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景色。本幅无作者款印，旧以画中状似卷云皴蟹爪枝法而传为郭熙所作",[25,7,98,99,100,29,101,102,103,104,105,106,75],"雪景","茅舍","溪桥","瀑泉","林木","溪涧","渔舟","远山","沙渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64544cce922b7a6232231fd541b948a5.jpg","设色,绢本","194.3x111.1","宋画精选",[110],484,2,"795548",{"id":116,"slug":117,"title":118,"dynasty":47,"author":119,"museum":49,"description":120,"tags":121,"thumbUrl":130,"material":85,"size":131,"collection":37,"collections":132,"showCount":133,"zanCount":64,"manualWeight":41,"mainColor":42},217744,"qiu-lin-mu-ai-tu-wang-meng-217744","秋林暮霭图","王蒙","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。",[25,24,73,7,26,75,122,31,123,124,55,125,126,127,128,129],"山水","秋林","亭","流水","山石","云雾","路径","植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06704bae6c4c29291d15f3321cbbf1eb.jpg","85x35cm",[37],438,{"id":135,"slug":136,"title":137,"dynasty":138,"author":139,"museum":20,"description":140,"tags":141,"thumbUrl":149,"material":150,"size":151,"collection":37,"collections":152,"showCount":154,"zanCount":41,"manualWeight":41,"mainColor":42},220902,"shan-shui-ce-2-dong-qi-chang-220902","山水册2","明","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。",[23,24,25,73,7,75,142,26,143,122,144,126,80,145,31,105,146,32,147,127,148],"设色","文人画","松树","牛","近树","坡岸","红叶","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。",[37,153],"设色画精选",371,{"id":156,"slug":157,"title":158,"dynasty":47,"author":159,"museum":20,"description":160,"tags":161,"thumbUrl":166,"material":35,"size":167,"collection":37,"collections":168,"showCount":170,"zanCount":64,"manualWeight":41,"mainColor":42},220803,"qiu-ting-jia-shu-tu-ni-zan-220803","秋亭嘉树图","倪瓒","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。”",[23,25,162,7,27,75,82,83,163,164,124,165,126,125],"水墨画","书法","树","竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fd8caa50f033dc8d0a2ed6d6f039610.jpg","纵：114cm，横：34.3cm",[37,169],"水墨画精选",329,{"id":172,"slug":173,"title":174,"dynasty":93,"author":175,"museum":95,"description":176,"tags":177,"thumbUrl":186,"material":85,"size":36,"collection":110,"collections":187,"showCount":188,"zanCount":113,"manualWeight":41,"mainColor":114},220194,"song-xi-qing-tiao-tu-ma-yuan-220194","松溪清眺图","马远","马远，祖籍河中（今山西永济），“靖康之变”北宋灭亡后，马远的祖父马兴祖随着宋高宗赵构南渡，因此马远是在南宋的都城临安（今浙江杭州）出生长大的。他的生卒和详细经历，很难查考。曾为南宋光宗、宁宗两朝（约1190年－1224年）的画院待诏。",[23,24,25,73,26,7,75,178,179,180,181,124,182,183,184,31,32,185],"边角构图","松","溪","山","远峰","水","石","岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf758ab459e20e424815729b0992857f.jpg",[110,37],302,{"id":190,"slug":191,"title":192,"dynasty":93,"author":193,"museum":194,"description":195,"tags":196,"thumbUrl":199,"material":200,"size":201,"collection":36,"collections":202,"showCount":203,"zanCount":113,"manualWeight":41,"mainColor":204},287739,"wan-he-song-feng-tu-li-tang-287739","万壑松风图","李唐","藏地不详","《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”",[24,25,7,26,75,126,144,125,197,198],"山谷","瀑布","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a14a762dc0039a1efab5f1ab4cdccfa.jpg","未知","Xcm*Xcm",[],285,"37474F",{"id":206,"slug":207,"title":208,"dynasty":209,"author":210,"museum":194,"description":211,"tags":212,"thumbUrl":216,"material":200,"size":201,"collection":36,"collections":217,"showCount":218,"zanCount":219,"manualWeight":41,"mainColor":114},289005,"wang-chuan-tu-wang-wei-289005","辋川图","唐","王维","《辋川图》主画面亭台楼榭掩映于群山绿水之中，古朴端庄。别墅外，山下云水流肆，偶有舟楫过往。《辋川图》里的人物，弈棋饮酒。投壶流觞。一个个的都是儒冠羽衣，意态萧然。\n《辋川图》开启了后人诗画并重的先河。《辋川图》在韩国获得了极高的赞誉，并对韩国古代的文人山水画和山水田园诗的创作产生了深远影响。在评价中国文人山水画时，韩国文人往往以《辋川图》作为最高的境界或标准。",[23,24,25,74,7,142,75,122,29,31,80,76,213,214,215,79],"山居","园林","屋舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a16151940e7ec69c8d6735f55d11672.jpg",[],250,3,{"id":221,"slug":222,"title":223,"dynasty":93,"author":224,"museum":95,"description":225,"tags":226,"thumbUrl":233,"material":234,"size":235,"collection":37,"collections":236,"showCount":237,"zanCount":64,"manualWeight":41,"mainColor":114},219169,"hai-shan-tu-fan-kuan-219169","海山图","范宽","画面中山势巍峨耸峙，峰峦如剑戟刺破云霭，笔墨雄健老硬，皴擦间尽显岩石坚实质感。云雾缭绕山腰，似将天地分割，虚实相生拓展空间纵深。山脚苍松虬劲，枝干盘曲如铁，与嶙峋怪石相映；仙鹤独立坡岸，姿态悠然，为雄浑山水添灵动生机。整幅作品兼具北方山川壮阔气势与文人画雅致意韵，笔墨凝聚对自然的敬畏深情，观之令人心驰神往，仿佛置身云雾缭绕的山海之间，感受那份天地浩渺与生命悠然的交融。",[24,25,7,27,26,75,54,127,227,228,229,230,231,232],"苍松","怪石","仙鹤","山海","雄浑","雅致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F632ded243378dc8575ef188c0e24c27e.jpg","绢本,设色","110.8×41.5",[37],224,{"id":239,"slug":240,"title":241,"dynasty":138,"author":242,"museum":194,"description":243,"tags":244,"thumbUrl":248,"material":200,"size":201,"collection":36,"collections":249,"showCount":250,"zanCount":11,"manualWeight":41,"mainColor":114},287522,"shu-shan-qin-shu-tu-juan-shen-zhou-287522","蜀山秦树图卷","沈周","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。",[23,24,25,74,73,7,26,142,75,79,102,245,213,55,125,246,247,82,163,83],"竹林","亭舍","行人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F092ad35e202a88d58b87a0f168f8fe23.jpg",[],211,{"id":252,"slug":253,"title":254,"dynasty":255,"author":256,"museum":20,"description":257,"tags":258,"thumbUrl":263,"material":264,"size":265,"collection":37,"collections":266,"showCount":267,"zanCount":113,"manualWeight":41,"mainColor":42},221155,"xiao-xiang-tu-dong-yuan-221155","潇湘图","五代十国","董源","本幅无作者款印，明朝董其昌得此图后视为至宝，并根据《宣和画谱》中的记载，定名为董源《潇湘图》，后入清宫内府收藏。\n“潇湘”指湖南省境内的潇河与湘江，二水汇入洞庭湖，“潇湘”也泛指江南河湖密布的地区。图绘一片湖光山色，山势平缓连绵，大片的水面中沙洲苇渚映带无尽。画面中以水墨间杂淡色，山峦多运用点子皴法，几乎不见线条，以墨点表现远山的植被，塑造出模糊而富有质感的山型轮廓。墨点的疏密浓淡，表现了山石的起伏凹凸。画家在作水墨渲染时留出些许空白，营造云雾迷濛之感，山林深蔚，烟水微茫。山水之中又有人物渔舟点缀其间，赋色鲜明，刻画入微，为寂静幽深的山林增添了无限生机。五代至北宋初年是中国山水画的成熟阶段，形成了不同风格，后人概括为“北派”与“南派”两支。董源此图被画史视为“南派”山水的开山之作。",[23,25,74,73,7,26,142,75,122,259,260,104,261,127,262],"沙洲","苇渚","人物","南派山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70becfd35b6cdfbc2d291fa6d7b037e1.jpg","绢本","纵50厘米，横141.4厘米",[37,169],204,{"id":269,"slug":270,"title":271,"dynasty":93,"author":94,"museum":95,"description":272,"tags":273,"thumbUrl":276,"material":234,"size":277,"collection":110,"collections":278,"showCount":279,"zanCount":11,"manualWeight":41,"mainColor":114},220227,"guan-shan-chun-xue-tu-guo-xi-220227","关山春雪图","画中描绘峻峭奇险的深山大壑，覆盖着皑皑白雪：远处峭壁险崖，有的山势陡峭，有的高远突兀，远处左侧一山峰似一把利剑，直插云霄，气势雄奇，山巅处炯云缭绕，迷雾茫茫。岭头和山谷处，杂木丛生，山石表面处积着厚雪，闪着亮光：中部山石嶙峋，高山环抱着山间的平地，在山腰间平地上，座落着屋宁、古寺、楼阁，掩映在山谷和丛林之中，隐现可见。古寺幽然独处，给人们一种寂然寞然的境界之感。近处为巨岩纵横其间，古木、杂树由山缝处挣扎生长，稍往上为山腰，险崖向左倾斜，旱险势状。",[23,25,7,75,26,181,274,31,275,198,185],"雪","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c61b8007643b9b3921aa749500eaf33.jpg","纵197.1厘米，横51.2厘米",[110,37],198,{"id":281,"slug":282,"title":283,"dynasty":47,"author":159,"museum":95,"description":284,"tags":285,"thumbUrl":287,"material":85,"size":288,"collection":36,"collections":289,"showCount":290,"zanCount":113,"manualWeight":41,"mainColor":42},232638,"rong-xi-zhai-tu-ni-zan-232638","容膝斋图","该图写的是江南春景，平远山水。近处为山石陂陀，林木萧疏，中幅为湖光波色，图上部的远岫遥岑横于波际。这种三段式的构图，是倪瓒山水画的特征之一。其山水取法于董源，石上横拖披麻，皴法清逸。其树法参差变化，结体有骨力，而树头枝梢，每多生意。枯树擦以枯笔，墨色浓淡错综而滋润浑厚。\n此画分近、中、远三景， 近处作平坡， 上植数枝树木， 间或缀以茅舍亭阁；远处作峦头或低矮的土坡。作为近景与远景之间的过渡部分则多为大片空白， 不着一墨， 是为湖水。\n画中落款“壬子岁七月五日，云林生写”，又自题诗云：“屋角春风多杏花，小斋容膝度年华；金棱跃水池鱼戏，彩凤栖林涧竹斜。叠叠清谈霏玉屑，萧萧白发岸乌纱。而今不二韩康价，市上悬壶未足夸。”\n倪瓒少小聪明， 早年专意读书， 家中清閟阁藏书数千卷， 经史子集， 佛道经典， 他都专心阅读批校， 所藏法书名画， 亦悉心临学。其书法天然古淡， 有魏晋人风格。倪瓒隐居于太湖四周的宜兴、常州、湖州、松江一带， 常领略这里秀丽清幽的湖光山色， 他的画也多取材于此。\n此画作于明太祖洪武五年（1372），时年倪攒七十有二，两年后离世，因此也有“绝笔之作”一说。此画最初赠予其友檗轩，两年后又请倪瓒为其补题，寄赠予同乡的潘子仲医师。容膝斋是潘仁仲休闲居处。\n画家对佛道思想的追求，注重对尘世羁绊的超脱，这种思想映射到艺术创作中丰富了艺术品的文化内涵。《容膝斋图》中设置空亭但不见人，倪瓒有“亭下不逢人，夕阳滤秋影”的名句。空空的亭子和无人的山水，后人多认为这种设置是倪瓒内心的表达，是“今世那复有人”的悲叹。\n此图以墨笔画坡陀林屋，远山一角。近景处画山坡石陀，平平的一二层山石，山石皴法是渴笔方折，似有折带皴意，用笔总是干笔皴擦，有时墨色并没有透入纸背，但却没有丝毫纤弱单薄的弊端。近景一带坡岸及坡上植有杂树和瘦竹数株。高短参差不齐，树木偶用蟹爪鹿角技法，以干笔为主，树身多复笔。远岸岚岫绵延，在整个画最上端，使整个画面有深远之感。中景以湖塘相隔，画有草茅亭子，坐落在树木的右侧，对面为横卧的山坡。均出以简笔疏朗，自有一种空阔高旷的境界。这与倪云林的那种甘于寂寞，与世无争的性格十分相近。此画最为典型的即是简约，既不作高枝繁叶，又不为高山大壑，而常常采用疏林浅坡，简淡平远的构图，笔墨极为淡雅，画树墨色层次较多，中锋多于侧笔。近坡皴多染少，皴笔亦特觉清劲。点染皴擦也求简约，不作华奢之状。\n该图采用三段平远式的空间布局。前景是几棵枯树、坡石和屋舍，中景是一坡山，远景水天一色。这样的布局使人感到平实恬淡，简约单纯。这种近坡杂树数枝，远景云山一抹，中隔湖水一汪，最早出现在《六君子图》中，而在《容膝斋图》中发挥得更充分。这种比较稳定的“一河两岸”式的图式所表现的意境，使他的绘画风格达到了“萧疏淡远”的极致。\n该图布置前景时，常用粗而挺劲的线条勾勒出挺拔而气宇轩昂的几棵高大的树。这些树的穿插非常讲究，几棵主株，或高或低，俯仰成趣。或前或后，顾盼照应，让树有自然的深浅和层次，并且讲究穿插避让，使画面生动有变化。《容膝斋图》中的树少有树叶点缀，是几棵枯树，这与倪瓒平时讨厌落叶有关。",[25,26,7,75,163,83,122,124,164,56,286],"水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3db52534f3fee435e691757d2ad794f5.jpg","纵74.7cm，横35.5cm",[],193,{"id":292,"slug":293,"title":294,"dynasty":47,"author":119,"museum":49,"description":295,"tags":296,"thumbUrl":300,"material":61,"size":301,"collection":37,"collections":302,"showCount":303,"zanCount":41,"manualWeight":41,"mainColor":114},218024,"zhi-chuan-yi-ju-tu-wang-meng-218024","稚川移居图","《稚川移居图》为立轴，设色纸本。描绘了东晋葛洪携带家眷移居罗浮山，修道炼丹的故事。罗浮山位于今天广东省博罗县境内。葛洪，字稚川，号抱朴子，东晋道教学者、著名炼丹家。画中骑在牛背上的葛洪，身穿道袍，神情专注于手中的书卷，边走边看，全然不顾随他同行的家人。他身后，妻子和两个孩子同骑在牛背上，小的抱在怀里，大的坐在身后。随葛洪夫妇一起移居的，还有他的仆人们，他们或提着鸡笼，或牵着牛羊，或挑担负重，把生活必备之物搬运到山上。一路崇山峻岭，飞瀑流泉，几间茅草屋掩映在深山之中，屋前的庭院里，先行到达的仆人，在打扫庭院，迎候主人的到来。画面非常有感染力。",[25,73,7,27,142,75,122,261,297,31,185,298,299,83],"马","房屋","古道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1563a446791d46548d1f313e5337c941.jpg","120x54cm",[37],179,{"id":305,"slug":306,"title":307,"dynasty":47,"author":159,"museum":95,"description":308,"tags":309,"thumbUrl":311,"material":312,"size":313,"collection":37,"collections":314,"showCount":315,"zanCount":41,"manualWeight":41,"mainColor":42},220790,"zi-zhi-shan-fang-tu-zhou-ni-zan-220790","紫芝山房图轴","《元倪瓒紫芝山房图轴》是元末明初画家倪瓒所创作，水墨画河岸、疏树、竹林和小亭，对岸山峦起伏，构图简洁，具清逸萧疏之趣。此幅墨色淡雅，现藏于台北故宫博物院。\n《元倪瓒紫芝山房图轴》侧笔写山石轮廓，苍劲沉着，画竹之笔尤为遒劲有力，是云林精品。",[25,73,27,26,7,75,56,124,310,164,105,83],"竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6eb4dbc8f6b09feeea9d0d31f7abefaf.jpg","白纸本","80.5x34.8",[37,169],177,{"id":317,"slug":318,"title":319,"dynasty":93,"author":320,"museum":20,"description":321,"tags":322,"thumbUrl":326,"material":327,"size":328,"collection":110,"collections":329,"showCount":330,"zanCount":113,"manualWeight":41,"mainColor":42},221460,"chang-jiang-wan-li-tu-juan-zhao-fu-221460","长江万里图卷","赵黻","展开此卷，可看到万里江山中的烟云风雨、山石峻岭、山间小道、樵夫行旅、乘风破浪的小舟、穿云破雾的飞鸟、山谷中的屋宇、村落、归庄的农民、深山古寺等等，可谓东起吴越、西至巴蜀、万里江山、气势宏大、一气呵成。着重描写江山壮丽景色，气势雄伟，笔法学李唐而略纵逸，但仍未脱南宋院体画之痕迹。卷末款署“赵黻作”三字，钤“黻”朱文印，画面有明代钱惟善、张宁、陆树声等诗跋 。",[23,25,74,26,7,75,122,323,79,127,31,76,324,325],"江河","桥梁","岸渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0eb0dc545b1ef144816ffc97adc20f8.jpg","纸本，水墨","纵45.1厘米，横992.5厘米",[110,37,169],161,{"id":332,"slug":333,"title":334,"dynasty":18,"author":335,"museum":49,"description":336,"tags":337,"thumbUrl":347,"material":85,"size":348,"collection":37,"collections":349,"showCount":350,"zanCount":11,"manualWeight":41,"mainColor":42},220092,"hu-shan-qing-yi-tu-juan-shou-juan-hong-ren-220092","湖山清逸图卷手卷","弘仁","根据《中国画史馨香录》书中所记，此题画诗原出自郑旼康熙戊申（1668年）录“渐公题诗二十三首”手钞本，1934年，许承尧录寄黄宾虹。渐江和尚画笔师法云林，又得徽州山水特别是黄山松壑云泉的蒙养，加之性格刚硬，所以其画并不为云林所囿。磊磊落落，逋峭冷隽，笔底山川，或幽深邃密，或峻拔嵯峨，气象高华而趣味淡宕，人品画品皆为时称道，是新安派中首屈一指的领军人物。观此卷气象，以平远式构图表现，岩壑奇秀，奇松点缀其中，沿江景物，用笔瘦硬，皴染枯淡而墨韵清润。以刚劲凝练的笔线勾勒，折带皴、披麻皴交互为用，山峰之间，礁石垒叠，疏疏密密、大大小小，形成参差错落的“矾块”，山峰中的涧溪，曲折逶迤而下，形如盘龙出水，跳荡击石，泠然有声。清人杨翰曾评论其突出的风格：“于极瘦削处见腴润，极细弱处见苍劲，虽淡无可淡，而饶有余韵。”当时本幅之写照。此卷诗题：“清秋凝目郁苍苍，百里嶙峋一草堂。世代频更人不到，未燔书尽此中藏。",[25,74,26,7,75,338,339,340,341,342,343,52,344,345,346,163,82],"折带皴","披麻皴","岩壑","奇松","礁石","涧溪","清润","冷隽","清逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F689de6099893b4044c6746888a67279c.jpg","引首17.5×66.5cm；画心17.5×131cm；题跋17.5×83.5cm",[37,169],156,{"id":352,"slug":353,"title":354,"dynasty":93,"author":175,"museum":70,"description":355,"tags":356,"thumbUrl":361,"material":234,"size":362,"collection":37,"collections":363,"showCount":364,"zanCount":11,"manualWeight":41,"mainColor":114},218237,"xue-ji-guan-mei-tu-ma-yuan-218237","雪屐观梅图","马远，号钦山。其祖父、伯父、父亲、兄弟均为南宋画院画家。他对花鸟、山水、人物都很擅长，尤以山水画的成就最为突出。在光宗、宁宗年间，他任画院待诏。学李唐，画山石用大斧劈皴，并创长斧劈皴，用笔凝重。构图上，一变五代、北宋以来的“全景式”，喜欢采用边角式的构图，或峭峰直上不见顶，或绝壁直下不显脚，人称“马一角”。《雪屐观梅图》画面的重心在左下角，水滩、苍松、老梅与人物集中与此。远处雪山只是以大斧劈皴刷扫，干净利落，与近处的巨石遥相呼应。",[25,24,7,357,178,98,227,358,261,359,360],"大斧劈皴","梅","巨石","水滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3179ad18bc15bc6742fc5df6ed494cdd.jpg","纵16.3 厘米，横100.9厘米",[37],154,{"id":366,"slug":367,"title":368,"dynasty":138,"author":242,"museum":95,"description":369,"tags":370,"thumbUrl":374,"material":375,"size":376,"collection":37,"collections":377,"showCount":378,"zanCount":113,"manualWeight":41,"mainColor":114},222102,"chun-yun-die-zhang-tu-shen-zhou-222102","春云叠嶂图","春云叠嶂图，绢本墨笔，故宫博物院藏。其款题：十日消闲障子成，看君堂上白云生。 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。",[23,25,73,7,26,75,181,371,164,125,126,124,372,373,32,129],"云","枯藤","老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb54811e543fce13bf211196f60045fc.jpg","绢本墨笔","152 2x43 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(亦称“落茄被”)，松树笔法细致、严密。",[25,7,26,75,181,144,124,127,82,163,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd05154bc7bf74f850c5b1be5832c607b.jpg",[],128,{"id":455,"slug":456,"title":457,"dynasty":93,"author":458,"museum":194,"description":459,"tags":460,"thumbUrl":465,"material":85,"size":466,"collection":36,"collections":467,"showCount":468,"zanCount":11,"manualWeight":41,"mainColor":42},220254,"xiao-xiang-ba-jing-tu-jiang-tian-mu-xue-mu-xi-220254","潇湘八景图·江天暮雪","牧溪","此图淡墨轻岚，诗意优扬。其“江天暮雪”辽阔的水域占了书面的二分之一左右，近景的坡石和远方的山影仿佛都被广袤白雪所覆盖，画面正偏左有几株树叶凋落的乔木，树丛间隐约可见屋宇，顺着树枝垂下的方向看，一个渔翁正瑟缩着坐在船首。画面不以留白取胜，而将渔翁置于千山万径之间，以天地之山巅，冰雪之苍凉，衬托渔翁之微小。",[23,24,25,73,461,26,33,462,7,181,183,31,274,127,463,464],"宋画","禅画","淡墨","自然景观","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbf34dc75ca426d42b380e45a89f2a94.jpg","29.5X94.4厘米",[],123,{"id":470,"slug":471,"title":472,"dynasty":93,"author":224,"museum":49,"description":473,"tags":474,"thumbUrl":477,"material":234,"size":478,"collection":37,"collections":479,"showCount":480,"zanCount":113,"manualWeight":41,"mainColor":114},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",[23,25,7,27,75,142,122,126,31,475,476,29],"行旅","栈道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff29c07d65148db3c2cafe7e03228c14d.jpg","192.9x74.4cm",[37],119,{"id":482,"slug":483,"title":484,"dynasty":18,"author":485,"museum":486,"description":487,"tags":488,"thumbUrl":490,"material":35,"size":491,"collection":36,"collections":492,"showCount":480,"zanCount":41,"manualWeight":41,"mainColor":114},214359,"san-jue-shan-shui-ce-5-hua-yan-214359","三绝山水册-5","华嵒","美国弗利尔美术馆","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。",[23,25,26,7,75,489,144,198,56,261,126,286],"册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2278d8fef17ce39c9b91175a537f50d.jpg","23.4x15.8",[],{"id":494,"slug":495,"title":496,"dynasty":93,"author":224,"museum":194,"description":497,"tags":498,"thumbUrl":504,"material":264,"size":201,"collection":36,"collections":505,"showCount":506,"zanCount":41,"manualWeight":41,"mainColor":204},287541,"xue-jing-han-lin-tu-fan-kuan-287541","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。",[24,25,7,26,75,98,499,500,29,80,501,502,503],"雪山","寒林","积雪","萧寒","静谧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36a0f8e8b9289ba14fc9ba90349f1b9a.jpg",[],118,{"id":508,"slug":509,"title":510,"dynasty":93,"author":458,"museum":511,"description":512,"tags":513,"thumbUrl":516,"material":85,"size":517,"collection":36,"collections":518,"showCount":506,"zanCount":41,"manualWeight":41,"mainColor":42},219190,"xiao-xiang-ba-jing-dong-ting-qiu-yue-mu-xi-219190","潇湘八景-洞庭秋月","德川美术馆","薄雾似纱轻笼水面，远山隐于烟霭，如黛色剪影浮在天际。一叶扁舟孑然，渔翁身影模糊在夜色里，船尾涟漪搅碎秋月清辉。近岸树影婆娑，墨色淡染，似与雾气相融。天地静得只剩呼吸，秋夜凉意随淡墨游走，每一笔都透着禅意空灵。简淡笔触里藏着洞庭秋夜的幽远，观者仿佛听见水波轻响，看见月光洒在船舷，心沉入静谧烟波深处，触到自然最本真的呼吸。",[23,25,73,7,26,33,514,122,515,76,127,31,105],"渲染","明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fbf818004329886216e8020600b6c8e.jpg","29.4x93.1厘米",[],{"id":520,"slug":521,"title":522,"dynasty":93,"author":523,"museum":524,"description":525,"tags":526,"thumbUrl":532,"material":234,"size":36,"collection":37,"collections":533,"showCount":506,"zanCount":113,"manualWeight":41,"mainColor":114},219171,"si-ji-shan-shui-tu-yi-ming-219171","四季山水图","佚名","美国大都会艺术博物馆","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。",[23,25,74,7,26,527,126,31,323,528,215,247,529,530,531],"斧劈皴","帆船","四季","天人合一","虚实相生","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9610bad6f53abc741aa292bb661c52c4.jpg",[37],{"id":535,"slug":536,"title":537,"dynasty":93,"author":523,"museum":524,"description":538,"tags":539,"thumbUrl":541,"material":542,"size":543,"collection":110,"collections":544,"showCount":545,"zanCount":11,"manualWeight":41,"mainColor":114},223647,"guan-pu-tu-yi-ming-223647","观瀑图","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。",[23,25,73,7,142,75,126,198,124,144,125,540,373,55],"悬崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2237080d6dc050c086dee19035000720.jpg","水墨，淡设色","纵178厘米，横104厘米",[110,37],106,{"id":547,"slug":548,"title":549,"dynasty":138,"author":550,"museum":551,"description":552,"tags":553,"thumbUrl":560,"material":61,"size":561,"collection":37,"collections":562,"showCount":545,"zanCount":11,"manualWeight":41,"mainColor":42},220376,"han-lin-fei-xue-tu-wen-zheng-ming-220376","寒林飞雪图","文徵明","印第安纳波利斯艺术博物馆","此图是画唐代诗人许浑”舟横野渡寒风急，门掩深山夜雪深“的诗意，而用李营丘笔意，深得寒江寂寂，雪峰无言之境。",[23,25,26,7,500,554,555,556,557,76,558,29,399,124,559],"飞雪","雪峰","深山","野渡","寒江","孤寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7247001349454a60fdcd1b8936e7b822.jpg","101.1x46.5厘米",[37,169],{"id":564,"slug":565,"title":566,"dynasty":93,"author":523,"museum":49,"description":567,"tags":568,"thumbUrl":569,"material":234,"size":570,"collection":37,"collections":571,"showCount":545,"zanCount":219,"manualWeight":41,"mainColor":114},217066,"chun-shan-xing-lv-tu-yi-ming-217066","春山行旅图","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。",[25,73,7,75,142,181,31,55,29,126,261,125,373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24ab87eb107c3ff0a2caa7861e5582bd.jpg","104x51cm",[37],{"id":573,"slug":574,"title":575,"dynasty":47,"author":159,"museum":524,"description":576,"tags":577,"thumbUrl":579,"material":264,"size":580,"collection":37,"collections":581,"showCount":582,"zanCount":41,"manualWeight":41,"mainColor":42},220801,"jiang-zhu-feng-lin-tu-zhou-ni-zan-220801","江渚风林图轴","倪瓒，世皆称倪云林（1301-1374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，与黄公望、王蒙、吴镇合称元四家。倪瓒山水画风疏朗峻逸、风轻云淡，这种惜墨如金的朴拙，别具一格，恰似世人心目中那种内心安宁的渴望。倪瓒出身大地主家庭，长兄为“真人”级的道教上层，在元代道教繁盛的背景下，青少年时代过得滋润无比，家中藏书名画甚众，朝夕把玩、洁身有闲，研摩书画可谓必然。\n长兄故后，倪瓒家道日渐衰落，多年不事生产且倪瓒的洁癖常为世人侧目、权贵厌弃（有传说最后得死法是被朱元璋故意扔进粪坑淹死），遂寄情山水，云游访道，漫游江林，不做官不供职，书法诗画天真无饰，毫无烟火气，人谓有魏晋风骨，后人称“倪高士”。董其昌评曰：“古淡天真，米痴(即米芾)后一人而已。”把倪瓒评为米芾之后第一人，可谓高山仰止。\n倪瓒对明清绘画影响巨大，有意无意，若淡若疏的画风为士大夫礼拜，后人仿之追之者极众，明四僧中石涛、大家董其昌、徐渭（被郑板桥、齐白石跪称：“愿为青藤门下走狗”那位）均追崇不已，至今仍被评为“中国古代十大画家”。同时代的黄公望（年长其32岁），花十年时间，替倪瓒画《江山胜揽图》卷，卷长二丈五尺余，可谓巨作，若不认可，必无此为。（顺便说下：黄公望也是全真教名人，元明画家或应考证下他们受宗教影响而形成的独特心理特征和文化背景，或可更好的理解其人创作心路。）\n《江渚风林图轴》从题诗看，应为同时代学者虞戡嘱作，诗曰：江渚暮潮初落，风林霜叶浑稀。倚仗柴门闲寂，怀人山色依微。 据说时年画家的妻子去世、小儿子亦不孝，倪瓒心中困苦寂寥而作，虽称戏写，璨若星辰矣。",[23,25,73,27,26,7,75,399,373,56,122,105,578],"江水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf5097983d71d8d65fc091e89e3fc840.jpg","259.7 x 56.5厘米",[37,169],103,{"id":584,"slug":585,"title":586,"dynasty":587,"author":588,"museum":194,"description":589,"tags":590,"thumbUrl":593,"material":36,"size":36,"collection":36,"collections":594,"showCount":595,"zanCount":41,"manualWeight":41,"mainColor":42},227059,"chen-tian-mu-yun-hai-tu-gu-ye-wang-227059","陈天目云海图","南北朝","顾野王","顾野王(519-581年)，原名顾体伦，字希冯， 南朝梁陈间官员、文字训诂学家、史学家。\n\n因仰慕西汉冯野王，更名为顾野王，希望自己取得冯野王一样在文学方面取得成绩。人称顾亭林。历梁武帝大同四年太学博士、陈国子博士、黄门侍郎、光禄大夫，博通经史，擅长丹青，著有《玉篇》",[25,73,7,142,75,181,591,164,185,182,592],"云海","近石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe5ccca982ec419a5b2128d3f72740fd.jpg",[],101,{"id":597,"slug":598,"title":599,"dynasty":47,"author":523,"museum":600,"description":601,"tags":602,"thumbUrl":603,"material":85,"size":604,"collection":37,"collections":605,"showCount":606,"zanCount":113,"manualWeight":41,"mainColor":114},218185,"qian-yan-wan-he-tu-yi-ming-218185","千岩万壑图","天津博物馆","此图绘山岩丘壑连绵不断，繁复无尽，其间茂林嘉村云气烟，飞泉高，孤村落，江流小舟，景致表现得真实生动、完美自然，秀丽、壮伟兼具，引人入胜。",[25,7,26,75,27,126,79,127,198,31,29,55,125,124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3efb5c974ab0404cb1856cfe625eb62.jpg","129.3x67.6cm",[37],100,{"id":608,"slug":609,"title":610,"dynasty":93,"author":94,"museum":194,"description":611,"tags":612,"thumbUrl":613,"material":200,"size":201,"collection":36,"collections":614,"showCount":615,"zanCount":41,"manualWeight":41,"mainColor":114},289008,"qiu-shan-xing-lv-tu-guo-xi-289008","秋山行旅图","峰峦高耸，山间构楼阁，山脚下丛树掩映着村居。溪桥上、山径间有往来的行旅。是图采取北宋大山堂堂、位于中央的全景式构图，具高远、平远的效果。题材、构图、笔墨气韵都十分接近郭熙的画风。元代山水画家多有承袭郭熙风格者，若论笔墨最为接近者应属唐棣。画幅左上自识“吴兴唐棣子华作”，未署年款。此图摹仿的痕迹较浓，或为画家稍早时的作品。图中钤有明司马“司马兰亭家藏”印，清初耿昭忠“都尉耿信公书画之章”及清内府“宣统御览之宝”等鉴藏印。",[23,24,25,27,7,26,75,122,29,55,125,76,433,372,373,126,299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed5d5cac4d9e5299c3b085ebe490c758.jpg",[],99,{"id":617,"slug":618,"title":619,"dynasty":93,"author":620,"museum":49,"description":621,"tags":622,"thumbUrl":625,"material":234,"size":626,"collection":37,"collections":627,"showCount":628,"zanCount":113,"manualWeight":41,"mainColor":114},217869,"qiu-lin-die-zhang-tu-jiang-can-217869","秋林叠嶂图","江参","秋林叠嶂图描绘的是一片秋天的山林，这片山林位于海拔较高的地方，因此能看到远处的秋天的山林。