁干支春”、“暗香浮动”、“拾翠为钿”、“黄惹蜂腰”、“额上玄功”、“东邻窥宋”、“盟坚寒素”、“香梦沉酣”、“水妃写照”、“玉骨同妍”、“疏影横斜”、“幽人赠佩”、“调脂梅粉”、“宫锦清班”、“寿阳点妆”等二十画题，分别写早梅、风梅、雪梅、枯梅、竹梅、老梅、月梅、松梅、蜡梅、墨梅、过墙梅、倚石梅、烟梅、临水梅、水仙梅、疏梅、兰花梅、茶花梅、杏花梅和落梅，或水墨，或设色，意境、造型与章法，则穷尽变化之能事。每幅画都有对应的题赞。\n七为兰谱。前有涂日昌“兰谱序”和画兰“起手执笔式”，此谱图解兰花，并附小注，颇为详尽，但无题赞。多为墨印，间有彩版，此谱可为之初学之范本。图二十幅，多是临摹赵孟頫等名家之作。\n八为果谱。画、题各二十幅，有西京韩文镜作序。其中“三元”、“朱橘”等图，雕版设计巧妙，可谓匠心独运。\n《十竹斋书画谱》自万历己未（1619年）第一谱《书画册》起，至崇祯癸酉（1633年）第八谱《果谱》止，梓印时间长达十五年之久。每谱有序言，除《竹谱》附写竹诀，《兰谱》附起手式，其余各谱均四十幅，一图一文，以书配画，交相辉映。\n胡正言辑印《十竹斋书画谱》，广交名人时贤，亦自作书画付梓。全谱序、画、诗作者或书法题写者，多达一百五十余人。谱中所辑作品大多是由当时名家如吴彬、倪瑛、魏之克、米万钟、吴士冠、文震亨、高阳、高友等创作的，也有二十多幅画稿是临摹自赵孟頫、唐寅、沈周、文征明、陆治、陈道复等著名书画家的；胡正言自己也曾为谱画稿、题诗，画有“白莲”、“墨梅”、“芝草”三图，诗有“题梅花”、“题兰竹”两首。画谱中所题诗句，笔调清新，咏物抒情，不同程度地反映了诗人们喜爱画谱的心情。题诗大部分都是书写者自己所作，也有借用前人诗句题咏的，如胡正言用唐释无可的咏兰诗题《兰竹图》，西湖仙郎何伟然用徐渭咏榴诗题《石榴图》，竹冠道人应麟用刘禹锡题开元寺枸杞诗书《枸杞诗图》等等。全谱书法篆、隶、行、楷诸体皆备，最多的还是晚明文人流行的行草。这些书迹，大都兼有晋、唐、宋书家的风韵，亦可为后人临池所借鉴。\n醒天居士的《题十竹斋画册小引》把胡正言的爱好、特长及画谱刊印的初衷和艺术水平都进行了叙述：\n“王宰十日一山，五日一石，岂肖形之难哉？山有情，石有态，磅礴得之为难耳。近代画手，千临百摹，如里媪捧心，不揜儿寝，而目食者争售之，大轴小图，祗为壁疥。新安胡曰从氏，清姿博学，既精六书，尤擅众巧。所制隃糜硾茧与所镌法语名言，皆出新裁，赏鉴家多宝爱之。乃竹斋多暇，复创画册。所选皆花果竹石，有关于幽人韵士之癖好者。而写形既妙，设色尤工，至于翠瓣丹柎，葩分蕊折，花之情，竹之姿，与禽虫飞懦之态，奇石云烟之气，展册淋漓，宛然在目。盖淡淡浓浓，篇篇神采；疏疏密密，幅幅乱真，诚画苑之白眉，绘林之赤帜也。然王宰之画妙出毫锥，胡君之画妙出梨枣，是磅礴之心，较王宰更难；而成功之捷，较王宰更简更易，岂不尤奇哉！余故喜而叙之，愿与好事者同赏，仍俟具眼者定价焉。时癸酉年中秋前二日，醒天居士书于十竹斋。”\n《十竹斋书画谱》“绘刻精而奇，谱则巧而该”，在画谱刊行后不久就引起广泛的注意，开始有人仿刻了，以至胡氏声明道“原板珍藏，素遐真赏，近有效颦，恐混鱼目，善价沽者，勿虚藻鉴。”历代重印、翻刻者达二十余种。清代李渔等人辑印的《芥子园画传》也是在它的启发下产生的。",[24,25,111,712,27,29,34,7,30,31,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e3ee77b6e06a944cb23362a403e4847.jpg",[42],{"id":24853,"slug":24854,"title":15942,"dynasty":18,"author":3504,"museum":360,"description":15943,"tags":24855,"thumbUrl":24856,"material":229,"size":15946,"collection":70,"collections":24857,"showCount":354,"zanCount":46,"manualWeight":46,"mainColor":47},232964,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232964",[24,25,111,27,36,37,82,29,391,112,7,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe151099e591c78c5ae8b3d97b15ade62.jpg",[],{"id":24859,"slug":24860,"title":24861,"dynasty":18,"author":1100,"museum":485,"description":24862,"tags":24863,"thumbUrl":24864,"material":142,"size":24865,"collection":70,"collections":24866,"showCount":354,"zanCount":46,"manualWeight":46,"mainColor":149},232690,"shi-tian-shi-yi-shan-shui-tu-dong-qi-chang-232690","石田诗意山水图","董其昌（1555-1636），字玄宰，号思白，别号香光居士，松江华亭（今上海市）人。明朝后期大臣，书画家。\n万历十七年，中进士，授翰林院编修，官至南京礼部尚书。崇祯九年，卒，赐谥“文敏”。\n董其昌擅画山水，师法董源、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。其画及画论对明末清初画坛影响甚大。书法出入晋唐，自成一格，能诗文。",[23,24,25,95,27,36,29,7,34,58,427,114,1889,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1971e72db7bbc51672311ae5b77b0b6.jpg","56.7x131cm",[],{"id":24868,"slug":24869,"title":24870,"dynasty":3017,"author":436,"museum":561,"description":24871,"tags":24872,"thumbUrl":24880,"material":70,"size":70,"collection":70,"collections":24881,"showCount":354,"zanCount":46,"manualWeight":46,"mainColor":149},231695,"jiang-hu-shi-qi-di-shi-wu-luo-han-tu-li-zhou-yi-ming-231695","江户时期 第十五罗汉图立轴","褐肤罗汉宝光护体，踞坐松石之下，虬髯深目自带威严沉静之气，团龙织金僧衣华贵雅致，手托丹丸，尽显尊者超凡气度。身前侍者躬身颔首，神态恭谨至极，主仆情态形成鲜明反差，生动勾勒禅门仪轨。\n\n背景古松盘虬苍劲，悬垂鎏金佛灯晕染出清幽肃穆的禅意氛围。整作线条顿挫凝练，设色雅致沉稳，衣纹晕染层次丰厚，将人物的神性与俗世情态刻画入微，尽显佛画写实功力，禅林静谧之韵扑面而来。",[23,95,24,784,28,58,56,34,9395,24873,24874,24875,15486,7,24876,24877,24878,24879,66],"小僧","光头","光环","花纹","服饰图案","坐姿","跪姿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc639c5a1ca97303fcca2c116d190498.jpg",[],{"id":24883,"slug":24884,"title":24885,"dynasty":3017,"author":436,"museum":1090,"description":24886,"tags":24887,"thumbUrl":24889,"material":229,"size":24890,"collection":70,"collections":24891,"showCount":354,"zanCount":46,"manualWeight":46,"mainColor":47},231579,"hua-yan-wu-shi-wu-suo-hua-juan-yi-ming-231579","华严五十五所画卷","此作描述了《华严经》中记录的善财童子遍参善知识的经历。故事讲述的是善财童子心地纯洁，如天空般明净，听从文殊菩萨的规劝，遍参了55位善知识（才德兼备而能指引他人的高人），终于修成正果的美丽故事。这个表现主题在大陆（即中国）、日本自古就被造型化，此绘卷继承日本的传统，于镰仓时代中期临摹了制作于平安时代至镰仓时代初期的东大寺本（分藏于东大寺及他处。东大寺所藏为国宝，其他处所藏为重要文物）中的5段。原本凭借其柔和流畅的线条及宁静的色彩，展现了极高的思想性，本临摹本虽无法媲美原本，但也可以说具有原本的余韵。各段上书有的文字，为各位善知识的位阶及姓名，以及以各段内容为主题的诗文画赞。画赞采用的是与北宋时期著名文人苏东坡等相交甚密的杨杰的作品。",[23,24,26,28,56,58,34,29,31,60,30,7,1373,2620,24386,24888,201],"坐像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbca48a1d5a23cbaab71ad1178b785161.jpg","31.7×196.6cm",[],{"id":24893,"slug":24894,"title":24895,"dynasty":18,"author":24896,"museum":53,"description":24897,"tags":24898,"thumbUrl":24899,"material":10431,"size":24900,"collection":70,"collections":24901,"showCount":354,"zanCount":46,"manualWeight":46,"mainColor":47},231407,"xiao-xiang-ba-jing-ba-kai-zhang-fu-231407","潇湘八景八开","张复","张復（1546—约1631），字元春，号苓石，江苏太仓人。少年时从钱榖学画，山水摹荆浩、关仝、马远、夏珪、黄公望、沈周，博采众长，晚年自成一家，为吴门画派名家。",[23,24,25,111,27,36,57,29,60,34,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80d47fbd7178128b198163f92967b60e.jpg","40x36cm",[],{"id":24903,"slug":24904,"title":24905,"dynasty":78,"author":24906,"museum":53,"description":24907,"tags":24908,"thumbUrl":24909,"material":142,"size":24910,"collection":70,"collections":24911,"showCount":354,"zanCount":11,"manualWeight":46,"mainColor":149},231402,"han-yuan-tu-li-rong-jin-231402","汉苑图","李容瑾","此图分为殿阁区和水面区两部分，景色各异，作者采用鸟瞰式的构图，将殿阁和水面貌一一展现。刻画得非常具体细致，画面的右侧为殿阁区，以直线、横线、斜线绘成了一组优美的宏伟的建筑群：用笔严谨，刻画精到细密，一丝不苟。\n画面上，宫苑殿阁依山傍水而建，描绘了三重天井。由左下角十字歇山顶的桥亭，沿山径进入画面第一重天井，左侧围以曲折的长廊，廊外水面上构筑一重檐歇山顶的凉亭。再向上进入画面第二重天井，左右两侧均以悬崖削壁为天然屏幛。第三重天井中建一高峻的台基，台面上矗立着一座巍峨的双层楼阁，上层为重檐十字歇山顶，下层檐的左、右、前方各出一歇山抱厦。\n汉代宫苑早于汉高祖、萧相国时，即有营建。当时之未央宫，因龙首山制前殿，建东阙、北阙、武库、太仓等，周围二十八里，台殿池苑无数，宫成后常为朝见之所。王莽末年毁于兵火。如班固的《西都赋》、张衡的《西京赋》中，有关于汉代宫苑盛况的详尽描述，此轴则以绘画的形式展现了汉苑的宏丽气象。\n全画取近乎长方形的构图，殿阁占去画面的三分之二，整个汉苑图，宫阙巍峨，连甍矗栋，雕栏回廊，殿阁缛丽重深，周围树木耸峙，掩映成趣。在这一建筑群的高处，遥望远处，为烟波浩渺的水面，碧波万顷，气象万千；直到很远的地方与起伏的小山相接。凉亭临水，江水泊岸，楼台掩映，楼台亭阁生辉；近处植有松柏，林木翁翳，花竹摇艳，移步换影，处处秀丽迷人的景色；遥望远处，山山水水，美不胜收。其殿阁楼台等建筑物，其严谨笔直的线条与苍松崖石的穿插姿态相映，更显出楼阁的气势非凡。精湛的笔墨则再现了汉苑特有的风釆。\n图中的建筑从群体的布局组合到单体的结构装饰，都不是道地的汉时规范，而是宋以后的形制，例如鸱尾和脊兽的处理就是明证。但画家将历史和现实、景和情、势和意，通过惨淡的经营、创造的意匠，实现了统一。\n此图界画工整，折算精确，游规矩准绳之内而不为所窘。此图景物恢弘，气魄博大。树石画法承北宋郭熙，多作双勾夹叶，用笔粗壮放达，与郭熙《窠石平远图》相一致。但与郭熙不同，《汉苑图》纯用夹叶树，满山遍冈，葳蕤郁茂，增添了画面豪华郁丽的氛围。近境坡石从卷云皴化出，圆润流畅，清空跌宕；遥山旷荡，杂树暝漾，神韵独绝。\n中国美术学院艺术人文学院教授毛建波：汉代国家统一，国力殷实，都城、宫殿、苑囿、礼制建筑和陵墓等，十分兴盛。汉代苑囿规模惊人，作为游乐之所，苑囿里的宫殿常于中轴对称之外有更多自由灵活的处理，这种情形在《汉苑图》中有很好的体现。\n北宋内府《宣和画谱·宫室叙论》：“画者取此（指宫室）而备之形容，岂徒为是台榭、户牖之壮观者哉？虽一点一笔，必求诸绳矩，比他画为难工。”",[24,25,95,57,56,28,60,317,29,34,187,7,61,8682],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef6d6d9c9afdd18b07e1bff7f30e833.jpg","纵156.6厘米，横108.7厘米",[],{"id":24913,"slug":24914,"title":24915,"dynasty":3017,"author":436,"museum":561,"description":24916,"tags":24917,"thumbUrl":24918,"material":217,"size":660,"collection":70,"collections":24919,"showCount":354,"zanCount":11,"manualWeight":46,"mainColor":47},230521,"fang-gu-shan-shui-ren-wu-fen-ben-shou-ye-jia-cang-tu-juan-yi-ming-230521","仿古山水人物粉本(狩野家藏图卷)","此作用笔清灵秀润，远景山峦以淡墨晕染烟岚，虚实相映，漾着空濛出尘的诗意。近岸急流翻涌，山石皴擦朴拙苍劲，野舟闲泊浅滩，衬出林野的幽寂清旷。\n\n崖畔山居窗内，二人对坐晤谈，为清冷山水晕开一抹人间暖意。作者以淡彩轻点秋树，将隐逸栖居的雅趣融于尺幅间。整卷动静相生，水墨为骨，淡彩辅之，把文人寄情林泉的理想缓缓铺展，笔简意长，尽显萧疏淡远的古典山水意韵。",[23,24,25,26,28,2843,82,29,58,31,34,133,7,33,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a7a50f0e0e083ec39fc14796d667cb7.jpg",[],{"id":24921,"slug":24922,"title":24923,"dynasty":3017,"author":12440,"museum":561,"description":12441,"tags":24924,"thumbUrl":24925,"material":217,"size":660,"collection":70,"collections":24926,"showCount":354,"zanCount":46,"manualWeight":46,"mainColor":149},230501,"shi-ting-shi-dai-si-ji-shan-shui-tu-xia-xue-zhou-230501","室町时代 四季山水图（夏）",[23,24,25,95,27,36,29,7,427,33,31,1103,8347,96,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e5c2ade0bff3d25429ac2e9dbccb1f0.jpg",[],{"id":24928,"slug":24929,"title":24930,"dynasty":18,"author":3504,"museum":561,"description":10464,"tags":24931,"thumbUrl":24932,"material":217,"size":660,"collection":70,"collections":24933,"showCount":354,"zanCount":46,"manualWeight":46,"mainColor":47},228870,"shu-hua-he-bi-gui-qu-lai-ci-wen-zheng-ming-228870","书画合壁归去来辞",[23,24,25,26,38,27,427,1990,1140,7,1397,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F951ce94121c71e1716a09cb31ca991f2.jpg",[],{"id":24935,"slug":24936,"title":24937,"dynasty":18,"author":436,"museum":561,"description":24938,"tags":24939,"thumbUrl":24940,"material":70,"size":70,"collection":70,"collections":24941,"showCount":354,"zanCount":11,"manualWeight":46,"mainColor":149},228783,"ru-bi-tu-yi-ming-228783","入跸图","这卷长卷铺陈开帝王出巡的浩大阵仗，从郊野山林延伸至朱宫红墙。仪仗扈从前呼后拥、严整有序，各色人等衣冠鲜明、各司其职，禁军甲胄明辉，百官朝服鲜妍，沿途乡野屋舍皴染细致入微。\n\n画面叙事连贯，将宏大行进场面拆解为无数鲜活细节，疏密有致地铺展于绢本之上，尽显皇家仪典的肃穆庄重。工致细腻的笔力，精准拿捏了皇家銮驾的威仪气度，将皇权巡行的恢宏气象定格于绢素间，是描摹古代皇家礼制的经典之作。",[23,24,25,200,26,56,28,58,60,30,31,33,215,29,34,7,3663,6105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec87f2e8b6cac5ea3f2c8d328bc10eda.jpg",[],{"id":24943,"slug":24944,"title":24945,"dynasty":18,"author":4957,"museum":561,"description":24946,"tags":24947,"thumbUrl":24949,"material":70,"size":70,"collection":70,"collections":24950,"showCount":354,"zanCount":46,"manualWeight":46,"mainColor":149},228401,"yu-dong-qun-xian-tu-zhao-yong-228401","玉洞群仙图","青绿晕染出层叠仙山，苍松虬枝斜曳，桃林漫山绽花，幽谷间烟云轻漾。群仙散游林泉：或围坐松下清谈，或策杖寻幽揽胜，或凭崖临流遐观，情态自在萧散，尽得世外雅逸之趣。\n\n全卷气息清灵古雅，山水与人物相融无间，青绿妍丽厚重，人物笔致简逸传神，烘托出洞天幽寂出尘的氛围。卷后题咏呼应画境，诗画合璧，将文人梦寐中的栖隐仙乡藏于尺幅之间，尽显世外仙乡的出尘之致。",[23,24,25,26,2252,28,56,29,58,24948,34,7,38],"群仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85733ce0975ae279b032bedb227bdbd2.jpg",[],{"id":24952,"slug":24953,"title":24954,"dynasty":78,"author":699,"museum":561,"description":24955,"tags":24956,"thumbUrl":24957,"material":70,"size":70,"collection":70,"collections":24958,"showCount":354,"zanCount":46,"manualWeight":46,"mainColor":149},228254,"jiang-shu-qiu-sheng-tu-ye-cao-zhi-bai-228254","江树秋声图页","平远取景铺展江天浩渺，远山以淡墨轻笼，晕染出空濛悠远的秋意。近岸枯木萧疏遒劲，枝桠清瘦如篆，茅庐隐于林下，悄然静立在清寒暮色里。\n\n笔墨简淡秀润，以干笔皴擦写山峦肌理，线条松灵虚和，墨色层层晕染，淡而不薄。题画小诗与山水相映，将江乡秋夜的孤清乡思揉进尺幅之中。整幅画以简驭繁，褪去浓丽，尽显尚意之趣，把深秋江渚的寂寥、幽居林泉的隐逸澹然融为一体，淡墨里藏着清寂的心境，寥寥数笔便绘就了江乡秋声里的悠远闲情。",[200,24,25,111,27,36,29,242,7,113,3692,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00bbf747142db1b200e064b2ce56cf2e.jpg",[],{"id":24960,"slug":24961,"title":24962,"dynasty":78,"author":8175,"museum":561,"description":24963,"tags":24964,"thumbUrl":24965,"material":70,"size":70,"collection":70,"collections":24966,"showCount":354,"zanCount":46,"manualWeight":46,"mainColor":149},228246,"luo-fu-shan-qiao-tu-zhou-chen-ru-yan-228246","罗浮山樵图轴","一幅中国古画，作者 ，现为 收藏。\n此图画是应当地望族王氏后人的请求而画。\n近景以平房为主体，全用直线，随意交错；远山近树及宽阔溪流的描绘，笔法工致细微。\n于古画中亦为奇格。\n【名称】荆溪图 【规格】轴，绢本，浅设色，纵129厘米 横52.7厘米 【馆藏】台北故宫博物院 石渠宝笈续编重华宫著录， 画荆溪胜景，无名款。\n本画作题跋较多，有倪瓒、周砥、遂昌郑元佑、成都虞堪、王蒙、张经、王光大、陈植、张田、荆南樵人、陆大本、张监等题诗、钤印，鉴藏宝玺八玺全、嘉庆御览之宝、宣统御览之宝，收传印记□□画□、□□□印、一半印不可辨 。\n陈汝言，生卒不详，画家、诗人，字惟允，号秋水，临江（今江西清江）人，随父移居吴中（今江苏苏州）。\n元末明初时期的画家，擅山水兼工人物。\n其山水画法宗赵孟頫、董源、巨然，颇有元人遗意山水画风清润、古雅。\n传世之作《荆溪图》、《百丈泉图》（均藏台北故宫博物院），均图录于《故宫书画集》，《仙山图》、《罗浮山樵图》（均藏美国克利夫兰艺术馆 ）著有《秋水轩稿》。",[23,24,25,95,27,36,29,7,130,34,132,114,1889,258,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59cd7beb58ec0a49ebb374be04846481.jpg",[],{"id":24968,"slug":24969,"title":24970,"dynasty":78,"author":436,"museum":561,"description":24971,"tags":24972,"thumbUrl":24973,"material":70,"size":70,"collection":70,"collections":24974,"showCount":354,"zanCount":11,"manualWeight":46,"mainColor":663},228207,"han-lin-mu-yang-tu-yi-ming-228207","寒林牧羊图","此作用枯淡笔墨铺就冬日荒林野趣，老木虬枝盘曲苍劲，枯槎交错伸展，枝桠间漫着清寂萧寒之气。寒林以浓淡墨色层叠排布，晕染出悠远静谧的林野纵深，将冬日郊野的空旷萧索尽数铺开。下方缓坡错落起伏，羊群或垂首啮草，或缓步闲游，为冷寂林野晕开细碎生机。整体笔墨简劲苍润，以留白衬出郊野清阔空寂的氛围，于萧寒之中暗蕴悠然意趣，尽显简远萧散的林下幽情。",[24,29,27,36,95,242,10893,7,5820,34,1396],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffef393f39116b943b3c6158679749db8.jpg",[],{"id":24976,"slug":24977,"title":24978,"dynasty":124,"author":3793,"museum":561,"description":24979,"tags":24980,"thumbUrl":24981,"material":70,"size":70,"collection":70,"collections":24982,"showCount":354,"zanCount":46,"manualWeight":46,"mainColor":47},227985,"yin-yan-fei-pu-tu-jiang-can-227985","阴岩飞瀑图","此作用笔苍劲老辣，以峭壁飞瀑为骨，劲健短皴刻画出岩崖嶙峋肌理，枯松斜生崖侧，野意横生。飞瀑层叠奔泻，似能耳闻激浪轰雷之声，下方乱石承接流泉，晕开湿润山野意趣。\n\n墨色沉郁古雅，以浓淡晕染远近虚实，留白极简却将山涧清幽之气铺溢满幅，尽显荒寒空寂的林下意境，把山野深僻的冷冽幽寂凝于绢素，观之便如临崖畔，水雾山风似拂面而来，尽显宋人山水中尚意尚理的清雅品格。",[23,24,25,200,95,29,36,1911,3630,34,7,27,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1dacd0160a8842c4476672188c8c9bf.jpg",[],{"id":24984,"slug":24985,"title":24986,"dynasty":793,"author":436,"museum":561,"description":24987,"tags":24988,"thumbUrl":24989,"material":70,"size":70,"collection":70,"collections":24990,"showCount":354,"zanCount":46,"manualWeight":46,"mainColor":149},227226,"jiang-mo-bian-yi-ming-227226","降魔变","【 唐 佚名 《降魔变文》 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朱元璋听了这话，立刻止了气语，平静了下来。以后一直很尊敬他、善待他。",[23,24,29,28,36,60,7,34,3796,214,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9345d506d0d1b7e6d586a3fc76f70f47.jpg","12.7×17.1cm",[],{"id":25082,"slug":25083,"title":25084,"dynasty":18,"author":19,"museum":20,"description":24221,"tags":25085,"thumbUrl":25086,"material":673,"size":24224,"collection":70,"collections":25087,"showCount":354,"zanCount":46,"manualWeight":46,"mainColor":47},222095,"liang-jiang-ming-sheng-tu-ce-7-shen-zhou-222095","两江名胜图册7",[23,24,25,111,28,36,37,29,60,33,34,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92c5733a504a3bb180575dd9ea581efd.jpg",[],{"id":25089,"slug":25090,"title":25091,"dynasty":18,"author":3243,"museum":360,"description":6638,"tags":25092,"thumbUrl":25093,"material":6641,"size":22774,"collection":70,"collections":25094,"showCount":354,"zanCount":46,"manualWeight":46,"mainColor":149},221891,"za-hua-tu-ce-xi-shi-tu-ye-chen-hong-shou-221891","杂画图册-溪石图页",[23,24,25,200,111,28,36,29,30,31,7,58,34,130,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1898512a53945eaeb81e5c56068af5f9.jpg",[],{"id":25096,"slug":25097,"title":25098,"dynasty":296,"author":2948,"museum":360,"description":13138,"tags":25099,"thumbUrl":25100,"material":229,"size":13141,"collection":70,"collections":25101,"showCount":354,"zanCount":46,"manualWeight":46,"mainColor":47},220313,"huang-shan-tu-ce-15-hong-ren-220313","黄山图册-15",[23,24,27,111,36,29,7,427],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed03933e854c7b1102879a0db7235d8b.jpg",[],{"id":25103,"slug":25104,"title":25105,"dynasty":296,"author":2948,"museum":360,"description":13138,"tags":25106,"thumbUrl":25107,"material":229,"size":13141,"collection":70,"collections":25108,"showCount":354,"zanCount":46,"manualWeight":46,"mainColor":47},220298,"huang-shan-tu-ce-28-hong-ren-220298","黄山图册-28",[23,24,27,111,29,36,7,427,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0507c762bfe0f698ed4615fa06459f63.jpg",[],{"id":25110,"slug":25111,"title":25112,"dynasty":296,"author":25113,"museum":346,"description":25114,"tags":25115,"thumbUrl":25116,"material":84,"size":70,"collection":289,"collections":25117,"showCount":354,"zanCount":46,"manualWeight":46,"mainColor":149},219565,"zong-tai-xian-sheng-xiang-weng-pu-219565","宗台先生像","翁溥","这幅作品将肖像与山水相融，老者安坐岩边，宽袍素简，神态恬然萧散，尽显林下风雅。\n\n远景以淡赭晕染层叠远山，留白晕出空濛烟岚，山泉淙淙汇为浅滩，笔墨简淡清润，铺展出幽寂的林泉之境。近处枯梅虬枝缀着新花，冷艳古拙，以花衬人，暗合隐士品格。\n\n题跋错落排布于留白间，书画交融，文气盎然。整体设色浅雅，既有写实的仪态刻画，又具文人山水的写意空寂，将人物品格与山水雅境相融，尽显幽居烟霞、寄情林泉的雅趣。",[24,28,56,58,29,7,114,452,96,390,36,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F787190354729f802d662daa810046371.jpg",[289],{"id":25119,"slug":25120,"title":25121,"dynasty":296,"author":1795,"museum":360,"description":25122,"tags":25123,"thumbUrl":25124,"material":84,"size":25125,"collection":70,"collections":25126,"showCount":354,"zanCount":46,"manualWeight":46,"mainColor":149},219141,"yang-zhou-si-jing-tu-ping-gang-yan-xue-yuan-yao-219141","扬州四景图-平岗艳雪","这组画屏是袁耀晚年的佳作，所绘为南京北郊的到处名胜景区，均为写生之作。 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横16.0厘米",[],{"id":25538,"slug":25539,"title":3378,"dynasty":296,"author":870,"museum":360,"description":15904,"tags":25540,"thumbUrl":25541,"material":6274,"size":1879,"collection":70,"collections":25542,"showCount":309,"zanCount":46,"manualWeight":46,"mainColor":47},235007,"yuan-ji-shan-shui-tu-ce-shi-tao-235007",[24,27,28,36,37,82,29,7,34,427,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f95e070eb30a633e86a181baaa50863.jpg",[],{"id":25544,"slug":25545,"title":22353,"dynasty":18,"author":15731,"museum":561,"description":25546,"tags":25547,"thumbUrl":25548,"material":217,"size":660,"collection":70,"collections":25549,"showCount":309,"zanCount":46,"manualWeight":46,"mainColor":149},234832,"shan-shui-shan-wei-zhi-ke-234832","魏之克（明），后名克，字和叔，上元（今南京）人。之璜弟，与兄卖画为生。工诗，善山水追宗宋元，得其兄法。兼作工装。笔法秀美，姿颜软媚，有不胜罗绮之态。",[1900,24,27,29,60,32,7,34,37,82,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57589074d4997912e0900d20e4b199ca.jpg",[],{"id":25551,"slug":25552,"title":25553,"dynasty":296,"author":25554,"museum":561,"description":25555,"tags":25556,"thumbUrl":25557,"material":70,"size":70,"collection":70,"collections":25558,"showCount":309,"zanCount":46,"manualWeight":46,"mainColor":47},234783,"mo-xie-bin-hua-fu-shan-xiang-zhou-wang-yin-zhai-234783","摹谢彬画傅山像轴","王荫斋","傅山（1607—1684年），字青竹，后改青主，一字仁仲，别署公之它（一作他），号朱衣道人等，阳曲（今山西太原）人。明亡后隐居不仕，以行医为生。清康熙十七年（1678年）举博学鸿词科，强征至京，以死拒，放归。能绘画，精医学。书法篆、隶、真、行、草无所不精，以草书最富特色，笔力雄奇恣肆，追求生拙真率的艺术境界，是清初书坛大家。有《霜红龛集》行世。《清史稿》列传二百八十八有传。",[24,25,95,28,58,112,7,227,17210,2787,186,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a7897ca39a968a036ec4605782e1aa5.jpg",[],{"id":25560,"slug":25561,"title":25562,"dynasty":18,"author":238,"museum":561,"description":22479,"tags":25563,"thumbUrl":25564,"material":70,"size":70,"collection":70,"collections":25565,"showCount":309,"zanCount":46,"manualWeight":46,"mainColor":47},234633,"fang-wang-shu-ming-qiu-jiang-shi-si-shan-ye-lan-ying-234633","仿王叔明秋江诗思扇页",[1900,27,28,36,29,32,34,7292,4415,7,3692,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31b9e0bcf75000775f2e827ede181c39.jpg",[],{"id":25567,"slug":25568,"title":25569,"dynasty":296,"author":25570,"museum":561,"description":25571,"tags":25572,"thumbUrl":25573,"material":70,"size":70,"collection":70,"collections":25574,"showCount":309,"zanCount":46,"manualWeight":46,"mainColor":47},234622,"wang-fang-fang-gua-chou-shan-shui-wan-shan-wang-fang-234622","汪昉仿瓜畴山水纨扇","汪昉","汪昉（一七九九－一八七七），字叔明，号菽民，又号啜菽老人，江苏阳湖（今江苏常州）人。清书画家。\n他的仕途经历是道光二十四年（一八四四）举人，官至山东莱州府同知。豪饮善诙谐。初游汤贻汾幕中，与赵兰舟、费丹旭朝夕论画，因善山水。笔意松秀，墨法淹润，不失元人规矩。中年所作，邱壑浑成，树石苍润，颇臻妙境。惜晚年颓废，顿失奏致。书临赵孟頫，姿态秀逸，间作分、隶、尤精鉴赏。有《梦衲贪集》。卒年七十九。《武阳县志、墨林今话续编、桐阴论画、读画辑略、畊砚田斋笔记、清画家诗史》。\n汪昉的山水画在清代来说，属于“四王”正统画派的山水画；他的书法出自赵孟頫书风。读画史，能知道他是从元代文人画入手的，继攻“四王”，当时与以后的评论者评他的早年的山水是“笔意松秀，墨法淹润，不失元人矩矱。中年所作，邱壑浑成，树石苍润，颇臻妙境。”说他的书法，“姿态秀逸”。他的山水画受当时正统山水画派的一代领袖汤贻汾的影响很大。",[24,1900,29,28,36,186,33,112,7,114,113,32,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F903eaaac4280761f254d8a113782ecc4.jpg",[],{"id":25576,"slug":25577,"title":24796,"dynasty":296,"author":24797,"museum":561,"description":24798,"tags":25578,"thumbUrl":25579,"material":70,"size":70,"collection":70,"collections":25580,"showCount":309,"zanCount":46,"manualWeight":46,"mainColor":47},234607,"shan-shui-wan-shan-zhang-zhi-wan-234607",[24,25,1900,27,36,29,7,34,35,158,258],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae5a3cdcc988cabf533cc71a232dc36d.jpg",[],{"id":25582,"slug":25583,"title":25584,"dynasty":296,"author":10003,"museum":360,"description":25585,"tags":25586,"thumbUrl":25587,"material":70,"size":70,"collection":70,"collections":25588,"showCount":309,"zanCount":11,"manualWeight":46,"mainColor":47},234574,"fang-li-ying-qiu-shan-shui-shan-tang-dai-234574","仿李营丘山水扇","清代画家唐岱, 字毓东，号静岩，又号知生、爱庐、默庄。承祖爵，任骁骑参领，官内务府总管，以画祗候内廷。唐岱山水画初从焦秉贞",[200,24,25,1900,27,28,29,7,34,35,114,186,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ca811aeb6574f8f643210f11bbff932.jpg",[],{"id":25590,"slug":25591,"title":22353,"dynasty":18,"author":21677,"museum":561,"description":25592,"tags":25593,"thumbUrl":25594,"material":70,"size":70,"collection":70,"collections":25595,"showCount":309,"zanCount":46,"manualWeight":46,"mainColor":149},234564,"shan-shui-shan-wei-zhi-huang-234564","魏之璜（1568－1647）明代画家。字叔考，上元（今南京）人\n魏之璜。字叔考，上元（今南京）人。出身孤贫，天性孝友，养老亲，抚诸弟，胥取给於十指，不以干人。能书善画，以卖画为生。书师法《黄庭经》，结构严密，神采流丽。山水宗宋人，不袭粉本，岩壑树石多变化，别具风貌。生平画幅，绝无雷同。晚年用浓墨秃笔，苍老厚实，颇见功底。亦擅花卉及佛像，花卉淡墨写生，画佛施诸寺院。",[24,25,1900,27,28,29,7,34,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b5c9eb54dfc09b3d2f3f6285bea6d59.jpg",[],{"id":25597,"slug":25598,"title":24796,"dynasty":296,"author":25599,"museum":25600,"description":25601,"tags":25602,"thumbUrl":25603,"material":70,"size":25604,"collection":70,"collections":25605,"showCount":309,"zanCount":46,"manualWeight":46,"mainColor":47},234519,"shan-shui-wan-shan-dai-yi-heng-234519","戴以恒","萧山博物馆","戴以恒(1826～1891)，字用伯，钱塘(今杭州)人，戴熙次子，承家传，擅山水，工刻印，有《醉苏斋书诀》。",[24,1900,27,36,29,112,35,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff01f32cc520c460a18e50766dccc11c2.jpg","纵17.2厘米，横49.5厘米",[],{"id":25607,"slug":25608,"title":22486,"dynasty":18,"author":25609,"museum":561,"description":21701,"tags":25610,"thumbUrl":25611,"material":70,"size":70,"collection":70,"collections":25612,"showCount":309,"zanCount":46,"manualWeight":46,"mainColor":149},234490,"shan-shui-shan-ye-yin-shi-234490","殷諟",[1900,24,25,27,36,29,7,34,130,31,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84869b58427aca239d1b651bb8eab1ba.jpg",[],{"id":25614,"slug":25615,"title":106,"dynasty":296,"author":3485,"museum":401,"description":25616,"tags":25617,"thumbUrl":25618,"material":368,"size":25619,"collection":70,"collections":25620,"showCount":309,"zanCount":46,"manualWeight":46,"mainColor":47},234308,"shan-shui-ce-he-yi-234308","赫奕(生卒年不详）清朝画家。一作颐，字澹士，号南谷，别号碧岩箫史，一作碧箫外史，姓赫舍里氏，满州正白旗人。官至工部尚书。性澹泊，琴书之外专事于画。初学黄鼎，继为王原祁弟子。山水宗法元人，而独开生面，迥异时流。时有南王北赫之称。康熙五十五年（一七一六）作辋川诗意图。卒年七十七。清代绘画在当时政治、经济、思想、文化等方面的影响下，呈现出特定的时代风貌。卷轴画延续元、明以来的趋势,文人画风靡,山水画勃兴，水墨写意画法盛行。文人画呈现出崇古和创新两种趋向。在题材内容、思想情趣、笔墨技巧等方面各有不同的追求，并形成纷繁的风格和流派。谈论画理、画法的理论著作，多论述元代以来的文人画,并侧重于山水画,探讨其历史发展及艺术特点。专论画法的许多著作,往往图文并茂,以图谱形式出现。清 赫奕-山水图册现藏于旅顺博物馆。",[24,27,36,111,29,7,34,31,32,33,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ec31a4d716636ef879ba0054929c3de.jpg","34.6cmx25cm",[],{"id":25622,"slug":25623,"title":25624,"dynasty":296,"author":19244,"museum":360,"description":25625,"tags":25626,"thumbUrl":25627,"material":368,"size":70,"collection":70,"collections":25628,"showCount":309,"zanCount":46,"manualWeight":46,"mainColor":47},234197,"fu-chun-tu-juan-shen-zong-jing-234197","富春图卷","沈宗敬（1669—1735）《清朝画徵录》作雍正三年（1725）卒，清朝书画家笔录从之。字恪庭、南季，号狮峰、狮峰道人、双鹤老人、双杏草堂主人、卧虚山人等，华亭（今松江属上海市）人，沈荃之子。今依历代画史汇传。",[23,24,26,27,29,36,7,34,130,132,33,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2aa965d8172e9441cd6e732859da4e7b.jpg",[],{"id":25630,"slug":25631,"title":21649,"dynasty":18,"author":9481,"museum":360,"description":25632,"tags":25633,"thumbUrl":25634,"material":21088,"size":25635,"collection":70,"collections":25636,"showCount":309,"zanCount":46,"manualWeight":46,"mainColor":47},234048,"shan-shui-tu-shan-ye-jiang-song-234048","此图是一幅绘其意不绘其形的画作。远景的峰峦岭岫没有被具体地刻画，仅用淡墨晕染山头，勾勒出大体的形貌。中景的平湖静水则不着一笔，完全靠远景的山与近景河岸的夹衬暗示出来。近景枯荣相伴的杂木，以浓淡墨直接点染叶片，运笔洒脱，墨气淋漓。平坡处相向交谈的高士不见眉目的刻画，仅略具形态。简约的构图和概括的表现技法，没有令画作失去画意，蒋嵩巧妙地运用虚实映照、黑白相衬和以简胜繁的艺术手法，吟唱出一曲烟云浩渺、葱郁深秀、意境空旷而不荒凉的山水清音。",[2252,24,1900,27,300,36,29,34,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36eab1f04615a6a9540d6367e46439cf.jpg","纵17厘米，横51.2厘米",[],{"id":25638,"slug":25639,"title":5673,"dynasty":296,"author":870,"museum":360,"description":5674,"tags":25640,"thumbUrl":25641,"material":246,"size":5679,"collection":70,"collections":25642,"showCount":309,"zanCount":46,"manualWeight":46,"mainColor":47},233776,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233776",[24,25,111,28,29,58,35,34,7,883,37,38,82,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4915b7fd405c9234966f025821e03ed9.jpg",[],{"id":25644,"slug":25645,"title":25646,"dynasty":296,"author":2784,"museum":360,"description":25647,"tags":25648,"thumbUrl":25649,"material":454,"size":25650,"collection":70,"collections":25651,"showCount":309,"zanCount":46,"manualWeight":46,"mainColor":149},233714,"ba-bai-xia-ling-tu-zhou-hua-yan-233714","八百遐龄图轴","图中柏树高大，盘曲伸展，树上八哥飞鸣对唱，热闹非凡，树下萱花盛开，生机盎然，整幅画面寓意遐（音侠）龄长寿，具有春意喧闹的祥瑞之气。作者依据不同的物象施以不同的笔法，八哥的造型生动写实，以工写结合的笔墨刻画；柏叶细碎交叠，直接以青绿、浓墨戳点；山石方硬坚实，以浓墨大写意晕染；萱花俏丽多姿，则以没骨法表现。全图于精致处愈见其工而不失笔情墨趣；写意处用笔洒脱而不失含蓄蕴藉，显示了华喦在花鸟画方面的非凡造诣以及对各种笔墨技法娴熟的运用能力。",[24,25,95,28,56,27,62,96,201,7,489,13731],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe532a914d1fd6f5c2d0cd56208aaa81a.jpg","纵211厘米，横133厘米",[],{"id":25653,"slug":25654,"title":3680,"dynasty":296,"author":870,"museum":561,"description":3681,"tags":25655,"thumbUrl":25656,"material":229,"size":3684,"collection":70,"collections":25657,"showCount":309,"zanCount":46,"manualWeight":46,"mainColor":47},233381,"yuan-ji-jin-shan-long-you-si-shi-yi-ce-shi-tao-233381",[24,25,111,27,36,38,82,29,427,7,4515],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc555274dea7bbe31768bc088686b31c1.jpg",[],{"id":25659,"slug":25660,"title":25661,"dynasty":296,"author":8362,"museum":360,"description":25662,"tags":25663,"thumbUrl":25664,"material":70,"size":70,"collection":70,"collections":25665,"showCount":309,"zanCount":11,"manualWeight":46,"mainColor":47},233226,"jin-ling-zhu-jia-shan-shui-hua-hui-ce-shan-shui-ye-gao-cen-233226","金陵诸家山水花卉册-山水页","自17世纪初到18世纪上半叶，以南京为中心的江南地区，产生了比历史上任何时代和地区都要多的画派和画家。《明画录》记载的画家有800多人，其中江苏约有370人，浙江占了200多人，两地画家占总数的75%。尤其是执书画坛牛耳者几乎均为江南人。特别是在明清之际，画坛显得异常活跃，在提倡师古的正统派和注重文学意味的文人画这两种绘画思想影响下，文人画家一方面追求自己的个性，同时，师承相同、风格相近者也在各地活动，或聚合一处，倡导变革风气，形成了许多画派，如以松江人董其昌为首的“松江派”，以常熟画家王石谷为代表的“虞山派”，以明末画坛泰斗王时敏之孙王原祁为首的“娄东派”，以梅清为首的“黄山派”等。南京作为江南首府，明代南都的风姿、历史的悠久、山川的秀丽，赢得了诗人画家不绝的歌咏描绘。其文化的昌盛，经济的繁荣，生活时尚的风流，与书画有关的各行业的便利，皇亲国戚、富商大贾和书画收藏家的存在，使其具有磁铁般的大都会的吸引力，孕育出一批本地画家，也将来自四面八方的艺术家凝聚一起，各派画家聚合会晤，或过往相从，使南京自然成了这种时代潮流的汇合处，产生了为史所称的以“金陵八家”为首的一批画家，以其令人瞩目的创作纵横画坛一个世纪之久。\n\n一、金陵艺术家和金陵八家\n金陵的画坛，自14世纪明初建都至16世纪中期，在明代皇室的偏爱下，先由浙派画家领风气之先，承继北宋以来范宽式的布置茂密、山势伟岸巨嶂山水的整体构图，运用大斧劈皴和墨汁淋漓、快速运笔而形成强劲粗放笔墨效果的所谓浙派绘画，得到明皇室贵族的青睐。自永乐初浙派第一代实力人物戴进到达南京，随后有第二代浙派画家吴伟于1475年挟画技到南京，17岁的小伙子很快便以其笔墨酣畅、雄气横发、纵笔挥洒的绘画风格，受到了金陵贵族的喜爱。吴伟曾与诸王孙交游甚欢，年年踏春杏花村，而吴伟所喜爱的狂欢剧饮、挟妓喧闹以刺激绘画创作的方式，也在著名的秦淮河上得到了实现。继吴伟之后，第三代的浙派画家活跃于金陵的有蒋嵩、张路、汪肇等。\n自16世纪始，由于南京文化界中文人士大夫升为主流，其品味的改变，逐渐导致对绘画品味的改变，意趣深秀、若有所寄的以沈周和文徵明为首的吴派文人山水画影响渐大。随着金陵当地文人的兴起，至嘉靖中期，开始了“金陵初盛之时”，许多来自苏州、华亭的文人和因宫廷政治斗争中被贬谪的保守派成员离开北京至南京，形成一些凝聚力极强的文士集团，互相唱和。这批自居清流的士大夫对艺术的见解，也因政治、历史的原因，而产生一种不愿妥协现实，而以私人化“遣兴”于书画的形式作为一种对自尊的维护和对现实的抗议，故以吴派为代表的文人山水画得以兴盛，而浙派在其大本营的金陵，终因文人文化势力的高涨，而终于完全失去了势力，由此开始了中国文人画的高峰。\n16世纪，南京云集了本地和来自各地的画家，1669年，龚贤曾在周亮工所集《名人画册》上题曰：“今日画家以江南为盛，江南十四郡以首郡（南京）为盛，郡中著名者且数十辈，但能吮毫者奚啻千人”，享有画名的许多画家如文徵明、徐渭、董其昌、石谿、石涛、程正揆等，或造访、或游历、或寓居，都与南京有关。史称的金陵八家，亦有大半为外地来南京寓居者，因此使画家们相互间的学习、切磋和激励也有了许多机会。例如，龚贤自少年时便师董其昌，与石谿、石涛和程正揆等画家都有交往，也与金陵画家共同作画。据记载，1679年，龚贤便与邹喆、吴宏、樊圻、高岑、高遇、王概、柳堉、谢荪一起为伴翁作《山水花卉册》（故宫博物院藏）。画家程邃也在一个手卷的题跋中记述其与吴宏、戴本孝、龚贤、柳堉等常常饮酒论画的友情。\n南京得以凝聚画家的原因，首先与南京作为东南大都会所具有的吸引力和悠久的文化传统有关，并且在明亡后，南京又作为明代故都和故国之象征，从心理上和精神上凝聚了一代遗民艺术家；其次，从艺术的发展来看，因其为大都会，得以广纳百川、融会诸家，较少门户之见，虽然也许不易产生如小城镇所易形成的因血缘和师徒关系为主的派别，但却利于艺术家自由追求和发展其个性和风格；此外，南京为贵戚、富商、高官汇聚之地，有相当的收藏书画的潜力，例如当时著名的官僚、文人和收藏家周亮工，身为朝廷命官，但心喜书画，他不遗余力地收藏品评作品，奖掖提拔画家，也像一块重要的磁铁，将画家们纷纷吸引前来。龚贤在1669年为周亮工题其所集《名人画册》中曾有记述：“诗人周栎园先生有画癖，来官兹土（指南京）结读画楼。楼头万轴千箱，集古勿论，凡寓内以画鸣者，闻先生之风，星流电激，唯恐后至。而况先生以书召，以币迎乎？”周与许多书画家来往密切，他在南京秦淮河畔的居处便成为众好友的活动中心。为史所称的“金陵八家”都与周亮工有密切的联系，龚贤便为其府上的常客，周氏汗牛充栋的藏书藏画使他大饱眼福。龚贤与周亮工有将近20年的友谊，诗画唱酬，造访论道，不绝于时。1672年，周亮工卒，龚贤悲痛地作有《哭栎下先生》七律四首，有句云“哭公独我头全白，在世人谁眼更青”。其他如樊圻在丁酉年（1657）为周亮工而作《江浦风帆图卷》（辽宁省博物馆藏），叶欣在丁亥年（1647）为周亮工而作《山水册》（故宫博物院藏），高岑作《金陵四十景图》，由周亮工题跋，邹喆亦与周亮工诗画 往来。\n凭着对南京画家的了解，周亮工对南京画风的演变和发展曾提出一些观点：“秣陵画，先知惟魏考叔兄弟，翰之出，而秣陵之画一变，士夫衲子无不宗之。”继被视为金陵画派先驱人物的魏之璜（字考叔）、魏之克兄弟和朱翰之后，又由周亮工率先提出“金陵八家”一说，他所列名的八位画家为：陈卓、吴宏、樊圻、邹喆、高岑、武丹、蔡泽、李又李。然而认同者仅有乾隆年间成书的《上元县志》，稍后活动于雍乾时期的张庚，在《国朝画徵录》中合称龚贤、樊圻、高岑、邹喆、吴宏、叶欣、胡慥、谢荪为“金陵八家”，得到较多人的认可。清末秦祖永的《桐荫论画》、李浚之的《清画家诗史》等均主其说，虽然这八家并不一定代表当时知名度最高的画家，且因其师承不同，风格迥异，也难以简单地以“画派”一词来归纳，但这一个松散的画家群体，都有着相近的生活经历和思想感情，在动荡的明清之际，有亡国之痛，有忠君之义，不事新朝，遁迹山林，以诗画寄兴，虽然个性各异，但都安贫乐道，洁身自好，在当地享有“高士”之名，彼此间亦有诗文书画往来，并有共同的朋友圈子相交往。他们之间也有较多共同的创作思想，如借绘画抒写真情，不拘于派系之争，不论浙派吴派，善法必学，故能自辟蹊径，标树己风。在笔墨技法上也有相似之处，如常用硬直之笔，作整饬的线条，画面结构清晰，注重笔墨的整体感，讲究墨色的对比和映衬等，在作画题材上多以南京近郊山水为粉本，均表现出一种简朴平实的绘画风格，由此形成17世纪金陵山水画的独特 面貌。\n\n二、17世纪金陵山水画的文化特征\n金陵画家所创的山水画，具有比较鲜明的地方特色。首先是表现了南京及附近的山水特点。南京虽然为青山环绕，但基本上是以小山头为主的丘陵地带，钟山最高峰也不过海拔442米，然而山色秀美苍润。时人顾起元曾赞叹道：“金陵之山，形家言为南龙尽处，精华之气发露无馀，故其山多妍媚，而郁纡烟容岚气，遝翠霏青，望之如古佛顶上之螺，美人眉间之黛，而特未有奇峰削壁拔地刺天，如瑶篸玉剑突起于云霄之上者。江水一泻千里，沙腾浪涌，天日为昏，最为怪伟。至静夜无风，江声隐起，余尝夜卧洪济燕矶听之，汹汹如欲崩四壁也。后湖泓渟坦沲，堤杨洲菼，绰约媚人，山色四围，如靓妆窥镜。湖山之美，何减虎林。所少者独瀑布与寒泉耳。”金陵画家创作的山水便多以此山景水色为蓝本，起伏的丘陵，苍秀的林木，而北方的那种雄浑伟岸的大山大势则比较少见。第二是南京连接江南水乡，河湖港汊较多，行船泊舟，最是司空见惯，故画家笔下江汀舟楫之景多见，岸矶草亭也成了常见的景色。第三，江南的空气湿润，云雾时起于山林，烟霭常生于河湖，尤其南京冬天昼夜温差有异，水面易生烟气，夏天炎热闷湿，暑气常多漫漫，又似薄雾轻烟，与天相接。在诗人画家的笔下，这氤氲的云烟是别饶情趣的。唐代诗人杜牧在《夜泊秦淮》中歌咏道“烟笼寒水月笼沙”，罗隐在《金陵夜泊》中歌咏“冷烟轻淡傍衰丛”，明代诗人顾梦游则有诗句道“落日淡生烟”，龚贤有诗道“老柳迷夕阳，烟波涨南浦”。画家笔下的金陵山水因此亦多云烟缭绕之状，几乎每个画家都有描绘，其表现或柔和或飘逸或湿润或轻扬，因景因情，因画家的感受不同而富于变化。第四，金陵山水中表现当地特色的景物较多见，例如：钟山的松树。据记载，钟山自东晋时便人工植松，宋代也曾种植，明代在钟山建造明代开国皇帝太祖朱元璋的孝陵，更是植松十万株。钟山青松便成为此一时期常见的山水画题材。第五，金陵山水画中有许多表现了当时文人生活时尚和爱好的内容，如山居、书屋、旅行、品茗、赏妓等，因南京为一著名的山林城市，这些反映时尚的画面也大多安置在秀丽的自然景观中。\n金陵山水画中也映现出浓重的怀旧情结。南京以名胜古迹、文化遗风和风流时尚著称，其处处可成为触景生情的诗、落笔成文的画。在诗人墨客的笔下，金陵怀古是一个永恒的题材，尤其是六朝的名胜典故，更是一个千古难解的情结，令一代又一代的文人陶醉。自唐代以来，诗人李白、杜甫、李商隐、刘禹锡都有著名的诗句传世，此后历代的诗人都不乏佳句。明末清初的文人诗作中或金陵山水画中若题有诗歌的，常常都会流露出这种对以往历史的追怀，六朝的名胜典故总像幽灵一样地在文人的诗画中徘徊。龚贤曾作《金陵怀古》二诗道：“短笛唤愁生，江船夜复清。月明争战地，潮打受降城。残柳欲无影，哀鸿只一声。石矶飞不去，凄绝古今情。”以西晋克吴、孙皓受降的六朝典故，抒发自己亡国的哀痛情怀。又有诗道：“江南六代风流地，白下多年翰墨场。古物已无王逸少，名人独剩顾长康。量宽嗜酒难逢醉，才大论诗莫禁枉。急办青钱买山隐，坐听深树候莺簧。”诗中综述六朝的文化和影响，表现出对王羲之、顾恺之等名人和六朝饮酒论诗等风流时尚的倾慕追往。\n即使那些暂居或游访过南京的画家，对南京也是难以忘怀。17世纪的著名画家石涛曾有册页名《秦淮忆旧》，为应友人之邀而作，回忆昔日与友人同在南京秦淮赏梅聚会的往事，亦引用六朝典故，其中一幅题画诗道：“沿溪四十九回折，搜尽秦淮六代奇。雪霁东山谁著屐，风高西壑自成诗。应怜孤瑟长年伴，具剩槎矛只几枝。满地落花春未了，酸心如豆耐人思。”六朝的文化，就像是一种范式，在明末清初的文人心中反复地出现和被吟咏，足见这种历史怀旧情结的坚韧。\n其三，金陵山水画反映出强烈的热爱故乡的情怀。17世纪，以地方景色为题的山水画比较流行，例如南京博物院收藏有明代宋懋晋的《江南十八景图册》、吴县一带的画家以虎丘山为题的绘画等，是文人画走向社会的表现，也是市民文化发达的结果，而以金陵风景名胜为题的山水画尤其突出。南京人爱恋故乡的强烈和真挚的程度是其他古都历史上所少见的。早在六朝之初的孙吴时期（甘露元年，265年），当吴末帝孙皓由建邺（今南京）迁都湖北武昌，百姓便有童谣道：“宁饮建邺水，不食武昌鱼。宁还建邺死，不止武昌居。”这种不计生死的眷恋，只得让吴帝于次年还都建邺，这在中国历史上恐怕也是绝无仅有的。另一个著名的例子是南唐后主李煜在被宋人俘获北上后，所作诗词中透露对故国山河的深深怀念，令人愁绝痛绝，“恰似一江春水向东流”，是超越时空界限的永远的伤怀。明清之际，金陵八家中，除樊圻和胡慥为本地人外，其余都为外地或郊县寓居南京的画家，但都表现出对南京的情有独钟，书画署名喜用“石城”“金陵”等南京的古称，将自己称作南京人。金陵八家之首的龚贤虽然自昆山移居南京，但对南京的感情很深，视南京为家，在外的奔波使他愁苦伤怀，“身老愁为客，迢迢返旧京”，亟盼着早些回到南京，并把南京选作自己最终的生活地点。明亡后，当他与友人费密同游金陵胜景，登上石头城，遥望长江，触景生情，激起了满腔难平的民族意识，遂发出“橐驼尔何物，驱入汉家营”的悲愤呼号。这种热爱故乡，热爱南京的情感，在艺术家们的笔下便诞生了金陵山水的另一种表现形式—“金陵四十八景”，将金陵的历史典故，风景名胜以山水画的形式和诗歌的吟诵来表现，并借着雕版印刷的简便，而得到雅俗的共赏。\n《金陵四十八景》的形成约在清代初年，其他则先后有零星的以金陵景色为题的书画，较为人知者如《金陵八景》《金陵十景》《金陵十八景》《金陵二十四景》《金陵四十景》等。《金陵八景》据画末题跋可知，作于万历庚子年（1600）春月，为江宁人郭存仁所绘，“八景”为“钟阜祥云、石城瑞雪、凤台秋月、龙江夜雨、白鹭晴波、乌衣晚照、秦淮渔唱、天印樵歌”，一图一咏，多基于六朝以来的历史典故和著名诗作。《金陵十景》，据《石渠宝笈续编》记载，是吴派画家之首的文徵明，在游览了金陵山水名胜后所作。《金陵十八景》为文徵明的侄子文伯仁（1502-1575）所绘，他号称摄山老农（摄山即今栖霞山），曾居住在南京，为金陵美丽的风光所感动而绘此图册。《金陵二十四景》，据1956年在湖南省长沙市发现的文物，是由文学家吴敬梓（1701-1754）所写《金陵景物图咏》，每篇诗末都注明所仿的碑帖，诗句工整，对南京的历史了如指掌。《金陵四十景》为太史朱之蕃所作。朱之蕃，江宁人，字元竹，号兰嵎，万历二十三年（1595）进士第一，工山水画，注意收集家乡江宁的山水名胜资料，“共得四十景，属陆生寿柏策蹇浮舫，躬历其境，图写逼真，撮举其概，各为小引，系以俚句”。图咏成后，朱之蕃命名为《金陵四十景图考诗咏》，并与当时的另一位太史杜士全常在金陵雅游，相互凭图咏唱。清初，金陵八家之一的高岑，字蔚生，虽老家在杭州，客居南京，但也倾心相爱这个城市，常署名“石城高岑”，平时也注意收集南京的历史资料，遍游南京的风景名胜，并在前人研究金陵胜景的基础上，精心绘制了《金陵四十景图》。清户部右侍郎、著名文人周亮工（1612-1672）为该图册写了题跋，这些图以后被刊入康熙年间的《江宁府志》。清代初年，又发展成为“金陵四十八景”。\n金陵画家包括八家的山水画中，亦有许多以金陵胜景为题的作品，甚至几代画家都钟情于此，父子者如邹典、邹喆，便都介入这一题材的创作。美国学者高居翰的景元斋收藏的《晚明人山水册》，共有10页，为不同的画家所绘，但都以南京的景色为题，如魏节“燕子矶”、黄益“献花岩”、龚达“龙江关”、谢成“幕府台”、龚贤“清凉台”、黄益“鸡笼山”、盛于斯“天阙山”、陆瑞征“玄武湖”、邹典“灵谷”、张翀“报恩塔”。又如，龚贤有《摄山栖霞图》《清凉环翠图》（故宫博物院藏），其他的金陵画家：樊圻有《江浦风帆图》、高岑有《天印樵歌图》（天津艺术博物馆藏），描绘南京附近天印山的景观，邹喆有《石城霁雪图》（上海博物馆藏），描绘南京的雪景，叶欣作《锺山图》（故宫博物院藏），描绘南京这一名山的景色。樊圻的《金陵寻胜图》，按照画后的题跋来看，应当还有吴宏的“燕矶”“莫愁”，龚贤的“清凉”“摄山”，陈卓的“天坛”“冶城”，柳堉的“天印”等画，皆是依金陵名胜的各景点而作的命题画。\n更难能可贵的是，柳堉在樊圻所绘的《金陵寻胜图卷》的题跋中还记载了当时南京人收藏金陵山水画，并以邀得名家作此命题画为荣的风尚，被视为金陵胜事，并引用一句“唯有家山不厌看”的古诗来解释这种特殊的现象。虽然这些地方山水画的繁荣或许与商业有一定的关系，但这种来自社会的热情要求和支持，足见南京人对自己故乡的热爱，这确实也是促使17世纪金陵山水画发达的原因之一。\n总之，以金陵八家为首的金陵画家，虽然各有师承，面目不一，但都能深入生活，以金陵近郊的山山水水为其粉本，融六法之精髓，入天然之丘壑，将热爱故国故乡的一腔真情和满腹怀恋都倾注于山岚变幻、草木蔚然的山水画中，故使金陵山水画独树一帜，在17世纪的画史上留下了辉煌的一页。古人道：诗为心声，画为心印，书为心画。明末清初的17世纪，金陵画家们所具有的独特艺术面貌，正是由特定的历史文化环境所造成的，从画家们无限的伤心和满怀勃郁的精神气质升华而来。那种强烈的民族意识和爱国情结，正是金陵画派山水作品内涵的共鸣、精神的统一和灵魂的所在。一位西方学者曾指出，南京是中国古都中最引人注目的城市，因为她曾经是并将永远是中国最令人怀旧和动情的城市。确实，那千古的金陵历史，千古的诗泉画源，千古的文人之魂，正是17世纪南京文化艺术繁荣的历史基因，也正是她的永恒魅力所在。",[24,27,36,111,29,7,34,427,130,35,10547,114,242,30,31,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F449593877e596f876b9b25838d1ec1e9.jpg",[],{"id":25667,"slug":25668,"title":12774,"dynasty":296,"author":436,"museum":360,"description":25669,"tags":25670,"thumbUrl":25671,"material":229,"size":12780,"collection":70,"collections":25672,"showCount":309,"zanCount":46,"manualWeight":46,"mainColor":47},233096,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-233096","《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。",[200,24,25,111,28,56,36,58,215,29,60,34,6105,2974,7,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1b021a92da1c0a0009270e048b28a75.jpg",[],{"id":25674,"slug":25675,"title":15942,"dynasty":18,"author":3504,"museum":360,"description":159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　“山到衡阳尽，峰回雁影稀。应怜归路远，不忍更南飞。由干古人地理思维的局限性，误以为雁到衡阳不再南飞。当北方天气转冷，雁阵南行，南方则秋风送爽艳阳高照。旷野平沙，芦苇丛丛，常常引采雁阵栖宿。好一幅秋雁戏沙图。\n烟寺晚钟——衡山县城北清凉寺\n湘江又北行北公里，经过佛教胜地南岳衡山。晚来风急，万物入眠，唯寺内报时的古钟，不时敲出悠扬宏亮的声音。江舟中的旅者在这种钟声中系舟或者远行。\n山市晴岚——湘潭与长沙接壤处的昭山\n湘江由衡山北行150余公里到达昭山。紫气缭绕，岚烟袭人，云蒸霞蔚。一峰独立江边，秀美如刚出浴的仙子。\n江天暮雪——橘子洲\n橘子自古为长沙名胜，东望长沙，西瞻岳麓。当大雪纷飞，白雪江天浑然一色，世间万物寂寂无声，江中商船落帆泊岸，雪光上的暮色烟雾一样漂浮不定，人的心情也就格外地清冷，思想随着雪花飘舞，那种清凉的悠闲也许是最接近冬雪本质的悠闲。\n远浦归帆——湘阴县城江边\n从橘子沿江北去，约远70公里，便到湘阴。每当黄昏，远山含黛，岸柳似烟，归帆点点，渔歌阵阵，等待归船的渔妇和企盼宿客的青楼女子站在晚风斜阳中，衬托出一片温馨怅望的繁忙景象。\n洞庭秋月——洞庭湖\n由湘阴北去，便是一望无际的洞庭湖。秋天的夜晚，月色如银，天空不杂任何痕迹，八百里湖面，碧水如镜，风息浪静。天空和湖面相互映照，月光和湖光相互交融，泛舟湖上，则别有一番情趣，登上君山或者岳阳楼，想必又是另一种情怀。\n渔村夕照——西洞庭桃源武陵溪\n陶渊明在《桃花源记》中说“武陵人捕鱼为业”。武陵人因为捕鱼，而发现了桃花源，世人所居住的渔村也就成了文人墨客所憧憬的地方。