这幅画的画面非常宁静，令人感到非常舒适。画中有许多树木，其中有许多松树，还有一些枫树。这些树木都长得非常茂盛，充满了生机。画中还有许多山峰，山峰之间相互倚靠，形成了一道道叠嶂。画中还有几只鸟儿，它们在枫树的枝头上唱着歌。\n\n总的来说，这幅秋林叠嶂图是一幅非常优秀的山水画作品，江参的画风独特，山水画作品非常出名。这幅画的描绘的秋天的山林非常真实，令人感觉非常自然，是一幅非常美丽的画作。",[25,7,123,623,144,624,433,125,29,59],"叠嶂","枫树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1988e2d8ba1187067f488aa5793dcca.jpg","168.7x96.3cm",[37],98,{"id":630,"slug":631,"title":632,"dynasty":18,"author":633,"museum":524,"description":634,"tags":635,"thumbUrl":636,"material":61,"size":637,"collection":36,"collections":638,"showCount":628,"zanCount":11,"manualWeight":41,"mainColor":42},216245,"jing-fu-si-qi-dong-jing-tu-12-qian-wei-cheng-216245","景敷四气冬景图-12","钱维城","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朵开月月映阶唇，带雪披风更可人。须识此花深易理，四时一气贯长春。甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆",[25,7,26,142,75,499,500,298,185,501,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedc995690cd5b9f284ba9e2c0b83cd22.jpg","21.9 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「寰宇记」有云：「昔费文祎登仙，每乘黄鹤于此楼驾，故名。」关槐此幅绘城郭临岸，江帆交织，波光粼粼，诚武汉之写生景也。",[23,25,24,7,142,800,801,802,803,29,122,804,805,806],"黄鹤楼","城郭","江帆","大江","波光","恬静","写生","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff013021d891bfaafb4122f34dac1c641.jpg","162.5x70.1cm",[37],{"id":811,"slug":812,"title":813,"dynasty":138,"author":242,"museum":70,"description":814,"tags":815,"thumbUrl":819,"material":439,"size":820,"collection":37,"collections":821,"showCount":822,"zanCount":41,"manualWeight":41,"mainColor":42},222092,"liang-jiang-ming-sheng-tu-ce-shen-zhou-222092","两江名胜图册","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。",[23,24,25,73,489,7,142,26,75,816,817,33,29,31,261,818],"界画","工笔","诗意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddae55cb9acf046e83c10499f6b45c6d.jpg","42.2×23.8厘米",[37],78,{"id":824,"slug":825,"title":826,"dynasty":93,"author":827,"museum":49,"description":828,"tags":829,"thumbUrl":832,"material":234,"size":833,"collection":37,"collections":834,"showCount":822,"zanCount":113,"manualWeight":41,"mainColor":114},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。",[25,26,7,75,33,122,144,126,105,31,830,831,128,127,556],"小屋","峭壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46171ff02094154282d5be54ddfea031.jpg","93x40cm",[37],{"id":836,"slug":837,"title":838,"dynasty":47,"author":523,"museum":839,"description":840,"tags":841,"thumbUrl":845,"material":234,"size":846,"collection":37,"collections":847,"showCount":848,"zanCount":64,"manualWeight":41,"mainColor":114},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 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。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。",[25,73,27,26,7,916,75,399,126,105,83],"平远构图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F486a1ae065d01421150a94b252022a7e.jpg","75.4x43公分",[169],70,{"id":922,"slug":923,"title":924,"dynasty":47,"author":159,"museum":925,"description":926,"tags":927,"thumbUrl":929,"material":61,"size":930,"collection":169,"collections":931,"showCount":933,"zanCount":41,"manualWeight":41,"mainColor":42},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。",[23,25,26,7,75,82,163,83,928,33,183,310,164,126,105,80],"干笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab7872a100371101d8e6bbd7f53608e4.jpg","80 X 53 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常先用水笔淡墨扫染，然后趁湿用浓墨皴，造成水墨浑融的特殊效果，被称作泥里拔钉皴。传世作品有《溪山清远图》《西湖柳艇图》《雪堂客话图》等。",[23,24,25,7,26,75,373,105,76,125,764,78,503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a12db7647f64f711e5579f8564b24a7.jpg",[],67,{"id":985,"slug":986,"title":987,"dynasty":18,"author":988,"museum":20,"description":989,"tags":990,"thumbUrl":992,"material":993,"size":994,"collection":37,"collections":995,"showCount":983,"zanCount":11,"manualWeight":41,"mainColor":114},236108,"qiu-lan-fei-pu-tu-zhou-zhang-zong-cang-236108","秋岚飞瀑图轴","张宗苍","张宗苍（1686—1756年），字默存，一字墨岑，号篁村、蔗翁、太湖渔人，晚称瘦竹，吴县（今江苏苏州）人。师承清代娄东画派的传人黄鼎，擅画山水。初以主簿理河工事。清乾隆十六年 （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。",[24,25,73,27,7,26,142,75,126,991,127,29,31,125,124],"飞瀑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa28583d2a38165b70ad546df9ff0faae.jpg","绢本 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11.3公分；引首 26.8x75.7公分；隔水二 13.7公分；隔水三 11.3公分；拖尾 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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。",[25,7,26,75,399,144,198,126,1215,1216],"秋冬","寒寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ec7f5b52580af7e7f6660f1752608c3.jpg",[],59,{"id":1221,"slug":1222,"title":1223,"dynasty":47,"author":664,"museum":20,"description":1224,"tags":1225,"thumbUrl":1226,"material":85,"size":1227,"collection":37,"collections":1228,"showCount":1219,"zanCount":113,"manualWeight":41,"mainColor":42},218302,"lin-tang-xiao-se-tu-wu-jin-218302","林塘晓色图","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。",[25,73,7,26,75,33,83,163,31,126,125,147,32,399,179,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F248c446d889f8b9b86494e01e5e523fe.jpg","30x54cm",[37],{"id":1230,"slug":1231,"title":1232,"dynasty":47,"author":1233,"museum":194,"description":1234,"tags":1235,"thumbUrl":1237,"material":200,"size":201,"collection":36,"collections":1238,"showCount":1239,"zanCount":11,"manualWeight":41,"mainColor":114},290935,"que-hua-qiu-se-tu-quan-juan-zhao-meng-fu-290935","鹊华秋色图全卷","赵孟頫","鹊华秋色图，元代画家赵孟頫于元贞元年（1295）回到故乡浙江为好友周密所作的纸本水墨设色山水画，现藏于台北故宫博物院。\n鹊华秋色图描绘的是济南东北华不注山和鹊山一带秋景，画境清旷恬淡，表现出恬静而悠闲的田园风味。采用平远构图，以多种色彩调合渲染，虚实相生，笔法潇洒，富有节奏感。",[23,24,25,74,73,7,142,26,75,122,31,298,880,1236,80,82,83,163],"平原","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3acdbfa403f50624d802c30aec9c15a.jpg",[],58,{"id":1241,"slug":1242,"title":1243,"dynasty":93,"author":978,"museum":194,"description":979,"tags":1244,"thumbUrl":1248,"material":200,"size":201,"collection":36,"collections":1249,"showCount":1239,"zanCount":41,"manualWeight":41,"mainColor":114},288509,"ceng-ya-yin-si-tu-xia-gui-288509","层崖隐寺图",[25,24,7,26,75,122,1245,1246,76,80,1247],"山崖","古松","隐寺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feefa0c49568056df7a5e749eaca47808.jpg",[],{"id":1251,"slug":1252,"title":1253,"dynasty":93,"author":978,"museum":95,"description":1254,"tags":1255,"thumbUrl":1256,"material":142,"size":1257,"collection":37,"collections":1258,"showCount":1239,"zanCount":41,"manualWeight":41,"mainColor":42},221225,"shan-shui-zhou-xia-gui-221225","山水轴","诗塘 王铎题云。老干不事纤细小巧。骨格坚凝韶秀。有大家气。即此一画。雪色蒙晦。石寒铁色。噫。阴晴不可知。有天道寓于中。谓画者果无意欤。夏圭钱塘人。宁宗时擅名。师范宽李唐。宗有其俪。凡以觕粝冒圭者非其真也。丙戌三月时居燕。为二弟仲和题。王铎。钤印一。铎。",[23,25,7,27,26,142,75,126,31,831,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4da237f95d56b5840f04b1a93af93930.jpg","该幅47.6x32.5公分；诗塘28x32.6公分",[37,169],{"id":1260,"slug":1261,"title":1262,"dynasty":18,"author":633,"museum":95,"description":1263,"tags":1264,"thumbUrl":1265,"material":108,"size":1266,"collection":153,"collections":1267,"showCount":1239,"zanCount":41,"manualWeight":41,"mainColor":42},219307,"jie-shan-zhai-tu-zhou-qian-wei-cheng-219307","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。",[24,25,73,27,7,142,122,29,55,125,124,31,298,83,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a42bd26d4ba10e012b0184f707a951b.jpg","63.7x31.8",[153],{"id":1269,"slug":1270,"title":1271,"dynasty":93,"author":876,"museum":95,"description":1272,"tags":1273,"thumbUrl":1277,"material":390,"size":1278,"collection":110,"collections":1279,"showCount":1280,"zanCount":41,"manualWeight":41,"mainColor":204},289867,"xue-xi-yu-fu-tu-xu-dao-ning-289867","雪溪渔父图","许道宁 北宋画家。生卒年不详，约970年-1052年。活跃于北宋中期。长安（今陕西西安）人，一说河北河间人。擅山水，师法李成，初于汴京（今河南开封）端门前卖药，以画吸引顾客，渐为人所知。多写林木、野水、秋江、雪景、寒林、渔浦等，并点缀行旅、野渡、捕鱼等人物，行笔简快，峰峦峭拔，林木劲硬，人称能得李成之气。宋朝人张士逊曾写诗称赞说：“李成谢世范宽死，唯有长安许道宁。”黄庭坚激赏他醉后所作的画。在《答王道济寺丞观许道宁山水图》诗中写道：“往逢醉许在长安，蛮溪大砚磨松烟。忽呼绢素翻砚水，久不下笔或经年。异时踏门闯白首，巾冠欹斜更索酒。举杯意气欲翻盆，倒卧虚樽即八九。醉拾枯笔墨淋浪，势若山崩不停手。数尺江山万里遥。满堂风物冷萧萧。”生动地展示了许道宁醉中作画的神情举止，见出他画技的高超。",[25,7,26,75,98,122,399,500,1274,1275,56,78,1276],"渔舍","溪岸","冬景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7037404c7f9e8aaac7306673c66fb64.jpg","169x110",[110],57,{"id":1282,"slug":1283,"title":1284,"dynasty":93,"author":94,"museum":95,"description":1166,"tags":1285,"thumbUrl":1286,"material":264,"size":201,"collection":36,"collections":1287,"showCount":1280,"zanCount":41,"manualWeight":41,"mainColor":114},288831,"han-lin-tu-guo-xi-288831","寒林图",[23,25,26,7,399,500,98,75,373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f730e4c4ef38aba763543541f0e5e17.jpg",[],{"id":1289,"slug":1290,"title":1291,"dynasty":47,"author":69,"museum":95,"description":1292,"tags":1293,"thumbUrl":1305,"material":1306,"size":1307,"collection":37,"collections":1308,"showCount":1280,"zanCount":11,"manualWeight":41,"mainColor":114},231383,"qing-jiang-chun-xiao-tu-wu-zhen-231383","清江春晓图","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。 ‘\n此图描绘清江两岸的美丽风光。此画可以分为远景、中景、近景三段式。远景即江之左岸，山峦叠嶂，山峰林立，山巅主峰耸立，直插云天，整体山势巍峨壮观，山坡左侧的山泉和落差形成的瀑布倒挂于两山之间，奔腾直泻，如一匹银白帛布在风中吹拂似的。山坳或山坡平坦处筑有庙宇亭台楼阁，有的仅露出一角，有的半露半隐，屋宇楼阁，用笔工整细致，近似界画。山脚下河岸旁，树木成林，排列齐整，在丛林荫下座落几间房舍，溪水两岸有一座板桥相连接。中景为宽阔的河水，河面平静如镜，无一丝波纹，唯有小扁舟在河面中心荡漾，小舟上坐有四五人，十分悠闲自然，或论经说道，或尽情地观赏清江两岸的山山水水。人物用笔极简练，寥寥数笔一挥而就，但各人的神情、姿态各异，生动逼真，可见作者有着极强的写实能力。近处即为此画的主景，在崎岖不平的丘陵上，山势较为平缓，平坡上长有苍松翠柏，江心岛上也有房舍数间，各江心岛皆架有木桥，用来接连坡岸。可谓小桥流水人家，一派世外桃源的平和景象。这些舟桥，虽比例较小，不曾起眼，但它们却以其小巧与大山相映成趣，又将整个画面各处景物连贯在一起，有机地组成一个和谐的整体，在构图上别具匠心。此画远山采用水墨渲染，用淡墨勾勒出山之轮廓，然后加以皴擦，坡上的苍松翠柏只是用笔尖勾画出一些小点点，以介字点树叶，山峰采用渴笔皴法，山巅上的花草树木采用写意的画法，用笔尖墨点来表现。",[25,7,26,1294,33,816,75,1295,105,198,1296,1297,1298,1299,1300,1301,144,740,197,1302,261,1303,1304],"渴笔皴法","高山","山泉","亭台楼阁","房舍","木桥","清江","扁舟","江心岛","世外桃源","平和","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78c6ab37569f3f8b0024781bd1f59370.jpg","墨笔画","纵114．7厘米，横100．6厘米",[37],{"id":1310,"slug":1311,"title":1312,"dynasty":93,"author":978,"museum":194,"description":1313,"tags":1314,"thumbUrl":1316,"material":200,"size":201,"collection":36,"collections":1317,"showCount":1318,"zanCount":41,"manualWeight":41,"mainColor":114},288243,"xue-tang-ke-hua-tu-xia-gui-288243","雪堂客话图","此图描绘江南雪景，笔法苍劲浑厚，山石多用小斧劈破和短线条秃笔直破，从而取得了方硬奇峭，水墨苍润的艺术效果。",[23,24,25,26,7,98,76,298,399,500,80,75,1134,1315],"闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cd807fa2735ecdebe9ea2f7cddcb2e2.jpg",[],56,{"id":1320,"slug":1321,"title":1322,"dynasty":18,"author":1323,"museum":95,"description":1324,"tags":1325,"thumbUrl":1326,"material":85,"size":1327,"collection":37,"collections":1328,"showCount":1318,"zanCount":41,"manualWeight":41,"mainColor":42},218319,"fang-wang-meng-wan-die-fu-rong-tu-dong-bang-da-218319","仿王蒙万叠芙蓉图","董邦达","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。",[25,26,7,75,413,126,31,298,80,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1794d4956e0a07d2cd810a08d5a76fc0.jpg","纵133cm，横63.3cm",[37],{"id":1330,"slug":1331,"title":1332,"dynasty":93,"author":862,"museum":194,"description":1333,"tags":1334,"thumbUrl":1336,"material":200,"size":201,"collection":36,"collections":1337,"showCount":1338,"zanCount":41,"manualWeight":41,"mainColor":114},289658,"xue-hou-shan-cun-tu-li-cheng-289658","雪后山村图","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。",[24,25,73,27,26,7,75,98,499,1335,399,298,125,500],"山村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0607d079de16ecca9ed7e4b968863dce.jpg",[],55,{"id":1340,"slug":1341,"title":1342,"dynasty":93,"author":978,"museum":194,"description":979,"tags":1343,"thumbUrl":1346,"material":200,"size":201,"collection":36,"collections":1347,"showCount":1338,"zanCount":41,"manualWeight":41,"mainColor":42},289444,"gao-shi-guan-hua-tu-xia-gui-289444","高士观花图",[1344,25,26,7,816,75,144,29,122,261,1315,1345,105],"扇面","水域","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff727011fb484f5d3322b69ceb8e8e28c.jpg",[],{"id":1349,"slug":1350,"title":1351,"dynasty":18,"author":1352,"museum":95,"description":1353,"tags":1354,"thumbUrl":1355,"material":264,"size":1356,"collection":37,"collections":1357,"showCount":1338,"zanCount":41,"manualWeight":41,"mainColor":114},224464,"lin-fan-kuan-xue-shan-tu-zhou-wang-hui-224464","临范宽雪山图轴","王翚","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。",[23,25,7,413,75,26,142,499,126,399,215,27,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18f304fcaa92d84ebd0825d65cc92b1c.jpg","本幅 187.7x115.5公分、全幅 118.3公分",[37,169],{"id":1359,"slug":1360,"title":208,"dynasty":138,"author":523,"museum":49,"description":1361,"tags":1362,"thumbUrl":1365,"material":234,"size":36,"collection":37,"collections":1366,"showCount":1338,"zanCount":41,"manualWeight":41,"mainColor":114},217977,"wang-chuan-tu-yi-ming-217977","辋川图采用了中国传统的山水画风格，画面中展示了辽河流域的山峦、河流、村庄和城市。画中还有许多人物，展示了当时这一地区的生活方式和文化。\n\n辋川图因其精美的绘画技巧和对历史文化的精准再现而闻名，是中国山水画史上的珍贵艺术品。目前，辋川图被认为是中国古代山水画的杰作，具有极高的艺术价值和文化意义。",[23,24,25,74,7,816,142,79,125,29,31,261,76,1363,1364],"村落","亭榭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5d11196376a0cf5547e83905727dc07.jpg",[37],{"id":1368,"slug":1369,"title":1370,"dynasty":138,"author":139,"museum":194,"description":1371,"tags":1372,"thumbUrl":1373,"material":200,"size":201,"collection":36,"collections":1374,"showCount":1375,"zanCount":11,"manualWeight":41,"mainColor":42},290886,"lin-ni-zan-dong-gang-cao-tang-tu-zhou-dong-qi-chang-290886","临倪瓒东冈草堂图轴","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。",[25,26,7,413,373,52,126,163,83,261],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6845308d6e74e26371b15c8a563743f4.jpg",[],54,{"id":1377,"slug":1378,"title":1379,"dynasty":138,"author":1380,"museum":95,"description":1381,"tags":1382,"thumbUrl":1385,"material":234,"size":1386,"collection":36,"collections":1387,"showCount":1375,"zanCount":41,"manualWeight":41,"mainColor":114},290879,"chun-you-wan-gui-tu-zhou-chou-ying-290879","春游晚归图轴","仇英","本幅画夜幕低垂中，主仆四人春游归来。边角式的布局虽源于南宋院画，但取意则与明初戴进的「春游晚归」相近。惟仇作烘染细腻，人物情态生动，较戴进描写更加细致详实",[25,27,817,142,7,261,1298,31,126,1383,1384],"春游","郊野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b904ecf120414f9ce0182de0f6afa95.jpg","145.5x76.5",[],{"id":1389,"slug":1390,"title":1391,"dynasty":93,"author":1392,"museum":194,"description":1393,"tags":1394,"thumbUrl":1396,"material":200,"size":201,"collection":36,"collections":1397,"showCount":1375,"zanCount":11,"manualWeight":41,"mainColor":114},288733,"xiao-xiang-ba-jing-tu-juan-si-wang-hong-288733","潇湘八景图卷四","王洪","全卷呈现出一种全景式的山水大观，其中并没有体现出有『八景』的各自样态，因其用意并不在于『八景』。相比之下，王洪的《潇湘八景图》各景独立成画，各个表现不同之意境，应当是接近于宋迪所绘之《潇湘八景图》的形式样态。",[24,25,74,26,7,373,1395,79,286,185,1171],"亭阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F034d632a84422ddb4076996f3fafebb4.jpg",[],{"id":1399,"slug":1400,"title":1401,"dynasty":93,"author":1402,"museum":194,"description":1403,"tags":1404,"thumbUrl":1407,"material":200,"size":201,"collection":36,"collections":1408,"showCount":1409,"zanCount":41,"manualWeight":41,"mainColor":42},289350,"sha-ting-yan-shu-tu-hui-chong-289350","沙汀烟树图","惠崇","此图画沙汀烟树迷离的早春景色。江南水乡的初春，杨柳刚吐新绿，春溪满溢，潺潺流淌，河岸水草随风摇曳，成群的水鸟在水上栖止飞翔，隔岸丛树掩映在一片云烟之中，若隐若现，具有浓郁的抒情色彩，在表现微妙迷惘的感觉上获得了成功。取景立意似南方画派，但画法上又不似南方画那样轻淡圆润，山石树木用墨较浓，用笔也较方硬。杂草用笔点簇而成，柳树以方直线条勾出老干，然后再涂染色彩，远山用淡墨平画，很雅致。",[23,25,7,73,26,82,83,163,373,433,1405,1406],"沙汀","烟树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F445107f68aa7c5aafbac1748922679d9.jpg",[],52,{"id":1411,"slug":1412,"title":1413,"dynasty":93,"author":1414,"museum":194,"description":1415,"tags":1416,"thumbUrl":1419,"material":36,"size":36,"collection":36,"collections":1420,"showCount":1409,"zanCount":41,"manualWeight":41,"mainColor":114},227519,"yan-jiang-die-zhang-wang-shen-227519","烟江叠嶂","王诜","《烟江叠嶂图》是宋代画家王诜创作的一幅设色画，现藏于上海博物馆。\n《烟江叠嶂图》绘崇峦叠嶂陡起于烟雾迷漫浩渺空旷的大江之上，空灵的江面和雄伟的山峦形成巧妙的虚实对比。奇峰耸秀，溪瀑争流，云气吞吐，草木丰茂，显得蓬勃富有生气。画家以墨笔皴山画树，用青绿重彩渲染， 既有李成之清雅，又兼李思训之富丽。",[23,25,7,1417,74,842,75,79,578,127,1418,102,1413],"设色画","溪瀑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4632dd73f474257bd583fa36c4a4a423.jpg",[],{"id":1422,"slug":1423,"title":1424,"dynasty":138,"author":1425,"museum":20,"description":1426,"tags":1427,"thumbUrl":1433,"material":390,"size":1434,"collection":37,"collections":1435,"showCount":1409,"zanCount":11,"manualWeight":41,"mainColor":114},220396,"xia-yun-yu-yu-tu-liu-jue-220396","夏云欲雨图","刘珏","本幅布局饱满，山峦填满大半画面，气势逼人，山体几乎全用长披麻皴，增加了画面的动感。右侧的浓云以细笔勾轮廓，淡墨渲染，生动地刻画出云朵急速翻滚变化之态。蜿蜒的山体，盘旋的山径，翻转的云朵，流动的瀑布，溅起的浪花，共同营造出深山中风云激荡、大雨欲来之势。画面最具静感的是右下角的木桥，并行平直的线条，两侧的过廊，皆增加了桥体的稳定感，而这些则更加衬托出整幅画面的撼人之气。该图画风沉郁清壮，用墨朴茂湿润，主要仿自元代吴镇，而清丽秀润之笔法则与吴镇的厚重粗犷有别。",[23,24,25,7,26,75,79,1428,198,55,125,1429,1363,31,1430,1431,1432],"云朵","山径","风云激荡","大雨欲来","沉郁清壮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba447da9f4712e289e7effc13da529d0.jpg","纵165.7厘米，横95厘米",[37,169],{"id":1437,"slug":1438,"title":1439,"dynasty":18,"author":1440,"museum":95,"description":1441,"tags":1442,"thumbUrl":1447,"material":390,"size":1448,"collection":169,"collections":1449,"showCount":1409,"zanCount":41,"manualWeight":41,"mainColor":114},219383,"qiu-shan-tu-wang-jian-219383","秋山图","王鉴","层岩叠嶂如涛涌，披麻皴笔细腻摹写山骨纹理，墨色晕染间丘壑纵深自现。林木葱茏却带秋意，松针攒簇似含霜，杂树疏枝显萧疏，溪畔谷侧隐见茅舍几间，小径蜿蜒穿林渡涧，流水潺潺石上轻响。笔墨皴擦点染兼备，古雅清润，气韵浑成，将秋日山林的静谧深远与文人栖居的悠然意趣融于尺幅之间，尽显传统山水的笔墨神韵与诗意栖居之境。",[24,25,73,27,7,26,339,75,1443,30,99,387,125,1444,503,1445,1446],"层岩叠嶂","秋意","悠然","文人栖居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d4187b4bef912c8599d2b17b363609c.jpg","111.1x48.3",[169],{"id":1451,"slug":1452,"title":1453,"dynasty":93,"author":523,"museum":95,"description":1454,"tags":1455,"thumbUrl":1457,"material":85,"size":1458,"collection":169,"collections":1459,"showCount":1409,"zanCount":41,"manualWeight":41,"mainColor":42},218986,"yun-shan-tu-yi-ming-218986","云山图","这幅画描绘了一位科学家在山区雨后拜访一位朋友的情景，当时烟云尚未散去，清澈的溪水升起。这幅画采用了米氏的云山法，使云烟变幻莫测，消失不见。",[23,25,26,7,75,181,371,183,164,124,1456,261,55],"石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5cc7d830dfbd686250666d42029b9ac.jpg","24.3x53.1",[169],{"id":1461,"slug":1462,"title":1463,"dynasty":138,"author":1464,"museum":95,"description":1465,"tags":1466,"thumbUrl":1468,"material":728,"size":1469,"collection":37,"collections":1470,"showCount":1471,"zanCount":11,"manualWeight":41,"mainColor":114},222175,"tian-chi-shi-bi-zhou-lu-zhi-222175","天池石壁轴","陆治","陆治（1496－1576），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。\n陆治（1496－1576）明代画家。吴县（今江苏苏州）人，字叔平，因先世由汴徙居吴之包山梅梁里，遂自号包山。倜傥嗜义，以孝友称。好为诗及古文辞，善行、楷，尤心通绘事。游祝允明、文徵明门，其於丹青之学，务出其胸中奇，一时好称，几与文埒。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，用笔劲峭，景色奇险，意境清朗，自具风格，在吴门派画家中具有一定新意，与陈淳并重于世。晚年贫甚，衣处士服，隐支硎山，种菊自赏。有贵官子因所知某以画请，作数幅答之。其人厚其贽币以谢。治曰：吾为所知非为贫也。立却之。求其画者，请之而强必不可得，不请之乃或可得。卒年八十一。",[23,25,27,7,142,75,1467,890,31,144,1003,323,126,127,83],"石壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd07d9dc6fb51d4ebd3729366331c84f8.jpg","本幅 70.6x30.3公分、全幅 44.5公分",[37,169],51,{"id":1473,"slug":1474,"title":1475,"dynasty":18,"author":1476,"museum":1477,"description":1478,"tags":1479,"thumbUrl":1481,"material":390,"size":1482,"collection":37,"collections":1483,"showCount":1471,"zanCount":41,"manualWeight":41,"mainColor":114},220032,"jiang-lou-fang-you-tu-wu-hong-220032","江楼访友图","吴宏","旅顺博物馆","此幅吴远度云是仿北宋初李成画法，实则借名而已，皴法已带唐伯虎乱柴皴法度，构图渲染全是金陵画派作风，然江天开阔，渔隐互答，远度此幅尤允佳品。",[23,25,73,7,27,142,75,29,55,125,76,31,126,298,1480,128],"船只","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7aaaf4122119ceb7d3d07d79758a578d.jpg","78.63*160.6cm",[37],{"id":1485,"slug":1486,"title":1487,"dynasty":1488,"author":1489,"museum":1490,"description":1491,"tags":1492,"thumbUrl":1493,"material":264,"size":36,"collection":37,"collections":1494,"showCount":1471,"zanCount":41,"manualWeight":41,"mainColor":114},219238,"shan-shi-qing-lan-tu-chao-xian-yi-ming-219238","山市晴岚图","不详","朝鲜·佚名","美国克利夫兰艺术博物馆","晴岚如纱轻覆烟水，远山黛影隐入云间。近岸巉岩错落，古木虬枝斜出，屋宇依林泉而建，似有清寂烟火漫出枝叶。水面波光微漾，几叶扁舟缓行，桨声随雾霭飘散。笔墨细腻处，山石肌理分明；淡染之间，云雾流动如活。山水的旷远与人间的宁和交织，空灵中透着温润，读之如临幽境，心随画中烟水沉静下来。",[23,25,7,75,142,122,29,55,125,76,126,31,124,105,127,1480],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f9e5d65eb51248a44011e70f9c087ce.jpg",[37],{"id":1496,"slug":1497,"title":1498,"dynasty":93,"author":1499,"museum":95,"description":1500,"tags":1501,"thumbUrl":1502,"material":234,"size":1503,"collection":37,"collections":1504,"showCount":1471,"zanCount":11,"manualWeight":41,"mainColor":114},218880,"fang-dai-tu-yan-wen-gui-218880","访戴图","燕文贵","在这幅画中，雪白的溪水无声无息，戴逵的另一处房屋隐藏在溪水边的树林中。",[23,24,25,26,142,75,7,122,31,399,298,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40533f611ebb8113ef7135e83a646b99.jpg","22.1x24.6",[37],{"id":1506,"slug":1507,"title":1508,"dynasty":93,"author":224,"museum":194,"description":1509,"tags":1510,"thumbUrl":1511,"material":200,"size":201,"collection":36,"collections":1512,"showCount":1513,"zanCount":41,"manualWeight":41,"mainColor":204},290235,"shan-shui-tu-fan-kuan-290235","山水图","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。",[25,7,26,75,79,127,102,29,27,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F960de341b13a3055246c0d71ff699365.jpg",[],50,{"id":1515,"slug":1516,"title":1517,"dynasty":18,"author":1440,"museum":724,"description":1518,"tags":1519,"thumbUrl":1521,"material":85,"size":36,"collection":37,"collections":1522,"showCount":1513,"zanCount":11,"manualWeight":41,"mainColor":42},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。",[25,73,24,26,75,27,7,122,31,125,76,126,1520,127,399,185,129],"河岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bb7e789e1591565f7fc6f26d2254029.jpg",[37],{"id":1524,"slug":1525,"title":1526,"dynasty":93,"author":193,"museum":194,"description":1527,"tags":1528,"thumbUrl":1530,"material":200,"size":201,"collection":36,"collections":1531,"showCount":1532,"zanCount":41,"manualWeight":41,"mainColor":114},288471,"jiang-shan-xiao-jing-tu-quan-juan-li-tang-288471","江山小景图全卷","此卷并无李唐签款，有一方祥哥刺吉公主的残印在画卷末缘上端。此卷中描绘一段沿江的山水景观，山中有各式建筑与山径穿绕，江上亦见船帆往来，人物活动丰富多样。画中山体以深浓轮廓线勾勒，藉石青与石绿烘染质面，间以简略皴笔构成凹凸，营造出坚实的山石效果。此一画风特色虽是与两宋之际李唐、萧照相近，但用笔更近阎次平，推测是近于第二代南宋院体画风之作。",[23,24,25,73,74,7,75,142,1529,102,323,76,29,163,83],"奇峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8dff97c40d039455fddefa58f3ab617d.jpg",[],49,{"id":1534,"slug":1535,"title":1536,"dynasty":18,"author":1537,"museum":194,"description":1538,"tags":1539,"thumbUrl":1541,"material":200,"size":201,"collection":36,"collections":1542,"showCount":1532,"zanCount":11,"manualWeight":41,"mainColor":42},288450,"xi-shan-xian-guan-tu-zhu-da-288450","溪山仙馆图","朱耷","朱耷（1626年—约1705年），原名朱统𨨗，字刃庵，号八大山人、雪个、个山、人屋、道朗等，出家时释名传綮，汉族，江西南昌人 。明末清初画家，中国画一代宗师。",[23,24,25,26,7,75,79,31,29,55,1540,83,163],"仙馆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95b86f413a67c060306137c99a9667fb.jpg",[],{"id":1544,"slug":1545,"title":1546,"dynasty":47,"author":1547,"museum":524,"description":1548,"tags":1549,"thumbUrl":1550,"material":390,"size":1551,"collection":37,"collections":1552,"showCount":1532,"zanCount":41,"manualWeight":41,"mainColor":114},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。",[23,25,7,27,26,142,126,31,183,105,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff011efff5735f2afb6e05f576839c3ab.jpg","90.8cm×42.5cm",[37,169],{"id":1554,"slug":1555,"title":1508,"dynasty":138,"author":1464,"museum":1556,"description":1557,"tags":1558,"thumbUrl":1559,"material":61,"size":1560,"collection":37,"collections":1561,"showCount":1532,"zanCount":41,"manualWeight":41,"mainColor":42},218089,"shan-shui-tu-lu-zhi-218089","金贝尔艺术博物馆","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。",[23,25,7,75,26,126,31,1003,275,198,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb76928577a7dc880899d9fd527dc9dd1.jpg","139x69.9cm",[37],{"id":1563,"slug":1564,"title":1565,"dynasty":255,"author":1000,"museum":194,"description":1566,"tags":1567,"thumbUrl":1568,"material":200,"size":201,"collection":36,"collections":1569,"showCount":1570,"zanCount":41,"manualWeight":41,"mainColor":114},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。",[24,25,7,27,26,75,1295,55,125,124,198,31,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45fd1673d01e02f62973c92de006d169.jpg",[],48,{"id":1572,"slug":1573,"title":1574,"dynasty":255,"author":256,"museum":194,"description":1575,"tags":1576,"thumbUrl":1579,"material":200,"size":201,"collection":36,"collections":1580,"showCount":1570,"zanCount":41,"manualWeight":41,"mainColor":114},287427,"xia-jing-shan-kou-dai-du-tu-juan-hua-xin-dong-yuan-287427","夏景山口待渡图卷画心","用笔气势停匀，疏密浓淡，层层生发，甚为自然，笔笔皆活。其皴笔结体紧密，与冈峦的体势相生，融而为一。且有水晕墨章之妙，水坡之上，林木繁茂，而坡上浓淡，时以淡墨渲染，林间如透出阳光，极为生动。皴笔入骨，透于绢素，用笔一势，具方向感，运笔与气势，节奏相依存，为圆熟之境了。值得注意的还在于在其远山峰顶用笔有虚实、淡浓、隐现，极生动地表现了烟云出没，阳光明灭的空气感和空间感，真切地表现了夏山丽日下的神韵。与沈括所形容的董源《落照图》“远峰之顶，宛有反照之色，此妙处也”或米芾形容董源“峰顶不工”、“率多真意”，可以对看，一样佳妙。",[23,24,25,73,74,7,26,75,1577,79,102,76,104,259,1578,503],"湖泊","水岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32afd29366d0913db08119a85bdb0e2a.jpg",[],{"id":1582,"slug":1583,"title":1584,"dynasty":47,"author":523,"museum":724,"description":1585,"tags":1586,"thumbUrl":1590,"material":234,"size":1591,"collection":37,"collections":1592,"showCount":1570,"zanCount":11,"manualWeight":41,"mainColor":114},218223,"xue-xi-wan-du-tu-yi-ming-218223","雪溪晚渡图","此幅作品描绘了冬日雪景，高峰竖立，萧然平静。峡谷瀑布，层层寒流。柴门屋舍，截然生机。一位渔翁打着小舟，悄然归来，是为屋内两位高士送酒来了。画家的用墨富有变化，笔力老练，对自然理解渗透，作品意境之浓，感触深刻。",[25,24,7,26,98,1587,198,125,215,76,1588,1589,417,59],"高峰","渔翁","高士","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365e719109c9e31dc9233143ca682fb9.jpg","105x60.3cm",[37],{"id":1594,"slug":1595,"title":1596,"dynasty":93,"author":1597,"museum":194,"description":1598,"tags":1599,"thumbUrl":1601,"material":200,"size":201,"collection":36,"collections":1602,"showCount":1603,"zanCount":41,"manualWeight":41,"mainColor":114},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。",[23,25,7,75,499,399,126,98,1600],"兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F213ef25e23b1ae0d2de584a8008fe774.jpg",[],47,{"id":1605,"slug":1606,"title":1607,"dynasty":138,"author":523,"museum":194,"description":1608,"tags":1609,"thumbUrl":1610,"material":200,"size":201,"collection":36,"collections":1611,"showCount":1603,"zanCount":41,"manualWeight":41,"mainColor":114},290419,"fang-fan-kuan-xi-shan-xing-lv-tu-yi-ming-290419","仿范宽溪山行旅图","此作用笔沉郁苍厚，主峰拔地而起，以密集皴法刻画山石肌理，尽显山峦雄浑磅礴的质感。山间烟岚轻笼，虚实相生，将高旷幽深的山野意境铺陈开来。下方林麓环合，流泉自幽谷间蜿蜒而出，板桥山居隐于林木之中，静穆里藏着灵动生机。整体追摹北派山水的雄浑气象，既复刻出山野荒寒之态，又暗合沉静意韵，把大山大水的壮阔与林泉幽居的闲逸融为一体，是颇具古韵功力的山水佳作。",[25,7,27,26,75,1295,198,32,31,413,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F096a6ea931c37ee34c32a9f99876af1c.jpg",[],{"id":1613,"slug":1614,"title":1615,"dynasty":138,"author":1616,"museum":95,"description":1617,"tags":1618,"thumbUrl":1631,"material":390,"size":1632,"collection":36,"collections":1633,"showCount":1634,"zanCount":41,"manualWeight":41,"mainColor":114},222039,"feng-yu-gui-zhou-tu-dai-jin-222039","风雨归舟图","戴进","在布局上，作者采用中轴线构图，高山置于画面右边。近景处，树木、山崖、归舟相互依照；中景处，芦苇、枯树、溪桥、村舍、竹林、远山错综而不杂乱；远景处，高山重叠，远山迷蒙，在雾气中若隐\n若现。画中虽然表现的是雨景，但景物自近而远，层次清楚明晰，将雨中急归之心表现得淋漓尽致。画面近处的岩石和归舟，一静一动，对比鲜明，使构图统一中有了变化，更加突出风雨归舟的主题。横跨两岸的溪桥使得左轻右重的景物连成一个整体。溪桥上冒雨赶路的农夫，被作者刻画得惟妙惟肖，一个个显示出匆忙急切的神态。中景处的芦苇更是突出了风势的狂猛劲厉。\n该图章法新奇独特而巧妙，笔墨兼工带写，显出豪放洒脱而湿润空的意境，成功表现了风雨交加的自然景色和特定环境中的人物情态。图中树石用笔刚劲犀利，气势雄壮，以大斧劈带水墨破刷出的山石，生动地表现出瘦硬多棱角的特征，强烈地显示了山石的质感和立体感，并运用虚实相生的手法，刻画出雨中山川的神奇境界和耸拔气象。近岸树木作者用了夹叶法和点叶法，芦苇和竹林用了撇笔介字点，一笔一画，笔笔到位，刻画出狂风中摇曳的形象。狂风大雨用大笔挥扫，增添了画面的气势，从豪纵的笔势之中，可以看出画家愤笔疾挥的饱满激情。\n画中戴进成功运用浅设色而水墨苍劲淋漓的技法，以横刮阔笔扫出狂风大雨， 所画斜风骤雨、树枝弯曲、逆舟雨伞，最充分地表现出狂风暴雨的运动感。作者对墨的浓淡干湿变化应用自如，雨暴风狂的气象于指腕间飒然而起，充分显示了画家的深湛功力和注重观察自然的可贵精神。",[23,25,7,431,26,1619,75,357,1620,1621,1295,1622,31,1245,1109,399,100,1623,245,105,185,1624,1625,1626,1627,1628,1629,1630],"浅设色","夹叶法","点叶法","归舟","村舍","狂风","骤雨","农夫","豪放洒脱","湿润空濛","急切","匆忙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc33f9516f633907b22ad111e8d5e3ee4.jpg","纵143 厘米，横81.8 厘米",[],46,{"id":1636,"slug":1637,"title":1638,"dynasty":138,"author":1380,"museum":95,"description":1639,"tags":1640,"thumbUrl":1650,"material":234,"size":1651,"collection":36,"collections":1652,"showCount":1653,"zanCount":41,"manualWeight":41,"mainColor":114},231375,"qiu-jiang-dai-du-tu-chou-ying-231375","秋江待渡图","此画属于院体一类，造型严谨，用笔不苟，刻画十分精细。只要展开画卷仔细观察，其中无沦一砖一瓦，一枝一叶，一草一木，还是人物表情，都描绘得极其精妙。即是远景、远岸的重山峻岭，山峦连绵，也画得很瓷实，一潭宽阔无际的秋水，宛如镜面。白云下的房舍屋宁、树林画得虽细小，但十分精工，所以把白云上面的山推向远处。近景为此画的核心，近岸山峦很高，村庄座落其间，显得十分细小，但画得十分精致。画面上的树林杂木众多，通过画家的笔触，画得各有特色，成为整幅画上的重要组成部分。这是一幅煌煌巨制的画作。景界开阔，但不觉疏散。他运用自己高超的技法，特别注重意境的刻画，在他笔下的屋可居，山可游，生活气息浓郁，有着诗一般的意境。设色温和清秀，并不艳俗。所画的人物比例虽小，但通过精致刻画，神形俱全。确属雅俗共赏之作。\n这一作品画面不大，但由于构图布局得当，远处的山峦，近处的茫茫秋水和近岸的山丘与树林，空间关系处理得当，使人感到境界十分开阔，具有咫尺千里之妙。同时，秋高气爽的季节特点也得到了很好的体现。从具体画法上看，无论是景物的一枝一叶，还是人物的表情，都描绘得十分精细。与那些远离现实、表现隐逸思想的某些文人画家的山水画相比，这一作品就显得具有浓厚的生活气息，可以激起人们对生活的热爱。",[25,7,817,142,122,1641,79,1642,76,261,1298,1643,1644,1645,1646,1647,1648,1649],"秋水","树林","村庄","秋高气爽","咫尺千里","雅俗共赏","精工细作","生活气息浓郁","意境悠远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda34b84f047fd2cff2c3894ed7617045.jpg","纵155．4厘米，横133.4厘米",[],44,{"id":1655,"slug":1656,"title":1657,"dynasty":138,"author":687,"museum":194,"description":1658,"tags":1659,"thumbUrl":1660,"material":36,"size":36,"collection":36,"collections":1661,"showCount":1653,"zanCount":41,"manualWeight":41,"mainColor":114},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。",[23,24,25,73,74,26,142,7,75,163,82,83,122,164,298,261,126,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F055da1b43b081819b900223c28def283.jpg",[],{"id":1663,"slug":1664,"title":1665,"dynasty":18,"author":1666,"museum":1667,"description":1668,"tags":1669,"thumbUrl":1670,"material":234,"size":1671,"collection":37,"collections":1672,"showCount":1653,"zanCount":11,"manualWeight":41,"mainColor":114},219907,"xue-shan-tu-yuan-jiang-219907","雪山图","袁江","费城艺术博物馆","袁江（1662年—1735年），字文涛，号岫泉，江都（今江苏扬州）人，清代画家。\n袁江，是中国绘画史上有影响画家，宫廷画家，专攻山水楼阁界画。雍正时，召入宫廷为祗侯。在清康熙、雍正、乾隆时期，楼阁工整山水当以袁江最有名。当时还有他的侄子袁耀同齐名。他们两人曾受扬州的山西盐商的聘请，到山西作画，作品在北方流传较多。他擅画山水、楼台、师法宋人。山水画主要学宋代闫次平，画石多鬼皴，楼阁主要学郭忠恕，工整严密。他的绘画素材多为古代宫苑，尤长于界画。界画是我国民族绘画中很有特色的一门画科，它在东晋时代已同人物、山水画并存了，发展到宋、元时期就已达到高峰，但一直受到文人画的排挤。画艺从师仇英，山探郭忠恕笔法及赵伯驹、刘松年等青绿山水一脉，同时传工界画，成为有清一代推为第一的界画家。",[25,7,142,75,499,31,298,128,261,297],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4541743a212af25140e45045a3164c74.jpg","78.3x46.7",[37],{"id":1674,"slug":1675,"title":1676,"dynasty":93,"author":175,"museum":95,"description":1677,"tags":1678,"thumbUrl":1679,"material":264,"size":1680,"collection":36,"collections":1681,"showCount":1682,"zanCount":41,"manualWeight":41,"mainColor":42},231341,"hua-deng-shi-yan-tu-er-ma-yuan-231341","华灯侍宴图（二）","《华灯侍宴图》描绘了杨次山父子在上元节侍宴的场面，记述了南宋宫廷的重大活动。该画以俯视的角度写华灯初上时分官员们随皇帝宴饮观舞的情景，并在全景山水的描写中，烘托出了室内的豪华与欢乐气氛。图中隐约可见几位官员属身随侍皇帝饮宴官殿之外，乐舞的宫女摇曳着身姿，大殿之外的树木，好似也随着音乐起舞，姿态横生。这些树林，由近面远，渐渐隐设于雾色之中，只见宫殿后盛立着几棵松树，和远处云雾中抹青山。中景的松树刻而很具特色，用笔瘦硬如屈铁，枝条长面斜向出。\n画中，远山眉黛，松枝逶迤，前庭梅树十余棵，数名宫女执灯起舞于梅林中，舞姿曼妙。殿宇华厦，灯火明亮，有几位大约是官员的人物，背向微躬，恭谨陪侍酒宴。内堂则幽深不可窥测。\n宋宁宗题一首御制诗，云：“朝回中使传宣命，父子同班侍宴荣。酒捧倪觞祈景福，乐闻汉殿动驩声。宝瓶梅蕊千枝绽，玉栅华灯万盏明。人道催诗须待雨，片云阁雨果诗成。”\n马远是南宋宫廷画家，杨皇后是其主要的艺术赞助人。杨皇后多次为马远之作题诗题句，其创作也势必迎合杨皇后的要求，“臣马远”的款识当为此意。从《华灯侍宴图》的笔法与风格来看，当为马远晚年之作，而杨皇后的题记，也属晚年风格。换而言之，画作的年代应在宋宁宗时代。\n对于该画的主题，不同学者提出不同观点，毕嘉珍提出画中描绘的是“奢侈的赏梅盛宴”。彭慧萍则从画师的视角出发，指出此图反映了“深夜禁中大内的当差场景”。高居翰的分析是“马远想出了一个富于诗意的构图”，将宴席隐藏在向后延伸的宫殿图像里，只以庭园中的演艺者和侍从来传达娱乐的场景。\n也有观点指出，这次宴会是宋宁宗为迎接签订“嘉定和议”的丞相史弥远而举办的，所谓“朝回中使传宣命”，并召马远及其子马麟陪侍，马远用绘画记录了这一重大时刻。\n一座孤零零的殿宇，矗立在远山近林中。阶墀下方极少渲染。殿内的君臣侍从沉浸在一片歌舞之中。视线由梅树上顶之势领起，沿华堂左侧引上，由屋脊折而向右，绕出一个反S形，而到达松树与远山，然后下垂，落空于远方薄暮中。观者除了感受宴饮之乐，还可能被近景的梅树、中景的松树、远景的山及苍茫的夜空所吸引。\n此图以俯视的角度写华灯初上时分豪门达官酒宴的情景，但作者的兴趣并不是放在细写堂内宴席与众宾客的活动上，他的独特构思在于成功表现外部环境上，描写烘托出室内的豪华与欢乐气氛。图中表现松树很具特色，用笔瘦硬，如屈铁，枝条颀长，而斜向出，下笔严正，以雄奇简练的笔法，表现树枝的坚挺有力，有“拖枝马远”之称。\n该画山而不作全景式图，取一角或一峰给予突出的描写。这是马远在继承前人山水画传统的基础上的突破，是他对山水画形式美感探索的成就。",[25,73,7,817,75,142,29,31,890,185,163,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc9b868683d8127a8dd2bb9ff753b532.jpg","纵125.6厘米，横46.7厘米",[],43,{"id":1684,"slug":1685,"title":1686,"dynasty":47,"author":1687,"museum":524,"description":1688,"tags":1689,"thumbUrl":1691,"material":85,"size":1692,"collection":169,"collections":1693,"showCount":1682,"zanCount":41,"manualWeight":41,"mainColor":114},220426,"song-xi-gui-yu-tu-tang-di-220426","松溪归渔图","唐棣","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。",[23,73,25,7,75,142,27,179,125,55,126,104,373,1690,78],"岸坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F035ce24fe5889e9c85d096ccf8fbc2fd.jpg","134.3x86cm",[169],{"id":1695,"slug":1696,"title":1697,"dynasty":18,"author":19,"museum":95,"description":1698,"tags":1699,"thumbUrl":1700,"material":61,"size":1701,"collection":36,"collections":1702,"showCount":1703,"zanCount":41,"manualWeight":41,"mainColor":42},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。",[24,25,7,27,142,75,413,274,126,31,29,125,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a350d41c4997b3ce106edd3a6b3b931.jpg","133.7x60",[],42,{"id":1705,"slug":1706,"title":1707,"dynasty":18,"author":1352,"museum":194,"description":1708,"tags":1709,"thumbUrl":1710,"material":200,"size":201,"collection":36,"collections":1711,"showCount":1703,"zanCount":41,"manualWeight":41,"mainColor":42},235229,"fang-dong-ju-song-yue-tu-zhou-wang-hui-235229","仿董巨嵩岳图轴","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。”",[25,7,27,26,75,413,181,185,144,31,198,32,275],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7312c6d75e4c03872d13ce1a4136a20.jpg",[],{"id":1713,"slug":1714,"title":1715,"dynasty":18,"author":959,"museum":95,"description":1716,"tags":1717,"thumbUrl":1724,"material":234,"size":1725,"collection":37,"collections":1726,"showCount":1703,"zanCount":41,"manualWeight":41,"mainColor":42},220431,"dan-shan-bi-shu-tu-wang-yuan-qi-220431","丹山碧树图","以其典型的笔法、墨迹与构图，描绘北方山川的自然景致，上部远景绘峰峦连绵、云霭轻飘；中景绘平湖水岸、苇草繁茂，湖岸边建有数间水榭，平坡和山顶筑有茅屋草舍，一派人与自然和谐的画面；近景绘坡角横陈，其上杂树竞秀、错落有致，江上渔舟停岸。全图使用典雅的“四王皴法”和青绿、赭石、朱红颜色，层林浸染、万木缤纷，完美展现出秋林远黛的深邃意境，观后有提神醒目之效。",[24,25,7,27,842,142,75,1718,1719,1578,1720,891,1721,1722,104,125,880,1723],"峰峦","云霭","水榭","苇草","杂树","和谐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf797e0643207dbeedf01646f8127d12.jpg","111.7x49.3",[37,153],{"id":1728,"slug":1729,"title":1730,"dynasty":138,"author":1731,"museum":20,"description":1732,"tags":1733,"thumbUrl":1735,"material":234,"size":1736,"collection":37,"collections":1737,"showCount":1703,"zanCount":41,"manualWeight":41,"mainColor":114},220373,"jiang-ge-yuan-tiao-tu-wang-e-220373","江阁远眺图","王谔","此图为设色人物山水，大江水云渺茫，靠岸边殿阁一座，阁上一人面向江左眺望，面前方几上设花瓶、香炉、果盘，二童子侍立，屋内一童点烛，一童托盒走来。阁前水边，大石，芦苇，小船一艇，一人伏卧船中，石上苍松古柏，石后山崖杂树，烟雾迷濛。大江对岸，山峦，屋宇，庙塔，一座城门女墙环山，绕成圆形，岸边停泊大小船二十余只，远山隐现在云海间。\n描绘楼阁吸取了南宋院体状物精微的写实风格而更加纤巧富丽，树石山崖取马远大斧劈皴法，水纹以墨线勾描，画法工细。",[23,24,25,73,7,142,75,1734,29,105,144,1480,286,126,31,124],"江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd4c9f65db6578d2b8f3b0006690a99f.jpg","纵143.2厘米，横229厘米",[37],{"id":1739,"slug":1740,"title":1741,"dynasty":93,"author":1499,"museum":95,"description":1742,"tags":1743,"thumbUrl":1744,"material":200,"size":1745,"collection":36,"collections":1746,"showCount":1747,"zanCount":41,"manualWeight":41,"mainColor":114},290283,"xi-shan-lou-guan-tu-yan-wen-gui-290283","溪山楼观图","《溪山楼观图》是一件立轴作品，代表北宋初全景式山水的典型。此图绘高远、深远景色，溪山重叠，自下而上，自近及远，繁复细密。在险峻的峰峦之中，显现出雄伟壮观的楼观殿宇，山崖下水榭回廊与水波浩渺的江面互相映衬，加上陡峭的山势与艰险的山径，使此画的境界雄浑沉秀，繁中见清。笔法尖劲峭丽，山石皴中有染，精细工整，是“燕家景致”的典型范例。",[25,24,7,27,75,126,102,29,125,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84b73be18e2ebf50025d87fd42a56693.jpg","103.9x47.4",[],41,{"id":1749,"slug":1750,"title":1751,"dynasty":18,"author":1752,"museum":1753,"description":1754,"tags":1755,"thumbUrl":1756,"material":61,"size":1757,"collection":37,"collections":1758,"showCount":1747,"zanCount":41,"manualWeight":41,"mainColor":42},220078,"feng-dong-tu-ye-xin-220078","风洞图","叶欣","大英博物馆","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。",[23,25,7,26,75,126,31,261,1245,128,163,83,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc51675d8aeea351bbbd90ae98e8b724b.jpg","88.2X52.3",[37],{"id":1760,"slug":1761,"title":1762,"dynasty":47,"author":898,"museum":524,"description":1763,"tags":1764,"thumbUrl":1766,"material":327,"size":1767,"collection":37,"collections":1768,"showCount":1769,"zanCount":11,"manualWeight":41,"mainColor":114},221812,"xue-shan-xing-lv-tu-yao-ting-mei-221812","雪山行旅图","绘山峦层叠，幽谷深邃，山中楼台隐现，树木耸立，枝杈横生，树叶凋零，似到深秋或隆冬季节；山脚溪水聚集成河，河面如镜，一桥横跨两岸，桥上二人骑马而过，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。",[23,25,7,75,142,499,126,399,275,55,475,31,1765,298],"道路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecff78b31d250b799136e520b6ccc06c.jpg","98.1× 54cm",[37,153],40,{"id":1771,"slug":1772,"title":1773,"dynasty":18,"author":1352,"museum":724,"description":1774,"tags":1775,"thumbUrl":1777,"material":61,"size":1778,"collection":37,"collections":1779,"showCount":1769,"zanCount":11,"manualWeight":41,"mainColor":114},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。",[25,7,142,75,1776,890,31,32,126,880,127,275],"层峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F088fa3e078227eb0f8335ab5623452f8.jpg","142x66.1cm",[37],{"id":1781,"slug":1782,"title":1783,"dynasty":18,"author":19,"museum":20,"description":1784,"tags":1785,"thumbUrl":1786,"material":234,"size":1787,"collection":37,"collections":1788,"showCount":1769,"zanCount":11,"manualWeight":41,"mainColor":114},219747,"du-fu-shi-yi-tu-wang-shi-min-219747","杜甫诗意图","此图为唐代诗人杜甫“竹深留客处，荷净纳凉时”佳句为题，描绘的是一片竹林景色。图中丛草茂密，绿竹幽深，连绵万顷，层层叠翠，尤以竹林深处，一条蜿蜒小路上，有二人策驴缓行，显然是欲溯溪而上，至一塘绿水处，荷叶飘香，临流水阁数间，令人畅想，不免有流连忘返之意，若能高卧闲居，听竹闻香，自然就可以荣辱皆忘，陶然忘机。所谓一心，就是这个状态，无关乎身家性命，但求此心真诚无二，为将者保家卫国，为画者怡情自乐，君子无为而无不为，皆能不出其位，用现在的话说，就是干一行，爱一行，少些杂念，自然可以有所成就。岳飞曾说，文官不爱钱，武官不惜命。其实也是这个道理。故人若能一心不乱，大可以报效国家于危难之际，小可以洁身自好于巷陌之间。",[23,25,73,74,7,26,142,310,31,126,32,55,124,125,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96951e7904dac4cc20ea034fe6300033.jpg","纵39厘米，横25.5厘米",[37],{"id":1790,"slug":1791,"title":1762,"dynasty":93,"author":94,"museum":194,"description":1166,"tags":1792,"thumbUrl":1793,"material":200,"size":201,"collection":36,"collections":1794,"showCount":1795,"zanCount":41,"manualWeight":41,"mainColor":114},289446,"xue-shan-xing-lv-tu-guo-xi-289446",[23,25,7,26,75,98,499,399,198,124,475],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a739ad33a1160112ff9c10479fca563.jpg",[],39,{"id":1797,"slug":1798,"title":1178,"dynasty":93,"author":1179,"museum":194,"description":1180,"tags":1799,"thumbUrl":1801,"material":200,"size":201,"collection":36,"collections":1802,"showCount":1795,"zanCount":41,"manualWeight":41,"mainColor":114},288950,"xi-shan-xing-lv-tu-zhu-rui-288950",[25,7,26,75,98,299,399,126,215,1800,475],"车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08e5e368d045f07f690c0d3294e3aae4.jpg",[],{"id":1804,"slug":1805,"title":1806,"dynasty":93,"author":193,"museum":95,"description":1213,"tags":1807,"thumbUrl":1810,"material":234,"size":1811,"collection":36,"collections":1812,"showCount":1795,"zanCount":41,"manualWeight":41,"mainColor":114},288475,"yan-lan-xiao-si-tu-li-tang-288475","烟岚萧寺图",[23,25,7,26,75,79,1808,55,29,1809,31,163,83],"萧寺","烟岚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6ab447323c9edca7a862052bde53b86.jpg","51x49.5",[],{"id":1814,"slug":1815,"title":17,"dynasty":18,"author":1352,"museum":20,"description":1816,"tags":1817,"thumbUrl":1826,"material":1827,"size":1828,"collection":36,"collections":1829,"showCount":1795,"zanCount":41,"manualWeight":41,"mainColor":42},231511,"xian-shan-lou-ge-tu-wang-hui-231511","此画描绘的是长松高岭，溪水村舍。由画中题识可知此画是一幅贺寿之作。画中以两株粗朴茂盛的参天巨松压轴，寓意常青不老。画面的远景是连绵的山岭，水溪从山中流出，至低处汇成大河，在山水林木的环抱中隐约可见幽静的楼阁。此画在笔墨表现上宗法黄公望，峰峦层叠，树从浓郁，勾线空灵，苔点细密，皴笔干湿浓淡相映衬，皴擦点染兼用。此画的用墨明洁苍润，得自于董其昌的影响，这幅画气厚力陈，显示王时敏深厚的笔墨功力。\n王时敏的绘画，受到董其昌文人画和“南北宗”理论的极大影响，其作大多致力于摹古，强调以笔墨图式来营造山水结构。他早年师从于董其昌，以古代名家的真还作为临摹粉本，并不局限于一家而习。王时敏的绘画追求平淡天真、苍秀隽逸，重视笔墨中所表达的逸气，即“文人气”。他强调在描绘客观事物的同时，仍要注重心灵抒发和精神表现，这与董其昌及其所提倡的“南北宗”论不谋而合。纵观南宗的文人画脉络，从五代董源、巨然到宋代李成、范宽，苒到元代的黄公望、吴镇、倪瓒、王蒙等，无一不注重文人的内在学识与修养。\n王时敏最大的艺术特点就是“摹古”，注重“笔墨”的运用，以临摹古代名家作品作为绘画的基础。尤其在研习宋元山水作品中的运笔、用墨、造型、结构等各方面时，主张摹古而不拘泥于古人之法，经过摹古举习，结合自身的文化修养，再重新进行艺术创造。王时敏的山水作品早年严格遵照董其吕及南宗各家的艺术风格，形态上比较细腻清秀，如《仿倪瓒山水图轴》等。到了中期，他开始脱离董其昌的笔意，醉心于对黄公望的学习，在这一时期，王时敏个人风格开始逐步形成，如《秋山白云图》《丛林曲涧图轴》等作品皆为代表。晚期则以康熙元年（1662)王时敏71岁为分界点，这一时期其绘画融众家之长于一炉，以黄公望为宗，上溯董源、巨然等南宗诸家，笔墨苍劲浑厚，风格沉稳雄坚，如《仙山楼阅图》《仿杜甫诗意图册》等。",[23,25,7,816,1818,1819,1820,1623,29,1821,1822,1823,75,26,143,1824,1825],"长松","高岭","溪水","山岭","大河","巨松","贺寿","常青","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c9e00824c0726216aa5aa68aa095974.jpg","纸本墨笔","133.2cmx63.3cm",[],{"id":1831,"slug":1832,"title":1833,"dynasty":93,"author":94,"museum":524,"description":1834,"tags":1835,"thumbUrl":1836,"material":1197,"size":1837,"collection":110,"collections":1838,"showCount":1795,"zanCount":41,"manualWeight":41,"mainColor":42},221290,"shu-se-ping-yuan-tu-quan-juan-guo-xi-221290","树色平远图全卷","《树色平远图》是由北宋时期画家 所作的一副绢本墨笔画，现收藏于美国大都会美术馆。\n《树色平远图》描绘了河流两岸树色平远的景色。\n画中点缀有拄杖的老人，携琴捧盒的仆夫，水面的小舟和飞翔的野凫，都渲染了浓郁的诗意。\n描绘的是一河流两岸树色平远的景色。\n画中之景以河为界可分作前后两部分。\n前景画河流近岸，平地坡石，其上生古树数丛，枝干盘曲伸张，树上枯藤缠绕，垂蔓点水。\n开卷处为远山野水，次而出现坡陀老树，冈阜上筑有凉亭，正是文人雅士诗酒嘉会的理想佳处。\n此图无款，卷后有元明诸家诗文题跋。\n《树色平远图》以独特的时空意识在众多以高远构图的大山水画中独树一帜，郭熙主要通过“蟹爪树”点明画作的创作季节，又以流水、小舟、渔翁、行人赋予画作时间的变化性；接着通过平远的布局,群山的后退，加之“S”形的构图的动态性，使得整个画面空间流动起来。\n整幅画以其独特的时空意识召唤观者去畅游山水，体味林泉山水的生命精神。\n《树色平远图》描绘的画面以平远布局，构景简洁，开阔而均衡，墨色浓淡变化丰富而微妙，所造之境具体真实。\n郭熙（约1—约18），北宋画家、绘画理论家。\n字淳夫，河阳温县人。\n因传李成之法而与之并称为“李郭”。