白天，渔人撒网洞庭；傍晚，收拾渔网，提着肥美的鲜鱼，在夕阳的晚唱中踏着渔歌回家。",[23,24,25,111,27,28,36,29,58,60,32,31,7,34,114,512,1944],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5636fb7e82aaf37ee5a6e14482d51e7.jpg",[],{"id":25689,"slug":25690,"title":25691,"dynasty":18,"author":25692,"museum":3174,"description":25693,"tags":25694,"thumbUrl":25695,"material":16033,"size":25696,"collection":70,"collections":25697,"showCount":309,"zanCount":46,"manualWeight":46,"mainColor":47},231590,"shi-xiang-tu-chen-xian-231590","释像图","陈贤","自跋：焚香合掌祭拜作于仙迹精舍，崇祯癸未菊月（1643年）。卷末再题：清紫陈贤谨识。长卷共绘有二十四位佛教人物。此卷人物线质极具特色，已是禅师们作画常用的“棒喝”性线条。\n陈贤［明］号希三，又号瞻葵，又号半秃僧，华山道人。喜画佛像人物，书法似文徵明。",[23,24,25,26,712,27,58,24386,427,7,2241,1103,37,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faec35347fab7a37b924029e930db1d82.jpg","49.5×731.3厘米",[],{"id":25699,"slug":25700,"title":25701,"dynasty":296,"author":25702,"museum":401,"description":25703,"tags":25704,"thumbUrl":25705,"material":22472,"size":25706,"collection":70,"collections":25707,"showCount":309,"zanCount":46,"manualWeight":46,"mainColor":149},231353,"xi-sai-shan-zhuang-di-er-tu-shen-zong-qian-231353","西塞山庄第二图","沈宗骞","此卷绘西塞山庄之胜景，虽不是张志和诗中之西塞，然长松阔水，溪山静好，亦是人间佳境。此幅全法南宗山水之圭臬，又有黄子久富春山居图笔墨之法，而加“四王”之平实笔意。是沈熙远精心之作。\n沈宗骞（1736—1820）。字熙远，号芥舟，又号研湾老圃，浙江乌程（今湖州）庠生。生平杰作《汉宫春晓》、《万竿烟雨》二图，为赏鉴家所宝，有神品之目。晚年则纯用焦墨。《墨林今话、墨香居画识》。",[23,24,25,26,27,36,29,34,7,316,133,114,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a52250e5d999c337a4036662e188ac5.jpg","27cmx285cm",[],{"id":25709,"slug":25710,"title":25711,"dynasty":18,"author":1247,"museum":561,"description":25712,"tags":25713,"thumbUrl":25715,"material":70,"size":70,"collection":70,"collections":25716,"showCount":309,"zanCount":46,"manualWeight":46,"mainColor":149},230937,"tai-ping-chun-se-tu-qian-gong-230937","太平春色图","整作以全景铺展春日闲趣，内室围炉宴坐，亲友言笑晏晏，暖炉烘出一室融融温情。墙外稚童嬉闹，野趣横生，下方溪桥之上，白衣文士凭栏观水，童子侍立，尽得林泉悠然。\n\n画家以淡墨写出寒枝虬曲，暗透春芽将萌的生机，设色浅雅柔润，将家宅的俗世温情与郊野的清逸春景相融，笔意秀润温婉，把太平年岁里的日常烟火晕染成诗意图景，将春日里松弛安宁的人间盛景娓娓铺陈，尽显安宁祥和的春日意趣。",[24,25,95,56,28,58,60,30,96,7,1250,61,25714,1273,29,1140],"墙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F728d5ea1461c81e8a8a5e563662d2e9a.jpg",[],{"id":25718,"slug":25719,"title":25720,"dynasty":296,"author":25721,"museum":561,"description":25722,"tags":25723,"thumbUrl":25724,"material":70,"size":70,"collection":70,"collections":25725,"showCount":309,"zanCount":11,"manualWeight":46,"mainColor":149},230918,"bi-hu-zhu-shu-tu-shang-guan-zhou-230918","闭户著书图","上官周","此作用高远之法铺展画面，主峰奇崛危耸，皴笔苍劲老辣，勾勒出山岩瘦硬嶙峋的风骨，烟云轻笼山间，衬出幽谷空寂。下方山居隐于松竹之间，堂内文人凭窗凝思，沉心著述，周遭流泉、奇石环合，将幽居雅静之境铺陈开来。\n\n右上角题诗呼应幽隐主题，笔意苍秀兼具，把山林雄浑气象与闭门潜修的文人意趣相融，尽显出世忘俗的林下风流，是文人寄情林泉、醉心笔墨的心境写照。",[23,24,25,95,28,36,29,427,7,130,31,60,97,58,34,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F687ba4930841677cb3b5816f725bdc2f.jpg",[],{"id":25727,"slug":25728,"title":25729,"dynasty":3017,"author":436,"museum":561,"description":22669,"tags":25730,"thumbUrl":25735,"material":217,"size":660,"collection":70,"collections":25736,"showCount":309,"zanCount":46,"manualWeight":46,"mainColor":47},230488,"fu-shi-hui-125-yi-ming-230488","浮世绘125",[22671,24997,28,130,34,7,31,58,187,1081,1262,25731,525,5009,8317,21961,987,25732,25733,25734],"浴场场景","彩色版画","线条勾勒","色彩渲染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadb8451450e532362118b932c616a263.jpg",[],{"id":25738,"slug":25739,"title":14922,"dynasty":296,"author":25740,"museum":561,"description":25741,"tags":25742,"thumbUrl":25743,"material":70,"size":70,"collection":70,"collections":25744,"showCount":309,"zanCount":46,"manualWeight":46,"mainColor":47},230296,"shan-shui-ce-ye-du-xiang-230296","杜湘","此作以幽寂山居为意趣，虚实掩映间铺陈出尘之境。苍松虬干以赭石晕染，石绿点簇松针，苍劲中带着清润生机；山石以淡墨勾勒皴擦，浓墨醒苔，厚重又不失空灵意韵。蜿蜒石径隐于谷底，将视线引向林间茅舍，屋中幽人凭窗静憩，愈发衬出林谷阒寂清冷。整幅画笔致秀雅沉静，疏密错落间尽显山林幽居的超然闲逸，把文人寄情林泉的隐逸襟怀藏在简淡笔墨之中，尽显传统山水画的写意风骨。",[24,25,111,28,29,7,427,33,134,82,36,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1c24bd19e45d360dbc671486ec53196.jpg",[],{"id":25746,"slug":25747,"title":25748,"dynasty":296,"author":870,"museum":561,"description":25749,"tags":25750,"thumbUrl":25751,"material":70,"size":70,"collection":70,"collections":25752,"showCount":309,"zanCount":46,"manualWeight":46,"mainColor":47},228993,"bai-kai-luo-han-tu-81-shi-tao-228993","百开罗汉图81","此作以水墨绘就两位罗汉立身奔涌浪涛之中，背景是冷峻苍劲的崖壁。作者以淋漓墨色晕染翻涌水浪，细密线条勾勒罗汉衣袍纹饰，一动一静对比强烈。浪涛汹涌激荡，罗汉却神态静穆安然，于激流中泰然自处，尽显禅心澄澈。干湿浓淡的墨色皴擦出岩壁的厚重质感，工细的衣纹与写意山水形成鲜明反差，烘托出罗汉静定超脱的出世之态，将禅宗于喧嚣中守持本心的意涵融于笔底，笔情墨趣间尽显空灵悠远的禅境。",[24,25,111,27,784,58,7,539,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f980403a2ac64c265f5de8dbb005cb3.jpg",[],{"id":25754,"slug":25755,"title":25756,"dynasty":296,"author":23376,"museum":561,"description":25757,"tags":25758,"thumbUrl":25761,"material":70,"size":70,"collection":70,"collections":25762,"showCount":309,"zanCount":46,"manualWeight":46,"mainColor":149},228936,"jin-jian-shan-shui-si-ping-lu-yuan-228936","金笺山水四屏","平远构图层层铺陈，淡墨晕染的远山衔着隐约山居，渐次拉近，中景茅舍里士人对坐晤谈，小童负物行于林畔，野居意趣悠然尽显。近岸怪石嶙峋，古木虬曲苍劲，红叶枝桠点染出清秋意韵，秋水蜿蜒迂回，澄澈空明。\n笔墨利落，山石以小斧劈皴写就，苍劲硬朗；林木点染兼工带写，意态生动。金笺底色衬得画面古雅温润，整体意境萧疏淡远，将文人寄情林泉、安享幽居的雅怀尽数铺展。",[23,24,25,25759,25760,29,28,36,7,34,35,31],"金笺","四屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee574fd14a42eb307f4d37ff819902cb.jpg",[],{"id":25764,"slug":25765,"title":18257,"dynasty":18,"author":9109,"museum":561,"description":13369,"tags":25766,"thumbUrl":25767,"material":217,"size":660,"collection":70,"collections":25768,"showCount":309,"zanCount":46,"manualWeight":46,"mainColor":149},228899,"shan-shui-tu-shan-mian-qian-gu-228899",[200,24,25,1900,27,28,36,29,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8fe0f246adff8469cb479bfc8b1f0cf.jpg",[],{"id":25770,"slug":25771,"title":25772,"dynasty":18,"author":3058,"museum":561,"description":25773,"tags":25774,"thumbUrl":25785,"material":70,"size":70,"collection":70,"collections":25786,"showCount":309,"zanCount":46,"manualWeight":46,"mainColor":149},228389,"xu-jing-yang-yi-ju-cui-zi-zhong-228389","许旌阳移居","此作用高远章法铺陈，上层危崖嵯峨，飞瀑垂落，秋木虬曲点缀其间，清寂高古。中层为画面核心，仙众环侍主角，衣纹细劲如游丝，设色雅静沉凝，人物神态安然超脱，尽显道骨仙风。下层童仆往来搬运，身形灵动，为幽寂山水添上几分鲜活意趣。\n\n全图工写相济，山石勾勒皴染兼具，林木敷色雅致淡和，将仙隐迁居的出尘意境晕染透彻，笔意内敛醇厚，把叙事感与山水清逸融为一体，尽显晚明人物画的高雅典致。",[23,24,200,95,3884,951,25772,25775,25776,56,25777,25778,25779,28,25780,3630,25781,7,1066,25782,25783,25784],"仙隐迁居","道释题材","工写相济","皴染","游丝描","危崖","秋木","道骨仙风","清寂高古","出尘意境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a52147b095678beb4349cffd858869e.jpg",[],{"id":25788,"slug":25789,"title":25790,"dynasty":124,"author":25791,"museum":561,"description":25792,"tags":25793,"thumbUrl":25794,"material":70,"size":70,"collection":70,"collections":25795,"showCount":309,"zanCount":46,"manualWeight":46,"mainColor":149},227957,"tian-tai-shi-qiao-luo-han-tu-zhou-chang-ji-lin-ting-gui-227957","天台石桥－罗汉图","周常季、林庭珪","此作画境清寂出尘，飞瀑垂泻于危崖之间，古木横生为桥，连通绝险山径。下方三罗汉神态各殊，或抬首凝神远望云端仙侣，或侧身静听，衣纹以铁线描勾勒，敷色调和古雅，将僧者的肃穆憨态刻画入微。\n\n远景云气翻涌，琼楼半隐烟岚，虚实相映衬出凡尘寻仙的幽远意境。画作将禅意融于山水丘壑，人物点缀林泉之间，罗汉的沉静好奇与云山缥缈相融，尽显清逸禅韵，把世外寻仙的悠远意趣藏于笔墨之中，雅致空灵，余味悠长。",[23,24,200,25,28,56,784,58,29,7,130,1555,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd599052eea77d54ae9e6e164b8670b7.jpg",[],{"id":25797,"slug":25798,"title":25799,"dynasty":3017,"author":436,"museum":561,"description":25800,"tags":25801,"thumbUrl":25803,"material":70,"size":70,"collection":70,"collections":25804,"showCount":309,"zanCount":46,"manualWeight":46,"mainColor":149},225438,"fu-shi-hui-196-yi-ming-225438","浮世绘196","此作揉合东西意象，和服仕女衣袂织就牡丹、藤花繁丽华纹，柔色层叠，带着美人绘独有的温婉绮丽。身旁西洋军官军装笔挺，金属配饰冷冽硬朗，和式柔靡与西式英挺形成强烈视觉对冲。\n\n背景花树环伺、牡丹盛放，兼具日式园林雅致与西式构图张力。仕女抬眸垂首间柔态尽显，军官肃然挺拔，两种文化气韵共生，鲜活映照出西风东渐的时代切面，是东西审美交融的别致剪影。",[22671,24997,28,58,59,25802,489,441,34,7],"和服","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcb3b452154f13245f6e0c422b7b7733.jpg",[],{"id":25806,"slug":25807,"title":106,"dynasty":296,"author":13876,"museum":561,"description":25808,"tags":25809,"thumbUrl":25810,"material":70,"size":70,"collection":70,"collections":25811,"showCount":309,"zanCount":46,"manualWeight":46,"mainColor":47},224597,"shan-shui-ce-yuan-ying-224597","此作铺陈出一卷悠然水乡山居图。远景山峦以淡墨晕染，轻烟笼岫，漾着空濛悠远的澹宕诗意。中景青绿重峦上，丹枫翠柏蓊郁成荫，山居院落沿溪错落排布，黛瓦飞檐掩映在枝叶间，将雅致烟火揉进山野清趣里。\n浅滩碎石漱着清流，近水扁舟随波徐行，渔翁垂竿独钓，把闲逸静穆揉进涟漪里。设色妍雅柔和，皴笔细腻勾勒山石肌理，淡墨晕染出烟岚轻笼的朦胧质感，将江南水乡温润灵秀的意趣尽数铺展，把幽居闲隐的雅韵凝在尺幅之中，观之如踏入这静美悠然的世外山居。",[23,24,28,36,111,29,30,31,32,60,34,7,1744],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcde5044ef41523288de68520c6e9bca9.jpg",[],{"id":25813,"slug":25814,"title":25815,"dynasty":296,"author":1406,"museum":561,"description":25816,"tags":25817,"thumbUrl":25818,"material":70,"size":70,"collection":70,"collections":25819,"showCount":309,"zanCount":46,"manualWeight":46,"mainColor":149},224418,"shu-hua-shi-liu-kai-4-wang-shi-min-224418","书画十六开-4","此作用笔苍浑秀润，追摹元人萧散意趣。层岩叠岫间古松虬曲，苔点皴染遍覆崖身，青绿敷色沉静古雅，恍若旧时光晕晕染纸面。飞泉漱石，流云出岫，将山巅晕出空濛仙气。澄江如练，渔翁独棹扁舟欸乃行于江心，静澜载闲，把江湖幽寂融于笔底。林麓间隐见山居茅亭，石径通幽暗合林下隐逸之思。整幅画将山林深秀与江湖闲逸织为一体，于青绿妍秀中藏文人淡远襟怀，尽显寄情林泉的雅逸意趣。",[23,24,25,28,257,36,29,32,31,30,34,7,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc562462de56224602031cb4887c257ca.jpg",[],{"id":25821,"slug":25822,"title":25823,"dynasty":296,"author":17978,"museum":561,"description":25824,"tags":25825,"thumbUrl":25826,"material":70,"size":70,"collection":70,"collections":25827,"showCount":309,"zanCount":46,"manualWeight":46,"mainColor":149},224268,"fang-fan-zhong-li-fei-quan-zhan-dao-tu-zhao-cheng-22426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岩石和水的侵蚀形成的蜂窝形状是另一种前所未有的创新方法。",[23,200,24,25,62,56,28,242,524,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd2250b3999f22bfd04a74cdeb074f66.jpg","27.5x26.9厘米",[],{"id":25885,"slug":25886,"title":25887,"dynasty":296,"author":8003,"museum":13030,"description":25888,"tags":25889,"thumbUrl":25890,"material":246,"size":25891,"collection":70,"collections":25892,"showCount":309,"zanCount":46,"manualWeight":46,"mainColor":47},223320,"fa-jie-yuan-liu-tu-jing-pian-3-ding-guan-peng-223320","法界源流图镜片-3","此卷是丁观鹏奉乾隆之命于乾隆三十二年创作，是以宋代张胜温所画的《梵像图》摹成两卷，第一卷名为《蛮王礼佛图》，第二卷为《法界源流图卷》。图卷以释迦牟尼为中心，以对称的方式绘佛祖达几百人，人物神态丰富，栩栩如生。",[23,24,25,28,56,784,58,34,1635,31,201,7,1273],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8036ab112b4fe78ab2d095a7d737962d.jpg","全卷长33＊1635cm",[],{"id":25894,"slug":25895,"title":25896,"dynasty":296,"author":8003,"museum":13030,"description":25897,"tags":25898,"thumbUrl":25903,"material":246,"size":25904,"collection":70,"collections":25905,"showCount":309,"zanCount":46,"manualWeight":46,"mainColor":47},223313,"fa-jie-yuan-liu-tu-juan-7-ding-guan-peng-223313","法界源流图卷-7","该作品的艺术价值堪与北宋名画《清明上河图》媲美，被誉为世界“佛文化、绘画”艺术颠峰之作，世界无价之宝。\n丁观鹏摹张胜温法界源流图卷，是中国艺术史上的一件瑰宝，规模宏伟，人物众多，用笔十分精细认真，如此长卷在世界的佛教绘画中是罕见的。面对这一人物众多，内容复杂，描绘精良的宏篇巨制，不能不令人信服地赞叹中国传统绘画刚健的生命力。由此引起世界上学术界和观赏者的深切关注，也就是非常自然的事情了。\n该卷中所描绘的形象非常繁多，既有佛界诸宗派的人物形象，也有各种动植物和各种佛具法器，均描绘精细，不仅比例准确，而且神态生动。这些形象的汇集与成功的描绘，不由地使人对该画的作者产生由衷敬佩。虽然他的生平事迹不见任何记载，他这件辉煌作品就足以使他在美术史乃至佛教史上永远放射着巨大的光芒。\n该作品用笔细致非凡，设色浓丽，端庄典雅，是清代画家丁观鹏精心创作杰作之一。",[23,56,28,784,9395,9709,25899,58,34,7,65,1118,23030,25900,25901,1635,2653,25902],"佛","背光","火焰纹","花卉装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bca15cb25d345e9d926b5f3241d8c95.jpg","纵33厘米、横1635厘米",[],{"id":25907,"slug":25908,"title":25909,"dynasty":296,"author":25910,"museum":509,"description":25911,"tags":25912,"thumbUrl":25913,"material":261,"size":25914,"collection":70,"collections":25915,"showCount":309,"zanCount":46,"manualWeight":46,"mainColor":47},222841,"ji-en-tu-zhang-bo-long-222841","纪恩图","张伯龙","图绘清初大将杨捷之孙杨铸接受康熙帝赏赐，在热河避暑山庄御苑中乘舟观荷的情景。图绘山峦锦绣，景色宜人，池中荷花盛开，杨铸将军端坐御船中，眼神专注，神态安祥。",[23,24,28,56,36,29,32,58,2011,415,427,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff7238607ddf7a479257963b0034284e.jpg","横103cm，纵166.3cm",[],{"id":25917,"slug":25918,"title":25919,"dynasty":296,"author":3417,"museum":20,"description":12505,"tags":25920,"thumbUrl":25921,"material":25922,"size":25923,"collection":70,"collections":25924,"showCount":309,"zanCount":46,"manualWeight":46,"mainColor":47},222615,"shan-shui-ba-jing-5-gong-xian-222615","山水八景-5",[23,24,25,111,27,36,29,96,33,7,34,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fa329c651f4d05a616990e35cfffa22.jpg","纸","纵24.4 厘米 横49.7 厘米",[],{"id":25926,"slug":25927,"title":25928,"dynasty":18,"author":25929,"museum":53,"description":25930,"tags":25931,"thumbUrl":25932,"material":673,"size":25933,"collection":70,"collections":25934,"showCount":309,"zanCount":46,"manualWeight":46,"mainColor":149},222443,"chun-shan-tu-zhou-lin-guang-222443","春山图轴","林广","溪山深邃处。临水筑榭。青松卓然高立。山坳处。春花怒放。士人于此静坐。享受着无限的春光。此图用笔方劲。以刚硬之气。画妩媚春景。亦别具一格。\n林广（明末清初），广陵人，是久居金陵的职业画家。山水、人物初学宫廷画家李在（？-1431）与蓝瑛，居金陵后，融入了金陵画派地域画风的时潮，发展出典型的金陵面目。作为职业画家，林广的绘画能力很强，金陵各种风格都有涉猎，既有类似吴宏、高岑一路的山水风格，亦有接近武丹的面目（《上元县志》版“金陵八家”即有武丹）。",[200,24,25,95,27,36,29,1208,7,34,130,35,364,58,2252],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F117261838ffba9ce00a6cadb6ef82d48.jpg","182.8x103.8厘米",[],{"id":25936,"slug":25937,"title":462,"dynasty":18,"author":25938,"museum":53,"description":25939,"tags":25940,"thumbUrl":25941,"material":70,"size":70,"collection":70,"collections":25942,"showCount":309,"zanCount":46,"manualWeight":46,"mainColor":47},222442,"shan-shui-tu-yang-wen-cong-222442","杨文聪","杨文聪（1596—1646）明末画家、抗清官员。字山子、龙友，号陈龙、鹤巢、雪盦，原籍贵州贵阳，流寓金陵（今江苏南京）。万历四十七年举人，官至兵部郎中，清兵入闽，被执不屈而死。博学好古，善画山水，为”画中九友”之一。\n其父杨师孔，曾任浙江参政（约相当于副省级长官）。杨文聪于万历二十四年（1596），诞生于贵阳城南郊的石林精舍少怀壮志，学兼文武，善书画，有文采，万历末期举于乡。此后屡试不第，年已30，仍功名不就，因之落魄江湖，纵情山水。他爱南京栖霞山风物，曾读书山中，暇时常登峰顶，眺望长江。数年后，回忆这段生活，曾绘《江中望栖霞》，并题咏其上，以抒怀念之情。\n崇祯十六年（1643）已近中年时，他才谋得江宁知县一职，但不久又被劾罢官。失意之余，遂盘桓于秦淮风月场中。原来秦淮内河自明太祖定都南京就异常繁华，从东水关到西水关长达十里，彻夜灯船，尽笙歌。杨文聪为人豪侠，性爱交游，不仅与素淮名妓往来甚密，而且与复社名流侯方域等结为至友。以扇血点染桃花的韵事，很有可能就发生在这时。此事本传不载，然据近人考证，在孔尚任《桃花扇》成书之前，姜实节为杨文聪题画时就有“记否桃花留扇底，一回首处一消魂”之句。由此可知，杨文聪以扇血点染桃花，并非虚构，而是实有其事。\n崇祯十七年（1644）三月十九日，李自成攻下北京，明思宗朱由检自杀。吴三桂引清兵入关，合力扑灭了李自成农民起义军的烈火。明南京兵部尚书史可法、凤阳总督马土英等拥立福王朱由崧即位南京。杨文聪和马士英是同乡，又系姻亲，同时他在武备方面也有一定才能，因此被起用，监军京口（今镇江）。其时的镇江金山尚在长江水中，他认为金山控制南北，地形利于防守，奏请筑城以资守御，很快得到允准。\n清顺治二年（1645）初，杨文聪升任兵备副使，分巡镇、常两府。到清兵逼近长江时，文聪正驻军金山，控制江防。同年五月，他被提任为右佥都御史（中央监察机关长官）兼督沿江诸军。文聪遂还驻京口，和大将郑鸿适等军合兵长江南岸，与清兵隔江相持。九日夜，清兵乘大雾偷渡，直到接近南岸才被甘露寺守军发现，遂仓皇迎敌，但被清兵冲散。杨文聪败退至苏州。十三日，清兵攻陷南京，南明文武大臣、勋戚除逃亡外，大部迎降。清将曾派人往苏州劝降文聪，说客却被杨文聪所杀，并退军处州（今属浙江）。此时唐王自立于福州，文聪遣使奉表称贺，被拜为兵部右侍郎兼右金都御史，提督军务，图谋收复南京。文聪受命于国破之际，孤军奋战，虽曾扼守仙霞岭，屡挫清军，终因众寡悬殊，于1645年7月兵败被俘，不屈而死，全家36口人同时遇难。",[23,24,25,1900,29,27,28,36,837,112,30,97,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff191db746df3d8994d076a97913dd8b.jpg",[],{"id":25944,"slug":25945,"title":25946,"dynasty":18,"author":1126,"museum":53,"description":25947,"tags":25948,"thumbUrl":25949,"material":28,"size":25950,"collection":70,"collections":25951,"showCount":309,"zanCount":46,"manualWeight":46,"mainColor":47},222431,"hua-song-yin-diao-ting-ce-ye-du-jin-222431","画松阴钓艇册页","杜堇，明代画家，生活在十五至十六世纪初，原姓陆，字惧男、号柽居、古狂、青霞亭长，江苏丹徒（今江苏镇江）人，占籍燕京（今北京市）。宪宗成化（1465—1487）中试进士不第，绝意进取。工诗文，通六书，善绘事，界画楼台，最严整有法，山水树石不甚称。人物亦白描能手，花草鸟兽并佳，又能作飞白体，宜乎宗之者众。弘治二年（1489）为吴原博（宽）作赏菊宴集图。从艺活动约在成化、弘治间。\n明代中期的画坛，除了活跃着以沈周、文徵明等为代表的“吴门画派”和以戴进、吴伟为代表的“浙江画派”之外，在南京还出现了一些独具风格的文入画家。他们个个能诗、能文、擅书、擅画，且r生，隋开朗，豪放不羁。杜堇就是其中的一位。杜堇的人物画宗法李公麟，笔法精劲流畅，别具秀逸之态，因此他被推为当时画坛的白描高手。其人物画大都表现古代传说故事或逸闻趣事，并以山水及园林景致为衬景，有的还题诗作赋，显示着一派文入画的格调。\n传世作品有《竹林七贤图》卷，现藏辽宁省博物馆；《梅下横琴图》轴藏上海博物馆；《绿蕉当暑图》，藏扬州市博物馆；《林堂秋色图》轴藏广州美术馆；《祭月图》轴藏中国美术馆；《古贤诗意图》卷于弘治十三年（1500）由金琮（1449-1501）书古人诗十二首，后又由杜堇补图，现存九段，该图笔法峭劲，潇洒流利，用墨比宋人简淡。《东坡题竹图》轴人物形象细腻传神，自题七绝一首，另有《邵雍像》轴等，上述画均藏故宫博物院。从艺活动约在成化、弘治间。",[23,24,1900,27,28,29,36,272,32,243,7,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff70da5f12ccbc7b5817be2e5d8f1e38e.jpg","68x68厘米",[],{"id":25953,"slug":25954,"title":25955,"dynasty":18,"author":9649,"museum":53,"description":9650,"tags":25956,"thumbUrl":25957,"material":28,"size":9653,"collection":70,"collections":25958,"showCount":309,"zanCount":46,"manualWeight":46,"mainColor":47},222320,"qian-li-jiang-cheng-tu-juan-1-zhou-long-222320","千里江程图卷-1",[200,24,25,26,27,36,29,34,130,7,133,31,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a5e82d606bd4790ed080e73a7e5d886.jpg",[],{"id":25960,"slug":25961,"title":25962,"dynasty":124,"author":1503,"museum":53,"description":25963,"tags":25964,"thumbUrl":25965,"material":24240,"size":25966,"collection":70,"collections":25967,"showCount":309,"zanCount":46,"manualWeight":46,"mainColor":47},221427,"sui-gu-xian-chou-yan-su-221427","邃谷仙俦","燕肃(991-1040)字穆之，一字仲穆，一署上谷，青州益都(今山东益都)人。文学治行，缙绅推之，胸次潇洒，巧思过人。真宗大中祥符间进士，官至龙图阁直学士，以礼部尚书致仕，人称“燕龙图”。工诗善画，以诗入画，意境高超，浑然天成，为文人画之先驱。善画山水寒林，与王维相上下。亦擅人物、牛马、松竹、翎毛，在京师太常寺、翰林学士院作屏风画，景宁坊寓所及睢、颍、洛等佛寺中都有其巨幅壁画(今皆湮没无存)。《宣和画谱》著录御府所藏其作品有《春岫渔歌图》《夏溪图》《春山图》《冬晴钓艇图》等37件。",[23,24,25,111,27,28,29,7,34,132,36,1555,4916,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a40a76ca3da825b71a02dad0c2b328c.jpg","40.2x66.3",[],{"id":25969,"slug":25970,"title":25971,"dynasty":18,"author":1100,"museum":53,"description":25972,"tags":25973,"thumbUrl":25974,"material":229,"size":25975,"collection":42,"collections":25976,"showCount":309,"zanCount":46,"manualWeight":46,"mainColor":47},220943,"wu-yan-lv-shi-cheng-shan-dong-qi-chang-220943","五言律诗成扇","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\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”。",[1900,24,25,27,36,37,82,29,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccc028be8c316980beb3080dd770e1f5.jpg","33.2x47.1",[42,146],{"id":25978,"slug":25979,"title":25980,"dynasty":296,"author":2948,"museum":360,"description":13138,"tags":25981,"thumbUrl":25982,"material":229,"size":13141,"collection":70,"collections":25983,"showCount":309,"zanCount":46,"manualWeight":46,"mainColor":47},220294,"huang-shan-tu-ce-32-hong-ren-220294","黄山图册-32",[23,24,25,111,28,27,29,7,427,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa43cfa8a6347fb89f5ac68df77fc50a2.jpg",[],{"id":25985,"slug":25986,"title":25987,"dynasty":296,"author":1795,"museum":360,"description":25122,"tags":25988,"thumbUrl":25989,"material":84,"size":25125,"collection":70,"collections":25990,"showCount":309,"zanCount":46,"manualWeight":46,"mainColor":149},219139,"yang-zhou-si-jing-tu-ping-liu-yong-pu-yuan-yao-219139","扬州四景图-平流涌瀑",[23,24,200,25,57,28,29,60,31,130,33,34,1944,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc653a6bdb7a5f3f5ea8cd089f68aff1.jpg",[],{"id":25992,"slug":25993,"title":25994,"dynasty":124,"author":182,"museum":561,"description":25995,"tags":25996,"thumbUrl":25997,"material":229,"size":70,"collection":70,"collections":25998,"showCount":309,"zanCount":46,"manualWeight":46,"mainColor":47},218075,"bai-miao-luo-han-tu-ce-2-li-gong-lin-218075","白描罗汉图册-2","白描罗汉图册是宋朝画家李公麟所创作的一组绘画作品，收录了许多关于罗汉的故事和传说。罗汉是佛教中的圣人，象征着智慧和善良。李公麟在这一组作品中，以简洁明快的笔触和精细的工笔画风，为读者展现了罗汉的传奇人生。\n\n李公麟的白描罗汉图册是宋朝绘画中的一大杰作，因其精美的画风和细腻的内容而受到许多人的喜爱。他运用了一种独特的白描画法，在画面中展现出纯净和精细的质感。每幅画都描绘了一个生动的故事，让人们可以通过观看这些画作，了解到罗汉的传奇人生。\n\n总的来说，李公麟的白描罗汉图册是一部优秀的绘画作品，值得收藏和鉴赏。如果您对宋朝绘画或佛教传说感兴趣，不妨花一些时间来欣赏这一组美丽的画作。",[23,24,25,200,111,712,27,784,58,2241,1396,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F056df98bf4dfde0d8545d5a3d1022dd8.jpg",[],{"id":26000,"slug":26001,"title":26002,"dynasty":296,"author":436,"museum":7554,"description":26003,"tags":26004,"thumbUrl":26005,"material":229,"size":70,"collection":70,"collections":26006,"showCount":309,"zanCount":46,"manualWeight":46,"mainColor":663},216857,"xi-xiang-ji-tu-ce-22-yi-ming-216857","西厢记图册-22","墨色晕染的亭榭倚着清波，树影婆娑间，衣袂轻扬的女子立于廊桥，眉目温婉似含轻愁；亭中执扇的男子凝眸相望，衣袍素雅间藏着几分专注。花枝轻垂如低语，石畔苔痕似藏着时光的温柔，水面潋滟映着亭台的檐角，将古典的婉约静静铺展。\n\n画面以清雅设色晕开园林的静谧，格子窗棂漏出细碎光影，草木的淡彩与水墨的浓淡交织，似把西厢记里含蓄的情愫揉进了景物里。人物的姿态流转着脉脉情思，没有直白的诉说，却让园林的每一处角落都浸着古典爱情的温婉与朦胧。整幅画如一首浅吟的诗，将中式园林的雅致与人物的细腻心绪融于笔端，在恬淡的笔墨间，晕开一段千古流传的温柔片段。",[24,28,56,111,33,30,31,58,59,112,1373,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bd8dabc6fad39c7b5cffd01ab2b6583.jpg",[],{"id":26008,"slug":26009,"title":26010,"dynasty":296,"author":1177,"museum":108,"description":2841,"tags":26011,"thumbUrl":26012,"material":40,"size":70,"collection":70,"collections":26013,"showCount":309,"zanCount":46,"manualWeight":46,"mainColor":47},215016,"fang-gu-shan-shui-ce-13-wang-jian-215016","仿古山水册-13",[23,24,27,36,2843,111,29,34,7,132,35,130,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffff0a327c7574c7a82bd7738402c35c8.jpg",[],{"id":26015,"slug":26016,"title":26017,"dynasty":18,"author":424,"museum":360,"description":25161,"tags":26018,"thumbUrl":26019,"material":116,"size":25164,"collection":70,"collections":26020,"showCount":309,"zanCount":46,"manualWeight":46,"mainColor":47},214865,"shan-shui-ce-14-wen-zheng-ming-214865","山水册-14",[23,24,25,111,27,28,29,7,34,35,31,37,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2984bfa718d497db1938983e3d3621ba.jpg",[],{"id":26022,"slug":26023,"title":1534,"dynasty":296,"author":7255,"museum":20,"description":7256,"tags":26024,"thumbUrl":26025,"material":116,"size":7259,"collection":70,"collections":26026,"showCount":309,"zanCount":46,"manualWeight":46,"mainColor":47},214710,"shan-shui-ce-7-gao-xiang-214710",[24,25,111,712,27,36,29,7,34,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3461c84da8bf0a2b5f920bf5a2722b7.jpg",[],{"id":26028,"slug":26029,"title":23375,"dynasty":18,"author":26030,"museum":20,"description":26031,"tags":26032,"thumbUrl":26034,"material":70,"size":70,"collection":42,"collections":26035,"showCount":309,"zanCount":46,"manualWeight":46,"mainColor":26036},203412,"mo-gu-shan-shui-ce-shen-hao-203412","沈颢","笔墨摹古而意趣自出，山石勾勒皴擦见苍劲，松枝虬曲含逸气。左帧水岸相接，孤舟泛波，小桥隐现，一派江南清旷；右帧峰峦叠嶂，飞瀑流泉，林木葱茏间有人物凭栏，尽显林泉雅致。设色淡雅，构图疏密得宜，于摹仿中见个人情韵，是文人山水的典型风貌。",[24,29,26033,36,27,28,30,31,32,272,7,161,1066,58,111,23],"摹仿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f367a4b1eb7d65a438518901e2838d3.jpg",[42],"988065",{"id":26038,"slug":26039,"title":26040,"dynasty":296,"author":26041,"museum":20,"description":26042,"tags":26043,"thumbUrl":26044,"material":70,"size":70,"collection":306,"collections":26045,"showCount":309,"zanCount":46,"manualWeight":46,"mainColor":26046},203268,"hua-niao-chong-yu-ce-jin-yue-203268","花鸟虫鱼册","金玥","画面以清雅设色铺展溪畔小景，嶙峋山石旁，水草丰茂，花叶点缀其间，色彩明丽却不失含蓄。流水波纹轻漾，似有游鱼隐现，生机暗藏。笔触细腻灵动，花叶勾勒精致入微，山石以淡墨皴染，兼融写意之趣与工笔之细。整体意境恬淡自然，于方寸册页间尽显江南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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。",[25345,26111,29,32,58,201,34,7,10575,36,1273],"青花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F438209f49114a3c652ab9aa79a27c45b.jpg",[],{"id":26115,"slug":26116,"title":26117,"dynasty":296,"author":26118,"museum":561,"description":26119,"tags":26120,"thumbUrl":26121,"material":70,"size":70,"collection":70,"collections":26122,"showCount":277,"zanCount":46,"manualWeight":46,"mainColor":47},239222,"xi-ma-tu-zhou-zhu-chang-zhou-239222","洗马图轴","朱昌周","此作用笔兼工带写，设色浅淡清润。苍松虬枝垂拂，晕染出幽寂林泉之境。石上老者白衣安坐，眉目舒然静观溪间景致，尽显林下幽居的散淡意趣。下方溪水中斑驳骏马扬蹄踏浪，鬃毛飞扬，活力迸现。旁侧奚官扶槽侍立，动作质朴利落。动静相映间，将山野洗马的日常琐事，晕化为超脱尘俗的世外逸致，笔墨兼具院体的雅致精细与文人画的萧散意韵，把闲淡雅致的林下之趣铺陈于卷上。",[24,28,56,95,58,215,112,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18960e06f867483729ca6a6621d745f9.jpg",[],{"id":26124,"slug":26125,"title":25359,"dynasty":18,"author":6270,"museum":561,"description":11880,"tags":26126,"thumbUrl":26127,"material":70,"size":70,"collection":70,"collections":26128,"showCount":277,"zanCount":46,"manualWeight":46,"mainColor":47},239192,"shan-chuan-ming-sheng-ce-song-xu-239192",[24,25,200,111,29,28,36,60,33,427,7,34,30,134,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eff76f8e5ebb34a1b556907cd01691b.jpg",[],{"id":26130,"slug":26131,"title":26132,"dynasty":296,"author":26133,"museum":561,"description":26134,"tags":26135,"thumbUrl":26136,"material":217,"size":660,"collection":70,"collections":26137,"showCount":277,"zanCount":46,"manualWeight":46,"mainColor":47},239062,"huang-ju-shi-nv-wan-shan-huang-ju-239062","黄鞠仕女纨扇","黄鞠","黄鞠 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蜗卢蔵","此作以淡墨晕染水月观音，观音安坐岩巅，衣袂舒展空灵，面容娴静慈悲，璎珞细节柔和细腻，尽显神性清寂温婉。下方云水翻涌，神龙隐现于烟波之间，墨色层次丰富，将水之灵动与云之空濛相融，烘托出幽渺出尘的禅境。\n左上题字清雅隽秀，与画面禅意呼应，笔墨简淡却神采具足，尽显汲取汉地佛画养分后的独特意趣，以极简笔触勾勒出观音的沉静与海天的悠远，将禅家空寂之味蕴藏在淡墨清晕之中，是佛画与文人意趣相融的雅致佳作。",[23,3096,24,25,95,26548,27,28,58,784,7,133,31],"粉本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc09fe3fc01c2b8210207ee58fd3db282.jpg",[],{"id":26552,"slug":26553,"title":26554,"dynasty":296,"author":26555,"museum":401,"description":26556,"tags":26557,"thumbUrl":26558,"material":885,"size":26559,"collection":70,"collections":26560,"showCount":277,"zanCount":46,"manualWeight":46,"mainColor":47},231351,"han-shan-zhao-yin-tu-jin-li-ying-231351","寒山招隐图","金礼嬴","金礼嬴（1772年—1807年）清朝女画家。一作礼瀛，字云门，号五云，东桥、云门女史、会稽内史、自号昭明阁女史，一称昭明阁内史，她幼时小字唤作纤纤，解以“蹴罢秋千，起来慵整纤纤手”固得其娇憨，山阴（今浙江绍兴）人，晚居钱塘（今浙江杭州）。吴门自明尔来便是画家云集之所，金礼嬴定居以后遂始与当地画人往来，礼嬴性喜佳山水，金礼嬴的诗作和她的画作、女红、文论、箫艺类同，均出入天然，不见机心欲望，得林下风。吴越幽胜之区，探索殆尽。故其画得游览之助为多。佣笔自给，求者踵至而画益工。凡人物、仕女、界画楼室、山水、花卉，悉能匠心独运，妙夺古人，尤精画佛，庄严妙丽。得者宝之。画梅亦妙。书法晋、唐，兼工汉隶，诗多清灵凄婉之致，著有《秋红丈室遗诗》。卒年三十六。清 金礼嬴-寒山招隐图现藏于旅顺博物馆。",[23,24,28,36,29,33,7,242,58,60,96,364],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5847093c00e64619ff7d721d21094f33.jpg","178cmx57cm",[],{"id":26562,"slug":26563,"title":26564,"dynasty":296,"author":21279,"museum":401,"description":26565,"tags":26566,"thumbUrl":26567,"material":10646,"size":26568,"collection":70,"collections":26569,"showCount":277,"zanCount":46,"manualWeight":46,"mainColor":47},231348,"fang-wu-zhong-gui-shan-shui-tu-pu-hua-231348","仿吴仲圭山水图","峡江峻岭，山林葱茂，渔人垂钓，一派水国风光。用笔粗犷，气势豪放。自识“霜落蒹葭水国寒，浪花云影上渔竿。画成未拟将人去，茶熟香温且自看。写仲圭诗意，蒲华”。",[23,24,25,27,28,36,186,29,32,391,112,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28b812ad538091df8d2f313f8cd5e494.jpg","167cmx92cm",[],{"id":26571,"slug":26572,"title":3987,"dynasty":296,"author":17429,"museum":561,"description":26573,"tags":26574,"thumbUrl":26575,"material":70,"size":70,"collection":70,"collections":26576,"showCount":277,"zanCount":46,"manualWeight":46,"mainColor":149},231044,"fang-dong-yuan-shan-shui-tu-qi-zhi-jia-231044","此作用笔疏朗秀逸，以高耸奇崛的主峰撑起画面骨架，淡墨勾勒皴擦山石，浓墨苔点醒置其间，尽显苍古浑厚。近岸虬松杂木盘曲苍劲，枝叶俯仰生姿。水畔茅庐之内，二人对坐清谈，衬出幽居林下的雅逸闲情。\n\n画作取法董源平淡天真之韵，又自出机杼，淡墨晕染出空濛烟岚，将江南山水温润静穆之致与文人萧散襟怀相融，简淡之中见苍茫气象，尽显晚明文人画简远疏旷的审美意趣。",[23,24,25,200,95,27,36,186,29,427,7,35,34,58,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35687a3671f968ebd0831c6a02b9d7bd.jpg",[],{"id":26578,"slug":26579,"title":26580,"dynasty":296,"author":3038,"museum":561,"description":26581,"tags":26582,"thumbUrl":26583,"material":70,"size":70,"collection":70,"collections":26584,"showCount":277,"zanCount":46,"manualWeight":46,"mainColor":250},231000,"fang-dong-bei-yuan-shan-shui-tu-wang-hui-231000","仿董北苑山水图","此作以披麻皴写山峦层叠，淡墨晕染出烟雨空濛的江南氤氲之态，高远与平远景致相融，铺陈出山水的幽深阔远。苍松杂木错落点缀于岩岫间，山脚村居田舍隐现，将烟火气融于林泉丘壑，让幽寂山水多了几分温润生机。\n笔墨苍秀温润，皴擦尽显山石浑厚质感，淡墨轻染晕化出云气浮动的朦胧意境，既保有师法对象的平淡天真，又糅合自身清丽工致的笔意，将江南山水的静穆悠远诠释尽致，氤氲出文人山水独有的雅致闲澹之韵。",[23,24,25,29,27,36,186,2901,34,7,133,258,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe42c82dcbca07f113bc6bb5f1e5aee9.jpg",[],{"id":26586,"slug":26587,"title":26588,"dynasty":3017,"author":26589,"museum":561,"description":26590,"tags":26591,"thumbUrl":26595,"material":142,"size":660,"collection":70,"collections":26596,"showCount":277,"zanCount":46,"manualWeight":46,"mainColor":149},230562,"shi-liu-luo-han-xiang-02-jia-nuo-jia-fa-cuo-zun-zhe-ping-an-shi-dai-shi-liu-luo-han-xiang-230562","十六罗汉像02迦诺迦伐磋尊者","平安时代 十六罗汉像","罗汉乃阿罗汉一词之略称，是指断除一切烦恼、证得修行最高果位，堪受世间大众供养的佛弟子或证见正理之圣者。释迦的十六位高徒，亦即罗汉，据说在释迦决意入涅盘之际，承佛命永住世间、普渡众生，并于各地护持弘扬佛法",[23,24,25,95,784,28,56,58,1744,736,4936,7,26592,26593,9395,26594,10026],"供桌","香炉","信徒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff739efe7b9fa05345c1d6d721ac69f85.jpg",[],{"id":26598,"slug":26599,"title":26600,"dynasty":296,"author":436,"museum":561,"description":26601,"tags":26602,"thumbUrl":26606,"material":70,"size":70,"collection":70,"collections":26607,"showCount":277,"zanCount":46,"manualWeight":46,"mainColor":47},230328,"wu-yi-shan-shi-ba-jing-tu-yi-ming-230328","武夷山十八景图","此作用淡墨浅绛绘就，清润雅致。山石以披麻皴写就，勾勒皴擦间尽显武夷丹霞奇秀之姿。\n左上巉岩叠嶂，山居隐于林麓水湄；右上平畴村舍错落，江帆远渡，晕开烟火野趣。左下危峰兀立，碧水蜿蜒，渔舟泛波，尽显山水灵动；右下云岚轻笼丘壑，村居散缀林间，愈见幽寂淡远。\n四段连幅铺展武夷胜景，将山川雄奇与村居闲逸融为一体，笔致松秀空灵，意境萧散简远，把武夷兼具的灵秀清旷与烟火意趣娓娓铺陈，尽显淡和天真的山水逸致。",[23,24,25,951,27,28,985,7,31,32,20905,10502,10429,26603,10641,26604,13581,26605],"云岚","灵秀","萧散简远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F185ab886df08516e1561df96b6282fe9.jpg",[],{"id":26609,"slug":26610,"title":17173,"dynasty":296,"author":11589,"museum":561,"description":26611,"tags":26612,"thumbUrl":26613,"material":70,"size":70,"collection":70,"collections":26614,"showCount":277,"zanCount":46,"manualWeight":46,"mainColor":47},230266,"shan-shui-shi-kai-fang-cong-230266","此作用笔苍秀浑朴，以平远章法铺展春日村居意趣。板桥驮着晚归牧歌，柳丝轻笼烟岚，粉桃点破溪山春色，村庐隐在林麓间，尽得幽闲野致。平湖如镜，映出两岸茂林远岫，峰峦以干笔皴擦、墨色晕染出苍润质感，氤氲空濛春气。题诗衬合画中逸趣，将田家闲乐融在烟峦水木间，既有元人山水的萧散简远，又不失院体画的精整秀雅，笔底尽是静穆安闲的山居诗意。",[23,24,25,111,27,28,29,30,31,34,35,7,36,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6404cfc1abce5ce15f489d74346d7ea2.jpg",[],{"id":26616,"slug":26617,"title":26618,"dynasty":296,"author":1617,"museum":561,"description":26619,"tags":26620,"thumbUrl":26621,"material":70,"size":70,"collection":70,"collections":26622,"showCount":277,"zanCount":46,"manualWeight":46,"mainColor":47},230249,"jiu-ru-xian-shou-dong-gao-230249","九如献寿","此作用笔秀雅温润，以淡赭晕染丘坂，浓墨攒簇松针，苍松虬劲盘曲，荫蔽山溪幽径。策杖二人徐行林下，溪石隐现、浅谷逶迤，尽现清秋林壑疏旷之致。\n诗画合璧，借古松岁寒长青喻福寿绵长，将林下雅游闲情与祝寿深意相融。画面无繁饰堆砌，以简淡笔墨铺陈出静穆恬和的意境，在清润的林泉景致里，藏着清和雅致的颂祝之心，是兼具文人情致与吉祥意涵的山水小品。",[24,25,111,28,29,34,58,30,31,7,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe96977665cdd169873e9aa287d401457.jpg",[],{"id":26624,"slug":26625,"title":26626,"dynasty":296,"author":498,"museum":561,"description":26627,"tags":26628,"thumbUrl":26629,"material":70,"size":70,"collection":70,"collections":26630,"showCount":277,"zanCount":46,"manualWeight":46,"mainColor":47},229027,"fang-yun-lin-she-se-shan-shui-tu-wang-yuan-qi-229027","仿云林设色山水图","此作用两段平远取景，铺陈出清寂萧疏的幽淡之境。近岸枯木清劲错落，疏朗有致，茅庐隐于林麓之间，野意悠然。远山以干笔淡墨反复皴擦，将倪云林的冷逸淡远，糅合进苍厚绵密的自家笔意，浅赭轻敷，晕染出古雅柔和的色调。画面留白开阔，引观者目光悠然游弋，尽显空寂淡远的文人意趣。题跋与画面相得益彰，文气雅致，师法元人又自出机杼，是兼具摹古与新意的山水佳构。",[23,200,24,25,95,28,36,29,34,7,35,1262,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb43d7ec43e94f35dfae7914f109d2a6.jpg",[],{"id":26632,"slug":26633,"title":26634,"dynasty":18,"author":26635,"museum":561,"description":26636,"tags":26637,"thumbUrl":26640,"material":217,"size":660,"collection":70,"collections":26641,"showCount":277,"zanCount":46,"manualWeight":46,"mainColor":149},228348,"you-xian-tu-shen-xi-yuan-228348","游仙图","沈希远","山水宗马远，亦善传神。洪武（一三六八-二二九八）中写御容称旨，授中书舍人。",[23,24,25,26,28,56,36,29,58,34,7,30,31,33,364,26638,26639],"树木茂密","山石险峻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68de92a5cd889b76de35179cab49741b.jpg",[],{"id":26643,"slug":26644,"title":26645,"dynasty":124,"author":998,"museum":561,"description":26646,"tags":26647,"thumbUrl":26648,"material":70,"size":70,"collection":70,"collections":26649,"showCount":277,"zanCount":46,"manualWeight":46,"mainColor":149},227777,"xie-ke-fang-you-tu-ye-liu-song-nian-227777","携客访友图页","刘松年 （约1131-1218），号清波，南宋画家，历孝宗、光宗、宁宗三朝，浙江省金华市汤溪镇宅口人。刘松年与刘龟年兄弟随父亲宦居钱塘清波门，以住地自号刘清波，因清波门又称南“暗门”，故外号宋“暗门刘”。\n\n刘松年工山水人物，山水皴法受李唐影响，画风笔精墨妙，变雄健为典雅，水墨青绿兼工，着色妍丽典雅，常画西湖，多写茂林修竹，山明水秀之西湖胜景，因题材多园林小景，人称“小景山水”。",[23,24,200,56,28,1465,58,33,391,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2feaea833fd999eef73aef07b04fbe0.jpg",[],{"id":26651,"slug":26652,"title":26653,"dynasty":296,"author":17429,"museum":561,"description":26654,"tags":26655,"thumbUrl":26656,"material":70,"size":70,"collection":146,"collections":26657,"showCount":277,"zanCount":46,"manualWeight":46,"mainColor":149},224534,"fang-dong-yuan-bi-yi-tu-zhou-qi-zhi-jia-224534","仿董源笔意图轴","此作用笔苍简老辣，以淡墨皴擦写高远山峦，浓墨苔点提点山形，尽显山石苍古厚重。近坡古松虬曲、杂木错落，笔致写意随性。水畔茅舍中二人对坐，将山居雅晤的幽寂之趣藏于林泉间。\n\n画作师法前人却自出机杼，以简淡笔墨晕染出空濛悠远的意境，将文人寄情山水、追慕林泉高致的隐逸襟怀融在尺幅间，萧散清逸的格调尽显文人画的意趣风神，于简淡之中见出深秀雅致。",[23,24,25,95,27,186,36,29,7,34,35,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83fc4cb4ed98632dc4ebd5a427f409fd.jpg",[146],{"id":26659,"slug":26660,"title":26661,"dynasty":296,"author":3038,"museum":561,"description":26662,"tags":26663,"thumbUrl":26664,"material":70,"size":70,"collection":70,"collections":26665,"showCount":277,"zanCount":46,"manualWeight":46,"mainColor":47},224450,"xia-wu-yin-mei-wang-hui-224450","夏五吟梅","《王翚夏五吟梅图轴》是清代王翚创作的一幅画。\n此图画成时王翚已是8岁高龄，然而画面丝毫看不出有衰老的迹象，线条细若游丝，劲如屈铁，笔力老练纯熟，画风细润明快，融合了众家笔法之长。\n构图布景显示出画家胸有成竹，景物的配置自然写实，气度不凡。",[23,24,200,25,95,28,29,36,30,31,33,201,112,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F794bca20f35e023f5002c7199254ad74.jpg",[],{"id":26667,"slug":26668,"title":26669,"dynasty":296,"author":498,"museum":561,"description":26670,"tags":26671,"thumbUrl":26678,"material":70,"size":70,"collection":70,"collections":26679,"showCount":277,"zanCount":46,"manualWeight":46,"mainColor":47},224395,"cong-lin-lan-re-wang-yuan-qi-224395","丛林兰若","此作用笔苍润老辣，以干笔积墨皴擦山峦，层岩叠嶂浑厚苍劲。溪涧蜿蜒穿流于蓊郁林木间，山径隐现幽林深处，铺展出清寂悠然的林下胜境。画面氤氲静谧古雅的禅意，将山野林泉的幽旷之美尽数铺陈。\n\n左侧题诗与画作相映成趣，诗画合璧，把山居雅逸的意趣烘托得淋漓尽致，仿若将观者引入这世外林泉，于山光水色里涤荡尘俗之心，尽显文人山水的悠然意境与沉静风骨。",[23,24,25,29,28,36,37,82,34,7,31,158,33,138,132,26672,10557,26673,26674,26675,26676,26677,1742],"山峦叠嶂","浅绛设色","山石勾勒","树木丛植","溪流蜿蜒","建筑掩映","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f5a2de7daf042bb44ee28e52239a0d9.jpg",[],{"id":26681,"slug":26682,"title":8957,"dynasty":296,"author":498,"museum":561,"description":26683,"tags":26684,"thumbUrl":26688,"material":70,"size":70,"collection":70,"collections":26689,"showCount":277,"zanCount":46,"manualWeight":46,"mainColor":47},224385,"fang-da-chi-shan-shui-tu-wang-yuan-qi-224385","此作取法大痴意趣，层峦从侧峰铺陈而下，逶迤溪水穿谷绕石，将山居屋舍、飞泉板桥藏于林壑之间，把江南山林的幽寂野趣铺展纸上。\n以干笔积墨反复皴擦，披麻皴写就山石肌理，墨色干湿浓淡交叠，苍厚生拙间带着萧散淡远的韵致。左上题跋朱印错落排布，文气晕染山水，让笔墨意境与文人意趣相融，整体清旷雅致，尽显山居林泉的静美逸致，师古而不泥古，于笔墨间氤氲出幽远的文人山水情致。",[23,24,200,25,951,27,28,7,31,30,97,4213,34,26685,36,985,26686,723,13581,26687,82,1742],"林壑","干笔积墨","清旷雅致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbbf015ee390ff81a46e533be58fbb6c.jpg",[],{"id":26691,"slug":26692,"title":26693,"dynasty":296,"author":3881,"museum":561,"description":26694,"tags":26695,"thumbUrl":26696,"material":70,"size":70,"collection":70,"collections":26697,"showCount":277,"zanCount":46,"manualWeight":46,"mainColor":47},224126,"ke-si-xian-shan-lou-ge-tu-qian-long-224126","缂丝仙山楼阁图","《缂丝仙山楼阁图》是清乾隆时期的一幅画。\n此图在本色地上缂织仙山楼阁。\n殿宇亭台之间树木葱郁，小桥流水，彼岸远方有群山及山中楼阁。\n画面布局繁密，境界幽静旷远。\n此作品将缂丝与绘画有机地融合为一体，先缂织后添色。\n缂工主要用平缂织物象的轮廓，间用搭缂、长短戗手法，其上再用各种颜色绘出形象。\n画中的楼阁建筑以界尺画出，山石皴法使用了墨、石绿、赭石色，极似仇英的楼阁界画之风格。\n此缂丝画中楼阁工细，山青树茂，敷色古雅。",[23,24,25,440,28,57,29,60,30,34,2404,7,33,31,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53b8e0b7007bdd3d7e820ad8283e1056.jpg",[],{"id":26699,"slug":26700,"title":26701,"dynasty":296,"author":436,"museum":561,"description":20094,"tags":26702,"thumbUrl":26703,"material":70,"size":70,"collection":70,"collections":26704,"showCount":277,"zanCount":46,"manualWeight":46,"mainColor":47},223529,"wu-yi-shan-shi-ba-jing-tu-4-yi-ming-223529","武夷山十八景图4",[23,24,25,27,28,36,111,29,7,34,32,316,187,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79a72c1f010c0336116e7055b3e0ee3f.jpg",[],{"id":26706,"slug":26707,"title":26708,"dynasty":124,"author":436,"museum":360,"description":26709,"tags":26710,"thumbUrl":26712,"material":454,"size":26713,"collection":70,"collections":26714,"showCount":277,"zanCount":46,"manualWeight":46,"mainColor":149},223501,"yang-liu-xi-tang-tu-ye-yi-ming-223501","杨柳溪堂图页","此幅又名《柳溪春色图》。绘春日江南之景色，远 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以水墨干湿浓淡铺陈萧散简淡的文人意趣。将诗文里的知己之思、林居之寂融在咫尺山水庭院中，淡远空灵，把文人心底的幽怀与林下栖居的雅静合二为一，尽显中式水墨留白的澹澹禅意。",[24,25,111,27,712,56,36,37,82,58,33,96,7,61,29,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4dc78376cec2516a555084645f9b74d.jpg",[],{"id":27021,"slug":27022,"title":27023,"dynasty":296,"author":17463,"museum":561,"description":27024,"tags":27025,"thumbUrl":27026,"material":70,"size":70,"collection":70,"collections":27027,"showCount":341,"zanCount":46,"manualWeight":46,"mainColor":47},238664,"shu-hua-hong-li-ni-gu-shi-yi-ce-zhang-ruo-cheng-238664","书画弘历拟古诗意册","这帧书画合册，书与画相映成趣。小楷清劲端雅，笔致匀净秀润，将赠别诗的缱绻心绪藏于点画之间，尽显文人笔墨的端凝雅致。下方山水取景清幽，以干墨皴擦写山石肌理，苍松虬劲挺秀，茅亭依崖临渊，留白铺陈出空寂辽远的氛围感，淡墨轻染晕开烟岚清韵，把诗中别绪化入山水空濛之中。书画一体，笔墨间晕开从容静穆的古典意趣，尽显传统文人诗书画合一的雅致情怀。",[24,25,111,4450,56,36,27,29,427,33,130,7,34,227,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28f978df06cc91cb834cd540d2964549.jpg",[],{"id":27029,"slug":27030,"title":15922,"dynasty":296,"author":436,"museum":561,"description":27031,"tags":27032,"thumbUrl":27033,"material":70,"size":70,"collection":289,"collections":27034,"showCount":341,"zanCount":46,"manualWeight":46,"mainColor":47},238632,"ping-ding-an-nan-zhan-tu-ce-yi-ming-238632","以铜版刀笔摹绘战地山川，全景铺陈层峦叠嶂，以传统山水皴法刻绘山石肌理，又融西洋写实技法还原行军实景。山林之间兵卒穿行、营寨错落掩映，将平叛征程的肃杀，糅合进山野苍莽的意境中。\n画面上方题诗点明平叛功绩，刀痕细腻克制，既如实记录战地风貌，又以沉凝的笔调烘托出征伐的沉雄庄重，在纪实叙事与山水意境间寻得平衡，让战事纪实兼具了艺术感染力。",[24,25,111,712,56,29,58,215,7,34,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb79733f10eaf95e6af1a930687ca0f7c.jpg",[289],{"id":27036,"slug":27037,"title":26160,"dynasty":296,"author":26161,"museum":360,"description":26162,"tags":27038,"thumbUrl":27039,"material":885,"size":26166,"collection":70,"collections":27040,"showCount":341,"zanCount":46,"manualWeight":46,"mainColor":47},238300,"shi-liu-luo-han-ce-jia-quan-238300",[24,25,111,28,56,784,58,7,525,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a4d9ec55366d1fac6f4ecaf960d781a.jpg",[],{"id":27042,"slug":27043,"title":27044,"dynasty":296,"author":17338,"museum":561,"description":27045,"tags":27046,"thumbUrl":27047,"material":70,"size":70,"collection":42,"collections":27048,"showCount":341,"zanCount":46,"manualWeight":46,"mainColor":47},238192,"shu-shan-guan-tu-zhou-li-shi-zhuo-238192","舒山馆图轴","李世倬[清]（1687―1770）字天章，一字汉章、天涛，别号十石居士、太平拙吏、伊祁山人、清在号谷斋，又号菉园、星厓，居士，奉天（今辽宁沈阳）人，一作三韩（今内蒙喀喇沁旗西南）人，隶籍汉军正黄旗。如龙子，高其佩（1672—1734）外甥。官至副都御史。曾任太常，人称李太常。\n善画山水、人物、花鸟、果品，各臻其妙。少随父宦游江南，见王翚（1632—1717）得其讲论，后与马逸游，故宗法纯正而笔亦秀隽。其人物，自言得吴道子水陆道场图而阅之，遂悟其法。其花鸟、果品各种写意，盖得诸舅氏之指墨而易以笔，故能各名一家。晚年喜用指墨作人物、花鸟小品，以焦墨细擦，颇得轻重浅深之致。年逾八旬犹能作画，书小楷。",[24,28,56,36,29,427,7,130,60,242,96,31,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97e170581d48db054aeb6b5322e7bd97.jpg",[42],{"id":27050,"slug":27051,"title":106,"dynasty":296,"author":10544,"museum":561,"description":10545,"tags":27052,"thumbUrl":27053,"material":70,"size":70,"collection":70,"collections":27054,"showCount":341,"zanCount":46,"manualWeight":46,"mainColor":47},238141,"shan-shui-ce-yun-xi-238141",[200,24,25,111,28,36,29,7,34,130,133,364,671],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8d6c892ae66900383ba78fcac103714.jpg",[],{"id":27056,"slug":27057,"title":22353,"dynasty":18,"author":5311,"museum":561,"description":20348,"tags":27058,"thumbUrl":27059,"material":217,"size":660,"collection":70,"collections":27060,"showCount":341,"zanCount":46,"manualWeight":46,"mainColor":47},237853,"shan-shui-shan-zhao-zuo-237853",[200,24,1900,27,36,29,242,427,7,113,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52802a810c3ffd4f64a5657016a7300a.jpg",[],{"id":27062,"slug":27063,"title":27064,"dynasty":18,"author":14896,"museum":561,"description":27065,"tags":27066,"thumbUrl":27067,"material":70,"size":70,"collection":70,"collections":27068,"showCount":341,"zanCount":46,"manualWeight":46,"mainColor":149},237705,"shan-shui-hua-guo-ce-xiang-sheng-mo-237705","山水花果册","项圣谟，生于明代万历二十五年（1597年），卒于清代顺治十五年（1658年），初字逸，后字孔彰，号易庵，别号甚多，已知者有子璋、子毗、胥山樵、胥樵、古胥山樵人、兔鸣叟、莲塘居士、松涛散仙、大酉山人、存存居士、烟波钓徒、狂吟客、鸳湖钓叟、逸叟、不夜楼中士、醉疯人、烟雨楼边钓鼇客等，浙江嘉兴人。祖父项元汴，为明末著名书画收藏家和画家。伯父项德新也善画。项圣谟自幼受家庭熏陶，精研古代书画名作，虽然曾由秀才举荐为国子监太学生，但不求仕进，而把兴趣投入到书画中，从而在绘画创作上，他很早就显现出了多方面的才能，山水、人物、花鸟无一不精，曾得到明末两位最为著名的鉴赏家，董其昌和李日华的高度评价。董其昌在他的画册上题跋，称“古人论画，以取物无疑为一合，非十三科全备，未能至此。范宽山水神品，犹借名手为人物，故知兼长之难。项孔彰此册，乃众美毕臻，树石屋宇，皆与宋人血战，就中山水，又兼元人气韵，虽其天骨自合，要亦工力至深，所谓士气、作家俱备。项子京有此文孙，不负好古鉴赏百年食报之胜事矣”，李日华称赞他的画风“英思神悟，超然独得”，是“崛起之豪”。\n项圣谟的作品，以山水为多，也是他成就的主要方面。他早年从学习文徵明入手，但很快就跳出了文徵明画法画风的局限，而直接向古人学习。这主要是受益於其家族富甲天下的历代名画收藏，从而可以使他很快改学宋人用笔的周密严谨、兼取了元人的韵致。除了宗乳於祖辈的丰富家藏，亦得力其自身的观察自然、远游写生的经验，使其画面布局大开大合，意境明净清雅，结构严谨而富于变化，笔法简洁秀逸，气韵高雅，极富书卷气，具有很高的品格和思想内涵。\n他的画有两点最值得称道，也是当时其他画家所不及的。其一是强烈的政治色彩，他用画反映民间疾苦，寄托对人民的同情和对明王朝的忠贞。在先后经历了“甲申”和“乙酉”之变，满清入主中原后，项圣谟在画上就不再题写朝代的纪年，仅用干支，并钤盖“江南在野臣”、“大宋南渡以来辽西郡人”、“皇明世胄之中嘉禾处士”等印，以彰其志节。此段时间的作品，大多借用绘画抒写胸中郁愤，表现强烈的遗民感情，由徐树铭题项圣谟清顺治三年（1646）所作《山水诗画册》：“六月雪篇有时变之感，望扶桑篇有故国之思，诗史之董狐也。”于画作中寓写深意，反应时代，以画为史。李铸晋认为其在亡国后的作品，蕴含著效忠前朝，表达亡国之痛的图画象徵，如：红色，以“朱”为明朝；枝干壮硕却无叶的树木，喻为国家，虽历风雨，枝干仍傲然挺立，有著不可折屈的精神；在暮色中栖息的飞鸟是无处可归，何处为家之意等。现藏北京故宫之《大树风号图》的题跋“风号大树中天立，日落西山四海孤。短策且随时旦莫，不堪回首望菰蒲”可作其心境写照。\n其二是极其严谨的画风和写实态度。项圣谟善于从生活中摄取素材，他的画贴近现实，造型准确，严肃不苟，一反当时潦草粗疏，追求“逸笔草草”的画风。吴山涛在题项圣谟《秋声图轴》曾说到：“孔彰先生为予老友，作画必凝神定志，一笔不苟，予常嗤其太劳。君曰：我辈笔墨，欲流传千百世，岂可草草乎？旨哉其言也。”可见项圣谟这种严肃认真的好的作风，直接影响到他的画风，使他的绘画在当时的画坛上别树一帜，而赢得了“士气作家俱备”的称誉。\n项圣谟喜画高大的乔木，尤喜画松树，树木勾，擦，染精细，树干之嶙峋，历历几可扪捉，有强烈的凹凸感，而留出的受光部分则颇具体积感，与一般文人画示意性的画法迥然有别，故明时有“项松之名满东南”之誉。他画的大树，树干挺直，刚强伟岸，拟人化的画面形象鲜明强烈，具有强大的人格力量。\n在花鸟画的创作上项圣谟同样具有自己鲜明的特色，尤其讲究造型，经意构图，善于表现花叶和花瓣的层次，向背以及受光点的明暗，从而有别于当时其他花鸟画家的画风。项圣谟很认真地吸收了黄筌画派精谨慎严的审物造物精神，但在画法上，受写意画影响，形成一种工写结合的形式，酲酿了黄筌画派工笔花鸟画新的发展趋势。在技法上，大都以水墨或略施淡彩，有时也纯用色彩作没骨法，色彩淡而不薄。在用笔上，十分凝重秀逸，故而虽有姣妍之色相，却寓嶙峋之风骨，整个调子和气氛，非常飘洒雅致，不同凡俗，好似有一股冷艳暗香浮动其间。他的这种风格在之后的恽寿平、蒋廷锡等人的作品中都有所体现。\n除绘画外，项圣谟亦精书法，善赋诗。其书法端庄严谨，峻拔出脱中不失书卷气。其诗多为题画诗，除了描绘山光水色、自然美景的山水诗外，还有许多是表达其对人民疾苦的同情和对故国的怀念，文辞警策凝重，格调悲壮慨然，反映出他的个性为人。因国破家亡，其晚年家贫，却志存高洁，不结交权贵，靠卖画自给。著有《朗云堂集》、《清河草堂集》、《历代画家姓氏考》、《墨君题语》。",[24,25,111,27,36,29,32,96,7,113,114,34,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceba27ea2e170a558cca7e82b35d7d02.jpg",[],{"id":27070,"slug":27071,"title":6122,"dynasty":296,"author":3038,"museum":561,"description":6123,"tags":27072,"thumbUrl":27073,"material":70,"size":70,"collection":70,"collections":27074,"showCount":341,"zanCount":46,"manualWeight":46,"mainColor":47},237603,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237603",[24,25,111,27,2843,36,37,38,82,29,1385,96,7,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbd29576a70d9eb2b4dfb84f569157a5.jpg",[],{"id":27076,"slug":27077,"title":27078,"dynasty":18,"author":27079,"museum":561,"description":27080,"tags":27081,"thumbUrl":27082,"material":217,"size":660,"collection":70,"collections":27083,"showCount":341,"zanCount":46,"manualWeight":46,"mainColor":47},237407,"xi-xiang-ji-tu-shan-ye-xu-shi-xuan-237407","西厢记图扇页","徐士选","山阳人，万历戊午科。",[24,1900,56,28,58,59,34,7,452,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9f1be9ec040238119a722cae4fc4ddd.jpg",[],{"id":27085,"slug":27086,"title":27087,"dynasty":18,"author":27088,"museum":561,"description":27089,"tags":27090,"thumbUrl":27091,"material":217,"size":660,"collection":70,"collections":27092,"showCount":341,"zanCount":46,"manualWeight":46,"mainColor":47},237275,"zhi-hua-ce-chen-dao-237275","指画册","陈道","陈道，字常经，生卒年不详。明代广东归善县铁炉湖人。正统八年（1443）贡监，授抚州府推官，代理全府之事务。有一年闹饥荒，陈提出发放仓库里的粮食赈灾。一些府官则说，必须按惯例向上级申请。陈说：“人们都快要饿死了，怎么还能等到申请获得批准？责任由我个人承担，决不连累你们。”仓库的粮食不够赈济，陈就将自己的薪金捐献出去。总共救济了几万灾民。不久上级认为陈专权，严厉责备他。陈不顾自己生活困难，毅然辞职归田。陈对子女管教得很严，规劝子女不要穿华丽的服饰。他的子孙后代，名声很好。",[24,25,111,27,36,29,32,96,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf176e0d948fefdb04cfb21157d455c9.jpg",[],{"id":27094,"slug":27095,"title":21649,"dynasty":18,"author":9778,"museum":561,"description":27096,"tags":27097,"thumbUrl":27098,"material":217,"size":660,"collection":70,"collections":27099,"showCount":341,"zanCount":46,"manualWeight":46,"mainColor":149},237218,"shan-shui-tu-shan-ye-zhang-rui-tu-237218","张瑞图（1570年-1644年），字长公、无画，号二水、果亭山人、芥子、白毫庵主、白毫庵主道人、平等居士等；汉族，明代画家，晋江二十七都下行乡（福建省晋江市青阳下行乡）人。\n万历三十五年进士第三名，探花，授翰林院编修，后以礼部尚书入阁，晋建极殿大学士，加少师。崇祯三年，因魏忠贤生祠碑文多其手书，被定为阉党获罪罢归。\n以擅书名世，书法奇逸，峻峭劲利，笔势生动，奇姿横生。钟繇、王羲之之外另辟蹊径，明代四大书法家之一，与董其昌、邢侗、米万钟齐名，有“南张北董”之号。北京大学教授、引碑入草开创者的李志敏评价：“张瑞图之草书，用笔爽利，造型别致，但不耐寻味。”\n擅山水画，效法元代黄公望，苍劲有力，作品传世极希。",[24,25,1900,27,36,29,34,7,33,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65e35c039a90965b828f8b628798f1a4.jpg",[],{"id":27101,"slug":27102,"title":106,"dynasty":296,"author":498,"museum":561,"description":27103,"tags":27104,"thumbUrl":27105,"material":70,"size":70,"collection":70,"collections":27106,"showCount":341,"zanCount":46,"manualWeight":46,"mainColor":47},236869,"shan-shui-ce-wang-yuan-qi-236869","此作取法黄鹤山樵春山笔意，层峦叠嶂自右上铺展而下，林木蓊郁错杂于崖谷之间，构图繁密却丝毫不显拥塞。以干笔渴墨反复皴擦积染山石，笔墨厚重苍浑，皴法细密交织，从淡墨晕染到浓墨醒提，层层递进间尽显苍茫秀润。\n\n画作将王蒙的茂密幽深融于生拙厚重的自家风貌之中，咫尺尺幅藏深山幽林的深邃意境，静穆古雅的气息漫溢纸面，尽显师法元人又自出机杼的笔墨功力，是极具文人意趣的正统山水佳制。",[24,25,111,27,36,29,7,34,427],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb666efba9e02d76e4bb57b4d58d65a7.jpg",[],{"id":27108,"slug":27109,"title":106,"dynasty":296,"author":498,"museum":561,"description":27110,"tags":27111,"thumbUrl":27112,"material":70,"size":70,"collection":70,"collections":27113,"showCount":341,"zanCount":46,"manualWeight":46,"mainColor":47},236866,"shan-shui-ce-wang-yuan-qi-236866","此帧以淡墨起笔，层层积染皴擦。近渚佳木疏朗挺秀，坡石间细流萦回；中峦云气轻笼，林麓错落藏幽；远峰浑厚朴拙，隐现烟岚之中。以干笔积墨追摹巨然笔意，苔点错落缀于峰峦林梢，墨色由浅及深，反复皴擦间尽显苍润沉雄。既复刻出江南山水的平淡天真，又以自家沉郁的笔墨个性，晕染出静穆悠深的文人逸韵，将古雅的南宗山水意趣，藏进层叠丘壑之间，尽显师法古人而自出机杼的笔墨功力。",[24,25,111,27,29,7,34,391,36,186,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed35309f91b562ef90167795d98467a8.jpg",[],{"id":27115,"slug":27116,"title":106,"dynasty":296,"author":498,"museum":561,"description":27117,"tags":27118,"thumbUrl":27119,"material":70,"size":70,"collection":70,"collections":27120,"showCount":341,"zanCount":46,"manualWeight":46,"mainColor":47},236865,"shan-shui-ce-wang-yuan-qi-236865","此作以干笔皴擦，淡墨晕染，铺展江南幽寂丘壑。近滩苇草丛生，茅庐傍树而栖，溪谷穿林而过，将山林层次次第铺陈，远山以淡墨轻笼，浑朴苍润。\n笔墨追踵元人，笔力苍劲内敛，墨色干湿浓淡相济，层层积染间尽显山川浑厚华滋。右上角题识与画面相映，文气盎然，将静穆淡远的山水意趣融于方寸册页，尽显正统山水画的雅逸格调，于细微尺幅间写尽胸中丘壑，藏纳文人画的沉静襟怀。",[24,25,111,27,36,29,34,7,31,158],"https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动的空寂。\n\n整幅笔力苍秀兼具，墨色干湿浓淡相宜，既有元人山水的淡远萧疏，又带着沉稳规整的笔墨法度，将山林幽寂、水村闲淡的意趣缓缓铺陈，观之如临深谷，似可听松涛漱石，静享林泉丘壑间的幽居雅韵。",[200,24,25,27,111,36,82,29,391,30,31,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc69b3afb5f266263aa27eedc10309db.jpg",[],{"id":27186,"slug":27187,"title":6122,"dynasty":296,"author":436,"museum":561,"description":27188,"tags":27189,"thumbUrl":27190,"material":70,"size":70,"collection":70,"collections":27191,"showCount":341,"zanCount":46,"manualWeight":46,"mainColor":47},236068,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236068","以淡墨晕开烟岚，将山峦笼在轻霭之中，主峰巍峨苍润，苔点皴擦勾勒出山石古拙肌理，尽显厚重质感。山腰松林攒簇，枝桠灵动似携山风簌簌有声。幽谷间村舍隐于林木，流泉绕石潺湲，将山居野逸之趣藏于尺幅之间。\n\n此作用笔兼取干湿，干笔皴擦见山石苍劲，湿墨晕染铺就空濛底色，浅淡设色含蓄温润，暗合宋元山水的林下余韵，将江南山水的温润空濛凝缩于册页。不见雕琢匠气，只留幽寂淡远的文人意趣，观之便如身临空山，听松涛泉响，涤尽俗尘。",[24,25,111,27,36,186,29,7,34,133,31,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fdcf654195c2227b0a54329bda003c3.jpg",[],{"id":27193,"slug":27194,"title":27195,"dynasty":296,"author":17234,"museum":561,"description":27196,"tags":27197,"thumbUrl":27198,"material":70,"size":70,"collection":70,"collections":27199,"showCount":341,"zanCount":46,"manualWeight":46,"mainColor":47},235875,"cheng-cha-zhou-cheng-sui-235875","乘槎轴","此作用笔枯涩苍劲，以一隅之景写尽江天寥廓。近岸怪石槎桠、荒木萧疏，大片留白铺陈寒江，一扁舟随波独行，远景平峦以淡墨轻扫，恍如蜃气浮空。\n\n画幅左上题满诗文，金石质感的书法与简逸山水相映，诗画合璧，将幽人避世的襟怀融于尺幅。枯笔焦墨褪去妍丽，只留清寂淡然，似将尘嚣尽数隔绝于江外，独乘浮槎，与天地沧浪对晤，尽显冷逸超迈的出世之思。",[25,24,27,29,37,82,38,36,32,452,96,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7604bb2aef552bc42153652a7bbcb7c5.jpg",[],{"id":27201,"slug":27202,"title":1259,"dynasty":296,"author":3437,"museum":561,"description":27203,"tags":27204,"thumbUrl":27205,"material":70,"size":70,"collection":70,"collections":27206,"showCount":341,"zanCount":46,"manualWeight":46,"mainColor":47},235640,"shan-shui-tu-ce-wu-li-235640","此作以淡墨铺陈萧寂冬景，近间篱舍环围，寒木枯槎掩映山居，小径蜿蜒通幽，自有阒寂安闲之趣。平湖如镜横亘画幅，对岸危崖壁立，飞瀑垂落，以干笔皴擦写出山石苍劲肌理，淡墨晕染出秋水空蒙。\n\n左上角题诗与印信呼应画面意境，构图疏密得当，笔意朴厚温雅，不着艳色，以水墨尽绘林泉幽致，将文人寄情山水、静享林下的意趣融于尺幅之间，意境淡宕悠远。",[200,24,25,111,27,36,82,29,242,364,896,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5600b17ebd9e80b097225499fdc4e8c4.jpg",[],{"id":27208,"slug":27209,"title":27210,"dynasty":18,"author":436,"museum":561,"description":27211,"tags":27212,"thumbUrl":27213,"material":217,"size":660,"collection":70,"collections":27214,"showCount":341,"zanCount":46,"manualWeight":46,"mainColor":47},235529,"lu-zhi-ju-qu-chun-xiao-ye-yi-ming-235529","陆治具区春晓页","此作为金笺扇面淡设色山水，以虚实相生之法铺陈意境。左侧层岩叠嶂，皴笔清刚爽利，山间柳丝拂垂，山居隐于林麓间，晕染出春日融融暖意。右侧则留白写意湖天浩渺，汀渚远岫轻描淡写，漾出水乡春晓空阔清灵的韵致。题识与朱印错落排布，书画印相映成趣，尽得文人山水的简雅逸趣，将江南春晓的温婉诗意凝于尺幅之间，淡冶雅致，尽显悠远超脱的林下之风。",[200,24,25,1900,28,36,29,34,7,33,201,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbfe6d46d5f07787ea6aef707f51c64d.jpg",[],{"id":27216,"slug":27217,"title":11614,"dynasty":296,"author":1177,"museum":561,"description":9968,"tags":27218,"thumbUrl":27219,"material":217,"size":660,"collection":70,"collections":27220,"showCount":341,"zanCount":46,"manualWeight":46,"mainColor":47},235344,"fang-gu-shu-hua-ce-wang-jian-235344",[24,25,111,28,27,29,30,31,33,34,7,35,37,82,36,186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F802836747d6adab8d34e77331c97266c.jpg",[],{"id":27222,"slug":27223,"title":11614,"dynasty":296,"author":1177,"museum":561,"description":9968,"tags":27224,"thumbUrl":27226,"material":217,"size":660,"collection":70,"collections":27227,"showCount":341,"zanCount":46,"manualWeight":46,"mainColor":47},235343,"fang-gu-shu-hua-ce-wang-jian-235343",[24,25,111,27,28,29,34,7,35,36,37,27225,364,242],"文字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42f6dadcd38fa9e4180ffab56f73e84d.jpg",[],{"id":27229,"slug":27230,"title":11614,"dynasty":296,"author":1177,"museum":561,"description":9968,"tags":27231,"thumbUrl":27232,"material":217,"size":660,"collection":70,"collections":27233,"showCount":341,"zanCount":46,"manualWeight":46,"mainColor":47},235341,"fang-gu-shu-hua-ce-wang-jian-235341",[200,24,25,111,27,29,34,7,36,82,37,364,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b6a5ad5c33b451d9f6cc18c8e380981.jpg",[],{"id":27235,"slug":27236,"title":1259,"dynasty":296,"author":2784,"museum":561,"description":27237,"tags":27238,"thumbUrl":27239,"material":70,"size":70,"collection":70,"collections":27240,"showCount":341,"zanCount":46,"manualWeight":46,"mainColor":47},235071,"shan-shui-tu-ce-hua-yan-235071","此作用淡墨晕染出江南水乡之景，近岸芦苇轻曳，矮树傍临村居屋舍，江波留白隐现水色空濛，远山层叠以淡墨晕开，氤氲间尽显清寂淡逸。画作线条秀雅灵动，摒弃繁复皴擦，以简淡笔墨勾勒出幽远澹泊的林下栖居之境，将山水野居相融，寄寓林泉高致。左侧题诗与画面相生相合，诗境衬映画中澹然意趣，诗画合璧尽显文人雅致审美，整体意境清和疏旷，尽显传统文人山水画的悠然意韵。",[24,25,111,27,36,29,112,391,35,114,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8c2278aaa9259d175772ba1ab608e8c.jpg",[],{"id":27242,"slug":27243,"title":6122,"dynasty":296,"author":3038,"museum":561,"description":7062,"tags":27244,"thumbUrl":27245,"material":217,"size":660,"collection":70,"collections":27246,"showCount":341,"zanCount":46,"manualWeight":46,"mainColor":47},234961,"wang-hui-fang-gu-shan-shui-ce-wang-hui-234961",[24,25,27,36,284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[1] 与陈子龙乡试同年，与沛县阎尔梅是同乡。曾参加抗清活动，兵败后隐居江淮一带。代表作有《秋江别思图》《松石图》《山水图》等等。 万寿祺为人风流倜傥，工书画，精于六书，癖嗜印章，辑有《沙门慧寿印谱》一册。其后裔第十六代后人万中华，在当今书画界也享有一定的声誉。",[2252,27,712,36,7586,82,29,427,58,7,114,363],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2162ccf18dc85ed28b0971b24faa8c9.jpg",[],{"id":27278,"slug":27279,"title":106,"dynasty":296,"author":3909,"museum":561,"description":27280,"tags":27281,"thumbUrl":27282,"material":70,"size":70,"collection":70,"collections":27283,"showCount":341,"zanCount":46,"manualWeight":46,"mainColor":47},234642,"shan-shui-ce-cha-shi-biao-234642","查士标（1615-1698），字二瞻，号梅壑散人，懒老。新安（今安徽休宁）人，流寓江苏扬州。明末秀才，入清后不应举，工研书画。精鉴赏，家藏多鼎彝及宋元人真迹。书法学董其昌，纵逸处近米芾。他的闲散情怀决定了他的绘画气质亦是风神懒散、气韵高逸。",[24,25,111,27,38,37,29,112,7,58,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bd571a94f7c6223027c110d269704e0.jpg",[],{"id":27285,"slug":27286,"title":27287,"dynasty":18,"author":15845,"museum":561,"description":14923,"tags":27288,"thumbUrl":27289,"material":70,"size":70,"collection":70,"collections":27290,"showCount":341,"zanCount":11,"manualWeight":46,"mainColor":149},234566,"qian-gu-shan-shui-shan-qian-gu-234566","钱榖山水扇",[24,25,1900,27,36,29,30,34,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F029b8b5681dd97bfa0a51a03620ac928.jpg",[],{"id":27292,"slug":27293,"title":27294,"dynasty":296,"author":3038,"museum":360,"description":27295,"tags":27296,"thumbUrl":27297,"material":8144,"size":27298,"collection":70,"collections":27299,"showCount":341,"zanCount":46,"manualWeight":46,"mainColor":47},234497,"xiu-zhu-you-ting-zhou-wang-hui-234497","修竹幽亭轴","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。江苏常熟人。清代著名画家，著有《清晖画跋》。其画法精能、风格多样，在清代极负盛名。尝于康熙三十年（1691）奉诏入京主持《康熙南巡图》的绘制，功成后受到皇太子胤礽召见。胤礽绘扇书以“山水清 晖”四字作为褒奖。时人目为画之正宗，尊称“画圣”。他与王时敏、王鉴、王原祁合称“四王”，又与吴历、恽寿平并称“清初六家”或“四王吴恽”。王翚追随者甚众，因常熟有虞山，故后人将他及其弟子一派称为“虞山画派”。\n王翚自幼嗜画，继承家学，很早便表现出非凡的绘画才能，师从王时敏、王鉴后，境界大进。一生画腊极长，精力旺盛，创作巨富。他笔墨功底深厚，长于摹古，几可乱真，又能不囿成法、师法自然。王翚虽然是职业画家，但与文人政要广泛交往，深受“文人画”精神影响，其山水力作往往构图多变、皴擦得法、格调明快，富有写生意趣及抒情性。王翚创作广采博览，集唐宋以来诸家之大成，于临仿中不断取舍，终能熔“南宗”“北宗”画法于一炉。在全面整理山水画传统技法的基础上，形成了具有个人风格的笔墨特点和概括性的构图法则，并提出“以元人笔墨，运宋人丘壑，而泽以唐人气韵”的论画主张，影响深远。但其晚年的程式化风格也颇为后人诟病，并为“虞山画派”后来的发展埋下了隐患。",[24,25,200,95,27,36,29,391,33,32,7,31,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbc40584b392379435fae2f0f0f1741e.jpg","纵129.5cm，横43.3cm",[],{"id":27301,"slug":27302,"title":27303,"dynasty":296,"author":436,"museum":561,"description":27304,"tags":27305,"thumbUrl":27306,"material":70,"size":70,"collection":70,"collections":27307,"showCount":341,"zanCount":46,"manualWeight":46,"mainColor":47},234485,"qing-jiang-zuo-wen-xin-ji-ce-zou-zhe-shan-shui-ce-ye-yi-ming-234485","清江左文心集册-邹喆山水册页","明末清初，金陵特殊的政治、经济、文化地位，使其集聚了一大批画家，用龚贤的话来说：“今日画家以江南最盛，江南十郡以首郡为盛，郡中著名者且数十辈，但能吮笔者岂止千人？”① 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？",[24,27,28,36,111,29,7,34,97,1262,158,363],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceffa03dc34c80a37f79d6bb2778e258.jpg",[],{"id":27309,"slug":27310,"title":27311,"dynasty":296,"author":436,"museum":561,"description":25841,"tags":27312,"thumbUrl":27313,"material":217,"size":660,"collection":70,"collections":27314,"showCount":341,"zanCount":46,"manualWeight":46,"mainColor":47},234438,"zhu-tu-ban-tuo-jia-zun-zhe-tang-ka-yi-ming-234438","注荼半托迦尊者唐卡",[25840,439,784,28,56,58,60,31,34,1373,1635,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa25c49ce35e22f869389b92aec6bb4aa.jpg",[],{"id":27316,"slug":27317,"title":27318,"dynasty":18,"author":27319,"museum":360,"description":27320,"tags":27321,"thumbUrl":27322,"material":229,"size":70,"collection":70,"collections":27323,"showCount":341,"zanCount":46,"manualWeight":46,"mainColor":47},233855,"shi-hua-he-bi-ce-zhou-yong-233855","诗画合璧册","周用","周用（1476—1547，一作1476-1548），字行之，号伯川，南直隶苏州府吴江县（今江苏省苏州市吴江区）人。弘治十五年（1502）进士，授行人。正德初，迁南京兵科给事中，进言谏迎佛事及镇守江西中官不法事，迁广东布政司参议。嘉靖中，历官南京工部、刑部尚书。九庙灾，自陈致仕。后以工部尚书总督河道，官至吏部尚书。\n周用，字行之，吴江人。弘治十五年进士。授行人。正德初，擢南京兵科给事中。父忧服阕，留补礼科。已，乞南。改南京兵科。谏迎佛乌斯藏及以中旨迁黜尚书、都给事中等官，且请治镇守江西中官黎安罪。出为广东参议，预平番禺盗，有功。历浙江、山东副使。擢福建按察使，改河南右布政使。代监司鞫南阳滞狱，狱为之空。嘉靖八年擢右副都御史，巡抚南、赣。召协理院事。历吏部左、右侍郎。以起废不当，尚书汪鋐委罪僚属，乃调用南京刑部。就迁右都御史，工、刑二部尚书。九庙灾，自陈致仕。用端亮有节概。既罢，中外皆惜之，频有推荐。久之，以工部尚书起督河道，数月，改漕运。未上，召拜左都御史。二品九年满，加太子少保。二十五年代唐龙为吏部尚书。明年卒官。赠太子太保，谥恭肃。曾孙宗建，自有传。\n用掌宪时，慎自持而已，无所献替。其后宋景、屠侨继之，大略皆廉洁，与用相似。景未久卒，而侨居职八年。属严嵩柄政，风纪不振。议丁汝夔狱，受杖不能去。",[24,25,111,27,36,58,96,7,244,14863],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1d378c5bb5d2e9457cf57b5aeda34e9.jpg",[],{"id":27325,"slug":27326,"title":27318,"dynasty":18,"author":27319,"museum":360,"description":27320,"tags":27327,"thumbUrl":27328,"material":229,"size":70,"collection":70,"collections":27329,"showCount":341,"zanCount":46,"manualWeight":46,"mainColor":47},233852,"shi-hua-he-bi-ce-zhou-yong-233852",[24,27,28,36,111,58,29,130,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03965c72de7d999242405e95de2efc12.jpg",[],{"id":27331,"slug":27332,"title":5673,"dynasty":296,"author":870,"museum":360,"description":5674,"tags":27333,"thumbUrl":27334,"material":246,"size":5679,"collection":70,"collections":27335,"showCount":341,"zanCount":46,"manualWeight":46,"mainColor":47},233775,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233775",[24,25,200,1465,27,38,300,58,7,34,4253,27225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe59fcd12bb8e349f58148bff1682a02f.jpg",[],{"id":27337,"slug":27338,"title":106,"dynasty":78,"author":699,"museum":360,"description":11895,"tags":27339,"thumbUrl":27340,"material":246,"size":11898,"collection":70,"collections":27341,"showCount":341,"zanCount":46,"manualWeight":46,"mainColor":149},233173,"shan-shui-ce-cao-zhi-bai-233173",[24,25,111,27,36,29,427,7,1397,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b101776022611c4f83a7a7affa75b39.jpg",[],{"id":27343,"slug":27344,"title":27345,"dynasty":18,"author":238,"museum":561,"description":27346,"tags":27347,"thumbUrl":27348,"material":7880,"size":27349,"collection":70,"collections":27350,"showCount":341,"zanCount":46,"manualWeight":46,"mainColor":47},231592,"qing-lan-cui-nuan-tu-lan-ying-231592","晴岚翠暖图","蓝瑛（1585-1664），字田叔，号蜨叟，又号东郭老农，晚号石头陀、山公、万篆阿主者、西湖研民，钱塘（今浙江杭州）人，所居榜额曰：“城曲茅堂”。工书擅画，长于山水、花鸟、梅竹，尤以山水著名。其山水初从黄公望入门，遍摹元代诸家笔法，后上窥晋、唐、两宋，俱得古人精蕴。中年自立门庭，涉猎既多，眼界宏远，故落笔纵横奇古。晚年渐趋苍劲疏宕，气象崚嶒，虽力追古法，但能融会贯通，自成风范。其绘画对明末清初绘画影响甚远，被后人称为“武林派”，画史亦称之为“后浙派”。\n此图为蓝瑛先生摹黄公望《晴岚暖翠》所作，上绘峰峦迭翠，银链飞瀑，峭石嵯峨，云雾弥漫。中绘水榭楼台，依山傍水，苍浑郁茂，清泉蜿流，临窗对语，悠然其间。下绘湖水空明，临渚茅亭，古木苍郁，清趣秀逸。纵观此幅，构图奇伟，落笔纵横，顿挫有致。其境高雅飘逸，其意苍劲疏秀。宋元文人之风，悠然可见其中。亦见其运笔得大痴神韵，勾勒浅绛，又参自法，清简秀润，乃为田叔之佳构也。\n一峰老人即元代画家黄公望。黄公望（1269-1354），元代画家。本姓陆，名坚，江浙行省常熟县人。后过继永嘉府（今浙江温州市）平阳县（今划归苍南县）黄氏为子，居虞山（今宜山）小山，因改姓黄，名公望，字子久，号一峰、大痴道人。中年当过中台察院椽吏，后皈依全真教，在江浙一带卖卜。擅画山水，师法董源、巨然，兼修李成法，得赵孟頫指授。所作水墨画笔力老到，简淡深厚。又于水墨之上略施淡赭，世称“浅绛山水”。晚年以草籀笔意入画，气韵雄秀苍茫，与吴镇、倪瓒、王蒙合称“元四家”。擅书能诗，撰有《写山水诀》，为山水画创作经验之谈。存世作品有《富春山居图》、《九峰雪霁图》、《丹崖玉树图》《天池石壁图》等。",[23,24,25,26,29,28,36,56,2901,7,34,133,4437,272],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51301e878118487eeaa8028a0ad77ec5.jpg","161×42.9cm",[],{"id":27352,"slug":27353,"title":16584,"dynasty":124,"author":5576,"museum":53,"description":27354,"tags":27355,"thumbUrl":27356,"material":142,"size":27357,"collection":70,"collections":27358,"showCount":341,"zanCount":46,"manualWeight":46,"mainColor":663},231415,"san-xian-shou-jian-tu-yan-wen-gui-231415","此图原藏清内府钟粹宫，原图无款印，签题“燕文贵二仙授简图”：图描绘世外洞府一处，洞前为一片宽阔的田野，临近洞处为坡岸，碎石横卧，草木和幽篁相间杂牛-在洞前的左侧有几棵古松，树干粗大，向左倾斜生长，枝干曲直向上，树千长有疤节，茂密的枝叶形成浓荫，将其洞府笼罩，洞府前二仙相对而坐，均为道家装束，正面一位年长者以披叶衣，赤足支膝，绾双丫髻，双日凝神，目光视着前方；正面左侧一位头披长发于背部，赤胸支着右腿，右手放置膝部，正在专心聆听对面一位仙者论经说道；正面右侧一位右腿盘坐、左腿支撑，身披道衣绾双髻，手持简册，上体前倾，右手指划，似在论经说道，神情专注，十分投入。\n燕义贵的绘画题材较为广泛，山水最为突出：他画山水不专师法，自成一家，景致多坐，使人有身临其境的感觉，他是一个来自民间的画家，他熟悉并喜爱乡间生活，即使在布局宏大的11．真水画上，也安排各种富于生活情趣的细节：刘道醇《圣朝名画评》说他“初师河东郝惠”，之后“不师于古人，自成一家，而景物万变……，燕家景致无能及者”：燕文贵除擅长山水外，还精于人物画和界画：此《三仙授简图》是他人物画的代表作。\n此图以幽深静寂的洞府为布景，画家用抑朴的线条显示道衣厚实的质感和盘旋褶皱的衣纹，线描笔法劲练，古松数株，也画得坚劲有力：图中人物面部表情，有声有色，特别是前面左边赤胸者，被对面一位手持简册仙人的话语所吸引，聚精会神地凝听着：画家驾驭人物性格，再现特定情境的功力在这一作品中得到充分的表现，树石皆湿笔，松身之鳞，略圈数笔，即以墨水晕染浅深，上缠古藤，其条下垂，用笔极细，若断若续，总之，全图着色淡雅，勾线坚凝而多折，二位仙人姿态各不相同，并在变化错落中达到和谐统一。",[200,24,25,28,56,36,58,29,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdde1e2940ee2ffd9f620cc4bb8d71b99.jpg","46.3×41.3公分",[],{"id":27360,"slug":27361,"title":27362,"dynasty":296,"author":3038,"museum":53,"description":27363,"tags":27364,"thumbUrl":27365,"material":203,"size":27366,"collection":70,"collections":27367,"showCount":341,"zanCount":46,"manualWeight":46,"mainColor":149},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。",[200,24,25,186,36,27,28,29,860,7,34,187,612,242,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa36251e62e43c9c5c89e57fc3abcc825.jpg","187.7x115.5厘米",[],{"id":27369,"slug":27370,"title":17233,"dynasty":296,"author":17234,"museum":561,"description":27371,"tags":27372,"thumbUrl":27374,"material":70,"size":70,"collection":70,"collections":27375,"showCount":341,"zanCount":46,"manualWeight":46,"mainColor":149},231045,"shen-zhu-you-ju-tu-cheng-sui-231045","以渴笔焦墨写就全篇，山峦以短皴密点层叠铺展，带着金石篆刻般的苍茫朴拙质感，苍郁厚重间尽显山野沉浑气象。\n\n溪湾错落，板桥连通山居，幽篁掩映着矮屋茅舍，暗涌村居烟火暖意。水面扁舟随波轻漾，滩头幽人独立凭眺，将林泉高致与乡野闲趣揉为一体。\n\n全作未施丹青，仅以枯涩墨色分出远近层次，简淡萧疏间烘托出荒寒静谧的幽居氛围，把文人遁世丘园的雅逸襟怀，藏在每一处皴擦点染之中。",[23,24,27,36,95,29,1140,35,30,31,32,7,34,364,27373],"渴墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04295a7113b02787af3ec000e8944c9e.jpg",[],{"id":27377,"slug":27378,"title":27379,"dynasty":296,"author":2706,"museum":561,"description":27380,"tags":27381,"thumbUrl":27382,"material":70,"size":70,"collection":70,"collections":27383,"showCount":341,"zanCount":46,"manualWeight":46,"mainColor":47},230962,"jie-jiao-tu-dong-bang-da-230962","解角图","此作以长卷铺展平远寒林之境，左处危崖飞泉，枯木虬曲苍劲，麋鹿或俯饮或闲游，野意悠然。中段洲渚错落，寒林与苍松交错排布，留白晕染烟波浩渺，空濛清寂。\n\n全作用色浅淡秀润，山石皴法简净雅致，林木勾勒细致入微，既得元人山水萧散简远之致，又暗含庙堂文雅气韵。将冬日郊野的清旷萧寒，与鹿群自在恬和之态相融，静穆淡远的林下雅趣跃然绢素，是兼具院体工稳与文人意韵的佳构。",[23,24,25,26,28,36,56,29,242,427,4949,7,316,4029,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d17b32f4f9101d80e94726c757afe45.jpg",[],{"id":27385,"slug":27386,"title":18257,"dynasty":18,"author":9994,"museum":561,"description":27387,"tags":27388,"thumbUrl":27389,"material":217,"size":660,"collection":70,"collections":27390,"showCount":341,"zanCount":46,"manualWeight":46,"mainColor":47},230929,"shan-shui-tu-shan-mian-wang-wen-230929","王闿（kǎi）运（1833—1916），晚清经学家、文学家。字壬秋，又字壬父，号湘绮，世称湘绮先生。咸丰二年（1852）举人，曾任肃顺家庭教师，后入曾国藩幕府。1880年入川，主持成都尊经书院。后主讲于长沙思贤讲舍、衡州船山书院、南昌高等学堂。授翰林院检讨，加侍读衔。辛亥革命后任清史馆馆长。著有《湘绮楼诗集、文集、日记》等。",[24,25,1900,27,36,29,96,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d0c458d558107f65a6614c148f4e979.jpg",[],{"id":27392,"slug":27393,"title":27394,"dynasty":296,"author":27395,"museum":561,"description":27396,"tags":27397,"thumbUrl":27398,"material":70,"size":70,"collection":70,"collections":27399,"showCount":341,"zanCount":46,"manualWeight":46,"mainColor":47},230914,"fang-gu-shan-shui-tu-cheng-geng-lu-230914","仿古山水图","程庚鹭","此作用淡墨晕染山峦，留白铺陈出空濛水汽，层叠峰峦尽显高远之致，干笔皴擦勾勒山石肌理，湿墨晕染晕出山岚氤氲。崖间村居错落，石阶蜿蜒通幽，点染出林下幽居的闲淡意趣。\n右上角题跋笔墨隽秀，与山水笔墨相映成趣，诗画交融。整体兼具萧散简远的文人意韵，将林泉高致寄于尺幅，观之如临空山幽境，俗虑尽销。",[24,27,36,2843,29,837,539,130,34,7,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb8830d376ba0de9a0803b19592cb0df.jpg",[],{"id":27401,"slug":27402,"title":27403,"dynasty":3017,"author":27404,"museum":561,"description":27405,"tags":27406,"thumbUrl":27410,"material":217,"size":660,"collection":70,"collections":27411,"showCount":341,"zanCount":46,"manualWeight":46,"mainColor":47},230647,"you-hua-tiziano-vecellio-048-ti-xiang-230647","油画-Tiziano Vecellio-048","提香","提香·韦切利奥，又译提齐安诺·维伽略（ Tiziano Vecelli或Tiziano Vecellio，约 1488\u002F1490年 – 1576年8月27日 ），英语系国家常称呼为提香（Titian），他是意大利文艺复兴后期威尼斯画派的代表画家。\n提香出生于意大利东北部阿尔卑斯山地区的卡多列。10岁时随兄长到威尼斯，在乔凡尼·贝利尼的画室学画，与画家乔尔乔内是同学。\n在提香所处的时代，他被称为“群星中的太阳”，是意大利最有才能的画家之一，兼工肖像、风景及神话、宗教主题绘画。他对色彩的运用不仅影响了文艺复兴时代的意大利画家，更对西方艺术产生了深远的影响",[27407,25733,27408,27409,242,7,10401,4856],"素描","明暗排线","房屋群","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76d14d3c70de38a2c5d8fb626f88d411.jpg",[],{"id":27413,"slug":27414,"title":27415,"dynasty":3017,"author":436,"museum":561,"description":27416,"tags":27417,"thumbUrl":27418,"material":217,"size":660,"collection":70,"collections":27419,"showCount":341,"zanCount":46,"manualWeight":46,"mainColor":47},230550,"ming-qing-gu-hua-dong-wu-shan-shui-fen-ben-tu-juan-2-yi-ming-230550","明清古画动物山水粉本图卷-2","以淡设色铺陈林泉雅境，枯梅虬枝缀着寒花，古拙清癯。坡石间流泉蜿蜒，晕染出空山幽寂的氛围。两位高士策杖缓行，衣袂轻扬，神态悠然，似正寻幽揽胜。\n笔墨清劲秀逸，山石以淡墨皴擦，晕出空濛温润的山林气韵，草木敷色清雅，粉白梅花点活了冬末春初的清灵意趣。将林下高致融于山水小景，淡而有味，简中见雅，尽显文人寄情林泉、避世寻幽的隐逸意趣。",[23,24,26,28,27,56,36,29,58,4150,7,34,391,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51c4df883e88673fe6cdff89b7a09a8c.jpg",[],{"id":27421,"slug":27422,"title":27423,"dynasty":3017,"author":6957,"museum":561,"description":27424,"tags":27425,"thumbUrl":27426,"material":70,"size":70,"collection":70,"collections":27427,"showCount":341,"zanCount":46,"manualWeight":46,"mainColor":149},230486,"zu-shi-tu-shou-ye-yuan-xin-230486","祖师图","画面以飞瀑奇峰开篇，峭壁间白练倾泻而下，撞破山岩的沉凝厚重。古松虬枝横斜，苍劲盘曲，将山野荒古之气铺展开来。雾霭轻笼林谷，柔化了山石棱角，让刚硬的笔墨晕出幽柔的空濛。\n\n拄杖祖师衣袂飘然，独立山巅凝神静望，身影与林泉相融，禅意随云气漫溢。山石以利落斧劈皴勾勒，苍劲老辣，云雾则以淡墨晕染，柔润朦胧。刚柔相生间，将隐者遁入林泉的静穆空灵尽数铺陈，幽寂清远的禅意扑面而来，恍若能听松涛瀑鸣，沉陷这山野禅境之中。",[23,24,25,28,36,29,58,130,34,7,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdad9555eacda81006abbe5bbe1fcec16.jpg",[],{"id":27429,"slug":27430,"title":27431,"dynasty":296,"author":27432,"museum":561,"description":27433,"tags":27434,"thumbUrl":27435,"material":70,"size":70,"collection":70,"collections":27436,"showCount":341,"zanCount":46,"manualWeight":46,"mainColor":47},230173,"xi-shan-cun-zhuang-tu-cheng-si-li-230173","溪山村庄图","程嗣立","此作用焦墨干笔绘就山居之景。层峦错落铺展，长松下隐现数椽村居，清溪萦回，板桥轻跨，杂木萧疏生趣盎然。以枯淡劲挺的线条勾勒山石轮廓，皴擦简括老辣，全凭墨色浓淡分出丘壑层次，不施粉彩，尽显山野萧疏清寂之态。画面两侧题跋与山水相映，文气融于笔墨间，将幽居林下的澹泊襟怀寄寓其中，以清简之笔写尽林泉高致，尽显文人山水画简淡冲和的美学意趣。",[23,24,25,95,27,36,29,15865,30,31,34,7,35,82,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6c3fe4a576ada7779c6aaae7dbfd9bb.jpg",[],{"id":27438,"slug":27439,"title":27440,"dynasty":18,"author":436,"museum":561,"description":27441,"tags":27442,"thumbUrl":27443,"material":217,"size":660,"collection":70,"collections":27444,"showCount":341,"zanCount":46,"manualWeight":46,"mainColor":149},228804,"luo-han-zhu-shou-tu-yi-ming-228804","罗汉祝寿图","画面上下错落铺陈，上方罗汉群像各呈神采，或清癯蔼然，或虬髯肃穆，侍童恭谨随侍，衣纹华彩层叠，晕染细腻，尽显出尘庄严。下方水府神祇率众赴贺，灵怪蛟龙环伺，云涛与浪涛交织翻涌，天际红日悬垂，铺就祥瑞恢宏的祝寿氛围。\n\n整作设色沉厚古雅，矿物颜料晕开浓郁古韵，线条刚柔相济，既绘就罗汉的超然神态，亦勾勒出水族神祇的灵动狞厉，佛道交融的贺寿主题融于尺幅之间，将仙界嘉会的雍容祥瑞尽数铺展，尽显明代宗教人物画的精工意趣。",[23,24,25,2252,56,28,784,58,9395,6579,1635,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08a9dea4989bd43ec9d2423529c0f803.jpg",[],{"id":27446,"slug":27447,"title":27448,"dynasty":18,"author":436,"museum":561,"description":27449,"tags":27450,"thumbUrl":27451,"material":70,"size":70,"collection":70,"collections":27452,"showCount":341,"zanCount":46,"manualWeight":46,"mainColor":149},228796,"li-cong-xun-kuan-hua-zhao-zi-ang-shu-le-zhi-lun-juan-yi-ming-228796","李从训（款）画赵子昂书乐志论卷","此作用笔细劲工致，青绿设色调古雅沉静，以长卷铺展山居雅境。左幅松石苍古、塘生芙蕖，二雅士林泉晤谈，幽寂清远；中段院宇轩窗洞开，宾主围坐宴饮清谈，仆从侧立侍奉，人物情态鲜活灵动，尽显园居雅集意趣；右幅竹柳垂丝、回廊逶迤，衬出深宅清寂安闲。画面疏密得宜，移步换景，将文人寄兴丘园、乐志林泉的隐逸襟怀，融在花木亭台与日常闲趣之中，恬淡安和，尽显古典园居的雅致韵致。",[23,24,26,28,56,57,58,60,34,415,7,61,201,31,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F729837735001f587a250ddbc621c9924.jpg",[],{"id":27454,"slug":27455,"title":27456,"dynasty":18,"author":436,"museum":561,"description":27457,"tags":27458,"thumbUrl":27459,"material":70,"size":70,"collection":70,"collections":27460,"showCount":341,"zanCount":46,"manualWeight":46,"mainColor":149},228777,"yun-shan-lou-ge-tu-yi-ming-228777","云山楼阁图","淡墨晕开烟霭，留白晕出覆雪层峦，远山如冰棱浮于昏褐天际，将冬日萧寒缓缓铺展。近岸楼台层叠飞檐，斗拱栏楯勾勒精工，丹红暖调破开冷寂，与素裹林木相映成趣。水面空蒙如镜，将天地昏茫融于一色，远近虚实相生，把江楼清旷藏进朦胧烟岚。笔触简淡却意韵悠长，工写兼济，将冷峭冬意与楼阁的沉稳雅致相融，尽显萧寒之中的静谧古雅，恍若让人踏入了一阕清寂悠远的冬日江楼旧梦。",[23,24,25,1900,28,57,29,60,3420,7,34,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb59895a5da6a6f6e2388d9f2e68579a.jpg",[],{"id":27462,"slug":27463,"title":2840,"dynasty":18,"author":12028,"museum":561,"description":27464,"tags":27465,"thumbUrl":27466,"material":70,"size":70,"collection":70,"collections":27467,"showCount":341,"zanCount":46,"manualWeight":46,"mainColor":47},228489,"fang-gu-shan-shui-ce-yun-xiang-228489","此作用笔松秀简净，以浅淡青绿晕染远山，烟岚轻笼山峦，将春山晕化为朦胧柔美的黛色剪影，悠远空寂。近岸老树虬枝舒展，枯荣相衬，坡岸错落间水面静敛，渔舟横陈，村舍掩映在淡雾中，江南平畴的清寂春景宛在眼前。