\n其画风早年工巧，晚年雄壮，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存世作品有《 》、《 》、《 》、《 》、《古木遥山图》、《 》、《树石平远图》等。",[23,25,73,74,7,26,142,75,817,163,82,83,122,164,76,55,125,124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F133bd0410f393e8330e8a86e03d40536.jpg","纵32.4厘米，横104.8厘米",[110,37,169],{"id":1840,"slug":1841,"title":1842,"dynasty":18,"author":1843,"museum":70,"description":1844,"tags":1845,"thumbUrl":1846,"material":234,"size":1847,"collection":442,"collections":1848,"showCount":1795,"zanCount":11,"manualWeight":41,"mainColor":42},219428,"gu-kou-you-ju-tu-gao-cen-219428","谷口幽居图","高岑","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。",[25,7,27,26,142,75,126,198,125,76,298,144,399,32,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fee21b39327abc0b64688cf74652603.jpg","纵332厘米，横80 厘米",[442,37],{"id":1850,"slug":1851,"title":397,"dynasty":93,"author":193,"museum":95,"description":1213,"tags":1852,"thumbUrl":1853,"material":390,"size":1854,"collection":110,"collections":1855,"showCount":1856,"zanCount":41,"manualWeight":41,"mainColor":204},290337,"hua-xue-jing-zhou-li-tang-290337",[24,25,27,7,26,75,98,79,215,56,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F209ee3197ccc570616f0231447ddfeca.jpg","197.2x107.1",[110],38,{"id":1858,"slug":1859,"title":1860,"dynasty":93,"author":94,"museum":95,"description":1166,"tags":1861,"thumbUrl":1863,"material":200,"size":1864,"collection":36,"collections":1865,"showCount":1856,"zanCount":41,"manualWeight":41,"mainColor":114},290305,"xue-jing-shan-shui-zhou-guo-xi-290305","雪景山水轴",[25,24,7,26,75,98,499,1862,55,215,76,125],"寒树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6724961771742b335499a8184771c46.jpg","87.7x150.9",[],{"id":1867,"slug":1868,"title":1869,"dynasty":93,"author":978,"museum":194,"description":1870,"tags":1871,"thumbUrl":1873,"material":200,"size":201,"collection":36,"collections":1874,"showCount":1856,"zanCount":41,"manualWeight":41,"mainColor":42},288425,"song-ya-ke-hua-tu-xia-gui-288425","松崖客话图","夏圭，工山水人物，尤善山水，取法李唐，用秃笔带水作大劈斧皴、称为“拖泥带水皴”，简劲苍老而墨气明润，树叶有夹笔，阁后不用界尺，随手为之。景中人物点缀而成，多作“半边”、“一角”之景，构图别具一格，有“夏半边”之称。",[25,24,26,7,489,179,1872,261,83,75],"崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd574485f7ab1bc60a8e451c45472dd9b.jpg",[],{"id":1876,"slug":1877,"title":1878,"dynasty":47,"author":48,"museum":194,"description":1879,"tags":1880,"thumbUrl":1881,"material":200,"size":201,"collection":36,"collections":1882,"showCount":1856,"zanCount":41,"manualWeight":41,"mainColor":42},287532,"xi-shan-cao-ge-huang-gong-wang-287532","溪山草阁","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》。",[25,7,26,75,27,122,124,31,185,125,163,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe28c154e8f183ddf69ea2b4c2e577964.jpg",[],{"id":1884,"slug":1885,"title":1886,"dynasty":18,"author":1117,"museum":20,"description":1887,"tags":1888,"thumbUrl":1889,"material":704,"size":1890,"collection":36,"collections":1891,"showCount":1856,"zanCount":41,"manualWeight":41,"mainColor":42},234953,"yu-xi-shan-gen-tu-kun-can-234953","雨洗山根图","此幅作于清康熙二年（1663年），时画家52岁。画家以爽快的笔法画出雨后山川清新怡人的景色。画中突出表现林叶低垂、瀑布奔流、溪水浸润及云雾流动这些和雨水密切相关的景象。构图繁密严谨，用笔娴熟苍健，意境悠远深邃。",[25,26,7,75,181,183,31,126,76,891,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e57309da538f66ef8d198690cf3042b.jpg","纵103厘米，横59.9厘米",[],{"id":1893,"slug":1894,"title":1895,"dynasty":1488,"author":1896,"museum":194,"description":1897,"tags":1898,"thumbUrl":1899,"material":200,"size":201,"collection":37,"collections":1900,"showCount":1856,"zanCount":41,"manualWeight":41,"mainColor":114},230500,"shi-ting-shi-dai-si-ji-shan-shui-tu-dong-xue-zhou-230500","室町时代 四季山水图（冬）","雪舟","雪舟（1420～1506） Sesshū 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。",[23,25,7,27,75,142,122,126,144,399,298,501,31,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365df2d00150d1369082f0a9ceeb720c.jpg",[37],{"id":1902,"slug":1903,"title":1904,"dynasty":93,"author":94,"museum":194,"description":1905,"tags":1906,"thumbUrl":1909,"material":36,"size":36,"collection":36,"collections":1910,"showCount":1856,"zanCount":41,"manualWeight":41,"mainColor":114},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。",[25,7,24,26,75,1907,499,98,126,1862,29,32,1908],"卷云皴","雄阔意境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb64c6c4a6dae4f904ca25689a573a408.jpg",[],{"id":1912,"slug":1913,"title":1914,"dynasty":18,"author":1915,"museum":1490,"description":1916,"tags":1917,"thumbUrl":1919,"material":1124,"size":1920,"collection":37,"collections":1921,"showCount":1856,"zanCount":41,"manualWeight":41,"mainColor":42},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。",[23,25,74,26,75,7,1918,31,126,80,298,387,261,127,105,146,147],"秋雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde1ab990d4547dd9e592713d2d3329f5.jpg","29.5x280cm",[37,169],{"id":1923,"slug":1924,"title":1925,"dynasty":47,"author":1926,"museum":95,"description":1927,"tags":1928,"thumbUrl":1931,"material":85,"size":1932,"collection":36,"collections":1933,"showCount":1934,"zanCount":41,"manualWeight":41,"mainColor":42},290937,"song-yang-fang-zhen-tu-shang-qi-290937","嵩阳访真图","商琦","商琦：元代画家，字德符，号寿岩，曹州（今山东菏泽市）人。泰定元年官至秘书卿。有精深的文学艺术修养，又以善画受到皇帝赏识，因此他在当时的地位很显赫，几与高克恭齐名。商琦善画山水，《图绘宝鉴》称他师法李成，得用墨法，亦善画墨竹。又有记载说他的山水学董源，善于运用水墨。仁宗曾命他在壁上作山水，不用金朱粉彩，只用水墨，可见他的水墨山水、竹石画在当时堪称一绝。商琦亦是一位壁画能手，曾奉命画嘉禧殿壁，当时许多宫殿、寺院壁画都出自他的手笔。",[24,25,26,27,7,75,399,126,1395,261,1929,163,83,1930],"鹤","隐逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff360fa2a2eefed06260144de528678fa.jpg","115.9x28.7",[],37,{"id":1936,"slug":1937,"title":1938,"dynasty":93,"author":1414,"museum":194,"description":1939,"tags":1940,"thumbUrl":1943,"material":200,"size":201,"collection":36,"collections":1944,"showCount":1934,"zanCount":41,"manualWeight":41,"mainColor":114},288552,"qing-lv-yan-jiang-die-zhang-tu-wang-shen-288552","青绿烟江叠嶂图","王诜[shēn]（公元约1048年—公元约1104年），字晋卿，太原（今山西太原）人，后迁汴京（今河南开封），北宋画家。\n北宋熙宁二年（1069年）娶英宗女蜀国大长公主，拜左卫将军、驸马都尉。元丰二年，因受苏轼牵连贬官均州。元祐元年（1086年）复登州刺史、驸马都尉。擅画山水，学王维、李成，喜作烟江云山、寒林幽谷，水墨清润明洁，青绿设色高古绝俗。亦能书，善属文。其词语言清丽，情致缠绵，音调谐美。存世作品有《渔村小雪图》《烟江叠嶂图》《溪山秋霁图》等。",[23,25,24,74,7,842,142,79,578,102,1941,1942],"烟霭","汀岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d18734f1541c79770ce4644147acf82.jpg",[],{"id":1946,"slug":1947,"title":1948,"dynasty":93,"author":175,"museum":194,"description":1949,"tags":1950,"thumbUrl":1951,"material":200,"size":201,"collection":36,"collections":1952,"showCount":1934,"zanCount":41,"manualWeight":41,"mainColor":114},288292,"ju-bei-yao-yue-tu-ma-yuan-288292","举杯邀月图","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。",[23,25,24,7,26,142,399,126,515,261,417,559,83,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F409082f07a0fc539c1e85e8ea35c4634.jpg",[],{"id":1954,"slug":1955,"title":1956,"dynasty":138,"author":1616,"museum":194,"description":1957,"tags":1958,"thumbUrl":1966,"material":36,"size":36,"collection":36,"collections":1967,"showCount":1934,"zanCount":41,"manualWeight":41,"mainColor":114},228850,"xi-gu-cai-wei-tu-dai-jin-228850","溪谷采薇图","此作用笔苍劲老辣，以高远与平远结合铺展画面。右侧危崖壁立，斧劈皴写出山石方硬峭拔的质感，左侧烟波浩渺，水墨晕染出朦胧烟岚，虚实相映勾勒出山水层次。\n近处枯槎老枝遒劲舒展，茅舍掩映林间，暗含林下幽居的隐逸意趣；中景溪泉蜿蜒汇入平湖，楼阁凌于谷间，添了几分雅致烟火气。远景山峦晕染朦胧，残月悬于淡墨长空，归雁成行掠破清寂，烘托出淡远萧疏的氛围。工写兼备间，将山林隐逸的幽澹之境尽显，兼具院体山水的雄浑笔力与文人画的散淡意趣。",[23,25,7,26,527,1959,1960,399,99,1961,1962,29,79,1963,433,1930,1964,1965,143],"工写兼备","危崖","溪泉","平湖","残月","萧疏淡远","院体山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41db834b0f7a314f221f8d8eb2bfc010.jpg",[],{"id":1969,"slug":1970,"title":1971,"dynasty":18,"author":959,"museum":20,"description":1972,"tags":1973,"thumbUrl":1974,"material":704,"size":1975,"collection":37,"collections":1976,"showCount":1934,"zanCount":41,"manualWeight":41,"mainColor":114},224389,"fang-huang-gong-wang-shan-shui-tu-wang-yuan-qi-224389","仿黄公望山水图","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。",[23,24,25,7,413,75,26,142,27,181,183,31,55,298,32,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32e310151c7d582dfc8711bd2fb5cf10.jpg","纵91厘米，横46厘米",[37],{"id":1978,"slug":1979,"title":1980,"dynasty":138,"author":653,"museum":786,"description":1981,"tags":1982,"thumbUrl":1983,"material":234,"size":36,"collection":37,"collections":1984,"showCount":1934,"zanCount":11,"manualWeight":41,"mainColor":42},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。",[23,24,25,73,26,7,75,164,126,830,125,261,310],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2de72b6897a34154bfb9dd405d03101.jpg",[37],{"id":1986,"slug":1987,"title":1988,"dynasty":47,"author":119,"museum":95,"description":1989,"tags":1990,"thumbUrl":1991,"material":61,"size":1992,"collection":37,"collections":1993,"showCount":1994,"zanCount":41,"manualWeight":41,"mainColor":42},290836,"you-lin-qing-yi-zhou-wang-meng-290836","幽林清逸轴","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王蒙的山水画受到赵孟頫的直接影响，后来进而师法王维、董源、巨然等人，综合出新风格。王蒙与黄公望、吴镇、倪瓒合称“元四家”。兼攻人物、墨竹，并擅行楷。存世作品有《青卞隐居图》《葛稚川移居图》《夏山高隐图》《丹山瀛海图》《太白山图》等。",[24,25,27,26,7,122,373,125,76,56,124,83,163,75,346],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cbc40c15389daa95dc02c8e039dba05.jpg","133.4x47.4",[37],36,{"id":1996,"slug":1997,"title":1998,"dynasty":18,"author":988,"museum":194,"description":1999,"tags":2000,"thumbUrl":2001,"material":36,"size":36,"collection":37,"collections":2002,"showCount":1994,"zanCount":11,"manualWeight":41,"mainColor":114},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。",[25,74,7,26,75,928,122,29,55,124,126,102,125,298,127],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7deab10c68df88dc06873ce369f679d.jpg",[37,153],{"id":2004,"slug":2005,"title":2006,"dynasty":138,"author":2007,"museum":194,"description":2008,"tags":2009,"thumbUrl":2025,"material":36,"size":36,"collection":36,"collections":2026,"showCount":1994,"zanCount":11,"manualWeight":41,"mainColor":114},228346,"wan-li-xun-qin-tu-juan-huang-xiang-jian-228346","万里寻亲图卷","黄向坚","《寻亲图》是清代画家吴伟业创作的纸本设色画，现藏于 。\n该图画远山高耸，巉崖陡壁。\n笔法细腻，层次丰富。\n远山用没骨法淡淡渲染，山石以小笔皴擦。\n画面空蒙秀雅，构境奇险，景物有纪实风。\n画中巉崖陡起，群山峭拔，白云缭绕，下瞰山城、城外危桥上一人荷伞穿行，走向前方的城镇，应是黄向坚自写。\n其后层层坡岫，远峰矗立，苍苍茫茫。\n山溪急満穿插倒悬为飞瀑，奔腾直泻，村落屋宇在丛林中或隐或现。\n画面上作者长题识：“浪穹县城在崖危屿之下。\n途次松杉行列，葱翠蔚然。\n予度溪桥，旋陟山顶，白云片片如擘絮，辄致侵入，飘绕襟袂，且喜不迷古道，无劳一拨耳。\n噫！畴谓荒缴无佳境哉。\n黄向坚并志。\n”钤“向坚”（朱文）“端木”（白文）印各一。\n此图画作者万里寻父之所见所闻，并自作《纪行一编》，所写山水，皆其所历，吴人为作乐府传其事。\n黄向坚其父孔昭，明末在云南作官，因云南姚州（今姚安县）兵乱阻隔不得归，黄向坚于清顺治八年（1651）开始徒步前往找寻，历时两年，徒步万里，终于在白盐开县把父亲迎回家乡，沿途绘中山水。\n名曰《寻亲图》，点出了主题。\n画中虽以较大的片幅描写这里的崇山峻岭和奇险的景色，但主要集中于黄氏寻亲，尤其是突出黄氏荷伞穿越危桥的情景，点出了此画的主题。\n虽在画面上所占的比例很小，但却主题突出，起到画龙点睛效果。\n此画构景奇险，明显带有西南山川的特点。\n此图为纪游山水，有着浓郁的生活气息和地域特征，如画中村落的安排，瓦眷围墙的结构，具有西南边睡的特色。\n这有力地表达了他万里寻父的忠孝情怀。\n将作者此时此景的情怀跃然纸上。\n山石的点皴和渲染一气可成，画中焦墨干笔勾勒皴擦，用渴笔干皴，线条较多转折顿挫，大体用解索皴一路。\n笔势峭利刚劲，石骨感极强。\n表现大面积的巉崖石壁，如万仞插地，极具气势。\n画树木，主要表现中、远景中的树木的形态，故不作精心匀绘，均用枯墨草草点出，显得幽深苍茫，与险峻的巉崖陡壁浑成一体，两者相辅相成，达到了和谐完美的艺术境地。\n由于他万里徒步旅行的途中，饱览了西南山川的景色，对这里的山山水水有着切身的体验。\n黄向坚（169—167），明末清初画家。\n字端木，吴（今江苏苏州）人，孔昭子。\n善画山水，师法王蒙，结构严密，干笔苍秀。\n传世作品有《巉崖陡壁图》轴、《秋山听瀑图》、《寻亲图》轴、《万里寻亲图》册（十二册）。",[23,25,74,728,7,2010,75,2011,2012,2013,2014,2015,991,2016,1363,2017,2018,299,2019,2020,105,2021,2022,2023,2024,740,890],"纪游山水","渴笔干皴","解索皴","没骨法","崇山峻岭","巉崖陡壁","山溪","屋宇","危桥","白云","松杉","城镇","船舶","万里寻亲","忠孝情怀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff46e7e77fdb44845a43436b89bdad273.jpg",[],{"id":2028,"slug":2029,"title":2030,"dynasty":47,"author":2031,"museum":95,"description":2032,"tags":2033,"thumbUrl":2035,"material":142,"size":2036,"collection":37,"collections":2037,"showCount":1994,"zanCount":113,"manualWeight":41,"mainColor":114},221860,"jiang-shan-fang-ting-tu-zhou-zhao-yong-221860","江山放艇图轴","赵雍","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。",[23,25,7,24,27,75,142,122,76,31,126,125,298,144,81,79,2034,102],"岸石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd740c6e19802a334b71ce2b65171c6ec.jpg","该幅 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全图工笔和写意兼用，墨色清淡洗炼，并充分发挥渲染功能，使湖上晨霭晓雾和旖旎春光跃然纸上。",[23,25,24,74,7,817,33,26,2112,2113,29,2114,2115,2116,2117,2118],"湖水","群山","断桥","孤山","晨雾","春光","名胜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae990ac4d591dcb0ff85a8eb39d73a88.jpg","32.9x1581.1厘米.",[],{"id":2123,"slug":2124,"title":2125,"dynasty":93,"author":523,"museum":194,"description":2126,"tags":2127,"thumbUrl":2128,"material":715,"size":2129,"collection":110,"collections":2130,"showCount":2087,"zanCount":41,"manualWeight":41,"mainColor":114},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。",[23,25,73,7,142,817,75,179,29,126,31,125,105,127,275,831,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc06f5b71e8e16df60afd252093360347.jpg","60x89.15cm",[110,37,169],{"id":2132,"slug":2133,"title":2134,"dynasty":1488,"author":523,"museum":95,"description":2135,"tags":2136,"thumbUrl":2138,"material":264,"size":2139,"collection":37,"collections":2140,"showCount":2087,"zanCount":41,"manualWeight":41,"mainColor":114},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。",[24,25,7,27,26,75,142,102,99,32,126,127,1930,2137],"恬淡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7339aa747e902c48320949a28e177acb.jpg","84.5x65.6",[37],{"id":2142,"slug":2143,"title":2144,"dynasty":93,"author":2145,"museum":95,"description":2146,"tags":2147,"thumbUrl":2150,"material":390,"size":2151,"collection":36,"collections":2152,"showCount":2153,"zanCount":41,"manualWeight":41,"mainColor":114},290866,"peng-lai-xian-hui-zhou-zhao-da-heng-290866","蓬莱仙会轴","赵大亨","与卫松曾同为赵伯驹、赵伯骕家仆，侍候赵氏兄弟作画，生卒年不详。",[25,24,816,7,142,29,144,79,261,2148,2149],"神话","仙境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0a7a3f49e465910b9499299b136f5e0.jpg","54.2x86.4",[],33,{"id":2155,"slug":2156,"title":2157,"dynasty":18,"author":2158,"museum":194,"description":2159,"tags":2160,"thumbUrl":2163,"material":200,"size":201,"collection":36,"collections":2164,"showCount":2153,"zanCount":41,"manualWeight":41,"mainColor":42},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。",[25,73,7,142,75,122,298,144,432,55,126,2161,82,83,2162],"桃花","暮春","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba828b43d4a0f1aabbf6021ad4427947.jpg",[],{"id":2166,"slug":2167,"title":2168,"dynasty":93,"author":876,"museum":95,"description":2169,"tags":2170,"thumbUrl":2171,"material":390,"size":2172,"collection":169,"collections":2173,"showCount":2153,"zanCount":41,"manualWeight":41,"mainColor":114},290300,"qiao-mu-tu-xu-dao-ning-290300","乔木图","南宋一代的豪纵简硬之笔，虽主要脱胎于李唐，但多少也遥承许道宁的衣钵-《国绘宝鉴》说他：“早年所画俗恶，至中年脱去旧学，稍自检束，行笔简易，风度益著，峰头直皴而下，林木劲硬，自成一家体，至细微处，始人妙理。”《圣朝名画评》渭其画格“所长者二，一林木，二平远，二野水，皆造其妙。”识者以为得李成之气，实际上许道宁在李成基础上自有创造，文同称赞他：“许生虽学李营丘，墨路纵横多自出”。许氏以峰头直皴而下的笔道，画出山势的峭厉瘦硬；以轻灵之笔，画出枯竭的泉水及背后庄严的山脉，令人感受到了强烈的萧条之气。此图以寒林孤秀，树态严凝，展现出林木劲硬的风格。\n许道宁以卖药为主，不直接卖画，有人顾买他的药，必画树石以赠之。这幅可能是其中之一。请看这幅有点怪意的图中右侧的山石，近者显，远者隐。石形棱角突出，石质坚硬；左侧平缓的山坡上，长着几棵秃枝无叶乔木，树枝龙爪型。有两棵并肩相长，树干粗壮挺立，上部摆出动态枝头，扭曲着的躯干，尤如双龙在空中舒展身子，窜向苍茫昊天；中间那棵乔木弯腰弓背，伸展枝头，倾向右侧的岩石，似与远处的那棵乔木交叉重叠。秃枝无叶乔木和光秃无草的山石，这都是隆冬时节的象征。严冬里只有乔木挺立在山岗上，与山石作伴，在接受严冬的考验。这是一幅富有诗意的树石图。此图中乔木落叶而挺拔，山石坚硬而清利，多么像作者峭拔的性格，也是作者的豪放、简硬之笔，在图中得到了充分的体现。",[25,7,26,75,399,228,27,645],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa02d67bdf8e318cfcd5d74b0eee68b84.jpg","188.6x115",[169],{"id":2175,"slug":2176,"title":2177,"dynasty":93,"author":1414,"museum":194,"description":1939,"tags":2178,"thumbUrl":2179,"material":200,"size":201,"collection":36,"collections":2180,"showCount":2153,"zanCount":11,"manualWeight":41,"mainColor":671},289929,"qiu-lin-he-yi-tu-wang-shen-289929","秋林鹤逸图",[1344,25,7,142,144,123,1929,105,433,29,2112,1930],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F623db88646b4856450cfc34a8a105256.jpg",[],{"id":2182,"slug":2183,"title":2184,"dynasty":93,"author":2185,"museum":194,"description":2186,"tags":2187,"thumbUrl":2189,"material":200,"size":201,"collection":36,"collections":2190,"showCount":2153,"zanCount":41,"manualWeight":41,"mainColor":114},288970,"song-feng-lou-guan-tu-ma-lin-288970","松风楼观图","马麟","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。”",[24,25,7,816,142,817,29,144,2188,122],"雨天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbb4382d26e8d220766465beb138783c.jpg",[],{"id":2192,"slug":2193,"title":2194,"dynasty":93,"author":175,"museum":194,"description":2195,"tags":2196,"thumbUrl":2198,"material":200,"size":201,"collection":36,"collections":2199,"showCount":2153,"zanCount":41,"manualWeight":41,"mainColor":114},288430,"xiao-xue-shan-xing-tu-ma-yuan-288430","晓雪山行图","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。",[25,26,7,98,299,399,261,2197,475,75],"驴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed436c0d3f62c1b92ca57ca18b61d988.jpg",[],{"id":2201,"slug":2202,"title":2203,"dynasty":138,"author":1731,"museum":95,"description":2204,"tags":2205,"thumbUrl":2206,"material":234,"size":2207,"collection":37,"collections":2208,"showCount":2153,"zanCount":41,"manualWeight":41,"mainColor":114},219255,"rui-xue-ning-dong-tu-wang-e-219255","瑞雪凝冬图","高山巨石以及山下的庭院和山上的寺庙都由硬笔画出，冷峭逼人。山下远水高阔，船帆点点，落墨不多衬托了整幅绘画的冷寒的意境。",[23,25,7,142,817,816,181,274,31,29,80,261],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dea2d2d24f34262242f7d5fcc48b26e.jpg","139.6厘米* 91.5厘米",[37],{"id":2210,"slug":2211,"title":2212,"dynasty":93,"author":862,"museum":194,"description":1333,"tags":2213,"thumbUrl":2215,"material":200,"size":201,"collection":36,"collections":2216,"showCount":2217,"zanCount":11,"manualWeight":41,"mainColor":114},289457,"gui-yu-tu-li-cheng-289457","归渔图",[1344,25,7,142,75,399,830,125,76,98,2214,503],"归渔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F452eb3b75c778a86f0bc37c9d3e801fd.jpg",[],32,{"id":2219,"slug":2220,"title":2221,"dynasty":93,"author":175,"museum":194,"description":1949,"tags":2222,"thumbUrl":2224,"material":200,"size":201,"collection":36,"collections":2225,"showCount":2217,"zanCount":11,"manualWeight":41,"mainColor":114},289379,"diao-tai-wang-yun-tu-ma-yuan-289379","雕台望云图",[25,7,816,26,75,29,2223,105,127,31,83],"高台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98c98950ab3cd210300a80beee13ca05.jpg",[],{"id":2227,"slug":2228,"title":2229,"dynasty":18,"author":2230,"museum":194,"description":2231,"tags":2232,"thumbUrl":2233,"material":200,"size":201,"collection":36,"collections":2234,"showCount":2217,"zanCount":41,"manualWeight":41,"mainColor":42},287351,"hui-yi-qin-huai-he-shan-shui-tu-zhou-shi-tao-287351","回忆秦淮河山水图轴","石涛","石涛（1642年－1708年）明末清初著名画家，原姓朱，名若极，广西桂林人，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等，明靖江王朱亨嘉之子，与弘仁、髡残、朱耷合称“明末四僧”。\n石涛是中国绘画史上一位十分重要的人物，他既是绘画实践的探索者、革新者，又是艺术理论家。\n他幼年遭变后出家为僧，驻锡于安徽宣城敬亭山广教寺，后半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《石涛罗汉百开册页》《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。著有《苦瓜和尚画语录》。名言有“一画论”、“搜尽奇峰打草稿”、“笔墨当随时代”等。",[23,25,7,26,142,75,56,105,286,310,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2bd565a5fe40e54bbc59f4ec18b424c.jpg",[],{"id":2236,"slug":2237,"title":2238,"dynasty":18,"author":2230,"museum":194,"description":2231,"tags":2239,"thumbUrl":2241,"material":200,"size":201,"collection":36,"collections":2242,"showCount":2217,"zanCount":41,"manualWeight":41,"mainColor":42},287350,"min-jiang-chun-se-tu-shi-tao-287350","岷江春色图",[23,25,73,7,26,142,75,79,31,215,76,163,82,83,2240],"春色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff493d294fe1e9a424e15c0a58ebbf15b.jpg",[],{"id":2244,"slug":2245,"title":2246,"dynasty":138,"author":2247,"museum":194,"description":2248,"tags":2249,"thumbUrl":2250,"material":36,"size":2251,"collection":36,"collections":2252,"showCount":2217,"zanCount":11,"manualWeight":41,"mainColor":114},231948,"tao-yuan-tu-shi-rui-231948","桃源图","石锐","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。",[23,25,7,142,75,126,31,275,125,2161,127],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5f18009ef0602e849b71eadcf06a50f.jpg","24.7x22.15 厘米",[],{"id":2254,"slug":2255,"title":319,"dynasty":138,"author":1616,"museum":194,"description":2256,"tags":2257,"thumbUrl":2258,"material":200,"size":201,"collection":36,"collections":2259,"showCount":2217,"zanCount":41,"manualWeight":41,"mainColor":42},228849,"chang-jiang-wan-li-tu-juan-dai-jin-228849","戴进（1388—1462），字文进，号静庵、玉泉山人。钱塘（今浙江杭州）人，明代画家。早年为金银首饰工匠，后改工书画。宣德间（1426—1435）以画供奉内廷，官直仁殿待诏。后因遭谗言被放归，浪迹江湖。\n他擅画山水、人物、花鸟、虫草。山水师法马远、夏圭，中年犹守陈法，晚年纵逸出蹊径，卓然一家。所作雄俊高爽，苍郁浑厚，用笔劲挺方硬，画人物笔法娴熟，顿挫间风度益著；所作花鸟、虫草亦饶有生意。为“浙派绘画”开山鼻祖。作品有《春山积翠图》《风雨归舟图》 《三顾茅庐图》《达摩至惠能六代像》等。",[23,24,25,73,74,163,26,142,75,7,122,323,79,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb170268d39be31976855cdc36e4345d4.jpg",[],{"id":2261,"slug":2262,"title":2263,"dynasty":47,"author":736,"museum":20,"description":2264,"tags":2265,"thumbUrl":2267,"material":728,"size":2268,"collection":110,"collections":2269,"showCount":2217,"zanCount":41,"manualWeight":41,"mainColor":114},221694,"chun-yun-xiao-ai-tu-zhou-gao-ke-gong-221694","春云晓霭图轴","用花青与墨渲染，用色较重，而矾头多露白，对比强烈，使人有雨后晴山的感觉。曾著录于《大观录》、《江村销夏录》。此图正是运用了米点皴法，但在学米的同时又参用董源的画法，故山水画的浑厚、重大，而烟云环抱山峦，一线瀑布飞下，又使群山飘渺起来，气象万千。石涛《画语录》“境界章”中提到山水画的“分疆”，认为画面可作“三叠两段”的处理，三叠是指“一层地，二层树，三层山”，所谓“两段”是指“景在下，山在上，云在中”，将画隔做两段。古代作品中不发此类画例，如明人王孟端的《溪山深秀图》、文嘉的《天地山月图》等。该件高克恭的“春云晓霭图”也大致属此。当然，“三叠两段”是一种山水画中曾出现过的章法，而不是法则，我们不可刻舟求剑。",[23,25,7,27,75,142,181,371,164,215,55,125,433,2266],"塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1eafa9868d9774cd0d4a19bc06632019.jpg","纵138.1厘米，横58.5厘米",[110,37,153],{"id":2271,"slug":2272,"title":2273,"dynasty":93,"author":1392,"museum":194,"description":1393,"tags":2274,"thumbUrl":2276,"material":200,"size":201,"collection":36,"collections":2277,"showCount":2278,"zanCount":41,"manualWeight":41,"mainColor":114},288946,"xiao-xiang-ba-jing-shan-shi-qing-lan-wang-hong-288946","潇湘八景-山市晴岚",[25,74,7,26,76,125,79,1194,31,2275,75],"雾霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f4a8b94010aa0146c8a6e135d48a7ec.jpg",[],31,{"id":2280,"slug":2281,"title":2282,"dynasty":18,"author":1537,"museum":194,"description":1538,"tags":2283,"thumbUrl":2284,"material":200,"size":201,"collection":36,"collections":2285,"showCount":2278,"zanCount":41,"manualWeight":41,"mainColor":42},288451,"shui-tun-tu-zhu-da-288451","水屯图",[23,25,26,7,105,286,373,1109,76,83,75,163,559],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b9cc6b0b8316ab2fb517885000a51ce.jpg",[],{"id":2287,"slug":2288,"title":2289,"dynasty":47,"author":913,"museum":95,"description":2290,"tags":2291,"thumbUrl":2293,"material":85,"size":2294,"collection":36,"collections":2295,"showCount":2278,"zanCount":11,"manualWeight":41,"mainColor":42},231413,"qun-feng-xue-ji-tu-cao-zhi-bai-231413","群峰雪霁图","《元曹知白群峰雪霁图》是元代大画家曹知白晚年创作的一幅纸本水墨中国画作品，该作尺寸纵129.7公分，横56.4公分，现藏 。