\n\n画作师法宋元古意，以淡墨浅彩营造出空灵简淡的意境，不着意雕琢刻画，将山水的静穆生机融于氤氲烟霭里，尽显文人画冲和淡远的审美意趣，悠悠古意随淡彩墨韵漫开，藏着文人寄情林泉的悠然意绪。",[24,25,111,28,257,29,186,36,32,96,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0d9cd7eb052e45097c71bd2f625593c.jpg",[],{"id":27469,"slug":27470,"title":27471,"dynasty":78,"author":436,"museum":53,"description":27472,"tags":27473,"thumbUrl":27474,"material":203,"size":70,"collection":70,"collections":27475,"showCount":341,"zanCount":46,"manualWeight":46,"mainColor":149},228199,"si-xiao-tu-juan-yi-ming-228199","四孝图卷","《四孝圖》描繪故事四則，以圖文相間的方式表達。第一則述王武子之妻割股作羹湯，治癒婆母寒疾；第二則述三國陸績因其母好食橘，乃於進謁袁術席間，懷橘以奉母；第三則述晉王祥為母病中思食鯉魚於冬月，而至江上卧冰求鯉；第四則述後漢曹娥之父溺斃江中不得屍靈，至娥投江，三日後方抱父屍出。是皆孝心感人之事蹟，卷末並附李居敬四孝圖序，論孝之精義。通幅人物，以勻稱之線條為主，細挺而有力。",[23,24,25,26,56,28,37,82,58,34,7,539,187,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff43a9f92db263f1582800ca70cba44fa.jpg",[],{"id":27477,"slug":27478,"title":27479,"dynasty":124,"author":436,"museum":561,"description":27480,"tags":27481,"thumbUrl":27482,"material":70,"size":70,"collection":70,"collections":27483,"showCount":341,"zanCount":46,"manualWeight":46,"mainColor":47},227914,"na-liang-guan-pu-tu-yi-ming-227914","纳凉观瀑图","《宋扇面画纳凉观瀑图》是宋代佚名画家创作的扇面画。\n作品描绘的是清溪一湾，水阁内一人身着白衣袒胸斜坐，乘凉观瀑的场景。\n《宋扇面画纳凉观瀑图》的画面无款印，对幅清朝乾隆皇帝题 一首。\n钤乾隆内府诸收藏印。\n画面钤有石渠宝笈、宝笈重编等印四方，对开钤有 等印玺。\n全画用笔粗豪，画风近李唐一派而有创新。\n曾经清内府收藏。\n此图原载《宋人名流集藻册》，两边石山挟泉水奔腾，重击大石，水花飞溅。\n阁后老树、丛竹葱郁。\n瀑布高悬直下，平中寓险。\n意境恬静清幽。\n对开有清高宗弘历题诗。\n裱边旧题签为燕文贵纳凉观瀑七字，观其画风，与燕氏无涉，显系后人误题。\n此页绘清溪一湾，溪畔水阁掩映在蓊郁的翠树秀竹之中，背景峭壁坚崚，飞瀑如练，溪流急湍击石，清波拂岸，充满着夏日大自然的勃勃生机。\n水阁之中一高士白衣袒胸踞席而坐，凝视潺湲，若有所思。\n整幅不用界尺，粗笔徒手绘水榭，人物、树石、建筑颇有生拙之趣，极具文人画气息，是“意笔楼阁”的早期作品。",[23,200,24,25,56,28,36,29,7,60,130,34,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64712f5a7f4711445c135f242ae95dd1.jpg",[],{"id":27485,"slug":27486,"title":27487,"dynasty":124,"author":436,"museum":561,"description":27488,"tags":27489,"thumbUrl":27490,"material":70,"size":70,"collection":70,"collections":27491,"showCount":341,"zanCount":46,"manualWeight":46,"mainColor":149},227871,"song-gu-wen-dao-tu-yi-ming-227871","松谷问道图","这幅山水小品以淡墨晕染出烟岚轻笼的山谷，留白营造出朦胧空寂的悠远意境。右下古松虬曲苍劲，疏枝错落尽显山野清趣，山石以简淡皴擦勾勒，带着朴拙古雅的质感。\n\n林下二人，一人趺坐松下安闲垂目，一人躬身持礼似在问道，寥寥数笔便将山林雅聚的隐逸意趣刻画尽致。边角古印晕染着岁月沉淀的静穆，整幅画作以简驭繁，将幽闲林下意趣融于尺幅之间，笔墨清简却意韵悠长，尽显雅致的文人山水格调。",[23,24,25,28,36,82,29,427,58,7,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febd1b020784fb705e4d7c880712aa2ad.jpg",[],{"id":27493,"slug":27494,"title":27495,"dynasty":124,"author":436,"museum":561,"description":27496,"tags":27497,"thumbUrl":27498,"material":70,"size":70,"collection":70,"collections":27499,"showCount":341,"zanCount":46,"manualWeight":46,"mainColor":149},227870,"song-xi-fang-ting-tu-yi-ming-227870","松溪放艇图","近岸危石之上老松虬曲蟠郁，旁生枯木寒枝，晕染出深秋荒寂之态。远山以斧劈皴简括勾勒，隐现于淡墨烟霭之中，将江面衬得愈发空阔辽远。水面之上扁舟随波缓行，渔翁垂竿静坐，天地间只剩水波漾开的清寂。\n\n全幅以水墨晕染江南水滨的空濛氤氲，落笔苍劲老辣，皴擦利落，以小景写尽江湖林泉的幽远萧散。将隐士寄情烟波、与世无争的隐逸襟怀融于尺幅间，淡远空灵，尽显宋人山水小品以小见大的精妙，余韵悠长。",[23,24,25,3980,1900,27,28,29,36,427,132,32,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94dd824de3650215297d3eba319e3578.jpg",[],{"id":27501,"slug":27502,"title":29,"dynasty":296,"author":14039,"museum":561,"description":27503,"tags":27504,"thumbUrl":27505,"material":70,"size":70,"collection":70,"collections":27506,"showCount":341,"zanCount":46,"manualWeight":46,"mainColor":47},224435,"shan-shui-wang-yu-224435","此作用高远、平远章法铺展秋山胜景，左畔危崖陡立，以苍劲皴法写山石肌理，丹枫村居隐于崖麓，添几分暖意生机。近岸古松盘虬，坡石隐现于浅草间，流泉脉脉。江波浩渺，远山含黛晕染出空濛暮色。\n\n画面笔墨承袭娄东一脉，干笔淡墨皴擦，浅设色晕染清雅柔和。题诗与画境相映，糅合元人萧散意趣，铺就出幽寂闲淡的江秋林下之境，将文人山水的隐逸悠然藏于尺幅之间。",[23,24,25,29,95,28,27,36,7,34,35,114,3766,427,658,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c3a78721187e680a816bc2f19330f5a.jpg",[],{"id":27508,"slug":27509,"title":27510,"dynasty":296,"author":12113,"museum":561,"description":27511,"tags":27512,"thumbUrl":27513,"material":70,"size":70,"collection":70,"collections":27514,"showCount":341,"zanCount":11,"manualWeight":46,"mainColor":47},224271,"shan-shui-hua-hui-ce-qi-fu-shan-224271","山水花卉冊(七)","此作用浅赭素绢为底，淡墨晕染山峦，留白如晴雪覆峰，清寂淡远。近景虬松盘曲遒劲，丹红点染秋林，暖意破开空山萧寒。山坳飞檐小楼隐于林岫之间，尽显幽居雅意。\n笔墨简淡松灵，不事雕饰，以简驭繁，将山林秋意里的静穆萧散融于尺幅中，把出世幽居的雅怀寄寓在淡墨轻彩内，平淡天真余韵悠长，尽显文人画简远清逸的意趣。",[23,24,25,111,28,29,60,96,7,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ac89da8453aafa9c7af4b69dd3c241b.jpg",[],{"id":27516,"slug":27517,"title":462,"dynasty":296,"author":7129,"museum":561,"description":27518,"tags":27519,"thumbUrl":27520,"material":70,"size":70,"collection":70,"collections":27521,"showCount":341,"zanCount":46,"manualWeight":46,"mainColor":47},224263,"shan-shui-tu-zhang-zong-cang-224263","此作用笔苍劲老辣，山石以干笔皴擦，缀以浓墨点苔，尽显崖壁厚重雄浑。右侧危峰拔地而起，隐见飞瀑垂落，左侧林麓苍郁，杂木间晕染赭红花青，暗合秋意。\n\n溪泉蜿蜒穿谷，山居藏于幽林，水面扁舟轻泛，远景水天一色，构图兼取高远、平远，层次悠长。搭配题诗与朱印，诗书画印浑然一体，将秋山的清疏旷远与林下幽居的雅趣相融，兼具雄奇气象与秀润诗意，意境澹宕空灵。",[23,24,25,95,28,27,29,31,32,34,7,82,38,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ab82f87f0726486e943e9a0edd8c887.jpg",[],{"id":27523,"slug":27524,"title":4262,"dynasty":124,"author":436,"museum":27525,"description":27526,"tags":27527,"thumbUrl":27528,"material":84,"size":27529,"collection":70,"collections":27530,"showCount":341,"zanCount":46,"manualWeight":46,"mainColor":149},223665,"xue-shan-xing-lv-tu-yi-ming-223665","\u0010台北故宫博物院","以高远笔法铺陈层叠雪山，硬峭苍劲的线条勾勒山石骨骼，留白晕染尽显积雪厚重萧寒。谷间云气翻涌，将山体切割出虚实层次，令画面深邃辽远。山脚寒林枯槎萧索，冰河之上板桥隐现，山坳茅舍藏于雪峦间，行旅之人踏雪赶路，为荒寂冬景晕开一缕人间烟火气。\n\n画家以浓淡墨色区分雪色与岩体，皴笔硬朗尽显山石嶙峋质感，将隆冬山野的空寂清寒尽数铺展，于冷寂萧寒的天地间，藏着羁旅暖意，尽显山水写实造境的精妙风骨。",[23,24,25,29,95,36,860,7,242,30,131,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08e4f11b5e11ba642e4054f5428918dd.jpg","170.7x99.7",[],{"id":27532,"slug":27533,"title":27534,"dynasty":296,"author":436,"museum":53,"description":27535,"tags":27536,"thumbUrl":27537,"material":246,"size":27538,"collection":70,"collections":27539,"showCount":341,"zanCount":11,"manualWeight":46,"mainColor":149},223450,"shou-yan-tu-ping-12-yi-ming-223450","寿宴图屏12","太监们都身着官帽，衣冠楚楚。 所以，英皇是寿宴。 官在12屏，候车总人数，百亭，小亭，流水，台桥。 画面上特画松鹤鹤，寓意松鹤延年。",[23,56,28,57,58,60,33,30,31,7,34,215,1056,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef188fc0c7bc94e225ee1b53cbedfdc.jpg","42x108厘米",[],{"id":27541,"slug":27542,"title":27543,"dynasty":296,"author":8003,"museum":13030,"description":25888,"tags":27544,"thumbUrl":27545,"material":246,"size":25891,"collection":70,"collections":27546,"showCount":341,"zanCount":46,"manualWeight":46,"mainColor":47},223318,"fa-jie-yuan-liu-tu-jing-pian-1-ding-guan-peng-223318","法界源流图镜片-1",[23,24,784,56,28,712,58,1396,1635,1118,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2206b1370f2abc417507fe6904e131fd.jpg",[],{"id":27548,"slug":27549,"title":27550,"dynasty":296,"author":8669,"museum":360,"description":8670,"tags":27551,"thumbUrl":27552,"material":8673,"size":8674,"collection":70,"collections":27553,"showCount":341,"zanCount":46,"manualWeight":46,"mainColor":149},223140,"shi-wan-tu-ce-4-ren-xiong-223140","十万图册4",[23,24,25,111,28,56,36,29,31,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdafbb1382f759faa9a0bd0fff6c51b3b.jpg",[],{"id":27555,"slug":27556,"title":27557,"dynasty":296,"author":8516,"museum":401,"description":8517,"tags":27558,"thumbUrl":27559,"material":142,"size":8522,"collection":70,"collections":27560,"showCount":341,"zanCount":46,"manualWeight":46,"mainColor":47},222917,"hong-lou-meng-42-sun-wen-222917","红楼梦42",[23,439,24,56,28,58,60,302,7,489,15001,34,883],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1046085ff2b6d5f0b337935821daf21c.jpg",[],{"id":27562,"slug":27563,"title":27564,"dynasty":296,"author":27565,"museum":561,"description":27566,"tags":27567,"thumbUrl":27568,"material":70,"size":70,"collection":70,"collections":27569,"showCount":341,"zanCount":46,"manualWeight":46,"mainColor":47},222827,"san-xing-tu-xu-gang-222827","三星图","徐冈","徐冈，生卒年不详，字九成，号缾山（瓶山），浙江杭州人。家贫以鬻画养母，至老不娶。山水、花鸟、人物，无所不工。一以华岩为师，而尤擅花鸟。",[23,200,24,25,95,28,56,58,272,391,242,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53588f1a09245fd285ade392b1603262.jpg",[],{"id":27571,"slug":27572,"title":462,"dynasty":18,"author":27573,"museum":360,"description":27574,"tags":27575,"thumbUrl":27576,"material":229,"size":27577,"collection":70,"collections":27578,"showCount":341,"zanCount":46,"manualWeight":46,"mainColor":47},222573,"shan-shui-tu-wu-chang-222573","吴昌","明（无声诗史作昌之，图绘宝鉴续纂作字振之，误）。振子。善山水，能世父业。康熙十六年（一六七七）尝作山水扇，见故宫周刊。传世作品有崇祯十四年（1641）作《山水图》扇页，著录于《中国书画家印鉴款识》；康熙十六年（1677）作《山水图》扇页，款署：“丁巳秋仲写，吴昌。”现藏故宫博物院。生平事迹未见详细记载，《无声诗史》《明画录》《图绘宝鉴续篡》等均将其名附于吴振后云：“子昌，字昌伯，能世其业。”从艺活动约于明崇祯至清康熙年间。",[23,24,25,200,1900,28,36,29,7,34,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5d6a79dc397d65dfbd2e7d49cf122b2.jpg","35x65",[],{"id":27580,"slug":27581,"title":27582,"dynasty":296,"author":27583,"museum":2286,"description":27584,"tags":27585,"thumbUrl":27586,"material":27587,"size":27588,"collection":70,"collections":27589,"showCount":341,"zanCount":46,"manualWeight":46,"mainColor":70},220703,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220703","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) 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祠堂，曾因替正厅画壁画，乡绅看不起他，群起反对，最后偷自进祠堂，画上“高山云鹤”、“水国浮牛”、“青松悬崖”和“倚马题诗”四幅画，愤而离乡飘泊，流寓于杭州，结交了很多文人学士，眼界大开。36岁时曾北上入都，“得交当路巨公，名闻于上”，但并不得意，据戴熙《习苦斋画絮》载：“华秋岳自奇其画，游京师无问者。一日有售赝画者，其裹华笔也，华见而太息出都。”他的中晚年一直频繁往来于杭州、扬州，以卖画为生。在扬州他结识了金农、高翔、李鱓、郑板桥及盐商巨子马曰琯、马曰璐兄弟，彼此交流切磋，诗画酬答，使其绘画修养得到多方面的拓展，成为扬州画派的代表人物之一。",[200,24,25,111,300,27,28,29,34,7,132,1066,161,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ae85168545d98380ed02d659de03898.jpg",[],{"id":28023,"slug":28024,"title":106,"dynasty":296,"author":20987,"museum":561,"description":20988,"tags":28025,"thumbUrl":28026,"material":142,"size":70,"collection":70,"collections":28027,"showCount":458,"zanCount":46,"manualWeight":46,"mainColor":47},236506,"shan-shui-ce-cheng-ming-236506",[24,27,36,29,32,7,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9893caaefcd308bd326536d50725541.jpg",[],{"id":28029,"slug":28030,"title":17126,"dynasty":18,"author":28031,"museum":360,"description":28032,"tags":28033,"thumbUrl":28034,"material":229,"size":28035,"collection":70,"collections":28036,"showCount":458,"zanCount":46,"manualWeight":46,"mainColor":47},236494,"shan-shui-ren-wu-ce-guo-fen-ya-236494","郭汾涯","郭汾涯（约公元15世纪），明初时人，生卒年不详。能诗，善画山水、人物，宗唐、宋人画法，取马远、夏圭笔意。关于其生平，画史记载甚少，现只能从仅有的几幅传世作品，以及明初时的画风嬗变，来了解这位画家。\n此套《山水人物册》，每页自题七言诗一首，落款“汾涯”。册页中人物形神刻画生动，线条挺劲酣畅；山水以斧劈皴随意勾写，笔力遒劲；画树出枝峭拔、点叶爽辣，得南宋山水画遗风。\n明代初期画院复兴，提倡以古硬、雄厚、峻峭的风格来振作笔墨精神。在元朝被压制了多年的李、刘、马、夏画风，此时又开始活跃起来。宫廷内外，宗法者甚多。画风变南宋苍劲荒率为浑壮雄厚。画家们将贵族艺术引入民间，注重功力又不死守法度，变精严为放逸，顺应通俗艺术发展的时代潮流。这股势力影响范围广大，成为明代初期画坛实力最雄厚的画派——浙派。\n从这套册页中看，郭汾涯也是身处这股巨浪之中，但从画面中依然能体会到画家自觉与主动的一面，笔墨并非一味地追求粗放与草率，而是劲拔精简，笔下流露出画家掩饰不住的率真天性。画面还成功地将自然环境和人物活动富有情趣地结合在一起，给观者以强烈的艺术感染力。",[24,25,111,27,28,29,58,612,242,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84f9203896a1b64f9b9ef4aa06722fd9.jpg","纵38.8厘米，横60.4厘米",[],{"id":28038,"slug":28039,"title":28040,"dynasty":18,"author":12146,"museum":561,"description":28041,"tags":28042,"thumbUrl":28043,"material":217,"size":660,"collection":70,"collections":28044,"showCount":458,"zanCount":46,"manualWeight":46,"mainColor":47},236468,"shu-lin-yuan-xiu-tu-shan-li-liu-fang-236468","疏林远岫图扇","李流芳（1575～1629年），字长蘅，一字茂宰，号檀园、香海、古怀堂、沧庵，晚号慎娱居士、六浮道人，南直隶徽州歙县（今安徽歙县）人，侨居嘉定（今上海嘉定），明代诗人、书画家。\n三十二岁中举人，后绝意仕途。诗文多写景酬赠之作，风格清新自然。与唐时升、娄坚、程嘉燧合称“嘉定四先生”。擅画山水，学吴镇、黄公望，峻爽流畅，为“画中九友”之一，亦工书法。崇祯二年，卒于檀园，享年五十五岁。",[24,25,1900,27,36,29,1777,114,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fc791df25ce09c2286320730928d3f4.jpg",[],{"id":28046,"slug":28047,"title":28048,"dynasty":18,"author":3736,"museum":561,"description":28049,"tags":28050,"thumbUrl":28051,"material":70,"size":70,"collection":70,"collections":28052,"showCount":458,"zanCount":46,"manualWeight":46,"mainColor":47},236408,"xiao-xiang-ba-jing-ce-wen-jia-236408","潇湘八景册","其潇湘八景初未尝命名，后人乃以平沙落雁、远浦帆归、山市晴岚、江天暮雪、洞庭秋月、潇湘夜雨、烟寺晚钟、鱼邨落照等目之。对古代山水画家而言，潇湘八景除了作为风景画本身的审美价值外，还另有两重价值，一是隐，二是谏。隐乃穷则独善其身，有忿怨之情；谏乃达则兼善天下，含劝喻之功。北宋范仲淹因庆历新政被贬，作《岳阳楼记》述怀，泄露了潇湘八景的玄机：貌似写景抒情，实为牢骚议政，有如屈原作《离骚》。范仲淹的览物之情、去国怀乡之思，无论居庙堂之高，还是处江湖之远，都涉及“吾谁与归”的人生终极问题。当然，后来的画家，不管文人也好，禅僧也罢，虽难达“先天下之忧而忧，后天下之乐而乐”的境界，但也能各出机枢，纳洞庭潇湘之八百里山水于胸臆，并诉诸尺素笔墨。\n文嘉（1501年～1583），字休承，号文水，南直隶苏州府长洲（今江苏苏州）人。大书画家文徵明次子。\n吴门派代表画家。初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。精于鉴别古书画，工石刻，为明一代之冠。画得徵明一体，善画山水，笔法清脆，颇近倪瓒，着色山水具幽澹之致，间仿王蒙皴染，亦颇秀润，兼作花卉。明人王世贞评：“其书不能如兄，而画得待诏（文徵明）一体。”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。”",[24,25,111,27,36,29,60,33,34,7,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ed7536b187e8a91088501410f554325.jpg",[],{"id":28054,"slug":28055,"title":971,"dynasty":18,"author":9525,"museum":561,"description":28056,"tags":28057,"thumbUrl":28058,"material":70,"size":70,"collection":42,"collections":28059,"showCount":458,"zanCount":46,"manualWeight":46,"mainColor":47},236390,"shan-shui-zhou-ding-yun-peng-236390","丁云鹏是中国明代画家，于1547年出生，字南羽，号圣华居士，安徽休宁人。\n天启五年（1625）尚在作《白马驭经图》，瓒子，詹景凤门人。工书法，学钟繇、王羲之。画善白描人物、山水、佛像，无不精妙。白描酷似李公麟，设色学钱选。丝发之间而眉睫意态毕具，非笔端有神通者不能也。兼工山水、花卉。中年用笔细秀，略近文征明、仇英画法，晚年风格朴厚苍劲，自成一家。 [1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。",[24,25,95,27,28,29,34,7,30,31,58,82,36,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25ec58e07d94572dafafeadfb20222cb.jpg",[42,146],{"id":28061,"slug":28062,"title":28063,"dynasty":296,"author":28064,"museum":561,"description":28065,"tags":28066,"thumbUrl":28067,"material":217,"size":660,"collection":70,"collections":28068,"showCount":458,"zanCount":46,"manualWeight":46,"mainColor":47},236371,"mei-hua-shu-wu-tu-shan-ye-zhu-ben-236371","梅花书屋图扇页","朱本","[清]（1761—1819）字素人，号溉夫，自署竹西，江苏扬州人。",[24,25,1900,27,29,427,1140,4150,1658,187,34,7,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1ef5ba0670559ca3dc050096d8dcb3e.jpg",[],{"id":28070,"slug":28071,"title":28072,"dynasty":296,"author":6028,"museum":360,"description":28073,"tags":28074,"thumbUrl":28075,"material":454,"size":28076,"collection":70,"collections":28077,"showCount":458,"zanCount":46,"manualWeight":46,"mainColor":47},236123,"shan-shui-lou-ge-ce-chen-mei-236123","山水楼阁册","陈枚在绘画上受到郎世宁的影响，运用了一些西洋的透视画法，表现出物象的立体感。他曾“以海西法于寸纸尺缣图群山万壑，峰峦林木，屋宇桥梁。”此册以中西合璧的绘画技法展现出圆明园中西融会的建筑与宫殿园林的完美结合，使人对这座“万园之园”产生无尽的遐想。咸丰十年（1860年），英法联军焚毁圆明园，因而该册的艺术价值弥足珍贵。",[24,25,111,28,29,60,7,34,31,57,38,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02cd7b8431d0b02358a7a258104d3b57.jpg","纵31厘米，横25.3厘米",[],{"id":28079,"slug":28080,"title":106,"dynasty":296,"author":19244,"museum":561,"description":28081,"tags":28082,"thumbUrl":28083,"material":70,"size":70,"collection":70,"collections":28084,"showCount":458,"zanCount":46,"manualWeight":46,"mainColor":47},236081,"shan-shui-ce-shen-zong-jing-236081","此作以虚实相生之法铺陈景致，右侧危崖壁立，苍劲皴笔尽显山石肌理，崖下林木错落，浅红点染枝头晕开萧疏秋意，临水茅舍静立，暗合山居幽趣。左侧留白尽写湖光浩渺，远山澹澹浮沉于烟波间，汀渚佳木错落点缀。\n\n笔致松秀简淡，墨色清润层次分明，以淡赭轻敷秋意，将江畔山居的安寂静穆铺展眼前，尽显文人山水空远幽寂的意趣，藏着寄情林泉、超然物外的隐逸襟怀。",[24,25,200,111,28,27,36,29,7,34,35,114,3766],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09a1ec9339eb075e97e0895732289911.jpg",[],{"id":28086,"slug":28087,"title":106,"dynasty":296,"author":17429,"museum":561,"description":28088,"tags":28089,"thumbUrl":28090,"material":70,"size":70,"collection":42,"collections":28091,"showCount":458,"zanCount":46,"manualWeight":46,"mainColor":149},235936,"shan-shui-ce-qi-zhi-jia-235936","此作截取一隅丘壑绘就，危崖层叠错落，枯木虬曲盘桓，扎根顽石之上，枝叶疏朗有生趣。淡墨晕染的远山清润空蒙，留白代水，晕出幽寂萧疏的林下意境，笔法简淡却意趣悠长。\n\n左侧行书题跋笔墨舒展隽秀，书画相映，以文释画，尽显诗书画合一的文人雅趣。整幅以枯淡之笔写山水林泉，不做繁复皴染，于简淡苍劲间尽显古拙意韵，将林泉高致寄于尺幅，藏着画者寄情山水、脱略尘俗的襟怀。",[24,25,111,27,29,36,37,38,7,34,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5886999bb81b85f4ae8a784f64d3fa2e.jpg",[42],{"id":28093,"slug":28094,"title":106,"dynasty":18,"author":12146,"museum":561,"description":28095,"tags":28096,"thumbUrl":28097,"material":70,"size":70,"collection":70,"collections":28098,"showCount":458,"zanCount":46,"manualWeight":46,"mainColor":47},235829,"shan-shui-ce-li-liu-fang-235829","此帧以淡墨写幽居秋山，古松拔地而起，枝桠舒展如盖，笔致苍劲老辣，自带虬劲古拙之态。山峦以干笔皴擦，墨色清润且层次分明，留白处漾出空寂萧散之意。林麓间村居隐现，暗合山居幽寂之趣。\n\n题语评其近董巨遗风，墨淡而神完气厚，不假浓艳而丘壑自存，将江南秋山的清寂淡远尽藏毫端，笔底见出文人画的简雅风神，于水墨疏淡中见出沉厚的笔墨功底，尽显静穆淡远的山水逸韵。",[200,24,25,111,27,36,29,427,7,35,34,364],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50162dc314f052934b135c96165978d2.jpg",[],{"id":28100,"slug":28101,"title":13884,"dynasty":18,"author":14896,"museum":561,"description":17896,"tags":28102,"thumbUrl":28103,"material":217,"size":660,"collection":70,"collections":28104,"showCount":458,"zanCount":46,"manualWeight":46,"mainColor":47},235691,"shan-shui-hua-hui-ce-xiang-sheng-mo-235691",[24,27,111,36,29,58,96,33,7,31,114,34,364],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37d1280937be3d9c6e933102baa569e8.jpg",[],{"id":28106,"slug":28107,"title":1259,"dynasty":296,"author":3437,"museum":561,"description":28108,"tags":28109,"thumbUrl":28110,"material":70,"size":70,"collection":70,"collections":28111,"showCount":458,"zanCount":46,"manualWeight":46,"mainColor":47},235639,"shan-shui-tu-ce-wu-li-235639","此作以平远、高远铺陈开卷，近景山峦层叠，古木攒簇葱郁，山涧水榭人家错落，飞桥横溪，晕开几分烟火暖意。远景平湖波柔，村舍隐在轻烟黛色间，林泉幽寂里揉进日常闲趣。\n笔墨苍润兼具，以干笔皴擦写山石朴拙肌理，湿墨晕染出山岚空濛，树木枝桠以浓淡墨色区分层次，古秀苍劲。题画小诗与画面相映成趣，将江南水乡的温润雅致与林泉高致相融，恬淡悠然，尽显幽居林泉的安闲意趣，引人沉醉于这份寄情山水的自在恬和之中。",[24,25,111,27,36,29,30,31,34,7,187,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc33872b235202ac0bcfa5d4b755601ed.jpg",[],{"id":28113,"slug":28114,"title":1259,"dynasty":18,"author":28115,"museum":561,"description":28116,"tags":28117,"thumbUrl":28118,"material":217,"size":660,"collection":70,"collections":28119,"showCount":458,"zanCount":46,"manualWeight":46,"mainColor":47},235459,"shan-shui-tu-ce-pan-zheng-235459","潘徵","潘徵 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距今已有六百多年",[24,28,56,784,58,29,1635,7,34,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d6f4518709ec82c461efb452cdfaf72.jpg",[],{"id":28342,"slug":28343,"title":28344,"dynasty":18,"author":28345,"museum":561,"description":28346,"tags":28347,"thumbUrl":28349,"material":70,"size":70,"collection":70,"collections":28350,"showCount":458,"zanCount":46,"manualWeight":46,"mainColor":149},228345,"jiao-lin-yi-qu-tu-chen-guan-228345","蕉林易趣图","陈祼","此作以蕉林铺就幽凉底色，阔叶舒展扶苏，浓荫笼住一隅清境。近处方石上，高士坦卧枕臂静观书卷，旁侧茶盏轻置，将卧读忘忧的闲逸缓缓铺陈。右侧柴扉半掩，篱墙隐现，衬出幽居的静穆私密。远景山峦以淡墨晕染，朦胧悠远，与近景繁密蕉叶形成虚实对照，拉开疏密错落的空间层次。笔墨苍秀温润，线条清劲兼具柔润，点染间尽显园林小景的雅逸，将寄情林泉、耽于闲逸的心境融于尺幅之间，隐逸意趣悠长内敛。",[23,24,95,27,36,29,28348,34,227,31,7],"蕉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faad90adfea8e7ab7fd9c6c9596f3a350.jpg",[],{"id":28352,"slug":28353,"title":22652,"dynasty":78,"author":436,"museum":561,"description":28354,"tags":28355,"thumbUrl":28356,"material":70,"size":70,"collection":70,"collections":28357,"showCount":458,"zanCount":46,"manualWeight":46,"mainColor":250},228228,"xing-lv-tu-ye-yi-ming-228228","此作用笔简淡苍润，以水墨晕染出江南水岸的清寂之境。左畔危崖耸峙，古松斜出探向江面，崖腰古亭半掩，山道上旅人缓步徐行，衬出林泉丘壑的悠远空阔。汀洲上虬松错落，枝干古拙有姿，与崖岸松色遥相呼应。江面淡墨轻描，远帆与渔舟错落波上，寥寥笔意铺展水天空濛。\n\n整幅简而不空，淡而有味，以极简笔墨勾勒出山水行旅的幽闲意趣，尽显萧散淡远的文人意韵，将林泉高致与江湖野趣融于尺幅间，藏着幽寂闲淡的山水真味。",[23,24,27,29,36,111,58,60,32,201,7,31,82,131,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46616df25f9b51e1b52cfac683349316.jpg",[],{"id":28359,"slug":28360,"title":28361,"dynasty":78,"author":436,"museum":561,"description":28362,"tags":28363,"thumbUrl":28364,"material":70,"size":70,"collection":70,"collections":28365,"showCount":458,"zanCount":46,"manualWeight":46,"mainColor":149},228226,"mao-wu-yun-shan-tu-yi-ming-228226","茅屋云山图","此作用水墨晕染出空濛云山之境，远景山峦以淡墨轻皴间杂晕染，云雾如缕缠绕峰腰，将雄奇山势揉入烟霭，虚实相生间，拓开幽渺深远的天地。\n\n中景以留白代雾，让山与林隐没在烟岚之中，消融了实景的边界，恍如天地融于一片淡墨氤氲。近岸枯木虬劲，枝桠疏朗，坡脚茅舍三两，笔简意足，暗合山居清寂之趣。\n\n整幅画作尽显元画尚意之风，以简淡笔墨写尽萧散静穆的林下幽居之境，将文人隐逸的闲雅藏入烟峦疏木，观之便觉尘嚣尽褪，沉醉在这淡墨晕开的云山深寂里。",[23,24,27,36,95,25,200,29,227,112,30,31,883,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe77b80704d6df259ffd4d9ffeefb4eae.jpg",[],{"id":28367,"slug":28368,"title":28369,"dynasty":124,"author":28370,"museum":561,"description":28371,"tags":28372,"thumbUrl":28373,"material":70,"size":70,"collection":70,"collections":28374,"showCount":458,"zanCount":46,"manualWeight":46,"mainColor":47},227808,"cao-tang-ke-hua-tu-he-quan-227808","草堂客话图","何荃","此作以淡墨晕染山石林木，晕开江南山野湿润清寂的氛围。临水草堂轩窗通透，堂内陈设隐约可见，屋外二人缓步闲话，将幽居雅会的闲淡意趣铺展开来。笔墨苍秀简逸，屋舍界画工致灵动，林木点染生机自现，以尺幅之境铺陈林泉高致的隐逸情怀，尽显宋人小品山水以小见大的妙处，将士人幽栖林下、寄情丘壑的心境藏于皴染点画之中，淡而有味，雅意悠长。",[23,24,25,1900,28,29,60,30,31,58,33,34,7,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9398f267cba5d2aa93e5525aecdb351.jpg",[],{"id":28376,"slug":28377,"title":28378,"dynasty":296,"author":1406,"museum":561,"description":24126,"tags":28379,"thumbUrl":28380,"material":24129,"size":24130,"collection":70,"collections":28381,"showCount":458,"zanCount":46,"manualWeight":46,"mainColor":149},224409,"shu-hua-shi-liu-kai-10-wang-shi-min-224409","书画十六开-10",[23,24,25,111,28,36,29,30,31,34,7,35,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6b1fffac4109daa74541bf9f3ca25d9.jpg",[],{"id":28383,"slug":28384,"title":29,"dynasty":296,"author":13309,"museum":561,"description":28385,"tags":28386,"thumbUrl":28387,"material":70,"size":70,"collection":70,"collections":28388,"showCount":458,"zanCount":46,"manualWeight":46,"mainColor":47},224406,"shan-shui-wang-xue-hao-224406","此作用笔萧散松秀，以淡墨晕染山峦，留白衬出春日山林的氤氲空濛。近景苍木挺拔，焦墨点簇枝叶，朴拙苍润。水岸茅舍错落隐于林麓，溪岸逶迤，浅滩汀渚以简笔勾勒，野趣盎然。\n\n师法董思翁平淡天真之趣，以干淡之笔写山川形胜，墨色清润层次分明，将江南春日的温润静穆尽显笔下。画面空灵疏朗，无繁复刻画，却尽显山水间幽寂闲适，文人画的清雅逸趣跃然纸上，简淡中藏深醇意蕴。",[23,24,25,27,36,38,95,29,7,34,1140,201,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7358dbdc29f9f727bbef4ce953c11b1.jpg",[],{"id":28390,"slug":28391,"title":28392,"dynasty":296,"author":498,"museum":561,"description":28393,"tags":28394,"thumbUrl":28399,"material":70,"size":70,"collection":70,"collections":28400,"showCount":458,"zanCount":46,"manualWeight":46,"mainColor":47},224398,"xia-shan-xin-ji-tu-juan-wang-yuan-qi-224398","夏山新霁图卷","此作用笔苍浑老辣，以高远之势立主峰于画面中央，层岩皴擦间兼具披麻皴的松灵与解索皴的遒劲，将夏山的浑厚肌理尽数铺展。留白处晕染汀洲水泽，虚实相映里，尽显新霁后的空润明净。\n\n林木穿插错落，点叶苍劲灵动，或浓或淡的墨色晕染出晴日照彻后的鲜润翠色，林麓间的村居隐于茂树之下，添了几分悠然野趣。整体气息秀润沉雄，既有元人山水的萧散松灵，又自具醇厚静穆的意蕴，将初晴夏山的空明雅致融于笔墨开合之间。",[24,26,951,27,36,985,28395,7,1066,20905,28396,28397,28398,7120],"解索皴","汀洲","水泽","雨后初晴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F601a1fd4574bcc15ec15daea92f0dd66.jpg",[],{"id":28402,"slug":28403,"title":28404,"dynasty":124,"author":436,"museum":561,"description":28405,"tags":28406,"thumbUrl":28407,"material":70,"size":70,"collection":70,"collections":28408,"showCount":458,"zanCount":46,"manualWeight":46,"mainColor":149},223674,"shuang-ke-zhu-jian-tu-ye-yi-ming-223674","霜柯竹涧图页","《霜柯竹涧图页》是南宋画家佚名创作的一幅绢本设色画。\n本幅无款。\n钤“义斋精玩”、“宋荦审定”收藏印2方。\n图绘山间冬季景色，天阴欲雪，霜柯临水，柯下溪涧奔流，水花飞溅，远处竹林葱茏。\n两只山鸟栖于枝头，眺望远方，将观赏者的目光引向画外，从而收到画尽而意无穷的艺术效果。\n图中老柯、丛竹用笔刚劲，水花、鸟羽笔触轻柔，流水奔腾不息，山石巍峨不动，使画面形成刚柔相济、动静对比的艺术效果。\n清《石渠宝笈三编》著录。",[23,200,24,25,111,56,28,242,391,31,201,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9c242fbd03b8dd4577b564ab01d95ef.jpg",[],{"id":28410,"slug":28411,"title":28412,"dynasty":78,"author":436,"museum":360,"description":28413,"tags":28414,"thumbUrl":28415,"material":885,"size":28416,"collection":70,"collections":28417,"showCount":458,"zanCount":46,"manualWeight":46,"mainColor":149},223583,"yao-cen-yu-shu-tu-yi-ming-223583","瑶岑玉树图","图为山势险峻，峰高崖壁，飞瀑如画，洁白如画； 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此画山石似卷轴，画似鹿角、蟹爪，李成郭熙宗法。",[23,24,27,36,95,29,612,130,565,34,7,31,58,132,538],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F009fe5fe9cca646998616ea81e1f75c7.jpg","97.4x41.2厘米",[],{"id":28419,"slug":28420,"title":28421,"dynasty":296,"author":436,"museum":561,"description":28422,"tags":28423,"thumbUrl":28436,"material":70,"size":70,"collection":70,"collections":28437,"showCount":458,"zanCount":46,"manualWeight":46,"mainColor":47},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。",[23,24,26,56,28,57,29,60,28424,34,28425,28426,28427,7,11963,28428,7119,565,28429,28430,28431,158,258,28432,28433,28434,28435],"陵墓","石碑","牌坊","宫殿建筑","拱桥","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":28439,"slug":28440,"title":28441,"dynasty":296,"author":17463,"museum":53,"description":28442,"tags":28443,"thumbUrl":28444,"material":885,"size":28445,"collection":70,"collections":28446,"showCount":458,"zanCount":46,"manualWeight":46,"mainColor":47},223262,"zhen-hai-si-xue-jing-zhou-zhang-ruo-cheng-223262","镇海寺雪景轴","《命张若澄图镇海寺雪景因而有作》是清代诗人弘历创作的一首五言排律。\n寺景宜遥看，到寺无多奇。\n却见遥看处，纷然画景披。\n予因是絜矩，万事皆如兹。\n动而世为道，言行法则垂。\n此言往者然，至若生同时。\n远则有望耳，不厌更近之。\n偶此道中庸，释典何即离。\n阇黎粥饭罐，奚足语以斯。\n可惜占福地，尽属黄与缁。\n忆我前度来，回銮驻道陲。\n彼时亦逢雪，瑞叶纷葳蕤。\n翠柏红墙间，寒剽（钟中者谓之剽）送响迟。\n谓是宜图取，若霭属车随。\n粉本为指授，帧端题以诗。\n逮今成旧迹，宝笈藏石渠（叶）。\n六霙仍践盟，旋融春光熙。\n数间精舍中，月户亲凭窥。\n千林复万巘，色相难为辞。\n传语示其弟，坚頫踪可师。\n弘历（1711-1799），即清高宗。\n清代皇帝。\n年号乾隆。\n175-1796年在位。\n爱新觉罗氏。\n满族。\n雍正第四子，名弘历。",[23,24,95,29,28,612,3229,34,7,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb944f39c020a732f5168b569e8c74372.jpg","103.4×56.9厘米",[],{"id":28448,"slug":28449,"title":28450,"dynasty":296,"author":1630,"museum":53,"description":17244,"tags":28451,"thumbUrl":28453,"material":17249,"size":17250,"collection":70,"collections":28454,"showCount":458,"zanCount":46,"manualWeight":46,"mainColor":47},223094,"hua-di-qi-ga-na-ga-ba-sa-zun-zhe-zhou-yao-wen-han-223094","画第七嘎纳嘎巴萨尊者轴",[23,24,28,56,784,95,58,34,489,7,31,6620,28452,82],"果盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba3e29af9ff3dfe7f92ff487a79712a8.jpg",[],{"id":28456,"slug":28457,"title":28458,"dynasty":296,"author":3417,"museum":20,"description":12505,"tags":28459,"thumbUrl":28460,"material":25922,"size":25923,"collection":70,"collections":28461,"showCount":458,"zanCount":46,"manualWeight":46,"mainColor":47},222613,"shan-shui-ba-jing-3-gong-xian-222613","山水八景-3",[23,24,27,8539,36,29,33,201,242,7,1262],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6d0d0a469d88f3e8e2c0ce23313a769.jpg",[],{"id":28463,"slug":28464,"title":28465,"dynasty":296,"author":2948,"museum":360,"description":13138,"tags":28466,"thumbUrl":28467,"material":229,"size":13141,"collection":70,"collections":28468,"showCount":458,"zanCount":46,"manualWeight":46,"mainColor":47},220291,"huang-shan-tu-ce-35-hong-ren-220291","黄山图册-35",[23,24,29,27,28,36,7,60,34,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b118fe31bb34c2087a0afa6764c97fc.jpg",[],{"id":28470,"slug":28471,"title":28472,"dynasty":296,"author":2948,"museum":360,"description":13138,"tags":28473,"thumbUrl":28474,"material":229,"size":13141,"collection":70,"collections":28475,"showCount":458,"zanCount":11,"manualWeight":46,"mainColor":47},220281,"huang-shan-tu-ce-43-hong-ren-220281","黄山图册-43",[23,24,27,29,36,111,7,34,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22fa88cb43b3fbb5991ad2836a829388.jpg",[],{"id":28477,"slug":28478,"title":28479,"dynasty":296,"author":2948,"museum":360,"description":13138,"tags":28480,"thumbUrl":28481,"material":229,"size":13141,"collection":70,"collections":28482,"showCount":458,"zanCount":11,"manualWeight":46,"mainColor":47},220276,"huang-shan-tu-ce-48-hong-ren-220276","黄山图册-48",[23,24,27,28,36,111,29,2901,427,7,16320],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4574e545438de69607808d7b56574def.jpg",[],{"id":28484,"slug":28485,"title":28486,"dynasty":296,"author":8669,"museum":20,"description":28487,"tags":28488,"thumbUrl":28489,"material":229,"size":28490,"collection":70,"collections":28491,"showCount":458,"zanCount":46,"manualWeight":46,"mainColor":47},219833,"ren-wu-ce-ye-2-ren-xiong-219833","人物册页-2","任熊善山水、人物、花卉、翎毛、虫鱼、走兽，笔力雄厚，气味静穆，深得宋人神髓。尤擅长人物，绘画师法陈洪绶，人物形象多高古、奇倔、夸张、得陈洪绶神韵而能别出心裁，其自画像神态刻画细致入微，十分写实。任熊对衣纹的勾画向来十分精彩，铁画银钩，很见功力。所题款字也是十分有力，与画法同出一辙。\n此开册页共十二页，内容丰富，题材广博，有人物、仕女、神仙、花鸟、鞍马、博古、山水等等。工笔写意，错杂出之，光怪陆离，不可方物。",[24,25,111,28,58,215,7,1373,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ccf5311db022a9e95cdf7062721bb3f.jpg","27.2x34.3厘米",[],{"id":28493,"slug":28494,"title":28495,"dynasty":296,"author":8669,"museum":20,"description":28487,"tags":28496,"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老舍《四世同堂》四九：“他看不起绸缎的衣服，与文雅的态度，可又有点自惭形秽。”",[1900,28748,28749,58,34,7,25333,25334,7962,28750,17006],"绸绣","婴戏图","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e8a47fdfe927cbea6db90a6d95ce11b.jpg",[],{"id":28754,"slug":28755,"title":28756,"dynasty":296,"author":436,"museum":561,"description":25343,"tags":28757,"thumbUrl":28759,"material":217,"size":660,"collection":70,"collections":28760,"showCount":330,"zanCount":46,"manualWeight":46,"mainColor":149},260532,"wu-cai-shi-nv-tu-da-ping-yi-ming-260532","五彩仕女图大瓶",[25345,28758,2620,58,28,441,7,66],"五彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5980c5e0f361f87678c6a1385ed5fa5f.jpg",[],{"id":28762,"slug":28763,"title":28764,"dynasty":296,"author":14887,"museum":561,"description":28765,"tags":28766,"thumbUrl":28767,"material":70,"size":70,"collection":70,"collections":28768,"showCount":330,"zanCount":46,"manualWeight":46,"mainColor":47},239540,"fang-gu-ji-you-tu-ce-huang-yi-239540","访古纪游图册","此作用干笔淡墨绘就山野幽境，危崖怪石错落层叠，古木虬曲扎根崖隙，枝叶苍郁带着古拙生机。山径之上，一人策杖缓行，似在寻访林泉旧迹，萧淡荒寒的野趣扑面而来。\n左侧长款行书题字笔力朴厚苍劲，书画相映成趣，将访古寻幽的文人情思融入山水笔墨之间，带着金石考据家特有的静穆古雅意韵，淡墨皴擦尽显山野清寂，把纪游的幽怀和林泉雅兴合二为一，尽显清寂淡远的文人山水意境。",[24,25,111,27,36,29,7,34,33,82,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f5c7cb01475be10b72a530339abaa12.jpg",[],{"id":28770,"slug":28771,"title":28772,"dynasty":18,"author":17512,"museum":561,"description":28773,"tags":28774,"thumbUrl":28775,"material":217,"size":660,"collection":70,"collections":28776,"showCount":330,"zanCount":46,"manualWeight":46,"mainColor":47},239476,"qu-jiang-xian-fang-shan-zhang-fu-239476","曲江仙舫扇","张复（1546年－？年），字元春，号苓石，江苏太仓人（一说中条山人）。明末著名山水画家。善于兼收并蓄，兼得五代北方山水画派荆浩、关仝，南宋画派马远、夏珪，元代黄公望以及明代沈周趣味，成为吴门画派的健将之一。",[1900,24,25,27,36,29,60,33,32,34,31,7,3663],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40ab7bb7e7633b3bb346844f892a0546.jpg",[],{"id":28778,"slug":28779,"title":22295,"dynasty":296,"author":12689,"museum":561,"description":28780,"tags":28781,"thumbUrl":28782,"material":70,"size":70,"collection":70,"collections":28783,"showCount":330,"zanCount":46,"manualWeight":46,"mainColor":47},239206,"san-da-ming-shan-shi-er-tu-ce-xu-fang-239206","此作以水墨写就山林胜景，危峰崚嶒直插云端，流云如练缠绕崖间，将黄山奇秀空灵尽数铺展。苍松虬曲错落在岩壑间，松下茅舍幽然隐现，自带林泉高致。\n笔致苍朴清逸，淡墨晕染出漫山空濛岚气，糅合山水与书法，题字笔力沉劲，与山水意境相融，尽显幽淡冷寂的隐逸意趣，以山水托寄出世襟怀，是文人画中山水与心境合一的精妙之作。",[24,27,36,111,37,82,29,427,7,33,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feee9d2bf38ceefe2ee6ab829f677915f.jpg",[],{"id":28785,"slug":28786,"title":28787,"dynasty":18,"author":28788,"museum":561,"description":28789,"tags":28790,"thumbUrl":28791,"material":217,"size":660,"collection":70,"collections":28792,"showCount":330,"zanCount":46,"manualWeight":46,"mainColor":47},239177,"xue-jiang-chui-diao-zhou-jiang-ai-239177","雪江垂钓轴","蒋霭","蒋蔼，1621-1644，明。字志和，华亭（今上海市松江）人，一作虞山（今江苏常熟）人。天启、崇祯（1621-1644）时人。善画山水学沈士充，苍劲多用渴笔。规摹唐、宋皆能神合。陈继儒题其画卷云：“自唐、宋、元名家，皆撮其精微，染于毫端，岂惟气吞时流，即董宗伯，（其昌）见之，几下卫夫人之叹。”",[24,95,27,36,29,537,8169,1588,32,724,242,7,60,35,8071],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9314a07a8eab17dffa04b2d87984a968.jpg",[],{"id":28794,"slug":28795,"title":14922,"dynasty":296,"author":28796,"museum":561,"description":28797,"tags":28798,"thumbUrl":28799,"material":70,"size":70,"collection":70,"collections":28800,"showCount":330,"zanCount":46,"manualWeight":46,"mainColor":47},238951,"shan-shui-ce-ye-xu-ji-238951","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。",[24,25,111,28,29,427,130,7,34,35,132,158,36,16473,22748],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad4c1aa378028f3d4780004c5b4b9bfc.jpg",[],{"id":28802,"slug":28803,"title":10218,"dynasty":296,"author":1617,"museum":561,"description":10219,"tags":28804,"thumbUrl":28805,"material":70,"size":70,"collection":70,"collections":28806,"showCount":330,"zanCount":46,"manualWeight":46,"mainColor":47},238827,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238827",[24,25,111,27,28,29,612,242,538,7,5047,1081,132,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78d752b98269b50249bb4911e5586c67.jpg",[],{"id":28808,"slug":28809,"title":10781,"dynasty":296,"author":1617,"museum":561,"description":10219,"tags":28810,"thumbUrl":28811,"material":70,"size":70,"collection":70,"collections":28812,"showCount":330,"zanCount":46,"manualWeight":46,"mainColor":47},238820,"dong-gao-lv-xuan-shao-jing-ce-dong-gao-238820",[24,25,111,28,27,36,29,33,34,7,31,114,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3447afc150ba6c05ef584fdb9121a08b.jpg",[],{"id":28814,"slug":28815,"title":10781,"dynasty":296,"author":1617,"museum":561,"description":10219,"tags":28816,"thumbUrl":28817,"material":70,"size":70,"collection":70,"collections":28818,"showCount":330,"zanCount":46,"manualWeight":46,"mainColor":47},238816,"dong-gao-lv-xuan-shao-jing-ce-dong-gao-238816",[24,28,36,29,34,31,32,7,2697],"https:\u002F\u002Foss.chu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雅沉静的旧时光晕，极简的画面铺陈出清远深邃的山水意境。",[24,25,1900,27,36,29,58,112,7,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1af9bea2148ad7c70c4cc2589e8de2f3.jpg",[],{"id":28949,"slug":28950,"title":22353,"dynasty":18,"author":12146,"museum":561,"description":28041,"tags":28951,"thumbUrl":28952,"material":217,"size":660,"collection":70,"collections":28953,"showCount":330,"zanCount":46,"manualWeight":46,"mainColor":47},237799,"shan-shui-shan-li-liu-fang-237799",[24,25,1900,27,36,29,7,34,113,114,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce5f9a3a4461d9d831acdfc3a428e4d5.jpg",[],{"id":28955,"slug":28956,"title":27064,"dynasty":18,"author":14896,"museum":561,"description":27065,"tags":28957,"thumbUrl":28958,"material":70,"size":70,"collection":70,"collections":28959,"showCount":330,"zanCount":46,"manualWeight":46,"mainColor":149},237704,"shan-shui-hua-guo-ce-xiang-sheng-mo-237704",[24,27,36,111,29,33,112,7,31,114,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b2dbd22238bbd19b7e9d9eb235dcc5d.jpg",[],{"id":28961,"slug":28962,"title":6122,"dynasty":296,"author":3038,"museum":561,"description":7062,"tags":28963,"thumbUrl":28964,"material":217,"size":660,"collection":70,"collections":28965,"showCount":330,"zanCount":46,"manualWeight":46,"mainColor":47},237609,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237609",[200,24,25,111,186,27,28,36,29,7,34,96,452,31,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50ee8f4934b2427c1665fbe968f52eac.jpg",[],{"id":28967,"slug":28968,"title":6122,"dynasty":296,"author":3038,"museum":561,"description":6123,"tags":28969,"thumbUrl":28970,"material":70,"size":70,"collection":70,"collections":28971,"showCount":330,"zanCount":46,"manualWeight":46,"mainColor":47},237604,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237604",[24,25,111,27,29,36,186,38,82,34,7,133,33,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefff6300f71cce1079795e22a037fdea.jpg",[],{"id":28973,"slug":28974,"title":1259,"dynasty":296,"author":28975,"museum":561,"description":28976,"tags":28977,"thumbUrl":28978,"material":217,"size":660,"collection":70,"collections":28979,"showCount":330,"zanCount":46,"manualWeight":46,"mainColor":47},237488,"shan-shui-tu-ce-yao-song-237488","姚宋","姚宋（1648—1721），字雨金，一作雨京，号野梅。安徽新安（今安徽歙县）人。清代画家。\n姚宋寓居芜湖。擅长山水画，其初学弘仁，后期广学诸家，成为新安派画家之一。姚宋所画人物、花鸟、鱼虫、兰竹、无不工致。",[24,25,111,27,38,36,29,33,391,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25197dd6820f445565e313861aa9b164.jpg",[],{"id":28981,"slug":28982,"title":1259,"dynasty":296,"author":28975,"museum":561,"description":28976,"tags":28983,"thumbUrl":28984,"material":217,"size":660,"collection":70,"collections":28985,"showCount":330,"zanCount":46,"manualWeight":46,"mainColor":47},237487,"shan-shui-tu-ce-yao-song-237487",[24,111,27,37,38,36,82,29,244,34,2490,1262,363,4858,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86f53938c1969f1a58b6dd58cd34eed5.jpg",[],{"id":28987,"slug":28988,"title":106,"dynasty":296,"author":25428,"museum":561,"description":26214,"tags":28989,"thumbUrl":28990,"material":229,"size":70,"collection":42,"collections":28991,"showCount":330,"zanCount":46,"manualWeight":46,"mainColor":47},237425,"shan-shui-ce-chen-jia-le-237425",[24,111,28,29,36,112,35,201,33,7,364,17210,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e703deb6406f183f4861a74f12275e6.jpg",[42],{"id":28993,"slug":28994,"title":14195,"dynasty":296,"author":14196,"museum":561,"description":14197,"tags":28995,"thumbUrl":28996,"material":70,"size":70,"collection":70,"collections":28997,"showCount":330,"zanCount":46,"manualWeight":46,"mainColor":47},237170,"tang-ren-shi-yi-shan-shui-ce-xiang-mu-zhi-237170",[200,24,28,111,56,36,29,58,34,201,33,7,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e0220a95e35aeb1b326f3f4f9cf1f35.jpg",[],{"id":28999,"slug":29000,"title":27988,"dynasty":296,"author":27989,"museum":561,"description":29001,"tags":29002,"thumbUrl":29003,"material":229,"size":70,"collection":70,"collections":29004,"showCount":330,"zanCount":46,"manualWeight":46,"mainColor":47},237066,"bu-jing-gu-chen-song-mei-guan-he-tu-xiang-bing-fu-shan-shui-ce-xu-zuo-237066","此帧以淡墨轻岚绘就山水小景，数株古松挺立于坡岸，虬枝舒展、松针苍润，尽展古拙挺拔之姿。浅赭晕染坡石，间缀淡墨点苔，板桥横绝溪上，幽蹊间一人策杖徐行，林岫清寂，意境萧散淡远。\n\n左侧行书清隽秀雅，笔墨温润灵动，诗画相映成趣，将林下幽居的闲淡襟怀寄寓尺幅，淡而有味，简中见韵，尽显传统文人画重意境、尚风雅的悠然意趣。",[24,25,111,27,38,36,28,427,7,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff144008ee15b9ec107b71f1f29adeb4f.jpg",[],{"id":29006,"slug":29007,"title":27988,"dynasty":296,"author":27989,"museum":561,"description":29008,"tags":29009,"thumbUrl":29010,"material":229,"size":70,"collection":70,"collections":29011,"showCount":330,"zanCount":46,"manualWeight":46,"mainColor":47},237064,"bu-jing-gu-chen-song-mei-guan-he-tu-xiang-bing-fu-shan-shui-ce-xu-zuo-237064","此作以淡墨写就山居清景，古松虬曲苍劲，石质嶙峋朴拙，茅庐隐于林泉之间，白衣策杖徐行，似正寻幽访鹤。简淡笔墨勾勒出幽寂出尘的林下意趣，皴擦点染皆见文人写意之妙。左侧题诗行书笔意舒展，诗画相映成趣，将林泉高致寄于尺幅之间，悠悠古意漫溢纸面，尽显文人心底的丘壑与幽居雅兴。",[24,25,111,27,29,34,7,1081,58,37,272,390],"http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四季山水图屏风-一屏","此作以淡墨晕染留白绘出覆雪山峦，寒雾将远山晕成虚渺剪影，虬曲枯松倚立危崖，苍劲的松枝带着残绿，破开满山素白的萧寒。山坳间屋舍错落雅致，篱扉前侍者静立，为清寂的山野添上人间暖意。笔意简淡空灵，以无胜有写尽冬雪空蒙，将隆冬山居的安闲清旷揉入尺幅，动静相映，清冷中藏着烟火意韵，尽显东方山水留白写意的悠远意境。",[23,24,25,95,27,28,29,60,427,7,58,612,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e459481ce37d89e8c4717c187229972.jpg",[],{"id":29416,"slug":29417,"title":29418,"dynasty":3017,"author":29419,"museum":561,"description":29420,"tags":29421,"thumbUrl":29422,"material":217,"size":660,"collection":70,"collections":29423,"showCount":330,"zanCount":46,"manualWeight":46,"mainColor":149},231585,"shi-ting-shi-dai-gao-shi-tan-mei-shan-shui-tu-shou-ye-zheng-xin-231585","室町时代 高士探梅山水图","狩野正信","狩野正信（1434～1530）是足利幕府御用画家，狩野派的始祖。这一派的“大和化”中国画风曾统治日本画坛三百余年。他曾受画僧天章、周文（日本水墨画画风的代表）的影响，但其水墨山水不是以笔墨表现禅意，而是轮廓清晰，这正是发挥了日本艺术固有的纤细风格。",[23,24,25,28,56,36,29,58,1838,390,427,7,133,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ba5e9cd2a0636c0c03c1aa4dd653c9b.jpg",[],{"id":29425,"slug":29426,"title":29427,"dynasty":296,"author":29428,"museum":561,"description":29429,"tags":29430,"thumbUrl":29431,"material":70,"size":70,"collection":70,"collections":29432,"showCount":330,"zanCount":46,"manualWeight":46,"mainColor":149},230871,"zhi-hua-chun-shan-dai-du-tu-zhu-lun-han-230871","指画春山待读图","朱伦瀚","《指头生活三百年:高其佩与指头画派(套装共2册)》内容简介：指头画，即以手代笔，蘸墨作画。\n中国传统绘画中的一种特殊的画法。\n即以画家的手指代替传统工具中的毛笔蘸墨作画，别有一种特殊趣味和技巧。\n历史上清代高其佩、近代潘天寿、洪世清所作指画作品其影响较大。\n辽宁与指头画有着深厚的渊源，指头画开派人物清代的高其佩祖籍是辽宁的铁岭。\n其弟子传派众多，至清末已达百余人，遂有“指头画派”之称，在清代绘画史中占有一席之地。\n国内著名的指墨家杨一墨就是辽宁开原人，现为铁岭中国手指画研究院院长。\n目前辽宁地区活跃着一批热爱和研究指画艺术、颇具影响力的画家。\n《指头生活三百年:高其佩与指头画派(套装共2册)》由辽宁美术出版社出版。\n《指头生活三百年·上卷》目录： 涂洛陆日为合绘高其佩洗聪明图 指头生活——高其佩作品 杂画册 策杖观涛图 江岸笛声图 蜘蛛图 苍鹰待擒图 梅竹图 鱼虾图 风帆出峡图 三牛图 猿戏图 狮子听泉图 策杖行旅图 松鹤图 人物杂画册 荷花翠鸟图 北上京师纪游册 游骑图 蜀葵图 天宁寺图 捕鱼图 拈针图 臼沟河图 龙图 虎图 樱桃小鸟图 冰图 石首鱼图 青菜图 竹石花卉图册（笔画） 三石图 牡丹图 山茶图 玉兰图 兰花圈 牡丹图 桂花圈 芙蓉图 萱草海棠图 松树图 梅树图 竹枝图 花鸟图 古木幽亭图 雪景山水图 柳塘鸳鸯图 钟馗降魔图 鱼虾水戏图 溪桥古木图 杜陵诗意图 怒容钟馗图 杂画图册 雁归图 沧海孤舟图 松驴图 松下授经图 鱼戏图 枝头小鸟图 风竹图 牡丹图 兰花图 凤凰梧桐图 狮子观瀑图 秋菊图 花卉图册 黄菊图 葡萄图 兰花图 出水芙蓉图 萱花图 虞美人图 绣球花图 桃花图 牡丹图 梅花图 杂画图册 骏马图 蜷猫图 鲜果图 枝图 佛手图 荚蓉图 寄生草图 竹笋图 杂画图册 桂兔图 月季图 双燕图 秋葵图 柳鸶图 萱草图 桃花游鱼图 柳荫扁舟图 杂画册 洛神图 孤帆远景图 钟旭图 云龙图 猛虎图 牧童图 松鼠图 寒泉图 雁陈图 静观图 人物杂画图册 老翁携仆图 风竹图 枝头孤鸟图 疏木流泉图 顽石花卉图 捕蝶仕女图 菊兰图 雉鸡图 依松听泉图 山中高士图 观瀑图 俯视一切图 游骑图 观潮图 春游图 深谷水泻图 采芝图 云中钟馗图 钟馗图 文昌像 麒麟送子图 牛背诵经图 鸿雁图 秋柳水鸟图 雄鸡水仙图 石崖雄鸡图 梧桐喜鹊图 草兰花图 牡丹图 松鹰图 松鹰图 松鹰图 雄鹰窥雀图 鹰木图 云龙图 山君饮涧图 踞虎图 饱虎图 虎啸图 喜报封侯图 松鹿图 题画诗十二首 高其佩款印 高其佩年表 指画生息——指画传派作品 朱伦瀚山虎咆哮图 朱伦瀚云龙图 朱伦瀚龙虎风云图 朱伦瀚春山待读图 朱伦瀚逆流撑篙图 朱伦瀚松下观泉图 朱伦瀚仙山春晓图 朱伦瀚松溪论道图 朱伦瀚山水杂画册 朱伦瀚杂画图册 高凤翰花卉图册 李世倬钟馗策蹇图 李世倬雄鸡菊石图 薛渔柏鹿双寿图 高秉杂画册 朱孝纯山水图册 苏廷煜梅兰竹菊册 苏廷煜杂画册 苏廷煜墨竹图 罗聘团扇徘徊图 罗聘西瓜图 严钰仿高其佩溪山竹居图 张敌钟馗图 甘士调芙蓉水禽图 甘士调松鹰图 甘士调春燕图 甘士调藕蟹图 甘士调荷花游禽图 傅雯钟馗图 傅雯观音变相图 傅雯山亭赏雪图 傅雯罗汉图 傅雯目送归鸿图 傅霞杂画册 傅雯观音变相图 傅雯山水图 杜鳌山水册 萧景云兰花图 崇善罗汉降龙伏虎图 黄骍花卉禽鸟册 瑛宝杂画册 瑛宝杂画册 瑛宝观瀑图 萨克达氏花鸟图 萨克达氏山平水远图 刘锡玲墨莲图 刘锡玲花鸟册 刘锡玲桃花源图 蒋璋白鹅图 李春林柳燕图 指墨生辉——近现代指画作品 潘天寿新安江景图 潘天寿墨蛙图 袁贤麟牧牛图 宁斧成大好山河图 梁崎老子骑牛图 宋世传山水图 吴在炎山水瀑布图 吴在炎君子之交图 吴在炎韵满荷塘图 万一鹏古木云萝图 筱原光美达摩图 藤沢正子山花浪漫 张立辰梅花图 王曼如松树图 吴俊达松鼠图 林奇英前程似锦图 张林极乐世界图 吴景原猛虎图 王洪泰梅颂图 四明一风牡丹猫图 花艳寻觅图 路建群墨梅图 虞小风几度夕阳红图 龚继先竹藕图 宋雨桂枯树图 许勇亲情图 亓官良关东情 杨宝峰金秋图 赵宝平人远江天图 张晖春江水暖图 荆成义红颜图 冯朝辉孤影浮云图 杨一墨果实累累 杨一墨指点绿谷 杨一墨弃杖画中行 宋希祥指蘸清溪写山河 顾鹤冲高寒图 韩富华达摩面壁图 尹向东秋风秋雨也宜人 李永平花鸟图 曹伟秋院晓露图 王嘉宁山居图 赵伟山里人家图 王晓峰关山行 吴润龄千里雪茫茫 张桂生清溪幽谷出 王作千关山指画写生 王岩吴昌硕像 刘永春踏花归来马蹄香 朱兆东野趣图 张晓风万岁和平 高辉荒塬 杜晓波山里人家 张凤权春到家山 杨春福安图 千晓东西藏人物之三 邓云凉送给建设者的果实 赵明明十里秋色图 辛杰吉祥三宝 左群好年头 干晓畅秋实 黄辞培花鸟 刘懿娜丰硕 宋立欣金州写生 任刚荷塘秋色 都立春清晨入古寺 董德敏生命的期待 王均亮月下香雪 张丽敏山居 刘丹人物 高敏群鸡图 陈铁生彝乡风情 子墨风烟秋色 干一丁山水 张儒一雨清心 后记 …… 《指头生活三百年·下卷》",[23,24,25,95,28,13761,58,29,96,7,36,300],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F707cad4fc65c61dfbf21de15bf26ca76.jpg",[],{"id":29434,"slug":29435,"title":29436,"dynasty":296,"author":2784,"museum":561,"description":29437,"tags":29438,"thumbUrl":29439,"material":70,"size":70,"collection":70,"collections":29440,"showCount":330,"zanCount":46,"manualWeight":46,"mainColor":149},230869,"san-shi-tu-hua-yan-230869","三狮图","以水墨绘就幽谷林泉，飞泉直落，古藤垂挂缠绕，泼墨晕染出山岩苍润空濛的野逸氛围。画幅下方三狮错落，两白狮以淡墨勾皴毛发，蓬松柔润，神态威沉内敛；黑狮浓墨重染，身形劲健，昂首侧目，似在静听流泉之声。\n\n动静相映间，将猛兽的悍勇与山林的幽寂相融。笔墨干湿浓淡变化自如，以写意山水衬走兽之态，工写结合，既具文人水墨的清雅韵致，又精准捕捉雄狮的沉雄威仪，尽显山林间的生息意趣与笔墨灵韵。",[23,200,24,95,27,300,1396,7,130,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67fb63370229788ee8f454348ec5929e.jpg",[],{"id":29442,"slug":29443,"title":29444,"dynasty":296,"author":436,"museum":561,"description":29445,"tags":29446,"thumbUrl":29447,"material":70,"size":70,"collection":70,"collections":29448,"showCount":330,"zanCount":46,"manualWeight":46,"mainColor":149},230339,"luo-han-du-hai-tu-yi-ming-230339","罗汉渡海图","开篇海门轻启，仙娥探身，沧澜翻涌成涡，细密灵动的线条将水势浩渺汹涌尽显。罗汉们或乘龙踏浪，或引虎随行，奇妖异仆持械护法，红芒隐于周身，诡谲间不失神圣气象。\n\n后半段峰崖叠翠，古松虬劲，众罗汉缓行林间，或驻足对谈，或盥手小憩，神态悠然松弛。全卷工笔设色雅致清润，人物形貌各异，毛发衣褶分毫毕现，山海之景虚实相生，将渡海登岸的奇幻禅意晕染开来，叙事性与观赏性兼具，尽显仙佛绘卷的古典意趣。",[23,24,28,56,26,784,58,29,907,2241,1396,133,34,7,3020],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff86155df94a6033f55373ac4bdebf0ed.jpg",[],{"id":29450,"slug":29451,"title":29452,"dynasty":296,"author":436,"museum":561,"description":29453,"tags":29454,"thumbUrl":29456,"material":217,"size":660,"collection":70,"collections":29457,"showCount":330,"zanCount":46,"manualWeight":46,"mainColor":149},229064,"qian-long-qi-nian-ci-tai-yang-cai-hai-he-lai-chao-yu-huan-dan-ping-yi-dui-yi-ming-229064","乾隆七年 磁胎洋彩海鹤来朝玉环胆瓶一对","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。 这一时期，以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[439,25345,29455,28,56,488,7,5869,1273],"洋彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb23604782d1aca8a0094bc1e52b9fbfd.jpg",[],{"id":29459,"slug":29460,"title":29461,"dynasty":296,"author":3038,"museum":561,"description":29462,"tags":29463,"thumbUrl":29464,"material":70,"size":70,"collection":70,"collections":29465,"showCount":330,"zanCount":46,"manualWeight":46,"mainColor":47},229023,"hong-ye-bai-yun-tu-wang-hui-229023","红叶白云图","此作用浅绛设色铺就秋山胜景，远景山峦隐在烟岚之中，虚渺朦胧似笼轻纱，尽显山林悠远空寂。中景层峰叠翠，茂林深秀，山居幽藏其间，流泉隐隐透出山野生机。近岸丹枫点染，古木盘曲苍劲，白石映着清溪，村舍错落排布，漾出闲适悠然的田园意趣。\n笔墨兼工带写，干笔皴擦勾勒山体肌理，淡墨晕染铺就流云轻烟，设色清润雅致，将秋日山林明静温煦的氛围晕开，既有古法山水的沉静古意，又饱含鲜活的自然意趣，把秋山清远秀逸之韵娓娓绘就。",[23,24,95,29,28,36,671,1067,7,34,30,31,35,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8dbb2a25874ce00d981fc9fd7c73488f.jpg",[],{"id":29467,"slug":29468,"title":2840,"dynasty":296,"author":3038,"museum":561,"description":29469,"tags":29470,"thumbUrl":29471,"material":70,"size":70,"collection":70,"collections":29472,"showCount":330,"zanCount":46,"manualWeight":46,"mainColor":47},229016,"fang-gu-shan-shui-ce-wang-hui-229016","此作取冬初水村之景，淡墨晕染出濛濛寒雾，远山以留白素裹，将冬日清寂铺陈开来。堤岸老柳残条轻垂，陂塘枯敛的莲叶错落，村舍隐于深林之间，曲径蜿蜒通幽，寥寥数笔便将村居安闲静谧勾勒尽致。\n\n用笔秀润雅致，以淡赭轻敷衬出秃木苍劲，墨色与留白相映，氤氲出空濛冷冽的水乡冬韵，将江南冬日清寒又安宁的诗意藏于尺幅间，尽显文人山水温婉雅致的意趣。",[24,2843,36,28,29,242,415,113,97,133,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02b388f3716f969182de3b18816e228a.jpg",[],{"id":29474,"slug":29475,"title":29476,"dynasty":124,"author":29477,"museum":561,"description":29478,"tags":29479,"thumbUrl":29480,"material":217,"size":660,"collection":70,"collections":29481,"showCount":330,"zanCount":46,"manualWeight":46,"mainColor":47},227940,"shi-liu-ying-zhen-tu-quan-juan-fan-long-227940","十六应真图全卷","梵隆","描绘的正是十六位罗汉在传法和生活的情景。应真是佛教中的罗汉，十六应真均是释迦牟尼的弟子，佛经上说他们常驻人间，受供养又为世人谋福音。画面上的十六位罗汉形态逼真，各具神采，他们有的经禅祐坐，有的净发挑耳，憨态可掬的笑容，怡然自得的神态，整幅画面宁静祥和，特别是罗汉自在超然的气质神韵跃然纸上。",[23,24,26,712,56,784,58,427,7,4542],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd10268ecf905a9121bc8da42041b337.jpg",[],{"id":29483,"slug":29484,"title":29485,"dynasty":124,"author":436,"museum":561,"description":29486,"tags":29487,"thumbUrl":29488,"material":70,"size":70,"collection":70,"collections":29489,"showCount":330,"zanCount":46,"manualWeight":46,"mainColor":250},227855,"shan-yao-lou-guan-tu-ye-yi-ming-227855","山腰楼观图页","此作以水墨绘危峰陡立，云雾如纱空蒙，将山体半隐，仅留山腰楼宇静踞林麓。以斧劈皴利落勾勒山石筋骨，墨色由浓转淡晕染烟岚，虚实相生衬出幽谷空寂幽深。\n\n咫尺扇面以少胜多，尽显简淡空灵意趣，将林泉高致藏在淡墨轻岚间。题诗与画境呼应，把寻仙慕隐的出世之思融于山水，淡远清逸，观之如临其境，似可凭栏观山、静听穿林风声，幽远超脱的山居雅境跃然绢上。",[23,24,25,1900,29,60,7,34,57,36,28,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F274facbfdb6c3c7e5bdce52d2bca3976.jpg",[],{"id":29491,"slug":29492,"title":29493,"dynasty":124,"author":436,"museum":561,"description":29494,"tags":29495,"thumbUrl":29496,"material":70,"size":70,"collection":70,"collections":29497,"showCount":330,"zanCount":46,"manualWeight":46,"mainColor":149},227360,"zhan-dao-heng-lv-tu-ye-yi-ming-227360","栈道行旅图页","中国水墨发展伊始, 人们毕其功于将现实景象“转移”到二维画面上来。为了实现这种“转移”, 画家势必力求取景的完满与全面, 于是, 全景式构图诞生了。在这些大幅壁画、长卷或立轴的绘画作品中, 人物画多背景完整、气象宏大;山水画则恢宏壮阔、境界舒朗;至于以牛马等动物禽畜为题材的绘画, 则或量多、或体大, 每每也是通过大幅形制来展现。\n\n然而, 两宋时期, 中国山水画开始由北宋的磅礴雄壮向南宋的“一角半边”过渡。由墙壁转为纸绢的轴、卷、册、扇, 逐渐促成绘画由公共艺术转向私人艺术。区别于北宋山水画提倡的“外师造化”, 南宋文人画转而“内师诸心”, 为绘画开启了类似寄情寓性的功能。",[23,24,200,25,1465,28,29,214,58,215,242,7,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75b65495671b6e37fe5a1bbe7ea1b7d6.jpg",[],{"id":29499,"slug":29500,"title":29501,"dynasty":3017,"author":436,"museum":561,"description":22669,"tags":29502,"thumbUrl":29504,"material":217,"size":660,"collection":70,"collections":29505,"showCount":330,"zanCount":11,"manualWeight":46,"mainColor":663},225317,"fu-shi-hui-56-yi-ming-225317","浮世绘56",[22672,29503,28,4405,82,1990,242,7],"嵌螺钿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63ea9f568e642200151d387e3f7a41d6.jpg",[],{"id":29507,"slug":29508,"title":29509,"dynasty":18,"author":9640,"museum":561,"description":29510,"tags":29511,"thumbUrl":29512,"material":70,"size":70,"collection":70,"collections":29513,"showCount":330,"zanCount":46,"manualWeight":46,"mainColor":47},224562,"shu-hua-ce-ye-27-xiao-yun-cong-wang-shi-zhen-224562","《书画册页》-27","近景苍松虬曲古拙，苔痕覆于顽石，执杖行人徐行溪桥，柴扉轻掩，僮仆静候于竹篱茅舍侧，修篁环绕更添幽寂。飞瀑穿谷蜿蜒而下，层叠山峦以朴拙皴法写就，山石棱角间点染丹色，暗合秋意。\n整幅画作以元人笔意写林泉幽居，笔墨简淡松秀，淡赭轻施衬出山野清秋之致。题字清雅隽秀，与山水笔墨相映成趣，将文人寄情丘壑的雅逸襟怀融于尺幅之中，把山野幽居的静穆恬然尽数铺陈，尽显淡远清寂的林下之风。",[24,25,111,28,27,36,29,58,60,31,7,272,18961,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe17b3a9e13051ba3c52fdb0d84755f1c.jpg",[],{"id":29515,"slug":29516,"title":29517,"dynasty":296,"author":1406,"museum":561,"description":29518,"tags":29519,"thumbUrl":29520,"material":70,"size":70,"collection":70,"collections":29521,"showCount":330,"zanCount":46,"manualWeight":46,"mainColor":149},224412,"shu-hua-shi-liu-kai-13-wang-shi-min-224412","书画十六开-13","此作以平远之法铺陈山水，近岸怪石古拙，杂木错落间茅舍隐于林麓，野意悠然。中景湖波澹澹，洲渚横斜，远景山峦层叠，以淡墨晕染出空濛烟岚，将天地开合尽纳尺幅。\n\n笔墨温润苍秀，干笔皴擦间带着醇厚的仿古意趣，淡赭设色晕染绢素，衬出草木清润。右上角题款清雅融于景致，整体气息静穆萧散，将江南山水的温婉沉静铺展开来，尽显文人幽居林泉的雅怀，于仿古之中自出机杼，尽显简淡冲和的文人画意趣。",[23,24,28,36,111,29,30,31,96,7,35,1140,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F528be01158804a7b2b58896cf758f1ed.jpg",[],{"id":29523,"slug":29524,"title":29525,"dynasty":296,"author":498,"museum":561,"description":29526,"tags":29527,"thumbUrl":29528,"material":70,"size":70,"collection":70,"collections":29529,"showCount":330,"zanCount":46,"manualWeight":46,"mainColor":47},224400,"ceng-yan-die-cui-wang-yuan-qi-224400","层岩叠翠","这幅山水以干笔积墨写就，山峦层叠开合，取深远章法铺陈丘壑。以干笔皴擦反复叠加墨色，从淡到浓层层积染，山石质感浑厚苍润，尽显沉雄静穆之气。\n山道蜿蜒藏露，溪涧顺势穿林而过，林木错落穿插其间，山居人家隐于深谷，暗合幽寂野趣。笔墨承元人遗韵又自出机杼，于细碎皴染间，将山川郁茂生机与沉静浑融的意蕴合为一体，尺幅之中带着大山大水的苍郁气象，尽显正统山水画的笔墨风骨。",[23,24,25,128,36,5229,8539,111,7,34,31,130,134,97,201,138,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a7750b4b0b146fdc1e4a74f70bc9e63.jpg",[],{"id":29531,"slug":29532,"title":29533,"dynasty":296,"author":498,"museum":561,"description":29534,"tags":29535,"thumbUrl":29536,"material":70,"size":70,"collection":70,"collections":29537,"showCount":330,"zanCount":46,"manualWeight":46,"mainColor":47},224384,"fang-da-chi-shan-shui-wang-yuan-qi-224384","仿大痴山水","《设色仿大痴山水图》是清代王原祁创作的设色山水画，现收藏于沈阳故宫。\n重要展览 219年9月2日，该作品在“锦绣江山——沈阳故宫藏山水画特展”中展出。",[23,200,24,25,95,28,29,7,34,565,31,133,36,186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc489ecfc1c06d7bcf6b15139b503e79.jpg",[],{"id":29539,"slug":29540,"title":29541,"dynasty":296,"author":12113,"museum":561,"description":29542,"tags":29543,"thumbUrl":29544,"material":70,"size":70,"collection":70,"collections":29545,"showCount":330,"zanCount":11,"manualWeight":46,"mainColor":47},224277,"shan-shui-hua-hui-ce-shi-fu-shan-224277","山水花卉冊(十)","此作用淡墨晕染出春日烟雨郊野，线条温润舒缓，山峦以写意勾勒辅以浅皴，不见凌厉锋芒。平泽两岸烟柳成林，屋舍隐于软枝茂叶间，远山含黛隐没在氤氲雾气里，留白烘托出水墨交融的空濛氛围。\n整体构图开合自然，萧散松弛的文人意趣藏于笔墨间，澹泊清远中带着杨柳柔媚的春日意态，以极简的题字呼应画面的简淡，将林泉隐逸的闲静心境寄于其中，淡而不寡，简中含情，尽显文人画以画抒怀的雅致格调。",[23,24,25,27,36,111,29,34,7,35,114,5267],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4917e8b136dce45a1cbd12bb86d9a6e2.jpg",[],{"id":29547,"slug":29548,"title":29549,"dynasty":296,"author":436,"museum":561,"description":29550,"tags":29551,"thumbUrl":29552,"material":70,"size":70,"collection":70,"collections":29553,"showCount":330,"zanCount":46,"manualWeight":46,"mainColor":149},224241,"fu-gui-shuang-quan-tu-yi-ming-224241","富贵双全图","此作以工笔重彩绘就，石上瑞禽翎羽妍丽华贵，尾屏铺陈如曳地织锦，眼斑历历分明，身姿舒展振翅，雄健灵动恍似将引吭长啼。石下名花雍容绽放，紫艳朱红缀于翠叶间，与苍奇湖石相映成趣。花叶勾勒细腻入微，敷色明润雅致，晕染过渡自然柔和。\n\n整幅疏密相宜，重工轻写兼具，既有院体画的精工富丽，又暗含文人雅韵，以瑞禽名花寄寓吉庆意涵，笔致间尽显雍和雅致的太平气象。",[23,24,25,95,56,28,62,63,441,7,489],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F357232fb0e7e36d29e9bf562a2612aa2.jpg",[],{"id":29555,"slug":29556,"title":29557,"dynasty":124,"author":436,"museum":561,"description":29558,"tags":29559,"thumbUrl":29560,"material":70,"size":70,"collection":70,"collections":29561,"showCount":330,"zanCount":46,"manualWeight":46,"mainColor":149},223654,"yuan-shui-yang-fan-tu-yi-ming-223654","远水扬帆图","《宋人画远水扬帆》是南宋佚名画家创作的一幅表现江南水乡之美的中国古画。\n青山数抹，远浮天际。\n烟波浩渺的江面上，一阵劲风，将江边突岩上树叶茂密的大树吹弯了身子，也将江上三艘客船直往江心推去。\n江畔一位白衣隐士，带着琴童，正打算漫步到岩边林荫下的茅亭里。\n明朗的景境，流露着几分闲适、畅快的朝气。\n南宋偏安江南，江南水乡的杏花春雨，便逐渐取代华北的千岩万壑，成为画家描绘的主要对象。\n反映在作品里，除了云烟弥漫外，最大的特色，便是「水」的增加。\n在这幅「远水扬帆」里，我们可以看出吸引隐士策杖前来的，除了远山帆影外，也正是这一片映照山、天之影的江水。\n「远水扬帆」图上没留下名款，画中紧密的画叶画水的方法，和画石头的小斧劈皴法，都与南北宋之交 的名作「江山小景」相似。\n而左实右虚的半边构图，也是南宋常见的布局方式。\n隐士主仆俩身上寥寥廓廓的几根线条，也属南宋点景人物惯见的作风。\n这幅作品是一幅南宋表现江南水乡之美的典型佳作。",[23,200,24,25,951,142,28,6043,36,34,415,227,7,113,1080,58,114,4360,4182,1932,11299,1397],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72cbaf521890fbde5497afffb62995ae.jpg",[],{"id":29563,"slug":29564,"title":29565,"dynasty":296,"author":436,"museum":1043,"description":29566,"tags":29567,"thumbUrl":29568,"material":29569,"size":29570,"collection":70,"collections":29571,"showCount":330,"zanCount":46,"manualWeight":46,"mainColor":149},223486,"wu-kuan-lian-she-yi-ming-223486","无款莲社","画白莲群聚的白莲，白莲群庐山俗地净莲，是佛教末年山东林寺僧人慧远修士所建。 以慧远为首的“十八圣”，有两个界面，专职人员，有同伙，学佛修行。",[24,25,26,712,784,58,29,30,31,34,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdbbe4bdab61cf202a84f218f71d1300.jpg","絹本、設色","35x849cm",[],{"id":29573,"slug":29574,"title":29575,"dynasty":296,"author":8003,"museum":13030,"description":25897,"tags":29576,"thumbUrl":29578,"material":246,"size":25904,"collection":70,"collections":29579,"showCount":330,"zanCount":46,"manualWeight":46,"mainColor":47},223314,"fa-jie-yuan-liu-tu-juan-8-ding-guan-peng-223314","法界源流图卷-8",[23,24,25,26,784,56,28,58,427,1140,7,34,1635,29577,66],"兽类","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79abe8c8eb4e0f02acfd507fe752e49e.jpg",[],{"id":29581,"slug":29582,"title":29583,"dynasty":296,"author":2706,"museum":53,"description":10417,"tags":29584,"thumbUrl":29585,"material":203,"size":29586,"collection":70,"collections":29587,"showCount":330,"zanCount":46,"manualWeight":46,"mainColor":149},223120,"hui-yu-bi-fan-cheng-da-fen-sui-ci-zhou-dong-bang-da-223120","绘御笔范成大分岁词轴",[23,24,25,95,56,36,28,37,82,38,29,58,35,34,7,242,22012],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d3d91960ab7f8a64757d76c1aac586d.jpg","112.9cmX28.7cm",[],{"id":29589,"slug":29590,"title":29591,"dynasty":296,"author":10003,"museum":360,"description":29592,"tags":29593,"thumbUrl":29594,"material":142,"size":29595,"collection":70,"collections":29596,"showCount":330,"zanCount":46,"manualWeight":46,"mainColor":47},223099,"fang-fan-kuan-shan-shui-zhou-tang-dai-223099","仿范宽山水轴","此画作者采用全景似的构图，使近、中，远景层次分明，中心突出。\n远景山峦重叠，主峰矗立，气势雄伟，山巅间烟云缭绕，云气弥漫，似浮起润泽的雾气；中景峰峦对峙，林木丛生，烟锁山腰，山坳中树木茂密，层次分明，满而不塞，两座秀丽的楼阁屋宇隐显于烟光浮动之中，寂静的山林更增添了幽邃之感。近处为坡石丛林，两坡石间高架有一座木桥，两山峡谷间溪水直流而下，汇聚于溪水之中，左侧溪水边，座落着几间房舍，掩映在浓密的丛树荫底",[23,24,25,95,29,186,36,27,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe688d58fa90bd041577c62dc09e8dbba.jpg","155.3x74.4",[],{"id":29598,"slug":29599,"title":29600,"dynasty":78,"author":8453,"museum":53,"description":29601,"tags":29602,"thumbUrl":29603,"material":601,"size":29604,"collection":70,"collections":29605,"showCount":330,"zanCount":46,"manualWeight":46,"mainColor":149},221717,"hua-yuan-zhou-yan-hui-221717","画猿轴","此幅画挂岩老树，上着两猿，一猿抱干，一猿挂枝，树下画细腰蜂十四尾。两猿弄蜂，作好事而又畏缩之状；树枝挂猿，着重直垂而下，有低昂不定之势。画笔老辣，揣拟传神。另猿猴二字常连用，蜂与猴又和“封侯”谐音，故旧画中往往取此吉祥意义为题作画。\n悬崖树上，二猿攀爬。一只抱着树干，一只挂在枝梢，树枝因负重而下垂，犹有低昂摇摆之态。右下方有一蜂群，两猿目视，既惊又喜的表情，仿佛若现，意态甚是生动。中国画中常绘有猿猴（hou）和蜂（feng）的作品，目的在取“封侯”（feng hou）谐音，用为祝贺升官晋爵的表征，深富吉祥喜庆的寓意",[23,24,95,27,5004,5869,8338,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3151198714c161d81cfe5e9c962e09bb.jpg","131.8x67公分",[],{"id":29607,"slug":29608,"title":29609,"dynasty":296,"author":20197,"museum":2286,"description":29610,"tags":29611,"thumbUrl":29612,"material":20201,"size":20202,"collection":70,"collections":29613,"showCount":330,"zanCount":46,"manualWeight":46,"mainColor":70},220744,"shan-shui-ji-3-wang-shi-min-weng-ling-wu-hong-deng-220744","山水集3","此作用笔苍劲老辣，以披麻皴写山峦层叠，淡墨晕染间烟岚轻笼，尽显山川空濛灵秀。山脚村居错落掩映，古木扶疏，干笔点叶尽显虬枝苍劲，林泉间野趣悠然。\n\n画面兼具高远、平远之致，山峦逶迤舒展，将山野幽居的静穆闲逸融于尺幅，题款古雅朴拙，与画面意境相得益彰。整体清寂淡远，既有传统山水的章法意趣，又带着疏放的文人笔墨情致，藏着画师对林泉高致的栖心向往，淡墨轻岚间绘出江南山居的悠然意韵。",[24,27,36,111,29,837,112,35,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaae731b9dae7bc42a3658c425546d3d.jpg",[],{"id":29615,"slug":29616,"title":29617,"dynasty":296,"author":2948,"museum":360,"description":13138,"tags":29618,"thumbUrl":29619,"material":229,"size":13141,"collection":70,"collections":29620,"showCount":330,"zanCount":46,"manualWeight":46,"mainColor":47},220292,"huang-shan-tu-ce-34-hong-ren-220292","黄山图册-34",[23,200,24,25,111,27,712,36,29,7,427,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff84559c0f2c7cbcaa548a5c6e5ffdd9e.jpg",[],{"id":29622,"slug":29623,"title":29624,"dynasty":296,"author":2948,"museum":360,"description":13138,"tags":29625,"thumbUrl":29626,"material":229,"size":13141,"collection":70,"collections":29627,"showCount":330,"zanCount":46,"manualWeight":46,"mainColor":47},220280,"huang-shan-tu-ce-44-hong-ren-220280","黄山图册-44",[23,200,24,25,111,27,36,29,30,31,427,7,58,130,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa21470b7f1a2d452117e27065c43f0e3.jpg",[],{"id":29629,"slug":29630,"title":29631,"dynasty":296,"author":2948,"museum":360,"description":13138,"tags":29632,"thumbUrl":29633,"material":229,"size":13141,"collection":70,"collections":29634,"showCount":330,"zanCount":46,"manualWeight":46,"mainColor":47},220274,"huang-shan-tu-ce-49-hong-ren-220274","黄山图册-49",[23,24,25,111,27,36,29,427,7,31,60,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe71bd4770863ba162bf7f722a936374b.jpg",[],{"id":29636,"slug":29637,"title":29638,"dynasty":296,"author":2948,"museum":360,"description":13138,"tags":29639,"thumbUrl":29640,"material":229,"size":13141,"collection":70,"collections":29641,"showCount":330,"zanCount":46,"manualWeight":46,"mainColor":47},220272,"huang-shan-tu-ce-51-hong-ren-220272","黄山图册-51",[23,200,24,25,111,27,36,29,2901,7,34,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F878124d4212b5065f64f157660ee3b03.jpg",[],{"id":29643,"slug":29644,"title":29645,"dynasty":296,"author":8669,"museum":20,"description":28487,"tags":29646,"thumbUrl":29647,"material":229,"size":28490,"collection":70,"collections":29648,"showCount":330,"zanCount":46,"manualWeight":46,"mainColor":47},219831,"ren-wu-ce-ye-4-ren-xiong-219831","人物册页-4",[24,25,111,28,56,58,391,112,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa782cfb9c2d55dcd6bf8ebdd0505ab1f.jpg",[],{"id":29650,"slug":29651,"title":29652,"dynasty":18,"author":29653,"museum":15750,"description":29654,"tags":29655,"thumbUrl":29656,"material":116,"size":70,"collection":70,"collections":29657,"showCount":330,"zanCount":46,"manualWeight":46,"mainColor":47},218487,"ri-ben-mu-tong-tu-zhuo-zong-deng-yang-218487","日本· 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r":47},236020,"ren-wu-tu-ce-jie-qian-lv-ren-wen-nan-shou-mao-weng-236020","人物图册－阶前旅人","此作用笔松秀简淡，淡设晕染出乡野幽居之景。柴扉小屋静立坡岸，旅人临阶轻叩，将羁旅投宿的温软烟火气，揉进林木扶苏、苔石隐现的清寂山野里，动静之间，恰到好处。\n左侧题诗与画境相映成趣，隽雅书法配搭闲淡诗句，把杜诗中的酒意闲情融在笔墨之中。整体萧散疏朗，带着独有的简淡天真，于尺幅之间铺陈出悠远林下诗意，藏着旧时文人对幽居雅趣的追慕，诗画合璧，意境淡远悠长。",[24,25,111,28,38,82,29,58,34,7,31,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd13592dbc8d988fb7271b43340dd571.jpg",[],{"id":30383,"slug":30384,"title":30385,"dynasty":18,"author":436,"museum":561,"description":30386,"tags":30387,"thumbUrl":30388,"material":70,"size":70,"collection":70,"collections":30389,"showCount":371,"zanCount":46,"manualWeight":46,"mainColor":47},235850,"lu-zhi-zhi-xing-shan-tu-ye-yi-ming-235850","陆治支硎山图页","此作诗书画合璧，尽展幽山雅境。右侧画中枯木蟠曲苍劲，崖岩层叠错落，山坳间村居隐现，恍若世外幽居。淡赭晕染远山，墨色清浅柔润，尽显山林空寂冷逸之致。左侧题笔清隽秀雅，以文字考据山地方志，与画面相映成趣，将吴中山林的幽寂野趣融于尺幅之间。笔墨简淡松灵，设色浅淡明净，带着温婉清逸的格调，把荒寒幽隐的山景之美娓娓铺陈，尽显文人山水的雅致意趣。",[24,25,111,28,36,38,37,29,96,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2376ab2c236666ad1f05c99a9eba1b16.jpg",[],{"id":30391,"slug":30392,"title":30393,"dynasty":296,"author":436,"museum":561,"description":30394,"tags":30395,"thumbUrl":30396,"material":70,"size":70,"collection":70,"collections":30397,"showCount":371,"zanCount":46,"manualWeight":46,"mainColor":47},235784,"zhu-jia-shu-hua-he-bi-ce-xu-qiu-fang-wang-meng-shan-shui-ye-yi-ming-235784","诸家书画合璧册-徐釚仿王蒙山水页","此作用笔简淡清隽，以枯墨勾勒山水层次。远景山峦以淡墨晕染，朦胧间藏起村居茅舍，恍若世外幽乡。中景湖面留白成趣，衬出水天寥空，汀渚杂木萧疏，暗合清秋闲寂意韵。近景怪石虬松笔法苍劲，化用王蒙繁复皴点却删繁就简，只留苍古意态。\n书画合璧，题识笔意潇洒，与山水淡远气质相融。全幅不着艳色，以笔墨骨力撑起身韵，将摹古之工与文人写意之趣相合，淡墨轻岚间尽显林泉高致的隐逸心曲，简雅悠长。",[24,25,111,27,36,29,34,7,114,1889,60,96,452,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e8c27d6d6111c0d05e6d997af3f5fc8.jpg",[],{"id":30399,"slug":30400,"title":30401,"dynasty":296,"author":1331,"museum":561,"description":30402,"tags":30403,"thumbUrl":30404,"material":70,"size":70,"collection":70,"collections":30405,"showCount":371,"zanCount":46,"manualWeight":46,"mainColor":47},235774,"qing-chu-liu-da-jia-ji-ce-fang-huang-gong-wang-shan-shui-ye-yun-shou-ping-235774","清初六大家集册-仿黄公望山水页","此作用枯淡笔墨勾勒皴擦山峦，峰峦清拔却无迫人之态，线条松秀温雅，尽得元人山水萧散之致。近处坡岸杂木萧疏，枝桠错落间漫染清秋意趣，几处村居散落在水畔山坳，淡写闲淡烟火日常。\n\n画作追摹黄公望苍浑简远的气韵，舍弃浓墨重彩，以空灵留白晕染出江南丘壑的静穆淡远。笔底皴点看似疏简随性，实则藏着师古而不泥古的巧思，将文人画的雅洁淡远融于尺幅之间，尽显林下之风的平和逸趣。",[24,27,29,186,36,111,7,34,35,31,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1086554c4417a79cac04135f0425a476.jpg",[],{"id":30407,"slug":30408,"title":2840,"dynasty":296,"author":30409,"museum":561,"description":30410,"tags":30411,"thumbUrl":30412,"material":217,"size":660,"collection":70,"collections":30413,"showCount":371,"zanCount":46,"manualWeight":46,"mainColor":47},235749,"fang-gu-shan-shui-ce-xue-xuan-235749","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。",[24,25,200,111,186,27,28,29,7,427,34,158,36,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6590555f1e36c3823d694fdfcd0498b.jpg",[],{"id":30415,"slug":30416,"title":13884,"dynasty":18,"author":14896,"museum":561,"description":17896,"tags":30417,"thumbUrl":30418,"material":217,"size":660,"collection":70,"collections":30419,"showCount":371,"zanCount":11,"manualWeight":46,"mainColor":47},235689,"shan-shui-hua-hui-ce-xiang-sheng-mo-235689",[200,24,25,111,27,36,29,30,31,34,7,35,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b8ce76f18a440db12e15e7aac8a905f.jpg",[],{"id":30421,"slug":30422,"title":1259,"dynasty":296,"author":3437,"museum":561,"description":30423,"tags":30424,"thumbUrl":30425,"material":70,"size":70,"collection":70,"collections":30426,"showCount":371,"zanCount":46,"manualWeight":46,"mainColor":47},235646,"shan-shui-tu-ce-wu-li-235646","此作用笔苍浑秀润，右侧危崖壁立，古松虬曲倒挂，松针劲挺如铁，崖间飞瀑垂落，碎石寒泉隐于其下，尽显清寂萧寒。远景山峦层叠，云气氤氲漫卷，将峰岫半遮半掩，虚实相生，烘托出深山冬日的幽僻荒寒。\n\n右上角题诗呼应画境，干笔皴擦勾画出山石嶙峋肌理，淡墨晕染流云柔态，刚柔并济。整幅以水墨铺陈，摒弃浓艳，以萧疏之景写尽荒寒之美，寄寓静穆淡远的文人意趣，于冷寂之中藏着深挚的山水情怀，尽显水墨山水空灵悠远的意境。",[24,25,200,111,27,36,29,7,427,130,114,133,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F706cd4af2901587fe982252869318b4a.jpg",[],{"id":30428,"slug":30429,"title":30430,"dynasty":296,"author":436,"museum":561,"description":30431,"tags":30432,"thumbUrl":30433,"material":70,"size":70,"collection":70,"collections":30434,"showCount":371,"zanCount":46,"manualWeight":46,"mainColor":47},235545,"gao-xiang-shan-shui-tu-zhou-yi-ming-235545","高翔山水图轴","此作用笔秀逸松灵，以水墨晕染出江南山川的氤氲淡远。近岸虬松斜出，坡石错落；中景溪塘如镜，幽居藏于林麓，扁舟泛波，暗合幽人乘兴之趣；远山层峦叠嶂，枯笔皴擦写尽山石肌理，淡墨晕染衬出岚气浮动。左上角题诗添就文人情致，整幅构图疏密相宜，干湿浓淡相生，将林泉幽寂之景尽藏尺幅，萧散清和的笔墨间，寄寓着寄迹丘山、超然尘外的隐逸襟怀，尽显文人山水的静雅意趣。",[24,25,95,27,36,29,30,31,32,34,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c9d45655fb7d98595579441514f4e6e.jpg",[],{"id":30436,"slug":30437,"title":30438,"dynasty":296,"author":10859,"museum":561,"description":30439,"tags":30440,"thumbUrl":30441,"material":217,"size":660,"collection":70,"collections":30442,"show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居，巉岩错落间寒林虬生，坡脚碎石缀着浅滩幽草，山坳茅庐隐于林木深处，幽寂绝尘。江心一叶扁舟随波缓行，寥寥数笔便铺展出江空水阔的萧散意趣。\n\n左页行书题诗与画面呼应，笔意清隽温雅，诗画交融，尽显寄情林泉、神游万古的襟怀。整体笔墨简淡松灵，不事雕琢，以少胜多，将山野幽居的静谧与放浪江湖的悠逸融为一体，氤氲着清冷出尘的林下之风，尽显简逸清疏的山水意韵。",[24,25,111,27,29,32,34,7,36,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F539445d32f11568dc61ead79b8778135.jpg",[],{"id":30501,"slug":30502,"title":30495,"dynasty":296,"author":4093,"museum":561,"description":30503,"tags":30504,"thumbUrl":30505,"material":70,"size":70,"collection":70,"collections":30506,"showCount":371,"zanCount":46,"manualWeight":46,"mainColor":47},235093,"zheng-min-shan-shui-ce-zheng-min-235093","此作用笔疏简秀逸，近景危崖兀立，崖畔林木萧疏，村居错落隐于岩岫之间，浅滩碎石点缀寒水。远景山峦以淡墨晕染，清润朦胧，晕出空濛幽寂的秋山气象，尽显静穆冷逸之致。\n左侧题诗笔致清劲雅致，诗书与山水相映，文气盎然，将简淡荒寒的意趣融于尺幅，寄寓着画者幽居林泉、澄怀观道的隐逸襟怀。",[24,25,111,27,36,38,29,7,34,35,132,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22a75d571f91415e97b378185d3b979a.jpg",[],{"id":30508,"slug":30509,"title":1259,"dynasty":296,"author":2784,"museum":561,"description":30510,"tags":30511,"thumbUrl":30512,"material":70,"size":70,"collection":70,"collections":30513,"showCount":371,"zanCount":46,"manualWeight":46,"mainColor":47},235077,"shan-shui-tu-ce-hua-yan-235077","此作淡墨写江岸山居，近渚古木盘曲苍劲，茅庐隐于林樾，静听江澜絮语。远山以枯笔轻皴，淡晕烟岚，晕染出空濛淡远之境，满幅幽寂萧散。左侧行书题诗笔致清逸隽秀，诗画相映，将林泉高致的文人心境托举而出。简淡尺幅中藏静穆生机，把幽居林下、寄情烟霞的雅逸襟怀融于笔墨间，尽显中式山水留白意趣，是文人诗画相融的绝佳范本。",[24,25,111,27,36,38,29,33,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29c784099b798e42c13443fbedfb8428.jpg",[],{"id":30515,"slug":30516,"title":13386,"dynasty":296,"author":2784,"museum":561,"description":28018,"tags":30517,"thumbUrl":30518,"material":217,"size":660,"collection":70,"collections":30519,"showCount":371,"zanCount":46,"manualWeight":46,"mainColor":47},235065,"za-hua-ce-hua-yan-235065",[24,25,111,27,36,29,7,34,30,31,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddc61717f7979a03a5b1e59c012100c2.jpg",[],{"id":30521,"slug":30522,"title":106,"dynasty":296,"author":3437,"museum":360,"description":13628,"tags":30523,"thumbUrl":30524,"material":760,"size":13631,"collection":70,"collections":30525,"showCount":371,"zanCount":46,"manualWeight":46,"mainColor":47},235022,"shan-shui-ce-wu-li-235022",[24,27,28,111,29,30,31,34,7,114,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67761f561ff831118fff9cac861234b3.jpg",[],{"id":30527,"slug":30528,"title":106,"dynasty":296,"author":3437,"museum":360,"description":13628,"tags":30529,"thumbUrl":30530,"material":760,"size":13631,"collection":70,"collections":30531,"showCount":371,"zanCount":46,"manualWeight":46,"mainColor":47},235020,"shan-shui-ce-wu-li-235020",[24,25,111,27,36,29,7,34,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38306af709e88469cbbc50f59c8a4c88.jpg",[],{"id":30533,"slug":30534,"title":12736,"dynasty":296,"author":6028,"museum":561,"description":12737,"tags":30535,"thumbUrl":30536,"material":217,"size":660,"collection":70,"collections":30537,"showCount":371,"zanCount":46,"manualWeight":46,"mainColor":47},234941,"yue-man-qing-you-ce-chen-mei-234941",[200,24,25,111,28,56,58,61,34,7,187,489,3592,66,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F165fae7853190aefa81cf1629b495a6f.jpg",[],{"id":30539,"slug":30540,"title":12736,"dynasty":296,"author":6028,"museum":561,"description":12737,"tags":30541,"thumbUrl":30542,"material":217,"size":660,"collection":70,"collections":30543,"showCount":371,"zanCount":46,"manualWeight":46,"mainColor":47},234939,"yue-man-qing-you-ce-chen-mei-234939",[56,28,37,82,58,60,112,7,612,59,61,1129,2787,1118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00b1973c46c586d785e4a0d0caa553b6.jpg",[],{"id":30545,"slug":30546,"title":18706,"dynasty":296,"author":436,"museum":360,"description":18707,"tags":30547,"thumbUrl":30548,"material":673,"size":18710,"collection":70,"collections":30549,"showCount":371,"zanCount":46,"manualWeight":46,"mainColor":149},234905,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234905",[24,25,111,28,29,37,38,82,36,7,34,565,31,133,2278,364,58,35,159,258],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc038be5466895a672399e0b9fd52138e.jpg",[],{"id":30551,"slug":30552,"title":18706,"dynasty":296,"author":436,"museum":360,"description":18707,"tags":30553,"thumbUrl":30554,"material":673,"size":18710,"collection":70,"collections":30555,"showCount":371,"zanCount":46,"manualWeight":46,"mainColor":149},234903,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234903",[24,25,111,38,28,56,36,29,390,33,60,58,537,7,34,316,612],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F711ec21c2b74711dce512776b1b5b456.jpg",[],{"id":30557,"slug":30558,"title":8412,"dynasty":296,"author":498,"museum":561,"description":8413,"tags":30559,"thumbUrl":30560,"material":229,"size":8416,"collection":70,"collections":30561,"showCount":371,"zanCount":46,"manualWeight":46,"mainColor":47},234886,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234886",[24,25,111,27,36,38,82,29,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2065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异曲同工之妙。