\n在技法上已经达到了融会贯通的境界。\n画面的左下方，几株松树巍然矗立，在这银装素裹的冰雪世界里更显现出一派凛然不屈的丈夫气概；从构图上看，又与右侧庭榭周围的另外几株树遥相呼应。\n在这幅作品中，画家通过对树木长短远近、虚实疏密的变化处理，使画面产生出强烈的纵深效果，进而使景象开阔，意境深幽。\n此作虽然是描绘雪景，却没有给人萧瑟荒凉的感受，相反，在这冰天雪地的景色之中，似乎还隐约能够感受到一丝融融的春意。\n一道在山崖间飞泻直下的流泉，虽然只是一处看似寻常的点缀之笔，却为画面增添了动感，使作品有声有色，更富有观赏情趣。\n此作的构图布局采用的是“高远法”，整体山势不以险峻取胜。\n平稳和缓的峰峦，带有明显的江南景象的特征，重重叠叠，层层递进，大有江山无尽之感。\n【名称】元曹知白群峰雪霁图 【类别】中国 【 【 【 【简介】 图轴，纸本，水墨画，纵：129.7公分，横：56.4公分。\n该画以白颜色为主要色调，技法表现看似简单，实则匠心独运，法度森严，虚实得当，计白当黑，尤其是在水榭、树木这些细微之处更见功夫。\n用笔简约疏朗，刚柔相济；用墨润燥相间，清淡温和；巧妙地把北方山水所特有的苍浑巍峨的“河朔气象”融入恬淡雅逸的江南景色的韵味，形成了柔美、宁静、凝重的风格。\n观者在一望之间，即能体会到北方山川的厚重沉稳，也能品味出南方山水的内在之美。\n另外，有学者认为「雪图」，可能是 早年精仿宋人之作。\n曹知白（1272-155年），字又玄，一字贞素，号云西，华亭（今属上海松江）人。\n工诗文，善画山水，画法师李成、郭熙，笔墨清润，全无俗气。\n晚年笔法苍简，自成一格。\n对后世绘画有一定的影响。",[25,162,7,27,75,83,2292,98,198,31,298,79,286,399,144],"群峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a999b20c2e336d2ab5e434cb134b279.jpg","纵129.7厘米，横56.4厘米",[],{"id":2297,"slug":2298,"title":2299,"dynasty":47,"author":2300,"museum":95,"description":2301,"tags":2302,"thumbUrl":2304,"material":2305,"size":2306,"collection":36,"collections":2307,"showCount":2278,"zanCount":113,"manualWeight":41,"mainColor":42},231339,"shan-shui-tu-yuan-dai-ji-jin-zhi-qi-lin-juan-a-231339","山水图－元代集锦之七","林卷阿","这件作品是元代集锦卷之一，也是林卷阿传世的唯一的传世国画作品。作品描绘的有坡树，悬崖，阔永远山，有两个人在悬崖上对坐畅谈。江中有一孤舟正泛波而行，远山连绵起伏，境界清旷。作者将董巨、郭熙画风融为一体，用笔圆润秀逸。在作品的尾部有作者自己题的款识“癸丑闰十一月，余访远斋副使于竹崎，谈诗论画。因道余师方壶公及孟循张先生，乃知用行尝与二师游，好古博雅，尤精书法。”",[25,26,7,74,73,75,122,56,106,31,81,105,2303,127,83],"近岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc95f024886affd29ce1db2823207e22.jpg","卷,纸本,墨笔","纵25厘米，横61.5厘米",[],{"id":2309,"slug":2310,"title":2311,"dynasty":138,"author":2312,"museum":95,"description":2313,"tags":2314,"thumbUrl":2316,"material":234,"size":2317,"collection":153,"collections":2318,"showCount":2278,"zanCount":41,"manualWeight":41,"mainColor":114},219356,"xun-mei-tu-zhou-zhu-duan-219356","寻梅图轴","朱端","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。",[25,73,27,7,142,75,122,358,261,373,126,31,55,2315],"枯枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8adaba5994f15c5c5b21bc71be0d1b10.jpg","208.3x124.5",[153],{"id":2320,"slug":2321,"title":2322,"dynasty":93,"author":523,"museum":49,"description":2323,"tags":2324,"thumbUrl":2325,"material":390,"size":36,"collection":37,"collections":2326,"showCount":2278,"zanCount":11,"manualWeight":41,"mainColor":114},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。",[25,7,26,75,122,31,126,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe51ba424b20e90531e1d091751b278de.jpg",[37],{"id":2328,"slug":2329,"title":2330,"dynasty":18,"author":1323,"museum":194,"description":2331,"tags":2332,"thumbUrl":2334,"material":200,"size":201,"collection":36,"collections":2335,"showCount":2336,"zanCount":11,"manualWeight":41,"mainColor":42},287874,"xi-hu-shi-jing-tu-juan-dong-bang-da-287874","西湖十景图卷","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。",[23,24,25,73,74,7,142,122,1577,79,127,31,55,1003,29,2333,1363,433,76,163,83],"古塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce2ff4504c2d496d7a2e818e1566ebad.jpg",[],30,{"id":2338,"slug":2339,"title":537,"dynasty":138,"author":687,"museum":95,"description":2340,"tags":2341,"thumbUrl":2344,"material":85,"size":2345,"collection":37,"collections":2346,"showCount":2336,"zanCount":41,"manualWeight":41,"mainColor":671},283644,"guan-pu-tu-tang-yin-283644","唐寅（1470年3月6日－1524年1月7日），字伯虎，小字子畏，号六如居士，南直隶苏州府吴县（今江苏省苏州市）人，祖籍凉州晋昌郡，明朝著名画家、书法家、诗人。\n成化二十一年（1485年），考中苏州府试第一名，进入府学读书。弘治十一年，考中应天府乡试第一（解元），入京参加会试。弘治十二年，卷入徐经科场舞弊案，坐罪入狱，贬为浙藩小吏。从此，丧失科场进取心，游荡江湖，埋没于诗画之间，终成一代名画家 。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”。",[25,26,27,7,2342,126,386,125,127,2343,436,1315,75,163,83],"观瀑","崖岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc73a99f08040b3c5a6341b58459d3069.jpg","103.6x30.3",[37],{"id":2348,"slug":2349,"title":2350,"dynasty":138,"author":653,"museum":194,"description":2351,"tags":2352,"thumbUrl":2355,"material":36,"size":36,"collection":36,"collections":2356,"showCount":2336,"zanCount":41,"manualWeight":41,"mainColor":42},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。",[25,27,7,142,26,339,817,33,76,764,52,31,1109,126,2112,105,436,2353,2137,2354],"读书","古雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb82fec355e24c88b9d8dd6dac98f00b.jpg",[],{"id":2358,"slug":2359,"title":2360,"dynasty":93,"author":2361,"museum":194,"description":2362,"tags":2363,"thumbUrl":2365,"material":142,"size":2366,"collection":110,"collections":2367,"showCount":2336,"zanCount":41,"manualWeight":41,"mainColor":42},221660,"dan-lin-shi-yi-tu-xiao-zhao-221660","丹林诗意图","萧照","萧照（公元1131-公元1162），濩泽（今山西阳城）人。南宋画家，补入南宋画院为待诏，又补迪功郎，赐金带，作品有《山腰楼观图》、《秋山红树图》、《岳祠汉柏图》、《光武渡河图》、《竹林七贤图》等，杭州显庄观、西太已宫等处有他的壁画。夏文彦《图绘宝鉴》：“画山水人物，异松怪石，苍凉古野，惜用墨太多”，有记载说：“萧照尤喜为奇峰怪石，望之有波涛汹涌，云屯风卷之势”。",[23,24,25,73,751,7,142,75,122,31,148,261,32,185,105,2364],"林间","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F748026f20ec78e9dc7af37233ab41e7e.jpg","28x52",[110,37,153],{"id":2369,"slug":2370,"title":2371,"dynasty":138,"author":139,"museum":95,"description":1371,"tags":2372,"thumbUrl":2373,"material":85,"size":2374,"collection":36,"collections":2375,"showCount":2376,"zanCount":11,"manualWeight":41,"mainColor":42},290887,"qiu-lin-shu-wu-tu-zhou-dong-qi-chang-290887","秋林书屋图轴",[25,26,7,880,656,399,144,126,55,125,79,163,83,75,1930],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9db59da3812da6dde86cc332da23c731.jpg","54.4x58.1",[],29,{"id":2378,"slug":2379,"title":2380,"dynasty":93,"author":978,"museum":194,"description":979,"tags":2381,"thumbUrl":2384,"material":200,"size":201,"collection":36,"collections":2385,"showCount":2376,"zanCount":41,"manualWeight":41,"mainColor":114},289874,"liu-xi-fang-you-tu-xia-gui-289874","柳溪访友图",[23,25,7,27,26,75,310,2382,55,125,105,261,2383,2275],"柳","访友","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F777befa1eac54675a38881e0f1287846.jpg",[],{"id":2387,"slug":2388,"title":2389,"dynasty":93,"author":2390,"museum":194,"description":2391,"tags":2392,"thumbUrl":2394,"material":200,"size":201,"collection":36,"collections":2395,"showCount":2376,"zanCount":41,"manualWeight":41,"mainColor":114},288837,"song-shan-xing-lv-tu-li-shan-288837","松杉行旅图","李山","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。",[23,25,24,26,7,75,179,2393,55,125,76,126,475],"杉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdfd14a467465a32a96ff4d32c96eb96.jpg",[],{"id":2397,"slug":2398,"title":2399,"dynasty":93,"author":938,"museum":95,"description":2400,"tags":2401,"thumbUrl":2402,"material":85,"size":2403,"collection":36,"collections":2404,"showCount":2376,"zanCount":41,"manualWeight":41,"mainColor":42},288510,"xi-shan-qiu-se-tu-zhao-ji-288510","溪山秋色图","图中描绘的烟岚雾气迷漫，群峰隐现其间，溪水曲环，江面空阔，渔民捕捞，舟船停泊，秋叶杂树点缀在山头坡岸，完全是一派江湖渔乐的景象。画法上用笔潇洒，点染苍润，是当时画院中的另一种风格。全图中天空留白很大，用鸟瞰法取景，表现出无限辽阔深远的意境。",[24,25,7,26,122,127,31,32,76,880,83,163,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78fc1823a0c76aefdc06a6fe20acc6e1.jpg","纵97cm,横53cm",[],{"id":2406,"slug":2407,"title":2408,"dynasty":138,"author":139,"museum":95,"description":2409,"tags":2410,"thumbUrl":2412,"material":390,"size":2413,"collection":37,"collections":2414,"showCount":2376,"zanCount":41,"manualWeight":41,"mainColor":114},220371,"fang-mi-xiao-xiang-bai-yun-tu-dong-qi-chang-220371","仿米潇湘白云图","本图仿米芾笔意，以墨韵幽雅，意境深邃取胜。用略为夸张的笔法去捕捉流动的大气，描绘多变莫测的云烟雨，使得绮丽多姿的山水更富有直观表现的色彩。",[23,25,26,7,27,75,701,181,183,31,127,105,146,2411,433],"平坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F662a33e92c15e39c6775698df13687f8.jpg","123.2x51.9",[37],{"id":2416,"slug":2417,"title":2418,"dynasty":18,"author":2419,"museum":95,"description":2420,"tags":2421,"thumbUrl":2424,"material":85,"size":2425,"collection":37,"collections":2426,"showCount":2376,"zanCount":11,"manualWeight":41,"mainColor":42},219448,"kan-yun-dui-pu-tu-chen-shu-219448","看云对瀑图","陈书","瀑流自崖巅飞泻而下，如素练垂空，溅起的水雾与卷舒的云气交融漫过山腰，晕染出朦胧虚灵之境。近岸松枝苍劲，竹影婆娑，几竿修竹亭亭玉立，与古松相映成趣。林间隐见小亭一角，有人凭栏静坐，似在聆听瀑声、静观云态，物我两忘。笔墨以水墨为主，线条清劲中含柔婉，山石皴擦见质感，云雾用淡墨晕染，层次分明。整幅画将山水之幽、林泉之趣凝于尺幅，尽显文人雅士寄情自然的悠然心境，静穆中藏生机，恬淡里透禅意。",[25,7,26,75,27,2422,371,198,179,310,124,122,185,32,387,2423],"传统书画","自然景物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99274f7e4932bc229e46873d4ab1708e.jpg","79.7x51.8",[37],{"id":2428,"slug"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知，此《水竹居图》作于元至正三年（1343年），倪瓒43岁时作品。此图系倪瓒依友人所述而浮想创作而成。\n倪瓒生长在太湖之滨的一个地主家庭里。有一所庞大的庄园，其中的清閟阁藏书画达数千卷，为倪瓒提供了成长为一个封建文人画家的物质条件。倪瓒的画，大多描绘幽居山林或漫游太湖的景色，但更多的是画了主观的感受，有着强烈的感情色彩。静谧、荒寒、孤独、空虚，可以说是倪瓒作为画家的状态写照，使内心无告的忧烦，在这样的意境中寻求排遣与解脱。《水竹居图》即是体现了这一点。\n另外，此《水竹居图》有拆割、拼配题跋、加钤伪印等迹象，故也被部分学者认为是伪作。特别是《水竹居图》上的文、董二题，分别题于诗塘和裱边，非常容易被割移、拼配，且很多书画鉴定家认为，此作品本幅上的作者印鉴本身就是被加钤的伪印鉴，但这些都并不能必然地说明《水竹居图》本身为伪作。现多数鉴家仍评定，此为《水竹居图》为真迹勿疑。\n《水竹居图》是倪瓒内心寻求排遣与解脱的写照，画中自题的诗句更是道出了画家的隐居思想，是倪瓒的“自娱”与“适兴”之作。该图是画家根据友人叙述，景州城东有水竹胜景，依靠想象图绘坡石、树木、茅屋等景象。在题诗中画家想象了在此隐居，与琴诗为伴的理想生活。诗都反映出元代中晚期的隐逸思想。元代中后期的隐逸是一种任情适性，是将个人的精神价值与日常生活行为相融合的生活方式。文人不再热衷于在政治上有所作为，而是在自然中寻求自我身境与心境的安适。\n此《水竹居图》中“一水两岸”，即由近坡、中水、远丘组成的“三段式”构图，画面中的竹树茅屋，隔溪远岫平林但由于前后景排得较近，所以显得紧凑坚实，所写物象、图上晋韵小楷长题及荒寒幽冷之意境则与之一脉相承，整个画面弥散着幽静、清凉的气氛。\n《水竹居图》用笔浑厚圆润，与后来的轻笔渴墨显然不同，但内在笔性还是一致的。图中树叶用松针点、介字点、仰叶点等数种，用笔浓淡相间，树干多渲染皴擦，极近形似。远处的树，树干只用淡墨画出外轮廓，没有皴染，树叶用排点点出，显得郁郁葱葱，似不经意而韵味内存。唐志契在所著《绘事微言》中提到树木画法时说：“写枯树最难苍古，然画中最不可少名家枯树各各不同，如荆关则于秋冬二景最多，其枯枝古而浑，乱而整，简而有趣，到郭河阳则用鹰爪，加以细密，如范宽则其上如扫帚样，亦有古趣，李成则繁而琐碎，笔笔清劲，董源则一味古雅，简当而已。倪元镇则数君可以兼之，要皆难及者也。”《水竹居图》里的树木，有董源的简当古雅之质，特别是后面的排树，在后面的山体的衬托下，很容易让人看到董源《潇湘图》的影子。\n明代宗泐：“山人水行居，画图看更好，十年不归来，茅屋秋风老。”（《题〈水竹居图〉》）\n明代张丑：“余初蓄户南仙山楼阁卷，人多致焉，赖久之未几自定……乃今赏鉴元镇僦居城东矮幅，虽家喻尸晓，弗信也，鲜有不非笑之者，然不笑不足以为道。鸣呼.安能起三公于九原与之面相印可耶？”（《清河书画舫》）\n近代书画鉴赏家马宝山：《水竹居图》是倪早年作品，与其晚年作品本有所不同。（《书画碑帖见闻录》）",[23,25,7,143,2626,891,2627,2628,1820,55,102,79,2629,2630,503,1142,2631,2632,163,83,75],"青绿设色","修竹","坡石","水渚","仙居","幽冷","楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40b691851048c31237d37c2b1b88f286.jpg","纵48厘米，横28厘米",[],{"id":2637,"slug":2638,"title":2639,"dynasty":1488,"author":2640,"museum":194,"description":2641,"tags":2642,"thumbUrl":2645,"material":200,"size":201,"collection":36,"collections":2646,"showCount":2608,"zanCount":41,"manualWeight":41,"mainColor":42},231747,"an-tu-tao-shan-shi-dai-song-lin-tu-ping-feng-di-yi-ping-zhang-gu-chuan-231747","安土桃山时代 松林图屏风-第一屏","长谷川","长谷川东白（长谷川等伯，1539年－1610年3月19日）是日本 画家，长谷川画派的创始人。\n他被认为是安土桃山时代（1573-1603 年）的伟大画家之一，最著名的是他的屏风",[23,2643,53,144,31,26,142,75,2644,7],"屏风","日本画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96e031bd61161a28d9a520f501cd87ba.jpg",[],{"id":2648,"slug":2649,"title":2650,"dynasty":18,"author":19,"museum":194,"description":2651,"tags":2652,"thumbUrl":2653,"material":36,"size":36,"collection":36,"collections":2654,"showCount":2608,"zanCount":41,"manualWeight":41,"mainColor":114},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。",[23,25,73,27,7,75,26,142,122,144,198,127,126,298,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ac2ddc38beea10fbc512f633554005c.jpg",[],{"id":2656,"slug":2657,"title":2658,"dynasty":18,"author":335,"museum":20,"description":2659,"tags":2660,"thumbUrl":2662,"material":35,"size":2663,"collection":36,"collections":2664,"showCount":2608,"zanCount":41,"manualWeight":41,"mainColor":42},220319,"huang-shan-tu-ce-10-hong-ren-220319","黄山图册-10","《黄山图册》共六十开，装裱成六册，又有题跋一册。可以说是弘仁在黄山纪游写生的最集中展现，在他的每一幅作品上都题写了纪游写生的地名，著名的有天都峰、莲花庵、小心坡、观音岩、一线天、光明顶、白龙潭、慈光寺、文殊院、桃花沟等等。",[23,24,25,73,7,26,75,489,181,2661,126,31,298,32],"峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03bb8ba29fd6124cedfd526b6e0c2c30.jpg","21.5x18.3厘米",[],{"id":2666,"slug":2667,"title":2668,"dynasty":93,"author":978,"museum":194,"description":2669,"tags":2670,"thumbUrl":2671,"material":200,"size":201,"collection":36,"collections":2672,"showCount":2673,"zanCount":41,"manualWeight":41,"mainColor":114},288322,"xi-hu-liu-ting-tu-xia-gui-288322","西湖柳艇图","画西湖中的柳树、长堤、水榭、湖舍、画舫和游客，风轻云淡，水墨氤氲，画面丰满，笔墨精谨，远处人物也不用其它山水画中点景人物那样简率的笔法，即所谓的“人物面目，点凿为之，衣褶柳梢，间有断缺”，而是刻画通真，极为精妙，笔调也是沉着含蓄，明媚秀润。",[23,25,7,26,142,75,432,55,125,76,2442,83,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2b30dee232d89172c19ffdd806aaa95.jpg",[],24,{"id":2675,"slug":2676,"title":2677,"dynasty":47,"author":2678,"museum":194,"description":2679,"tags":2680,"thumbUrl":2683,"material":200,"size":201,"collection":36,"collections":2684,"showCount":2673,"zanCount":41,"manualWeight":41,"mainColor":114},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。",[25,26,7,98,399,126,1299,2681,32,645,2682,75],"行旅车","清冷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7df3005f4a3bf0d11afbba4c6813039.jpg",[],{"id":2686,"slug":2687,"title":2688,"dynasty":18,"author":1352,"museum":194,"description":2689,"tags":2690,"thumbUrl":2692,"material":36,"size":36,"collection":36,"collections":2693,"showCount":2673,"zanCount":41,"manualWeight":41,"mainColor":114},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。",[23,25,74,7,75,142,122,79,105,31,298,433,1236,32,126,2691],"田野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9deecc02f68f4e5c292be2c407e77717.jpg",[],{"id":2695,"slug":2696,"title":2697,"dynasty":47,"author":2698,"museum":95,"description":2699,"tags":2700,"thumbUrl":2704,"material":489,"size":2705,"collection":36,"collections":2706,"showCount":2673,"zanCount":41,"manualWeight":41,"mainColor":42},221803,"jiang-xiang-qiu-wan-juan-li-shi-xing-221803","江乡秋晚卷","李士行","此卷画江村平远景色，近处树石掩映，矮屋傍崖。远处行人骑马渡桥，汀渚处处，渔舟往还。石用长皴，山头石间苔点繁密。画幅透视呈现前后高低不同的两个水面，至为奇特。",[23,25,24,74,7,26,122,2701,2702,55,247,297,104,2703,125,75,163,83,880],"树石","矮屋","汀渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F941d89f7717939388ed4acf286c77356.jpg","该幅31x117.4公分",[],{"id":2708,"slug":2709,"title":2710,"dynasty":93,"author":523,"museum":95,"description":2711,"tags":2712,"thumbUrl":2715,"material":234,"size":2716,"collection":36,"collections":2717,"showCount":2718,"zanCount":41,"manualWeight":41,"mainColor":204},290770,"qing-jiang-yu-yin-zhou-yi-ming-290770","清江渔隐轴","该幅画渔舟四叶浮于江。岸边，复有渔夫张罟捕鱼。林麓间，可见楼宇相参，旅人策蹇。中景主峰耸立，饶具压顶的气势。",[25,27,7,75,122,125,76,2713,31,79,2714],"渔隐","鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81c5e292a2daa5b253a162f3fd0e9034.jpg","151.5x111.1",[],23,{"id":2720,"slug":2721,"title":2722,"dynasty":93,"author":175,"museum":194,"description":1949,"tags":2723,"thumbUrl":2725,"material":200,"size":201,"collection":36,"collections":2726,"showCount":2718,"zanCount":41,"manualWeight":41,"mainColor":42},289127,"gao-shi-guan-pu-tu-ma-yuan-289127","高士观瀑图",[25,24,7,2724,817,75,142,144,198,126,1589,1315],"人物画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22af0766a92228005907352af710c863.jpg",[],{"id":2728,"slug":2729,"title":2730,"dynasty":93,"author":1392,"museum":194,"description":1393,"tags":2731,"thumbUrl":2733,"material":200,"size":201,"collection":36,"collections":2734,"showCount":2718,"zanCount":41,"manualWeight":41,"mainColor":114},288734,"xiao-xiang-ba-jing-tu-juan-liu-wang-hong-288734","潇湘八景图卷六",[24,25,74,26,7,122,76,373,1170,125,55,261,2732,126],"渔船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbd2db077996acb7d84eeb715093b04f.jpg",[],{"id":2736,"slug":2737,"title":2738,"dynasty":93,"author":2739,"museum":95,"description":2740,"tags":2741,"thumbUrl":2744,"material":264,"size":2745,"collection":36,"collections":2746,"showCount":2718,"zanCount":41,"manualWeight":41,"mainColor":114},288488,"san-gu-tu-li-di-288488","三顾图","李迪","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”。",[23,25,73,7,2724,142,373,372,2742,126,2743,163,83,75,261],"草屋","三顾茅庐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57784c84fc84774a15e3779c68ad0b6e.jpg","82.5x175.7厘米",[],{"id":2748,"slug":2749,"title":2750,"dynasty":18,"author":1352,"museum":194,"description":2751,"tags":2752,"thumbUrl":2754,"material":36,"size":36,"collection":36,"collections":2755,"showCount":2718,"zanCount":11,"manualWeight":41,"mainColor":114},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。",[23,25,73,7,27,75,26,142,122,144,126,198,298,387,31,2753,32,540],"亭子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8123656d7dfc46d899cd09ac6309fce.jpg",[],{"id":2757,"slug":2758,"title":2759,"dynasty":93,"author":2760,"museum":2761,"description":2762,"tags":2763,"thumbUrl":2765,"material":778,"size":2766,"collection":36,"collections":2767,"showCount":2718,"zanCount":41,"manualWeight":41,"mainColor":114},221616,"xue-jing-shan-shui-ye-liang-kai-221616","雪景山水页","梁楷","日本京都国立博物馆","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。",[25,7,98,399,76,1137,26,75,261,2197,2764],"荒凉萧瑟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85860d84d0ad711c939e5c6fb99e44de.jpg","纵111.3厘米、横49.7厘米",[],{"id":2769,"slug":2770,"title":2771,"dynasty":47,"author":48,"museum":194,"description":2772,"tags":2773,"thumbUrl":2774,"material":200,"size":201,"collection":36,"collections":2775,"showCount":2776,"zanCount":41,"manualWeight":41,"mainColor":42},290826,"xi-shan-cao-ge-zhou-huang-gong-wang-290826","溪山草阁轴","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。",[25,27,26,7,75,126,31,1395,125,163,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54b69f05927997c87308aaa1a3a0b15f.jpg",[],22,{"id":2778,"slug":2779,"title":2780,"dynasty":93,"author":94,"museum":194,"description":1166,"tags":2781,"thumbUrl":2782,"material":200,"size":201,"collection":36,"collections":2783,"showCount":2776,"zanCount":41,"manualWeight":41,"mainColor":114},290304,"yun-yan-lan-sheng-zhou-guo-xi-290304","云烟揽胜轴",[25,27,7,26,75,122,127,399,126,125,76,1246,2526],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a8371c836a4c84acf0ffa9310d91859.jpg",[],{"id":2785,"slug":2786,"title":1615,"dynasty":93,"author":523,"museum":194,"description":2787,"tags":2788,"thumbUrl":2790,"material":200,"size":201,"collection":36,"collections":2791,"showCount":2776,"zanCount":41,"manualWeight":41,"mainColor":114},290229,"feng-yu-gui-zhou-tu-yi-ming-290229","该画描绘近处巨岗高树，中部为广漠的江河，并置沙渚、坡岸、板桥、行舟、人物等，远处山峦耸峙，景色具有江南水乡山崇水阔的特点。",[25,7,76,77,2789,79,125,31,26,75],"风雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63f808637e953e29f61f9cc677ffd081.jpg",[],{"id":2793,"slug":2794,"title":2795,"dynasty":93,"author":523,"museum":194,"description":2796,"tags":2797,"thumbUrl":2799,"material":200,"size":201,"collection":36,"collections":2800,"showCount":2776,"zanCount":41,"manualWeight":41,"mainColor":114},289958,"he-ting-xiao-xia-tu-yi-ming-289958","荷亭消夏图","以淡墨晕染远山，将夏意空濛铺陈开来，水汽裹挟着氤氲绿意浸满绢素。近岸古松虬劲苍郁，枝桠斜探如擎盖，为画面撑起沉稳骨架。临水亭台飞檐翘角，静立在松荫柳色间，似将溽暑隔绝在外，只留一襟荷风、满耳蝉鸣。\n\n笔墨简淡清润，山石以淡赭晕染兼短笔皴擦，写出夏山的温润松软；柳树以湿笔点叶，带着雨后的鲜灵润泽。留白处恍若十里平湖，虚渺间让观画人恍可涉水凭栏，偷取半日幽凉。整幅画未刻意描摹夏景喧嚣，只以亭台松柳、烟水云山，把夏日慵闲散淡揉进笔墨里，藏着宋人雅致从容，一帧小景盛满江南盛夏清寂诗意。",[24,25,7,816,26,142,124,29,386,122,2798,1315,75,83],"夏日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc18535677b22b77b6786af0a3a74489.jpg",[],{"id":2802,"slug":2803,"title":2804,"dynasty":93,"author":94,"museum":194,"description":1166,"tags":2805,"thumbUrl":2806,"material":200,"size":201,"collection":36,"collections":2807,"showCount":2776,"zanCount":41,"manualWeight":41,"mainColor":114},289729,"dai-du-tu-guo-xi-289729","待渡图",[25,24,7,399,76,98,500,75,559],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46443a087c5a90d3ffc116ed0cd1d89d.jpg",[],{"id":2809,"slug":2810,"title":2811,"dynasty":93,"author":2812,"museum":194,"description":2813,"tags":2814,"thumbUrl":2816,"material":200,"size":201,"collection":36,"collections":2817,"showCount":2776,"zanCount":41,"manualWeight":41,"mainColor":114},289588,"yan-jiang-yu-yu-tu-pu-an-289588","烟江欲雨图","朴庵","全图用笔简放雄劲，具有水墨多彩，淋漓尽致的效果。树干树枝随手点画，人物、小舟更信手勾画，画法生动活泼。是南宋马夏一派的佳作。",[25,26,7,2815,1058,31,76],"烟雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe60dc6f53335e9ffa22bf95943de7b1f.jpg",[],{"id":2819,"slug":2820,"title":610,"dynasty":93,"author":94,"museum":194,"description":611,"tags":2821,"thumbUrl":2822,"material":200,"size":201,"collection":36,"collections":2823,"showCount":2776,"zanCount":41,"manualWeight":41,"mainColor":204},288506,"qiu-shan-xing-lv-tu-guo-xi-288506",[23,25,24,7,26,75,1444,126,102,125,76,213,475],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F288e7ca9f20e1578206e7ed6d99bcb96.jpg",[],{"id":2825,"slug":2826,"title":2827,"dynasty":18,"author":633,"museum":194,"description":2828,"tags":2829,"thumbUrl":2831,"material":200,"size":201,"collection":36,"collections":2832,"showCount":2776,"zanCount":41,"manualWeight":41,"mainColor":42},288281,"yu-sheng-bai-yun-si-tu-qian-wei-cheng-288281","豫省白云寺图","钱维城（1720—1772）清朝官吏、画家。初名辛来，字宗磐，一字幼安，号纫庵、茶山，晚号稼轩，江苏武进人。乾隆十年状元，官至刑部侍郎，谥文敏。书法苏轼，初从陈书学画写意折枝花果，后学山水，经董邦达指导，遂成名手，供奉内廷，为画苑领袖。