\n这些都是文人追求清奇的结果。\n他们热衷于奇辟之物。清新而奇妙的藤杖，在视觉上，从不同的角度观之，情趣迥异，可谓有“横看成岭侧成峰，远近高低各不同”的审美意味。\n换言之，古代文人寻求独特的杖，就像寻求一件文房、一件古董一样；他们不仅把杖当成工具，还把杖看作是文具。\n按理杖为老人所用，然而像苏轼、陆游、辛弃疾，在中青年时期即已杖在手中，可见杖与年龄并非天然相关。策杖，主要还是显示闲畅心境和作为一种生活习惯。",[24,27,36,29,58,34,31,7,364,96,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa35474947d506ba3f20faf7c4c1b8f5a.jpg",[],{"id":30612,"slug":30613,"title":14349,"dynasty":78,"author":436,"museum":360,"description":14350,"tags":30614,"thumbUrl":30615,"material":749,"size":14353,"collection":70,"collections":30616,"showCount":371,"zanCount":46,"manualWeight":46,"mainColor":149},234040,"jiang-shan-lou-ge-tu-zhou-yi-ming-234040",[24,200,95,57,27,29,60,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F094a02320e28f52f9c2292c5be0e2ea1.jpg",[],{"id":30618,"slug":30619,"title":30620,"dynasty":124,"author":436,"museum":360,"description":30621,"tags":30622,"thumbUrl":30623,"material":454,"size":30624,"collection":70,"collections":30625,"showCount":371,"zanCount":46,"manualWeight":46,"mainColor":47},234026,"na-liang-guan-pu-tu-ye-yi-ming-234026","纳凉观瀑图页","此页绘清溪一湾，溪畔水阁掩映在蓊郁的翠树秀竹之中，背景峭壁坚崚，飞瀑如练，溪流急湍击石，清波拂岸，充满着夏日大自然的勃勃生机。水阁之中一高士白衣袒胸踞席而坐，凝视潺湲，若有所思。整幅不用界尺，粗笔徒手绘水榭，人物、树石、建筑颇有生拙之趣，极具文人画气息，是“意笔楼阁”的早期作品。",[24,25,1465,28,56,36,29,130,33,58,7,34,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F426b91e8ccbb9455b5fa72e4d216d456.jpg","纵24厘米，横24.9厘米",[],{"id":30627,"slug":30628,"title":30629,"dynasty":124,"author":5752,"museum":360,"description":30630,"tags":30631,"thumbUrl":30632,"material":673,"size":30633,"collection":70,"collections":30634,"showCount":371,"zanCount":46,"manualWeight":46,"mainColor":149},233997,"hua-zhao-gou-shu-tang-feng-ce-ma-he-zhi-233997","画赵构书唐风册","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。",[200,24,25,712,27,56,36,7,34,201,96,1622,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5e5aa785732da9a4f5ab32275a9bd7d.jpg","60.33x41.04厘米",[],{"id":30636,"slug":30637,"title":106,"dynasty":296,"author":3417,"museum":360,"description":26461,"tags":30638,"thumbUrl":30639,"material":760,"size":26464,"collection":70,"collections":30640,"showCount":371,"zanCount":46,"manualWeight":46,"mainColor":149},233986,"shan-shui-ce-gong-xian-233986",[24,25,200,111,27,29,36,96,7,35,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b4aae08324cd0f960517dcbc1d914c6.jpg",[],{"id":30642,"slug":30643,"title":30644,"dynasty":78,"author":8453,"museum":360,"description":30645,"tags":30646,"thumbUrl":30647,"material":6235,"size":30648,"collection":70,"collections":30649,"showCount":371,"zanCount":46,"manualWeight":46,"mainColor":663},233965,"li-xian-xiang-zhou-yan-hui-233965","李仙像轴","李仙即李铁拐，是“八仙”之一，八仙的故事在民间流传甚广。据明彭大翼《山堂肆考》云：“拐仙姓李，有足疾，西王母点化升仙，封东华教主，授以铁杖一根。”另《古今图书集成·神异典》中云：“李铁拐或云隋时峡人，名洪水，小字拐儿，又名铁拐，常行丐于市，人皆贱之。后以铁杖掷空，化为龙，乘龙而去。”铁拐李尽管外貌丑陋，却法力高超，富有人情味，深得人们的钟爱，是元明清画家们喜画的题材。\n图中的李仙盘腿拄杖，坐于大石上。他披发浓须，袒胸赤足，蹙眉斜目。其身后山崖竞秀，瀑布高悬，云雾缥缈，崖下藤枝盘绕。画中人物神情不同凡俗，背景的描绘更衬托出了铁拐李的仙人之气。",[24,95,58,784,27,28,130,7,2517],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91220011e41ccdfe64584e22b2472e31.jpg","纵146.5厘米，横72.5厘米",[],{"id":30651,"slug":30652,"title":27318,"dynasty":18,"author":27319,"museum":360,"description":27320,"tags":30653,"thumbUrl":30654,"material":229,"size":70,"collection":70,"collections":30655,"showCount":371,"zanCount":46,"manualWeight":46,"mainColor":47},233853,"shi-hua-he-bi-ce-zhou-yong-233853",[24,25,111,27,28,58,96,7,4515,114,82,36,15456],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1575daded0dd84731ed33873af0a13d2.jpg",[],{"id":30657,"slug":30658,"title":30659,"dynasty":18,"author":52,"museum":360,"description":8048,"tags":30660,"thumbUrl":30661,"material":454,"size":23265,"collection":70,"collections":30662,"showCount":371,"zanCount":46,"manualWeight":46,"mainColor":47},233756,"ren-wu-gu-shi-ce-3-chou-ying-233756","人物故事册3",[24,25,111,56,28,57,58,59,60,61,10249,1012,64,1129,7,34,1118,1117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff262bebc3812167aef075a4e655f423e.jpg",[],{"id":30664,"slug":30665,"title":8323,"dynasty":296,"author":8324,"museum":360,"description":8325,"tags":30666,"thumbUrl":30667,"material":246,"size":8328,"collection":70,"collections":30668,"showCount":371,"zanCount":46,"manualWeight":46,"mainColor":47},233441,"huang-shan-tu-ce-mei-qing-233441",[24,25,111,27,28,29,7,60,34,114,36,82,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcad87ebd9140b2f96032cf30f420971.jpg",[],{"id":30670,"slug":30671,"title":25661,"dynasty":296,"author":8444,"museum":360,"description":25662,"tags":30672,"thumbUrl":30673,"material":70,"size":70,"collection":70,"collections":30674,"showCount":371,"zanCount":46,"manualWeight":46,"mainColor":47},233231,"jin-ling-zhu-jia-shan-shui-hua-hui-ce-shan-shui-ye-liu-yu-233231",[24,25,200,111,27,36,29,33,96,7,452],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cd79e322948a0d5f2ab1ad1c41afc92.jpg",[],{"id":30676,"slug":30677,"title":28270,"dynasty":296,"author":498,"museum":360,"description":21803,"tags":30678,"thumbUrl":30679,"material":26518,"size":28273,"collection":70,"collections":30680,"showCount":371,"zanCount":46,"manualWeight":46,"mainColor":47},233165,"cao-tang-shi-zhi-tu-ce-wang-yuan-qi-233165",[24,25,111,27,28,36,82,29,7,34,33,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f1f70d967f351069bf5cfca45a740c8.jpg",[],{"id":30682,"slug":30683,"title":28270,"dynasty":296,"author":498,"museum":360,"description":21803,"tags":30684,"thumbUrl":30685,"material":26518,"size":28273,"collection":70,"collections":30686,"showCount":371,"zanCount":46,"manualWeight":46,"mainColor":47},233163,"cao-tang-shi-zhi-tu-ce-wang-yuan-qi-233163",[24,25,29,28,36,111,82,7,34,60,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf3bced4d258d91e38bfe06d9c3510f3.jpg",[],{"id":30688,"slug":30689,"title":30690,"dynasty":124,"author":436,"museum":360,"description":30691,"tags":30692,"thumbUrl":30693,"material":454,"size":30694,"collection":70,"collections":30695,"showCount":371,"zanCount":46,"manualWeight":46,"mainColor":149},233023,"pan-che-tu-zhou-yi-ming-233023","盘车图轴","图中装满货物的牛车正在艰难地向山上行进，货物已将车架压得有些变形。一只小狗出现在车轮旁，一边高声呼叫着通知客人的到来，一边左右奔跑，似欲助牛车一臂之力，画家将小狗热情急切的心态表露无遗，亲切动人。",[24,200,95,27,36,29,7,34,19255,35,134,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2182ca4fbc80c097427b56f3f9351c89.jpg","纵109厘米，横49.5厘米",[],{"id":30697,"slug":30698,"title":30699,"dynasty":124,"author":436,"museum":360,"description":30700,"tags":30701,"thumbUrl":30702,"material":142,"size":30703,"collection":70,"collections":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祖师大满送大智图轴",[23,24,25,95,27,28,29,58,32,30,31,34,7,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2410f5a3214a93e64d7edcf5771d2a8b.jpg",[],{"id":30739,"slug":30740,"title":30741,"dynasty":3017,"author":436,"museum":561,"description":30742,"tags":30743,"thumbUrl":30744,"material":217,"size":660,"collection":70,"collections":30745,"showCount":371,"zanCount":46,"manualWeight":46,"mainColor":47},231620,"shan-shui-shi-er-tu-ping-li-zhou-yi-ming-231620","山水十二图屏立轴","此作用淡彩浅绛写就江隅小景，近岸老松虬曲苍劲，松叶敷染清润，自有葱茏生机。坡岸浅草萋萋，留白摹写江水空阔，淡墨晕染远岸烟岚，晕化出空濛悠远的淡远意境。\n题句融于画面，“清风松翠，斜日照江”，诗画相映，将闲淡悠然的野趣铺陈开来。笔致秀润温婉，摒弃浓墨重彩，尽显江南水岸的清寂安闲，带着文人画的雅致意趣，将观画人带入幽宁静谧的江渚闲居之境。",[23,24,25,95,28,36,29,427,7,2697],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3da01ef5a5e4c80f11e0cb13cb46b25d.jpg",[],{"id":30747,"slug":30748,"title":30749,"dynasty":3017,"author":436,"museum":561,"description":30621,"tags":30750,"thumbUrl":30751,"material":142,"size":30752,"collection":70,"collections":30753,"showCount":371,"zanCount":46,"manualWeight":46,"mainColor":149},231575,"guan-pu-na-liang-tu-yi-ming-231575","观瀑纳凉图",[23,24,25,95,27,28,29,130,427,7,36,1081],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38e3988e8251adabd7d2b3ba7cab365a.jpg","纵24cm，横24.9cm",[],{"id":30755,"slug":30756,"title":7848,"dynasty":18,"author":436,"museum":561,"description":30757,"tags":30758,"thumbUrl":30761,"material":142,"size":30762,"collection":70,"collections":30763,"showCount":371,"zanCount":46,"manualWeight":46,"mainColor":47},231547,"dong-xue-shan-jing-tu-yi-ming-231547","它的白雪皑皑不是冰冷峻峭，却是高雅与逍遥。",[23,24,27,29,612,860,427,7,58,30759,30760,95],"高雅","逍遥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dfb2c05c90dc6fbecb022d86227e2b9.jpg","63x160厘米",[],{"id":30765,"slug":30766,"title":1259,"dynasty":296,"author":3485,"museum":561,"description":30767,"tags":30768,"thumbUrl":30769,"material":70,"size":70,"collection":70,"collections":30770,"showCount":371,"zanCount":46,"manualWeight":46,"mainColor":47},230917,"shan-shui-tu-ce-he-yi-230917","此作用笔简净萧散，以干淡笔墨铺陈丘林野趣。近岸巨石皴擦苍劲，双木虬曲错落，枝叶点染疏朗，暗含生趣。水畔茅庐隐于浅坡，野意自生。远景山峦以淡墨晕染留白，虚写水光天色，虚实相生间烘托出林泉幽寂之致。\n题诗与画面相映成趣，文气雅致，取法元人山水意韵，寄寓幽居丘壑、寄情林泉的出世襟怀，简淡笔墨里藏着静穆悠长的林下高致。",[24,25,111,27,36,29,7,34,227,114,1889,1140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06f41a79372429712d774f2e0b1e78d5.jpg",[],{"id":30772,"slug":30773,"title":30774,"dynasty":296,"author":8003,"museum":561,"description":30775,"tags":30776,"thumbUrl":30778,"material":217,"size":660,"collection":70,"collections":30779,"showCount":371,"zanCount":46,"manualWeight":46,"mainColor":47},230213,"fa-jie-yuan-liu-tu-jing-pian-ding-guan-peng-230213","法界源流图镜片","纵观此图，场面宏大，人物众多，气势磅礴。内容主要描绘的是诸佛菩萨、天龙八部、法会、禅宗六祖和十八罗汉等形象。每个人物无论从装束、姿态、大小还是表情上都各具特色。佛祖释迦牟尼居于画面的中心，他坐卧于佛案上，身穿宽大的佛袍，面向观者，代表着佛界的最高权威。他神态平和而威严，似乎世间的一些都在其掌控之中。他身后的佛光照亮了天地万物，作者巧妙地运用放射性的波纹线条来表现背景，正好与佛光的发射性结合起来。运用这种表现手法正是作者的高明之处，这些线条穿过树木，透过腾腾的云气，一直延展下去，也许正在向世人暗示佛法的无边。周围人物各居两边，有的为侧面，有的为正面；有的呈坐姿，有的呈立姿；有的宽袍长衣，佛带飘逸，有的袒胸露腹，盔甲满身；有的面容俊逸，温和慈善，有的瞠目立眉，叱咤狰狞。表现手法真是多种多样，但无论怎样变化，他们都是聚集在佛祖身边，手拿法器，各居其位，时刻待命。观此景象也许你会感受到一种无穷的力量在感召着你，那普照的佛光会一直射进你的心中，与你的心灵产生一种完美的契合。\n此画为横幅巨制，布局谨严饱满。在构图方式和人物设置上，除了微小的部分有些变化之外，整体气势冲和一致，甚至有的地方比原作更加集中，用笔更为健劲有力。比如图中以释迦牟尼为中心，运用对称的构图方法，把众多人物分别聚集两边，彼此又自有其序，既有连续性，又有独立性，这就是虽然人物繁多但无一点杂乱之感的原因。尽管人物姿态各异，但总的来说都是朝向画面中，L的佛祖，使得画面充满着一种巨大的凝聚力和向心力。在技法上，此卷以重设色大描金的方法画成。运用刚劲有力的“细铁线”，人物形体准确，神态生动。设色浓丽，金碧辉煌，显示出作者高超的绘画才能。",[200,24,25,56,28,30777,784,58,7558,1635,23030,7],"重彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb8a2186ce4c371acf7e6f57ed4bc51b.jpg",[],{"id":30781,"slug":30782,"title":14922,"dynasty":296,"author":498,"museum":561,"description":30783,"tags":30784,"thumbUrl":30785,"material":70,"size":70,"collection":70,"collections":30786,"showCount":371,"zanCount":46,"manualWeight":46,"mainColor":47},229030,"shan-shui-ce-ye-wang-yuan-qi-229030","此作以干渴焦墨反复皴擦堆叠山峦，笔力苍劲老辣，层层铺陈出浑厚华滋的质感，尽显山水苍莽深秀之态。近岸汀渚错落，虬曲杂木丛生，简笔点染枝叶，意态萧疏古雅。山坳间村舍隐于林木烟岚，晕开幽居野逸的闲趣。\n\n远景山峦逶迤，墨色由浓转淡，虚实相生间晕染出空濛悠远的意境。以书法意趣入画，笔墨裹挟沉静书卷气，层层皴染尽显山川厚重雄浑，将自然苍朴与文人意趣相融，静穆里藏着蓬勃生机，尽显传统山水的笔墨风骨与幽深远阔的林下襟怀。",[200,24,25,111,27,36,29,7,34,31,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad840bb8afc0736f39b85cebaefd8955.jpg",[],{"id":30788,"slug":30789,"title":30790,"dynasty":296,"author":30791,"museum":561,"description":30792,"tags":30793,"thumbUrl":30794,"material":70,"size":70,"collection":70,"collections":30795,"showCount":371,"zanCount":46,"manualWeight":46,"mainColor":47},228974,"si-ji-shan-shui-ping-ming-jian-228974","四季山水屏","明俭","此作用浅绛写就冬山雪景，以大面积留白与淡墨晕染表现峰峦积雪，浓墨勾勒崖壁轮廓，将冰雪覆山的清寒孤高尽显无余。\n\n枯松劲柏层叠错落，枝桠利落苍郁，暗写雪压枝头的沉凝质感。山坳间古寺浮屠隐于林木中，朱红屋舍素白雪景相映，冷寂里晕开一抹烟火暖意。溪谷浅滩以白代雪，水坝板桥藏于雪色间，于静谧中暗涌生机。\n\n整画仿戴进雪岭笔意，兼得浙派山水刚劲构图，又融入禅意冲淡萧散的气韵，将冬日空山的冷寂与古刹温煦相融，尽显雪后山林清旷安闲之境，笔墨清雅意趣悠长。",[23,24,25,95,27,28,29,60,34,7,2404,537,30,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ec019cf1cea1eb3808798ea50b60410.jpg",[],{"id":30797,"slug":30798,"title":30799,"dynasty":18,"author":436,"museum":561,"description":30800,"tags":30801,"thumbUrl":30802,"material":217,"size":660,"c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钓，远山峰峦突起，妙造自然，以精细的笔法，用焦 墨勾树石，显得郁茂葱笼，瘦硬峭拔。画面无作者款 印。此图从画风多受马、夏影响这一点来看",[23,24,25,29,28,36,38,82,427,32,7,114,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c9d875e6692c9267b51e8524a861af6.jpg","25.3x25.8厘米",[],{"id":30933,"slug":30934,"title":4281,"dynasty":124,"author":436,"museum":239,"description":30935,"tags":30936,"thumbUrl":30937,"material":673,"size":25858,"collection":70,"collections":30938,"showCount":371,"zanCount":46,"manualWeight":46,"mainColor":149},223458,"shan-shui-tu-ye-yi-ming-223458","伴随着王朝更迭，赵宋南渡，山水画的风格面貌也发生了非常大的转变，其最为显著的特征就是南宋一改北宋山水画全景式的宏大构图，代之以空灵雅致的边角式构图。这是南北山河地貌的差异造成的：描绘的对象发生了改变，画家们的画法自然也会随之改变。这种画风上的变革却常常被后世附会为画家们用画作中的“残山剩水”寄托对故土的哀思，更以此去劝诫君王莫要偏安一隅。然而，正是南宋时期对山水画独特的审美追求造就了山水小品画空前繁荣，现存的宋代山水小品画也大多创作于这一时期。",[23,24,25,111,28,56,36,29,96,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaaf7d12794a522b894f58b7f4ce2bcb.jpg",[],{"id":30940,"slug":30941,"title":30942,"dynasty":296,"author":12113,"museum":239,"description":30943,"tags":30944,"thumbUrl":30945,"material":30946,"size":30947,"collection":70,"collections":30948,"showCount":371,"zanCount":46,"manualWeight":46,"mainColor":47},223242,"shan-shui-hua-hui-ce-si-fu-shan-223242","山水花卉冊(四)","该合册傅山父子传世画作共计16开，每副均为精品，构图奇特，迥异他人。其中傅山画5开，傅眉画11开",[23,24,28,111,29,36,60,31,34,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5e56da553bdde75a3abf53ea86e8c64.jpg","绢本纸本","纵25.7厘米，横25.2厘米",[],{"id":30950,"slug":30951,"title":30952,"dynasty":296,"author":2948,"museum":360,"description":13138,"tags":30953,"thumbUrl":30954,"material":229,"size":13141,"collection":70,"collections":30955,"showCount":371,"zanCount":46,"manualWeight":46,"mainColor":47},220266,"huang-shan-tu-ce-56-hong-ren-220266","黄山图册-56",[23,200,24,25,111,27,28,36,29,244,427,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3de6fed94445abea4698dda270244910.jpg",[],{"id":30957,"slug":30958,"title":20262,"dynasty":18,"author":12028,"museum":1137,"description":12029,"tags":30959,"thumbUrl":30960,"material":40,"size":12032,"collection":70,"collections":30961,"showCount":371,"zanCount":46,"manualWeight":46,"mainColor":47},219676,"fang-gu-shan-shui-ce-2-yun-xiang-219676",[24,25,111,27,37,38,36,29,7,34,132,33,159,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97408f431c0310ed39e2b8c8d19c0a38.jpg",[],{"id":30963,"slug":30964,"title":22093,"dynasty":18,"author":12028,"museum":1137,"description":12029,"tags":30965,"thumbUrl":30966,"material":40,"size":12032,"collection":70,"collections":30967,"showCount":371,"zanCount":46,"manualWeight":46,"mainColor":47},219673,"fang-gu-shan-shui-ce-5-yun-xiang-219673",[24,25,111,27,29,30,31,242,7,37,82,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e3d0f9a6ef079b18cdc451c097be30c.jpg",[],{"id":30969,"slug":30970,"title":30971,"dynasty":18,"author":24896,"museum":239,"description":26791,"tags":30972,"thumbUrl":30973,"material":40,"size":26794,"collection":70,"collections":30974,"showCount":371,"zanCount":46,"manualWeight":46,"mainColor":149},219063,"xiao-xiang-ba-jing-ce-7-zhang-fu-219063","潇湘八景册-7",[23,24,200,111,28,27,29,612,242,427,187,2490,58,215,7,113,30866,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01daf9f4924b8c67e1bb62c82f7033f4.jpg",[],{"id":30976,"slug":30977,"title":30978,"dynasty":18,"author":436,"museum":346,"description":30979,"tags":30980,"thumbUrl":30981,"material":84,"size":70,"collection":70,"collections":30982,"showCount":371,"zanCount":46,"manualWeight":46,"mainColor":149},218427,"ming-qing-ren-hua-ce-zhi-shi-yi-ming-218427","明清人画册之十","青绿染就的崖壁与苍松虬枝占据左隅，藤蔓垂悬间透着古意。暖黄底色晕开天光，水面如镜，一扁舟浮于其上，篷顶浅覆，舟中数人或对谈、或凭栏，船头一人持篙缓行，姿态悠然。岸畔苇草轻曳，似与水波低语。\n\n整幅画以雅致设色、简练笔触，勾勒出文人雅士江湖泛舟的闲逸图景。笔墨间藏着对自然与自在的向往，山石的苍劲与舟中人物的疏朗相映，尽显林下悠游之趣，观之令人心生旷达。",[24,25,111,28,257,29,58,32,34,7,113,923],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ffde433e61fb118c2ed336362e0fb89.jpg",[],{"id":30984,"slug":30985,"title":30986,"dynasty":296,"author":436,"museum":561,"description":30987,"tags":30988,"thumbUrl":30989,"material":84,"size":70,"collection":70,"collections":30990,"showCount":371,"zanCount":46,"manualWeight":46,"mainColor":149},218114,"fu-hua-luo-han-jiu-zhang-lao-xiang-9-yi-ming-218114","佛画·罗汉九长老像-9","佚名的佛画 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，刻画细腻。\n衣纹以线条为骨，古拙而流畅。\n图中坚硬的山石以湿墨皴擦出形，秀挺的青竹以浓淡墨相衬晕染，朦胧有致。\n石与竹烘托出像主的中心位置，同时，以物托志，标示出像主高致朗逸的内在情怀。\n款署 ：“癸巳冬十一月，云柯先生属写。\n晓楼费丹旭。\n”钤“子苕”朱文印。\n鉴藏印有 “ 印”、“石雪斋秘笈印”等共4方。\n“癸巳”是道光十三年(18年)，作者时年岁。",[200,24,25,95,712,27,28,58,391,7,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ae970ae071e04f94b8ee705744f033d.jpg",[],{"id":31900,"slug":31901,"title":1259,"dynasty":296,"author":2784,"museum":561,"description":31902,"tags":31903,"thumbUrl":31904,"material":70,"size":70,"collection":70,"collections":31905,"showCount":382,"zanCount":46,"manualWeight":46,"mainColor":47},235079,"shan-shui-tu-ce-hua-yan-235079","此作取平远小景，几株清松瘦劲挺拔，荫蔽茅舍矮篱，空庭静立，浅坡覆着细草，淡墨晕染出幽寂的秋日郊野。笔致松秀简淡，以干笔轻皴，略施淡墨晕染，全然舍去浓丽设色，只以素净笔墨勾勒出萧散清旷的意境。左侧题诗与画境相合，诗画共生，将幽居的闲静隐逸融入山水之间。整体无繁复铺陈，于极简布景中尽显文人画淡泊清远的意趣，淡而有味，简中见深，把寄情丘壑的隐逸心境铺陈在尺幅之中，是意韵悠长的山水小品佳作。",[24,25,111,27,712,29,34,1081,7,4936],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e8b2b5a55526836adfcf20b9553f596.jpg",[],{"id":31907,"slug":31908,"title":1259,"dynasty":296,"author":2784,"museum":561,"description":31909,"tags":31910,"thumbUrl":31911,"material":70,"size":70,"collection":70,"collections":31912,"showCount":382,"zanCount":46,"manualWeight":46,"mainColor":47},235078,"shan-shui-tu-ce-hua-yan-235078","此作以淡墨写意山水，远山以枯笔皴擦晕染，留白营造出空濛烟岚，流云似萦于峰岫之间。近岸浅渚点缀疏草，清寂雅致。扁舟横波，渔翁独棹，静逸清冷的氛围扑面而来。\n\n画面左上题字笔致疏朗，与水墨山水相得益彰，左侧小楷题诗秀润端丽，诗画交融，尽显文人雅趣。全作用笔清润简淡，不施浓彩，以留白托举云水空茫之意，将江南水畔的幽寂之美与江湖散人的萧散襟怀相融，于尺幅间铺展出淡远空灵的意境，尽显水墨造境的精妙意趣。",[24,25,111,27,36,38,29,32,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7cb60d0eebb42dd33b6fdd457ccc97b.jpg",[],{"id":31914,"slug":31915,"title":1259,"dynasty":296,"author":2784,"museum":561,"description":31916,"tags":31917,"thumbUrl":31918,"material":70,"size":70,"collection":70,"collections":31919,"showCount":382,"zanCount":46,"manualWeight":46,"mainColor":47},235076,"shan-shui-tu-ce-hua-yan-235076","此作用淡墨晕染出幽寂林泉，松秀笔触勾勒交错竹影，茅石隐于青竹间，平滩处幽人凭岸闲坐，留白铺就空濛悠远之意。诗画合璧，题诗呼应画中林下幽居之境。\n\n整体笔致灵松动宕，简淡的水墨晕染出山光清寂，将文人林下遐思的雅逸襟怀融于咫尺尺幅间，静穆萧散中尽显悠然旷达的林下意趣，笔简意丰，淡岚轻墨里晕开寄情山水的文人雅致。",[24,25,111,27,29,1140,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feee2904067eed19e574426633f82e048.jpg",[],{"id":31921,"slug":31922,"title":1259,"dynasty":296,"author":2784,"museum":561,"description":31923,"tags":31924,"thumbUrl":31925,"material":70,"size":70,"collection":70,"collections":31926,"showCount":382,"zanCount":46,"manualWeight":46,"mainColor":47},235075,"shan-shui-tu-ce-hua-yan-235075","此作以淡墨晕染出清寂山水，崖巅浮屠卓立，古松倚石横斜，山径隐于林樾之间。远景江波浩渺，片帆数点悠悠往来，留白铺就云水空濛之境，尽显悠远淡宕的诗意。\n\n书法页笔致隽秀舒朗，诗文与画境呼应，书画相生，融笔墨意趣与林泉雅韵为一体，淡逸萧散，将幽寂清和的山居江景，化作可赏可吟的世外丘壑，尽显文人山水的简远之美。",[24,25,111,27,36,29,60,34,7,32,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b83ff495a225ca7271b25ac8426346e.jpg",[],{"id":31928,"slug":31929,"title":31930,"dynasty":18,"author":436,"museum":561,"description":31931,"tags":31932,"thumbUrl":31933,"material":217,"size":660,"collection":70,"collections":31934,"showCount":382,"zanCount":11,"manualWeight":46,"mainColor":47},234969,"qian-gu-shan-shui-shan-ye-yi-ming-234969","钱穀山水扇页","此作用平远章法铺展湖山小景，三段洲渚错落排布，留白勾画出空阔水色，尽显湖天寥廓。枯木虬曲苍劲，以简括折芦笔意写出古拙之态，远林以点染之法轻施笔墨，淡赭晕染秋山，花青敷色浅岸，轻烟隐于远峦间，浅绛设色清透雅致。村居藏在林间坡岸，野意闲静，将江南秋日萧疏淡远的隐逸之趣收于咫尺扇面。题钤朱印点缀边角，文气悠然，笔墨疏淡却意蕴悠长，尽显文人山水寄情丘壑的雅逸品格。",[24,25,1900,29,27,28,36,96,7,31,32,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F298d611f28db0ebf31aeb5ae6874a5be.jpg",[],{"id":31936,"slug":31937,"title":8412,"dynasty":296,"author":498,"museum":561,"description":8413,"tags":31938,"thumbUrl":31939,"material":229,"size":8416,"collection":70,"collections":31940,"showCount":382,"zanCount":46,"manualWeight":46,"mainColor":47},234892,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234892",[24,25,111,27,29,7,34,132,36,37,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F204b1c2c416ad60fa5fb1ddfc578732d.jpg",[],{"id":31942,"slug":31943,"title":8412,"dynasty":296,"author":498,"museum":561,"description":8413,"tags":31944,"thumbUrl":31945,"material":229,"size":8416,"collection":70,"collections":31946,"showCount":382,"zanCount":46,"manualWeight":46,"mainColor":47},234882,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234882",[24,25,111,28,29,36,30,31,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2df1518a055839c665b21d179fa85aa8.jpg",[],{"id":31948,"slug":31949,"title":106,"dynasty":18,"author":28160,"museum":561,"description":31950,"tags":31951,"thumbUrl":31952,"material":70,"size":70,"collection":70,"collections":31953,"showCount":382,"zanCount":46,"manualWeight":46,"mainColor":47},234867,"shan-shui-ce-zhao-pu-234867","此作用淡墨轻皴主峰，陡拔苍劲间带着秋日萧寒，坡岸枯木错落、顽石点苔，晕染出空山岑寂之态。留白隐去云霭山岚，衬出山野疏旷清寒。\n左侧题诗笔墨清隽，书画合璧。画境呼应题中禅心自安之意，将秋山冷疏与林下幽寂禅趣相融，笔致萧散简淡，以山水为心神归处，淡墨轻岚间尽显空灵静穆的文人雅韵，把林泉隐逸的襟怀藏在淡远景致之中，诗画相映，尽显文人寄情山水的静穆襟怀。",[24,27,111,36,29,837,244,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ccdd34e87d7472dfcb2b797cf448022.jpg",[],{"id":31955,"slug":31956,"title":106,"dynasty":296,"author":16169,"museum":561,"description":29982,"tags":31957,"thumbUrl":31958,"material":217,"size":660,"collection":70,"collections":31959,"showCount":382,"zanCount":46,"manualWeight":46,"mainColor":47},234859,"shan-shui-ce-wang-gai-234859",[24,25,111,27,36,29,7,34,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0504348d803a12caf7adb5620161f971.jpg",[],{"id":31961,"slug":31962,"title":31963,"dynasty":296,"author":498,"museum":561,"description":31964,"tags":31965,"thumbUrl":31966,"material":70,"size":70,"collection":70,"collections":31967,"showCount":382,"zanCount":46,"manualWeight":46,"mainColor":47},234824,"zhu-jia-shu-hua-he-bi-ce-shan-shui-ye-wang-yuan-qi-234824","诸家书画合璧册-山水页","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」见《清史稿》、秦祖永《恫荫论画》。",[24,25,111,27,36,29,34,7,35,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e34c985b5fdde12bbbe44a7d1f7cc76.jpg",[],{"id":31969,"slug":31970,"title":106,"dynasty":296,"author":2706,"museum":360,"description":30578,"tags":31971,"thumbUrl":31972,"material":70,"size":70,"collection":70,"collections":31973,"showCount":382,"zanCount":46,"manualWeight":46,"mainColor":47},234791,"shan-shui-ce-dong-bang-da-234791",[24,25,111,27,36,29,34,7,187,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5ba032f281aa2dfe8ed77840abee872.jpg",[],{"id":31975,"slug":31976,"title":8323,"dynasty":296,"author":15276,"museum":360,"description":15277,"tags":31977,"thumbUrl":31978,"material":246,"size":70,"collection":70,"collections":31979,"showCount":382,"zanCount":46,"manualWeight":46,"mainColor":47},234755,"huang-shan-tu-ce-jiang-zhu-234755",[24,25,111,27,36,38,29,2901,427,133,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5b7316e218ef7d9d046721a09a461b6.jpg",[],{"id":31981,"slug":31982,"title":8323,"dynasty":296,"author":15276,"museum":360,"description":15277,"tags":31983,"thumbUrl":31984,"material":246,"size":70,"collection":70,"collections":31985,"showCount":382,"zanCount":46,"manualWeight":46,"mainColor":47},234741,"huang-shan-tu-ce-jiang-zhu-234741",[24,25,111,27,29,7,244,133,34,36,37,38,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe579d6f706c66a4b60473f1fa9f408e1.jpg",[],{"id":31987,"slug":31988,"title":8323,"dynasty":296,"author":15276,"museum":360,"description":15277,"tags":31989,"thumbUrl":31990,"material":246,"size":70,"collection":70,"collections":31991,"showCount":382,"zanCount":11,"manualWeight":46,"mainColor":47},234738,"huang-shan-tu-ce-jiang-zhu-234738",[439,200,24,25,111,28,36,29,161,7,34,133,427,38,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b06e15593f0c0b799413b461de64ee3.jpg",[],{"id":31993,"slug":31994,"title":2840,"dynasty":296,"author":3038,"museum":561,"description":15284,"tags":31995,"thumbUrl":31996,"material":368,"size":15287,"collection":70,"collections":31997,"showCount":382,"zanCount":46,"manualWeight":46,"mainColor":47},234715,"fang-gu-shan-shui-ce-wang-hui-234715",[24,25,200,111,27,36,2843,29,242,7,58,133,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffca9f3af74811c30e2439f3313491490.jpg",[],{"id":31999,"slug":32000,"title":22486,"dynasty":18,"author":238,"museum":561,"description":22479,"tags":32001,"thumbUrl":32002,"material":70,"size":70,"collection":70,"collections":32003,"showCount":382,"zanCount":11,"manualWeight":46,"mainColor":149},234568,"shan-shui-shan-ye-lan-ying-234568",[1900,24,25,27,29,427,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f65d50a20f2bcfddf1533ea73e9441f.jpg",[],{"id":32005,"slug":32006,"title":32007,"dynasty":18,"author":436,"museum":561,"description":32008,"tags":32009,"thumbUrl":32010,"material":217,"size":660,"collection":70,"collections":32011,"showCount":382,"zanCount":46,"manualWeight":46,"mainColor":47},234479,"wu-ling-gu-mu-gao-shi-shan-yi-ming-234479","吴令古木高士扇","泥金扇面设色古雅，危岩虬松错落排布，古木蟠曲苍劲，苔点皴染出山石嶙峋质感，石青晕染湍流激浪，灵动鲜活。溪岸石台上，两位高士相对而坐，或执卷清谈，或凝思远眺，将文人隐逸林下的闲雅意趣融于尺幅之间。构图疏密相宜，简淡清逸的氛围里，尽显林泉高致的出世情怀，把丘壑雅兴刻画得淋漓尽致。",[24,1900,28,56,36,1555,1838,7,114,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d51fbf0b6fed9724b479f90c68500b9.jpg",[],{"id":32013,"slug":32014,"title":22486,"dynasty":296,"author":32015,"museum":360,"description":32016,"tags":32017,"thumbUrl":32018,"material":70,"size":70,"collection":70,"collections":32019,"showCount":382,"zanCount":46,"manualWeight":46,"mainColor":149},234475,"shan-shui-shan-ye-fa-ruo-zhen-234475","法若真","法若真（1613～1696），字汉儒，号黄山，亦号黄石、黄山衲、小珠山人、黄山真衲、黄山逸史，山东胶州（今胶县）人。顺治二年以五经特赐中式，授中书舍人。顺治三年进士，改庶吉士，官至安徽布政使。康熙十八年举博学鸿词。工诗古文、善书画。画山水有高雅之灵气，偶然涉笔，潇洒拔俗，自成一格。书法魏晋而有士气，精擎窠大书，行草运笔灵动。",[24,1900,29,36,7,34,132,114,1105,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ab51819e1f6bef1b82bccf448947b07.jpg",[],{"id":32021,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明代书画家。字抑之，号华发仙人，人号 马清痴，嘉定（今属 上海市）人。其父 马轼曾以星占服务于军中，又是著名的院体画家。马愈于 明英宗天顺八年（1464年）中甲申科进士，后来官至刑部主事。马愈能诗，善书，工山水，登逸品。以诗文书画与江南士有广泛交游，著有 《马氏日抄》一卷。",[23,24,25,26,186,27,36,38,82,29,2146,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd053d0aa504c020ce53dd9906b558821.jpg",[],{"id":32030,"slug":32031,"title":32032,"dynasty":124,"author":436,"museum":360,"description":32033,"tags":32034,"thumbUrl":32035,"material":142,"size":32036,"collection":70,"collections":32037,"showCount":382,"zanCount":46,"manualWeight":46,"mainColor":149},234080,"song-gu-wen-dao-tu-ye-yi-ming-234080","松谷问道图页","在这张照片中，现场附近有一条潺潺的小溪。 一个老和尚坐在一棵古松下，另一个老和尚用手问老和尚。 远景云雾缭绕。 人物文笔简洁，意境生动，精神饱满。 这张图题中的“询价”二字，显然有表面和内在两层含义。 类似的题材和绘画手法出现在南宋马远、夏圭的画册中。",[200,24,25,28,36,82,29,58,272,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc520db25e880f9feeb4e1560f18da22c.jpg","44x43cm",[],{"id":32039,"slug":32040,"title":30629,"dynasty":124,"author":5752,"museum":360,"description":30630,"tags":32041,"thumbUrl":32042,"material":673,"size":30633,"collection":70,"collections":32043,"showCount":382,"zanCount":46,"manualWeight":46,"mainColor":149},233993,"hua-zhao-gou-shu-tang-feng-ce-ma-he-zhi-233993",[24,25,111,712,58,112,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2126e3550c0e04627398b8fab3cb01c9.jpg",[],{"id":32045,"slug":32046,"title":30629,"dynasty":124,"author":5752,"museum":360,"description":30630,"tags":32047,"thumbUrl":32048,"material":673,"size":30633,"collection":70,"collections":32049,"showCount":382,"zanCount":46,"manualWeight":46,"mainColor":149},233989,"hua-zhao-gou-shu-tang-feng-ce-ma-he-zhi-233989",[200,24,25,111,712,27,28,58,33,96,7,525],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6335300d6c06ab16b07654d665d0d6f7.jpg",[],{"id":32051,"slug":32052,"title":106,"dynasty":296,"author":3417,"museum":360,"description":26461,"tags":32053,"thumbUrl":32054,"material":760,"size":26464,"collection":70,"collections":32055,"showCount":382,"zanCount":46,"manualWeight":46,"mainColor":149},233982,"shan-shui-ce-gong-xian-233982",[200,24,25,111,27,8539,36,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8217a4cc6bdee39bd63322a7ce60ed2.jpg",[],{"id":32057,"slug":32058,"title":32059,"dynasty":296,"author":14887,"museum":360,"description":32060,"tags":32061,"thumbUrl":32062,"material":246,"size":32063,"collection":70,"collections":32064,"showCount":382,"zanCount":46,"manualWeight":46,"mainColor":47},233939,"dai-lu-fang-bei-tu-ce-huang-yi-233939","岱麓访碑图册","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。",[24,25,111,28,29,34,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8a10698e488202bbfa584e88cb89335.jpg","纵17.4厘米，横50.8厘米",[],{"id":32066,"slug":32067,"title":28249,"dynasty":296,"author":11478,"museum":360,"description":28250,"tags":32068,"thumbUrl":32069,"material":246,"size":28253,"collection":70,"collections":32070,"showCount":382,"zanCount":46,"manualWeight":46,"mainColor":47},233443,"ren-wu-shan-shui-ce-luo-pin-233443",[24,25,27,28,111,36,58,29,33,201,96,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F097138de6a206ef03745cea85302a03e.jpg",[],{"id":32072,"slug":32073,"title":8323,"dynasty":296,"author":8324,"museum":360,"description":8325,"tags":32074,"thumbUrl":32075,"material":246,"size":8328,"collection":70,"collections":32076,"showCount":382,"zanCount":46,"manualWeight":46,"mainColor":47},233430,"huang-shan-tu-ce-mei-qing-233430",[24,27,111,36,38,82,29,7,272,31,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F449f759d0c7814ce3563b05c336b9043.jpg",[],{"id":32078,"slug":32079,"title":12774,"dynasty":296,"author":436,"museum":360,"description":25669,"tags":32080,"thumbUrl":32081,"material":229,"size":12780,"collection":70,"collections":32082,"showCount":382,"zanCount":46,"manualWeight":46,"mainColor":47},233095,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-233095",[24,25,111,28,56,58,29,29392,7,34,258,24540,578,29393,439],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F434b37f84590d7aa59c39313089e5f3e.jpg",[],{"id":32084,"slug":32085,"title":12774,"dynasty":296,"author":436,"museum":360,"description":25669,"tags":32086,"thumbUrl":32089,"material":229,"size":12780,"collection":70,"collections":32090,"showCount":382,"zanCount":46,"manualWeight":46,"mainColor":47},233094,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-233094",[24,111,28,36,4481,11429,58,7,1066,32087,32088],"村寨","苗疆平叛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5730dde14976d866db2f6913425aa251.jpg",[],{"id":32092,"slug":32093,"title":28404,"dynasty":124,"author":436,"museum":360,"description":32094,"tags":32095,"thumbUrl":32096,"material":454,"size":32097,"collection":70,"collections":32098,"showCount":382,"zanCount":11,"manualWeight":46,"mainColor":149},233001,"shuang-ke-zhu-jian-tu-ye-yi-ming-233001","图绘山间冬季景色，天阴欲雪，霜柯临水，柯下溪涧奔流，水花飞溅，远处竹林葱茏。两只山鸟栖于枝头，眺望远方，将观赏者的目光引向画外，从而收到画尽而意无穷的艺术效果。图中老柯、丛竹用笔刚劲，水花、鸟羽笔触轻柔，流水奔腾不息，山石巍峨不动，使画面形成刚柔相济、动静对比的艺术效果。",[24,56,28,111,242,1140,31,201,7,62,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a204c09fc7f7300ed08a4ffe8d3dc23.jpg","纵27.5厘米，横26.8厘米",[],{"id":32100,"slug":32101,"title":32102,"dynasty":3017,"author":436,"museum":561,"description":32103,"tags":32104,"thumbUrl":32105,"material":217,"size":660,"collection":70,"collections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日月山水图屏风-日屏","此作以云气横分天地，上半段飞泉叠流于苍绿岩岫，金地衬出山野清旷仙气，留白的水色灵动通透，晕染出幽寂空远的山林意趣。\n\n下半段苍崖伴着涡卷水纹，苔点轻缀石面，古雅朴拙的设色带着侘寂况味。敷色古旧厚重，却将山水灵秀融于沉静笔意间，以简驭繁，把悠远禅意藏于斑驳绢面，尽显东方山水空濛虚灵之美，笔简意足，勾勒出幽谧出尘的山水之境。",[23,24,28,257,65,29,130,883,7,32147,6869,32148],"水纹","月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74a5a169c7bb1db40e61ea5461dce240.jpg",[],{"id":32152,"slug":32153,"title":32154,"dynasty":296,"author":436,"museum":561,"description":32155,"tags":32156,"thumbUrl":32157,"material":70,"size":70,"collection":70,"collections":32158,"showCount":382,"zanCount":46,"manualWeight":46,"mainColor":149},230327,"lang-qiao-shan-shui-tu-yi-ming-230327","廊桥山水图","此作截取江岸一隅，崖壁以石青石绿晕染敷色，古雅厚重，间杂丹红秋叶，冷暖相映晕开深秋明丽。苍松杂木扎根崖间，笔墨点染间尽显葱郁生机。\n\n浅滩汀渚错落排布，水面留白尽显烟波空濛之态。滩头人物往来、牧放嬉游，纤毫小笔勾勒出鲜活烟火，将山居野逸与人间日常相融无间。\n\n笔法兼工带写，山石皴擦简练古拙，树木点染生动自然，承继青绿山水明丽设色的传统，又以生活化场景消解了古典山水的清冷疏离，尺幅间铺展出世外桃源般的悠然意韵。",[24,28,257,56,29,30,31,34,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6071decbc12190d4d9612207ecb3d76d.jpg",[],{"id":32160,"slug":32161,"title":32162,"dynasty":296,"author":436,"museum":561,"description":32163,"tags":32164,"thumbUrl":32165,"material":217,"size":660,"collection":70,"collections":32166,"showCount":382,"zanCount":46,"manualWeight":46,"mainColor":149},230306,"shi-ba-luo-han-ce-ye-yi-ming-230306","十八罗汉册页","此作用菩提叶片为画底，巧借天然形制铺展禅意图景。左侧素叶留白，浅棕叶色衬在幽蓝底色之上，尽显自然本真之美。右侧叶片设色绘群罗汉，衣纹勾勒细腻柔婉，敷色古雅沉静，人物神态各有不同，或垂眸凝思或语笑晏晏，禅意闲静的氛围呼之欲出。整作对页排布，一素一画，以天然材质承载佛国意趣，将东方禅理与雅致工笔相融，尽显清隽出尘的古典美学意蕴。",[24,111,784,56,28,58,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c0eb26b4b76067960ef75b0d7efd24f.jpg",[],{"id":32168,"slug":32169,"title":32170,"dynasty":296,"author":32171,"museum":561,"description":32172,"tags":32173,"thumbUrl":32174,"material":70,"size":70,"collection":70,"collections":32175,"showCount":382,"zanCount":46,"manualWeight":46,"mainColor":47},230256,"hua-chun-tai-tong-le-ce-huang-yue-230256","画春台同乐册","黄钺","此作以淡墨轻晕铺就月夜园林景致，题诗衬景，将清宵幽寂意趣娓娓道来。