曾随乾隆帝在木兰围场狩猎，帝以神枪殪虎，命维城绘图刻石纪事。著有《茶山集》。\n钱维城自幼甚喜绘画，开始从族祖母陈书学习画写意折枝花果，勾描渲染，随类赋形，气联意合，整体协调。后来得到了画家董邦达指导，学画山水。所画山水，山势逶迤，流泉飞泻，烟霭飘浮，水光荡漾。构图井然，意境清幽。山石多用皴笔。他的绘画远学元代四家即黄公望、倪瓒、吴镇、王蒙，近学清初四王即王时敏、王鉴、王徽、王原祁。。《桐阴论画》说他的山水画“笔意亦临摹仿麓台，邱壑幽深，树石灵秀，颇臻妙境。”钱维城投身科举时，很少有人知道他擅长书画，直到状元及第后，在随乾隆的一次狩猎中，乾隆射中一只老虎，于是钱维城受命创作“射虎图”，作品完成后乾隆连连称赞，并下令将此画刻在木兰围场的石头上，从此钱维城在画坛上名声大振。在钱维城的绘画中，带棱角的石形、双勾少皴的树干，以及中锋含蓄的细笔、淡墨勾皴的线条，都存有董邦达的笔意，但他更擅长缜密的用笔和青绿、赭石相间的设色，其中也显示出清初“四王”的流派风格，他的作品经常呈现出来的是一派宫廷富贵的气息。在乾隆的收藏目录《石渠宝芨》中，收录的钱维城作品有160多幅，由此可见乾隆皇帝对钱维城作品的赏识程度。著名的有《九秋图卷》。\n钱维城擅长书法，工整精细，“宗磐工书，书法东坡。”他师法宋朝书法四大家之一的苏东坡。落笔苍润，秀骨天成。也能吟诗，以杜少陵为宗。人称“钱文敏尚书，诗宗少陵，书规苏文忠。”可谓诗、书、画一体。",[25,24,73,27,2830,7,75,142,126,31,29,2562,83,163],"宗教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe106705075e5729ca78f6e63548247e6.jpg",[],{"id":2834,"slug":2835,"title":2836,"dynasty":138,"author":2837,"museum":194,"description":2838,"tags":2839,"thumbUrl":2840,"material":200,"size":201,"collection":169,"collections":2841,"showCount":2776,"zanCount":41,"manualWeight":41,"mainColor":42},287794,"min-zhong-shan-shui-tu-juan-xiang-sheng-mo-287794","闽中山水图卷","项圣谟","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。",[23,25,74,7,142,75,126,80,76,215,29,55,102,2732,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff07fc17451bf883c857c7b540878e84e.jpg",[169],{"id":2843,"slug":2844,"title":2845,"dynasty":138,"author":2846,"museum":2847,"description":2848,"tags":2849,"thumbUrl":2850,"material":1827,"size":2851,"collection":36,"collections":2852,"showCount":2776,"zanCount":41,"manualWeight":41,"mainColor":42},222226,"si-wan-shan-shui-tu-4-wan-shan-fei-xue-wen-bo-ren-222226","四万山水图4-万山飞雪","文伯仁","京都国立博物馆","明代中期吴派风格自形成以来盛极一时，他们的画法，上探北宋董巨，近追元代四家，与以往明代绘画所不同的是，吴派山水属于文人画体系，被称为“利家”画并为发展文人画做出了重大贡献，同时他们的画风为后世文人所推重直至今日。文伯仁，字德承，号五峰，作为吴派山水画家和文氏家族中重要的一员，“笔力清劲，布景奇兀，时以巧思发之能传家学，颇负出蓝之誉”，并善于学习古人，画功精湛，在他存世并不众多的作品中不难发觉元代王蒙与叔父文徵明的影子，而与此二人作品相较，比王蒙的山水少了高不可攀的险峻，比文徵明的山水多了鲜明的个人情趣。徐沁在名画录赞叹文伯仁的山水“横披大幅，层峦郁茂不在衡山之下。”\n《四万山水图》指的是四幅分别以“万壑松风”、“万竿烟雨”、“万顷晴波”、“万山飞雪”为题的画作的总称，是明代画家文伯仁为友人顾从义而画，作于文伯仁50岁时。各图上有明末艺苑的代表文人董其昌所题的画赞。文伯仁是明代苏州（江苏省吴县）文人画即吴派的中心人物文征明的外甥，据说其在文氏一门之中画技最为出色。文征明及其一门的画家喜爱描绘山泉林间闲游的文人，但文伯仁的山水画以清静、浅显、清楚的白描风格或淡彩为基调，以充满色彩感的画风为特色，为文人画开辟了新的境界。本图是嘉靖年间（1522～66年）吴派的代表作品之一。《四万山水图》描绘了文人的闲适，作品中大量使用了清劲的白描笔法，表现密度极高。",[23,25,7,24,73,27,26,75,817,181,274,31,80,185,124,399,98,501],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d845e881e9f41b343dbe1507be0f0ca.jpg","48X123cm",[],{"id":2854,"slug":2855,"title":2856,"dynasty":93,"author":2857,"museum":960,"description":2858,"tags":2859,"thumbUrl":2864,"material":439,"size":2865,"collection":36,"collections":2866,"showCount":2776,"zanCount":41,"manualWeight":41,"mainColor":114},221548,"qiu-chuang-du-yi-tu-liu-song-nian-221548","秋窗读易图","刘松年","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。",[23,25,7,1344,817,527,339,842,142,1620,2860,2861,126,31,435,436,2862,2863,1315,163,83],"书斋","湖光水色","读书场景","清幽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc7f7a8a4570c2aef05e8549b15cb55c.jpg","25.7×26厘米",[],{"id":2868,"slug":2869,"title":1463,"dynasty":138,"author":1464,"museum":194,"description":2870,"tags":2871,"thumbUrl":2872,"material":200,"size":201,"collection":36,"collections":2873,"showCount":2874,"zanCount":41,"manualWeight":41,"mainColor":114},290915,"tian-chi-shi-bi-zhou-lu-zhi-290915","陆治（1496－1576）明代画家。吴县（今江苏苏州）人，字叔平，因先世由汴徙居吴之包山梅梁里，遂自号包山。倜傥嗜义，以孝友称。好为诗及古文辞，善行、楷，尤心通绘事。游祝允明、文徵明门，其於丹青之学，务出其胸中奇，一时好称，几与文埒。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，用笔劲峭，景色奇险，意境清朗，自具风格，在吴门派画家中具有一定新意，与陈淳并重于世。晚年贫甚，衣处士服，隐支硎山，种菊自赏。有贵官子因所知某以画请，作数幅答之。其人厚其贽币以谢。治曰：吾为所知非为贫也。立却之。求其画者，请之而强必不可得，不请之乃或可得。卒年八十一。",[24,25,27,7,142,75,1467,144,29,76,83,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F156a8f9e74871624d3b962e84bd74d5c.jpg",[],21,{"id":2876,"slug":2877,"title":2878,"dynasty":47,"author":2879,"museum":95,"description":2880,"tags":2881,"thumbUrl":2882,"material":85,"size":2883,"collection":37,"collections":2884,"showCount":2874,"zanCount":41,"manualWeight":41,"mainColor":42},290342,"qiu-shan-xing-lv-zhou-ma-wan-290342","秋山行旅轴","马琬","崇山叠峦，行旅骑驴荷物而行。全图构景系密，用笔多属中锋，用墨简澹，设色淡雅。压顶一峰皴笔疏简，以平点层层作小树，特觉清逸秀出。该幅无作者款印，幅上有董其昌题，云：“马文璧秋山行旅图”。",[25,24,27,7,26,142,1120,475,55,125,126,31,29,299,213,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9701795d9df53db4d67bf8d7090ab986.jpg","124.5x33.3",[37],{"id":2886,"slug":2887,"title":2888,"dynasty":93,"author":2889,"museum":194,"description":2890,"tags":2891,"thumbUrl":2893,"material":200,"size":201,"collection":36,"collections":2894,"showCount":2874,"zanCount":41,"manualWeight":41,"mainColor":42},289330,"qiu-shan-ce-zhang-tu-yan-su-289330","秋山策杖图","燕肃","这件作品是一幅山村之景，近处苍松并立，枝干挺拔舒展，松下有一茅草屋，屋内，一老叟凭窗闲眺，溪桥上，另一长者正策杖而行。",[25,1344,7,26,142,75,261,1120,29,56,2493,2892,1315],"山野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d8897b84494cbf20379ca1400ec641d.jpg",[],{"id":2896,"slug":2897,"title":2898,"dynasty":93,"author":523,"museum":194,"description":2899,"tags":2900,"thumbUrl":2902,"material":200,"size":201,"collection":36,"collections":2903,"showCount":2874,"zanCount":41,"manualWeight":41,"mainColor":114},289123,"qiu-xi-dai-du-tu-yi-ming-289123","秋溪待渡图","此作用淡墨晕染出溪山空濛之境，秋意萧索尽显。坡岸怪石错落，寒林枯木笔法劲挺，苍松皴擦老辣，枝桠虬劲苍古。板桥之上行旅缓步，溪面孤舟横斜，渔人收缆待渡，山居隐于山坳雾色之间，寥寥数笔便将幽寂秋山的动静意趣铺陈开来。\n\n整幅画作以简驭繁，笔意清润秀雅，把秋日水滨的淡寂清远尽数勾勒，暗含寄情林泉的隐逸意趣，尽显山水小品的雅致格调。",[23,25,24,7,26,75,55,125,76,77,373,126,2901,261,29],"秋溪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b4f46cd6f4dab3412b29b0d5d7b246a.jpg",[],{"id":2905,"slug":2906,"title":1508,"dynasty":93,"author":2907,"museum":95,"description":2908,"tags":2909,"thumbUrl":2910,"material":390,"size":2911,"collection":36,"collections":2912,"showCount":2874,"zanCount":41,"manualWeight":41,"mainColor":114},289107,"shan-shui-tu-gou-long-shuang-289107","勾龙爽","勾龙爽，又名句龙爽，四川人，生卒年月不详。\n宋代宫廷画家，擅长人物画。神宗时官翰林待诏。时称他画的人物“其状质野，有返朴之意。” 作品有《西成民乐图卷》《岁丰图卷》等。",[25,24,7,26,75,76,124,55,79,286,31,163,83,1315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd46adb2dfd4a776f60c4615a48352537.jpg","40.8x29.7",[],{"id":2914,"slug":2915,"title":2668,"dynasty":93,"author":978,"museum":194,"description":2916,"tags":2917,"thumbUrl":2918,"material":200,"size":201,"collection":36,"collections":2919,"showCount":2874,"zanCount":41,"manualWeight":41,"mainColor":114},287718,"xi-hu-liu-ting-tu-xia-gui-287718","画西湖中的柳树、长堤、水榭、湖舍、画舫和游客，风轻云淡，水墨氤氲，画面丰满，笔墨精谨，远处人物也不用其它山水画中点景人物那样简率的笔法，即所谓的“人物面目，点凿为之，衣褶柳梢，间有断缺”，而是刻画通真，极为精妙，笔调也是沉着含蓄，明媚秀润",[24,25,7,26,142,75,432,55,125,76,124,29,2442,78,83,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb88e6785745c02b8900bab6ee66c74eb.jpg",[],{"id":2921,"slug":2922,"title":2923,"dynasty":138,"author":2924,"museum":194,"description":2925,"tags":2926,"thumbUrl":2928,"material":200,"size":201,"collection":36,"collections":2929,"showCount":2874,"zanCount":41,"manualWeight":41,"mainColor":204},287606,"yun-he-gao-yi-tu-li-zhou-yuan-tu-lan-ying-287606","云壑高逸图立轴(原图)","蓝瑛","高山之麓，丘岗片片，山泉淙淙；溪流清鸣，绕贯其中；丛花簇草，竞相吐艳；桃李明艳，繁枝雍雍，像是在奏响的晚春妙曲。林深之处，溪水岸旁，一白衫红裤的老者，在茅亭内候客。亭外木桥上，有一红衣老者，向茅亭走来。",[23,24,25,27,26,7,124,55,125,386,126,261,127,75,2927],"高逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96cd84ca765b062920e0b7469166d281.jpg",[],{"id":2931,"slug":2932,"title":2933,"dynasty":93,"author":760,"museum":2109,"description":2934,"tags":2935,"thumbUrl":2936,"material":35,"size":36,"collection":36,"collections":2937,"showCount":2874,"zanCount":41,"manualWeight":41,"mainColor":114},231493,"fang-zhong-li-fang-dao-tu-jing-hao-231493","仿钟离访道图","董其昌 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桧图屏风","狩野永德","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。",[23,24,25,73,7,142,122,164,125,126,371,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40c0049bfcdc4c1a73a70e15f916753b.jpg",[],{"id":2996,"slug":2997,"title":2998,"dynasty":138,"author":2999,"museum":194,"description":3000,"tags":3001,"thumbUrl":3007,"material":200,"size":201,"collection":36,"collections":3008,"showCount":3009,"zanCount":41,"manualWeight":41,"mainColor":114},290981,"liu-tang-qin-ji-tu-zhou-lv-ji-290981","柳塘禽集图轴","吕纪","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。",[25,27,3002,7,817,142,3003,126,3004,433,3005,3006,102,105],"花鸟画","垂柳","池塘","白鹅","禽鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefe936e3fc90e57a92a37ae1980b1caf.jpg",[],19,{"id":3011,"slug":3012,"title":3013,"dynasty":18,"author":3014,"museum":194,"description":3015,"tags":3016,"thumbUrl":3017,"material":200,"size":201,"collection":36,"collections":3018,"showCount":3009,"zanCount":11,"manualWeight":41,"mainColor":42},290420,"fang-gu-shan-shui-tu-ce-luo-pin-290420","仿古山水图册","罗聘","罗聘（1733-1799），清代画家，“扬州八怪”之一。字遯夫，号两峰，又号衣云、花之寺僧、金牛山人、师莲老人等。祖籍安徽歙县，其先辈迁居扬州。为金农入室弟子，布衣，好游历。\n人物、佛像、山水、花果、梅、兰、竹等，无所不工，笔调奇创，超逸不群，别具一格。善画《鬼趣图》，画鬼态无不极尽其妙，借以讽世。亦善刻印。金农死后，他搜罗遗稿，出资刻版，使金农的著作得以传于后世。其妻方婉仪，字白莲，亦擅画梅兰竹石，并工于诗。子允绍、允缵，均善画梅，人称“罗家梅派”。\n《清史稿》称罗聘“画无不工”。",[25,489,26,7,56,373,163,83,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbac009aab2e9d42f1f271d2855c77e2.jpg",[],{"id":3020,"slug":3021,"title":208,"dynasty":93,"author":523,"museum":194,"description":3022,"tags":3023,"thumbUrl":3024,"material":200,"size":201,"collection":36,"collections":3025,"showCount":3009,"zanCount":41,"manualWeight":41,"mainColor":114},290270,"wang-chuan-tu-yi-ming-290270","北宋时期，山水画大兴。这其中，李成和范宽是北宋初期山水画家的代表，他们上承荆浩以水墨为主的传统，以表现北方雄浑壮阔的自然山水为主，与五代的关仝一起，被认为是“三家鼎峙，百代标程”的大师，他们的创作具有划时代的意义。其后继者有王士元、王端、燕文贵、许道宁、高克明、郭熙、李宗成、丘纳、王诜等。除北方山水系统的山水画外，也有长于界画的郭忠恕，善于表现湖山小景的惠崇、赵令穰，继承唐代以来的青绿山水画法的王希孟、南派山水画的代表巨然，以及开创“米氏云山”的米芾等，都在中国山水画的发展过程中，有着各自的独特贡献。\n北宋山水画倾于自然，侧重“真”和“实”，提倡山水画的写实风格。多使用绢，不仅勾勒细致、刻画严谨，而且用墨对画面进行层层渲染，展现出一份凝重恬静之美。它展现的是前所未有的细腻、丰富、写实的画风。",[23,24,25,74,26,7,79,102,215,125,127,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F268f7660d5dcf46ee6dead61cb365ff5.jpg",[],{"id":3027,"slug":3028,"title":3029,"dynasty":47,"author":119,"museum":194,"description":1989,"tags":3030,"thumbUrl":3032,"material":200,"size":201,"collection":36,"collections":3033,"showCount":3009,"zanCount":41,"manualWeight":41,"mainColor":114},290260,"quan-sheng-song-yun-tu-ke-luo-ban-wang-meng-290260","泉声松韵图（珂罗版）",[23,25,26,7,75,79,144,3031,55,125,76,29,163,83],"泉水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ca815d4b818f75839f95fe04da5d062.jpg",[],{"id":3035,"slug":3036,"title":3037,"dynasty":18,"author":1843,"museum":194,"description":3038,"tags":3039,"thumbUrl":3040,"material":200,"size":201,"collection":36,"collections":3041,"showCount":3009,"zanCount":41,"manualWeight":41,"mainColor":114},288448,"fang-you-tu-gao-cen-288448","访友图","高岑（1621-1691），字善长，又字蔚生，杭州人，居金陵（今南京）。高阜弟，为“金陵八家”之一 。\n为人清高，相貌俊美，淡于功名，性好佛门始从法门道昕卧伏腊寺，居茹蔬淡……。 早年学朱翰，后学蓝瑛，所画平实，晚乃以己意行之 。 善山水及水墨花卉，写意入神。",[23,25,24,7,75,142,144,79,126,213,2383,102,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c57893b576a57047bbcea7bcd2995a8.jpg",[],{"id":3043,"slug":3044,"title":3045,"dynasty":138,"author":3046,"museum":194,"description":3047,"tags":3048,"thumbUrl":3049,"material":200,"size":201,"collection":36,"collections":3050,"showCount":3009,"zanCount":41,"manualWeight":41,"mainColor":114},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》。",[23,24,25,73,27,7,26,142,75,179,126,125,1003,261,31,105,127,656],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05b8e35ce302f74142791093945b3c13.jpg",[],{"id":3052,"slug":3053,"title":3054,"dynasty":93,"author":2361,"museum":194,"description":3055,"tags":3056,"thumbUrl":3057,"material":36,"size":36,"collection":36,"collections":3058,"showCount":3009,"zanCount":41,"manualWeight":41,"mainColor":114},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。",[23,24,25,73,7,816,75,142,126,31,323,76,198,831,29,105,2303],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cbb108bac6d25aa9774d3238cd413a6.jpg",[],{"id":3060,"slug":3061,"title":3062,"dynasty":93,"author":94,"museum":95,"description":3063,"tags":3064,"thumbUrl":3066,"material":36,"size":36,"collection":36,"collections":3067,"showCount":3009,"zanCount":41,"manualWeight":41,"mainColor":42},227292,"shu-se-ping-yuan-tu-guo-xi-227292","树色平远图","《树色平远图》，宋代，郭熙，绢本水墨，纵32.4厘米，横104.8厘米，美国纽约大都会博物馆藏\n\n《树色平远图》表现深秋郊外的优美景象。开卷处为远山野水，次而出现坡陀老树，冈阜上筑有凉亭，正是文人雅士诗酒嘉会的理想佳处。画中点缀有拄杖的老人，携琴捧盒的仆夫，水面的小舟和飞翔的野凫，都渲染了浓郁的诗意。此图无款，卷后有元明诸家诗文题跋。\n\n此图与郭熙的另一副传世名画《窠石平远图》画风和构图极为相似，描绘一河流两岸树色平远的景色。画中之景以河为界可分作前后两部分。前景画河流近岸，平地坡石，其上生古树数丛，枝干盘曲伸张，树上枯藤缠绕，垂蔓点水。整个景物清寒枯硬，其境界清旷平淡。画面以平远布局，构景简洁，开阔而均衡。其树似鹿角蟹爪，山石笔法灵活多变，墨色浓淡变化丰富而微妙，所造之境具体真实，从中可以看出李成画风的影响，同时又体现出郭熙山水画的典型风格。",[23,25,73,74,7,26,75,122,31,105,3065,373,372,56],"平远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18d05c0afd595c9457e8b1f3fe3e463b.jpg",[],{"id":3069,"slug":3070,"title":3071,"dynasty":93,"author":3072,"museum":194,"description":3073,"tags":3074,"thumbUrl":3075,"material":200,"size":201,"collection":36,"collections":3076,"showCount":3077,"zanCount":41,"manualWeight":41,"mainColor":114},289327,"shui-mo-gu-ting-tu-li-song-289327","水末孤亭图","李嵩","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。",[23,1344,25,7,124,125,261,31,1578,26,75,559],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F044dd4c6f19319af7bf49dcf1dfd5a75.jpg",[],18,{"id":3079,"slug":3080,"title":3081,"dynasty":93,"author":3082,"museum":194,"description":3083,"tags":3084,"thumbUrl":3086,"material":200,"size":201,"collection":36,"collections":3087,"showCount":3077,"zanCount":41,"manualWeight":41,"mainColor":42},287657,"wan-fang-zhi-gong-tu-quan-juan-li-gong-lin-287657","万方职贡图全卷","李公麟","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。",[23,24,25,73,74,26,7,163,82,2632,83,3085],"历史题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc12fa9c4c1d20df1573091eadb23d1cc.jpg",[],{"id":3089,"slug":3090,"title":3091,"dynasty":47,"author":2879,"museum":20,"description":3092,"tags":3093,"thumbUrl":3095,"material":3096,"size":3097,"collection":36,"collections":3098,"showCount":3077,"zanCount":41,"manualWeight":41,"mainColor":204},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”。",[25,7,27,75,26,274,181,540,31,144,126,3094,128,185,98],"关隘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bf330fe2e48ab4499d388e17cc77fd0.jpg","绢本，墨笔","纵：125.4厘米，横：57.2厘米",[],{"id":3100,"slug":3101,"title":686,"dynasty":138,"author":687,"museum":95,"description":3102,"tags":3103,"thumbUrl":3104,"material":264,"size":691,"collection":36,"collections":3105,"showCount":3077,"zanCount":11,"manualWeight":41,"mainColor":114},232667,"shan-lu-song-sheng-tu-tang-yin-232667","唐寅此图绘层岩邃壑，飞瀑流泉。山腰苍松葱郁，虬枝老干，掩映画面。山下平湖一湾，清澈见底。一条崎岖不平的野路，蜿蜒通向山间，以增加画面的幽深感。一隐者凭眺倚栏，静听松风，侍者囊琴随后。该图用笔清润、缜密而有韵味。\n图绘一山高耸，有一泉水自山腰拾级而上，汇入河中。山脚有一小桥跨泉连接山路，桥上两人，老者仰首侧耳，似听泉流松声，一童携琴随后。泉畔是茂密的松林，枝干虬曲，藤蔓缠身。一条崎岖不平的野路，蜿蜒通向山间。\n唐寅16岁中秀才，29岁在乡试中获第一名“解元”，30岁赴京赶考，大好的前途指日可待。岂料一同赶考的大地主徐经暗中贿赂主考官家的仆人从而得到试题，事情败落后，倒霉的唐寅也遭受牵连，甚至经受刑拷凌辱。一向恃才傲物的他经受如此大的打击后，对官场产生了强烈的反感，从此放荡不羁。失意后的唐寅游遍名山大川，千山万水了然于心，因此他的山水画中充满了吴地山水的景象，《山路松声图》就是他山水画的代表作。\n图中描绘了一座高耸的山峰，一汪泉水从山腰处流下，汇入清澈见底的河中。泉水边是葱郁的松林，藤蔓环绕在曲曲折折的枝干上。山脚下有一座小桥横跨河水，桥上一老人仰着头，似乎在倾听泉声，又好像在欣赏阵阵松涛，其后有一少年抱着琴跟随。唐伯虎在画上题诗道：“女几山前野路横，松声偏解合泉声。试从静里闲倾耳，便觉冲然道气生。”表达了他向往与世无争、闲淡自然生活的理想。\n图中松树枝叶的画法，从夏圭中来，但远比之繁盛、写实。以细劲的中锋勾勒，转折顿挫，不乏法度。山石硬朗，棱角分明，显然是李、郭的画法，但不师郭熙的卷云皴，也不施马、夏的斧劈皴，而是一种带有唐寅个人风格的线皴，较之许道宁的直线皴更为随意、疏松。勾笔较浓，而皴笔较淡，以浓点分出石的构成和层次，墨色通透而儒雅。用笔顿挫转折，遒劲飞舞，巧妙地点出了松声之意境。山的结体，错落盘桓，层次清晰，景致优美，而且真实感很强，有北宋全景山水的韵致。背景的处理极为简括，炕炕洛藩，给人以空旷萧瑟、冷漠寂寥的感受。\n此画构图简明，高低呼应，使画面呈现一种空灵润泽的感觉。",[25,7,27,26,75,142,181,179,125,198,56,299,124,373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a9b8101070ee6720dcb0d5f2a0f287e.jpg",[],{"id":3107,"slug":3108,"title":3109,"dynasty":47,"author":736,"museum":95,"description":3110,"tags":3111,"thumbUrl":3113,"material":390,"size":3114,"collection":36,"collections":3115,"showCount":3077,"zanCount":41,"manualWeight":41,"mainColor":114},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。",[25,73,27,26,142,75,7,890,79,127,31,3112,126,1345,124,373],"秋色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd24f2fae530aea5dd8da8ae53c3bd081.jpg","该幅159.9x104.8公分；全幅105.8公分",[],{"id":3117,"slug":3118,"title":3119,"dynasty":138,"author":3120,"museum":49,"description":3121,"tags":3122,"thumbUrl":3123,"material":35,"size":3124,"collection":36,"collections":3125,"showCount":3077,"zanCount":41,"manualWeight":41,"mainColor":114},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。",[23,24,25,73,27,7,75,142,763,126,79,127,213,261],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb575d9feb5a80e4189ee444b2fb5180a.jpg","157.5×54cm",[],{"id":3127,"slug":3128,"title":3129,"dynasty":138,"author":139,"museum":20,"description":3130,"tags":3131,"thumbUrl":3133,"material":85,"size":3134,"collection":36,"collections":3135,"showCount":3077,"zanCount":41,"manualWeight":41,"mainColor":42},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。",[25,7,26,27,73,75,31,126,125,127,124,144,181,129,3132],"夏天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0a4e197fbf86433996158956bce8f26.jpg","纵91.3厘米，横44厘米",[],{"id":3137,"slug":3138,"title":3139,"dynasty":18,"author":1440,"museum":194,"description":3140,"tags":3141,"thumbUrl":3142,"material":36,"size":36,"collection":36,"collections":3143,"showCount":3077,"zanCount":41,"manualWeight":41,"mainColor":42},224485,"fang-huang-gong-wang-yan-fu-yuan-xiu-tu-zhou-wang-jian-224485","倣黄公望烟浮远岫图轴","此展品为清代的书画，绢本设色。\n此图仿巨然山水，王鉴在此画中描绘夏秋山水景色，山多矾头而不作嶒崚奇峭之状。\n现收藏于 。\n绢本设色。\n此图仿巨然山水，王鉴在此画中描绘夏秋山水景色，山多矾头而不作嶒崚奇峭之状。\n画面中间有—溪流蜿蜒流过，山石上杂树丛生，山石多以长披麻皴写之，上有焦墨点苔。\n用墨浓润，骨重气轻，匠心独具，沉雄古逸。\n此图作于1674年，作者时年七十六岁，为其逝世前三年。\n款识：“甲寅九秋仿巨然烟浮远岫呈艾翁老祖台大词宗教正，王鉴” 钤印：“王鉴之印”白文方印，“湘碧”朱文方印。\n王鉴（1598-1677年），字元照，一字圆照，号湘碧，又号香庵主。\n江苏太仓人。\n擅长山水，远法董（源）、巨（然），近宗王蒙、黄公望。",[24,25,73,27,7,142,75,413,181,105,1941,144,432,198,125,298,185],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85222cb3dd78674b95fe037a0f88417e.jpg",[],{"id":3145,"slug":3146,"title":3147,"dynasty":18,"author":1352,"museum":95,"description":3148,"tags":3149,"thumbUrl":3150,"material":312,"size":36,"collection":36,"collections":3151,"showCount":3077,"zanCount":41,"manualWeight":41,"mainColor":671},224469,"xi-shan-hong-shu-wang-hui-224469","溪山红树","此图为王翚仿黄鹤山樵王蒙的一件极具特色的代表作，描绘的是遍生红树的一片秋日山林景色。画中以圆转重叠、突兀高耸的山峰为主体，山溪逶迤前行，涟漪阵起，秋波荡漾，两岸林木，红翠相间，整个画中意境深幽，秋气袭人。画家拟王蒙笔意与布局，构景繁密，山势云动，境界深奇。山石画法以墨笔牛毛皴和解索皴为主，干笔皴擦，浓墨点苔，既显浓密厚重，又鲜艳夺目，光彩熠熠。",[23,25,73,7,142,75,83,163,82,122,31,148,29,198,32,185],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F613cf57d2a1886ceabf81e3e254b741a.jpg",[],{"id":3153,"slug":3154,"title":3155,"dynasty":47,"author":523,"museum":194,"description":3156,"tags":3157,"thumbUrl":3158,"material":728,"size":3159,"collection":36,"collections":3160,"showCount":3077,"zanCount":11,"manualWeight":41,"mainColor":114},223355,"fang-ju-ran-shan-shui-tu-yi-ming-223355","仿巨然山水图","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。",[23,25,7,142,75,126,31,55,125,124,128,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bbd8eba0f37ff5d86d70dba3540da1a.jpg","170x85.26cm",[],{"id":3162,"slug":3163,"title":3164,"dynasty":93,"author":523,"museum":95,"description":3165,"tags":3166,"thumbUrl":3174,"material":234,"size":3175,"collection":37,"collections":3176,"showCount":3077,"zanCount":41,"manualWeight":41,"mainColor":42},219616,"hu-xi-san-xiao-tu-yi-ming-219616","虎溪三笑图","此图为横幅，绢本设色。构图饱满，刻画细腻，粗笔阔墨的坡石与细笔双勾的枝叶彼此映照。古拙的青石板桥下的溪流并无涓涓之态，而是浩荡冲决，远逝于云天相接处，似衬托“虎威”。老干如虬，红叶弥漫，一派肃穆高秋景致。画中央正是身着袈裟的慧远、儒服的陶渊明和道装的陆修静，三人举头朗笑，衣袂飘扬，情态鲜活，两侧三小童站立，画中人物风格似宋人笔意。这幅作品恰将儒、释、道合流的深邃神旨以“三笑”镜头的绘制形象地传达出来，爽朗、悠远的笑声仿佛与虎溪激越的水声、老枫呼啸的风声猝然交响，也穿越了千年的风烟，飘逸于画卷之外，令观画者心府泠然、似有所闻。细读这幅作品会发觉，在图像生成上，画家几乎绘制出了“虎溪三笑”这一故事的全部文献元素，包括人物、情节、环境等，可视为这一画题的最典型作品。",[23,25,24,264,142,3167,2724,7,2830,3168,3169,386,148,32,435,3170,3171,817,3172,3173],"横幅","儒释道","虎溪三笑","高秋","朗笑","粗笔","细笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86e773211cdf84d6f21581f9695a2a5b.jpg","26.4x47.6厘米",[37],{"id":3178,"slug":3179,"title":3180,"dynasty":47,"author":523,"museum":194,"description":3181,"tags":3182,"thumbUrl":3184,"material":200,"size":201,"collection":36,"collections":3185,"showCount":3186,"zanCount":41,"manualWeight":41,"mainColor":114},290894,"xia-shan-gan-yu-zhou-yi-ming-290894","夏山甘雨轴","以半边奇崛崖壁开篇，苍林垂挂于危岩，浓墨晕染尽夏雨濡湿的沉厚质感。另一侧淡墨轻铺远山平水，烟岚隐现，晕开空濛的天色。滩渚错落间，渔舟横斜，渔人撑篙摇橹、偎舟闲憩，坡岸水牛散漫食草，野趣自生。\n\n画作以干湿墨色交织，浓墨点苔醒透草木生机，淡墨晕染铺就空寂雨意，将夏雨初歇的江南野色，揉进悠远恬和的意境里，把江村闲逸日常与山野润泽生机，晕作一卷淡远的水墨诗意。",[25,27,26,7,75,122,125,76,145,31,3183],"雨景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4297de6e0e5c2eef90220565b7ea348.jpg",[],17,{"id":3188,"slug":3189,"title":3190,"dynasty":93,"author":1179,"museum":194,"description":1180,"tags":3191,"thumbUrl":3193,"material":200,"size":201,"collection":36,"collections":3194,"showCount":3186,"zanCount":41,"manualWeight":41,"mainColor":42},290509,"shan-ge-qing-lan-tu-zhu-rui-290509","山阁晴岚图",[25,7,1344,142,79,29,31,3192,126,75],"晴岚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5140ba852e857e1552fd3eb4564a49ac.jpg",[],{"id":3196,"slug":3197,"title":3198,"dynasty":47,"author":523,"museum":194,"description":2603,"tags":3199,"thumbUrl":3201,"material":200,"size":201,"collection":36,"collections":3202,"showCount":3186,"zanCount":41,"manualWeight":41,"mainColor":114},290401,"gao-shi-dui-yi-tu-yi-ming-290401","高士对弈图",[25,7,261,144,126,3200,142,1589],"对弈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0549a9e17f0dc01002b5676b220cb0f.jpg",[],{"id":3204,"slug":3205,"title":3206,"dynasty":138,"author":3207,"museum":95,"description":3208,"tags":3209,"thumbUrl":3210,"material":234,"size":3211,"collection":37,"collections":3212,"showCount":3186,"zanCount":41,"manualWeight":41,"mainColor":114},290355,"chun-wu-cun-ju-tu-zhou-ma-shi-290355","春坞村居图轴","马轼","画幅上方的主峰，奇而不觉突兀，山石峭峰直上，远山笼罩在一片迷蒙的雾中，准确而又充分地表达了作者独特的感受，这正是师承郭熙的画山心法，不仅强调自然山水体貌结构的规律，而且还特别去发现和塑造山水优美的艺术形象。“山形面面看”，“山形步步移”，角度不同而呈现千姿百态，又有别于郭熙的画山之奇异画风。观马轼之山，笔力劲爽含蓄、灵活秀润，无雕琢刻画与粗莽恣肆之弊。从构图和立意上，画家着重墨色浓淡变化，笔锋细劲，设色淡雅。人物虽小，但真实具体，各尽其态。山水景物皆以尖劲利落的细笔勾出，山石用小斧劈皴法，坚凝沉着，棱角分明，以皴点加淡青绿色画出半明半暗的效果，很好的表现了峰峦的质感。树亦以小笔勾点而成，整幅作品呈现着烟云浩淼、葱郁深秀、意境优雅的韵味，形成了秀逸而不媚弱，清劲而不霸悍的风格。\n马轼在艺术表现上沁入较多自由清新的气息，如这幅画的山石皴法，固然还可看出传统画法“斧劈皴”的痕迹，但他并不拘泥于前人，而是带有更多的写实意味，用笔细腻沉着，苍秀挺峭，表现了山川苍劲之势和沉着浑厚之气，赋予作品浓郁的生活气息。整个画面的布局上，运用虚实相生的手法，远景山树迷茫，峰峦朦胧，与烟雾相交融，含蓄而更富有真实感。近景大石居中，林树细笔攒簇，柔韧坚挺，更突出了近山的耸拔气象。而茅舍间点缀了正在悠然耕作的人，左峰角小石间似湍湍流动的溪水，使画面的气氛更生动，又营造了画面恬静适淡的意境。马轼是一位宫廷画家，此画在一定程度上也暗示了作者对那种终日应酬、荣辱萦怀的世俗生活的厌倦。从这一个意义上看，《春坞村居图》不但以优美抒情的笔墨描绘了一个自然朴实的春日村居，同时，电是抒发了作者歆羡村居无忧无虑又简单惬意的田园生活及远离世俗的思想情怀。",[25,7,27,26,75,79,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乾隆御览之宝。乾隆鉴赏。五玺全。宝笈三编。宣统御览之宝。\n收传印记 文谦光印。君珂鉴赏。潘志省印。又三印漫漶。\n谨按赵希远。与王蒙同时。蒙有香光居士图。希远爱而临之。见画史会要。",[24,25,27,7,75,142,79,198,29,144,125,299,3268,433,83],"鹿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb027e2c1284cdaf85c752a1e80f0f639.jpg","127.5x31.1",[],{"id":3273,"slug":3274,"title":3275,"dynasty":18,"author":523,"museum":194,"description":3276,"tags":3277,"thumbUrl":3278,"material":200,"size":201,"collection":36,"collections":3279,"showCount":3186,"zanCount":41,"manualWeight":41,"mainColor":42},287698,"fang-huang-gong-wang-fu-shan-chun-ju-tu-yi-ming-287698","仿黄公望富山春居图","此作用笔苍秀松灵，以披麻皴写山峦丘壑，复刻出原作浑厚华滋的山水意趣。远山淡晕如黛，近渚萦回清浅，林麓村居错落萧疏，尽显富春山野逸空濛之态。\n卷尾题跋笔墨雅致，与画境浑融一体，暗合元人山水“以画为寄”的隐逸风神，虽摹古却自见韵致，将江南富春山的空灵秀润尽藏尺幅间，是颇具功力的仿古佳制。",[23,25,74,26,7,413,75,79,578,102,163,83,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4982c0319d064f8f446d442b55159a94.jpg",[],{"id":3281,"slug":3282,"title":3283,"dynasty":138,"author":3284,"museum":194,"description":3285,"tags":3286,"thumbUrl":3287,"material":200,"size":201,"collection":36,"collections":3288,"showCount":3186,"zanCount":41,"manualWeight":41,"mainColor":42},287358,"lin-wang-meng-tai-bai-shan-tu-du-qiong-287358","临王蒙太白山图","杜琼","杜琼（1396~1474年），字用嘉，号东原，五坞山人,延绿亭主人,私谥渊孝先生.人称东原先生，南直隶苏州府吴县（今江苏苏州市）人。明朝文学家，书画家、藏书家，史学家。\n杜琼出身于富贵之家，自幼勤学聪颖，以孝闻名乡里，后师从陈继，并承其业，教书授徒。之后被举荐参与过《太宗（朱棣）实录》《宣宗实录》《舆地志》的修撰，并参与《苏郡志》的校定，备受朝廷礼遇和乡里尊宠，享誉遐迩。1474年，杜琼逝世，享年79岁。\n杜琼虽受朝廷礼遇和乡宠，但是他淡泊功名而醉于谈诗论画的隐居生活。其精于翰墨书画，尤以画山水为著，集众家之长而直追董巨，画风秀逸，是吴门派早期代表画家。\n其传世画作有《南村别墅图》《为吴宽作山水图》《友松图卷》等，此外还著有《东原集》《耕馀杂录》《纪善录》等诗文作品。",[23,25,74,7,413,26,142,75,79,102,1363,298,1395,32,433,82,163,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0297dd5ace6aed29811f36a49e164bc.jpg",[],{"id":3290,"slug":3291,"title":3292,"dynasty":18,"author":1352,"museum":194,"description":3293,"tags":3294,"thumbUrl":3298,"material":36,"size":36,"collection":36,"collections":3299,"showCount":3186,"zanCount":11,"manualWeight":41,"mainColor":42},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。",[23,24,25,7,27,339,431,142,126,102,3295,3296,197,1930,941,3297],"茅庐","清溪","静穆淡远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20794c152eb9e022b762b85b450fba70.jpg",[],{"id":3301,"slug":3302,"title":3303,"dynasty":18,"author":2007,"museum":3304,"description":3305,"tags":3306,"thumbUrl":3313,"material":3314,"size":3315,"collection":36,"collections":3316,"showCount":3186,"zanCount":41,"manualWeight":41,"mainColor":36},220732,"xun-qin-tu-3-huang-xiang-jian-220732","寻亲图3","香港中文大学文物馆","此作以平远之境铺展江南水乡，淡青绿晕染的山峦层叠起伏，烟岚轻笼，将江南丘林的温润秀色晕开。水网交错萦绕村舍田畴，渔舟缓行于烟波之上，远天水色相融，漫出空濛诗意。\n\n笔墨苍秀兼工带写，山石以浅绛勾勒皴擦，苔点缀出草木华滋，衬出江南独有的烟雨氤氲底色。长卷山光水色之间，藏着行路寻亲的沉郁心绪，将羁旅迢迢融于清和景致，实景与归思相映，静雅晕开脉脉温情，绘就山水间藏着的惦念与归途。",[25,74,7,842,142,3307,75,431,79,1809,125,1623,3308,104,3309,3310,3311,3312],"浅绛","田畴","江南水乡","沉郁","温情","归思","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F677da50b5e5dfa1604cc4f515ee239d9.jpg","水墨,设色,纸本,手卷","31.4 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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。",[25,7,26,98,3405,145,299,79,399,298,3406,126],"牛车","石桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca962091e2a05f32ff6737bcf33face7.jpg","164.2x104.1",[110],15,{"id":3412,"slug":3413,"title":3414,"dynasty":138,"author":523,"museum":194,"description":3415,"tags":3416,"thumbUrl":3417,"material":200,"size":201,"collection":36,"collections":3418,"showCount":3410,"zanCount":41,"manualWeight":41,"mainColor":114},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。",[23,25,74,7,142,75,126,32,386,436,503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f11da397377cad1cc1e22134625497e.jpg",[],{"id":3420,"slug":3421,"title":3422,"dynasty":18,"author":3423,"museum":194,"description":3424,"tags":3425,"thumbUrl":3426,"material":200,"size":201,"collection":36,"collections":3427,"showCount":3410,"zanCount":41,"manualWeight":41,"mainColor":42},235365,"qun-feng-ji-cui-tu-zhou-liu-yan-chong-235365","群峰积翠图轴","刘彦冲","刘彦冲（1807～1847）清代画家、诗人。初名荣，字咏之，四川铜梁（今重庆铜梁）人，侨寓吴门（今江苏苏州），朱昂之弟子。家贫事母孝，不妄干人。工诗文，善绘事，山水、人物、花卉，一意师古，深造自得。山水初从朱昂之游，心得其秘。复肆力于古，临摹各家，无不得其精髓。泼墨作小米云山，亦翁郁可观。惜中年殁。",[25,24,27,7,142,75,2292,31,29,213,76,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb09b0faca13edb8b101856f7129f43a9.jpg",[],{"id":3429,"slug":3430,"title":3431,"dynasty":93,"author":523,"museum":95,"description":3432,"tags":3433,"thumbUrl":3434,"material":312,"size":3435,"collection":36,"collections":3436,"showCount":3410,"zanCount":41,"manualWeight":41,"mainColor":114},231378,"song-yan-xian-guan-tu-yi-ming-231378","松岩仙馆图","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。",[24,25,7,29,261,144,817,75,26,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24f657fecd8b6c42929cbcb3ea659e46.jpg","171x115.7",[],{"id":3438,"slug":3439,"title":3440,"dynasty":18,"author":1352,"museum":194,"description":3441,"tags":3442,"thumbUrl":3443,"material":36,"size":36,"collection":36,"collections":3444,"showCount":3410,"zanCount":11,"manualWeight":41,"mainColor":42},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。",[23,25,7,27,26,75,122,55,125,124,29,31,126,127,261,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25c7a0db74deff24cd7a29e728cdc7a4.jpg",[],{"id":3446,"slug":3447,"title":3448,"dynasty":18,"author":3449,"museum":95,"description":3450,"tags":3451,"thumbUrl":3452,"material":3453,"size":3454,"collection":36,"collections":3455,"showCount":3410,"zanCount":41,"manualWeight":41,"mainColor":42},222829,"fang-fan-kuan-shan-shui-zhang-yu-sen-222829","倣范宽山水","张雨森","张雨森，清朝画家。初名雨，字作霖，一字紫琅，号苍野，经子，工山水，得文家风韵。善 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设色","31x37.1",[],{"id":3457,"slug":3458,"title":3459,"dynasty":18,"author":1440,"museum":70,"description":3460,"tags":3461,"thumbUrl":3462,"material":61,"size":3463,"collection":36,"collections":3464,"showCount":3410,"zanCount":41,"manualWeight":41,"mainColor":42},216981,"fang-song-yuan-shan-shui-ce-6-wang-jian-216981","仿宋元山水册-6","王鉴（1598-1677），字玄照，后改字符照、圆照，号湘碧、染香庵主，江苏太仓人。王世贞曾孙。崇祯六年（1633）以荫授南京左府都事，约十一年（1638）至北京改任比部郎，十二年（1639）任廉州知府，仅两年即罢职归太仓，从此未入仕途。工画山水，得董其昌亲授，追踵董源、巨然，多拟仿宋元诸家。著有《染香庵跋画》。\n是册临宋元各家，淡墨层层积累、细腻丰富，水墨设色兼能、皴染兼长。在“四王”山水画中，王鉴的设色山水与其他三家有所差异。王鉴擅长青绿山水设色，用色只在青、绿、赭少数几种中选择，但色彩鲜明，特别是青绿两色的运用，清润高华。而仿陈惟允（陈汝言）一开可见其见识广博，陈汝言为元末明初人，后人临宋元山水鲜少涉及，这与他的个人收藏及交游圈不无关系。\n据其自跋：“予今岁偶来南翔（今属上海嘉定），谛交文庶社长，见其丰神超迈，雅善丹青，深得古人三昧，余因复临陈（陈廉）本赠之。”谓王时敏曾将所藏宋元各家真迹，嘱华亭陈明卿缩成一册，此册又临陈本。按，王时敏有缩临宋元各家山水册，董其昌为题“小中现大”者，为世所著称，此册除四页外，余俱与之相同，而所题各家名氏亦有异同。至所言王时敏一册出于陈明卿手，未见详细记述，或为另一册。\n陈廉（生卒年不详），字明卿，华亭（今上海松江）人。赵左弟子，年少时从赵左学习绘画，工巨幅山水，其笔墨清标，无烟火气，传世作品较少，上海博物馆藏《云间诸家书画散页》有其山水一开。王时敏《题陈明卿廉雪》卷云：“（陈廉）初以赵文度（赵左）为宗，既从余家纵观宋元真迹，多有悟入，所诣益深。为余摹诸名图，以寻丈巨轴，缩为方册，使能笔墨酷肖，毫发不遗，真画史之绝技。”又《题陈明卿仿黄子久》卷云：“明卿为赵文度高足弟子，初至娄时，尚守其师法，继为余临宋元诸名迹，缩小为本，因此大有悟入，画格遂为一变……”（《王奉常书画题跋》卷上）可与是册王鉴自跋相印证。",[23,25,7,142,75,413,489,79,31,125,55,124,127,148,185,32,129,197,198,1363],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc46f5271914a2b4ff894633cf7a7a1fc.jpg","纵55.4厘米，横36.0厘米",[],{"id":3466,"slug":3467,"title":3468,"dynasty":47,"author":3469,"museum":95,"description":3470,"tags":3471,"thumbUrl":3473,"material":85,"size":3474,"collection":36,"collections":3475,"showCount":3476,"zanCount":41,"manualWeight":41,"mainColor":42},290400,"qiu-lin-xiao-yin-tu-zhou-tao-fu-chu-290400","秋林小隐图轴","陶复初","陶复初，字明本，号介轩，元中叶石曲人。",[25,27,26,7,123,213,126,127,31,125,83,163,75,3472,880],"隐居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff085a8e059a6fc77f2a467fae1d4d8c5.jpg","70x28.7",[],14,{"id":3478,"slug":3479,"title":3480,"dynasty":47,"author":913,"museum":194,"description":3481,"tags":3482,"thumbUrl":3483,"material":200,"size":201,"collection":36,"collections":3484,"showCount":3476,"zanCount":41,"manualWeight":41,"mainColor":114},289558,"shi-shu-tu-cao-zhi-bai-289558","石树图","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。 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(1355年)二月五日，曹知白逝世。三月，葬于松江修竹乡干山之源。",[1344,25,24,26,373,228,372,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e83df6d5e7e5117629d2c3caf0c2cf6.jpg",[],{"id":3486,"slug":3487,"title":3488,"dynasty":93,"author":523,"museum":194,"description":3489,"tags":3490,"thumbUrl":3491,"material":200,"size":201,"collection":36,"collections":3492,"showCount":3476,"zanCount":41,"manualWeight":41,"mainColor":114},289010,"jiang-shan-ji-xue-tu-yi-ming-289010","江山霁雪图","此作用高远与平远构图铺展景致，左侧巨峰积雪覆顶，青绿晕染山峦，温润雅致又不失厚重苍劲。淡墨晕开江面空蒙，留白衬出江天萧寒澄澈。\n\n山脚村居隐于枯木疏枝之下，对岸汀渚间寺宇错落，烟波浩渺间尽显冬霁清旷。山石皴擦带着北派山水的雄浑质感，设色古雅沉静，将雪初晴后江山的冷寂辽远，与乡居的静谧安然相融，尽抒寄情林泉的幽远意趣。",[24,25,7,842,142,98,122,29,298,399,1345,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccb70e65ad9c770a86cf194c313fb816.jpg",[],{"id":3494,"slug":3495,"title":3496,"dynasty":138,"author":139,"museum":194,"description":1371,"tags":3497,"thumbUrl":3498,"material":200,"size":201,"collection":36,"collections":3499,"showCount":3476,"zanCount":41,"manualWeight":41,"mainColor":42},283724,"hua-chan-shi-xiao-jing-tu-ce-dong-qi-chang-283724","画禅室小景图册",[25,73,489,26,7,82,83,75,30,215,31,79,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a2d3a31157a8e2a8f3646e3e282b8d8.jpg",[],{"id":3501,"slug":3502,"title":3503,"dynasty":138,"author":3504,"museum":194,"description":3505,"tags":3506,"thumbUrl":3508,"material":36,"size":36,"collection":36,"collections":3509,"showCount":3476,"zanCount":11,"manualWeight":41,"mainColor":114},235996,"qiao-yue-dan-xia-zhou-xiang-de-xin-235996","乔岳丹霞轴","项德新","此作以奇崛岳峰起势，方硬岩壁勾勒间兼施水墨晕染，云雾萦回山腰，将厚重山石衬得空灵缥缈，隐于云间的瀑流暗生机趣。下方江岸虬松盘曲苍劲，水岸汀渚之上，孤舟渔翁独钓，林麓茅舍幽藏，糅合雄奇与清逸。\n\n笔墨取元人简淡意趣又自出机杼，干笔皴擦写山石肌理，湿墨晕染烟岚云水，虚实相生。把高旷山岳的雄浑与林下幽居的闲淡相融，绘就文人心底丘壑，尽显静穆淡远的隐逸意趣，引观者沉潜林泉高致之间。",[3507,25,7,27,75,126,31,198,127,55,1395,125],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feff13466302312933c3bd5dea309f2a8.jpg",[],{"id":3511,"slug":3512,"title":3513,"dynasty":18,"author":1476,"museum":20,"description":3514,"tags":3515,"thumbUrl":3518,"material":35,"size":36,"collection":36,"collections":3519,"showCount":3476,"zanCount":41,"manualWeight":41,"mainColor":42},234162,"yan-zi-ji-mo-chou-hu-er-jing-tu-juan-wu-hong-234162","燕子矶莫愁湖二景图卷","吴宏（1615 —1680），一作弘，字远度，号竹史、西江外史。江西金溪人，移居江宁（今南京）。\n吴宏自幼好绘事，自辟蹊径。顺治十年（1653）曾渡黄河，游雪苑，归而笔墨一变，纵横放逸。画作大多取材于自然景物及仰慕的桃花源仙境，构图疏密相间，气势雄阔。与龚贤、高岑、樊圻、邹喆、叶欣、胡慥、谢荪合称为“金陵八家”，在八家中画风最为粗放，浑融无际，任凭想象，景色细致苍郁，充满了生活气息。偶作竹石，亦有水墨淋漓之致。周亮工赠诗云：“幕外青霞自卷舒，依君只似住村虚，枯桐已碎犹为客，妙画通神独亦予”。\n传世作品有康熙五年（1666）作《山水》册页、《江山行旅图》卷，均藏北京故宫博物院；十一年（1672）作《松溪草堂图》轴、《竹石图》轴，藏南京博物院；《山村樵牧图》轴，藏天津市艺术博物馆。《国(清)朝画征录、读画录、桐阴论画、安雅堂集、江宁志、清画家诗史》",[23,24,25,74,26,7,79,1058,1363,528,2442,1003,104,3516,3517],"苍郁","生活气息","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc2193f9b4953e0d1929de82ac13992b.jpg",[],{"id":3521,"slug":3522,"title":3523,"dynasty":138,"author":1188,"museum":95,"description":1189,"tags":3524,"thumbUrl":3525,"material":264,"size":3526,"collection":36,"collections":3527,"showCount":3476,"zanCount":41,"manualWeight":41,"mainColor":114},222159,"shan-zhuang-gao-yi-zhou-li-zai-222159","山庄高逸轴",[23,25,7,27,26,75,181,183,55,125,76,124,29,372,373,261,198,2266,215,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9606b6f97673ebd0ca6b1996030ab49.jpg","纵188.8cm、横109.1cm",[],{"id":3529,"slug":3530,"title":3531,"dynasty":47,"author":159,"museum":194,"description":3321,"tags":3532,"thumbUrl":3533,"material":200,"size":201,"collection":36,"collections":3534,"showCount":3535,"zanCount":41,"manualWeight":41,"mainColor":114},290399,"shan-shui-tu-ke-luo-ban-ni-zan-290399","山水图（珂罗版）",[23,25,24,26,7,163,83,75,373,79,125,56,433,1930],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd388e9b163af066519eb6f9234c22b13.jpg",[],13,{"id":3537,"slug":3538,"title":1762,"dynasty":93,"author":523,"museum":194,"description":3539,"tags":3540,"thumbUrl":3542,"material":200,"size":201,"collection":36,"collections":3543,"showCount":3535,"zanCount":41,"manualWeight":41,"mainColor":114},289961,"xue-shan-xing-lv-tu-yi-ming-289961","此作用高远之法铺展冬日丘壑，主峰雄峙苍莽，积雪覆裹山峦，淡墨晕染出萧寒空濛的雪意。山石勾勒皴擦兼具骨力与浑润，枯木虬枝劲挺，尽显冬山荒寒之态。河谷间板桥茅舍错落，行旅驮队徐行于冰岸，为寂廖雪景晕开一缕人间烟火气。以水墨铺陈，借留白晕染烘托雪后山川的清寂辽远，将北国冬山的沉雄冷寂，与行旅浮生的意趣相融，于绢素间铺展出冬日山水的苍莽生机，尽显山水笔墨的意韵与造境匠心。",[23,25,24,7,26,27,75,499,98,475,126,399,55,29,299,3541],"人马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F007534380f02353665a1374e0d8404f1.jpg",[],{"id":3545,"slug":3546,"title":3547,"dynasty":93,"author":3548,"museum":95,"description":3549,"tags":3550,"thumbUrl":3551,"material":234,"size":3552,"collection":36,"collections":3553,"showCount":3535,"zanCount":41,"manualWeight":41,"mainColor":114},289378,"liu-xi-chun-fang-tu-ma-he-zhi-289378","柳溪春舫图","马和之","图绘崖壁柳荫，溪水垂柳，船坞码头，湖水盈盈，舂舫一艘，高士独游，妙诗新间，赞喻河山。这是马和之的一幅传世山水画代表作。款署“和之”。钤印一，模糊不可识。收传印记，有“朱之赤鉴赏”、“晴窗宝玩”、“子京”、“墨林山人”、“蕉林”及清乾隆诸玺等。\n这幅《柳溪春舫图》的特点是“简逸”而神旷，图中的山只画悬崖峭壁一面，只见山势高大，而毫无挺拔之感；画柳，不管是峭壁上的柳荫，还是溪边的垂柳，同样感到有随风飘逸之感；画水，水波纹轻轻波动，也有飘逸之感；画舫，在水上也显得轻快飘逸；画人，高士独自游览，轻松愉快；船工轻轻摇橹，船只就能随水推进。总之，这是作者在此画中体现了他的运笔使转灵活无一直经的板重之笔，这是作者来自于仿吴道子法，谓“蚂蝗描”的笔法，这种画法上的“简逸”，其实不仅仅可以理解为技巧的外形描述，还可以理解为一种新的技法意识观念的开始。图为当时南宋初，画家都以繁密写实为多见，所以不足为奇。要是像马和之那样简逸倒是一奇，如果简逸而又意趣，那就更是奇怪之至了。这幅可算是他的“简逸”画风的一作吧。",[25,24,7,142,3003,125,76,261,29,126,83,434],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9657dea8e4aeb1713baaff8a6dca12c9.jpg","36.7x51.4",[],{"id":3555,"slug":3556,"title":3557,"dynasty":18,"author":988,"museum":194,"description":3558,"tags":3559,"thumbUrl":3560,"material":200,"size":201,"collection":36,"collections":3561,"showCount":3535,"zanCount":41,"manualWeight":41,"mainColor":42},288029,"shan-shui-tu-lin-quan-gao-shi-zhang-zong-cang-288029","山水图(临泉高士)","张宗苍（1686-1756），字默存，江苏苏州人，画家。\n师承清代娄东画派的传人黄鼎。擅山水画，代表作有《吴中十六景》。",[25,73,7,27,26,75,261,126,31,125,213,83,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdba40184baacbf9a11bf003631812cec.jpg",[],{"id":3563,"slug":3564,"title":3383,"dynasty":18,"author":3384,"museum":20,"description":3385,"tags":3565,"thumbUrl":3569,"material":704,"size":3388,"collection":36,"collections":3570,"showCount":3535,"zanCount":11,"manualWeight":41,"mainColor":42},233874,"xi-bei-shi-yi-tu-ce-cha-shi-biao-233874",[25,26,7,3566,2594,31,76,298,286,81,1109,432,3567,3568],"白描","水面景物","淡墨技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e43c4efc42a9b7fb86aea3f999be41c.jpg",[],{"id":3572,"slug":3573,"title":3574,"dynasty":47,"author":3575,"museum":194,"description":3576,"tags":3577,"thumbUrl":3579,"material":200,"size":201,"collection":36,"collections":3580,"showCount":3581,"zanCount":41,"manualWeight":41,"mainColor":42},290440,"dan-tai-chun-xiao-tu-ke-luo-ban-lu-guang-290440","丹台春晓图（珂罗版）","陆广","此图绘远处层峦叠嶂，树木繁茂，山涧中房舍数问，炼丹石台一座；中景孤桥跨河两岸；近景松姿挺秀于溪岸。该图仿黄公望画风，笔苍墨健，境界缥悠。",[23,25,26,7,27,29,55,126,1246,163,83,3578],"春日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F793d01668f0b27a2d701111d87c14496.jpg",[],12,{"id":3583,"slug":3584,"title":3585,"dynasty":47,"author":119,"museum":194,"description":1989,"tags":3586,"thumbUrl":3587,"material":200,"size":201,"collection":36,"collections":3588,"showCount":3581,"zanCount":41,"manualWeight":41,"mainColor":114},290061,"yun-lin-xiao-yin-tu-ke-luo-ban-wang-meng-290061","云林小隐图（珂罗版）",[23,24,25,73,74,26,163,82,7,122,102,126,213,1930,143,75],"https:\u002F\u002Foss.chuan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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。",[23,25,24,7,26,142,75,79,102,387,1363,298,76,1003,80,3406],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04a3af540c2cbca82873377916100e60.jpg","43x95厘米",[],{"id":3609,"slug":3610,"title":3611,"dynasty":138,"author":3612,"museum":95,"description":3613,"tags":3614,"thumbUrl":3616,"material":85,"size":3617,"collection":169,"collections":3618,"showCount":3619,"zanCount":41,"manualWeight":41,"mainColor":42},290945,"xue-shan-xing-lv-tu-zhou-qian-gu-290945","雪山行旅图轴","钱毂","钱毂，吴（今苏州）人。字叔宝，号磬室。明代画家。少孤贫，失学，成年开始读书。从文征明学诗文、书画，学习刻苦，传说曾抄古籍几万卷. 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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。",[1344,25,7,75,142,181,164,126,125,105,3889,373,387],"近景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f39de867eab103772580eacab4813bc.jpg",[],{"id":3893,"slug":3894,"title":3895,"dynasty":18,"author":1323,"museum":194,"description":3896,"tags":3897,"thumbUrl":3898,"material":200,"size":201,"collection":36,"collections":3899,"showCount":3900,"zanCount":41,"manualWeight":41,"mainColor":114},290391,"mo-fan-hua-yuan-bi-yi-tu-li-zhou-dong-bang-da-290391","摹范华原笔意图立轴","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”。",[23,25,24,27,842,7,413,75,79,144,1395,298,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa52c57caee85cd1e6b837bcd8e97ca8e.jpg",[],8,{"id":3902,"slug":3903,"title":3904,"dynasty":93,"author":523,"museum":194,"description":3022,"tags":3905,"thumbUrl":3906,"material":200,"size":201,"collection":36,"collections":3907,"showCount":3900,"zanCount":41,"manualWeight":41,"mainColor":114},290231,"xi-ge-yuan-tiao-tu-yi-ming-290231","溪阁远眺图",[25,7,26,75,29,79,31,32,1395,503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94b38460c938223f270ede52c32aa5e1.jpg",[],{"id":3909,"slug":3910,"title":1508,"dynasty":93,"author":3911,"museum":194,"description":3912,"tags":3913,"thumbUrl":3914,"material":200,"size":201,"collection":36,"collections":3915,"showCount":3900,"zanCount":41,"manualWeight":41,"mainColor":114},289770,"shan-shui-tu-guo-zhong-shu-289770","郭忠恕","郭忠恕(？-977)五代末期至宋代初期的画家，〔北宋〕字恕先，又字国宝，洛阳(今属河南)人 。\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。",[23,25,7,142,75,122,76,433,373,55,298,80,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F379069d1ed23b59d2210624377be955a.jpg",[],{"id":3917,"slug":3918,"title":3919,"dynasty":93,"author":523,"museum":194,"description":3920,"tags":3921,"thumbUrl":3923,"material":200,"size":201,"collection":36,"collections":3924,"showCount":3900,"zanCount":41,"manualWeight":41,"mainColor":671},289568,"jiang-shan-fei-niao-tu-yi-ming-289568","江山飞鸟图","宋代绘画是在中国宋代期间的绘画作品，中国宋朝延续300多年，其绘画在隋唐五代的基础上继续得到发展。民间绘画、宫廷绘画、士大夫绘画各自形成体系，彼此间又互相影响、吸收、渗透，构成宋代绘画丰富多彩的面貌。\n北宋统一消除了封建割据造成的分裂和隔阂，在一段时期内社会保持着相对安定局面，商业手工业迅速发展，城市布局打破坊和市的严格界限，出现空前未有的繁荣。南宋虽然偏安江南，由于物产丰盛的江、浙、湖、广地区都在其境内，大量南迁的北方人和南方人一起共同开发江南，经济、文化都得到继续发展并超过北方。北宋的汴梁（今河南省开封市）、南宋的临安（今浙江省杭州市）等城市商业繁盛，除贵族聚集外，还住有大量的商人、手工业者和市民阶层，城市文化生活空前活跃，绘画的需求量明显增长，绘画的服务对象也有所扩大，为绘画发展和繁荣提供了物质条件和群众基础。\n宋代绘画进入手工业商业行列，与更多的群众建立较为密切的联系。一批技艺精湛的职业画家，将作品作为商品在市场上出售，汴京及临安都有纸画行业。汴京大相国寺每月开放5次庙会，百货云集，其中就有售卖书籍和图画的摊店；南宋临安夜市也有细画扇面、梅竹扇面出售；汴京、临安等地的酒楼也以悬挂字画美化店堂，作为吸引顾客的手段。市民遇有喜庆宴会，所需要的屏风、画帐、书画陈设等都可以租赁。适应年节的需要，岁末时又有门神、钟馗等节令画售卖，为市甚盛。北宋时，汴京善画“照盆孩儿”的画家刘宗道，每创新稿必画出几百幅在市场一次售出，以防别人仿制；专画楼阁建筑的赵楼台；画婴儿的杜孩儿，也在汴京享有盛名。吴兴籍军人燕文贵常到汴京州桥一带卖画。山西绛州杨威，善画村田乐，每有汴京贩画商人买画，他即嘱其如到画院门前去卖，可得高价。社会对绘画的需求和民间职业画家创作的活跃，是推动宋代绘画发展的重要因素。宋代由于手工业的发达，促成了雕版印刷的发展与普及，出现了汴京、临安、平阳、成都、建阳等雕版中心，不少书籍及佛经都附有版画插图，现存宋金雕印的弥勒像、陀罗尼经咒、《佛国禅师文殊指南图赞》、《赵城藏》等，可见其绘刻之精美程度。",[25,24,7,26,433,373,126,578,105,261,3922],"闲逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23ec350e5d692b211df8cd206de5edc7.jpg",[],{"id":3926,"slug":3927,"title":3928,"dynasty":138,"author":523,"museum":194,"description":3929,"tags":3930,"thumbUrl":3931,"material":200,"size":201,"collection":36,"collections":3932,"showCount":3900,"zanCount":41,"manualWeight":41,"mainColor":671},288103,"shan-si-wen-dao-tu-li-zhou-yi-ming-288103","山寺问道图立轴","淡墨晕染出山岚空濛，远山隐在烟霭间，如美人敛眉含黛。崖壁奇崛，皴笔硬朗刻画出山石苍劲肌理，古松虬曲扎根危岩，枝叶舒展间带萧疏野趣。山径蜿蜒盘桓，半山古寺藏于松涛深处，飞檐翘角若隐若现，禅意暗生。溪畔三两行人正拾级缓行，似欲赴山寺问道，幽寂山林因这几抹人影多了灵动意趣。\n\n画作以虚实相生之法铺陈意境，淡墨轻岚衬出世外林泉的静穆清远，将文人寄情山水、寻幽问道的雅致襟怀藏于尺幅间，简淡笔墨里尽是悠远林下之思。",[23,25,27,7,26,75,29,144,126,125,261,299,124,127,83,503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc0dd14d32bd01d376f036a7af62e871.jpg",[],{"id":3934,"slug":3935,"title":3936,"dynasty":138,"author":523,"museum":194,"description":3937,"tags":3938,"thumbUrl":3939,"material":200,"size":201,"collection":36,"collections":3940,"showCount":3900,"zanCount":41,"manualWeight":41,"mainColor":114},288089,"song-yin-xing-lv-tu-ye-yi-ming-288089","松荫行旅图页","层叠山峦错落排布，右侧主峰以青绿轻晕，勾勒皴擦间尽显山石苍劲肌理。