月上宵空，清光晕染水岸屋舍，错落庭园隐于林木间，竹树疏密相宜，水岸亭台凌波而立，垂柳轻拂水面，石岸错落点缀浅滩，铺展出江南私园的雅致闲静。\n\n笔致秀润简淡，留白尽显月色空濛，将文人耽于静夜闲读的隐逸心境融于笔墨。淡着色晕染出草木清润，屋舍朴雅简净，整体萧疏淡远，尽显文人山水小品悠然闲淡的意韵，把夜色里园林的静谧雅韵全然铺陈开来。",[24,25,111,27,33,60,34,1140,31,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf5f5de249117605e5d665e899be726f.jpg",[],{"id":32177,"slug":32178,"title":32179,"dynasty":296,"author":436,"museum":561,"description":25343,"tags":32180,"thumbUrl":32183,"material":217,"size":660,"collection":70,"collections":32184,"showCount":382,"zanCount":46,"manualWeight":46,"mainColor":149},229186,"yang-cai-dong-jing-shan-shui-mei-ping-yi-ming-229186","洋彩冬景山水梅瓶",[25345,29455,29,6423,612,28,1273,7,34,16022,439,32181,32182],"彩绘","釉彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d91d2c06f50e2eadaff4b6cc3e9361e.jpg",[],{"id":32186,"slug":32187,"title":32188,"dynasty":296,"author":12876,"museum":561,"description":32189,"tags":32190,"thumbUrl":32191,"material":217,"size":660,"collection":70,"collections":32192,"showCount":382,"zanCount":46,"manualWeight":46,"mainColor":47},229051,"qing-ke-si-yu-zhi-san-xing-tu-song-bing-gong-hui-tu-zhou-qing-ren-229051","清缂丝御制三星图颂并恭绘图轴","此作以缂丝技法织就，福禄寿三星齐聚庭间，福星朱袍持如意，雍容端方，禄星抱婴含笑，满含温情，寿星银须捧桃，矍铄古朴。数位稚童环绕身侧，嬉戏随侍，融融暖意扑面而来。\n\n衬以玉树虬松、玲珑湖石与缤纷花草，云烟轻笼庭间，铺就悠然吉庆的雅致氛围。通幅走线匀整细腻，配色明丽沉稳，袍服织金纹饰、松石肌理皆还原精妙，上部御题诗文隽秀规整，与下方图景呼应成趣，将世俗祈愿与宫廷缂丝工艺完美融合，尽显华贵祥和的祥瑞气韵。",[200,24,25,95,440,28,56,21536,58,1011,112,7,1635,489,1140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1baaeba49be9b03774cc9e5217bff1a3.jpg",[],{"id":32194,"slug":32195,"title":32196,"dynasty":296,"author":498,"museum":561,"description":32197,"tags":32198,"thumbUrl":32199,"material":70,"size":70,"collection":70,"collections":32200,"showCount":382,"zanCount":46,"manualWeight":46,"mainColor":47},229031,"shan-shui-shi-er-kai-wang-yuan-qi-229031","山水十二开","此作用北苑墨法写就，山峦层叠盘桓，以干笔积墨反复皴擦，线条苍劲老辣，墨色干湿浓淡交织，层层铺陈出山林的浑厚华滋。近岸杂木错落，掩映水榭村居，溪涧回环穿谷而出，衬出林泉幽寂之致。\n整体章法紧而不塞，虚实相生，将元人笔墨的疏淡苍润融入自身沉雄笔力之中，既得古法的静穆高逸，又自具苍浑朴拙气度，尽显正统山水画的笔墨意趣，将江南山林的深秀与文人画的书卷气融为一体，师法古人又自出机杼，是极具代表性的传统山水佳构。",[24,25,27,111,36,29,7,31,34,97,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd146913e1e87fe1b26f6aef5dc147242.jpg",[],{"id":32202,"slug":32203,"title":32204,"dynasty":296,"author":870,"museum":561,"description":32205,"tags":32206,"thumbUrl":32207,"material":70,"size":70,"collection":70,"collections":32208,"showCount":382,"zanCount":46,"manualWeight":46,"mainColor":47},228991,"bai-kai-luo-han-tu-41-shi-tao-228991","百开罗汉图41","此作用水墨晕染出清寂禅境，双罗汉对晤于松崖之间。右侧罗汉安坐危崖，衣纹圆转舒展，神色悠然抬眼望向山巅，松间罗汉隐于虬枝之下，目光回睇似共论禅机。古松盘桓错节，松针攒簇苍劲老辣，崖石以枯笔皴擦尽显奇崛之势。背景流云以涡旋墨色铺陈，裹挟空濛仙气，虚实相生间晕化出幽渺山境。\n笔意纵恣灵秀，将禅家超旷出尘的意趣融于山水人物之中，简淡笔墨里藏着苍莽空灵的世外之韵，尽显禅画合一的精妙意致。",[200,24,25,111,27,36,712,784,58,427,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa49d7565bc3db5a2c1dec7feb41f1899.jpg",[],{"id":32210,"slug":32211,"title":32212,"dynasty":18,"author":436,"museum":561,"description":32213,"tags":32214,"thumbUrl":32215,"material":70,"size":70,"collection":70,"collections":32216,"showCount":382,"zanCount":46,"manualWeight":46,"mainColor":149},228788,"han-jiang-yu-jia-tu-yi-ming-228788","寒江渔家图","此作用淡墨晕染出萧寒冬日的江野之景。前景老树虬曲苍劲，枯槎间缀着残雪与点点红萼，荒寒里透出一缕生机。寒江之上，孤舟泛波，舟头渔者瑟缩，暗合冬日生计的清苦。远山覆雪，以淡笔轻勾，衬出江天空蒙冷寂。全画笔法简淡空灵，将江乡冬日的荒寒静穆悉数铺展，把渔家漂泊的清寂与山水的悠远相融，于萧索冷冽的意境里，藏着水墨山水独有的空雅致趣，尽显冬日江野的澹泊清寂之美。",[23,24,28,29,32,242,7,4415,243,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1af03191cefa620a2ca42015524e4fb9.jpg",[],{"id":32218,"slug":32219,"title":32220,"dynasty":18,"author":436,"museum":561,"description":32221,"tags":32222,"thumbUrl":32223,"material":70,"size":70,"collection":70,"collections":32224,"showCount":382,"zanCount":46,"manualWeight":46,"mainColor":149},228776,"lin-xi-xian-tiao-tu-yi-ming-228776","临溪闲眺图","此作用笔苍润兼具，以淡墨晕染远山，虚影朦胧融于空濛雾气，将天地寥廓的悠远意境缓缓铺展。近岸古木虬枝错盘，枯梢与繁叶互生，浓墨点染层叠木叶，沉郁间尽显苍劲生机。\n\n溪面空阔无波，渔人收舟立岸，简笔勾勒的身影意态悠然，静眺林泉烟景。整幅以水墨皴擦晕染相融，以极简物象铺陈出山林幽居的散淡意趣，萧疏野逸间藏着出世闲雅的山居况味，观之便如身临幽寂林泉，涤去尘俗喧嚣。",[23,24,951,95,36,28,34,3843,7,15889,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F177849b6e577db11274d711ecbe88233.jpg",[],{"id":32226,"slug":32227,"title":32228,"dynasty":296,"author":498,"museum":561,"description":32229,"tags":32230,"thumbUrl":32231,"material":70,"size":70,"collection":70,"collections":32232,"showCount":382,"zanCount":46,"manualWeight":46,"mainColor":47},224397,"fang-li-ying-qiu-bi-yi-zhou-wang-yuan-qi-224397","仿李营丘笔意轴","《清薛宣仿李营丘山水图轴》是清朝薛宣所创作的山水图轴。\n清薛宣仿李营丘山水图轴 此画作于1685年，从题款得知为仿北宋李营丘笔法。\n整幅画构图采用北宋人的主山高耸的格局，细笔绘成，敷以淡色，具有清旷、温秀的格调。\n薛宣，康熙年间人，字辰令，号水田居士，浙江嘉善人；一作娄东（今江苏太仓）人，侨居浙江武唐（今嘉兴）。\n善仿宋、元诸家山水，宗法王鉴，用笔厚重有气，一时之能品也。\n尝自夸其画“不参二王”，意即可与王原祁、王翚两名家并列。",[23,24,25,95,186,27,36,29,7,34,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F577963b0648ab73e5506961bfbe382a1.jpg",[],{"id":32234,"slug":32235,"title":11686,"dynasty":296,"author":498,"museum":561,"description":32236,"tags":32237,"thumbUrl":32238,"material":70,"size":70,"collection":70,"collections":32239,"showCount":382,"zanCount":46,"manualWeight":46,"mainColor":47},224382,"fang-yi-feng-shan-shui-wang-yuan-qi-224382","此帧全景山水层峦叠嶂，逶迤连绵，尽显浑穆苍茫的山水元气。以干笔积墨之法，以披麻皴反复皴擦山峦，笔墨苍厚华滋，细密间见疏朗之致。河谷间村舍错落隐于林木，松荫下茅舍临水枕溪，板桥横陈浅滩，将山居隐逸的澹然意趣藏于丘壑之中。画作追摹前贤笔意却自出机杼，以熟后生的笔法调和苍润，在繁密构图里经营疏密节奏，将端稳气质与林下幽居的清雅意韵相融，尽显文人山水的静穆悠长。",[23,24,25,95,29,28,36,837,539,30,34,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa91ef16d54ccbedb446bb64249d083de.jpg",[],{"id":32241,"slug":32242,"title":32243,"dynasty":296,"author":436,"museum":561,"description":32244,"tags":32245,"thumbUrl":32248,"material":217,"size":660,"collection":70,"collections":32249,"showCount":382,"zanCount":46,"manualWeight":46,"mainColor":663},224047,"qing-jin-shi-xiao-shan-zi-yi-ming-224047","青金石小山子","青金石（英文：lazurite或Lapis lazuli，来源于拉丁语）在中国古代称为璆琳、金精、瑾瑜，青黛等。佛教称为吠努离或璧琉璃，是古代东西方文化交流的见证之一。资料显示，青金石是通过“丝绸之路”从阿富汗传入中国。其通常为集合体产出，呈致密块状、粒状结构。颜色为深蓝色、紫蓝色、天蓝色、绿蓝色等。青金石还是天然蓝色颜料的主要原料。\n青金石在选择上以色泽均匀无裂纹，质地细腻无金星为佳，无白洒金次之，洒金指金星均匀分布如果黄铁矿含量较低，在表面不出现金星也不影响质量。但是如果金星色泽发黑、发暗，或者方解石含量过多在表面形成大面积的白斑，则价值大大降低。\n青金石与绿松石、锆石同为十二月的生辰石。",[439,32246,17006,837,112,1396,201,7,32247],"青金石","石雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F341752f635d05478b24ce8602ecc807d.jpg",[],{"id":32251,"slug":32252,"title":32253,"dynasty":124,"author":436,"museum":561,"description":32254,"tags":32255,"thumbUrl":32256,"material":70,"size":70,"collection":70,"collections":32257,"showCount":382,"zanCount":46,"manualWeight":46,"mainColor":47},223601,"qiu-tang-ke-hua-tu-yi-ming-223601","秋堂客话图","此作用笔苍秀，以浓淡晕染铺就秋意萧疏的林泉之境。深翳林木环绕茅堂，两位雅客对坐晤谈，神态悠然自在，尽显林下清谈的幽闲意趣。\n\n画作以水墨写就，林木层叠错落，墨色浓淡交织，将秋日林野的沉静空寂烘托尽致，以景衬情，把文人寄情丘壑、畅叙襟怀的雅兴融于尺幅间，尽显内敛雅致的韵味，幽静淡远的氛围扑面而来，恍若能聆听到堂中清谈，踏入这方隐逸闲雅的林下天地。",[23,24,25,27,56,36,58,34,7,61,1081,37,1742,96,4936],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb273ed093f60030063c809dadd5b9fc3.jpg",[],{"id":32259,"slug":32260,"title":32261,"dynasty":296,"author":10003,"museum":53,"description":32262,"tags":32263,"thumbUrl":32264,"material":261,"size":32265,"collection":70,"collections":32266,"showCount":382,"zanCount":46,"manualWeight":46,"mainColor":47},223102,"fang-fan-kuan-shan-shui-tang-dai-223102","倣范宽山水","唐岱（1673年—1752年之后），字毓东，号静岩，又号知生、爱庐、默庄，满洲正蓝旗人，清代著名画家。承祖爵，任骁骑参领，官内务府总管，以画祗候内廷。山水画初从焦秉贞学，后与王敬铭、张宗苍同为王原祁弟子，名动京师。康熙帝甚赏其画，常召作画，赐称“画状元”。",[23,24,25,29,186,27,36,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb05bb871f5845619eb2e3bf60f127b4.jpg","287.2x155.2",[],{"id":32268,"slug":32269,"title":32270,"dynasty":296,"author":2948,"museum":360,"description":13138,"tags":32271,"thumbUrl":32272,"material":229,"size":13141,"collection":70,"collections":32273,"showCount":382,"zanCount":46,"manualWeight":46,"mainColor":47},220285,"huang-shan-tu-ce-40-hong-ren-220285","黄山图册-40",[23,24,27,111,36,29,7,2901,31,34,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdb476f91b8683e6ae75ff503d372138.jpg",[],{"id":32275,"slug":32276,"title":3477,"dynasty":296,"author":3112,"museum":20,"description":7023,"tags":32277,"thumbUrl":32278,"material":84,"size":7026,"collection":70,"collections":32279,"showCount":382,"zanCount":46,"manualWeight":46,"mainColor":47},219841,"shan-shui-tu-ce-6-xie-sun-219841",[24,25,111,28,29,36,244,34,35,133,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabec3aa886306dbb692fec513e8e16ad.jpg",[],{"id":32281,"slug":32282,"title":32283,"dynasty":18,"author":32284,"museum":20,"description":32285,"tags":32286,"thumbUrl":32287,"material":116,"size":32288,"collection":70,"collections":32289,"showCount":382,"zanCount":46,"manualWeight":46,"mainColor":47},219787,"za-hua-ce-3-guo-xu-219787","杂画册-3","郭诩","郭诩（1456—1532），字仁弘，号清狂道人，江西泰和人。工书画，善山水，尝遍历名山，曰“岂必谱也，画在是矣。”同时江夏吴伟、北海杜堇、姑苏沈周俱以画名，莫不延颈原交，天下竟传清狂画，风之百金。有贵人欲多得诩画，诩瞠目数屋梁不对。固索，辄跮跖狂趋，叫奡跳号去。弘治（一四八八至一五零五）中徵天中善画者，应诏京师。宸濠召与语，辄辞谢之。往依王守仁献画题诗所见志。又善杂画，信手作人物，辄有奇趣。七十三岁尚作磨镜图。他的作品传世不多，八开《杂画册》现藏上海博物馆，《琵琶行》图轴藏北京故宫博物院。",[24,27,28,36,29,34,30,7,58,82,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8656177970db50b8abe47bab4b356de1.jpg","纵28.5 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远。笔墨秀雅工致，浅赭淡绿晕染山石林木，设色清润柔和，既带着元人山水的萧散意趣，又兼具精细雅致的笔墨质感，将江南山居的安谧恬和尽数铺陈，尽显寄情林泉的文人雅逸襟怀，淡远清宁的氛围漫溢纸面，观之如身临幽寂林泉，涤尽尘俗喧嚣。",[24,25,111,28,29,58,36,7,34,31,33,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6044ce94a47fbde6dbe841bd747675f.jpg",[],{"id":32829,"slug":32830,"title":19766,"dynasty":296,"author":1617,"museum":561,"description":32831,"tags":32832,"thumbUrl":32833,"material":70,"size":70,"collection":70,"collections":32834,"showCount":605,"zanCount":46,"manualWeight":46,"mainColor":47},238777,"shan-shui-ren-wu-xiao-ce-dong-gao-238777","此作以水墨晕染为主，间敷淡彩描摹水村野趣。近岸枯柳疏林，笔墨苍润清逸，错落间见生拙意趣。水网汀洲以浅淡色块晕开，几只水禽悠然游弋水面，漾开闲静生机。扁舟渔人垂纶静坐，形简神足，野逸之趣尽显。右侧山峦以淡墨皴擦留白，不着浓墨重彩，却衬出空山清远，将江南水村的幽寂恬美收于尺幅之间，整体意境萧散冲淡，带着文人画特有的闲雅襟怀，笔墨极简而意蕴悠长。",[24,25,111,27,36,29,58,242,7,31,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffda6e959b6eb6fe8ae9beec0914fad6f.jpg",[],{"id":32836,"slug":32837,"title":19766,"dynasty":296,"author":1617,"museum":561,"description":32838,"tags":32839,"thumbUrl":32840,"material":70,"size":70,"collection":70,"collections":32841,"showCount":605,"zanCount":46,"manualWeight":46,"mainColor":47},238771,"shan-shui-ren-wu-xiao-ce-dong-gao-238771","此作用淡墨轻皴勾勒冬末水岸山居，枯木虬枝交错延展，数处红叶点缀枝头，为清萧底色晕开暖意，枝桠留白尽显疏朗空寂。屋舍隐于林麓之间，朴拙雅致，石矶错落依水排布，石阶蜿蜒衔起山居与江滩，漾出野寂闲趣。远景山峦以淡赭晕染，和留白江面相融，衬出江天寥廓空远。\n题款小字清雅和画面相映，整作画风秀逸温润，摒弃浓墨重彩，以简淡笔墨铺就幽寂安闲的世外之境，将江村冬日清旷淡远的意境娓娓铺展，尽显文人画雅致意趣，淡而不枯，简中藏味，暗合寄情林泉的隐逸襟怀。",[24,28,36,111,29,58,242,30,31,7,35,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27329fb35154b8faa775a36acb9369c2.jpg",[],{"id":32843,"slug":32844,"title":28829,"dynasty":296,"author":2706,"museum":561,"description":32845,"tags":32846,"thumbUrl":32847,"material":70,"size":70,"collection":70,"collections":32848,"showCount":605,"zanCount":46,"manualWeight":46,"mainColor":47},238752,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238752","此作以素墨绘就林丘胜景，近景苍松斜生，策杖老者随侍童缓步山径，古意悠然。远景层峦以干笔勾勒皴擦，山石嶙峭的肌理尽现，留白铺陈出山林空寂悠远的意境。左侧题诗与山水呼应，诗画交融，将诗句中的林泉高致具象化。\n\n笔墨清隽秀润，无繁复设色，以淡墨晕染出山野的沉静氛围，把文人心中的隐逸林下的雅趣铺展开来，将观景、品诗、赏画融为一体，尽显冲淡平和的中式文人意趣。",[24,25,111,27,36,29,58,34,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe57c5b9817030755ee9c5303360dccd.jpg",[],{"id":32850,"slug":32851,"title":28829,"dynasty":296,"author":2706,"museum":561,"description":32852,"tags":32853,"thumbUrl":32854,"material":70,"size":70,"collection":70,"collections":32855,"showCount":605,"zanCount":46,"manualWeight":46,"mainColor":47},238749,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238749","此作用笔秀雅简淡，以水墨写就园林幽居之景。右侧楼阁凭栏立人，古木环合，檐角隐于枝叶间，静谧安闲；左侧溪桥蜿蜒，水榭依水而建，水波澹澹衬出空濛之态，奇石错落、嘉木扶疏，铺陈出林泉雅境。\n诗画合璧，以留白晕染烟霞之致，将拟古诗意具象化。整体疏朗清寂，不着浓彩，以简练皴擦勾勒山石肌理，淡墨点染林木苍润，尽显江南园林的闲雅隐逸之趣，藏着文人士大夫悠游林泉、静赏烟霞的澹泊襟怀。",[24,25,111,27,29,30,31,33,34,7,35,37,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9beae70bf636e6e1c5680dd3f003c793.jpg",[],{"id":32857,"slug":32858,"title":28829,"dynasty":296,"author":2706,"museum":561,"description":32859,"tags":32860,"thumbUrl":32861,"material":70,"size":70,"collection":70,"collections":32862,"showCount":605,"zanCount":46,"manualWeight":46,"mainColor":47},238748,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238748","此幅以淡墨写就郊林清景。右侧古松虬劲苍茂，松下二人对坐晤谈，衣袂简雅，尽显林下闲逸之姿。左侧平林远岫，浅溪横桥，山石以干笔皴擦，淡墨晕染，清润秀逸。\n\n诗画合璧，将早行郊游的闲雅意趣融于山水间，笔致简净松秀，以简淡笔墨铺陈出萧散出尘的林下之思。清和笔墨晕开春日郊野的柔润清旷，把观景游赏的雅兴藏在一山一水、一松一人中，诗画呼应，静穆平和，尽显文人山水的淡远意境。",[24,25,111,27,36,29,34,58,30,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2462a8ce8ca5ba5a1ed1c415901cd6aa.jpg",[],{"id":32864,"slug":32865,"title":28829,"dynasty":296,"author":2706,"museum":561,"description":32866,"tags":32867,"thumbUrl":32868,"material":70,"size":70,"collection":70,"collections":32869,"showCount":605,"zanCount":46,"manualWeight":46,"mainColor":47},238747,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238747","此作用淡墨写就山水林泉，右侧巉岩峻崚，古木盘虬于石畔，涧水漱石有声；左侧平坡疏林，士人携童策杖徐行，似正流连林壑幽景。\n笔墨清隽秀雅，以简淡皴擦勾勒山石肌理，林木仅以淡墨点染枝叶，全无浓艳敷色，尽显文人山水的疏淡逸致。画幅题诗与景致相映，将诗意融于山水间，把林下行吟的雅事铺展开来，传递出林泉高致的隐逸意趣，简淡中裹挟着温润秀逸的气韵，观之如身临幽山，可共赴林壑闲居之乐。",[24,25,111,27,712,36,38,82,29,58,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a9d1e57865971baf5429d4b67f7c74d.jpg",[],{"id":32871,"slug":32872,"title":28829,"dynasty":296,"author":2706,"museum":561,"description":32873,"tags":32874,"thumbUrl":32875,"material":70,"size":70,"collection":70,"collections":32876,"showCount":605,"zanCount":46,"manualWeight":46,"mainColor":47},238746,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238746","此作以淡墨绘就江岸山居之景，近岸古松盘虬苍劲，松下高士凭崖远眺，崖壁层叠皴擦细致，石间草木蓊郁清润。远景江天相融，水色空濛渺远，将咫尺尺幅拓展出辽阔的山水意趣。\n笔墨以干笔勾勒山石肌理，淡墨晕染铺陈出清寂空润的氛围，将写实景致与文人写意笔趣相融。右侧题诗与画作相映成趣，诗画相生，尽显清雅文心，把幽远超脱的林下意境烘托尽致，将观者带入沉静澹泊的文人情思之中，是兼具笔墨意趣与抒情性的精妙山水小品。",[24,25,111,27,29,36,37,82,427,7,58,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1be58a09a3b88e645e21dc2dc3082d64.jpg",[],{"id":32878,"slug":32879,"title":13317,"dynasty":296,"author":2706,"museum":561,"description":32880,"tags":32881,"thumbUrl":32882,"material":70,"size":70,"collection":70,"collections":32883,"showCount":605,"zanCount":46,"manualWeight":46,"mainColor":47},238718,"hua-hong-li-he-ji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商山采芝图轴","以淡墨晕染危崖空山，苍松虬曲倒挂，笔墨简淡空灵，晕出幽谷清寂的世外氛围。下方二老衣袂以写意线条勾勒，一人拄杖回首，一人负芝持锄，神情悠然萧散，将避世隐者的林下风流尽显无余。\n\n右上角题诗与画面呼应，诗画相融，笔意清隽，尽显南宗水墨的淡远意趣。整作舍去繁复皴擦，以留白衬出山岚空濛，人物情态简率传神，萧疏笔墨间寄寓着对高蹈出世襟怀的追慕，淡远空灵里晕开古雅隐逸之思。",[24,25,95,27,712,58,29,272,33763,7],"芝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c16becd096381dc5b12bec7f4ad1bb6.jpg",[],{"id":33767,"slug":33768,"title":18257,"dynasty":296,"author":3038,"museum":561,"description":7062,"tags":33769,"thumbUrl":33770,"material":217,"size":660,"collection":70,"collections":33771,"showCount":605,"zanCount":46,"manualWeight":46,"mainColor":47},230925,"shan-shui-tu-shan-mian-wang-hui-230925",[24,1900,27,36,29,34,32,7,114,539],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53c843009ff7eae11222537a7e27c9da.jpg",[],{"id":33773,"slug":33774,"title":106,"dynasty":296,"author":8444,"museum":561,"description":23903,"tags":33775,"thumbUrl":33776,"material":217,"size":660,"collection":70,"collections":33777,"showCount":605,"zanCount":46,"manualWeight":46,"mainColor":47},230352,"shan-shui-ce-liu-yu-230352",[24,27,36,111,25,82,38,29,32,60,34,7,113,4437,2404],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb46bf774b4ee06c53bb0d0f4bef3403.jpg",[],{"id":33779,"slug":33780,"title":33781,"dynasty":296,"author":436,"museum":561,"description":33782,"tags":33783,"thumbUrl":33787,"material":70,"size":70,"collection":70,"collections":33788,"showCount":605,"zanCount":46,"manualWeight":46,"mainColor":47},230314,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-qin-wang-ai-xin-jue-luo-hong-zhou-yi-ming-230314","历代帝王贵妃大臣朝服像(亲王爱新觉罗.弘昼)","整作取景春日庭院，古柳垂绦抽新绿，花树缀粉、湖石错落，晕染出悠然雅致的闲居氛围。主位贵胄安坐石上，展卷细读，神态松弛自适。两侧侍从躬身奉物，身姿恭谨，将清代宗室日常仪制暗藏其间。\n\n衣纹描摹细腻写实，旗装官帽的制式纹理清晰可见，衣料褶皱层次自然，把服饰质感还原入微。设色调和柔润，衣袍的暗紫、赭红与草木新色相映，工笔勾勒兼顾写意氛围感，将贵胄春日闲读的松弛日常铺陈开来，兼具纪实性与审美意趣，鲜活再现了旧时王府一隅的平和图景。",[23,24,28,56,58,415,7,1373,64,201,2697,33784,244,33785,33786],"清代服饰","小植物","淡彩渲染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cca75b7d728fa0178020b8b4edc4960.jpg",[],{"id":33790,"slug":33791,"title":9395,"dynasty":296,"author":12876,"museum":561,"description":33792,"tags":33793,"thumbUrl":33794,"material":217,"size":660,"collection":70,"collections":33795,"showCount":605,"zanCount":46,"manualWeight":46,"mainColor":149},229052,"luo-han-qing-ren-229052","以菩提叶片为天然画笺，施针走线晕染出林间禅会图景，尊者围坐论法，衣袂舒展飘逸，山石古木衬出静谧禅意，色彩柔和雅致，与靛蓝装裱相映成趣。左侧小楷经文娟秀端凝，笔意清隽，书画合璧，将佛理意蕴与巧夺天工的工艺相融。叶片天然纹理与绣绘笔触浑然一体，借由菩提的宗教意象，让禅境融于方寸之间，尽显匠心工艺，既有肃穆清远的禅意，又带着雅致的东方美学意趣，空灵澹泊，自成一方清净天地。",[24,25,111,28,56,784,58,8338,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44c17fe8671f81c19e16fd1f65ff2d5c.jpg",[],{"id":33797,"slug":33798,"title":33799,"dynasty":18,"author":3504,"museum":561,"description":10464,"tags":33800,"thumbUrl":33801,"material":217,"size":660,"collection":70,"collections":33802,"showCount":605,"zanCount":46,"manualWeight":46,"mainColor":47},228871,"shu-hua-he-bi-chi-bi-sheng-you-tu-quan-juan-wen-zheng-ming-228871","书画合壁赤壁胜游图全卷",[23,24,25,26,27,28,29,7,31,32,34,1385,38,37,36,56,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3197d20fc0c4379574693896b4e96fe.jpg",[],{"id":33804,"slug":33805,"title":33806,"dynasty":124,"author":182,"museum":561,"description":16749,"tags":33807,"thumbUrl":33808,"material":70,"size":70,"collection":70,"collections":33809,"showCount":605,"zanCount":46,"manualWeight":46,"mainColor":149},227606,"long-mian-shan-zhuang-tu-er-wen-dao-tu-li-gong-lin-227606","龙眠山庄图二（问道图）",[23,24,200,25,712,36,29,58,7,34,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd29cf6863900ec66c7d7264b4be2dc37.jpg",[],{"id":33811,"slug":33812,"title":10662,"dynasty":124,"author":436,"museum":561,"description":29494,"tags":33813,"thumbUrl":33814,"material":70,"size":70,"collection":70,"collections":33815,"showCount":605,"zanCount":46,"manualWeight":46,"mainColor":149},227354,"dai-du-tu-ye-yi-ming-227354",[23,200,24,25,5986,1465,27,28,29,96,32,7,201,113,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7395055af78e9b5b1f31d83c41ca5f19.jpg",[],{"id":33817,"slug":33818,"title":33819,"dynasty":18,"author":9640,"museum":561,"description":33820,"tags":33821,"thumbUrl":33822,"material":70,"size":70,"collection":70,"collections":33823,"showCount":605,"zanCount":46,"manualWeight":46,"mainColor":47},224560,"shu-hua-ce-ye-25-xiao-yun-cong-wang-shi-zhen-224560","《书画册页》-25","此作以黄山实景入画，峰林如万笏朝天，奇崛冷峻间尽显山岳雄姿。盘崖山道萦回曲折，将错落楼宇、策杖旅人串联，静穆山景因行人添上几分灵动生机。\n\n笔墨枯淡简劲，以勾勒皴擦写就山石肌理，苍松虬枝斜出，笔意萧疏散淡，带着清冷荒疏的古雅意趣。题跋小字清隽，与淡墨轻岚融为一体，将黄山的幽绝与文人雅怀相融，把皖南山水的清旷冷逸铺陈于尺幅间，是兼具写实与抒情的山水佳构。",[24,25,27,36,29,60,30,34,7,33,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6fb2b4eb2f4e2c05041ae041e2f8b94.jpg",[],{"id":33825,"slug":33826,"title":33827,"dynasty":18,"author":9640,"museum":561,"description":33828,"tags":33829,"thumbUrl":33830,"material":70,"size":70,"collection":70,"collections":33831,"showCount":605,"zanCount":46,"manualWeight":46,"mainColor":47},224552,"shu-hua-ce-ye-17-xiao-yun-cong-wang-shi-zhen-224552","《书画册页》-17","此作以危崖为骨，层叠楼阁依山而起，飞檐翘角隐于苍松虬枝之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出版。\n敛辞朱良剑 敛辞石金呜 前言 “新安画派”概述张飞莺 风骨冷然气韵清逸——安徽博物院藏渐江《晓江风便图》赏析李艳红 先声 江必名 雪景山水图 吴龙草亭听泉图 郑元勋古木秀石图 郑为虹山斋读书图 程嘉燧柳桥山寺图扇面 程嘉燧秋浦泛舟图扇面 李永昌策杖行吟图 高峰 汪之瑞空亭幽树图页 渐江浊阜图册 渐江晓江风便图卷 渐江秋江风帆图扇面 孙逸溪桥觅句图 查士标宿雨初收图 查士标深山古寺图 查士标仿董北苑山水图 查士标仿梅华道人山水图 查士标仿元人山水图 查士标坐对江天图 查士标 云山梦树图页 查筠仿梅壑山水图 胡皋和风烟雨图 程邃山静太古图 程邃独往秋山图 程邃秋山图册 戴本孝巢民老人观菊图卷 戴本孝 山谷回廊图 戴本孝草阁幽情图 戴本孝苍松劲节图 戴本孝摹北苑山水图 戴本孝湖山逸兴图 吴定剡溪积雪图 吴定秋高叶醉图 吴定瑶峰玉树图 郑畋仿吴仲圭山水图 郑欧黄山四景图四条屏 郑畋仿倪山水图 程萝乱山草木图 姚宋仿黄鹤山樵山水图 江注黄山一角图 江注陡壁丹台图 祝昌仿倪山水图 吴元澄 临赵鸥波《夏山高隐图》 余韵 谢绍烈江石萝月图扇面 释雪庄木莲花图 释一智黄山云舫道中图 方士庶栖霞楼归图 何文煌溪山话别图卷 程义仿赵子固山水图 鲍楷寒庵香雪图 程堂仿梅华山水图 汪朴南窗寄傲图 江士相富春归棹图卷 吴麈仿梅道人山水图 汪滋仿古山水图册 程鸣沧江泛舟图 汪梅鼎云光林翠图卷",[23,200,24,25,95,27,28,36,29,58,34,427,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a377bbdc316fd42f6a777df356cbf29.jpg",[],{"id":33849,"slug":33850,"title":33851,"dynasty":296,"author":17338,"museum":561,"description":33852,"tags":33853,"thumbUrl":33854,"material":70,"size":70,"collection":70,"collections":33855,"showCount":605,"zanCount":46,"manualWeight":46,"mainColor":47},224262,"qiong-hua-lou-li-shi-zhuo-224262","琼华楼","此作书画合璧，以淡墨绘就平林寒色，枯木虬枝萧疏错落，坡石隐现间，楼宇澹然栖于山坳林畔，晕染极简却意境幽寂出尘。\n笔底不施重彩，全以枯淡线条勾勒物象，将林泉雅致化为世外灵墟。左侧题诗笔力端稳清劲，诗画相和，以仙苑之思呼应画中意境，把林下幽怀寄于简淡笔墨。整体清雅绝尘，淡而有味，尽显文人画以笔写心、诗画交融的意趣，留白间藏着悠远禅意，将观景之思升为世外清怀。",[23,24,25,27,712,29,60,34,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b02acaee4aa214f25c0229bef39c392.jpg",[],{"id":33857,"slug":33858,"title":33859,"dynasty":124,"author":436,"museum":561,"description":33860,"tags":33861,"thumbUrl":33862,"material":6235,"size":33863,"collection":70,"collections":33864,"showCount":605,"zanCount":46,"manualWeight":46,"mainColor":149},223514,"shu-se-qing-yuan-yi-ming-223514","树色清远","绘崇山峻岭，树木林立，近景中小桥流水，隐约可见农夫担柴过桥。此卷有郭熙风格，蟹爪形树枝，画面布局等，有着郭熙画风中空远广阔之景。",[23,24,25,26,27,36,29,112,7,37,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d346d51b98ba5168b74928d312811d2.jpg","25x651cm",[],{"id":33866,"slug":33867,"title":32899,"dynasty":296,"author":16184,"museum":360,"description":33868,"tags":33869,"thumbUrl":33871,"material":70,"size":33872,"collection":70,"collections":33873,"showCount":605,"zanCount":46,"manualWeight":46,"mainColor":47},223196,"geng-zhi-tu-ce-jiao-bing-zhen-223196","《御制耕织图》又名《佩文斋耕织图》，不分卷，清圣祖玄烨题诗，焦秉贞绘图，朱圭、梅玉凤镌刻，清康熙三十五年（1696年）内府刊本。耕图、织图各23幅，共计46幅图。每页34.7cm×27.7cm。图框24.4cm×24.4cm。四周单边。册页装。\n《耕织图》以江南农村生产为题材，系统地描绘了粮食生产从浸种到入仓，蚕桑生产从浴蚕到剪帛的具体操作过程，每图配有康熙皇帝御题七言诗一首，以表述其对农夫织女寒苦生活的感念。\n《耕织图》是中国农桑生产最早的成套图像资料，它的绘写渊源可上溯至南宋，绘者为楼璹。楼璹在宋高宗时期任於潜（今浙江省临安市）县令时，深感农夫、蚕妇之辛苦，即作耕、织二图诗来描绘农桑生产的各个环节。《耕织图》成为后人研究宋代农业生产技术最珍贵的形象资料。南宋嘉定三年（1210年），楼璹之孙楼洪、楼深等以石刻之传于后世，南宋理熙元年（1237年）有汪纲木刻复制本。宋以后关于本书的记载已不多见，较著名的有南宋刘松年编绘的《耕织图》，元代程棨的《耕织图》45幅。明代初年编辑的《永乐大典》曾收《耕织图》，已失传。明天顺六年（1462年）有仿刻宋刻之摹本，虽失传，但日本延宝四年（1676年）京都狩野永纳曾据此版翻刻，今均以狩野永纳本《耕织图》作楼璹本《耕织图》之代表。\n清康熙二十八年（1689年）康熙帝南巡时，江南士子进献藏书甚丰，其中有“宋公重加考订，诸梓以传”的《耕织图》。康熙帝即命焦秉贞据原意另绘耕图、织图各23幅，并附有皇帝本人的七言绝句及序文。绘画内容略有变动，耕图增加“初秧”、“祭神”二图，织图删去“下蚕”、“喂蚕”、“一眠”三图，增加“染色”、“成衣”二图，图序亦有变换。宋、清《耕织图》的布景与人物活动大同小异，但焦图画中的风俗易为清代，所绘更为工细纤丽，在技法上还参用了西洋焦点透视法。\n《耕织图》初印于康熙三十五年（1696年），后又出现了很多不同版本，木刻本、绘本、石刻本、墨本、石印本均行于世。如康熙年间的康熙三十八年（1699年）张鹏翮刻本，康熙五十一年（1712年）内府刻本，雍亲王胤禛绢底彩绘本，康熙五十三年（1714年）歙县汪希古恭摹刻48块墨板，宫廷绘白描本等，乾隆年间的康熙、雍正、乾隆三帝题诗刊本，清内府刻《授时通考》本，袖珍彩绘本，乾隆四年（1739年）清内府图为木刻、诗为石刻的经折装本，乾隆三十四年（1769年）北京刻朱墨套印本，杨大章彩绘本，乾隆三十四年（1769年）高宗命画院据元代程棨本临摹之《耕织图》，石刻嵌在皇家清漪园延赏斋左右廊壁的拓本，乾隆三十五年（1770年）徽州守臣摹刻的墨版。此外，还有嘉庆十三年（1808年）《耕织图诗》补刊本，同治十一年（1872年）刊本，光绪五年（1879年）上海点石斋《御制耕织图》石印本，光绪十一年（1885年）上海文瑞楼本，光绪十二年（1886年）上海点石斋石印本。民国时期也有多种版本，较著名的为武进陶兰泉刊本；日本、朝鲜、琉球等国亦有《耕织图》的摹本、翻刻本。\n《耕织图》不但版本众多，版式等也不尽相同，如上文下图本，左图右文本，版框带有龙纹的装饰本，袖珍刻本，木刻填色本，书中序文、诗文前后玺印朱色钤印本，前后玺印为刊版墨印本等。",[24,200,56,28,58,2620,61,187,34,4936,7,364,33870],"生活场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F523f86336723184b4479d2e271f18ad5.jpg","34.7cm×27.7cm",[],{"id":33875,"slug":33876,"title":33877,"dynasty":296,"author":8669,"museum":360,"description":16799,"tags":33878,"thumbUrl":33879,"material":454,"size":16802,"collection":70,"collections":33880,"showCount":605,"zanCount":46,"manualWeight":46,"mainColor":149},223152,"yao-xie-shi-yi-tu-ce-di-liu-kai-ping-gang-luan-mu-qun-yang-zhai-ren-xiong-223152","姚燮诗意图册-第六开：平冈乱木群羊宅",[23,24,28,27,111,36,29,34,10893,1396,7,3008],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbf3ffe6ac63fdee50b861c02a885762.jpg",[],{"id":33882,"slug":33883,"title":33884,"dynasty":296,"author":6220,"museum":53,"description":33885,"tags":33886,"thumbUrl":33887,"material":28,"size":33888,"collection":70,"collections":33889,"showCount":605,"zanCount":46,"manualWeight":46,"mainColor":47},222702,"zhong-kui-tan-mei-zhou-jin-ting-biao-222702","锺馗探梅轴","该幅画钟馗戴笠，背束梅花一捆，撷衣欲行经雪桥；后一人口衔梅枝，手撑破伞随之。清代，钟馗已晋身为五月花神，但仍有少数画家，钟爱描绘钟馗于雪天探梅的雅兴，聊以“借景抒怀”。金廷标此作，当即欲藉婡冄頭助钟條进士访梅的情境，隐喻画中人孤高不群的内在性格。",[23,24,28,56,95,58,390,537,30,242,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e25e9673e9682cbb2e7dc8bb0feca86.jpg","154.6×78.9公分",[],{"id":33891,"slug":33892,"title":33893,"dynasty":18,"author":17354,"museum":53,"description":33894,"tags":33895,"thumbUrl":33896,"material":24240,"size":33897,"collection":70,"collections":33898,"showCount":605,"zanCount":46,"manualWeight":46,"mainColor":47},221936,"hua-qiu-shu-gao-guan-cheng-shan-zheng-zhong-221936","画秋树高关成扇","郑重（活动于十七世上半叶），安徽歙县人，流寓金陵（今南京）。字千里，号无著。善写佛像，必斋沐而後举笔。亦画山水小景，摹仿宋、元体制均精妍，丁云鹏推为赵伯驹后身。",[23,24,25,1900,28,29,365,20529,36,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faefe02748b8b904ddae20f23fc45ffa0.jpg","32.2x48.5厘米",[],{"id":33900,"slug":33901,"title":19650,"dynasty":18,"author":12028,"museum":1137,"description":12029,"tags":33902,"thumbUrl":33903,"material":40,"size":12032,"collection":70,"collections":33904,"showCount":605,"zanCount":46,"manualWeig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t":517,"zanCount":46,"manualWeight":46,"mainColor":47},238755,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238755","此作以淡墨皴擦晕染水岸山居，近景坡陀嘉木葱茏，茅舍内人影对坐闲话，尽显幽居自适之趣。远山含烟隐现，汀渚横斜，水色空濛，平远清旷的山水意境铺陈开来。\n笔墨清隽秀润，兼具元人山水的萧散简淡与院体的精工雅致，凭极简的墨色层次晕出空寂悠远氛围感，将诗句中的林泉高致具象化，尽显文人心底的幽居雅怀，是融诗画意境的佳构。",[24,25,111,27,29,35,34,7,114,37,82,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13242d5be428ecfddb3f0585f68b615c.jpg",[],{"id":34464,"slug":34465,"title":28829,"dynasty":296,"author":2706,"museum":561,"description":34466,"tags":34467,"thumbUrl":34468,"material":70,"size":70,"collection":70,"collections":34469,"showCount":517,"zanCount":46,"manualWeight":46,"mainColor":47},238737,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238737","此作以郊野饯别入画，淡墨绘就柳丝依依，荒坡浅溪蜿蜒迤逦。主客对揖作别，侍童牵马静立旁侧，萧疏景致暗合离人愁绪。线条清隽秀雅，皴擦简淡空灵，以水墨晕染出春日郊野的柔寂氛围。搭配题诗与朱红印章，诗画相映，将古人惜别心绪融于笔底。整幅书卷盎然，雅致清和，以极简笔墨烘托出缱绻离情，尽显含蓄韵致，淡远中藏着深长的送别意趣。",[24,25,111,712,27,58,215,112,7,82,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b1102aa8993808b49edb1f67b105d02.jpg",[],{"id":34471,"slug":34472,"title":13317,"dynasty":296,"author":2706,"museum":561,"description":34473,"tags":34474,"thumbUrl":34475,"material":70,"size":70,"collection":70,"collections":34476,"showCount":517,"zanCount":46,"manualWeight":46,"mainColor":47},238722,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238722","平坡之上三人意态悠然，静立者垂眸凝思，二人或蹲坐、或俯身拨弄草木，共赏林中山趣。周遭虬曲嘉木与错落山石相映，以清润水墨晕染出苍润质感，林木萧疏清逸，笔墨写意简练。诗画相映成趣，将文人情思寄寓林泉丘壑，把诗意具象为林下幽景，勾勒出超然尘外的雅集之境，传递出静穆淡远的隐逸意趣，尽显文人画诗画合璧的悠然格调。",[24,25,111,27,56,58,29,34,7,82,37,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3fbc3c6b2089ae3c5c0e7c85670bd00.jpg",[],{"id":34478,"slug":34479,"title":13317,"dynasty":296,"author":2706,"museum":561,"description":34480,"tags":34481,"thumbUrl":34482,"material":70,"size":70,"collection":70,"collections":34483,"showCount":517,"zanCount":46,"manualWeight":46,"mainColor":47},238714,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238714","此作诗画合璧，以淡墨晕染出春郊清和景致，柳丝拂岸，丘坡温润朴拙，右侧谯楼静立城隅，尽显古雅意趣。鞍上长者意态萧散，侍仆恭谨相随，人物衣纹简括灵动，将古风雅游的悠然意韵尽显。行书题诗笔致舒展俊逸，与水墨景致相得益彰，极简笔墨勾勒出悠远古意，将咏怀寄思的雅致心境融于尺幅之间，诗画相生相融，淡远清疏的意境里，藏着怀古抒情的悠悠余韵，尽显文人雅逸的审美意趣。",[24,25,111,27,28,58,215,60,34,7,214,37,38,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9c38266c3dc0949230b1a13c7c2e3e2.jpg",[],{"id":34485,"slug":34486,"title":106,"dynasty":296,"author":2706,"museum":561,"description":20356,"tags":34487,"thumbUrl":34488,"material":217,"size":660,"collection":70,"collections":34489,"showCount":517,"zanCount":46,"manualWeight":46,"mainColor":47},238693,"shan-shui-ce-dong-bang-da-238693",[24,27,36,111,29,130,34,565,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6627437653e6ab80ee671082395a1131.jpg",[],{"id":34491,"slug":34492,"title":106,"dynasty":296,"author":2706,"museum":561,"description":20356,"tags":34493,"thumbUrl":34494,"material":217,"size":660,"collection":70,"collections":34495,"showCount":517,"zanCount":46,"manualWeight":46,"mainColor":149},238674,"shan-shui-ce-dong-bang-da-238674",[24,25,27,36,111,29,427,2901,130,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff0bfcc71ea8b9701792dcbe5c2294a9.jpg",[],{"id":34497,"slug":34498,"title":12774,"dynasty":296,"author":436,"museum":561,"description":34499,"tags":34500,"thumbUrl":34501,"material":70,"size":70,"collection":70,"collections":34502,"showCount":517,"zanCount":46,"manualWeight":46,"mainColor":47},238661,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238661","本作属铜版纪实战图，以全景铺陈战事凯旋的盛大图景。右上御题诗文彰显军功赫赫，左侧关隘要塞人马攒动，尽显战后班师的忙碌荣归；右侧阵列齐整的官兵踏山而来，鞍马齐整、士气昂扬。\n\n以硬朗精准的线条勾勒出层叠山峦与关隘城防，细腻刀工复刻出山石肌理与行军阵列，中西技法相融，既如实还原了平疆战事的恢弘实况，也暗藏宣扬王朝武功的意涵。画面将凯旋的肃穆昂扬与战地山川的苍劲厚重交织，写实之中带着庄重的纪念性，是清代纪实战阵图的上乘之作。",[200,24,25,56,27,57,111,36,439,58,215,29,60,30,316,7,34,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21518810a7ad247a1e956fc7a658f2a5.jpg",[],{"id":34504,"slug":34505,"title":17936,"dynasty":296,"author":4083,"museum":561,"description":34506,"tags":34507,"thumbUrl":34508,"material":70,"size":70,"collection":70,"collections":34509,"showCount":517,"zanCount":46,"manualWeight":46,"mainColor":149},238533,"shan-shui-xiao-ce-qian-wei-cheng-238533","近渚浅滩遍生细草芦苇，几株老树错落排布，垂柳柔丝垂拂水面，枯木虬曲苍劲，侧旁小树抽萌新枝。林舍隐于林木之后，有人群围聚，晕开日常乡居烟火。淡墨晕染开薄霭云烟，漫过水村林梢，晕出空濛柔润的诗意。\n\n笔墨秀雅清润，以简淡设色勾勒江南水乡温润意趣，构图疏密相宜，将郊野水村的恬然静谧铺展于尺幅间。未作繁复皴擦，却把春日水乡的柔婉生机与村居烟火气相融，尽显文人水墨的写意雅致，悠悠乡野之趣淡而绵长。",[24,25,111,28,29,36,112,60,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80458ac29d641846f447fde997e9dbaa.jpg",[],{"id":34511,"slug":34512,"title":17936,"dynasty":296,"author":4083,"museum":561,"description":14375,"tags":34513,"thumbUrl":34514,"material":70,"size":70,"collection":70,"collections":34515,"showCount":517,"zanCount":46,"manualWeight":46,"mainColor":47},238523,"shan-shui-xiao-ce-qian-wei-cheng-238523",[24,25,111,27,36,29,30,34,7,31,712],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ae25243995859bfe1b4a03fd7cc7351.jpg",[],{"id":34517,"slug":34518,"title":17936,"dynasty":296,"author":4083,"museum":561,"description":14375,"t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江户时代中期的画家。",[23,24,29,57,27,36,28,60,30,31,34,7,133,578],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2459b6003b2266b79592c88255f0a1c.jpg",[],{"id":35306,"slug":35307,"title":35308,"dynasty":3017,"author":436,"museum":561,"description":35309,"tags":35310,"thumbUrl":35311,"material":217,"size":660,"collection":70,"collections":35312,"showCount":517,"zanCount":46,"manualWeight":46,"mainColor":149},231683,"zhi-xue-tu-yi-ming-231683","雉雪图","此作以金底晕开冬日冷寂氛围，两只雉鸟静立积雪坡石。翎毛刻画细致入微，根根纤毫毕现，雌鸟憨态圆柔，覆羽素朴匀整；雄鸟红首华羽，层次繁丽分明，长尾舒展自带遒张力道。坡石以淡墨晕染，留白为雪，虚实相生间晕开雪后清寒萧索之意。\n\n工写相融之下，细腻处尽显禽鸟鲜活生趣，写意处烘托荒冬日色，无繁复布景，以极简构图凸显二鸟相依的静谧温情，将雪野清寂与脉脉生机揉为一处。岁月留痕的斑驳肌理，更添古雅沉静的悠悠意蕴。",[23,24,28,56,62,11248,537,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ba7ab4c01d01e3598c5001406f48d9d.jpg",[],{"id":35314,"slug":35315,"title":35316,"dynasty":3017,"author":6957,"museum":561,"description":28295,"tags":35317,"thumbUrl":35318,"material":217,"size":660,"collection":70,"collections":35319,"showCount":517,"zanCount":46,"manualWeight":46,"mainColor":149},231624,"shi-ting-shi-dai-shan-shui-tu-zhou-shou-ye-yuan-xin-231624","室町时代 山水图轴",[23,24,25,95,27,29,7,34,158,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd95d2140079f970ee5dd318cc6ff750.jpg",[],{"id":35321,"slug":35322,"title":35323,"dynasty":296,"author":17338,"museum":561,"description":35324,"tags":35325,"thumbUrl":35326,"material":70,"size":70,"collection":70,"collections":35327,"showCount":517,"zanCount":46,"manualWeight":46,"mainColor":47},230289,"hua-lian-li-shan-zhou-li-shi-zhuo-230289","画连理杉轴","此作以淡墨绘就连理古杉，双木苍劲拔起，枝桠舒展如虬龙探空，笔致细劲凝练，将古木霜皮溜雨、黛色参天的苍古之态尽显。山石以极简皴擦晕染，留白铺陈出空山的清寂辽远，衬得杉树愈见孤傲遗世。\n\n题字藏于树侧，文气与画意相融。整幅舍去浓丽设色，以水墨的清寒意趣，铺展出山林古杉的静穆意境，宛若空山听松，带着冲淡平和的文人雅韵，尽显林泉高致，把山野古木的幽澹之美晕染在素纸之上。",[24,25,200,95,27,712,36,34,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e68068c11a907d4c8240b17f0658ea5.jpg",[],{"id":35329,"slug":35330,"title":35331,"dynasty":296,"author":436,"museum":561,"description":26109,"tags":35332,"thumbUrl":35333,"material":217,"size":660,"collection":70,"collections":35334,"showCount":517,"zanCount":46,"manualWeight":46,"mainColor":47},229067,"qing-hua-shan-shui-ren-wu-si-fang-hua-pen-yi-ming-229067","青花山水人物四方花盆",[25345,26111,28,29,58,201,34,7,31,1273],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95d5a4b635208c99d407b48e79bf1f7c.jpg",[],{"id":35336,"slug":35337,"title":106,"dynasty":296,"author":3038,"museum":561,"description":35338,"tags":35339,"thumbUrl":35340,"material":70,"size":70,"collection":70,"collections":35341,"showCount":517,"zanCount":46,"manualWeight":46,"mainColor":663},229017,"shan-shui-ce-wang-hui-229017","此作用笔苍劲老辣，以干笔枯墨勾勒皴擦峰峦，淡墨晕染出山石清寂质感，坡岸枯木错落排布，不着多余点缀，尽显深秋荒寒淡远之境。画面极简克制，舍去繁复布景，以少胜多，于萧疏间流露浑朴意趣。\n\n左侧行书题跋笔意舒展跌宕，与画作淡远意境彼此呼应，笔墨相生，将文人情思融于丘壑，淡而不薄，枯而有韵，将深秋山景的萧寒空寂勾勒尽致，书画相映，尽显雅致林下之风，把文人寄情山水的幽怀远思藏于尺幅之间。",[24,25,111,28,36,29,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F904c4b60e56978853be414f2c20cc7f1.jpg",[],{"id":35343,"slug":35344,"title":35345,"dynasty":296,"author":436,"museum":561,"description":35346,"tags":35347,"thumbUrl":35349,"material":70,"size":70,"collection":70,"collections":35350,"showCount":517,"zanCount":46,"manualWeight":46,"mainColor":47},228933,"qing-yuan-ben-qin-can-tu-juan-ji-tan-yi-ming-228933","清院本亲蚕图卷 祭坛","此作设色明丽雅致，工细写实。前景汀岸错落、嘉木葱茏，杂花生树，水色空濛晕染出郊苑清和悠然的底色。仪仗扈从身着朱衣齐整列队，拱卫辂车肃穆徐行，礼制威严尽藏其间。\n\n画作以全景铺陈，工笔勾勒兼淡墨晕染，殿宇隐于林莽间，既得界画严整法度，又兼具山水画悠远意境，将皇家仪典的庄重融于静谧春苑之中，于精工细节间彰显典制威仪，于疏朗景致里晕染闲雅意趣，尽显精湛匠艺。",[24,26,56,28,58,34,7,31,23029,35348],"祭坛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff74f3099ed8092026038291e1f5d41b0.jpg",[],{"id":35352,"slug":35353,"title":35354,"dynasty":18,"author":436,"museum":561,"description":35355,"tags":35356,"thumbUrl":35358,"material":70,"size":70,"collection":70,"collections":35359,"showCount":517,"zanCount":46,"manualWeight":46,"mainColor":149},228795,"chen-jian-bu-yi-tu-yi-ming-228795","晨间补衣图","此作用淡赭绢本晕出沉古色调，崖石奇崛苍劲，芭蕉垂叶翩然舒展，木栏圈起一方幽庭。老僧趺坐石台，捻须抬掌凝神观思，衣褶线条清劲宛转，将静定悠然的神态藏在笔墨褶皱里。侍童躬身托盏，神态恭谨温顺，身形比例合度，情态生动自然。\n\n构图疏密相宜，浓墨点染的崖石衬出人物素淡清雅，以极简笔墨铺陈晨时禅居日常，把幽寂古雅的林下清趣缓缓晕开，笔简却意韵悠长，将空澹沉静的禅意融在画面的边角细节里，尽显古雅宁和的幽居之美。",[24,56,28,712,95,58,7,64,525,35357],"补衣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda2dba1f05a310b8dd8320899f492d8d.jpg",[],{"id":35361,"slug":35362,"title":35363,"dynasty":18,"author":436,"museum":561,"description":35364,"tags":35365,"thumbUrl":35366,"material":70,"size":70,"collection":70,"collections":35367,"showCount":517,"zanCount":46,"manualWeight":46,"mainColor":47},228784,"lan-ting-ju-hui-tu-ye-yi-ming-228784","兰亭聚会图页","以淡墨晕染出平远烟峦，汀渚松下，文人士子围坐宴饮，暗合曲水流觞之雅趣。湖山留白铺就空濛烟景，笔意简淡清疏，将兰亭修禊的从容散逸藏于萧散山水间，不见丝竹繁喧，只余林下清谈的幽寂意韵。\n\n下方行书题跋笔墨舒展流动，与山水淡远画风相得益彰，诗书画相融，尽显文人雅尚。将魏晋风雅以水墨淡远之态重述于纸间，把雅集的清旷襟怀寄寓湖山烟霭之中，浑朴简淡间尽显明代文人画崇尚幽远雅致的意趣风骨。",[23,24,25,111,27,38,37,58,29,427,7,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c1a5cbaf540dda22927c4e55b8c6bd3.jpg",[],{"id":35369,"slug":35370,"title":35371,"dynasty":18,"author":436,"museum":561,"description":28337,"tags":35372,"thumbUrl":35373,"material":217,"size":660,"collection":70,"collections":35374,"showCount":517,"zanCount":46,"manualWeight":46,"mainColor":149},228418,"fu-hui-xi-quan-tu-yi-ming-228418","赴会西全图",[24,28,56,784,29,58,34,130,1635,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F551142db7c47fedec8fd1af938298d3e.jpg",[],{"id":35376,"slug":35377,"title":3047,"dynasty":18,"author":436,"museum":561,"description":28337,"tags":35378,"thumbUrl":35380,"material":217,"size":660,"collection":70,"collections":35381,"showCount":517,"zanCount":46,"manualWeight":46,"mainColor":149},228417,"fu-hui-xi-yi-ming-228417",[24,28,56,784,58,29,883,112,7,2011,18,35379,12540,14672,34,158,489],"传统彩绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a23e74bb909715d6258d13dd9ab2c4f.jpg",[],{"id":35383,"slug":35384,"title":35385,"dynasty":78,"author":436,"museum":561,"description":35386,"tags":35387,"thumbUrl":35388,"material":70,"size":70,"collection":70,"collections":35389,"showCount":517,"zanCount":46,"manualWeight":46,"mainColor":149},228237,"xue-shan-lv-yun-tu-yi-ming-228237","雪山驴运图","此作用淡墨晕染铺就寒林雪色，留白摹写寒江远汀，营造出清寂辽远的冬日荒寒。枯木虬曲苍劲，枝桠间尽是萧寒之气，山石以干笔皴擦，棱角硬朗，带着冬日的冷峭坚硬。\n画面一隅的驴队缓行于雪原，为空寂的天地添上一抹人间烟火气，动静之间，将冬日行旅的艰辛苦寒烘托尽致。\n整幅笔墨简淡苍疏，以极简的布局勾勒出萧索荒寒的意境，尽显散淡清寂的气质，把冬日山乡的萧寒况味藏进每一处笔墨细节之中。",[23,24,25,29,27,28,36,860,3389,242,7,4029,34,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F325fdb2e4e5adf4d6327348c425ab759.jpg",[],{"id":35391,"slug":35392,"title":35393,"dynasty":793,"author":436,"museum":561,"description":35394,"tags":35395,"thumbUrl":35396,"material":217,"size":660,"collection":70,"collections":35397,"showCount":517,"zanCount":46,"manualWeight":46,"mainColor":149},227114,"hai-shou-pu-tao-wen-jing-8-yi-ming-227114","海兽葡萄纹镜-8","这类铜镜在宋代的《博古图录》上称“海马葡萄镜”。但在清代的《西清古鉴》上则称之为“海兽葡萄镜”。另外还有的称为禽兽葡萄镜、天马葡萄镜、瑞兽葡萄镜等名。但“海马”、“海兽”名称的使用还是较为普遍。“海马”、“海兽”的称呼，最初的命名者未加解释，究为何种动物，也没有一致的说法。早年德国有位学者认为“海马”是古代伊朗与祭祀有关的一种植物Haoma，后转化变为“海马”。还有人认为“海马”是海外的马。",[24,25,29,28,244,30,2278,82,7,34,132,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10fc5af77fc87fecb506467f9c818316.jpg",[],{"id":35399,"slug":35400,"title":35401,"dynasty":296,"author":25840,"museum":561,"description":25841,"tags":35402,"thumbUrl":35403,"material":217,"size":660,"collection":70,"collections":35404,"showCount":517,"zanCount":46,"manualWeight":46,"mainColor":149},224139,"angaja-tang-ka-224139","Angaja",[25840,784,28,58,7467,112,7,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F336f9166f6f4be6f95101cb5b3acfd30.jpg",[],{"id":35406,"slug":35407,"title":35408,"dynasty":296,"author":25840,"museum":561,"description":25841,"tags":35409,"thumbUrl":35410,"material":217,"size":660,"collection":70,"collections":35411,"showCount":517,"zanCount":46,"manualWeight":46,"mainColor":149},224129,"vajriputra-tang-ka-224129","Vajriputra",[439,25840,784,28,56,58,60,201,525,7,22600,66,489,1118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00fbd60f24945236742f9612f6f0103a.jpg",[],{"id":35413,"slug":35414,"title":35415,"dynasty":296,"author":2706,"museum":53,"description":35416,"tags":35417,"thumbUrl":35418,"material":229,"size":35419,"collection":70,"collections":35420,"showCount":517,"zanCount":46,"manualWeight":46,"mainColor":47},223111,"duan-qiao-can-xue-yu-ti-zhou-dong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[2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[22672,36033,439,28,29,34,7,32,35],"描金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1729d1d005aac9542934177043051ee.jpg",[],{"id":36037,"slug":36038,"title":34326,"dynasty":296,"author":436,"museum":561,"description":36039,"tags":36040,"thumbUrl":36042,"material":217,"size":660,"collection":70,"collections":36043,"showCount":764,"zanCount":46,"manualWeight":46,"mainColor":47},246410,"ti-hong-yu-zhi-shi-shan-shui-ren-wu-tu-hu-lu-shi-gua-ping-yi-ming-246410","此件以葫芦为形，自带吉瑞寓意。朱漆剔红边框雕满缠枝纹，饱满繁茂，古雅生动。上部开光以绿漆为地，刀刻御题诗文，笔意挺劲规整，文韵悠长。下部开光刻画山居雅聚图景：亭台隐于林麓间，文人雅士流连清谈，稚童嬉闹伴侧，山石皴擦细致、林木扶疏有致，将闲逸悠然的林下日常描摹得鲜活灵动。漆色莹润沉厚，朱绿相映层次分明，雕工精巧考究，将髹漆工艺与诗画意境相融，尽显清隽雅致的文人意趣与造物匠心。",[439,22672,34316,17006,29,58,60,34,7,61,36041,34329],"御制诗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F467c44ff43da281e4e7a1e965ba10de9.jpg",[],{"id":36045,"slug":36046,"title":36047,"dynasty":296,"author":36048,"museum":561,"description":36049,"tags":36050,"thumbUrl":36051,"material":217,"size":660,"collection":70,"collections":36052,"showCount":764,"zanCount":46,"manualWeight":46,"mainColor":47},239503,"lv-bi-shan-shui-ce-lv-bi-239503","吕璧山水册","吕璧","此页以淡墨绘就清秋山景，枯木错落尽染秋意，山道迤逦深入林峦，危崖之巅山寺凌然，远山以淡赭晕染，虚渺悠远，尽显清秋疏寂空阔之致。\n\n笔触简淡松灵，不事浓艳，以留白衬出山居清寂，尽显文人画简淡天真的意趣。左侧题诗与画境呼应，将山色秋光、归帆暮景的诗意融于画中，诗画相生，借秋山秋江之景，抒写出幽淡闲远的林下襟怀，淡而有味，简中见雅。",[24,25,111,27,29,30,31,34,7,38,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe069a21185246ef5077275e0b1b2878.jpg",[],{"id":36054,"slug":36055,"title":36047,"dynasty":296,"author":36048,"museum":561,"description":36056,"tags":36057,"thumbUrl":36058,"material":217,"size":660,"collection":70,"collections":36059,"showCount":764,"zanCount":46,"manualWeight":46,"mainColor":47},239502,"lv-bi-shan-shui-ce-lv-bi-239502","此页绘秋山幽寂之景，层峦间飞瀑垂落，汇作浅滩清流。坡岸枯木疏朗，茅舍掩映其间，远山以淡墨轻勾晕染，赭石点染崖身，晕出秋霜浸染的暖调苍寒意境。\n\n笔墨秀净松灵，以简淡皴擦写尽山石肌理，设色雅淡清润，秋意萧疏却无萧瑟之感，反倒透着幽居自适的静穆禅意。左侧题诗与画境呼应，诗书与绘事相得益彰，融文心与画意于尺幅之间，尽显文人山水的雅致意趣，将秋日山居的清寂闲逸铺陈尽致。",[24,25,111,28,29,36,38,82,7,130,34,364,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc63d090155399c4b4a0af8f02be62a11.jpg",[],{"id":36061,"slug":36062,"title":36047,"dynasty":296,"author":36048,"museum":561,"description":36063,"tags":36064,"thumbUrl":36065,"material":217,"size":660,"collection":70,"collections":36066,"showCount":764,"zanCount":46,"manualWeight":46,"mainColor":47},239500,"lv-bi-shan-shui-ce-lv-bi-239500","此帧绘江岸山居之景，近岸危崖苍松错落，山坳村居隐现，远江帆影浮沉于烟水间，淡墨晕染出空蒙悠远的江天色。画面笔墨秀雅清润，山石以干笔皴擦尽显朴拙质感，苍松虬劲古雅，设色柔和清淡。\n\n左页题诗与画境相得益彰，诗画合璧，将春日山居的幽寂清宁铺展尽致，把文人林泉高致寄于尺幅之间，尽显静穆萧散的隐逸之思，以画载情，尽显雅致意趣，是颇具韵味的诗画小品。",[24,25,111,27,36,29,34,7,32,114,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa968d303918aea8174df42cea756d2cb.jpg",[],{"id":36068,"slug":36069,"title":33691,"dynasty":296,"author":25721,"museum":561,"description":27904,"tags":36070,"thumbUrl":36071,"material":217,"size":660,"collection":70,"collections":36072,"showCount":764,"zanCount":46,"manualWeight":46,"mainColor":47},239494,"shan-shui-ce-6-shang-guan-zhou-239494",[24,111,27,36,29,7,34,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26d54b4879be849494ef55198c05878d.jpg",[],{"id":36074,"slug":36075,"title":18519,"dynasty":296,"author":18520,"museum":561,"description":36076,"tags":36077,"thumbUrl":36078,"material":70,"size":70,"collection":70,"collections":36079,"showCount":764,"zanCount":46,"manualWeight":46,"mainColor":47},239378,"hua-zai-yue-shi-yong-shi-yi-ce-yong-rong-239378","此作以干笔淡墨绘就冬日水村，取景清寂淡远。近岸老木虬曲苍劲，石拱桥卧于浅溪之上，将目光牵向水畔幽居。中洲孤亭枕水，枯林错落坡陀，远景汀洲朦胧晕染，留白铺展出烟水空濛之态。\n\n边角题诗与画意浑然相融，无繁复皴染，却将冬夜清寒静谧铺陈尽致。笔致松秀空灵，尽显文人画简淡天真的雅逸格调，把幽居寄兴、耽恋林泉的隐逸情思藏在淡墨轻岚之中，尽显闲寂出尘的林下之风。",[24,111,27,29,36,30,33,96,244,242,7,1262,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45a700c6cfc566e3df68eb9cf7dc7ed1.jpg",[],{"id":36081,"slug":36082,"title":18519,"dynasty":296,"author":18520,"museum":561,"description":36083,"tags":36084,"thumbUrl":36085,"material":70,"size":70,"collection":70,"collections":36086,"showCount":764,"zanCount":46,"manualWeight":46,"mainColor":47},239373,"hua-zai-yue-shi-yong-shi-yi-ce-yong-rong-239373","此作用淡墨晕开烟岚，远山如黛隐于薄雾，铺陈出空寂清远的山水层次。近景篱舍错落相依，古木虬曲伴小桥石径，隅角亭台隐在淡霭之中，处处漫着清和闲逸的诗意。\n\n笔意松秀简淡，以浅淡设色晕染出清润柔和的氛围，无浓艳雕琢，尽显文人画雅致格调。题跋书法秀逸与画面相映成趣，诗画相生，将载月闲居的雅趣融于山水间，把月夜郊居的静谧安然尽数铺陈，尽显中式水墨留白意趣，传递出悠游林泉、寄情山水的文人情致。",[24,25,111,28,27,36,29,60,34,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa891dbbe51a0cb41d51437aceb4f6bb5.jpg",[],{"id":36088,"slug":36089,"title":106,"dynasty":296,"author":34357,"museum":561,"description":36090,"tags":36091,"thumbUrl":36092,"material":70,"size":70,"collection":70,"collections":36093,"showCount":764,"zanCount":46,"manualWeight":46,"mainColor":47},239351,"shan-shui-ce-lin-fu-chang-239351","此作近岸苍松挺劲，浓墨点簇松针，生机勃发，坡岸村居黛瓦素墙，隐于林间，晕开悠然乡居意趣。中景平湖如镜，淡墨晕出水汽朦胧之态，对岸林木错落，色墨交织层次明晰。远景危峰高耸，枯笔勾勒皴擦山石，敷以浅赭淡青，兼具厚重质感与清逸气韵。\n\n右上角题字落款，笔墨相映，融诗画为一体。全幅章法疏密得当，以淡彩浅墨营造出清旷淡远的山居雅境，笔致秀润雅致，尽显传统文人山水的写意风神，漫溢出平和冲淡的隐逸意趣。",[200,24,25,111,28,27,36,29,427,35,7,34,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faead99b79c601ad5ccfc1e361a07e6f9.jpg",[],{"id":36095,"slug":36096,"title":106,"dynasty":296,"author":34357,"museum":561,"description":36097,"tags":36098,"thumbUrl":36099,"material":70,"size":70,"collection":70,"collections":36100,"showCount":764,"zanCount":46,"manualWeight":46,"mainColor":47},239345,"shan-shui-ce-lin-fu-chang-239345","此帧以水墨写意摹黄鹤山人笔意，绘就江岸山居之景。危崖层叠而上，古松虬枝蟠曲、针叶郁苍，崖下临江水榭错落，随波漾出闲静意趣。右侧半山楼阁崔嵬，山道蜿蜒隐于林木间，远山晕在烟霭之中，淡如浅黛。\n作者以干湿互用的墨色皴擦山石，苍润兼具。笔致松灵秀逸，淡墨晕染烟岚，虚实相生间晕出空濛淡远的诗意，将萧散简远的元人山水意趣融于尺幅，把林泉高致的隐逸氛围烘托得恰到好处，尽显文人水墨的雅致淡远。",[24,25,111,27,36,29,60,34,7,114,1262],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd10bfe30e11280413a72d3a3add57576.jpg",[],{"id":36102,"slug":36103,"title":2840,"dynasty":296,"author":25372,"museum":561,"description":36104,"tags":36105,"thumbUrl":36106,"material":70,"size":70,"collection":70,"collections":36107,"showCount":764,"zanCount":46,"manualWeight":46,"mainColor":149},239301,"fang-gu-shan-shui-ce-wu-lin-239301","吴麐（1691～1772），字粟园，一作粟原，一字尧圃，安徽歙县籍，家江西景德镇。其家有景德镇古窑，与唐熊年三窑并称吴窑。山水学黄公望，以疏散简淡为主，用墨干湿相参不见痕迹，长于小幅，若大幅则病其翠弱，亦不多见。生平有古君子风，老客扬州汪贻士家。",[24,27,2843,111,36,29,34,7,201,114,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58825ff8e3a00ed4e95eef7faaa67260.jpg",[],{"id":36109,"slug":36110,"title":36111,"dynasty":18,"author":36112,"museum":561,"description":36113,"tags":36114,"thumbUrl":36115,"material":217,"size":660,"collection":70,"collections":36116,"showCount":764,"zanCount":46,"manualWeight":46,"mainColor":47},239262,"shu-hua-tu-ce-cheng-min-239262","书画图册","程敏","此作为文人写意小品，以淡墨挥写崖壁，斧劈皴法带出山石硬朗棱角，古松枝干蟠曲如游龙，浓墨点染松针，枯湿浓淡相生尽显古松的苍拙遒劲。\n\n崖畔幽人孑然而立，仅以寥寥数笔勾勒出萧散出尘之态，画面留白铺陈开山岚空寂，将天地寥廓与林下幽思融为一体，寥寥笔墨写尽文人寄情丘壑、超逸出俗的襟怀，淡远清寂的意境扑面而来，是以少胜多的水墨佳构。",[24,25,111,27,96,7,58,82,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00925f199caa109049e835c3d25a86b7.jpg",[],{"id":36118,"slug":36119,"title":22295,"dynasty":296,"author":12689,"museum":561,"description":36120,"tags":36121,"thumbUrl":36122,"material":70,"size":70,"collection":70,"collections":36123,"showCount":764,"zanCount":46,"manualWeight":46,"mainColor":47},239200,"san-da-ming-shan-shi-er-tu-ce-xu-fang-239200","此帧以水墨绘山居清景，山谷间村居错落，林木蓊郁，飞泉穿岩漱石，层峦以淡墨晕染出空濛烟岚，将江南山水温润之态尽数铺展。笔墨以干笔皴擦出山石肌理，墨色层次清润柔和，意境幽寂淡远。左侧行书题跋笔致苍劲朴拙，书画相映成趣，尽显文人雅意。画面寄寓着幽居林泉的隐逸襟怀，将沉郁静穆的心境融于丘壑林泉，笔底皆是世外丘山，毫端尽见林下高致。",[24,27,111,36,37,82,29,30,31,60,33,34,7,133,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27dfdc15d81e286e5bd0c0537523e416.jpg",[],{"id":36125,"slug":36126,"title":22295,"dynasty":296,"author":12689,"museum":561,"description":36127,"tags":36128,"thumbUrl":36129,"material":70,"size":70,"collection":70,"collections":36130,"showCount":764,"zanCount":46,"manualWeight":46,"mainColor":47},239199,"san-da-ming-shan-shi-er-tu-ce-xu-fang-239199","此帧绘天台桃源胜景，层岩峻岭拔地而起，飞瀑穿谷而下，溪湾回环间村居、板桥、渔舟错落隐现，林泉幽寂宛如化外仙境。以干笔皴擦勾勒山石苍莽肌理，淡墨晕染出空濛岚气，笔墨苍秀简远，尽显静穆清旷之致。左侧题咏桃源的行书笔致清劲疏朗，书画合璧，以文衬景，将世外幽居的澹逸与林下守志的襟怀融于一画，淡远萧散间，藏着幽栖丘山的雅意。",[24,27,36,111,37,82,29,30,31,33,34,7,130,364,58,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74ea69c09b056d642b6b126fa6049aec.jpg",[],{"id":36132,"slug":36133,"title":13884,"dynasty":296,"author":32762,"museum":561,"description":32763,"tags":36134,"thumbUrl":36135,"material":70,"size":70,"collection":70,"collections":36136,"showCount":764,"zanCount":46,"manualWeight":46,"mainColor":47},239166,"shan-shui-hua-hui-ce-chen-heng-ke-239166",[24,27,111,36,29,837,112,7292,133,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9d6d3b1021fc74e183b7371dc5a4dc3.jpg",[],{"id":36138,"slug":36139,"title":22353,"dynasty":296,"author":36140,"museum":561,"description":36141,"tags":36142,"thumbUrl":36143,"material":217,"size":660,"collection":70,"collections":36144,"showCount":764,"zanCount":46,"manualWeight":46,"mainColor":47},239002,"shan-shui-shan-zhao-wei-239002","赵玮","赵玮，生卒年不详，山东济南府平原县人。幼孤，事母以孝。闻以明经，授莱州府学训导。招集诸生，立月课法，拔其尤者廪给之，一时文风蔚起。又捐俸、备乐器于学宫，聘儒童肄习之，历三月而八音备。生平笃学嗜古，于诸书无不究悉。所著有《圣庙元音》及《典礼》、《仪礼》二卷藏于家。",[1900,24,27,28,29,7,34,1944,37,82,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a45b2fac7e87c475746906d4a2d3b47.jpg",[],{"id":36146,"slug":36147,"title":36148,"dynasty":296,"author":18562,"museum":561,"description":36149,"tags":36150,"thumbUrl":36151,"material":70,"size":70,"collection":70,"collections":36152,"showCount":764,"zanCount":46,"manualWeight":46,"mainColor":47},238981,"shan-shui-ce-fang-wu-zhong-gui-bing-shu-shi-tian-ju-wang-chen-238981","山水册－仿吴仲圭并书石田句","此作以浅绛绘就林泉之景，近崖峻拔，草木翳然，山道逶迤通幽；山坳村居隐于松荫，朴拙静谧。干笔勾勒山石骨相，披麻皴晕染肌理，淡赭轻敷，色调清润柔和，尽显元人萧散简淡的意趣。\n\n题诗与画境交融，将幽寂的山居意韵娓娓道来。笔意苍秀古拙，不尚雕琢，以极简的笔墨写尽林泉高致，把隐逸的山居之思融于尺幅间，平淡之中自见隽永风神，尽显文人山水的写意雅趣。",[24,25,111,27,36,186,38,82,29,7,34,35,114,1104,364],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53da4dccb0bb03892a40748465207366.jpg",[],{"id":36154,"slug":36155,"title":36156,"dynasty":296,"author":18562,"museum":561,"description":36157,"tags":36158,"thumbUrl":36159,"material":70,"size":70,"collection":70,"collections":36160,"showCount":764,"zanCount":46,"manualWeight":46,"mainColor":47},238978,"shan-shui-ce-fang-xu-you-wen-bi-wang-chen-238978","山水册－仿徐幼文笔","此作以淡墨轻皴铺陈江天暮色，远山以赭色晕染，澹宕空濛如笼薄纱。坡岸杂木萧疏，苇草萋萋随风偃仰，笔意苍秀兼济，于枯淡中藏润泽之致。\n\n江心一舟横陈，渔翁独卧，似随波忘机。整幅以简驭繁，删去细碎雕琢，尽显空寂清寒的林下之致，将幽人寄兴烟水的襟怀尽付笔端，仿古而不泥古，以松动的笔墨晕染出江天旷远、物我两谐的淡远意境。",[24,25,111,27,36,186,29,32,34,7,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45f566d03243197f67b928c3e8983a5b.jpg",[],{"id":36162,"slug":36163,"title":36164,"dynasty":296,"author":18562,"museum":561,"description":36165,"tags":36166,"thumbUrl":36167,"material":70,"size":70,"collection":70,"collections":36168,"showCount":764,"zanCount":46,"manualWeight":46,"mainColor":47},238977,"shan-shui-ce-wei-zhu-ze-min-wang-chen-238977","山水册－囗朱泽民","此作用淡墨干皴层层晕染，以平远构图铺陈丘壑。左岸古木姿态苍古，枝叶简括却见生拙意趣；右方危崖高耸，留白透气尽显空濛。汀洲茅舍孑立水畔，萧散清寂。\n\n画面配题小诗，将晚峰云影、水亭幽怀相融，以元代逸笔写胸中丘壑，笔墨松秀简淡，脱去甜熟，尽显苍润生拙。整体意境空濛淡远，将幽人林下独处的静穆心境藏于尺幅之中，尽显清逸萧疏的林下雅风，淡去匠气，只留简淡静穆的文人雅韵。",[24,25,111,27,36,29,112,7,33,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7879ad72df17bfc8c9be3231cc5125f2.jpg",[],{"id":36170,"slug":36171,"title":36172,"dynasty":296,"author":18562,"museum":561,"description":36173,"tags":36174,"thumbUrl":36175,"material":70,"size":70,"collection":70,"collections":36176,"showCount":764,"zanCount":46,"manualWeight":46,"mainColor":47},238974,"shan-shui-ce-fang-huang-rong-lao-ren-bi-yi-wang-chen-238974","山水册－仿黄荣老人笔意","此作用笔松秀苍润，以干淡笔墨写就水村山景。近岸怪石崚嶒，古松虬曲横斜，枝叶简括见风骨，临水村居错落，木构茅舍自带野逸之趣。远景平峦迤逦，淡墨晕染出空濛烟岚，水天一色间尽显清寂淡和。\n整幅画以仿古笔法写胸中丘壑，萧散简远，将江南水乡的闲静之致藏于笔墨间，淡岚轻霭里漫溢出幽居林下的雅逸意趣，不见繁复刻画，却在简淡之中尽显沉静安然的文人画意境。",[24,25,111,27,36,186,29,427,7,35,114,2471,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e913300ffb58dfa0c5f22d17733740c.jpg",[],{"id":36178,"slug":36179,"title":1866,"dynasty":296,"author":1617,"museum":561,"description":36180,"tags":36181,"thumbUrl":36182,"material":70,"size":70,"collection":70,"collections":36183,"showCount":764,"zanCount":46,"manualWeight":46,"mainColor":47},238903,"fang-song-yuan-shan-shui-ce-dong-gao-238903","此作用笔松灵苍秀，干湿墨色交织晕染。近岸危崖嶙峋，皴笔厚重写尽山石肌理，崖间山居幽藏，野意自生。坡脚草木清润，托显出丘壑生机。中江帆影孤悬，破水而来，漾开静穆氛围。远景山峦以淡墨晕化，烟岚轻笼，虚实相生间铺展出空濛悠远的水岸意境。整幅兼具丘壑之实与笔墨之疏，将林泉幽居的隐逸意趣融于咫尺尺幅，静雅淡宕，尽显山水间闲逸萧散的文人雅怀。",[24,25,111,27,36,186,29,32,7,34,97,113,201,1397],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dfc9b5c60b7a1422617e100905f6539.jpg",[],{"id":36185,"slug":36186,"title":36187,"dynasty":296,"author":1617,"museum":561,"description":36188,"tags":36189,"thumbUrl":36190,"material":70,"size":70,"collection":70,"collections":36191,"showCount":764,"zanCount":46,"manualWeight":46,"mainColor":47},238836,"hua-gui-yu-ji-dian-tu-ce-dong-gao-238836","画归余纪典图册","此作为淡设色山水小品，以平远铺陈画面，绘就冬日村居图景。上部篱舍隐于疏木间，枯桠错落留白衬出清寂冬意，尽显郊野幽宁；下部板桥连缀村舍，有人凭栏闲立，晕染出淡逸烟火温情。\n\n笔墨秀润简约，未作繁复皴染，以清简笔触勾勒江南村居萧散之态。诗书画印相映成趣，题跋朱印错落排布，融文人意趣于尺幅之间，将文人士大夫寄情林泉、安享幽居的雅怀尽显，淡远清和，意韵悠长。",[24,25,111,28,29,34,35,7,82,33,58,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1256d995992177aee2c5fa2a6f708cb4.jpg",[],{"id":36193,"slug":36194,"title":19766,"dynasty":296,"author":1617,"museum":561,"description":36195,"tags":36196,"thumbUrl":36197,"material":70,"size":70,"collection":70,"collections":36198,"showCount":764,"zanCount":46,"manualWeight":46,"mainColor":47},238779,"shan-shui-ren-wu-xiao-ce-dong-gao-238779","此作用笔秀润疏朗，淡墨晕染山峦，留白氤氲出轻烟薄雾，将林泉幽境铺陈开来。苍松层叠挺劲，枝桠舒展间带着清森古意；缓坡幽岸处，茅舍掩映，策杖徐行的隐者似正循着松风缓步而归，人物简括生动，暗合林泉高致。\n\n整体色调清浅柔和，以极简的笔墨勾勒丘壑情致，淡彩晕染远山，留白衬出空濛雅致，尽显文人山水的澹泊意趣，将幽居林下、寄情烟霞的隐逸襟怀藏在每一处笔墨之间。",[24,111,27,36,29,58,34,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37a36fdea7ffec2e364e9391fa30ca1f.jpg",[],{"id":36200,"slug":36201,"title":28829,"dynasty":296,"author":2706,"museum":561,"description":36202,"tags":36203,"thumbUrl":36204,"material":70,"size":70,"collection":70,"collections":36205,"showCount":764,"zanCount":46,"manualWeight":46,"mainColor":47},238754,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238754","此作诗画合璧，左文右图尽显文人雅趣。远山以淡墨晕染，朦胧如黛，铺陈出江天寥廓的空寂。近岸以细腻皴法写山石草木，苍润秀雅，野意盎然。水面之上两艘渔舟轻漾，舟中人物神态松弛，或低语或抬手，将江上行旅的悠然野趣具象呈现。\n\n笔墨清润柔和，留白烘托出山水间的空寂禅意，搭配左侧行书题诗，诗画相映，将寄情山水的文人心怀融于尺幅之间，平和悠远，把江乡闲游的恬澹况味娓娓道来。",[24,27,29,111,36,31,32,58,158,34,113,7,2490,133,4438],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dcfe32360689195263600ec19b3582d.jpg",[],{"id":36207,"slug":36208,"title":13317,"dynasty":296,"author":2706,"museum":561,"description":36209,"tags":36210,"thumbUrl":36211,"material":70,"size":70,"collection":70,"collections":36212,"showCount":764,"zanCoun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描摹间，以简驭繁，淡墨轻岚中寄寓着幽居林泉的雅逸襟怀。笔意松秀空灵，境与神会，尽显以画载道、以笔墨写心的文人风骨，是极具代表性的文人山水风貌。",[24,25,111,27,36,38,82,29,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F957aaf29ac73c53d53df438f1178d3b3.jpg",[],{"id":36670,"slug":36671,"title":106,"dynasty":296,"author":17429,"museum":561,"description":36672,"tags":36673,"thumbUrl":36674,"material":70,"size":70,"collection":70,"collections":36675,"showCount":764,"zanCount":46,"manualWeight":46,"mainColor":149},235937,"shan-shui-ce-qi-zhi-jia-235937","此作用笔清癯简淡，枯笔勾勒崖壁，皴擦极简便将山石嶙峋荒疏之态尽显。几株虬劲枯木无叶，愈发衬出空山萧索。坡上孤亭孑然独立，远景以淡墨晕染远山，江天寥廓混茫，意境幽冷孤高。\n\n整体取法逸笔草草的文人意趣，以简淡笔墨写尽清寂林下之境，寄寓幽远超然的襟怀，淡墨间浸透疏淡避世的雅韵，留白处皆是余味，简中见深，淡而弥长。",[24,25,27,38,36,111,29,96,7,30,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5945a50217da6dd6387ae3ca6be8bf72.jpg",[],{"id":36677,"slug":36678,"title":33339,"dynasty":296,"author":32507,"museum":561,"description":36679,"tags":36680,"thumbUrl":36681,"material":70,"size":70,"collection":70,"collections":36682,"showCount":764,"zanCount":46,"manualWeight":46,"mainColor":47},235927,"hu-shan-fan-cha-tu-ce-pan-gong-shou-235927","此作用浅绛设色写秋山古寺，左侧危崖层叠，枯笔皴擦出山石嶙峋肌理，淡石青晕染远山，铺展出深远空阔的山居层次。山麓苍松虬劲，荫蔽梵刹飞檐，几株丹枫点染秋意，溪涧蜿蜒穿林，漾出清寂生机。\n\n右上角题诗与画境呼应，诗画合璧，笔墨清隽秀雅，兼具元人山水的淡远萧疏与文人雅韵，将秋日山寺的幽寂空灵烘托尽致，静穆淡远的禅意漫溢纸面，尽显雅致出尘的文人意趣。",[24,25,111,28,36,29,427,7,671,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ad115590e3609c8f1ddcdd81403d190.jpg",[],{"id":36684,"slug":36685,"title":1259,"dynasty":296,"author":21014,"museum":561,"description":31806,"tags":36686,"thumbUrl":36687,"material":217,"size":660,"collection":70,"collections":36688,"showCount":764,"zanCount":46,"manualWeight":46,"mainColor":47},235898,"shan-shui-tu-ce-guan-quan-235898",[24,25,111,27,38,29,112,201,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54d2c1204b41a60e69aeb2f87be953e6.jpg",[],{"id":36690,"slug":36691,"title":106,"dynasty":18,"author":12146,"museum":561,"description":36692,"tags":36693,"thumbUrl":36694,"material":70,"size":70,"collection":70,"collections":36695,"showCount":764,"zanCount":46,"manualWeight":46,"mainColor":47},235820,"shan-shui-ce-li-liu-fang-235820","此帧以淡墨晕染远山，寥寥数笔便勾勒出清旷空蒙之态。近岸古木虬曲，枝桠错落，枯笔勾勒尽显苍劲质感，林下村居掩映于草木间，野趣横生。\n\n画作以干笔皴擦，墨色层次清雅简淡，摒弃繁复晕染，将秋日江岸的疏寂淡远尽数铺展。左侧题跋点明其自开生面的画格，脱却陈规旧法，以书入画，笔意萧散沉静，尽显文人山水的简率风神，将江南秋岸的幽寂意蕴融于笔墨，寄寓着林泉高致的文人襟怀。",[24,25,111,27,300,36,29,34,35,7,19644],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9036cf8cc485a93ef0a54c3227ddc479.jpg",[],{"id":36697,"slug":36698,"title":2840,"dynasty":18,"author":26030,"museum":561,"description":36699,"tags":36700,"thumbUrl":36701,"material":70,"size":70,"collection":70,"collections":36702,"showCount":764,"zanCount":46,"manualWeight":46,"mainColor":47},235623,"fang-gu-shan-shui-ce-shen-hao-235623","此帧以极简笔墨绘就冬日山隅，几株枯木虬枝疏朗，旁伴修竹柔劲挺秀，浅坡寒石错落，勾勒皴擦简率清逸。远景山峦以淡墨晕染虚化，留白间尽显空濛悠远。右上题诗与画意相生，将萧寒淡远的意境烘托尽致。整幅以少胜多，舍去繁缛细节，用清浅笔墨描摹出荒寒萧疏的冬日山景，尽显文人山水疏淡清远的格调，藏着画者寄情林泉的幽怀雅致。",[24,25,111,27,36,82,29,242,391,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7466e922793b9d77af0d51a2061d7109.jpg",[],{"id":36704,"slug":36705,"title":106,"dynasty":296,"author":8444,"museum":561,"description":23903,"tags":36706,"thumbUrl":36707,"material":217,"size":660,"collection":70,"collections":36708,"showCount":764,"zanCount":46,"manualWeight":46,"mainColor":47},235497,"shan-shui-ce-liu-yu-235497",[24,25,111,27,712,38,37,29,112,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe44ff21b2853efe85d5635c5e5d54adb.jpg",[],{"id":36710,"slug":36711,"title":106,"dynasty":296,"author":8444,"museum":561,"description":23903,"tags":36712,"thumbUrl":36713,"material":217,"size":660,"collection":70,"collections":36714,"showCount":764,"zanCount":46,"manualWeight":46,"mainColor":47},235495,"shan-shui-ce-liu-yu-235495",[24,25,111,27,36,38,37,29,32,7,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14194520488d9c42591df0a9dd3f8d78.jpg",[],{"id":36716,"slug":36717,"title":35034,"dynasty":18,"author":436,"museum":561,"description":36718,"tags":36719,"thumbUrl":36720,"material":217,"size":660,"collection":70,"collections":36721,"showCount":764,"zanCount":46,"manualWeight":46,"mainColor":47},235145,"chen-dan-zhong-shan-shui-ce-yi-ming-235145","近岸怪石层叠错落，古松斜生遒劲清奇，寥寥松针点染出苍古生机。远江帆影孤悬，江波澹澹以留白代水韵，晕染出空濛烟波。\n\n笔墨苍秀淡雅，山石皴法朴拙简淡，淡墨晕开水汽空濛，将文人的林下闲逸藏于尺幅。诗画相映，以极简景致勾勒幽人寄情林泉、放怀天地的意趣，静中藏动，淡里含韵，尽显小品山水的悠远襟怀。",[24,25,111,27,29,32,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F716d262a2c892cfde8cc3892627fb064.jpg",[],{"id":36723,"slug":36724,"title":35034,"dynasty":18,"author":436,"museum":561,"description":36725,"tags":36726,"thumbUrl":36727,"material":217,"size":660,"collection":70,"collections":36728,"showCount":764,"zanCount":46,"manualWeight":46,"mainColor":47},235144,"chen-dan-zhong-shan-shui-ce-yi-ming-235144","此作用淡墨写意绘就山林村居之景，古木虬枝苍郁繁茂，以浓墨点染苔痕木叶，蓊蓊郁郁间，林麓茅庐隐现，留白作水，清寂空远，尽显幽居野逸之趣。\n\n左侧行书题诗笔墨清隽，与画作意境相融，诗画合璧，勾勒出避世耽书、自适林下的襟怀。简淡萧疏的笔致里，浸透了文人追慕林泉高致的隐逸意趣，虽笔调简率，却以少胜多，将山野幽居的恬然之境晕染尽致，尽显静绝尘嚣的林下雅意。",[24,25,111,27,29,34,7,33,38,82],"https:\u002F\u002Foss.c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枧峰寺图卷","此作为图文合璧的绘卷，右图以淡彩晕染山野丘林，松石苍雅朴拙，人物排布错落生动，行旅者或倦怠躺卧，或凝神聆听僧侣开示，情态各异，将行路劳顿与闻法的宁和形成鲜明对照。左文以汉字题咏叙事，文图呼应铺陈禅林行旅往事。整体设色清浅柔和，线条简净舒缓，带着古拙沉静的禅意氛围，尽显绘卷叙事与宗教风物相融的独特韵味，将东瀛禅林行旅的人文意趣娓娓道来，质朴中饱含静穆的人文温度。",[23,24,26,28,58,29,34,427,7,37054,784],"山丘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4f9c6f5ee50db71f4f7c33b983c2b3b.jpg",[],{"id":37058,"slug":37059,"title":35316,"dynasty":3017,"author":18735,"museum":561,"description":18736,"tags":37060,"thumbUrl":37061,"material":217,"size":660,"collection":70,"collections":37062,"showCount":764,"zanCount":46,"manualWeight":46,"mainColor":250},231596,"shi-ting-shi-dai-shan-shui-tu-zhou-zhou-wen-231596",[23,24,25,95,27,36,29,60,30,427,7,114,34,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5efd00ba4510536798ee87c1edb5bf8a.jpg",[],{"id":37064,"slug":37065,"title":37066,"dynasty":296,"author":436,"museum":53,"description":37067,"tags":37068,"thumbUrl":37070,"material":229,"size":37071,"collection":70,"collections":37072,"showCount":764,"zanCount":46,"manualWeight":46,"mainColor":149},231533,"suan-ni-tu-yi-ming-231533","狻猊图","现存古代绘画中，反映真狮形象的绘画主要集中于明清时期的宫廷绘画中，但水平有高下之分。从清代宫廷画家刘九德、张为邦及部分佚名画家所绘狮子图来看，虽然已十分接近真狮，但水平不高，较为呆板，精致程度远不及周全《狮子图》。这些较为写实的狮子绘画有些作于康熙年间，有些则是雍、乾时期的仿本。康熙十七年（1678）八月，葡萄牙人曾将一只狮子运抵北京献给康熙皇帝，可惜的是此狮到京后只存活了不到三个月，为时甚短，此后直到20世纪初，再未有真狮入华。由于接触时间甚短，未能细致观察，又迭经转摹，导致清宫写实性狮子绘画水平普遍不高，细节上有所缺失。",[24,25,56,28,1396,112,923,439,142,1436,25733,37069,7558,5008,1397,7],"设色典雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb7499dad40501202d7f76dc3a35bc65.jpg","211.9x178.6厘米",[],{"id":37074,"slug":37075,"title":37066,"dynasty":296,"author":35864,"museum":53,"description":37067,"tags":37076,"thumbUrl":37077,"material":142,"size":37078,"collection":70,"collections":37079,"showCount":764,"zanCount":46,"manualWeight":46,"mainColor":149},231532,"suan-ni-tu-zhang-wei-bang-231532",[24,25,439,28,56,1396,272,34,7,525],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2651477555d183251f2cf9c5bd2a4b0e.jpg","175.1x238.2厘米",[],{"id":37081,"slug":37082,"title":37083,"dynasty":3017,"author":26589,"museum":561,"description":26590,"tags":37084,"thumbUrl":37085,"material":142,"size":660,"collection":70,"collections":37086,"showCount":764,"zanCount":46,"manualWeight":46,"mainColor":149},230575,"a-shi-duo-zun-zhe-ping-an-shi-dai-shi-liu-luo-han-xiang-230575","阿氏多尊者",[23,24,25,95,784,58,60,7,64,56,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fb4115c81ad46fcc2c26ab41970c858.jpg",[],{"id":37088,"slug":37089,"title":37090,"dynasty":3017,"author":26589,"museum":561,"description":26590,"tags":37091,"thumbUrl":37092,"material":142,"size":660,"collection":70,"collections":37093,"showCount":764,"zanCount":46,"manualWeight":46,"mainColor":149},230567,"jia-li-jia-zun-zhe-ping-an-shi-dai-shi-liu-luo-han-xiang-230567","迦哩迦尊者",[23,24,28,56,36,784,58,21353,7,14672],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb584d28e97eb91993a436a85b2c616f7.jpg",[],{"id":37095,"slug":37096,"title":37097,"dynasty":3017,"author":436,"museum":561,"description":37098,"tags":37099,"thumbUrl":37100,"material":70,"size":70,"collection":70,"collections":37101,"showCount":764,"zanCount":46,"manualWeight":46,"mainColor":47},230523,"fang-gu-shan-shui-fen-ben-shou-ye-jia-tu-juan-5-yi-ming-230523","仿古山水粉本（狩野家图卷）-5","此作为水墨雪景山水，以冷月开篇，清辉穿透薄云，遍洒素裹峰峦。左畔寒林雪瀑垂落，银枝静立幽壑，将冬日萧寒藏于丘壑间。湖面如镜，渔舟三两泛波，棹影微动揉碎月影，漾开一湖清寂。\n\n远景层峦隐于烟霭，虚实相生铺展天地辽远。右侧危崖高耸，古松覆雪挺拔苍劲，崖畔山居藏于林岫，寥寥数笔勾勒出清旷山居意趣。全作用墨虚实相宜，淡墨晕染烟岚，浓墨塑山石肌理，以留白造幽远之境，将冬夜湖山的空寂淡远尽数铺展，尽显古雅萧疏的文人山水意韵。",[23,24,25,26,27,2843,36,29,32,130,427,860,1385,133,7,31,1931],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F811b3cf455dffaa8550b3d1fe7817da3.jpg",[],{"id":37103,"slug":37104,"title":37105,"dynasty":3017,"author":436,"museum":561,"description":37106,"tags":37107,"thumbUrl":37108,"material":217,"size":660,"collection":70,"collections":37109,"showCount":764,"zanCount":46,"manualWeight":46,"mainColor":47},230518,"fang-gu-ren-wu-shan-shui-fen-ben-shou-ye-jia-tu-juan-2-yi-ming-230518","仿古人物山水粉本（狩野家图卷）-2","此作以淡彩白描写就，上方二力士嬉闹互动，铁线勾勒出虬结筋肉，将壮汉憨顽神态刻画入微，把蛮勇与谐趣融为一体。下方松岩笔致清简古淡，与人物形成动静对照，雅野相映。作为粉本随性率真，既有东国传统人物画的朴拙意韵，又暗合中式底稿的传神简练，市井意趣跃然纸面，让旧稿鲜活起来，满是松弛诙谐的烟火质感。",[23,24,25,95,712,27,28,58,427,7,2843,186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F506734a1b3d9a11ee714d65cdf836743.jpg",[],{"id":37111,"slug":37112,"title":37113,"dynasty":296,"author":436,"museum":561,"description":26109,"tags":37114,"thumbUrl":37116,"material":217,"size":660,"collection":70,"collections":37117,"showCount":764,"zanCount":46,"manualWeight":46,"mainColor":47},229426,"qing-hua-bai-di-hua-nang-yi-ming-229426","青花白地花囊",[25345,26111,272,391,7,31,37115],"装饰纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70ae3c889503b41d58c8eb83ef1a28b1.jpg",[],{"id":37119,"slug":37120,"title":37121,"dynasty":296,"author":436,"museum":561,"description":29453,"tags":37122,"thumbUrl":37123,"material":217,"size":660,"collection":70,"collections":37124,"showCount":764,"zanCount":46,"manualWeight":46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to Matthijs Cock--Landscape with a Town by the Seashore","以棕褐线条晕开山海乡居图景，近坡荒草萋萋，几株古木虬曲苍劲，疏朗枝桠晕染山野意趣。坡下石桥横跨浅溪，矮屋簇拥钟楼漫出烟火暖意。\n视线铺展至中远景，滨海屋舍错落着融入山岚，海面扁舟轻泊，朦胧远山柔化了天地边界。笔触克制细腻，以极简线条铺陈层次，不着浓丽色彩，却将郊野渔村的松弛日常揉进阔远天地间，藏着古朴写实的质感，把山海乡野的静穆悠远晕在纸面，尽显古典风景绘作里含蓄温柔的自然意趣。",[37781,27407,29,4855,37782,34,30,986,7],"风景画","海岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadbf5e3a353af94ff6a0b1e0715beafd.jpg",[],{"id":37786,"slug":37787,"title":37788,"dynasty":3017,"author":436,"museum":561,"description":37789,"tags":37790,"thumbUrl":37793,"material":217,"size":660,"collection":70,"collections":37794,"showCount":11,"zanCount":46,"manualWeight":46,"mainColor":47},289505,"battista-franco-moses-drawing-water-from-the-rock-yi-ming-289505","Battista Franco--Moses Drawing Water from the Rock","蚀刻粗粝的线条铺展开旷野神迹：左侧摩西抬手叩击岩壁，清泉蜿蜒破石而出。右侧流民们一扫跋涉的疲惫，或俯身掬水畅饮，或振臂欢呼，驮负行囊的牲畜混迹人群之间，将逃荒旅途的困顿与获水的狂喜交织一处。\n\n远景山林以疏密排线晕染层次，嶙峋山石与苍郁林木勾勒出荒野的苍凉壮阔，明暗对比烘托出神迹的庄严厚重。作品将宗教叙事的神圣感揉进世俗生活的烟火气里，以充满力量感的线条尽显叙事版画的张力，把绝境逢生的震撼演绎得淋漓尽致。",[9576,29707,58,1103,7,34,37791,37792],"圣经故事","摩西取水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71aaad8663614aea666fa366fae94ee3.jpg",[],{"id":37796,"slug":37797,"title":37798,"dynasty":3017,"author":436,"museum":561,"description":37799,"tags":37800,"thumbUrl":37802,"material":217,"size":660,"collection":70,"collections":37803,"showCount":11,"zanCount":46,"manualWeight":46,"mainColor":47},289496,"bernard-van-orley-the-resurrection-yi-ming-289496","Bernard van Orley--The Resurrection","画面以细密的蚀刻线条铺陈神迹，复活的基督周身圣光迸发，右手高举昭示新生，左手紧握十字宝杖踏于石间。下方守卫的士兵们惊骇溃散，狼狈的姿态与基督的沉静庄严形成强烈反差，肌肉的虬结线条、衣袍褶皱的凌厉刻画，尽显躯体张力与慌乱情绪。\n左侧小景补绘守墓士兵目击亡灵显现的片段，补全复活叙事的侧面视角。整幅作品以冷峻写实的笔法，借明暗层次烘托出超自然的神圣氛围，将宗教神迹的威严与凡人面对神性时的惶惑，细腻铺陈在刀笔线条之间，尽显宗教版画的叙事张力与人文写实质感。",[9576,29707,712,37801,17246,11428,7,187],"耶稣复活","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff20b438980189013fb7e376ba2eff79c.jpg",[],{"id":37805,"slug":37806,"title":37807,"dynasty":3017,"author":436,"museum":561,"description":37808,"tags":37809,"thumbUrl":37811,"material":217,"size":660,"collection":70,"collections":37812,"showCount":11,"zanCount":46,"manualWeight":46,"mainColor":47},289138,"marco-ricci-clearing-in-a-wooded-landscape-yi-ming-289138","Marco Ricci--Clearing in a Wooded Landscape","以棕褐墨色铺就林间幽境，右侧古树枝干虬曲苍劲，舒展的细枝托举簇叶，宛如在风里舒展筋骨，带着沉厚古拙的野趣。左侧枯松垂挂如苔的线条，将荒疏清冷的质感晕开，留白的天光漫过坡石，远景林影淡成朦胧的晕染，似笼着一层薄雾。\n\n线条松灵兼具力道，淡墨晕出山岩与植被的层次，将幽僻林中空地的静谧生机揉合一处，仿佛能触到林间湿润的风，听见枝桠轻晃的声响，寥寥几笔便将郊野林泉的悠然况味尽数晕开，把无人惊扰的山野闲趣封存在这纸面之间。",[37781,27407,6715,242,96,7,37810],"林间空地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc214d933e18f12895a88f7c652b2220b.jpg",[],{"id":37814,"slug":37815,"title":37816,"dynasty":3017,"author":436,"museum":561,"description":37817,"tags":37818,"thumbUrl":37822,"material":217,"size":660,"collection":70,"collections":37823,"showCount":11,"zanCount":46,"manualWeight":46,"mainColor":250},289086,"jean-laurent-legeay-architectural-fantasy-yi-ming-289086","Jean Laurent Legeay--Architectural Fantasy","赭石单色晕染出沉郁雅致的氛围，圆形构图将这片古建废墟幻想收拢成一场闭环遗梦。残损柱梁、崩坍祭坛错落崖间，左侧层叠城邦半掩在枯藤之后，右侧悬岩碑刻与悬空祭台漫着失落文明的诡谲诗意。排线晕开朦胧雾气，让断壁残垣隐在氤氲里，把怀古怅惘揉进荒寂天地。虚实交错间，破碎古典建筑织就褪色荣光的凭吊图景，静诉着时间磨蚀文明的缄默往事，颓败美感里藏着对逝去城邦的幽微追念。",[57,27407,37819,8682,37820,7,34,37821],"单色画","废墟","奇幻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a11dcf0f2b57a59f52815d4e9e76043.jpg",[],{"id":37825,"slug":37826,"title":37827,"dynasty":3017,"author":436,"museum":561,"description":37828,"tags":37829,"thumbUrl":37833,"material":217,"size":660,"collection":70,"collections":37834,"showCount":11,"zanCount":46,"manualWeight":46,"mainColor":47},288765,"salvator-rosa-st-paul-hermit-yi-ming-288765","Salvator Rosa--St. Paul, 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水师法倪瓒，加以发展，画法疏简，格调幽淡 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（1842年—1922年），湖南道县人。 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