山麓松荫蓊郁，半掩山居屋舍，晕染出幽寂出尘的林下意趣。林径间旅人徐行，寥寥数笔便将行路悠然的野趣点透，隐逸山居与行旅闲情相融无间。整体色调沉朴古雅，绢面浸透着岁月晕染的旧意，更添朴拙沉静之感。笔墨简淡却意境清远，以小幅团扇框住山野幽居的静谧闲适，尽显山水小景以简驭繁、借景抒情的雅致格调。",[23,25,24,7,142,79,29,1246,475,3698],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F109038930ceb357d6152a9052ad54556.jpg",[],{"id":3942,"slug":3943,"title":3944,"dynasty":138,"author":523,"museum":194,"description":3945,"tags":3946,"thumbUrl":3947,"material":200,"size":201,"collection":36,"collections":3948,"showCount":3900,"zanCount":41,"manualWeight":41,"mainColor":114},287956,"mo-yan-wen-gui-dong-xue-shan-shui-tu-juan-yi-ming-287956","摹燕文贵冬雪山水图卷","此作以全景铺展冬雪山河，层叠山峦以枯淡皴笔勾勒，如银妆玉琢般尽显冬日萧寒。江天寥廓浩渺，渔汀村舍散缀水畔，于清寂冷冽中暗萦烟火暖意。\n笔墨追摹燕家景致，将冬雪裹山的苍茫气魄铺陈开来，峰峦层叠间尽显全景山水的雄浑格局，素褐底色晕染出雪色凝寒、江雾笼山的空濛意境。题诗与山水呼应，把客居江左的冬日幽怀融于尺幅，复刻山水精妙，尽显摹古之作的沉静雅致，将冬日江雪的清旷冷寂全然铺展在卷中。",[23,24,25,74,7,413,98,79,323,75,142,1134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6408c306571f84dbaba80d085ffeb37d.jpg",[],{"id":3950,"slug":3951,"title":3952,"dynasty":138,"author":523,"museum":194,"description":3953,"tags":3954,"thumbUrl":3956,"material":200,"size":201,"collection":36,"collections":3957,"showCount":3900,"zanCount":41,"manualWeight":41,"mainColor":42},283634,"yu-yu-yu-qing-tu-yi-ming-283634","欲雨欲晴图","此作用米家山水的晕染之法，绘就江南烟霭迷离之景。远景山峦隐没在翻涌云岚间，墨色轻淡柔和，虚实掩映间衬出山光断处的幽远意境。近景汀洲水岸边，村居错落隐在葱郁林木中，板桥连通两岸，扁舟系在浅滩，漾出水乡安闲静穆的日常意趣。\n\n画面以水墨晕染尽显欲雨将晴的湿润空蒙，水汽漫过江渚，笼住层林远山，将江南湿润清宁的氛围感拉满。留白与墨色相融相生，把天地间的朦胧柔婉尽数铺展，带着文人画独有的雅致诗意，观之如亲赴烟雨中的江南水乡，静赏闲淡日常，尽显山水画平淡天真的隽永意趣。",[23,25,24,7,26,142,55,125,76,298,79,127,31,163,83,3955,1315],"欲雨欲晴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97a0a5ee8f2e9049eb7b495a8bba539d.jpg",[],{"id":3959,"slug":3960,"title":3961,"dynasty":18,"author":3724,"museum":20,"description":3962,"tags":3963,"thumbUrl":3964,"material":264,"size":3965,"collection":36,"collections":3966,"showCount":3900,"zanCount":41,"manualWeight":41,"mainColor":42},231530,"fang-fan-kuan-shan-shui-tu-tang-dai-231530","仿范宽山水图","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。\n范宽是五代末北宋初的一位山水画家，他与当时的李成、董源同时著称于北宋初期画坛，故他的作品被不少画家所临仿，清唐岱也不例外。唐岱虽提倡“不用古人之匠壑蹊径”，但却主张笔墨“用古人规矩格法”。所以他的作品有其新意。此《仿范宽山水图》名为仿作，实为师古而见新意之作。\n从这幅山水作品中，不难发现，画家除着重描绘大块山景外，却也不放过很多细小景致描绘，如整齐的楼阁屋宇，溪上的板桥、溪水、飞瀑、山径和岸渚等，使这幅作品所摄取的物象既有高山溪流，又有细小的景致，相辅相成，配合默契，相得益彰。此图师范宽。范宽笔法硬劲，因而“势状雄强”：可是此《仿范宽山水图》却寓方于圆的笔法，不见犀利，但见醇厚，可见此图名为仿作，实为师古而见新意，颇具自家风格。",[25,7,142,75,413,126,31,127,124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d165d240ea0c72ab35eef5a2f615f09.jpg","纵287.2厘米，横155.2厘米",[],{"id":3968,"slug":3969,"title":3970,"dynasty":18,"author":1323,"museum":95,"description":3971,"tags":3972,"thumbUrl":3973,"material":35,"size":3974,"collection":36,"collections":3975,"showCount":3900,"zanCount":41,"manualWeight":41,"mainColor":114},231528,"fan-zhao-gui-yun-tu-dong-bang-da-231528","返照归云图","董邦达(1699-1769)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。",[25,7,75,142,181,183,371,2572,164,185,844],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f125d5afb06632e727c6826a0b7fadd.jpg","251.1cmX158.6cm",[],{"id":3977,"slug":3978,"title":3979,"dynasty":18,"author":959,"museum":194,"description":3980,"tags":3981,"thumbUrl":3985,"material":36,"size":36,"collection":36,"collections":3986,"showCount":3900,"zanCount":41,"manualWeight":41,"mainColor":42},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。",[25,74,7,26,75,339,2012,126,102,1194,3982,3983,3984,904],"汀洲","水泽","雨后初晴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F601a1fd4574bcc15ec15daea92f0dd66.jpg",[],{"id":3988,"slug":3989,"title":3990,"dynasty":18,"author":959,"museum":194,"description":3991,"tags":3992,"thumbUrl":3996,"material":36,"size":36,"collection":36,"collections":3997,"showCount":3900,"zanCount":41,"manualWeight":41,"mainColor":42},224393,"jiang-shang-chui-lun-tu-quan-juan-wang-yuan-qi-224393","江上垂纶图全卷","此作用笔苍浑松秀，以干笔皴擦间施浓墨提点，糅合元人山水意趣。长卷铺展江南水村平湖远岫，层岩叠嶂间村居隐现，汀渚渔舟萧然静泊，尽显江乡幽寂淡远的秋暮之致。构图开合起伏，元气淋漓，将胸中丘壑化作纸面清旷之景。卷后题跋与画境呼应，诗画交融，尽显文人山水画的简淡高逸，沉雄苍润的笔墨尽显正统山水的文心雅韵。",[23,25,74,7,143,142,75,1962,79,1194,104,2703,578,3993,3994,3995,163,83,2161],"秋暮","幽寂淡远","清旷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0bd684daf1f7232a7c873baeffea3a7.jpg",[],{"id":3999,"slug":4000,"title":1508,"dynasty":93,"author":3911,"museum":194,"description":3912,"tags":4001,"thumbUrl":4002,"material":200,"size":201,"collection":36,"collections":4003,"showCount":4004,"zanCount":41,"manualWeight":41,"mainColor":114},290296,"shan-shui-tu-guo-zhong-shu-290296",[25,24,7,142,75,122,76,399,298,433,125,79,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F992854c151e737f5a0d86f76e823f47d.jpg",[],7,{"id":4006,"slug":4007,"title":4008,"dynasty":93,"author":523,"museum":194,"description":4009,"tags":4010,"thumbUrl":4013,"material":200,"size":201,"collection":36,"collections":4014,"showCount":4004,"zanCount":41,"manualWeight":41,"mainColor":114},288329,"qiu-lin-han-yan-tu-yi-ming-288329","秋林寒雁图","此作以平远之法铺陈秋江荒景，几株枯木虬曲苍劲，疏枝错落，枝梢停驻的寒禽为冷寂林梢添了细碎生机。滩涂沙洲以淡墨晕染留白，寒水浅濑间群雁或敛羽休憩，或浮水徐行，柔缓动态消融了江天的寥廓清寒。\n\n笔法简淡清劲，枯木勾勒皴擦兼用，尽显老干苍硬之态，沙洲与寒水以浅墨轻扫，空疏萧散的氛围跃然绢上。将深秋江野的寂寥与灵动相融，在极简景致里晕开幽远秋思，尽显宋代山水小品独有的诗意空寂。",[25,73,26,373,4011,123,433,388,3982,4012,7,3002,817],"寒雁","寒秋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f521b186b0fa74b7d70366084df0954.jpg",[],{"id":4016,"slug":4017,"title":2722,"dynasty":93,"author":523,"museum":194,"description":4018,"tags":4019,"thumbUrl":4020,"material":200,"size":201,"collection":36,"collections":4021,"showCount":4004,"zanCount":41,"manualWeight":41,"mainColor":114},288225,"gao-shi-guan-pu-tu-yi-ming-288225","此作咫尺含千里之趣，左侧坡岸幽竹扶苏，两位高士凭岩闲坐，静看飞瀑破崖奔落，坠入烟霭空蒙的寒潭。远山以淡墨晕染，虚实相生，将深山林壑的空寂清远铺展开来。\n画师以极简笔触勾勒物象，墨色清润淡雅，留白处尽显空灵悠远，将寄情林泉、寻幽遁世的雅趣藏于画中。观之如临其境，仿佛能聆听见松风与瀑鸣，沉浸式触摸这份山林间的幽寂淡然。",[23,1344,25,73,7,310,198,126,261,125,26,75,1315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70c0c4e0cda867db4d92d66a9d575fad.jpg",[],{"id":4023,"slug":4024,"title":4025,"dynasty":138,"author":3593,"museum":194,"description":3594,"tags":4026,"thumbUrl":4027,"material":200,"size":201,"collection":36,"collections":4028,"showCount":4004,"zanCount":41,"manualWeight":41,"mainColor":42},288013,"qiu-lin-han-yan-tu-juan-sun-zhi-288013","秋林寒雁图卷",[23,25,74,7,26,142,123,4011,433,105,125,213,399,1444,645,163,82,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd12ca6b35db79bb43e21774644a2d1e9.jpg",[],{"id":4030,"slug":4031,"title":4032,"dynasty":93,"author":523,"museum":194,"description":4033,"tags":4034,"thumbUrl":4036,"material":36,"size":36,"collection":36,"collections":4037,"showCount":4004,"zanCount":41,"manualWeight":41,"mainColor":114},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。",[23,24,25,73,7,264,142,431,75,31,432,891,126,286,528,261,105,1109,323,416,1690,4035],"草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72cbaf521890fbde5497afffb62995ae.jpg",[],{"id":4039,"slug":4040,"title":4041,"dynasty":18,"author":4042,"museum":3304,"description":4043,"tags":4044,"thumbUrl":4046,"material":4047,"size":4048,"collection":36,"collections":4049,"showCount":4004,"zanCount":41,"manualWeight":41,"mainColor":36},220756,"shan-xia-chu-quan-tu-su-ren-shan-220756","山下出泉图","苏仁山","此作用笔清劲洗练，纯以白描淡墨写尽丘壑林泉。奇峭山石层叠错落，以勾勒皴擦带出嶙峋肌理，不着艳色却尽显山石清刚之态。山间古松斜逸虬曲，错落排布，为冷寂山景添几分清拔气韵。\n\n画面疏密相衬，高远山势间藏出深远意境，流泉隐于谷中，汀洲人家三两点缀，衬出林泉幽寂之致。整体萧散淡远，将文人隐逸的清冷意趣融于笔墨间，极简笔触晕染出超脱世俗的静穆氛围，尽显水墨留白的悠远意韵。",[23,25,26,7,75,181,125,31,56,4045,387],"平地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F178e99fe3c7ea1e6c456cc9ec449bd94.jpg","水墨纸本","349 × 137.5 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北京故宫博物院藏\n\n秋天，黄昏，江岸楸树，水中孤舟，对岸迷茫的山林，林中隐现的庙宇，山下蜿蜒流淌的小溪，《秋江暝泊图》勾勒出了一幅典型的秋江景致。宋代院体山水画，对自然景物有丰富的表现力，从画风看应为南宋翰林院中高手所为。\n\n《秋江暝泊图》上钤有“御书之宝”、“信公珍赏”、“庞莱臣珍藏宋元真迹”等印多方，说明此图曾经南宋内府、清人耿昭忠、近人庞莱臣等收藏。《虚斋名画录》著录。此画传为宋高宗作品，经启功、徐邦达、刘九庵等鉴定大家鉴定为南宋绘画精品。\n\n宋高宗赵构（1107－1187），字德基，宋朝第十位皇帝，南宋开国皇帝，宋徽宗赵佶第九子。赵构精于书法，善真、行、草书，笔法洒脱婉丽，自然流畅，颇得晋人神韵。著有《翰墨志》，传世墨迹有《草书洛神赋》等。",[23,24,25,73,264,26,142,7,75,83,181,183,31,76,4208,1170,2537,185,503,4209],"停泊","自然","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea2f17134a6c67312b94dde38c168262.jpg",[],{"id":4213,"slug":4214,"title":4215,"dynasty":18,"author":1352,"museum":70,"description":4216,"tags":4217,"thumbUrl":4219,"material":36,"size":36,"collection":36,"collections":4220,"showCount":4140,"zanCount":41,"manualWeight":41,"mainColor":4221},202376,"qun-feng-chun-ai-tu-juan-wang-hui-202376","群峰春霭图卷","春霭氤氲，漫过山峦叠嶂，晕染出朦胧诗意。群峰错落，或浓墨勾勒，或淡彩晕染，皴法细腻处见山石肌理，设色清雅间显草木生机。林木扶疏，枝干虬劲，新芽初绽；溪流蜿蜒，小桥横跨，亭台隐现于林麓间，一派春日山乡的静谧悠远。笔墨兼具南北宗之长，融古意于自然，既得山川雄浑之态，又含江南秀润之韵，尽显春日山水的灵动与生机。",[25,7,74,142,75,2292,4218,102,32,1003,181],"春霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7573718e4085c673aa362d42b452111.jpg",[],"967f51",{"id":4223,"slug":4224,"title":4225,"dynasty":18,"author":4226,"museum":194,"description":4227,"tags":4228,"thumbUrl":4229,"material":200,"size":201,"collection":36,"collections":4230,"showCount":64,"zanCount":41,"manualWeight":41,"mainColor":42},290576,"qiu-hu-ye-fan-tu-juan-zhang-peng-chong-290576","秋湖夜泛图卷","张鹏翀","张鹏翀（1688～1745）清代画家。字天扉，一作天飞，号抑斋、南华山人、南华散仙，人谓之漆园散仙。崇明（今属上海市）人，居嘉定（今属上海）。幼年多病，资性滞钝。十七岁时开悟，遍读经史，精通诗文绘画，才思敏捷，命题咏，可应声立就，时人比之为古代东方朔、苏轼。作画亦顷刻能尽数纸。爱佳山水，常裹粮往游。\n雍正五年（1727）进士，官至詹事府詹事。曾以所作《经史法戒诗》《万寿圣德诗》《十慎箴》《春林淡霭图》《日长山静》画扇进献乾隆帝。帝亦曾以御画《松竹图》、御书“双清阁”匾额，以及笔砚、纱缎、绒貂之类赐之。在朝所进诗，及与诸同僚和者，不下数百篇。\n乾隆十年（1745），以省墓请假归乡，帝赐白金百两， 御制五律一章，以宠其行，行至山东临清以病卒。",[25,24,74,122,26,7,31,126,124,1577,83,163,880],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23648be720832d58f975e3904b328687.jpg",[],{"id":4232,"slug":4233,"title":4234,"dynasty":18,"author":1323,"museum":194,"description":3896,"tags":4235,"thumbUrl":4236,"material":200,"size":201,"collection":36,"collections":4237,"showCount":64,"zanCount":41,"manualWeight":41,"mainColor":114},290390,"mo-gao-fang-shan-bi-yi-tu-li-zhou-dong-bang-da-290390","摹高房山笔意图立轴",[23,25,27,7,842,142,55,125,373,79,215,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c7f3c07b5c65a4a9452ef30254e70b6.jpg",[],{"id":4239,"slug":4240,"title":4241,"dynasty":18,"author":4242,"museum":194,"description":4243,"tags":4244,"thumbUrl":4245,"material":200,"size":201,"collection":36,"collections":4246,"showCount":64,"zanCount":41,"manualWeight":41,"mainColor":42},290383,"fang-song-yuan-fen-ben-liu-duan-tu-juan-wang-chen-290383","仿宋元粉本六段图卷","王宸","王宸（1720—1797）字子凝，一字紫凝，一作子冰，号蓬心，一作蓬薪，又号蓬樵，晚署老蓬仙、蓬樵老、潇湘翁、柳东居士、莲柳居士，自称蒙叟、玉虎山樵、退官衲子，江苏太仓人。",[23,25,74,73,26,7,413,75,79,31,246,125,76,82,3362,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29f622e0ac77dfbb37d52721ef0eca45.jpg",[],{"id":4248,"slug":4249,"title":4250,"dynasty":1488,"author":4251,"museum":194,"description":4252,"tags":4253,"thumbUrl":4254,"material":200,"size":201,"collection":36,"collections":4255,"showCount":64,"zanCount":41,"manualWeight":41,"mainColor":42},289367,"tu-dao-chao-tun-tu-qing-mu-mu-mi-289367","兔道朝暾图","青木木米","此作用笔兼具中日山水意趣，取景开合相生。远山以淡墨晕染出空濛烟岚，峰峦轮廓温润朴拙，暗合米家山水氤氲之态。近岸桃红柳翠，板桥通幽，山居藏于虬枝茂叶间，清溪蜿蜒穿谷，渔舟泛波划破春水静澜。\n\n右侧崖壁题笔古雅，笔墨干湿浓淡交叠，苍松怪石兼具苍劲秀逸之姿。将春日溪山的清寂生机揉为一处，渔樵幽隐之趣暗含其间，把文人寄兴林泉的澹然幽怀，晕染进烟柳春山之中，静穆又暗藏灵动意韵。",[23,25,7,142,26,75,122,55,125,76,124,2161,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6b4914d50ec75112b683d1d423ddc33.jpg",[],{"id":4257,"slug":4258,"title":4259,"dynasty":18,"author":1323,"museum":194,"description":3896,"tags":4260,"thumbUrl":4262,"material":200,"size":201,"collection":36,"collections":4263,"showCount":64,"zanCount":41,"manualWeight":41,"mainColor":42},288500,"dan-ai-cang-shan-tu-dong-bang-da-288500","淡霭苍山图",[24,25,73,27,26,75,7,4261,127,30,891,55,31,163,83],"苍山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8214838b222f6c271dd732b2a627adb5.jpg",[],{"id":4265,"slug":4266,"title":4267,"dynasty":18,"author":523,"museum":194,"description":4268,"tags":4269,"thumbUrl":4271,"material":200,"size":201,"collection":36,"collections":4272,"showCount":64,"zanCount":41,"manualWeight":41,"mainColor":114},288186,"xia-ri-na-liang-tu-juan-ben-yi-ming-288186","夏日纳凉图绢本","这幅小品以青绿设色写就，晕染出幽然消暑意趣。水岸垂柳柔条拂波，汀岸浅绿晕开暑夏水汽，将溽热轻轻揉碎在烟水间。山畔高阁凭渊藏于林麓，不见纳凉之人，却自有一种幽闲空寂的松弛意韵。\n\n远山以石青石绿勾染，淡赭铺底衬出峰峦温润古雅，奇峰错落淡溶于朦胧暮色里，将天地晕染出沉静古拙的氛围感。水面空阔留白，扁舟缓行，似载着闲客趁晚风消暑。\n\n全图以景托情，把文人寄情山水、寻幽纳凉的隐逸雅趣藏在湖山烟柳间，带着唐宋青绿小品的遗韵，清寂雅致，尽显消暑闲情。",[23,25,7,842,142,29,76,125,3003,1003,79,2798,4270,1315],"纳凉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39017a063b82ab63adc2028fc6edc752.jpg",[],{"id":4274,"slug":4275,"title":4276,"dynasty":18,"author":523,"museum":194,"description":4277,"tags":4278,"thumbUrl":4282,"material":200,"size":201,"collection":36,"collections":4283,"showCount":64,"zanCount":41,"manualWeight":41,"mainColor":42},272963,"zi-tan-mu-diao-hua-bian-zuo-hua-shan-shui-tu-bo-li-cha-ping-yi-ming-272963","紫檀木雕花边座画山水图玻璃插屏","木雕是雕塑的一种，在我们国家常常被称为“民间工艺”。木雕可以分为立体圆雕、根雕、浮雕三大类。木雕是从木工中分离出来的一个工种，在我们国家的工种分类中为“精细木工”。\n以雕刻材料分类的民间美术品种。一般选用质地细密坚韧，不易变形的树种如楠木、紫檀、樟木、柏木、银杏、沉香、红木、龙眼等。\n木雕是以各种木材及树根为材料进行雕刻，是以传统雕刻工艺中的重要门类。木雕的历史非常悠久，在浙江余姚河姆渡文化遗址就有木雕鱼出土，这是我国木雕史上最早的实物。河南信阳战国大墓出土的木雕镇木兽，湖北云梦汉墓出土的彩雕木佣均为我国早期木雕作品。由于保存的困难，现今很难看到超过千年的木雕作品。\n两宋时期木雕作品较为多见，这时的木雕已采用组织细密的木材为载体进行制作，这就有利于木雕作品的传世。我国的一些庙宇里还保存有宋代的木雕作品。\n元明时由于海外贸易的急速发展，木材种类有所增加，许多由海外进口的硬质木材，是木雕工艺得到长足发展。\n明清期间是木雕艺术的一个辉煌时期，涌现出大量有史可考的名家、艺人及其作品，是古代木雕艺术的一个高峰。\n清末至民国年间由于政府的腐败，国力的衰退，外强的侵略，民不潦生，木雕艺术从此衰落，艺人名家也只能沦为匠人糊口度日。新中国成立后在党和国家的关怀下，民间工艺得到了保护及挖掘，木雕也重新涣发出生命，涌现出一批国家级大师。他们的作品，工艺精湛，秉承传统，立意深远，讴歌时代，体现了大师们立足传统，锐意创新，直抒重获新生的胸怀和报效国家，知遇之恩的深情。\n国家改革开放，经济腾飞，国富民强，党和国家对民间工艺的大力扶持，唤起了民众对传统工艺美术的热爱与追求。逢此盛世，民间工艺美术有了新的飞跃，木雕艺术也不例外。面对实际情况，在全国工艺品展出中，优秀作品的作者年龄偏大，年轻作者寥寥无几。",[25,7,142,122,55,2442,4279,4280,4281],"木质","雕刻","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50d9da621918ebd4851e29a7074f591c.jpg",[],{"id":4285,"slug":4286,"title":4287,"dynasty":18,"author":1352,"museum":95,"description":4189,"tags":4288,"thumbUrl":4290,"material":35,"size":36,"collection":36,"collections":4291,"showCount":64,"zanCount":41,"manualWeight":41,"mainColor":42},237381,"shan-shui-ce-yang-jin-chu-shan-qing-xiao-tu-ye-wang-hui-237381","山水册-杨晋楚山清晓图页",[25,73,489,26,75,7,122,890,127,29,31,198,4289],"草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ba8eddc6857a2d1b33ce8c82ff0ef6d.jpg",[],{"id":4293,"slug":4294,"title":4295,"dynasty":18,"author":523,"museum":194,"description":4296,"tags":4297,"thumbUrl":4298,"material":200,"size":201,"collection":36,"collections":4299,"showCount":219,"zanCount":41,"manualWeight":41,"mainColor":114},290379,"xia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清朝是以满族统治者为主的政权机构，满族八旗服饰随朝代的变更冲进关内。旗人的风俗习惯影响着广大的中原地区。从公服开始逐渐推向常服。",[4358,4359,4360,7,76,261,1109,286,503],"缎画","壁衣","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd2bea7abf597a77f675e930b1cbf701.jpg",[],{"id":4364,"slug":4365,"title":4318,"dynasty":18,"author":523,"museum":194,"description":4366,"tags":4367,"thumbUrl":4369,"material":200,"size":201,"collection":36,"collections":4370,"showCount":113,"zanCount":41,"manualWeight":41,"mainColor":42},272995,"zi-tan-kuang-fa-lang-gua-ping-yi-ming-272995","上部圆屏以珐琅填就诗文，笔力端稳沉厚，釉色匀净温润，墨色与珐琅光泽交融，尽显端庄文气。下方珐琅山水设色雅致明快，掐丝走线工细利落，勾勒出山峦层叠的苍秀轮廓，以深浅碧色晕染出林壑悠远之态。村居错落隐于林木烟岚间，天际月色清浅点染，晕开静穆悠然的山居夜色。紫檀边框雕纹古雅，将珐琅工艺的莹润质感与传统书画意趣相融，把文人诗意与山野闲情凝于一屏，尽显清隽雅致的审美意韵。",[4321,4279,4368,163,2632,7,142,79,515,1363],"琺瑯器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3229def61e5a6545129cf9824196bf21.jpg",[],{"id":4372,"slug":4373,"title":4374,"dynasty":1488,"author":523,"museum":194,"description":4375,"tags":4376,"thumbUrl":4377,"material":36,"size":36,"collection":36,"collections":4378,"showCount":113,"zanCount":41,"manualWeight":41,"mainColor":114},231691,"shi-ting-shi-qi-qiao-yi-ming-231691","室町时期 桥","此画以淡墨轻赭铺就秋山暮色，近坡古木虬曲，疏枝朗叶尽染萧索秋意，板桥跨溪连接山居野径，山坳间隐见村舍，暗藏烟火余温。远景奇峰崷崪，以简劲皴笔写山石棱线，晕染出空濛山岚，天际群雁齐飞，汀洲渔舟点点。\n\n画面虚实相生，将幽寂山野与隐逸闲趣相融，淡墨里漾着清远禅意，静中含动，把秋日林泉的疏旷淡远娓娓铺陈，藏着寄迹林泉的悠然意绪。",[23,25,26,7,75,55,373,433,126,125,105,1345],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6cacd3845460cff03a842a59e29690a.jpg",[],{"id":4380,"slug":4381,"title":4382,"dynasty":18,"author":523,"museum":194,"description":4383,"tags":4384,"thumbUrl":4385,"material":200,"size":201,"collection":36,"collections":4386,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":114},288367,"she-xi-tu-ye-yi-ming-288367","涉溪图页","此作用开合之境铺展冬野行旅图景，一侧巨岩陡立，巉岩覆郁，另一侧古木虬曲，疏枝尽露荒寒。浅滩处旅人牵衣涉溪，水波微动漾起细碎涟漪；崖畔山道上骑者徐行，与溪间行人遥相呼应。远景佛塔隐于烟霭山峦间，晕染出空寂萧疏的氛围感。\n\n笔墨苍朴老辣，以斧劈皴勾勒山石肌理，枯笔写出老树荒寒之态，设色古雅沉静。将羁旅赶路的日常，晕染成悠远的山水诗韵，把行旅迢遥之意融于山野清寂之中，尽显以景寄情的传统意趣，带着清雅朴拙的古意。",[23,25,7,142,75,399,125,126,261,297,475],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d751b3682c24b460fdd522736a75857.jpg",[],{"id":4388,"slug":4389,"title":122,"dynasty":18,"author":4390,"museum":194,"description":4391,"tags":4392,"thumbUrl":4393,"material":200,"size":201,"collection":36,"collections":4394,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":42},283779,"shan-shui-guo-ji-283779","郭骥","郭骥，字友三，乾隆、嘉庆年间吴县人，画家。",[25,7,142,75,125,79,215,31,55,76,213,1315,82,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb2243e6a947fb918c9503ad44494876.jpg",[],{"id":4396,"slug":4397,"title":4398,"dynasty":1488,"author":523,"museum":194,"description":4399,"tags":4400,"thumbUrl":4401,"material":200,"size":201,"collection":36,"collections":4402,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":114},281564,"chi-shang-xiu-mu-shan-shui-tu-zhou-yi-ming-281564","池上秀亩山水图轴","淡月悬于空濛天际，山岚如纱晕染峰峦，将山林晕作深浅不一的墨色层次。山坳间村居依岩临水，白墙黛瓦隐于苍林怪石之间，烟火气融于清寂山光。浅滩流水潺湲，留白与淡墨铺就水光清浅，将山野幽居的静谧尽数铺开。\n\n整幅设色清润雅致，以晕染烘托出月夜山乡的空濛氛围，把幽居的恬然和山野的清寂融为一体，笔意简淡却意境悠长，将江村月夜的安闲诗意铺陈于绢素之上。观之如临其境，仿若能聆听见流水松风，静享山乡夜色的清宁。",[25,73,27,7,142,515,1363,32,126,127],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbff70080a09dea58a916c4cebae1545.jpg",[],{"id":4404,"slug":4405,"title":3878,"dynasty":18,"author":1323,"museum":194,"description":3896,"tags":4406,"thumbUrl":4408,"material":36,"size":36,"collection":36,"collections":4409,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":42},238311,"shan-shui-ce-dong-bang-da-238311",[25,26,7,75,489,181,31,29,127,126,275,129,4407],"云气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fd359d92ef6d4c0dc7e7de2cfd178eb.jpg",[],{"id":4411,"slug":4412,"title":4413,"dynasty":18,"author":4414,"museum":3304,"description":4415,"tags":4416,"thumbUrl":4419,"material":4420,"size":4421,"collection":36,"collections":4422,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":36},220689,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220689","凤阿山房图册","吴历,朱彝尊,陆遵等","吴历 ，字渔仙，号桃溪居士，后号墨井道人，江苏常熟人。曾笃信天主教，并往澳门逗留。工诗、善画山水，师事王时敏 (1592-1680)与王鉴 (1598-1677) ，连同王翚 (1632-1717)、王原祁 (1642-1715)和恽寿平 (1633-1690) 合称「四王吴恽」或称「清初六家」，为清代正统派绘画代表。\n\n该画为吴历应友人侯大年（约1641-约1710）之命所作，并以友人之号「凤阿」命名，绘于康熙十六年（1677）之后，为吴氏中晚年之作。画面山峦起伏，高树竹丛、屋舍数间，屋前小桥流水，一人策杖过桥。整幅作品尺幅虽不大，却构图繁密，墨色苍润，流露对笔墨的追求与讲究，是吴历的精品。事实上，吴历与侯大年交谊深厚，曾应命绘制多幅《凤阿山房图》，以表达侯氏「述祖德，守先业」并归隐的志向，然而凤阿山房终未建成。据记载，侯大年在吴历绘制完立轴后，另请他绘制小册并请诸友题咏，正是此册。全册共分上、下两册，引首朱彝尊　(1629-1709) 书「凤阿山房」，后有吴历、朱彝尊、姜宸英、梁佩兰、宋骏业、王撰、陆遵、梅庚、钱大昕等六十六家诗题，其中陆遵、梅庚补图并题诗。吴历此作无疑是全册点睛之笔，见证了他与侯大年的交谊。",[23,25,489,7,26,79,4417,310,215,55,125,261,163,2632,83,4418],"高树","归隐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb77097ca63058bde1bd885223b88c679.jpg","水墨,设色,纸本,册页","18×34.5厘米",[],{"id":4424,"slug":4425,"title":4426,"dynasty":18,"author":4427,"museum":70,"description":4428,"tags":4429,"thumbUrl":4432,"material":36,"size":36,"collection":36,"collections":4433,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":4434},202433,"ce-zhang-guan-pu-tu-zhou-wang-zhi-rui-202433","策杖观瀑图轴","汪之瑞","画面以纵轴式构图铺展山水景致，陡峭崖壁用简练皴法勾勒，线条劲挺，凸显山石嶙峋质感。山间瀑布如白练倾泻，添得几分灵动。前景树木枝干虬曲，叶染丹红，似含秋意；一文人策杖立于岩畔，神情悠然，仿佛沉醉于瀑声山光间，尽显文人寄情山水的雅致心境。笔墨简淡却意境悠远，设色清雅中见生机，将传统山水画的韵味与文人意趣融于一体。",[7,142,75,198,31,436,2493,1059,4430,4431],"笔墨","意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F623b2175c0fbeddf62b2928c3eeaf670.jpg",[],"99866d",{"id":4436,"slug":4437,"title":4318,"dynasty":18,"author":523,"museum":194,"description":4438,"tags":4439,"thumbUrl":4440,"material":200,"size":201,"collection":36,"collections":4441,"showCount":41,"zanCount":41,"manualWeight":41,"mainColor":114},272999,"zi-tan-kuang-fa-lang-gua-ping-yi-ming-272999","紫檀边框古雅厚重，上部金面錾就楷书铭文，笔锋端稳周正，金石质感尽显华贵雅致，墨韵金辉交织书卷意趣。\n\n下方珐琅彩山水以青蓝晕染层叠峰峦，釉色莹亮通透，皴刻细腻写实。林泉之间隐着村舍人家，溪桥蜿蜒连通山居，将江南林泉雅致晕染得当，工致笔触间带着灵动生机，鲜亮釉色晕开悠然山居意韵。\n\n整器融多类工艺于一体，文人情思与匠造匠心相合，尽显雅致内敛的中式意趣，是清代陈设工艺里的精巧之作。",[4321,4322,4279,163,2632,7,842,142,122,29,55,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5877cc448bfe13824ed7e8279880657d.jpg",[],{"id":4443,"slug":4444,"title":4445,"dynasty":18,"author":523,"museum":194,"description":4446,"tags":4447,"thumbUrl":4449,"material":85,"size":36,"collection":36,"collections":4450,"showCount":41,"zanCount":41,"manualWeight":41,"mainColor":42},215559,"tian-xia-ming-shan-tu-62-yi-ming-215559","天下名山图-62","层峦叠嶂间云雾流转，墨色浓淡交织出山川的雄浑与灵秀。笔触或工细勾勒峰石肌理，或写意晕染林泉气韵，将名山的巍峨与幽深融于尺幅之中。色彩经岁月沉淀仍见古雅，赭石与花青淡晕衬出草木丰茂，留白处似有山风穿谷，引人遐想云海深处的禅意或隐者居停。整幅画承传统山水笔墨意趣，含对自然的敬畏描摹，每处皴擦点染藏着对名山胜景的细腻感知，仿佛推开一扇窗，便能步入烟霞满径的山林深处，聆听松涛与泉鸣共鸣，感受天地间的静谧与苍茫。",[24,25,7,2594,142,817,264,181,371,4448],"龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06a54759df2d3be4c3c42da671da1857.jpg",[],1777535698805]